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Art appreciation module revised pdf free
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MODULE IN ART APPRECIATION
PREPARED BY: PAUL JOHN D. CASTRO
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Republic of the Philippines
GAPAN CITY COLLEGE
City Hall Compound, Bayanihan, Gapan City, Nueva Ecija
ART APPRECIATION
Course Title: Art Appreciation
No. of Units: 3 units
Course Description:
Art Appreciation is a three-unit course that develops student’s ability to appreciate,
analyze and critique works of art. Through interdisciplinary and multimodal approaches,
this course equips students with a broad knowledge of the practical, historical,
philosophical, and social relevance of the arts in order to hone students’ ability to
articulate their understanding of the arts. The course also develops student’s
competency in researching and curating art as well as conceptualizing, mounting, and
evaluating art productions. The course aims to develop student’s genuine appreciation
for Philippine arts by proving them opportunities to explore the diversity and richness
and their rootedness in Filipino Culture
Learning Outcomes:
At the end of the course the students should be able to:
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Knowledge
1. Demonstrate an understanding and appreciation of arts in general, including their
function, value and historical significance
2. Define and demonstrate the elements and principles and design
3. Explain and evaluate different theories of Art
4. Situate Philippine arts in global context
Skills
1. Analyze and appraise works of art based on aesthetic value, historical context,
tradition, and social relevance
2. Mount an art exhibit (concept development, production and post production,
marketing, documentation, critiquing
3. Create their own works of art and curate their own production or exhibit
4. Utilize art for self-expression and promoting advocacies
Values
1. Deepen their sensitivity to self, community and society
2. Discover and deepen their identity through art with respect to their nationality,
culture and religion
3. Develop an appreciation of the local arts
Number of hours: 3 hours every week for 18 weeks or 54 hours in a semester
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Course Outline and Timeframe
Week
1
2
3-4
5-6
7-12
13-18
Topics
Course orientation: Grading system, Requirements, Relevance of the Couse
Assumptions and Nature of Arts: Creativity, Imagination
Functions of Art and Philosophy
Art and Artisans: Production Process, Medium, Technique, Curation
Elements and Principles of Arts
Art History(Asian, Western, Philippines)
Soul making (Improvisation and Appropriation)
*Based on the Syllabus of Instruction prepared by Commission on Higher Education
Disclaimer: This module gathered information from various internet sources and
credited all authors for their works. This make sure that this module keeps the “Fair
Use” of the said information. This intend not to violate any copyrights or be subjected to
copyright infringement.
Lesson 1
ASSUMPTIONS AND NATURE OF ARTS
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I. Topic: Assumptions and Nature of Arts
II. Objectives:
At the end of this lesson, the student should be able to:
a) Define and identify assumptions and nature of arts
b) Give the significance of assumptions and nature of arts in real life situation.
c) Cite Filipino artwork
III. Content:
What is Art?

Art is something that is perennially around us.

Some people may deny having to do with arts but it is indisputable that life
presents us with many forms of and opportunities for communion with the
arts.

The word ART comes from the ancient Latin, ars which means a “craft or
specialized form of skill, like carpentry or smithying or surgery” (Collingwood,
1938).

Ars in Medieval Latin came to mean something different. It meant “any special
form of book- learning, such as grammar or logic, magic or astrology”
(Collingwood, 1983).

The fine arts would come to mean “not delicate or highly skilled arts, but
“beautiful arts” (Collingwood, 1983).

“The humanities constitute one of the oldest and most important means of
expression developed by man” (Dudley et al., 1960). Human history has
witnessed how man evolved not just physically but also culturally, from cave
painters to men of exquisite paintbrush users of the present.
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Assumptions of Art
1. Art Is Universal
 Timeless, spanning generations and continents through and through.
 Misconception: Artistic made long time ago.
 Age is not a factor in determining art.
 Literature has provided key words of art.
 lliad and the Odyssey are the two Greek Epics that one’s being taught in school.
 The Sanskrit pieces Mahabharata and Ramanaya are also staples in this fields.
 In every country and in every generation, there is always art. Often times, people
feel that what is considered artistic are only those which have been made long
time ago. This is a misconception. Age is not a factor in determining art. “An art
is not good because it is old, but old because it is good” (Dudley et al., 1960)
 In the Philippines, the works of Jose Rizal and Francisco Balagtas are not being
read because they are old.
 Florante at Laura never fails to teach high school students the beauty of love,
one that is universal and pure.
 Ibong Adarna, another Filipino masterpiece, has always captured the imagination
of the young with its timeless lessons.
 When we recite the Psalms, we feel in communion with King David as we feel
one with him in his conversation with God.
 When we listen to a Kundiman or perform folk dances, we still enjoy the way our
Filipino ancestors while away their time in the past.
2. Art Is Not Nature
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 Art, not directed by representation of reality, is a perception of reality.
 In the Philippines, it is not entirely novel to hear some consumers of local movies
remark that these movies produced locally are unrealistic. They contend that
local movies work around certain formula to the detriment of substance and
faithfulness to reality of movies.
 Paul Cezanne, a french painted a scene from reality entitled Well and Grinding
Wheel in the Forest of the Chateau Noir .
3.Art Involves Experience
 It does not full detail but just an experience. Actual doing of something.
 Getting this far without a satisfactory definition of art can be quite weird for some.
For most people, art does not require a full definition. Art is just experience. By
experience, we mean the “actual doing of something” (Dudley et al., 1960) and it
also affirmed that art depends on experience, and if one is to know art, he must
know it not as fact or information but as an experience.
 A work of an art then cannot be abstracted from actual doing. In order to know
what an artwork, we have to sense it, see and hear it.
 An important aspect of experiencing art is its being highly personal, individual,
and subjective. In philosophical terms, perception of art is always a value
judgment. It depends on who the perceive is, his tastes, his biases, and what he
has inside.
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IV. Activity
Choose one artwork under each category that you are familiar with. Cite a Filipino
artwork related to the category you chose and answer the question provided.
Movie, Novel, Poem, Music, Architectural structure, Clothing
Why you chose it? Relate it to the topic has been discussed. Elaborate your answer.
V. Assessment
Answer the following questions based on your own understanding/ interpretation of the
lesson you learned. 5 points each.
1. If you were an artist, what kind of artist you want to be?
2. Why is art not nature?
3. Art is ageless. Explain this statement,
4. Why does art involve experience?
5. Cite other misconceptions about art
References:
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
Dr. Lamucho, V. S., Baesa-Pagay, J. S., et al.(2003) p.3 Basic Assumptions of
the Art

Toto Wel. (November 17, 2018)Art: Introduction and Assumptions.
http://www.ruel positive.com/art-intoduction-assumptions

