Module Art Appreciation

Chapter 3 Prelude: Learning to Listen

Intended Learning Outcomes:At the end of this chapter, the students are expected to:

1. Appreciate the aural world, developing a sharper awareness between sound and
silence;
2. Develop a subjective feeling/perception/taste between compositions that may be
considered as either music or just plain noise;
3. Identify, comprehend and apply the concepts behind the elements both theoretically
and in practical application;
4. Critically compare the differences in pitches, whether they rise, fall, or stay the same,
or move in steps or leaps of the music listened
5. Recreate sounds using systematic rhythmic patterns
6. Familiarize one’s self with musical terms related to rhythm
7. Appreciate the different sounds different musical instruments are able to produce;
8. Develop a creative, discerning taste of which timbre would best fit particular
parameters when composing.
9. Distinguish between different musical forms and styles, and discover how these same
forms and styles are also evident in other fields of art, notably the visual arts;
10. Distinguish between binary and ternary form when listening to music
11. Determine the different styles and genres and its subgenres of music,
12. Identify the different roles and purposes of music in society;
13. Reflect the value of music in the society, and how it can help enrich and ennoble our
existence as human beings; and
14. Develop a good taste for music.

3.1 The Aural Realm: Sound, Silence, Music, and Noise

Listening and Hearing are two different things. Throughout the curse of
Aa
this module, we will be listening a lot, not just hearing music. And that
takes an active effort to pay attention to details, react, and give meaning
to what we hear.

Concepts of the aural realm

Sound- a wave, a mechanical disturbance in matter that originates from a source and is
sent outwards; when two or more objects collide, they form vibrations that are
transmitted through the air of other mediums.

o Hearing- the sense that perceives sounds; in humans as well as animals, the
ear is the sense organ that picks up sounds; the sounds we hear may be
classified as music, language, noise or a mixture of all of these.

o Audible range- the spectrum of sound is wide-the human ear can only hear a
certain range from this spectrum; depends on two factors:
 a. Volume- refers to the loudness or softness of a sound and is measured by
decibels (dB); sounds more than 80-90 decibels may be dangerous to human
ears when exposed in long durations.
b. Pitch- refers to how high or low a particular sound is, and is measured in hertz
(Hz); average hearing range for humans begins at 20 Hz and tops out at around
20,000 Hz.

Silence- the condition or quality of being quiet; basically, the absence of audible sound or
noise; in music, silence is also very important parts where there is absence of sound are
as important and meaningful as the parts when there is sound.
Music- the art of organizing and putting together an array of sounds into meaningful,
perceptual experience; allows certain conventional patterns to convey a message and to
express aesthetic, cultural, or artistic purposes and classified into various genres such as
classical, popular, jazz, folk, and country.
-It is an abstract form of art, maybe even the most abstract and subjective of all
the arts and is perceived to have an effect on many living things. As the saying goes,
“Music hath charms to soothe the savage beast.” It appeals directly to our emotions, and
opens up an avenue to the subjective states of man.
Noise- any sound that lacks reference to musical quality and is generally considered
unpleasant or unbearable to the human ear. The slam of a door, the slap of a hand on a
table, or the clap of a hand are all examples of one-impulse sounds. Sounds such as a
telephone ringing, birds chirping, sirens, or a computer humming are also examples.
The Four types of noise:
1. Continuous noise
Continuous noise is exactly what it says on the tin: it’s noise that is produced continuously,
for example, by machinery that keeps running without interruption. This could come from
factory equipment, engine noise, or heating and ventilation systems. If you want to
analyse the noise further, you need to look for a sound level meter with octave band
analysis. Octave bands allow you to break the noise down into its separate frequencies.
Music is a pleasant, continuous and uniform sound produced by the regular and periodic
vibrations. Example: Sound produced by piano, violin, flute, etc.
Sounds other than the musical sounds are called noise. Usually, it is a sound produced by
irregular succession of disturbances and is a discontinuous sound. Example: Loud
shouting of people, traffic horns etc.
2. Intermittent noise
Intermittent noise is a noise level that increases and decreases rapidly. Noise that stops
and starts, usually at irregular intervals. This might be caused by a train passing by, factory
equipment that operates in cycles, or aircraft flying above your house. Measured with a
sound level meter. To gain a more reliable estimate of the noise level, you should
measure over multiple occurrences to calculate an average.

Art Appreciation
Page 3 of 41
Module

USMKCC-COL-F-050
Intermittent exposure to intense noise results in very severe loss in high frequencies but
relatively little or no hearing loss in the lower frequencies even after many years of
exposure. This differs substantially from the effects of continuous exposure to noise of
the same intensity.
3. Impulsive noise
Impulsive noise is most commonly associated with the construction and demolition
industry. These sudden bursts of noise can startle you by their fast and surprising nature.
Impulsive noises are commonly created by explosions or construction equipment, such as
pile drivers, or your next door neighbor doing some DIY on a Sunday morning. To measure
impulsive noise, you will need a sound level meter or a personal noise dosimeter that can
calculate Peak values.
4. Low-frequency noise
Using a sound level meter with third octave band analysis will enable you to analyze the
low frequencies that make up low-frequency noise. A comparison of the C-weighted
readings to the A-weighted measurements may also be necessary to determine the
amount of low-frequency noise present. If you want to learn more about the various
frequency weightings, click here. Our daily soundscape includes low-frequency noise as
part of its makeup. We are frequently subjected to low-frequency noise, whether it is the
quiet background hum of a neighboring power plant or the scream of huge diesel engines.
Also, it can be challenging to eliminate this form of noise at its source.
Tone contagion refers to the phenomenon where the tone or emotional state of one
person can influence the tone or emotional state of another person. This can occur
through nonverbal cues, such as facial expressions and body language, as well as through
verbal communication. Research has shown that tone contagion can occur in both
positive and negative ways, and can have a significant impact on social interactions and
relationships.
Types of Noise – The Colors of Sound
(https://www.musicianwave.com/types-of-noise/)
https://youtu.be/6ijXxsA3aq4

Colors are assigned to noise signals in audio engineering based on their frequency
spectrum. This occurs because noise that is produced at various frequencies is perceived
in various ways. Various noises have distinctive qualities that might be employed for
therapeutic and relaxing purposes.
Humans refer to any unpleasant sound as "noise," including noisy city traffic and
poor music. A random sound signal playing at a fixed spectral frequency, on the other
hand, might be referred to as colored noise, including white, pink, and brown noise.
There is a specific density for each noise hue.
The human brain is capable of seeing waves, which are the basis for both light and
sound. We can tell that red is distinct from green because of how we see light (for
example). Colored noise follows the same rules.
Yet, learning to distinguish between the many noise forms is more difficult than
learning to tell red from green. Mathematically speaking, the colors of noise are

Art Appreciation
Page 4 of 41
Module

USMKCC-COL-F-050
described by their frequencies. These frequencies are arbitrary but follow particular
spectral density calculations. There is a unique formula for each type of noise.

