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Ayuban, Angelica Escol

BEE-3A

MODULE 1
What is music?
Music is an art form and cultural activity whose medium is sound organized
intime.
Why do we study music?
Studying music allows us to understand other cultures and places in an
intimate way. We learn about the complex relationships between composers,
society, music, and ideas. Music lessons teach us the value of consistency and
persistence.
Brief history of music
Music is found in every known culture, past and present, varying widely between
times and places. Since all people of the world, including the most isolated tribal groups,
have a form of music, it may be concluded that music is likely to have been present in
the ancestral population prior to the dispersal of humans around the world.
Consequently, music may have been in existence for at least 55,000 years and the first
music may have been invented in Africa and then evolved to become a fundamental
constituent of human life.
Significance of music
Music continues to inspire spiritual expression as sound reflects and affects faith and
values. Beliefs and perceptions will transcend the very nature of music and lyrics. Our spirituality
is an essential part of who we are, and it forms the framework of our world. Community,
culture, and creed all offer insights into the connection between music and spirituality. Music
cultivates community, as sound creates communication and unity. Cultivation is a constant
process that develops, encourages, and nurtures. Sound creates a spiritual connection between
music-maker and music-lover.
Objectives of Music Education
1.Perform on Instruments
o Perform accurately and independently in a group.
o Perform with expression and technical accuracy on a wide variety of repertoire
at difficulty of Grade 3-5 in a group.
o Demonstrate ability to use ensemble skills of balance, intonation, rhythmic, and
dynamic unity.

2. Improvise
o Improvise a melody on an instrument in a selected style.
o Improvise a melody on an instrument in various tonalities.
o Improvise melodic and rhythmic variations on a given melody.
3.Compose and Arrange
o Compose original music within specified guidelines.
o Compose original melodic or harmonic accompaniment with guidelines.
o Transpose for various instruments.
o Demonstrate ability to use technological resources for composing and arranging
music.

4. Read and Notate


o Identify, define, and perform standard notations, symbols, and terms.
o Use standard notation to record their musical ideas and the musical ideas of
others.

5. Understand History and Culture


o Identify the various uses of music in history and the characteristics that make it
suitable for the event.
o Identify and explain the stylistic features of a musical work that serve to define
its aesthetic tradition and its historical or cultural context.

6. Evaluate music and music performance


o Evaluate a performance, composition, arrangement, or improvisation by
comparing it to similar or exemplary models.
o Evaluate a given musical work in terms of its aesthetic qualities and explain the
musical means it uses to evoke feelings.
7. Responsibility
o Have instrument, music, drill (marching band), and pencil daily.
o Be punctual for all rehearsals and performances.
o Exhibit exemplary behavior during rehearsals, performances, and trips.
Describe the characteristics of the periods in Music History.
Prehistoric eras
A bone flute which is over 41,000 years old.Prehistoric music can only be
theorized based on findings from paleolithic archaeology sites. Flutes are often
discovered, carved from bones in which lateral holes have been pierced; these are
thought to have been blown at one end like the Japanese shakuhachi.

The Medieval Era


The medieval era (476 to 1400), which took place during theMiddle Ages, started
with the introduction of monophonic (single melodic line) chanting into Roman Catholic
Church services.Musical notation was used since Ancient times in Greek culture, but in
the Middle Ages, notation was first introduced by theCatholic church so that the chant
melodies could be written down, to facilitate the use of the same melodies for religious
music across the entire Catholic empire.

Renaissance music

was more focused on secular (non-religious) themes, such as courtly love.


Around 1450, theprinting press was invented, which made printed sheet music much
less expensive and easier to mass-produce (prior to the invention of the printing press,
all notated music was hand-copied).

Classical period

aimed to imitate what were seen as the key elements of the art and philosophy
of Ancient Greece and Rome: the ideals of balance, proportion and disciplined
expression.

Romantic music

from the 19th century had many elements in common with the Romantic styles
in literature and painting of the era. Romanticism was an artistic, literary, and
intellectual movement was characterized by its emphasis on emotion and individualism
as well as glorification of all the past and nature.