Jhay Baccay. (October 04, 2018) Assumptions-of-art-1.pptx.
http://www.scribd.com.presentation/390111106/Assumptions-of-art-1-pptx
Lesson 2
Functions of Art and Philosophy
I. Topic: Functions of Art and Philosophy
II. Objectives:
At the end of this lesson, the student should be able to:
a) Identify the functions of art;
b) Explain and discuss the basic philosophical perspective on the art;
c) Apply philosophical perspective real life scenarios;
III. Content:
FUNCTIONS OF ART
Functions of art is an inquiry on what art is for. When it comes to functions,
different art form come with distinctive functions, some may be functional more than
others
.
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The value of the art lies in the practical benefits from it. One may look at the
value based on its specific purpose or for personal.
Personal Functions of Art
Personal functions of art is highly subjective and depends on the artist who
created the art. An art may be created for expressing self, for entertainment
or for other purposes.
Social Functions of Art
If an art is opposed to personal interest and for collective interest it is
considered to have a social function. Art may convey, message such as to
support, to protest, contestation and other messages an artist intends to carry
at his work.
Political Art is a very common example of an art with a social function.
Art can depict social conditions such as photography of industrialization and
poverty.
Performance art like plays serves social functions as it rouses emotions for a
common situation a society has.
Physical functions of Art
This are artworks that are crafted in order to serve physical purpose such as
jars, plates, and jewelries.
Architecture, jewelry-making, interior design all serves physical functions
Other functions of art may serve culture, history and religion. Music is an artwork
used for different purposes such events for culture, historical and religious
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gatherings. Sculpture, poems, spoken poetry, movies and other form of arts are
used for its specific functions.
PHILOSOPHICAL PERSPECTIVE ON ART
Art as an imitation
In Plato’s The Republic, paints a picture of artists as imitators and art is
mere imitations. In his metaphysics or view of reality, the things in this
world are only copies of the original, the eternal, and the true entities can
be found in the World of Forms.
Art is just an imitation of imitation. A painting is just an imitation of nature,
which is also an imitation of realty in the World of Forms.
Art as a representation
Aristotle, agreed with Plato, however he considered art as an aid
to philosophy in revealing the truth.
Art represents version of reality. In Arestotelian worldview, art serves two
particular purposes: art allows for the experience of pleasure and art has
an ability to be instructive and teach its audience things about life.
Art as a disinterested judgment
Emmanuel Kant, in his Critique of Judgement, considered the judgement
of beauty, the cornerstone of art, as something universal despite its
subjectivity. He recognized that judgement of beauty is subjective.
Art as a communication of Emotion
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According to Leo Tolstoy, art plays a huge role in communication to its
audience’s emotions that the artist previously experienced
Art communicates emotions.
IV. ACTIVITY
Activity 1 ( 20 points)
Which is more functional?
Directions: Browse the internet and cite for functions of Statue and Paintings and
decide which is more functional.
Functions of Statues
Functions of Paintings
.
Which is more functional? Explain.
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Activity 2 (15 points)
Directions: List at least five examples for each of the following.
1. Personal function of Art
2. Social function of Art
3.Physical function of
art
Activity 3 (10 points)
Directions: Give your own perception of beauty? What is beauty to you? Do you have
standard to consider art as beautiful? Explain.
Activity 4 (10 points)
Directions: Do you have any artworks in your house? Choose only one and give its
history and function.
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V. Assessment
Answer the following questions based on your own understanding/ interpretation of the
lesson you learned. 5 points each.
1. Do Arts always have functions? Why? Provide your own example.
2. If an artwork has no function is it still considered as art?
3. Why perception of beauty is subjective? Support your answer by providing your
own example.
4. What kind of artwork you are capable of doing that can showcase your emotions?
5. If there is an artwork that changed your perspective in life, what is it and how
it inspired you?
Reference/s:

Cruz, I. G., (September 24, 2019) Lesson3Ffunction of Art and Philosophy)
https://www.scribd.com/presentation/427241720
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ARTS AND ARTISANS
Lesson 3
I. Topic: Art and Artisans: Production Process, Medium, Technique, Curation
II. Objectives:
At the end of this lesson, the student should be able to:
a) Differentiate artist and artisans
b) Identify production process, medium, technique, and curation
c) Cite Filipino artists and artisans
III. Content:
Concept Notes:
Artist is an art practitioner such as painter, sculptor, choreographer dancer,
musician, a poet who produces or creates indirectly functional arts with
aesthetic value using imagination.
Artisan is a craftsman, such as carpenter, carver, plumber, blacksmith,
weaver embroider and etc. who produces directly functional and/or decorative
arts.
Famous Personalties of Art and their Works
1. LEONARDO DA VINCI • Born: 04-15-1452, Vinci, Italy • Profile: Painter,
Architect, Sculptor, Inventor, Military Engineer and Draftsman. • Died: 05-21519 ,Amboise, France • Quotes: “He who thinks little, errs much” Brian S.
Cunal
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2. Famous Works The Last Supper Mona Lisa Vitruvian Man Brian S. Cunal Brian
S. Cunal
3. VINCENT VAN GOGH • Born: 03-30-1853 Zundert, Italy • Profile: Painter • Died:
07-29-1890 Amboise, France • Quotes: “I dream of painting and then I paint my
dream.” Brian S. Cunal
4. Famous Works The Starry Night Sunflowers Irises Brian S. Cunal
5. MICHAELANGELO • Born: 4-6-1475, Michaelangelo, Italy • Profile: Painter,
Architect, Poet • Died: 2-18-1564, Rome, Italy • Quotes: “Genius is eternal
patience.”
6. Famous Works David Creation of Adam St. Peter’s Basilica
7. CLAUDE MONET • Born: 11-14-1840, Paris, France • Profile: Painter,
Philosopher • Died: 12-5-1926, Giverny, France • Quotes: “The richness I achieve
comes from Nature, the source of my inspiration.”
8. Famous Works Water Lilies Impresion,Sunrise Rouen Cathedral Series
9. FRIDA KAHLO • Born: 07-06-1907, Mexico City, Mexico • Profile: Painter • Died:
07-13-1954, Mexico City. Mexico • Quotes:” I never paint dreams or nightmares. I
paint my own reality.”
10. Famous Works The Two Fridas SELF-PORTRAIT WITH THORN NECKLACE
AND HUMMINGBIRD The Broken Column
11. GEORGIA O’KEEFFE • Born: 11-15-1887, Wisconsin, USA • Profile: Painter •
Died: 03-06-1986, New Mexico , USA • Quotes: “The days you work are the
best days.”
12. Famous Works Black Irises III Cow’s Skull: Red, White and Blue
Radiator Building Night- New York
13. EDGAR DEGAS • Born: 7-19-1834, Paris, France • Profile: Painter, Sculptor •
Died: 9-27-1917, Paris, France • Quotes: “Art is not what you see, but what
you make others see.”
14. Famous Works The Absinthe Drinker The Dance Class The Bellelli Family
15. EDVARD MUNCH • Born: 12-12-1863, Adalsbruk, Norway • Profile: Painter •
Died: 1-23-1944, Oslo, Norway • Quotes: “From my rotting body, flowers shall
grow and I am in them and that is eternity. “
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16. Famous Works The Scream The Day After The Dance of Life
17. JACKSON POLLOCK • Born: 1-28-1912, Wyoming, USA • Profile: Painter •
Died: 8-11-1956, NY, USA • Quotes: “T he painting has a life of its own. I try to let
it come through.”
18.. Famous Works The Number 5 The Number 11 The Number 31
19. PABLO PICASSO • Born: 10-26-1881, Malaga, Spain • Profile: Painter, Sculptor,
• Ceramicist, Stage Designer, Poet and a Playwright. • Died: 4-8-1973,
Mougins, France • Quotes: “Every child is an artist. The problem is how to
remain an artist once he grows up.”
20. Famous Works Guernica The Young Ladies of Avignon The Weeping Woman
21. GUSTAV KLIMT • Born: 7-14-1862, Baumgarten, Austria • Profile: Painter • Died:
2-6-1918, Vienna, Austria • Quotes: “Truth is like fire; to tell the truth means to
glow and burn.”
22. Famous Works The Kiss Portrait of Adele Bloch-Bauer I The Virgin
23. HENRY MOORE • Born: 7-30-1898, Castleford, Unite Kingdom • Profile: Sculptor
• Died: 8-31-1986 • Quotes: “One never knows what each day is going to
bring. The important thing is to be open and ready for it.”
24. Famous Works Reclining Figures King and Queen Bird Basket
25. SALVADOR DALI • Born: 5-11-1904, Figueras, Spain • Profile: Painter,
Draftsman • Died: 1-23-1989,Figuerras, Spain • Quotes: “Intelligence
without ambition is a bird without wings.”
26. Famous Works The Persistence of Memory Swans Reflecting Elephants
Premonition of Civil War
27. PAUL CEZANNE • Born: 1-19-1839, Aix-en, France • Profile: Painter • Died: 1022-1906, Aix-en, France • Quotes: “We live in a rainbow of chaos.”
28. Famous Works The Bathers The Card Player Series Jug, Curtain and Fruit Bowl
29. DIEGO RIVERA • Born: 12-8-1886, Guanajuato, Mexico • Profile: Painter • Died:
11-24-1957, Mexico city, Mexico • Quotes: “I've never believed in God, but I
believe in Picasso. “
30. Famous Works The Man at the Crossroad The Card Player Series The History of
Mexico
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To see the difference between the two, watch the video uploaded by Laura Morelli
with the title Is there a difference between art and craft? Please go to this website:
https://youtu.be?tVdw60eCnJI
Out of the video you have watched, what do you think is the difference by art and
craft? Who made arts and who made crafts?
Now let’s get to know them better. Let us have the presentation uploaded by Bry
Cunal on slideshare with the title: Art Appreciation Artists and Artisans
Go to https//:www.slideshare.net/mobile/learian/art-appreciation-artists-and-artisan
Tip: Take notes from the presentation as you are going to have an activity related to
it.
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Medium and Techniques
Mediums is the mode of expression in which the concept, idea or message is
conveyed. These are the materials which are used by an artist to interpret his
feelings or thoughts.
Technique is the manner in which artist controls his medium to achieve the
desired effect. It has something to do with way he manipulates his mediums
to express his idea.
Visual Arts
Are those mediums that can be seen and which occupy space.
For further readings, go to this website:
https://www.unboundvisualarts.org/what-is-visual-art/
Examples of visual arts are paintings, drawings, photography and sculpture.
Curation
An art curator is in charge of managing collections of works of art for a
museum, foundation or an art gallery.
To
see
more
of
an
art
curator’s
responsibilities,
https://iesa.edu/paris/news-events/art-curator
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go
to
this
website
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IV. Activity
Activity 1: Research for at least 20 art materials and give its functions. (2 points
each)
Activity 2: (2 points each)
Use separate paper for this activity.
2. 1 Cite for at least 10 famous foreign artists and their art contributions.
2. 2 Cite for at least 10 famous foreign artisans and their crafts.
2.3 Cite for at least 5 famous Filipino artists and their contributions.
2.4 Cite for at least 5 famous Filipino artisans and their crafts.
Activity 3: Research for at least 10 common visual arts. (2 points each)
V. Assessment
Answer the following question.
Process Questions(4 pts each)
4
Complete
understanding
of
the
problem,
thorough
3
2
1
explanation
Basic understanding of the problem, understandable explanation.
Limited understanding of the problem, unclear explanation
Response does not fit the given problem, totally incorrect explanation.
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and
concise
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1. Why people tends to be confused about artists and artisans?
2. Give the similarities and differences of an artists and artisans.
3. How do artists and artisans express their expressions and emotions through arts
and crafts?
4. What would you want to become? An artist or an artisan and why?
5. What is the significance of studying about artists and artisans? Explain.
6. What is visual Art?
Reference/s:
 Cunal, B. Art Appreciation Artists and Artisans
https//:www.slideshare.net/mobile/learian/art-appreciation-artists-and-artisan
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 Brittanica, Visual Artshttps:www.britannica.com/browse/Visual-Arts
Lesson 4
Elements and Principles of Art
I. Topic: Visual Design Elements and Principles of Visual Design
II. Objectives:
At the end of this lesson, the student should be able to:
a) Identify the elements and principles of elements of visual design;
b) Give the significance of elements and principles of visual design in real life
application;
c) Create a photo collage using elements and principles of visual design.
III. Content:
Concept Notes:
Six integral components in the creation of a design:
Lines