The different colors of noise

Using the Ryoji Ikeda album "technicolors," varieties of noise includes:

1. White Noise. The most common classification of

noise is a sound signal that plays at the same level
but has random and various frequencies. The sum of
all frequencies makes up white noise, just as white is
the sum of all colors. White noise has a reputation
for having a high pitch. This doesn't happen because
high frequencies in white noise signals are more
frequent than mid- or low-frequency signals, though;
rather, it happens because human ears are programmed to hear high frequencies
louder; for more information, see the Fletcher Munson curve. In signal processing,
white noise is a random signal having equal intensity at different frequencies, giving
it a constant power spectral density. White noise uses a mix of sound frequencies to
create a static-like sound. It can be intense and high-pitched, like a fan, air conditioner,
or a vacuum. Studies have also shown that it can help: Improve sleep.

2. Pink noise. Similar to white noise, pink noise is arranged to correspond to how
people hear sound. A pink noise signal plays random and various frequencies at
various energy levels per octave so that all octaves can be heard equally. High
frequencies are more easily perceived by the human ear than low frequencies.
Because of this, the energy levels in a pink noise signal decrease by -3dB for each
ascending octave. For instance, if the lowest note in the spectrum is playing at 70 dB,
the next lowest note should be playing at 67 dB, and so on. Pink noise is intended to
sound like what white noise would sound if we had perfect, non-biased ears. It’s an
attempt at creating an even noise signal that, despite not being mathematically even
like white noise, should be even to our ears.

Art Appreciation
Page 5 of 41
Module

USMKCC-COL-F-050
3. Brown noise. Also known as red noise, brown noise is produced in accordance with
Brownian motion (the concept refers to a random pattern of motion used to describe
the behavior of particles inside a liquid or gas medium). From the perspective of an
audio engineer, brown noise is comparable to pink noise but exhibits a more
pronounced reduction in energy levels from low to high frequencies (in this case, a -
6dB reduction per octave). Brown noise, which has a lower pitch than white and pink
noise, is frequently used for reading and other activities that need attention and
relaxation.

4. Violet noise. In a nutshell, violet noise is the opposite/the antithesis of brown noise.
Violet noise sounds high and bright in contrast to brown noise's deep, muddled tone.
It adds 6 dB every octave from the lowest to the highest octave and is produced by a
similar random pattern. Because it is frequently advertised as a therapeutic cure for
tinnitus, violet noise is a very intriguing color of noise.

5. Blue noise. Since just 3dB are added per octave from the lowest to the highest
octave, blue noise can be thought of as a lighter form of violet noise. It's frequently
employed in audio dithering (dither is one of the least understood terms in the music
production lexicon, but it's a crucial component when working with digital audio, and
one that you really should grasp if you're engaged in mixing or mastering). The
"quantization distortion" that generates noise and artifacts in digital audio is really
covered up by dither noise.

6. Gray noise. To understand gray noise, it’s important to know the concept of A-
weighting. (a sound measurement adjustment made according to how human ears
perceive noise). Gray noise takes on the A-weighting frequency spectrum and feeds
our ears with the opposite frequencies.
As a result, gray noise sounds as if every frequency in the spectrum was playing at the
same level (it’s not, but it is according to our biased ears).
In the sample above, you can listen to how cohesive and “blocky” gray noise sounds
compared to other noise colors, with no clear distinction in energy between the low and
high frequencies of the spectrum.
A-WEIGHTING BY FREQUENCY.
A-weighting readings reflect the sensitivity of
the human ear, they are commonly used to
assess potential hearing damage caused by loud
noises (such as aircraft or trains) and are used
globally to evaluate environmental hearing
damage risks.
To make sure that sound is heard at levels
within the specified range, engineers use A-
weighting sound measurements. The main
objectives of sound measurement with human
reaction weighting are to satisfy legal requirements and improve customer comfort. As a
result, the dB(A) scale is heavily utilized in R&D departments for internal specifications
as well as for regulation across industries, including automotive, aerospace, railway,
consumer products, environment, and building. A-weighting curve is the most common
weighted sound curve. It is considered the standard for general purpose measurement.

Art Appreciation
Page 6 of 41
Module

USMKCC-COL-F-050
Other frequency weighting curves can be applied for specific needs, generally for higher
sound levels:

1. B-weighting matches the 70-phon equal-

loudness contour, which corresponds to
moderately loud sounds. It may be used for
measuring the interior noise of vehicles.
2. C-weighting matches the 100-phon equal-
loudness contour, which corresponds to
very loud sounds. Because of its flatter
shape, C-weighting is mainly seen on sound
level meters to measure broadband noise.
3. D-weighting is specifically used for aircraft
noise measurements.
4. G-weighting is specifically used for
measurements in the infrasound range.

7. Green noise. Green noise focuses on the mid frequencies of the spectrum to imitate
the noise we perceive in nature. Green noise is the noise color you’d want to add as
the background track of a movie scene because listening to it feels a lot like being on
a busy street. Green is another (very) low frequency noise with “nature sound”
qualities, like waterfalls and rivers. Therapeutically, it is mainly used for sound
masking and relaxation. Noises that emulate the soothing sounds we hear in nature
bring a sense of peace—so we can let go and de-stress. Example: The sound of water
on a beach, or trickling waterfalls – anything that is attuned to nature and promotes
relaxation. If you are struggling with stress in everyday life, this type of noise could
help restore some sense of calm."
Green noise is determined by the frequency of sound waves, just as green is
determined by the frequency of light waves.

8. Orange noise. Because it uses every frequency in the spectrum besides those that
we would often perceive to be in tune, orange noise is possibly the most enigmatic
noise color. In other words, orange noise eliminates all the frequencies that create a
particular musical note. (such as 440Hz, the frequency of A). Clashing and
cacophonous noise.While others have compared orange noise to "listening to an
out-of-tune orchestra," it's difficult to pinpoint exactly what makes orange noise
orange from a purely sound standpoint. Orange noise is classified as yellow in Ryoji
Ikeda's "technicolors." Orange makes you feel energized and enthusiastic. Orange
enhances a feeling of vitality and happiness. Like red, it draws attention and shows
movement but is not as overpowering. It is aggressive but balanced — it portrays
energy yet can be inviting and friendly.

