-
MUSIC Quarter 1 – Module 2:
PERFORMANCE PRACTICE OF 20th
CENTURY MUSIC
10
UserVersion 2.0
UserDMWMark
-
MUSIC– Grade 10 Alternative Delivery Mode Quarter 1 – Module 2:
Performance Practice of 20th century music First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall
subsist in any work of the Government of the Philippines. However,
prior approval of the government agency or office wherein the work
is created shall be necessary for exploitation of such work for
profit. Such agency or office may, among other things, impose as a
condition the payment of royalties. Borrowed materials (i.e.,
songs, stories, poems, pictures, photos, brand names, trademarks,
etc.) included in thismoduleare owned by their respective copyright
holders. Every effort has been exerted to locate and seek
permission to use these materials from their respective copyright
owners. The publisher and authors do not represent nor claim
ownership over them. Published by the Department of Education
Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San
Antonio
Printed in the Philippines by ________________________
Department of Education – Division of Cebu Province
Office Address: DepEd Cebu Province, IPHO Bldg., Sudlon, Lahug,
Cebu City
Telefax: (032) 255-6405
Email Address: [email protected]
Development Team of the Module
Writer: Suave Revillas
Content Editor/s: Nenita G. Jaralve
Evelyn G. Patiño
Language Editor: Fanny Y. Inumerables
Lay-out Editor: Charmaine L. Juvahib
QA Evaluator: Eden B. Alindao
Moderator: Milanie M. Panique
Management Team: Marilyn S. Andales EdD, CESO V. – Division
Superintendent
Leah B. Apao, Ed.D.CESE -Asst. Schools Division
Superintendent
Esther A. Funtalan, Ed.D. – Asst. Schools Division
Superintendent
Cartesa M. Perico, Ed.D. – Asst. Schools Division
Superintendent
Mary Ann P. Flores – CID Chief
Isaiash T. Wagas – EPS LRMS
Nenita G. Jaralve – EPS MAPEH
UserVersion 2.0
UserDMWMark
-
10
MUSIC Quarter 1 – Module 2:
PERFORMANCE PRACTICE OF 20TH
CENTURY MUSIC
UserVersion 2.0
UserDMWMark
-
2
Introductory Message
For the facilitator:
Welcome to the MUSIC 10Alternative Delivery Mode (ADM) Module on
Performance
Practice of 20th century music!
This module was collaboratively designed, developed and reviewed
by educators
both from public and private institutions to assist you, the
teacher or facilitator in
helping the learners meet the standards set by the K to 12
Curriculum while
overcoming their personal, social, and economic constraints in
schooling.
This learning resource hopes to engage the learners into guided
and independent
learning activities at their own pace and time. Furthermore,
this also aims to help
learners acquire the needed 21st century skills while taking
into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see
this box in the body of
the module:
As a facilitator, you are expected to orient the learners on how
to use this module.
You also need to keep track of the learners' progress while
allowing them to manage
their own learning. Furthermore, you are expected to encourage
and assist the
learners as they do the tasks included in the module.
For the learner:
Welcome to the Music 10 Alternative Delivery Mode (ADM) Module
on Performance
Practice of 20th century music!
This module was designed to provide you with fun and meaningful
opportunities for
guided and independent learning at your own pace and time. You
will be enabled to
process the contents of the learning resource while being an
active learner.
Notes to the Teacher
This contains helpful tips or strategies that will
help you in guiding the learners.
UserVersion 2.0
UserDMWMark
-
3
This module has the following parts and corresponding icons:
What I Need to Know
This will give you an idea of the skills
or competencies you are expected to
learn in the module.
What I Know
This part includes an activity that aims
to check what you already know about
the lesson to take. If you get all the
answers correct (100%), you may
decide to skip this module.
What’s In
This is a brief drill or review to help
you link the current lesson with the
previous one.
What’s New
In this portion, the new lesson will be
introduced to you in various ways such
as a story, a song, a poem, a problem
opener, an activity, or a situation.
What is It
This section provides a brief
discussion of the lesson. This aims to
help you discover and understand new
concepts and skills.
What’s More
This comprises activities for
independent practice to solidify your
understanding and skills of the topic.
You may check the answers to the
exercises using the Answer Key at the
end of the module.
What I Have Learned
This includes questions or blank
sentence/paragraph to be filled into
process what you learned from the
lesson.