Vertical- Represents dignity, formality, stability and strength.
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
Horizontal- Represents calm, peace and relaxation.
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
Diagonal- Represents action, activity, excitement and movement.

Curved- Represents freedom, the natural, having the appearance of softness
and creates a soothing feeling or mood
Color
Color has an immediate and profound effect on a design. Colors can affect
how humans feel and act.
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•
Warm Colors
•
•
Reds, oranges, yellows
Cool Colors
•
Blues, purples, greens
Form/Shape
The shape, outline, or configuration of anything.
•
Squares
•
Ellipses
•Rectangles
•
Circles
•
Ovals
•
Triangles
Space
It can enlarge or reduce the visual space.
Types
•
Open, uncluttered spaces
•
Cramped, busy
Texture
The surface look or feel of an object.
Types
•
Smooth surface
•
•
Reflects more light and, therefore, is a more intense color.
Rough surface
•
Absorbs more light, appears darker.
Value
The relative lightness or darkness of a color
. Methods
•
Shade
Degree of darkness of a color
•
Tint
A pale or faint variation of a color
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Five principles that encompass an interesting design.
Balance
Parts of the design are
equally distributed to create a
sense of stability.
There can be physical as well as
visual balance.
Rhythm
It is the repeated use of
line, shape, color, texture or
pattern.
Emphasis
Emphasis is the most personal aspect
of a design. The feature that attracts viewers.
It can be achieved through size, placement,
color and use of lines.
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Proportion and Scale
It
is
the
comparative
relationships between elements in a
design with respect to size.
Unity
Unity is applying consistent use of lines, color, and texture within a design.
IV. Activity
Activity 1: 3 2 1
Directions: This game is called 3,
2, 1, stands for things you had
learned from the discussions. 3
things you
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learned, 2 things you discovered and 1 question you still have. Use separate sheet
for this activity. 3 points each.
Activity 2: Picture Picture
Directions: Look around your house. Take a picture of things/objects/artworks that
will best represent element of visual design. One picture per element. Collect all
pictures and make a powerpoint presentation of your work. You will submit your
powerpoint presentation to the assigned gmail account. A rubric will be used to
grade your activity.
Creative
Relevance
Organization/ Content
15
10
The output is exceptionally
The output is creative and
The
creative, original, and eye-
original.
creative.
catchy.
The output is related to the
The output is related to the
The output is not related to the
topic
to
topic and most make it easier
topic.
understand.
Information is clear and very
to understand.
Information is organized and
Information
well organized. Content is
the
disorganized.
excellent and appropriate.
appropriate
and
easier
content
is
5
somewhat
output
is
acceptably
appears
to
be
Content
incorrect and inappropriate.
V. Assessment
Process Questions(4 pts each)
4
Complete
understanding
of
the
problem,
thorough
3
2
1
explanation
Basic understanding of the problem, understandable explanation.
Limited understanding of the problem, unclear explanation
Response does not fit the given problem, totally incorrect explanation.
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and
concise
is
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1. Give the significance of visual design in creating arts.
2. How principles of visual design will make the art effective and attractive?
3. Cite for at least 5 real life applications of visual design and 5 real life application
of visual design principles.
Reference/s
 Bhadauria,
R.,
(2014)
The
Elements
and
Principles
of
Design
https://slideshare.net/mobile/admecinstitute/principles-of-design-30520900
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Lesson 5
History of Art
I. Topic: Art History (Asian, Western, Philippines)
II. Objectives:
At the end of this lesson, the student should be able to:
a) Describe history of Asian, Western and Philippine Art
b) List relative artists and artworks per periods from Asian, Western and
Philippine Art.
c) Appreciate the history of art by looking for ways to promote it.
III. Content:
Concept Notes
History of Asian
Art
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Asian art is diverse and rich, spanning thousands of years and dozens of
countries. It is known for its ritual bronzes, beautiful ceramics, jades, textiles, poetic
painted landscapes, garden design, elaborate goldwork, extraordinary temples,
shrines, pagodas and stupas, woodblock prints, shadow puppets and the highest art
form in East Asian art—calligraphy. Enduring Asian treasures include works such as
Fan Kuan’s Travellers among Mountains and Streams, Katsushika Hokusai’s
Fugaku sanjurokkei (‘Thirty-six views of Mt Fuji’) series, and Basawan’s Akbar
Restraining the Enraged Elephant Hawa’i. Today the impact of Asia
on
contemporary art is immense. Since the 1990s, Asian contemporary art has grown
exponentially due to a mushrooming of regional biennials and triennials, new
contemporary art museums, and the international recognition of artists such as
Chinese-born Cai Guo-Qiang, Japanese-born Miwa Yanagi, Korean artist Suh DoHo, and the Thai artist Rirkrit Tiravanija.
For further reading please go to this website:
https://www.oxfordartonline.com/page/asian-art
History of Western Art
Art historians describe the history of Western art in terms of successive
periods and or movements, including Classical, Medieval, Byzantine, Romanesque,
Renaissance,
Baroquem
Rococo,
Neolassicism,
Romanticism,
Impressionism, Modernism and Postmodernism.
For further readings and to see relative images please visit this website :
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Realism,
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https://www.invaluable.com/bog/art-history-timeline/
Art
Timeline:
Western
Art Movements and Their
Impact.
History of Philippine Arts
The history of Philippine art is describe according to Philippine Art Period
Timeline