9. Black noise. Black can be described as the absence of light, the absence of sound. To
put it bluntly, black noise is the lack of noise. Simon & Garfunkel frequency, or the
sound of silence. The spectral density of black noise is roughly zero at each
frequency.

Art Appreciation
Page 7 of 41
Module

USMKCC-COL-F-050
Rendering Colors of Light. Healing Properties of Noise:
Color Frequency Wavelength - pink noise spectrum is the most popular in the health realm,
help with (insomnia, anxiety, and memory loss)
yellow 508–526 THz 570–590 nm - deep sleep is critical for creating and consolidating memories.
Scientists believe that our lack of restorative sleep as we age
orange 484–508 THz 590–620 nm is a major contributor to memory loss.
- the use of noise for health enhances focus, sleep, mood, or
red 400–484 THz 620–750 nm motivation

Noise colors are used for many purposes.

- Pink noise, for instance, can be helpful for mixing and mastering and used to tune
sound systems before a live show.
- White noise is used in programming for, among other purposes, generating data for
random number generators.
- Noise has all to do with the way our brains work. Our primal instincts kick in
whenever we can recognize distinguishable sounds in silence.
- At night, with no one around, the sound of a man walking can be enough to trigger
our brains into thinking we’re in danger.
- Many people rely on white noise machines for sleeping because they cannot “turn
off” if there’s too much silence. In a blank canvas, even the tiniest dot can stand out.
- The same happens if there’s no noise around: we’re easily distracted by the quietest
of sounds and we lose our focus.
- Noise acts as a replacement for the lack of background noise, providing an
abundance of sound information to keep our brains entertained.
- That’s why so many people rely on noise for studying; random noise signals cancel
the other distracting sounds around and allow people to zoom in on their tasks.

Summary
- In a silent environment, the slightest sound might readily divert our attention, just as it
would in a noisy environment.
- The absence of background noise is replaced by noise, which offers a wealth of auditory
information to keep our brains occupied.
- Due to the fact that noise cancels out other distracting sounds and enables people to
focus on their jobs, so many people rely on noise to study.
- Understanding the various sorts of noise can also help you better grasp how sound
functions when pitches are not there.
- They are pure sound: unadulterated, unmusical, generated at random, and devoid of
feeling.

Art Appreciation
Page 8 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.1.1a Program/Year: ____________Date Submitted: ___________

Track Listening Analysis

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not required to

submit this.]

Activity Details:
▪ Research, download and listen to these two musical tracks:
a. Track 1: Tone Contagion (https://youtu.be/pn3XL6VDn6o)
b. Track 2: Baleleng (The Mermaid’s Song), arr. for piano & orchestra-Alejandro
Consolacion (https://youtu.be/Hlu1Eopw0tM)

ANALYSIS:

1. As you listened to Track #1, what did you hear? Describe.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Next, describe what you heard from Track #2.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

3. Compare what you head between the two tracks. Are there any similarities?
What are the differences?

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

4. List down 3-5 words that you may associate with what you heard from Track
#1. The words may be anything: nouns, names of places, people, adjectives,
feelings, abstract ideas, or verbs. There is now wrong answer, as long as you
can explain sensibly/artistically why you chose those words to describe what
you heard from the first track.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

Art Appreciation
Page 9 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.1.1b Program/Year: ____________Date Submitted: ___________

Track Listening (Analysis) (continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

ANALYSIS:

5. Following the same idea from number 4, list down 3-5 words that you may
associate with what you heard from Track #2. Elaborate why you chose those
words.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

Art Appreciation
Page 10 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.1.2 Program/Year: ____________Date Submitted: ___________

Rhythmic Composo
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:

• Create a simple, creative, and unique composition, highlighting both sound and
silence suing simple materials found in your house or using body parts.
• The composition need not have a melody or lyrics; it may be simple rhythmic
sounds.
• Simply record an audio or take a short video of your composition with a
maximum time limit of 2 minutes.
• Then send it in the allowed media.

Assessment:
1. What is audible range?

____________________________________________________________
____________________________________________________________
____________________________________________________________

2. In what units of measurement is pitch measured? How about volume?

____________________________________________________________
____________________________________________________________
____________________________________________________________

3. Research the term “white noise”. Define and explain.

____________________________________________________________
____________________________________________________________
____________________________________________________________

4. Research the term “music of the spheres.” Define and explain.

____________________________________________________________
____________________________________________________________
____________________________________________________________

Art Appreciation
Page 11 of 41
Module

USMKCC-COL-F-050
3.2 Hear Me Out: Of Voices and Harmonies

In this lesson, we will be learning about the three basic elements of music:
Aa
melody, harmony, and dynamics. We are not merely going to know their
definitions, but we will be experiencing and applying each of these elements
through different activities.

Great melodies create good memories

3 Basic Elements of Music:

❖ 1. Melody?
• An aspect of music which is probably the first and foremost thing that we remember
when we listen to a song, or instrumental pieces; leaves a lasting impression in the
minds of listeners.
• This is usually found in the chorus or refrain rather than in verses.
• a group of pitches used in a coherent patter or succession.
• A rhythmic progression of pitches is called a melody. The melody is typically the part
of a song that the listener remembers and can perform.

Example: When we try to recreate a song, especially one that we hear on the radio,
we sing the most familiar part/s of it-where the melody is “catchy”. We usually sing,
hum, or whistle to a melody that appeals to us.
- “Happy Birthday” …“Mary Had a Little Lamb,” … to Christmas songs to famous
classical melodies, such as (Beethoven's Ode to Joy),… to the melody of the current
hot songs on the Top 40

Art Appreciation
Page 12 of 41
Module

USMKCC-COL-F-050
Melodies come in the same types as chords:

1. Color Melodies, i.e. melodies that sound pretty

- melodies that rely heavily on groove
- often made up of just one or two notes, like the chorus from Taylor Swift’s Style
or the “I can see your halo (halo, halo)” bit from Beyoncé’s Halo
- In other words, they have a clear base pitch
- Without chords, color melodies are intrinsically boring.

2. Direction Melodies, i.e. melodies that go somewhere

- use more different notes and don’t have a clear base pitch
- the verses to Bernhoft’s Choices or C’mon Talk are great examples
- Because it doesn’t come back to the same pitch over and over again, this type of
melody is quite challenging to sing
- Because audiences have troubles singing along, it has mostly disappeared from
pop music and can only be found in jazz or soul.