What I Can Do
This section provides an activity which
will help you transfer your new
knowledge or skill into real life
situations or concerns.
Assessment
This is a task which aims to evaluate
your level of mastery in achieving the
learning competency.
UserVersion 2.0
UserDMWMark
-
4
Additional Activities
In this portion, another activity will be
given to you to enrich your knowledge
or skill of the lesson learned.
Answer Key
This contains answers to all activities
in the module.
At the end of this module you will also find:
The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on
any part of the
module. Use a separate sheet of paper in answering the
exercises.
2. Don’t forget to answer What I Know before moving on to the
other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking
your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are
through with it.
If you encounter any difficulty in answering the tasks in this
module, do not
hesitate to consult your teacher or facilitator. Always bear in
mind that you are not
alone.
We hope that through this material, you will experience
meaningful learning and
gain deep understanding of the relevant competencies. You can do
it!
References This is a list of all sources used in
developing this module.
UserVersion 2.0
UserDMWMark
-
5
What I Need to Know
This module was designed and written with you in mind. It is
here to help you
understand the beauty of the 20th century Music. The scope of
this module permits it
to be used in many different learning situations. The language
used recognizes the
diverse vocabulary level of students. The lessons are arranged
to follow the standard
sequence of the course. But the order in which you read them can
be changed to
correspond with the textbook you are now using.
The module is divided into five lessons, namely:
• Lesson 2 – Performance Practice of 20th century music.
After going through this module, you are expected to:
1. explain the roles of composers/performers, and audience of
20th century
composers;
2. identify 20th century composers;
3. classify 20th century music pieces.
UserVersion 2.0
UserDMWMark
-
6
What I Know
I. Multiple Choice: Choose the letter of the best answer. Write
the chosen letter on a
separate sheet of paper.
1. He is considered as the most important and influential of the
20th century
composers. He changed the course of musical development by
dissolving
traditional rules and conventions into a new language of
possibilities in
harmony, rhythm, form, texture, and color.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
2. He is regarded today as a combination of neo-classicist,
nationalist, and
avantgarde composer.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
3. A French Composer that mainly characterized by its uniquely
innovative but
not atonal style of harmonic treatment.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
4. An avant-Garde Composer that was the primary proponent of
Chance Music.
He is the composer with the widest array of sounds in his
works
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
5. He is a true“crossover artist,” in the sense that his serious
compositions
remain highly popular in the classical repertoire, as his stage
and film songs
continue to be jazz and vocal standards. He is also considered
as the “Father
of American Jazz”
a. Claude Debussy
b. George Gershwin
c. Pierre Boulez
d. Leonard Bernstein
UserVersion 2.0
UserDMWMark
-
7
Lesson
2 Performance Practice of 20th Century Music
Previously in lesson one we have tackled about the musical
elements and
Musical styles of the 20th Century Music which are the
impressionism,
expressionism, avant-garde, neoclassicism and Modern
Nationalism. Now let us
further know the 20th century Composers by understanding the
performance practice
during this musical era. Thus, what better way to indulge in the
performance practice
of 20th Century music than to know the Composers and some of
their composition.
What’s In
Let use check your knowledge of the different Composers first.
Do you know
any composers from the different eras?
List 5 different composers you know from all eras of music, so
it maybe in the past or
from the present and some of their compositions below:
Names of the Composers you Know
Name or Title of the Pieces you are Familiar With
After listing the Composer you have known, answer the
following:
1. Which era of music does this composer listed belong? 2. Is
there any distinguishing technique you know that this composer
does?
UserVersion 2.0
UserDMWMark
-
8
What’s New
“Performance Practice” defined
Performance Practice is a term used to define musical techniques
that are
implied in a performance of a specific musical genre during a
musical era. But these
techniques are not written or notated.
In a simple definition it is the unique way of how composers
make their own
performance different from the others. For example two violinist
play the same
pieces, both of them might play the same song but the way they
interpret the song
might differ like example violinist one might give heavier
vibrato while playing the
piece while the other might use simple and calm attack on the
piece. This might be
because of their varied techniques like the one might be using
his or her finger while
the other might use wrisk movement to create this vibrato.
With the different musical styles of the 20th century there are
also different
composers. Thus, this techniques or performance practice of the
20th century can be
further understood by getting to know the composers and some of
their
compositions.