Pre-colonial art period

Spanish colonial art period

American colonial art period

Post-colonial art period

Contemporary Art period
Pre-colonial art period
 Age of Horticulture/Neolithic period (6185 to 4400 BC)
 Metal Age (3190 to 190 BC)
 Iron Age(200BC to 1000BC)
 Local communities are being estyablished and art starts to go beyond mere
craft such as stone weapons and jewelry but starts to have decorative
elements, meaning and context.
 Pre-colonial traditional art have religious symbols, everyday activity such as
fishing, farming, etc., or a specific decorative art pattern to the community
 It has either the influence of local region (animistic) or Islamic based.
 There is also an exchange of art aesthetics and art processes with the
Chinese and other Asian countries who frequents as traders with our
indigenous groups.
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 Other pre-colonial art are pottery, weaving, tattoo, jewelry, carving and
metal craft.
Spanish Colonial Art Period (1521-1898)
 Introduced formal painting, sculpture and architecture which was inspired by
the Byzantine, Gothic, Baroque and Rococo art styles.
 Most art works are religious(Catholic) based.
 Spanish colonialism lives on with the Filipino “antique” furniture and carving
designs.
 In the formation of elite Filipino class, the illustrado, pave way for the rich
locals to study abroad, a more “academic” and “western” has been learned.
 The Filipino Classicism is formed that borrows the Neo-Clacissim,
Romanticism, and even a hint of Impressionism.
American Colonial Art Period (1898-1946)
 The American brought in Education and Value Formation, with both following
the “American way of life”(Allice Guillermo,Sining Biswal,1994,p.4)
 Art illustration, advertising and commercial design gained popularly and
incorporated in Fine arts.
 Painting themes still largely favored genre paintings, landscapes and still life;
portraits are reserved for high ranking officials with a more academic
approach to make the subject more formal.
Post-Colonial Art Period (1946-1986)
Art after the War: The growing and Expanding Philippine Art
 Philippine Modern Art (1946 to 1970)
 Philippine Post Modern Art (1970-1980s)
 Pop Art, Installation Art and Performance Art were dominating the postmodern period of the Philippine Art
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Philippine
Contemporary
Art
(1980s
to
Present)

The on-set of the sudden rise of personal computers and new technology
created a new art medium for the arts and human expression. But there were
also countless revivals of old style being done. This started a new direction
for the art.
IV. Activity
Activity 1: 3 2 1
Directions: This game is called 3, 2, 1, stands for things you had learned from
the discussions. 3 things you learned, 2 things you discovered and 1 question you
still have. Use separate sheet for this activity. 3 points each.
Activity 2: Art History Anchor Chart
30 points
Directions: Make an anchor chart of the things you have learned from the discussion
about Asian, Western and Philippine Art History. To have an idea about anchor chart go
to this website https://youtu.be/fxoReyxDy1M- a youtube video tutorial on how to make
an anchor chart uploaded by It Starts at Home. Use separate sheet for this activity.
The following are things to be include on your plate art history anchor chart.

Indicate the label whether Asian, Western or Philippine Art History

Relative Artists per period

Art Highlights per period
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You will be graded according to the rubrics below
Excellent(10)
Satisfactory(8)
Good(5)
Needs Improvement
(2)
Following Directions
Content
Creativity
All directions
You followed
You followed
None of the
were followed.
most directions.
some directions
directions were
Contents were
Contents were
Some contents
followed.
Content was
complete.
partially
were missing.
poorly stated.
You used your
complete
You used your
You used some
Lacking of ideas
own ideas and
ideas well.
of your ideas.
and imagination.
imagination.
V. Assessment
Process Questions(4 pts each)
4
Complete
understanding
of
the
problem,
thorough
3
2
1
explanation
Basic understanding of the problem, understandable explanation.
Limited understanding of the problem, unclear explanation
Response does not fit the given problem, totally incorrect explanation.
1. Give the significance of studying history of art. Is it essential?
2. How studying history of arts will improve the arts we have now?
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and
concise
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3. How can you promote history of the Philippine Art? In what ways?
Reference:
Tanedo, W, D.,(2016) Philppine Art History
https://www.slideshare.net/mobile/wilfreddextertanedo/philippine-art-history67264203
Lesson 6
Soul-Making
I. Topic: Soul-making
II. Objectives:
At the end of this lesson, the student should be able to:
a) Define soul-making and identify art improvisation and art appropriation;
b) Give the significance of soul-making;
c) Perform Spoken Poetry.
III. Content:
Concept Notes:
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Soul-making is an alternative venue for knowing ourselves and looking into
the depths and real meaning of what we are doing for everyday life. It develops our
inner artist and it helps us to communicate with people, understanding culture and
embodying tolerance and peace. It opens door for multiple intelligences and
expressions.
Soul-Making: Making and Deriving Meaning from Art

In order for the human to make sense of language and derive meanings from
words, semantic, and grammatical rules are important elements to be
considered.

In order to people to make sense of the work, it require understanding the
visual elements where art was the grounded on, specially the principle of
design,

Important to note the audience of the said artwork must have certain level of
awareness to the style, artwork, form, and content of the said work.

Form- is the totally of the artwork, which includes the textures, colors, and
shapes utilized by the artist.

The content of an artwork includes not only form but also its subject matter
and its underlying meanings or themes.
Improvisation

Doing something without prior preparation.

There is a decision to act upon something that may not necessarily be
planned.

Some would say that it is a reaction against the stiffness in the arts during the
twentieth century, because it blurs the line of reality and that origin of that
imagination.
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
Infusing spontaneity and improvisation adds up to the totality of the work of
art.

It allows the artist to explore and think about how the audience can actually
be a part of the work in itself.
Appropriation

The practice of using pre-existing objects and images in an artwork without
really altering the originals.

This notion paved the way for the emergence of appropriation artist who
seem to promote the idea that authorship relies on the viewer.

Traditionally, forgery can be classified into two forms: outright copies of
existing works and pastiches, which are works that bring together elements
from a work and infusing them to a new work.