3. Blends, i.e. melodies that use both color AND Direction

- the kind of melody we hear day in, day out on the radio and it combines the two
previous types.
- If you’re ever struggling finding a good melody to a song, going at it with a blend
approach is a pretty safe bet.
- Blends are melodies that shift their base pitch every 1 or 2 bars.
- Take Rachel Platten’s Fight Song: It changes its base pitch from the root to the 2
to the 3 to the 4. In other words, it moves up, up, up.
- Or take R.City’s Locked Away (feat. Adam Levine), going from 3 to 1 to 4 to 3.

❖ key differences:
Color melodies Direction Melodies Blends
groove-based melodic both groove-based & melodic
have one base pitch have none change it every one or two bars

o Pitch
• the quality of the highness or lowness of a sound.
• If sound did not have the quality of pitch, then we would have no distinct tunes or
melodies in our songs, for all would sound like a monotonous drone.

Situational Illustration: The barking of dogs, the drilling of jackhammers, o an alarm

clock going off all have pitches, but they are indefinite. This is one reason why these
sounds are not normally used as musical material. However, some instruments such
as cymbals and the tambourine have no definite pitch, which is why these do not
usually carry a melodic line in music.

o Interval
• The distance between two pitches in
music; may be small, as in steps, or
may be big, as in leaps.

Art Appreciation
Page 13 of 41
Module

USMKCC-COL-F-050
 ❖ 2. Harmony

• an event in which two or

more pitches, or notes,
sound simultaneously.
• Not all pitch combinations
may sound pleasing or
“harmonious” to the ears;
hence, we have the
concept of consonance
and dissonance.

o Consonance-when two or more notes are at rest or resolved with each other

o Dissonance-may also be referred as “discord”;

when two or more pitches sound tense or unresolved when heard together

Situational Illustration: When someone sings karaoke or videoke out of tune.

Art Appreciation
Page 14 of 41
Module

USMKCC-COL-F-050
 o Chord
• a device in harmony where
two or three pitches are
sounded together.
• Chords are not chosen
randomly; they are derived
from a scale.

o Scale
• A set of pitches arranged in a particular sequence, and may either run going up
(ascending) or going down (descending).
• In Western music, scales use sol-fa syllables, which are namely:
do-re-mi-fa-sol-la-ti-do.
• Therefore, if we review our intervals:
Do-do= unison (1-1) (same note)
Do-re= second (1-2)
Do-mi= third (1-3)
Do-fa= fourth (1-4)
Do-sol= (fifth) (1-5)
Do-la= (sixth) (1-6)
Do-ti= seventh (1-7)
Do-do= eighth, (1-8) or more commonly called an octave.
Here, we can see that melody is the horizontal aspect of music, while
the vertical aspect (combination of tones such as chords) is the
harmony.

Art Appreciation
Page 15 of 41
Module

USMKCC-COL-F-050
 o Triad
• a type of chord which is made up of three tones, stacked one on top of the
other.
• The most common and basic type of chord employed in the everyday music
we hear.
• The two most common types of triad used in music:
- the major and the minor triad, or simply the major and minor chords.

Sound waves and Sound weaves: Texture

o Texture
1. Refers to the various layers of melodic lines and sounds happening
simultaneously in a composition.

2. Monophony- the most basic texture; a single unaccompanied melody.

Situational Illustration: When someone sings a tune a capella.

3. Polyphony- the type of texture when two or more tunes/melodies are played or
sung together at the same time.

4. Contrapuntal- derived from the word counterpoint (the organized study of

composing and combining melodies together), sometimes used interchangeably
with polyphony.

Situational Illustration: An example of Polyphonic music is the round song,

“Row, row, row your boat”, sung imitatively in differing time intervals.

o Homophony
• A melody is accompanied
and harmonized
simultaneously by chords.
• Here, the melody is of
primary interest while the
accompanying chords are
subordinate to the melody.
• A lot of popular songs and
church hymns have this
type of texture.

Art Appreciation
Page 16 of 41
Module

USMKCC-COL-F-050
Dynamics: From whispers to explosions

❖ 3. Dynamics
• The property of music that deals with its loudness or softness (volume).
• In music, Italian terms are used to label variations in the loudness or softness of a
sound; these terms are written on the score or piece- the physical written/printed
form of music.

Name Letters Level

fortissimissimo fff very very loud

fortissimo ff very loud

forte f loud

mezzo-forte mf
average
mezzo-piano mp

piano p quiet

pianissimo pp very quiet

pianissimissimo ppp very very quiet

Three Italian words are used to show gradual changes in volume:

1. crescendo (abbreviated cresc.) translates as "increasing" (literally "growing")
2. decrescendo (abbreviated to decresc.) translates as "decreasing".
3. diminuendo (abbreviated dim.) translates as "diminishing".

"hairpins" are signs used to stand for these words.

- If the angle lines open up ( ), then the indication is to get louder;
- if they close gradually ( ), the indication is to get softer.

Art Appreciation
Page 17 of 41
Module

USMKCC-COL-F-050
 The following notation indicates music starting moderately strong, then becoming
gradually stronger and then gradually quieter:

Hairpins are usually written below the staff (or between the two staves in a grand
staff), but are sometimes found above, especially in music for singers or in music
with multiple melody lines being played by a single performer.
Hairpins tend to be used for dynamic changes over a relatively short space of
time (at most a few bars),
while cresc., decresc. and dim. are generally used for changes over a longer
period.
Word directions can be extended with dashes to indicate over what time the event
should occur, which may be as long as multiple pages.
The word morendo ("dying") is also sometimes used for a gradual reduction in
dynamics (and tempo).
For greater changes in dynamics, cresc. molto and dim. molto are often used,
where the molto means "much".
Similarly, for more gradual changes poco cresc. and poco dim. are used, where
"poco" translates as a little, or alternatively with poco a poco meaning "little by
little".
Sudden changes in dynamics may be notated by adding the word subito (meaning
"suddenly") as a prefix or suffix to the new dynamic notation.
❖ Subito piano (abbreviated sub. p) ("suddenly soft") indicates that the
dynamics quickly, almost abruptly, lower the volume to approximately
the p range.
✓ It is often purposefully used to subvert the listener's expectation and
will signify an intimacy expression. Although it uses
the piano p dynamic symbol, the performer has slight freedom in their
interpretation, causing it to vary based on the preceding loudness or
character of the piece.
Accented notes can be notated sforzando, sforzato, forzando or forzato (abbrevia-
ted sfz, sf, or fz) ("forcing" or "forced"), or using the sign >, placed above or below the
head of the note.
- Sforzando (or sforzato, forzando, forzato) indicates a forceful accent and is
abbreviated as sf, sfz or fz.
- There is often confusion surrounding these markings and whether or not there is
any difference in the degree of accent. However, all of these indicate the same
expression, depending on the dynamic level and the extent of the sforzando is
determined purely by the performer.
- The fortepiano notation fp indicates a forte followed immediately by piano.
- By contrast, pf is an abbreviation for poco forte, literally "a little loud" but
(according to Brahms) meaning with the character of forte, but the sound of piano,
though rarely used because of possible confusion with pianoforte).