Notes to the Teacher
You can also give your students pictures of the different
composers and ask the students if they are familiar with some
of
the composers you have shown them. Or you can also give some
of the most popular composition and ask the student the
composers of the respective composition you have shown.
UserVersion 2.0
UserDMWMark
-
9
What is It
20th Century Composers
Since you already know the meaning of performance practice. Let
us get to know the 20th century composers, and some of their
compositions.
IMPRESSIONISM
• CLAUDE DEBUSSY (1862–1918) He was the primary exponent of the
impressionist movement and the focal
point for other impressionist composers. He changed the course
of musical development by dissolving traditional rules and
conventions into a new language of possibilities in harmony,
rhythm, form, texture, and color.
The creative style of Debussy was characterized by his unique
approach to the various musical elements. Debussy’s compositions
deviated from the Romantic Period and is clearly seen by the way he
avoided metric pulses and preferred free form and developed his
themes.
Here are some of Debussy’s work:
Pelleas ET Melisande (1895)—his famous operatic work that drew
mixed
extreme reactions for its innovative harmonies and textural
treatments.
La Mer (1905)—a highly imaginative and atmospheric symphonic
work for orchestra about the sea
Images, Suite Bergamasque, and Estampes—his most popular piano
compositions; a set of lightly textured pieces containing his
signature work Claire de Lune (Moonlight)
• MAURICE RAVEL (1875–1937) The compositional style of Ravel is
mainly characterized by its uniquely
innovative but not atonal style of harmonic treatment. It is
defined with intricate and sometimes modal melodies and extended
chordal components. It demands considerable technical virtuosity
from the performer which is the character, ability, or skill of a
virtuoso—a person who excels in musical technique or execution.
The harmonic progressions and modulations are not only musically
satisfying but also pleasantly dissonant and elegantly
sophisticated. His refined delicacy and color, contrasts and
effects add to the difficulty in the proper execution of the
musical passages. These are extensively used in his works of a
programmatic nature; wherein visual imagery is either suggested or
portrayed. Many of his works deal with water in its flowing or
stormy moods as well as with human characterizations.
UserVersion 2.0
UserDMWMark
-
10
• ARNOLD SCHOENBERG (1874–1951) Schoenberg’s style was
constantly undergoing development. From the
early influences of Wagner, his tonal preference gradually
turned to the dissonant and atonal, as he explored the use of
chromatic harmonies.
• IGOR STRAVINSKY (1882–1971) Stravinsky adapted the forms of
the 18th centurywith his contemporary
style of writing. Despite its “shocking” modernity, his music is
also very structured, precise, controlled, full of artifice, and
theatricality. Other outstanding works include the ballet
Petrouchka (1911), featuring shifting rhythms and polytonality, a
signature device of the composer. The Rake’s Progress (1951), a
full-length opera, alludes heavily to the Baroque and Classical
styles of Bach and Mozart through the use of the harpsichord, small
orchestra, solo and ensemble numbers with recitatives stringing
together the different songs.
PRIMITIVISM
• BELA BARTOK (1881–1945) As a neo-classicist, primitivist, and
nationalist composer, Bartok used
Hungarian folk themes and rhythms. He also utilized changing
meters and strong syncopations. His compositions were successful
because of their rich melodiesandlivelyrhythms.He admired the
musicalstyles of Liszt, Strauss, Debussy, and Stravinsky.
NEO-CLASSICISM
• SERGEI PROKOFIEFF (1891–1953) His style is uniquely
recognizable for its progressive technique, pulsating
rhythms, melodic directness, and a resolving dissonance.
• FRANCIS POULENC (1899–1963) Francis JeanMarcel Poulenc was a
member of the group of young French
composers known as “Les Six.” He rejected the heavy romanticism
of Wagner and the so-called imprecision of Debussy an dRavel. His
compositions had a coolly elegant modernity, tempered by a
classical sense of proportion. Poulenc was also fond of the witty
approach of Satie, as well as the early neo-classical works of
Stravinsky.
Poulenc’s choral works tended to be more somber and solemn, as
portrayed by Litanies a la vierge noire (Litanies of the Black
Madonna, 1936), with its monophony, simple harmony, and startling
dissonance; and Stabat Mater (1950), which carried a Baroque
solemnity with a prevailing style of unison singing and
repetition.