The intentions of the appropriation artist are often questioned since issues of
plagiarism or forgery sometimes arise, because some would argue that the
reason behind this is that they want the audience to recognize the images
they copied.
Webpage reading:
What is soul making by Michael Bogar (February 24,2007)
https://michaelbogar.blogspot.com/2007/02/what-is-soul-making_9405.html?
m=1
IV. Activity
My Spoken Word Poetry
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According to Spot.ph, there are people who make art or write music to
express their feelings; some post Facebook updates while others do other thingsthen there are those write and perform poetry. Spoken word poetry has made its
way into the hearts of many Filipinos, and the increasing number of restaurants and
events hosting open mic and poetry slams is proof of that. Spoken word poetry is
definitely a good outlet for emotions to be let out.
For this activity you are going to create, compose and perform your own
spoken word poetry of your chosen theme.
You may visit this website for additional information about spoken word poetry
https://www.wikihow.com/Write-Spoken-Word How to Write Spoken Word on
wikiHow and Co-authored by Wong Ken, MFA
Direction/s: Compose an original piece of Spoken word poetry. Present your work
through recorded video of your performance. You will be graded according to the
rubrics below.
Excellent(10)
Satisfactory(8)
Good(5)
Needs Improvement
(3)
Following Directions
Content
Creativity
Promotion/Effectiveness
Purpose
All directions
You followed
You followed
None of the
were followed.
most directions.
some
directions were
Content was
Content was
directions
Content was
followed.
Content was
excellent,
somehow
good but no
poorly stated.
original and
satisfactory.
impact.
appropriate.
You used your
You used your
You used some
You did not use
own ideas and
ideas well.
of your ideas.
your ideas and
imagination.
Effective, catchy
Somehow
Promotion was
imagination.
Not effective at
and
memorable.
Purpose was
effective and
catchy.
Purpose was
not so strong
but good.
Purpose was
Purpose was
clear
not so clear
not entirely
confusing/unclear
clear
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or lacking
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Use of Audio/Visual
You used Audio
You used some
Lacking of
Little or no audio
and/or Visual
Audio and/or
audio or visual
or visual aides.
Aides
Visual Aides.
aides.
excellently.
V. Assessment
Process Questions(4 pts each)
4
Complete
understanding
of
the
problem,
thorough
and
concise
3
2
1
explanation
Basic understanding of the problem, understandable explanation.
Limited understanding of the problem, unclear explanation
Response does not fit the given problem, totally incorrect explanation.
1. Aside from spoken word poetry, in what form of art you can best represent your
emotions?
2. Why some people view art appropriation as unoriginal or theft?
3. Is improvisation good or bad in art? Give your rationale.
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4. Give one local artist that inspired you to do art. Why?
Reference:
Jadulco, L., Art-App-06.-Soulmaking-Appropriation-and-Improvisation
https://www.scribd.com/presentation/408835585/Art-App-06-SoulmakingAppropriation-and-Improvisation-pptx.
Lesson 7
Medieval Period
The Medieval Period of music is the period from the years c.500 to 1400.
It is the longest “period” of music (it covers 900 years!!) and runs right through from
around the time of the fall of the Western Roman Empire to the beginning of the
Renaissance.
Here is an overview of several features of Medieval music that is good for you to have
an understanding of.
MONOPHONIC MUSIC
The vast majority of medieval music was monophonic – in other words, there was
only a single melody line. (“mono-phonic” literally means “one sound”).
The development of polyphonic music (more than one melody line played at the
same time (“poly-phonic” means “many sounds”)) was a major shift towards the end of
era that laid the foundations for Renaissance styles of music.
GREGORIAN CHANT
Gregorian chant, consisting of a single line of vocal melody, unaccompanied in free
rhythm was one of the most common forms of medieval music.
This is not surprising, given the importance of the Catholic church during the period.
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The Mass (a commemoration and celebration of The Last Supper of Jesus Christ)
was (and still is to this day) a ceremony that included set texts (liturgy), which were
spoken and sung.
Have a listen to this example of Gregorian Chant:
Play Procedamus in Pace
By Paterm (Own work) [CC BY-SA 3.0 via Wikimedia Commons]
The chants were also based on a system of modes, which were characteristic of
the medieval period.
There were 8 church modes – (you can play them by starting on a different white note
on a piano and playing a “scale” of 8 notes on just the white notes. For example, if you
start on a D and play all the white notes up to the next D an octave higher, you will
have played the “Dorian Mode”).
THE DEVELOPMENT OF POLYPHONIC MUSIC
As the Medieval Period progressed, composers began to experiment and polyphonic
styles began to develop.
ORGANUM
Organum was a crucial early technique, which explored polyphonic
texture. It consisted of 2 lines of voices in varying heterophonic textures.
The 3 main types of organum are:
Parallel organum (or “strict organum”)
One voice sings the melody, whilst the other sings at a fixed interval – this gives a
parallel motion effect.
Have a listen to this synthesised example of parallel organum:
Parallel Organum audio example
Free organum
The 2 voices move in both parallel motion and/or contrary motion.
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Have a look at this example of free organum and listen to the track of the beginning
being played on a synthesised choir sound:
Free Organum audio example
Melismatic organum
An accompanying part stays on a single note whilst the other part moves around above
it.
Have a listen to this synthesised example – notice how the 2nd voice stays on the same
note whilst the 1st voice “sings” the melody:
Melismatic Organum audio example
Here are some other recorded examples of organum, which are worth listening to:
SHEET MUSIC IN THE MEDIEVAL PERIOD
The Catholic Church wanted to standardise what people sung in churches across the
Western world.
As a result, a system of music notation developed, allowing things to move on from the
previously “aural” tradition (tunes passed on “by ear” and not written down).
NUEMES
These were signs written above chants giving an indication of the direction of
movement of pitch.
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Here is an example of an 11th century manuscript containing nuemes:
As the medieval period prgressed, nuemes developed gradually to add more indication
of rhythm, etc..
INSTRUMENTS OF THE MEDIEVAL PERIOD
There were a number of characteristic instruments of the Medieval Period including:
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Flutes (made of wood)
Medieval flutes looked more like the modern day recorder as they had holes for fingers
rather than keys.
Dulcimer
The medieval dulcimers were originally plucked, but then hit with hammers as
technology developed.
Lyra
The lyra is considered to be one of the first known bowed instruments
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Other medieval instruments included the recorder and the lute.
The period was also characterised by troubadours and trouvères – these were
travelling singers and performers.
SECULAR STYLES OF MEDIEVAL MUSIC
Ars Nova (“new art”) was a new style of music originating in France and Italy in the
14th century.
The name comes from a tract written by Philippe de Vitry in c.1320.
The style was characterised by increased variety of rhythm, duple time and increased
freedom and independence in part writing. These experimentations laid some of the
foundations for further musical development during the Renaissance period.
The main secular genre of Art Nova was the chanson.
Examples of Art Nova composers include Machaut in France and G. Da Cascia, J. Da
Bologna and Landini in Italy.
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Lesson 8
The Baroque Period
History of Baroque Music and Origins
Baroque theatre in Český Krumlov
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Teatro Argentina (Panini, 1747,Musée du Louvre)
BAROQUE MUSIC
Baroque music is a style of Western art music composed from approximately 1600 to
1750. This era followed the Renaissance, and was followed in turn by the Classical era.
The word “baroque” comes from the Portuguese word barroco meaning misshapen
pearl, a negative description of the ornate and heavily ornamented music of this period.
Later, the name came to apply also to the architecture of the same period.
Baroque music forms a major portion of the “classical music” canon, being widely
studied, performed, and listened to. Composers of the Baroque era include Johann
Sebastian Bach, George Frideric Handel, Alessandro Scarlatti, Domenico
Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste
Lully, Arcangelo Corelli, Tomaso Albinoni, François Couperin,Denis Gaultier, Claudio
Monteverdi, Heinrich Schütz, Jean-Philippe Rameau, Jan Dismas Zelenka, and Johann
Pachelbel.
The Baroque period saw the creation of tonality. During the period, composers and
performers used more elaborate musical ornamentation, made changes in musical
notation, and developed new instrumental playing techniques. Baroque music
expanded the size, range, and complexity of instrumental performance, and also
established opera, cantata, oratorio, concerto, and sonata as musical genres. Many
musical terms and concepts from this era are still in use today.
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Etymology
Periods of
Western classical music
AD / CE
Early
Medieval
c. 500–1400
Renaissance
c. 1400–1600
Common practice
Baroque
c. 1600–1760
Classical
c. 1730–1820
Romantic
c. 1815–1910
Modern and contemporary
Modern
c. 1890–1930
20th century
1901–2000
Contemporary
c. 1975–present
21st century
2001–present
History of European art music
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The term “Baroque” is generally used by music historians to describe a broad range of
styles from a wide geographic region, mostly in Europe, composed over a period of
approximately 150 years.
Although it was long thought that the word as a critical term was first applied to
architecture, in fact it appears earlier in reference to music, in an anonymous, satirical
review of the première in October 1733 of Rameau’s Hippolyte et Aricie, printed in
the Mercure de France in May 1734. The critic implied that the novelty in this opera was
“du barocque,” complaining that the music lacked coherent melody, was filled with
unremitting dissonances, constantly changed key and meter, and speedily ran through
every compositional device.
The systematic application by historians of the term “baroque” to music of this period is
a relatively recent development. In 1919, Curt Sachs became the first to apply the five
characteristics of Heinrich Wölfflin’s theory of the Baroque systematically to
music. Critics were quick to question the attempt to transpose Wölfflin’s categories to
music, however, and in the second quarter of the 20th century independent attempts
were made by Manfred Bukofzer (in Germany and, after his immigration, in America)
and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis
rather than comparative abstractions, in order to avoid the adaptation of theories
based on the plastic arts and literature to music. All of these efforts resulted in
appreciable disagreement about time boundaries of the period, especially concerning
when it began. In English the term acquired currency only in the 1940s, in the writings
of Bukofzer and Paul Henry Lang.
As late as 1960 there was still considerable dispute in academic circles, particularly in
France and Britain, whether it was meaningful to lump together music as diverse as
that of Jacopo Peri, Domenico Scarlatti, and J.S. Bach under a single rubric.
Nevertheless, the term has become widely used and accepted for this broad range of
music. It may be helpful to distinguish the Baroque from both the preceding
(Renaissance) and following (Classical) periods of musical history.
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History
The Baroque period is divided into three major phases: early, middle, and late. Although
they overlap in time, they are conventionally dated from 1580 to 1630, from 1630 to
1680, and from 1680 to 1730.
Early baroque music (1580–1630)
Claudio Monteverdi in 1640
The Florentine Camerata was a group of humanists, musicians, poets and intellectuals
in late Renaissance Florence who gathered under the patronage of Count Giovanni de’
Bardi to discuss and guide trends in the arts, especially music and drama. In reference
to music, they based their ideals on a perception of Classical (especially ancient Greek)
musical drama that valued discourse and oration. As such, they rejected their
contemporaries’ use of polyphony and instrumental music, and discussed such ancient
Greek music devices as monody, which consisted of a solo singing accompanied by a
kithara. The early realizations of these ideas, including Jacopo
Peri’s Dafne and L’Euridice, marked the beginning of opera, which in turn was
somewhat of a catalyst for Baroque music.
Concerning music theory, the more widespread use of figured bass (also known
as thorough bass) represents the developing importance of harmony as the linear
underpinnings of polyphony. Harmony is the end result of counterpoint, and figured
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bass is a visual representation of those harmonies commonly employed in musical
performance. Composers began concerning themselves with harmonic
progressions, and also employed the tritone, perceived as an unstable interval, to
create dissonance. Investment in harmony had also existed among certain composers
in the Renaissance, notably Carlo Gesualdo; However, the use of harmony directed
towards tonality, rather than modality, marks the shift from the Renaissance into the
Baroque period. This led to the idea that chords, rather than notes, could provide a
sense of closure—one of the fundamental ideas that became known as tonality.
By incorporating these new aspects of composition, Claudio Monteverdi furthered the
transition from the Renaissance style of music to that of the Baroque period. He
developed two individual styles of composition – the heritage of Renaissance polyphony
(prima pratica) and the new basso continuo technique of the Baroque (seconda
pratica). With the writing of the operas L’Orfeo and L’incoronazione di Poppea among
others, Monteverdi brought considerable attention to the new genre of opera.
Middle baroque music (1630–1680)
The rise of the centralized court is one of the economic and political features of what is
often labelled the Age of Absolutism, personified by Louis XIV of France. The style of
palace, and the court system of manners and arts he fostered became the model for
the rest of Europe. The realities of rising church and state patronage created the
demand for organized public music, as the increasing availability of instruments created
the demand for chamber music.
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Jean-Baptiste Lully
The middle Baroque period in Italy is defined by the emergence in the cantata, oratorio,
and opera during the 1630s of the bel-canto style. This style, one of the most important
contributions to the development of Baroque as well as the later Classical style, was
generated by a new concept of melody and harmony that elevated the status of the
music to one of equality with the words, which formerly had been regarded as preeminent. The florid, coloratura monody of the early Baroque gave way to a simpler,
more polished melodic style, usually in a ternary rhythm. These melodies were built
from short, cadentially delimited ideas often based on stylized dance patterns drawn
from the sarabande or thecourante. The harmonies, too, were simpler than in the early
Baroque monody, and the accompanying bass lines were more integrated with the
melody, producing a contrapuntal equivalence of the parts that later led to the device of
an initial bass anticipation of the aria melody. This harmonic simplification also led to a
new formal device of the differentiation of recitative and aria. The most important
innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi, who were
primarily composers of cantatas and oratorios, respectively, and the VenetianFrancesco
Cavalli, who was principally an opera composer. Later important practitioners of this
style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.
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The middle Baroque had absolutely no bearing at all on the theoretical work of Johann
Fux, who systematized the strict counterpoint characteristic of earlier ages in
his Gradus ad Paranassum (1725).
One pre-eminent example of a court style composer is Jean-Baptiste Lully. He
purchased patents from the monarchy to be the sole composer of operas for the king
and to prevent others from having operas staged. He completed 15 lyric tragedies and
left unfinished Achille et Polyxène.
Musically, he did not establish the string-dominated norm for orchestras, which was
inherited from the Italian opera, and the characteristically French five-part
disposition(violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins)
had been used in the ballet from the time of Louis XIII. He did, however, introduce this
ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes,
and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently
added for heroic scenes.
Arcangelo Corelli
Arcangelo Corelli is remembered as influential for his achievements on the other side of
musical technique—as a violinist who organized violin technique and pedagogy—and
in purely instrumental music, particularly his advocacy and development of the concerto
grosso. Whereas Lully was ensconced at court, Corelli was one of the first composers
to publish widely and have his music performed all over Europe. As with Lully’s
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stylization and organization of the opera, the concerto grosso is built on strong contrasts
—sections alternate between those played by the full orchestra, and those played by a
smaller group. Dynamics were “terraced”, that is with a sharp transition from loud to soft
and back again. Fast sections and slow sections were juxtaposed against each other.
Numbered among his students is Antonio Vivaldi, who later composed hundreds of
works based on the principles in Corelli’s trio sonatas and concerti.
In contrast to these composers, Dieterich Buxtehude was not a creature of court but
instead was church musician, holding the posts of organist and Werkmeister at the
Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary,
treasurer, and business manager of the church, while his position as organist included
playing for all the main services, sometimes in collaboration with other instrumentalists
or vocalists, who were also paid by the church. Entirely outside of his official church
duties, he organised and directed a concert series known as theAbendmusiken, which
included performances of sacred dramatic works regarded by his contemporaries as the
equivalent of operas.
Late baroque music (1680–1730)
George Frideric Handel
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Johann Sebastian Bach, 1748
Through the work of Johann Fux, the Renaissance style of polyphony was made the
basis for the study of composition.
A continuous worker, Handel borrowed from others and often recycled his own
material. He was also known for reworking pieces such as the famous Messiah, which
premiered in 1742, for available singers and musicians.
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Timeline of Baroque composers
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Baroque instruments
Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and
guitar
A double-manual harpsichord after Jean-Claude Goujon (1749)
Strings