Art Appreciation
Page 18 of 41
Module

USMKCC-COL-F-050
 Extreme dynamic markings

Two measures of Sergei Rachmaninoff's Prelude in C♯ minor showing dynamic

markings sffff. The top two staves are both played by the right hand, the bottom two
by the left.
While the typical range of dynamic markings is from ppp to fff, some pieces use
additional markings of further emphasis.
Extreme dynamic markings imply an extreme range of loudness, or, alternatively,
imply an extremely subtle distinction between very small differences of loudness
within a normal range. This kind of usage is most common in orchestral works from
the late 19th-century onwards. Generally, these markings are supported by
the orchestration of the work, with heavy forte markings brought to life by having
many loud instruments like brass and percussion playing at once.

• The abovementioned dynamic terms reveal one thing common between

human beings and music: they both express feelings and emotions.
• In conversation, a person’s tone and volume of voice may get softer or
louder, more endearing or angry, depending on the situation or feelings
expressed.
• The same is true for music, it is a living, communicative art form.

Art Appreciation
Page 19 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.2.1 Program/Year: ____________Date Submitted: ___________

Listen!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not

required to submit this.]

Activity Details:
▪ Research, download and listen to this piece of music. [“Pen-pen de
Sarapen”]
▪ After listening to it, answer the following questions:

1. Describe the melody of “Pen-pen de Sarapen.” Listen to the intervals

between the pitches. Does it generally move in steps or in leaps? Draw a
line graph of its shape.

____________________________________________________________
____________________________________________________________
____________________________________________________________

2. Listen to the harmony (combination of sounds) in the piece. Does it sound

pleasing or does it irritate you? How does it make you feel?

____________________________________________________________
____________________________________________________________

3. Take note of the range of the melody. Is it narrow or wide?

____________________________________________________________

4. Does the music change from soft to loud (dynamics) or does it remain the
same all throughout?

____________________________________________________________

5. What personal experiences from your childhood can you associate with
this song?
____________________________________________________________
____________________________________________________________

Art Appreciation
Page 20 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Program/Year: ____________Date Submitted: ___________
Activity No. 3.2.2
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

I. Composing a Short Motive!

Activity Details:
▪ Compose a short motive about something- it may be about a place, a thing,
an idea, a pet, etc. Instruments or electronic devices may be used, as necessary.
▪ Take a video on the presentation of your output with a short
explanation/background about it.

II. Sing and conduct! (Option 2)

Activity Details:

▪ Think of a familiar tune or song that you can sing. You may invite your
family members or nearby friends to be your singers/performers and
you will act as the conductor to direct whether the group should sing
louder or softer.
▪ Note to Conductor: You need not beat the time. Just use simple signals
to denote changes in dynamics for your group to follow.
▪ Use both gradual changes in dynamics (example: piano to mezzo piano)
and sudden changes (example: pianissimo to forte).

Art Appreciation
Page 21 of 41
Module

USMKCC-COL-F-050
 3.3 Hearing Your Heartbeat Makes Me Blush: Rhythm and Timbre
Can you feel my heart beating? I’ve got rhythm

In this lesson, we will be learning and understanding the concepts behind

the musical element’s rhythm and timbre; recreate sounds using
Aa
systematic rhythmic patterns and appreciate different sounds, different
musical instruments are able to produce; and be able to develop a creative,
discerning taste of which timbre would best fit particular parameters when
composing.

Music would be meaningless without rhythm. Literally, our lives would stop if hearts
stopped beating…figuratively; we would be lifeless if there was no one who made our
hearts beat…I know, that sounds cheesy. The same can be said for music.

❖ Rhythm
• Discusses the use of time in music.
• The rhythm of a song is its arrangement of sound, quiet, and emphasis. The repetition
of notes and silences (rests) throughout time is referred to as rhythm in music theory.
A rhythmic pattern develops when a run of notes and rests repeats.
• In music, rhythm acts as the engine that moves a piece along and gives the
composition structure. Without the underlying beat, time signature, and tempo, an
ensemble's members would be unable to maintain rhythm.
• Controls the length of note pauses between notes, the use of time patterns, and the
length of each pitch's duration. It also considers the tempo of the song.

Can time in music be measured?

• In music, we use beats or counts to measure musical time.
• Conductors use hand gestures or their baton to wave and count the time when
directing an orchestra, choir, or band.

English poetry employs five basic rhythms of varying stressed (/) and unstressed
(x) syllables. The meters are iambs, trochees, spondees, anapests and dactyls.
Example of rhythm:
Burning, singing in the sunshine." (Here, the first and last words are examples of
the spondaic rhythm).
- Two unstressed, or "weak" syllables followed by one stressed, or "strong"
syllable.
- For example, "'Twas the night before Christmas, when all through the house,
Not a creature was stirring, not even a mouse."

❖ Meter

• a repeating pattern of strong and weak beats.

• In musical notation, meter is represented within
measures or bars.
• It tells us how many beats are there in a single
measure.

Art Appreciation
Page 22 of 41
Module

USMKCC-COL-F-050
• The two common types of simple meter used:

a. Duple – a type of meter where beats

are grouped in twos

Ex. March, reflecting the movement of

our two feet.
(ONE two (1 2) (1 2), ONE two (1 2),
ONE two (1 2); or
left right, left right)
(one is the strong beat, two is the
weak beat)

b. Triple- a type of meter where beats are grouped in threes.

Ex. The song, “Bahay Kubo”
(ONE two three (1 2 3), ONE two three)
(one is the strong beat, while two and three are both weak beats)

➢ In music, meter is not

always realized too
strictly, or else it would
sound too “square”, as if it
was manipulated by a
robot. MIDI files would
sound like this.
➢ In reality, rhythm and
meter are organic, such as
reflected in the natural
way we do things, such as
walking, breathing, or even the beating of our hearts.