20th- and 21st-century music


The focus of art music in the 20th century was characterized by exploration of
new rhythms, styles, and sounds. The horrors of World War I influenced many of the
arts, including music, and some composers began exploring darker, harsher
sounds.Traditional music styles such as jazz and folk music were used by composers as a
source of ideas for classical music. Igor Stravinsky, Arnold Schoenberg, and John
Cage were all influential composers in 20th-century art music. The invention ofsound
recording and the ability to edit music gave rise to new subgenre of classical music,
including the acousmatic[45] andMusique concrte schools of electronic composition.
Sound recording was also a major influence on the development of popular music
genres, because it enabled recordings of songs and bands to be widely distributed. The
introduction of themultitrack recording system had a major influence on rock music,
because it could do much more than record a band's performance. Using a multitrack
system, a band and their music producer could overdub many layers of instrument
tracks and vocals, creating new sounds that would not be possible in a live performance
Identify the composerd with their nationalities, who have contributed in the new
trends in music
Arnold Schoenberg (1874-1951)
It would be inconceivable, said Schoenberg, to attack the heroes who make
daring flights over the ocean or to the North Pole, for their achievement is obvious to
everyone. But although experience has shown that many a pioneer trod his path [with]
absolute certainty at a time when he was still held to be wandering half-demented, most
people invariably turn against those who strike out into unknown regions of the spirit
New music is never beautiful on first acquaintance. Often forced onto the defensive like
this, Schoenberg plunged fearlessly and often beautifully into the unknown, shattering
the seemingly unbreakable rules of Western tonality that had prevailed for centuries. In
reimagining harmony in so-called tone rows he altered the course of classical music
forever.
Igor Stravinsky (1882-1971)
His breakthrough work was The Firebird, produced in 1900 by Diaghilevs Les
Ballets Russes; thirteen years later, a full-scale riot legendarily broke out at the premiere
of The Rite of Spring, his ballet of pagan sacrifice (which historian Barbara Tuchman aptly
describes as "the 20th Century incarnate"). The New Yorkers music critic Alex Ross
masterfully captures the works ominous energy, it raw, spooky power and explains how
this is achieved both harmonically and rhythmically. "You have these two chords slammed
together," Ross explains. "These are two adjacent chords. They're dissonant. They're
being jammed together. And that's a harsh sound, and he keeps insisting on it. That chord
repeats and repeats and repeats, pounding away." Rhythmically, Ross says, "It seems as
though at first he's just going to have this regular pulse. But then these accents start
landing in unexpected places, and you can't quite get the pattern of itIt's as if you're in a
boxing ring, and this sort of brilliant fighter is coming at you from all directions with these
jabs."
George Gershwin (1898-1937)

Gerschwin was jazz-age prophet whose Rhapsody in Blue (1924) destabilised


aesthetic categories and gave listeners a taste of things to come, and whose
controversial 1935 opera Porgy & Bess came to define an epoch. But Gershwin was
caught in the cross-fire between those who see mass culture as the most valid
expression of our time, and those who see it as the end of Western civilization, as
Gershwin scholar David Schiff puts it. Many of his fellow composers, including the likes
of Aaron Copland, were scathing of Gershwins populism. But an enthusiastic public,
deaf to such finicky debate, has lovingly listened on, through booms and busts, wars
and peace; to say nothing of countless shifts in taste and fashion.

Duke Ellington (1899-1974)

Ellington was the most prolific composer of the century. A spectacular


innovator, he wrote music for all kinds of settings, from the ballroom to the nightclub;
the comedy stage to the movie house; the concert hall to the cathedral. The essence
of his genius lay in his uncanny knack of synthesizing apparently disparate elements of
music, including ragtime, minstrel songs, the blues, and the sounds of everything from
Tin Pan Alley to the European music tradition. Always directly expressive and
deceptively simple, his blues writing exploded received notions of form, harmony, and
melody; he broke our hearts with the ultimate romantic ballads; he provided vehicle
after vehicle for the greatest jazz singers of the age; and, of course, he made us all
swing.

Dmitri Shostakovich (1906-1975)

Persecuted by Stalin and declared an enemy of the people in 1936, having


previously been the golden boy of the Soviet music scene, Shostakovich is a figure
who has gripped the public imagination as much for political as musical reasons.
Forced to keep the authorities happy with his symphonic writing at least until Stalins
death it was in his smaller works, such as the fifteen astonishing string quartets, that
he could really push the limits of his musical voice and conjure a complete emotional
world. Alex Ross, once again, is en exemplary field guide when it comes to exploring
the psychological limits of his music. Shostakovich is a master manipulator of
mood, he writes. He can show panicky happiness slipping into inchoate rage, and
then crumbling into lethargic despair.

John Cage (1912-1992)

Cage, according to his fellow avant-garde composer Morton Feldman, was the
first composer in the history of music who raised the question by implication that
maybe music could be an art form rather than a music form. Recalling the premiere
of his legendary work of silence, 433, Cage said: Theres no such thing as silence.
You could hear the wind stirring outside during the first movement. During the
second, raindrops began pattering the roof, and during the third people themselves
made all kinds of interesting sounds as they talked or walked out. Cage had an
inspiring and insatiable appetite for cultural adventure: he implored us to wake up to
the life we are living. Art is a sort of experimental station, he said, in which one
tries out living.

Benjamin Britten (1913-1976)

Musically speaking, Britten was more conservative than many of the other
titans of the century, but his influence and vision is inestimable, particularly in the field
of opera. The landmark Peter Grimes (1945) radically placed an unlovable anti-hero at
its centre, and is a musically breathtaking voyage to the darkest nooks of both
individual and group psychology. Brittens conviction that opera needed to reach parts
of the country beyond fancy metropolitan theatres led to the emergence of chamber
or pocket opera, which continues to transform an often lumbering art form into
something nimble, dynamic and thrilling to this day. His compositional philosophy,
says leading tenor Ian Bostridge, was resolutely workaday and practical, concerned
with usefulness to the community. We owe him much.