Violino piccolo
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
Violin

Viol

Viola

Viola d’amore

Viola pomposa

Tenor violin

Cello

Contrabass

Lute

Theorbo

Archlute

Angélique

Mandolin

Guitar

Harp

Hurdy gurdy
Woodwinds

Baroque flute

Chalumeau

Cortol (also known as Cortholt, Curtall, Oboe family)

Dulcian

Musette de cour
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
Baroque oboe

Rackett

Recorder

Bassoon

Clarinet
Brasses

Cornett

Natural horn

Baroque trumpet

Tromba da tirarsi (also called tromba spezzata)

Flatt trumpet

Serpent

Sackbut (16th- and early 17th-century English name for
FR: saquebute, saqueboute; ES: sacabuche; IT: trombone;
MHG: busaun, busîne, busune / DE (since the early 17th century) Posaune)

Trombone (English name for the same instrument, from the early 18th century)
Keyboards

Clavichord

Tangent piano

Fortepiano – early version of piano

Harpsichord

Organ
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Percussion

Baroque timpani

Wood snare drum

Tenor drum

Tambourine

Castanets
Styles and forms
The Baroque
suite
The Baroque suite often consists of the following movements:

Overture – The Baroque suite often began with a French overture
(“Ouverture” in French), which was followed by a succession of dances of
different types, principally the following four:

Allemande – Often the first dance of an instrumental suite, the allemande was a
very popular dance that had its origins in the German Renaissance era, when it
was more often called the almain.[citation needed] The allemande was played at
a moderate tempo and could start on any beat of the bar.

Courante – The second dance is the courante, a lively, French dance in triple
meter. The Italian version is called the corrente.

Sarabande – The sarabande, a Spanish dance, is the third of the four basic
dances, and is one of the slowest of the baroque dances. It is also in triple meter
and can start on any beat of the bar, although there is an emphasis on the
second beat, creating the characteristic ‘halting’, or iambic rhythm of the
sarabande.