➢ One concept of classical music is rubato, which literally means “robbed time.”
- When doing rubato, musicians
stretch the rhythm of the music,
the meter wavers, and it
becomes elastic.
- Time is being “stolen” from the
beats when the speed increases-
but later on will be “given back”
slowing down somewhere to
achieve balance.
- It is like improvising rhythmically, giving more emphasis and stress to some beats
than others.

Art Appreciation
Page 23 of 41
Module

USMKCC-COL-F-050
Common Rhythms You Must Be Able To Read
JANUARY 3, 2020 by PAULO filed under: MUSIC THEORY

When the song plays, our foot is tapping in

sync. We utilize musical notes with varying
durations in opposition to that rhythm in
music notation.

Note Values
The chart below shows the most common
note values and their durations.

Note: When two or more eighth notes or sixteenth notes are notated next to
each other, their tails are replaced by a beam as shown below.

Whole Notes

The first of the common rhythms we are going to look at consists of whole
notes. Whole notes can also be called semibreves.

Each whole note is worth 4 counts. Press play on the audio track below and
listen to the rhythm notated below. As mentioned earlier, the audio track has
a metronome playing along to help you stay in time with the music. After
listening to it, and when you are ready, press play again and either play along
(note E) or clap the rhythm.

Semibreve/Whole Note Rhythm

Art Appreciation
Page 24 of 41
Module

USMKCC-COL-F-050
Half Notes

Half notes can also be called minims. Each half note is worth 2 counts.

Minim/ Half Note Rhythm

Quarter Notes

Quarter notes can also be called crotchets. Each quarter note is worth 1
count.

Crotchet/ Quarter Note Rhythm

Eighth Notes

Eighth notes can also be called quavers. Each eighth note is worth half a
count. Press play on the audio track below and listen to the rhythm notated
below. The first 3 bars are eighth notes and the fourth bar is a whole note.
After listening to it, press play again and either play along or clap the rhythm.

Quaver/Eighth Note Rhythm

Sixteenth Notes

Sixteenth notes can also be called semiquavers. Each sixteenth note is worth
a quarter of one count.

Semiquaver/Sixteenth Note Rhythm

Art Appreciation
Page 25 of 41
Module

USMKCC-COL-F-050
Triplets

You play three eighth notes in the time of two eighth notes when you play a
triplet. That is, you play three eighth notes in one beat. Triplets are notated
as three eighth notes joined together with the number 3 written above it.

Triplet Rhythm

One Eighth Note and Two Sixteenth Notes

The two rhythms that follow are a combination of the common rhythms that
you have just learnt. Below is a rhythm that combines eighth notes and
sixteenth notes. Press play on the audio track below and listen to the rhythm
notated below. After listening to it, press play again and either play along or
clap the rhythm.

One Eighth Note and Two Sixteenth Notes Rhythm

Two Sixteenth Notes and One Eighth Note Rhythm

The rhythm below features 2 sixteenth notes followed by 1 eighth note. Press
play on the audio track below and listen to the rhythm notated below. After
listening to it, press play again and either play along or clap the rhythm.

Two Sixteenth Notes and One Eighth Note Rhythm

Dotted Eighth Note And Sixteenth Note

A dotted eighth note is also called a dotted quaver. It is worth three quarters
of one count. Press play on the audio track below and listen to the rhythm
notated below. After listening to it, press play again and either play along or
clap the rhythm.

Art Appreciation
Page 26 of 41
Module

USMKCC-COL-F-050
Dotted Eighth Note and Sixteenth Note Rhythm

Sixteenth Note and Dotted Eighth Note

The last of the common rhythms in this article features a sixteenth note
followed by a dotted eighth note.

Sixteenth Note and Dotted Eighth Note Rhythm

Shifting gears- The fast lane and the slow

❖ Tempo: The word “tempo” means “time” in Italian. How quickly or slowly these beats
happen. Dictates the pace of music, and it sets the mood and gives character to the piece.
• Tempo markings are written in Italian, for Italian music had dominated the cultural
life of the European continent from around late 1500’s to the mid-1700’s.
• Other terms used in conjunction with above-mentioned terms:

Grave Very slow poco A little

Largo Broad and dignified Poco a poco Little by little

Larghetto A little less slow than Largo accelerando Gradually getting faster

Largamente In a broad, slow manner Ritardando; rallentando Gradually getting slower

Adagio Slow; relaxed molto Much

Andante At a walking pace piu More

Andantino Slightly faster than Andante meno Less

Moderato Moderately Non troppo Not too much

Con moto With movement assai Very

Alegretto A little lively A tempo Very

Allegro Happy, quick marcato Markedly with emphasis

Vivace Lively, with life, quickly semplice Simply

Presto Very fast lunga Long, held pause

Art Appreciation
Page 27 of 41
Module

USMKCC-COL-F-050
 Presstissimo Very very fast Tempo primo Return to the original, initial
speed of the piece

Presto As fast as possible

Possibile

Along with these, mood or character markings are also sometimes used together with
tempo markings. Just like in dynamics, these try to convey human feelings and emotions.

Here are some examples:

Affettuoso With emotion

Agitato Agitated

Animato Animatedly, with life

Con calore With warmth

Con fuoco With fire

cantabile In a singing manner

doloroso With pain and sadness

dolce Sweetly

espressivo expressively

giocoso With humour

grazioso gracefully

leggierp Lightly

morendo In a dying manner

scherzando Jokingly

tranquillo calmly

➢ In classical or art music, these Italian terms are still widely used. However, in more
recent times, composers have been using the language of their origin (English,
French, German, and Filipino) to indicate expressive markings in their music.

Art Appreciation
Page 28 of 41
Module

USMKCC-COL-F-050
Musical Watercolors

❖ Tone color or timbre

- The quality of the notes we hear in music, dependent
in the instruments, voices, and the method of how
these instruments and voices are
played/manipulated.
- The tone color or timbre of a musical instrument is the
unique sound quality of any instrument that distinguishes it from another instrument, a
quality that is not associated with pitch, rhythm, or volume.
- tone color allows a listener to identify a sound as being produced by a specific instrument,
even distinguishing between two different instruments of the same type.
- Although each instrument has a fundamental tone color, minor changes in tone color do
occur depending on a number of variables.
✓ the number of overtones created by a soundwave,
✓ adding enhancement tools like a mute,
✓ performance techniques like pizzicato bowing, and the construction of the
instrument.
✓ the most basic element that changes the tone color of an instrument is the raw
materials that are used to construct it.:
o natural hardwoods (eg: violin, nylon acoustic guitar, etc.)
o metals such as silver, brass, and gold (eg: trumpet, steel-string guitar, etc.)
o synthetic materials like (plastic and resin composites).
- The fundamental pitch of an instrument (the lowest frequency that can be made by a
vibration of a sound wave) can also alter its tone color.
✓ This sound wave vibrates at different points, including:
o the full length of the wave,
o mid-points,
o other fractal points.
❖ These points along the soundwave produce overtones, which are pitches that
sound higher than their fundamental pitch.
❖ Many overtones are not audible, but depending on an instrument's construction,
these overtones can be heard by a listener. This can greatly impact the tone color
of an instrument.