UserVersion 2.0
UserDMWMark
-
11
AVANT GARDE
• GEORGE GERSHWIN (1898–1937) Gershwin’s melodic gift wasc
onsidered phenomenal, as evidenced by his
numerous songs of wide appeal. He is a true“crossover artist,”
in the sense that his serious compositions remain highly popular in
the classical repertoire, as his stage and film songs continue to
be jazz and vocal standards. Considered the “Father ofAmerican
Jazz,” his “mixture of the primitive and the sophisticated” gave
his musican appeal that has lasted long after his death.
• LEONARD BERNSTEIN (1918–1990) Bernstein’s philosophy was that
the universal language of music is
basically rooted in tonality. This came under firefrom the
radical young musicians who espoused the serialist principles of
that time. Although he never relinquished his musical values as a
composer, he later turned to conducting and lecturing in order to
safeguard his principles as to what he believed was best in music.
He achieved pre-eminence in two fields: conducting and composing
for Broadway musicals, dance shows, and concert music.
• PHILIP GLASS (1937) He explored the territories of ballet,
opera, theater, film, and even
television jingles. His distinctive style involves cell-like
phrases emanating from bright electronic sounds from the keyboard
that progressed very slowly from one pattern to the next in a very
repetitious fashion. Aided by soothing vocal effects andhorn
sounds, his music is often criticized as uneventful and shallow,
yet startlingly effective for its hypnotic charm.
ELECTRONIC AND CHANCE MUSIC ELECTRONIC MUSIC - Music that uses
the tape recorder is called musique concrete, or concrete music.
The composer records different sounds that are heard in the
environment such as the bustle of traffic, the sound of the wind,
the barking of dogs, the strumming of a guitar, or the cry of an
infant.
• EDGARD VARESE (1883–1965) The musical compositions of Varese
are characterized by an emphasis
on timbre and rhythm. He invented the term “organized sound,”
which means that certain timbres and rhythms can be grouped
together in order to capture a whole new definition of sound.
Although his complete surviving works are scarce, he has been
recognized to have influenced several major composers of the late
20th century.
• KARLHEINZ STOCKHAUSEN (1928) He is a central figure in the
realm of electronic music. Stockhausen’s
music was initially met with resistance due to its heavily
atonal content with practically no clear melodic or rhythmic sense.
Still, he continued to experiment with musique concrete. Some of
his works include Gruppen
UserVersion 2.0
UserDMWMark
-
12
(1957), a piece for three orchestras that moved music through
time and space; Kontakte (1960), a work that pushed the tape
machine to its limits; and the epic Hymnen (1965), an ambitious
two-hour work of 40 juxtaposed songs and anthems from around the
world.
CHANCE MUSIC - refers to a style wherein the piece always sounds
different at every performance because of the random techniques of
production, including the use of ring modulators or natural
elements that become a part of the music. Most of the sounds
emanate from the surroundings, both natural and man-made, such as
honking cars, rustling leaves, blowing wind, dripping water, or a
ringing phone.
• JOHN CAGE (1912–1992) He was known as one of the 20th century
composers with the widest
array of sounds in his works. He challenged the very idea of
music by manipulating musical instruments in order to achieve new
sounds. He experimented with what came to be known as “chance
music.”
What’s More
Identification: Identify the term described. Write your answer
in a sheet of
paper.
1. He is considered as the father of American Jazz.
2. He is the main proponent of Chance Music.
3. His style is uniquely recognizable for its progressive
technique, pulsating rhythms, melodic directness, and a
resolving dissonance.
4. He is the Primary proponent of impressionism movement.
5. He is the central figure in the realm of electronic music.
His
music was initially met with resistance due to its heavily
atonal
content with practically no clear melodic or rhythmic sense.
UserVersion 2.0
UserDMWMark
-
13
What I Have Learned
Activity 1
Below are some of the 20th century composers with some of their
salient
works. Choose one Composer and one Composition. Try to search
and listen to it.
After Listening Create a short Reaction Paper of what mood did
you felt while
listening to the excerpts.