Gigue – The gigue is an upbeat and lively baroque dance in compound
meter, typically the concluding movement of an instrumental suite, and the
fourth of its basic dance types. The gigue can start on any beat of the bar and
is easily
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recognized by its rhythmic feel. The gigue originated in the British Isles. Its
counterpart in folk music is thejig.
These four dance types (allemande, courant, sarabande, and gigue) make up the
majority of 17th-century suites; later suites interpolate one or more additional dances
between the sarabande and gigue:

Gavotte – The gavotte can be identified by a variety of features; it is in 4/4
time and always starts on the third beat of the bar, although this may sound like
the first beat in some cases, as the first and third beats are the strong beats in
quadruple time. The gavotte is played at a moderate tempo, although in some
cases it may be played faster.

Bourrée – The bourrée is similar to the gavotte as it is in 2/2 time although it
starts on the second half of the last beat of the bar, creating a different feel to the
dance. The bourrée is commonly played at a moderate tempo, although for
some composers, such as Handel, it can be taken at a much faster tempo.

Minuet – The minuet is perhaps the best-known of the baroque dances in triple
meter. It can start on any beat of the bar. In some suites there may be a Minuet I
and II, played in succession, with the Minuet I repeated.

Passepied – The passepied is a fast dance in binary form and triple meter that
originated as a court dance in Brittany. Examples can be found in later suites such
as those of Bach and Handel.

Rigaudon – The rigaudon is a lively French dance in duple meter, similar to the
bourrée, but rhythmically simpler. It originated as a family of closely related
southern-French folk dances, traditionally associated with the provinces of
Vavarais, Languedoc, Dauphiné, and Provence.
Other features

Basso continuo – a kind of continuous accompaniment notated with a new
music notation system, figured bass, usually for a sustaining bass instrument and
a keyboard instrument.
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
The concerto and concerto grosso

Monody – an outgrowth of song

Homophony – music with one melodic voice and rhythmically
similar accompaniment (this and monody are contrasted with the
typical Renaissance texture,polyphony)

Dramatic musical forms like opera, dramma per musica

Combined instrumental-vocal forms, such as the oratorio and cantata

New instrumental techniques, like tremolo and pizzicato

The da capo aria “enjoyed sureness”.

The ritornello aria – repeated short instrumental interruptions of vocal passages.

The concertato style – contrast in sound between groups of instruments.

Extensive ornamentation
Genres
Vocal

Opera
o
Zarzuela
o
Opera seria
o
Opéra comique
o
Opera-ballet

Masque

Oratorio

Passion (music)

Cantata
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
Mass (music)

Anthem

Monody

Chorale
Instrumental

Chorale composition

Concerto grosso

Fugue

Suite

o
Allemande
o
Courante
o
Sarabande
o
Gigue
o
Gavotte
o
Minuet
Sonata
o
Sonata da camera
o
Sonata da chiesa
o
Trio sonata

Partita

Canzona

Sinfonia
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
Fantasia

Ricercar

Toccata

Prelude

Chaconne

Passacaglia

Choral
Lesson 8
The Classical Music
Classical Music (1750-1810)
Classical with a 'c' means anything that is top class, and particularly refers to
the ancient Greeks and Romans. With a 'C' it means a specific style of
composers. The term classical is commonly and incorrectly applied to any
music which is not modern. The correct term for this is actually art music.
Composers of the Period
Composer
Nationality
Composer
Nationality
Stamitz
German (Bohemian)
Beethoven (1770-
German
Gluck (17141787)
German
Haydn (1732-1809)*
Austrian
C.P.E. Bach
German
Mozart (1756-1791)*
Austrian
J.C. Bach
German
1827)
The composers marked with an asterisk are the most important to remember.
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Style Galant
This is an early classical style, and a very courtly style. It was meant to please
the listener, as opposed to making the listener think. C.P.E. Bach and J.C.
Bach were the main composers who made use of this style.
Later Classical Style
This style made more of balance and control, grace and beauty of melody,
and the form or design became important.
Texture
Classical music is basically homophonic. (Baroque music was polyphonic.)
The Orchestra
The Orchestra began to grow. The harpsichord continuo gradually fell out of
use. Wind instruments became more important, especially the horns to bind
the texture. Strings were still the main instrument to which were added two
horns, one or two flutes, or a pair of oboes. Gradually, composers added one
or two bassoons, and occasionally a pair of trumpets, or a pair of kettle
drums. Clarinets were introduced towards the end of the 18th Century. Mozart
was the composer responsible for popularising the clarinet. The woodwind
section became a self-contained section:








One or two flutes
Two oboes
Two clarinets
Two bassoons
Two horns
Two trumpets
Two kettledrums
Strings
Music for Piano
Invented as early as 1698, by Cristofori in Italy. This instrument allows soft
and loud notes to be played. The strings were hit by hammers, as opposed to
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being plucked. More expression could be played (e.g. Legato, staccato,
cantabile.)
The Alberti Bass is simple broken chords, repeated in the left hand, which
keeps the music going, and outlines the harmony.
C.P.E. Bach was one of the first piano composers, and started composing
around 1750. J.C. Bach gave the first piano performance in London. A lot of
music was printed for harpsichord or piano, but the harpsichord gradually
faded out of use.
Sonata
A Sonata is a work, in several movements, for one or two instruments. With
three instruments it is a trio, with four it is a quartet, and with five it is a
quintet.
The Symphony
Symphony means a sonata for orchestra. It grew from the Italian Overture,
but the Symphony has three movements, instead of three sections. Later on,
a fourth movement was added (commonly a minuet in trio). Stamitz was the
frost famous symphony composer, and the father of this style, Haydn and
Mozart perfected the Symphony in the second half of the 18th Century. The
Symphony can be broken down into:
 First movement: Usually fast, and in sonata form.
 Second movement.. Usually slower and more song-like. It could be
in sonata form or ternary form, and perhaps with variations.
 Third movement: Haydn and Mozart wrote a minute in trio at this point.
Beethoven later turned this into a Scherzo (A direct translation is joke.)
 Fourth movement: Fast, often light hearted, perhaps in Rondo form, or
sonata form, or with variations.
Haydn wrote numerous sonatas, including the Surprise Symphony, the Drum
Roll Symphony and the London Symphony. Trios and quartets were also in
four movements. Sonatas might have three or four movements. The Classical
Concerto did not include the minuet, so only had three movements.
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Sonata Form
Sonata form is a way of building up an individual movement, not a piece. It
consists of three sections:
1. The Exposition: The composer exposes his musical ideas. The main
ideas are called subjects. The first subject is in the tonic, which
modulates (changes key) near the end to a bridge (transition)
passage, which leads to the second subject. The second subject is in a
new, but related, key, often the dominant (Sta) or relative major (If the
first subject is m a minor key). The second subject is usually more
tuneful.
2. Development: Here the ideas are developed. It creates a feeling of
tension and conflict. The climax may be in this section.
3. Recapitulation: The music is repeated from the beginning, but the
second subject is now in the tonic. Finally, the music may have a coda
(A direct translation is tail), which rounds off the music.
The Concerto
It contains a solo instrument and an orchestra. There are three movements
(slow, fast, slow). The first movement has a double-exposition. The first is for
the orchestra alone, followed by the soloist. The second, with the second
subject group in the related key. Then comes the development and the
recapitulation, for both the orchestra and the soloist. Towards the end, the
orchestra pauses, and the soloist plays a cadenza (a short passage,'based
on themes heard earlier, which displays the brilliance of the player.) When the
soloist finishes, the soloist ends with a trill, which signifies the orchestra
should come in and finish off the piece. The orchestra plays the coda to end.
Opera
Classical composers wrote much vocal music, especially opera. Gluck was an
important opera composer. Orfeo ed Euridice is one of his works. He made
the actions more important in the opera. At the start of the opera, the overture
prepared the audience for what was to come, Mozart wrote operas including
The Marriage of Figaro, The Magic Flute and Don Giovanni. The Magic Flute
is an example of singspiel (an opera in which singing is mixed up with
dialogue). The orchestra mirrors the mood and drama of the action. Don
Giovani is an example of 'opera buffa' (comic opera).
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Ludwig van Beethoven (1770-1827)
Beethoven composed to please himself. He wrote 32 piano sonatas, nine
symphonies. The 9th Symphony is the Choral Symphony. He wrote one
opera, called Fidelio. Towards the end of his life he became deaf. He could
still composer, and hear the sounds in his head, but had great difficulty in
conducting his works.
Beethoven modified Classical music. His music is weightier, and on a larger
scale. There is more emotion in his music, and his last movements are usually
the most important. He uses more discords, more dynamic contrast and more
contrast in pitch. He increased the size of the orchestra, for example, he often
added a 3rd horn and a piccolo, and also added a choir in his 9th symphony.
The Main Characteristics of Classical Music
1. Less complicated texture than Baroque (more homophonic).
2. Emphasis on beauty, elegance and balance.
3. More variety and contrast within a piece than Baroque
(dynamics, instruments, pitch, tempo, key, mood and timbre).
4. Melodies tend to be shorter than those in baroque, with clearcut phrases, and clearly marked cadences.
5. The orchestra increases in size and range. The harpsichord fails out
of use. The woodwind becomes a self-contained section.
6. The piano takes over, often with Alberti bass accompaniment.
7. Importance was given to instrumental music - sonata, trio, string
quartet, symphony, concerto.
8. Sonata form was the most important design.
Classical Music (1750-1810)
Classical Music (1750-1810)
Classical with a 'c' means anything that is top class, and particularly refers to the
ancient Greeks and Romans. With a 'C' it means a specific style of composers. The
term classical is commonly and incorrectly applied to any music which is not modern.
The correct term for this is actually art music.
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Composers of the Period
Composer
Nationality
Stamitz
German (Bohemian)
Gluck (1714-
Composer
Beethoven (17701827)
Nationality
German
German
Haydn (1732-1809)*
Austrian
C.P.E. Bach
German
Mozart (1756-1791)*
Austrian
J.C. Bach
German
1787)
The composers marked with an asterisk are the most important to remember.
Style Galant
This is an early classical style, and a very courtly style. It was meant to please the
listener, as opposed to making the listener think. C.P.E. Bach and J.C. Bach were the
main composers who made use of this style.
Later Classical Style
This style made more of balance and control, grace and beauty of melody, and the form
or design became important.
Texture
Classical music is basically homophonic. (Baroque music was polyphonic.)
The Orchestra
The Orchestra began to grow. The harpsichord continuo gradually fell out of use. Wind
instruments became more important, especially the horns to bind the texture. Strings
were still the main instrument to which were added two horns, one or two flutes, or a
pair of oboes. Gradually, composers added one or two bassoons, and occasionally a
pair of trumpets, or a pair of kettle drums. Clarinets were introduced towards the end of
Downloaded by Raiko Harake (harakeraiko@gmail.com)
lOMoARcPSD|28510208
the 18th Century. Mozart was the composer responsible for popularising the clarinet.
The woodwind section became a self-contained section:

One or two flutes

Two oboes

Two clarinets

Two bassoons

Two horns

Two trumpets

Two kettledrums

Strings
Music for Piano
Invented as early as 1698, by Cristofori in Italy. This instrument allows soft and loud
notes to be played. The strings were hit by hammers, as opposed to being plucked.
More expression could be played (e.g. Legato, staccato, cantabile.)
The Alberti Bass is simple broken chords, repeated in the left hand, which keeps
the music going, and outlines the harmony.
C.P.E. Bach was one of the first piano composers, and started composing around 1750.
J.C. Bach gave the first piano performance in London. A lot of music was printed for
harpsichord or piano, but the harpsichord gradually faded out of use.
Sonata
A Sonata is a work, in several movements, for one or two instruments. With three
instruments it is a trio, with four it is a quartet, and with five it is a quintet.
Downloaded by Raiko Harake (harakeraiko@gmail.com)
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The Symphony
Symphony means a sonata for orchestra. It grew from the Italian Overture, but the
Symphony has three movements, instead of three sections. Later on, a fourth
movement was added (commonly a minuet in trio). Stamitz was the frost famous
symphony composer, and the father of this style, Haydn and Mozart perfected the
Symphony in the second half of the 18th Century. The Symphony can be broken down
into:

First movement: Usually fast, and in sonata form.

Second movement.. Usually slower and more song-like. It could be in
sonata form or ternary form, and perhaps with variations.

Third movement: Haydn and Mozart wrote a minute in trio at this
point. Beethoven later turned this into a Scherzo (A direct translation is
joke.)

Fourth movement: Fast, often light hearted, perhaps in Rondo form, or
sonata form, or with variations.
Haydn wrote numerous sonatas, including the Surprise Symphony, the Drum Roll
Symphony and the London Symphony. Trios and quartets were also in four movements.
Sonatas might have three or four movements. The Classical Concerto did not include
the minuet, so only had three movements.
Sonata Form
Sonata form is a way of building up an individual movement, not a piece. It consists of
three sections:
1. The Exposition: The composer exposes his musical ideas. The main ideas are
called subjects. The first subject is in the tonic, which modulates (changes key)
near the end to a bridge (transition) passage, which leads to the second subject.
The second subject is in a new, but related, key, often the dominant (Sta) or
relative major (If the first subject is m a minor key). The second subject is
usually more tuneful.
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2. Development: Here the ideas are developed. It creates a feeling of tension
and conflict. The climax may be in this section.
3. Recapitulation: The music is repeated from the beginning, but the
second subject is now in the tonic. Finally, the music may have a coda (A
direct translation is tail), which rounds off the music.
The Concerto
It contains a solo instrument and an orchestra. There are three movements (slow, fast,
slow). The first movement has a double-exposition. The first is for the orchestra alone,
followed by the soloist. The second, with the second subject group in the related key.
Then comes the development and the recapitulation, for both the orchestra and the
soloist. Towards the end, the orchestra pauses, and the soloist plays a cadenza (a short
passage,'based on themes heard earlier, which displays the brilliance of the player.)
When the soloist finishes, the soloist ends with a trill, which signifies the orchestra
should come in and finish off the piece. The orchestra plays the coda to end.
Opera
Classical composers wrote much vocal music, especially opera. Gluck was an
important opera composer. Orfeo ed Euridice is one of his works. He made the actions
more important in the opera. At the start of the opera, the overture prepared the
audience for what was to come, Mozart wrote operas including The Marriage of Figaro,
The Magic Flute and Don Giovanni. The Magic Flute is an example of singspiel (an
opera in which singing is mixed up with dialogue). The orchestra mirrors the mood and
drama of the action. Don Giovani is an example of 'opera buffa' (comic opera).
Ludwig van Beethoven (1770-1827)
Beethoven composed to please himself. He wrote 32 piano sonatas, nine symphonies.
The 9th Symphony is the Choral Symphony. He wrote one opera, called Fidelio.
Towards the end of his life he became deaf. He could still composer, and hear the
sounds in his head, but had great difficulty in conducting his works.
Downloaded by Raiko Harake (harakeraiko@gmail.com)
lOMoARcPSD|28510208
Beethoven modified Classical music. His music is weightier, and on a larger scale.
There is more emotion in his music, and his last movements are usually the most
important. He uses more discords, more dynamic contrast and more contrast in pitch.
He increased the size of the orchestra, for example, he often added a 3rd horn and a
piccolo, and also added a choir in his 9th symphony.
The Main Characteristics of Classical Music
1. Less complicated texture than Baroque (more homophonic).
2. Emphasis on beauty, elegance and balance.
3. More variety and contrast within a piece than Baroque (dynamics,
instruments, pitch, tempo, key, mood and timbre).
4. Melodies tend to be shorter than those in baroque, with clear-cut phrases,
and clearly marked cadences.
5. The orchestra increases in size and range. The harpsichord fails out of use.
The woodwind becomes a self-contained section.
6. The piano takes over, often with Alberti bass accompaniment.
7. Importance was given to instrumental music - sonata, trio, string
quartet, symphony, concerto.
8. Sonata form was the most important design.
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lOMoARcPSD|28510208
Downloaded by Raiko Harake (harakeraiko@gmail.com)