Describing Tone Color

- begin by using a descriptor that is related to something more familiar, such as using
familiar tastes and smells of food in a wine tasting scenario to describe a nuanced flavor
profile.
- adjectives and characteristics that are often used in visual arts or to describe color,
warmth, and saturation are employed.
- Examples of visual arts descriptors for instrument tone colors might include:
Bright Warm
Dark Light

- can be described in a variety of ways, including: visual descriptors like color and
brightness, but it can also be described by the materials used to construct the instrument.
✓ For example, an oboe could be described as "reedy" or
✓ a trumpet could be described as "brassy"

Art Appreciation
Page 29 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.3.1 Program/Year: ____________Date Submitted: ___________

Listen and Analyze!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not

required to submit this.]

Activity Details:
▪ Research, download and Listen to this musical piece: [Piano Piece in Eb- A.
Roldan]
▪ Then answer the following questions:

1. Based on what you heard, give descriptions about the speed and mood of
the piece using your own words.

2. Explain why you choose those words.

3. If this piece were to be background music for a film, what would be the
scene that comes to your mind?

4. If this piece were to be used as background for a TV advertisement, what

product would it be used for? Why would it be effective?

Art Appreciation
Page 30 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.3.2 Program/Year: ____________Date Submitted: ___________

Recreate Me!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Suppose that you are a composer, commissioned by a gaming company to write
background music for characters of an online video game.
▪ Choose one instrument/group of instruments that will most likely suit the
character and explain/discuss with the class why you chose this, in relation to its
tone color.
▪ Describe the similarities between the character and your chosen instrument’s
tone color.

1. CHARACTER: TROLL
Choose from:
a. Violin b. Flute c. Harmonica d. Timpani

2. CHARACTER: KNIGHT
Choose from:
a. Bass Guitar b. String Orchestra c. Saxophone

3. CHARACTER: DRAGON
Choose from:
a. Gamelan b. Full Orchestra c. Drum Set

4. CHARACTER: MERMAID
Choose from:
a. Flute b. Voice c. Gamelan d. Piano

5. CHARACTER: IMPERIAL GUARD

Choose from:
a. Brass Band b. Electric Guitar c. Trumpets

6. CHARACTER: GOLEM
Choose from:
a. All Male Choir b. Full Orchestra c. Drum Set

7. CHARACTER: IMPERIAL GUARD

Choose from:
a. Marimba b. Bassoon c. Cello

Art Appreciation
Page 31 of 41
Module

USMKCC-COL-F-050
3.4 Functionality or Fashion?: Forms and Styles

In this lesson, we will be able to appreciate the forms and structures in music,
including its different styles and genres.

It is said that we human beings are God’s masterpiece. If we observe closely,

almost all of creation- whether it may e celestial bodies (planets and stars), plants and
animals, and other living things- have something in common. Nature indeed dictates that
there be balance and symmetry in everything.
Factory Settings: Forms in Music
Form

• A musical work’s shape, structure, and the organized arrangement of its

elements- and how these elements are manipulated so that the work makes
sense.
• Widely employed in all other arts, in poetry, literature, sculpture, and
architecture.
For hundreds of years, composers have been creating music-even large scale works such as
concertos, symphonic poems, and operas. These types of music require a long duration to
perform and may be tiring for the listener.

Repetition and Contrast

• There is duality in how musical elements are utilized.

• Example: In a hymn or a song’s lyrics, there are verses, and these are usually
different from one another. But the chorus/refrain of a song is usually always
going to be the same, and is most likely to be repeated more than once.
• Letters are conventionally used to label repetitions and contrasts.
• Example: If a form is labelled A B A, the A signifies the repetition while B signifies
the elements of contrast.
Two and Three-Part Forms
1. Binary (Two-Part)
• a type of musical form with two contrasting parts (“A” part and “B” part)
Illustration:

A B

Art Appreciation
Page 32 of 41
Module

USMKCC-COL-F-050
2. Three-Part (Ternary)
• A type of musical form with three parts.
• The first part, “A”, is repeated after the second part, “B”. This makes this form
symmetrical.

Illustration:

A B A

Art Appreciation
Page 33 of 41
Module

USMKCC-COL-F-050
 Art Appreciation
Page 34 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.4.1 Program/Year: ____________Date Submitted: ___________

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒 I. Let’s Brainstorm/Elicit Responses

[NOTE: This activity is a self-learning/supplemental activity. You are not
required to submit this.]

Activity Details:
▪ Here is a sample list of some styles of music. Use your own words about
ideas/people/things/places/events that you associate with each style given.

1. Classical Music-
2. Popular Music-
3. Country Music-
4. Electronic Music-
5. Jazz-
6. Ethnic Music-
7. Hip-hop-
8. Musical Theatre-
9. Rhythm and blues-

II. Listen and Learn!

Activity Details:

▪ Research, download and listen to this piece of music. [Yankee Doodle]

▪ Listen closely, this song is in binary form (A-B).

Art Appreciation
Page 35 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Program/Year: ____________Date Submitted: ___________
Activity No. 3.4.2
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Background Me!

Activity Details:
▪ Imagine you were a film-scorer. You are commissioned to create background
music for a particular film.
▪ Find a story/novel that has not yet been adapted to film.
▪ Use the style/genre of music you want to create its background and explain why
you chose it.
▪ What form would you use? Ternary or Binary? Present and discuss.
▪ Since audio is more important this time, you may submit an audio output.

Art Appreciation
Page 36 of 41
Module

USMKCC-COL-F-050
3.5 “NoMusic, No Life!” Its Value and Roles in the Society

In this lesson, we can look and study closely the specific roles or purposes of
music in human society.

Can you imagine a world without music? What kind of world would that be? Merry
melody…A world where no one whistles a tune, or hums a merry melody…how dull and
monotonous would that be.
One well-known notion about music is that it is a universal language, for it appeals and
speaks personally to our feelings and emotions. Music is also a creative process,
especially art music, for it demands a certain degree of musical proficiency, physical
dexterity and a valid interpretation of one’s own individual truths.
It is an avenue for self-expression, able to convey thoughts and ideas in ways that mere
words cannot describe.