Debussy – Claire de Lune, La Mer, Children’s Corner Suite
Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeuxd’Eau,
Bolero
Schoenberg – VerklarteNacht, Violin Concerto, Piano
Concerto,
Gurrelieder Bartok – String Quartet no. 4, Allegro, Mikrokosmos,
Barbaro, Music for
Strings
Stravinsky – The Rite of Spring, Petrouchka, The Firebird
Suite
Prokofieff – Romeo and Juliet (ballet), Piano Sonatas
Gershwin – An American in Paris, Porgy and Bess, Rhapsody in
Blue, Someone to
Watch Over Me
Bernstein – Tonight from West Side Story, Clarinet Sonata Glass
– Einstein on the
Beach, Satyagraha, Akhnaten
Poulenc – Concerto for Two Pianos, Dialogues des Carmelites
Cage – 4’33"; Metamorphosis, for piano; Five Songs, for
contralto soloist and piano;
Music for Wind Instruments, for wind quintet
Stockhausen – Etude, Electronic STUDIES I and II, Gesang der
Junglinge,
Kontakte, Momente, Hymnen
Varese – Hyperprism for wind and percussion, Octandre for seven
wind instruments
and double bass, Intégrales for wind and percussion, Ionisation
for 13 percussion
players.
UserVersion 2.0
UserDMWMark
-
14
What I Can Do
CHANCE MUSIC - refers to a style wherein the piece always sounds
different at
every performance because of the random techniques of
production, including the
use of ring modulators or natural elements that become a part of
the music.
To know your style using your phone recorder record some sounds
you can hear
or anything that might make a sound/s like the cover or your
pans or tin cans. Make
use of anything you have in your surroundings to create a
so-called chance music.
Afterwards answer these;
1. What are the things you have used in your version of chance
music?
2. Was it pleasing to the ears? Explain your answer.
3. How did you feel about it?
Assessment
I. Multiple Choice: Choose the letter of the best answer. Write
the chosen
letter on a separate sheet of paper.
1. He is considered as the most important and influential of the
20th century
composers. He changed the course of musical development by
dissolving
traditional rules and conventions into a new language of
possibilities in
harmony, rhythm, form, texture, and color.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
2. He is regarded today as a combination of neo-classicist,
nationalist, and
avantgarde composer.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
UserVersion 2.0
UserDMWMark
-
15
3. A French Composer that mainly characterized by its uniquely
innovative but
not atonal style of harmonic treatment.
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
4. An avant-Garde Composer that was the primary proponent of
Chance Music.
He is the composer with the widest array of sounds in his
works
a. Claude Debussy
b. John Cage
c. Maurice Ravel
d. Sergei Prokofieff
5. He is a true “crossover artist,” in the sense that his
serious compositions
remain highly popular in the classical repertoire, as his stage
and film songs
continue to be jazz and vocal standards. He is also considered
as the “Father
of American Jazz”
a. Claude Debussy
b. George Gershwin
c. Pierre Boulez
d. Leonard Bernstein
II. ESSAY 1. Through this lesson, what is your realization as a
student on how each composer create their music? 2. In what way do
Composers’ life affect their composition?
DIRECTION: In a bond paper draw or paint something and relate
your painting to a song. Make sure to color your work and show the
emotions of your chosen song to the drawing or painting that you
have.
Additional Activities
UserVersion 2.0
UserDMWMark
-
16
Answer Key
UserVersion 2.0
UserDMWMark
-
17
References Raul M. Sunico, Ph.D.,Evelyn F. Cabanban,Melissa Y.
Moran (2015). Horizon10
:Music and Arts Appreciation for Young Filipinos.102 B. Gonzales
St., Xavierville II
Loyola Heights, Quezon City 1108 Metro Manila, Philippines:Tawid
Publications
Scott Jarrett, Holly Day.Bending an Ear to atonal Music.
Retrieved from
https://www.scribbr.com/apa-examples/cite-a-
website/#:~:text=APA%20website%20citations%20usually%20include,time%2C%20
add%20a%20retrieval%20date.
https://www.scribbr.com/apa-examples/cite-a-website/#:~:text=APA%20website%20citations%20usually%20include,time%2C%20add%20a%20retrieval%20datehttps://www.scribbr.com/apa-examples/cite-a-website/#:~:text=APA%20website%20citations%20usually%20include,time%2C%20add%20a%20retrieval%20datehttps://www.scribbr.com/apa-examples/cite-a-website/#:~:text=APA%20website%20citations%20usually%20include,time%2C%20add%20a%20retrieval%20dateUserVersion
2.0
UserDMWMark
-
For inquiries or feedback, please write or call: Department of
Education – Region VII, Division of Cebu Province Office Address:
IPHO Bldg., Sudlon, Lahug, Cebu City
Telefax: (032) 255-6405
Email Address: [email protected]
UserVersion 2.0
UserDMWMark