Leonard Bernstein (1918-1990)

Bernstein was a populist: he unapologetically and urgently wanted to share the


music he loved. And as a composer, conductor, broadcaster, writer and educator, he
sought to make it accessible to as wide a public as possible. He grew up hearing
everything, making no distinction between high and low art, and an utter lack of
pretension is evident in his music, among which works such as West Side Story,
Candide and the Chichester Psalms must rank as among the finest in the entire
century. One of Bernsteins proteges, the American conductor Michael Tilson Thomas,
says many of his perfect and iconic songs stake out a territory that we recognize as
important to our inner lives. Speaking to the Washington Post he described
Bernsteins as music that haunts all of us. Talk about building large structures its
woven into the structure of your entire life. Lenny also created the model, says Tilson
Thomas, for the socially responsible, inclusive, generous maestro, as opposed to the
remote, preoccupied, professorial... He wasnt the kind of high-priest conductor, or
professor conductor, or inspector-general conductor, or reign of terror conductor. He
was like, Hey, were all in this together; lets explore together.

Pierre Boulez (born 1925)

The French firebrand composer defines the idea of what music today is, how it
should sound, and how it could yet be. He is in his mid-80s, still unerringly gracious
and dignified in person, and shows no sign of slowing down. He can still be seen
regularly conducting from the podium, he is ferocious in his commitment to educating
younger artists and he still continually pushes boundaries in his own music. A living
legend.

Philip Glass (born 1937)

The most imitated composer in the world is also one of the smartest and most
ominovorously curious. A supposedly minimalist composer, his decidedly maximalist
output has seen him compose something like 30 operas; 10 symphonies; chamber
music; concertos for violin, piano, timpani and saxophones; and many award-winning
film soundtracks including The Hours, The Thin Blue Line and The Truman Show. Glass
has collaborated with everyone from Paul Simon to Yo-Yo Ma, Woody Allen to David
Bowie and his music appeals to listeners of all generations and backgrounds;
genuinely bridging a gap between musical worlds which can often seem disconnected.
Beatitudes of Music Teachers

Blessed are the teachers who set a good example before their students in all things:
for this is what Jesus asks of us all.

Blessed are the teachers who strive to update their knowledge and skills:
for their students will also learn the value of seeking truth.

Blessed are the teachers who share with their students their life-wisdom:
for the young are our future.
Blessed are the teachers who strive to include and welcome all students and parents:
for Jesus calls us to look out for each other.

Blessed are the teachers who make provision for differences in individuals:
for their students will learn compassion and consideration for others.

Blessed are the teachers who model peaceful and just ways of relating:
for they shall influence their students to do likewise.

Blessed are the teachers who construct learning tasks that are interesting and relevant:
for they understand what true learning is.

Blessed are the teachers who negotiate good relationships in class:


for they are leading their students how to live in community and as a Family of God.

Blessed are you, all teachers and students, when others devalue what you strive to do,
for you seek not only knowledge, but the wisdom to know what to do with it. Your reward will
be great, because you are creating a better world where justice, peace and harmony will
prevail. Rejoice and be glad, for God is on your side!
MODULE 2
What is art?

the expression or application of human creative skill and imagination, typically in a


visual form such as painting or sculpture, producing works to be appreciated primarily for
their beauty or emotional power.
Why do we study art?

Studying Art improves performance in other subjects. ... His research


demonstrates that involvement in the arts (both Visual Art and Performing Art)
especially for students from a low-income background is associated with higher
levels of attainment in both high school and university.

Brief history of Art

The history of art is the history of any activity or product made by humans in a
visual form for aesthetical or communicative purposes, expressing ideas,
emotions or, in general, a worldview. Over time visual art has been classified in
diverse ways, from the medieval distinction between liberal arts andmechanical
arts, to the modern distinction between fine arts and applied arts, or to the many
contemporary definitions, which define art as a manifestation of human creativity.
The subsequent expansion of the list of principal arts in the 20th century reached
to nine: architecture, dance, sculpture, music,painting, poetry (described broadly
as a form of literature with aesthetic purpose or function, which also includes the
distinct genres of theatre andnarrative), film, photography and graphic arts. In
addition to the old forms of artistic expression such as fashion and gastronomy,
new modes of expression are being considered as arts such as video, computer
art, performance,advertising, animation, television and videogames.

Objectives of Art Education

The visual arts are a critical and dynamic part of a liberal arts education, and
occupy an important role in culture. Fine Arts majors at Hofstra experience
traditional and contemporary perspectives in the approach to art and design.
They acquire knowledge of the fundamentals of art and design, gain
experience with the required tools, materials and techniques for making art
and design, and master specific concepts and skills. A Fine Arts major can lead
to an embrace of visual culture as part of meaningful life and a professional
career in the field of visual arts.

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