The Roles of Music

Someone's mood can be improved by listening to music, which can also thrill or soothe
people. Additionally, and this is crucial, music enables us to experience almost all of the
emotions we go through in life. The options are limitless.
I. As an art form:
a. As a medium for self-expression
b. A vehicle for the transmission (either oral or written) of cultural, artistic
heritage
c. A tool for preservation of a nation’s identity
d. Used as entertainment: touches human emotions and ennobles the
human spirit
e. A way of learning about the traditions, values, attitudes, performing
styles, beliefs, sensibilities and culture of a particular people, place or
period in history.
f. Showcases the human race’s talent and artistic capability

II. In Politics
a. Used to influence people, their mindsets, and their attitudes toward the
government (example: protest songs, songs calling for unity)
b. Used in political campaigns/advertisements
c. Instill a sense of patriotism and nationalism

III. In Business/Commerce
a. Used with product advertisements both in mass media (TV, radio,
newspapers) or in social media location

Art Appreciation
Page 37 of 41
Module

USMKCC-COL-F-050
 b. To create a specific atmosphere/ambience in a business location
(example: hotels)
c. Background music (BGM) for video gaming industry
d. Background music for both television and movie films

IV. Spirituality:
a. Used in rituals/ceremonies of tribes or other ethnic groups
b. Integral part of religious services
c. Medium of worshipping God

V. In Healing:
Music therapy- the use of music in conjunction with either medical or
naturopathic treatment of bodily ailments.

VI. Aide in Cognition:

Music helps to enhance the learning performance of students by actively
using skills sch as critical thinking, decision making, discipline, and refining
motor movements. It is easily relatable to other art forms such as painting,
sculpture, poetry, and literature, but can also be related to other subjects
such as mathematics, geometry, and values formation.

Art Appreciation
Page 38 of 41
Module

USMKCC-COL-F-050
 Module GE 6 Name: ____________________________________________
Activity No. 3.5 Program/Year: ____________Date Submitted: ___________

Getting to Know You Better!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Answer the following questions wholeheartedly.

1. Do you like music?

2. Do you sing or play a musical instrument? Are you part of any musical group?

3. What is your favorite musical style/genre?

4. How do you use music in everyday situations?

5. How do you perceive musicians in general?

6. Give an instance in your life where music has greatly helped or affected you.

7. How can the music that you listen to or perform define you as a person?

Art Appreciation
Page 39 of 41
Module

USMKCC-COL-F-050
 REFERENCES

Adams, L. 2010. “The Methodologies of Art”. New York: Routledge. Accessed February 15,
2019. https://doi.org/10.4324/9780429494444.
Anderson, Keith.1990. The ABC of Classical Music: The Great Composers and Their
Greatest Works. Nashville, Tennessee: Naxos of America.
Blumenthal, Harold. 1998. The Classical CD Listener’s Guide. New York. NY: Billboard
Books.
De Botton, Alain and Armstrong, John. 2013. Art As Therapy. London: Phaidon Press
Limited.
Kerman, Joseph. 1987. Listen: Brief Edition. New York, NY: Worth Publishers, Inc.
Machlis, Joseph and Forney, Kristine. 1999. The Enjoyment of Music: An Introduction to
Perceptive Listening. New York, NY: W.W. Norton & Company, Inc.
Morgan, Robert. 1991. Twentieth Century Music: A History of Musical Style in Modern
Europe and America. New York, N.Y.: W.W. Norton & Company, Inc.
Roldan, Albert Napoleon J. et.Al. (2019). A Course Module for Art Appreciation (1 st
Editon).84-86 P. Florentino St., Sta. Mesa Heights, Quezon City: Rex Printing Company,
Inc.
Welch, Roy. 1927. The Appreciation of Music. New York, NY: Harper & Brothers.

https://www.thepoortraveler.net

PHOTOS/GRAPHIC ATTRIBUTIONS:

https://en.wikipedia.org/wiki/National_Museum_of_Anthropology_(Manila)#/media/Fil
e:Rizal_Park_map.png

https://www.thepoortraveler.net/2020/01/national-museum-of-fine-arts-manila/

musicnotes.com (scale notes)

talentcir.com (teacher graphics)

Tupang Gala, Published June 6, 2018

Wikipedia, the free encyclopedia

Art Appreciation
Page 40 of 41
Module

USMKCC-COL-F-050
 ABOUT THE AUTHORS

ZILPAH DALES-ABARING, M.A.Ed. is an Assistant Professor at

the University of Southern Mindanao-Kidapawan City Campus.
She finished her Bachelor in Secondary Education, Major in
English, graduated magna cum laude, at Central Philippine
Adventist College, Alegria, Murcia, Negros Occidental in 2007.
She finished her Master of Arts in Education, Major in
Educational Administration at Central Mindanao Colleges,
Quezon Boulevard, Kidapawan City in 2012. She earned units
in Doctor of Education, Major in Educational Management at
University of Southern Mindanao, Kabacan, Cotabato in 2016.

At present, she is teaching Professional Education courses in

the College of Education, Arts and Sciences and General
Education courses in the College of Engineering and College of
Technology in this University.

Aside from her teaching career, she is also a musician, a

composer (has copyrighted original song composition), a vocal
coach, a socio-cultural trainor, conductor and musical director
and was even given an opportunity and privilege to travel
abroad to participate in Southern Asia Pacific Division
Women’s Convention and Socio-Cultural Events.

MARLYN D. APOLINARIO, Ed.D. is an Assistant Professor III at

the University of Southern Mindanao-Kidapawan City Campus.
She finished her Bachelor in Secondary Education, Major in
English, Minor in Mathematics at Mindanao State University-
Maguindanao, Dalican, Dinaig, Maguindanao in 1994. She
finished her Master of Arts in Education, Major in Educational
Administration at Central Mindanao Colleges, Quezon
Boulevard, Kidapawan City in 2011. She earned her Doctor of
Education, Major in Educational Management, Minor in
Education Extension at the University of Southern Mindanao,
Kabacan, Cotabato in 2016.

At present, she is teaching subjects in the BSE program major

in English and General Education courses in the College of
Education, Arts and Sciences and College of Technology, and
College of Engineering in this University.

Aside from her teaching career, she is also a vocal coach and a
strong advocate for socio-cultural and the arts.

Art Appreciation
Page 41 of 41
Module

USMKCC-COL-F-050