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MAPEH
Quarter 1 – Module 2:
Perfomance Practice
of the
20th Century Music
10
MAPEH – Music – Grade 10
Self-Learning Module (SLM) Quarter 1 – Module 2: Perfomance Practice of the 20th Century Music
First Edition, 2020
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Printed in the Philippines by Department of Education – SOCCSKSARGEN Region
Office Address: Regional Center, Brgy. Carpenter Hill, City of Koronadal
Telefax: (083) 2288825/ (083) 2281893
E-mail Address: [email protected]
Development Team of the Module
Writer: Rosali Joy J. Socias
Editors: Kenneth B. Nierra
Reviewers: Eden Ruth D. Tejada
Layout Artist: Guinevier T. Alloso
Cover Art Designer: Reggie D. Galindez
Management Team: Allan G. Farnazo, CESO IV – Regional Director
Fiel Y. Almendra, CESO V – Assistant Regional Director
Romelito G. Flores CESO V - Schools Division Superintendent
Mario M. Bermudez CESO VI - Assistant Schools Division Superintendent
Gilbert B. Barrera – Chief, CLMD
Arturo D. Tingson Jr. – REPS, LRMS
Peter Van C. Ang-ug – REPS, ADM
Magdaleno C. Duhilag, Jr. – REPS, MAPEH
Juliet F. Lastimosa - CID Chief
Sally A. Palomo – EPS, LRMS
Gregorio O. Ruales - ADM Coordinator
Eden Ruth D. Tejada – Division MAPEH Coordinator
10
MAPEH Quarter 1 – Module 2:
Performance Practice of the
20th Century Music
2
Introductory Message
For the facilitator:
Welcome to the Grade 10-MAPEH Self-Learning Module (SLM) on Performance
Practice of the 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.
Notes to the Teacher
This is the second learning material of the
quarter. The enclosed performance output
will be assessed on weeks 7-8.
3
For the learner:
Welcome to the MAPEH-Grade 10 Self-Learning Module (SLM) on Performance
Practice of the 20th Century Music!
The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a learner
is capable and empowered to successfully achieve the relevant competencies and
skills at your own pace and time. Your academic success lies in your own hands!
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.
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 in to 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.
4
Assessment
This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.
Additional Activities
In this portion, another activity will be given
to you to enrich your knowledge or skill of
the lesson learned. This also tends retention
of learned concepts.
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.
5
What I Need to Know
This module was designed and written with you in mind. It is here to help you
master the Evaluation of Music and Music Performances. 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 has only one lesson, namely:
Evaluating Music and Music Performances
After going through this module, you are expected to:
1. Identify the performance practice of the selected composers in terms of
(setting, composition, role of composers/performers, and audience) of
20th century music;
2. Listen and explain the compositions and the role of composers to the
selected music styles of 20th century composers;
2. Show appreciation of the 20th century music styles by lay-outing a plan for
a performance practice.
What I Know
Choose the letter of the best answer. Write the chosen letter on a separate sheet of
paper.
PRETEST
Part 1. Multiple Choice. Read the questions carefully. Encircle the letter of the best
answer.
1. Which is NOT a characteristic of Expressionism Music?
a. Unresolved dissonances c. Abstract Procedures
b. Episodic d. Great Emotional intensity
2. Which of the following musical styles is manipulated by musical
instruments to achieve new sounds?
a. Impressionism c. Chance Music
b. Expressionism d. Electronic Music
6
3. In impressionism, who among the composers specifically changed the musical
development by dissolving traditional rules and conventions into a new
language of possibilities in harmony, rhythm, form, texture, and color?
a. Joseph-Maurice Ravel c. Claude Debussy
b. Arnold Schoenberg d. John Cage
4. The composer can experiment with different sounds that cannot be
produced by regular musical instruments such as the piano or the
violin, this statement refers to
a. musique concrete.
b. musiquecoustic.
c. piano Concerto.
d. piano Music.
5. The following statements best describe impressionism EXCEPT one.
a. The sounds of different chords overlapped lightly with each other to
produce new subtle musical colors
b. The combination of external and unrepeated sounds as each happens
by chance
c. Chords did not have a definite order and a sense of clear resolution
d. Sublime moods and melodic suggestions replaced highly expressive
and program music, or music that contained visual imagery
Part II. Guess Where?
Numbers 6-10
Direction: Analyze the performance practice of 20th-century composers. Classify the
items in the box according to which it belongs. Write your answers in the table
below.
The compositional al style gives emphasis on timbre and rhythm
characterizes it.
The music was intended for a high social class of listening audience.
John Cage’s contribution was challenged the very idea of music by
manipulating musical instruments to achieve new sounds. He
experimented with what came to be known as "chance music.
Maurice Ravel was very attentive to the classical norms of musical
structure and the compositional craftsmanship.
Claude Debussy’s works featured increasingly in concert programs at home
and overseas.
7
SETTING COMPOSITION ROLE OF
COMPOSERS/PERFORMERS AUDIENCE
6. 7. 8.
9.
10.
Part III Matching Type
Direction: Match the following music composers in 20th century in column A to the
musical styles in column B. Write the letters of your choice on the space provided.
__________11. John Cage a. Impressionism
__________12. Edgarde Varese b. Expressionism
__________13. Claude Debussy c. Chance Music
__________14. Maurice Ravel d. Electronic Music
__________15. Arnold Schoenberg e. Neo-classicism Music
8
Lesson
2 Performance Practice of the 20th Century Music
Hi! How is your experience in the previous module? How is your experience
singing a broad way song? This time I will take you to another experience that is
you will be learning how music of the 20th century being performed.
What’s In
But before you proceed to the next performance, try this simple recall questionnaire.
Activity 1: Guess Who?
Direction: Identify and write the name of composers on the space provided.
Joseph-Maurice Ravel Claude Debussy Edgard Varese Maurice Ravel
Arnold Schoenberg John Cage Igor Stravinsky
1. ______________________________
2. ______________________________
9
3. ______________________________
4. ______________________________
5. ______________________________
Notes to the Teacher
Listening activity is essential in this module to give idea to the
learners about the topic.
10
What’s New
Activity 2: “Music Analysis"
Direction: Listen to at least one recording from the selected music of the 20th
century and write your interpretation in the box below describing the (setting,
composition, role of composers and the social status of the audience).
Suggested materials for listening activities:
This video is about the musical composition of Claude Debussy: Clair De Lune
https://www.youtube.com/watch?v=CvFH_6DNRCY
This video is about the musical composition of Maurice Ravel: Prélude
https://www.youtube.com/watch?v=jGOZ7V40PiQ
This video is about the musical composition of Arnold Schoenberg: Pierrot Lunaire
https://www.youtube.com/watch?v=FkF5HY3QLTk
SETTING:
COMPOSITION:
ROLE OF COMPOSER/S:
AUDIENCE:
11
What is It
In this lesson, you will be learning the different performance practices (setting,
composition, the role of composers/performers, and audience) of the 20th-century
music.
IMPRESSIONISM IMPRESSIONISM
CLAUDE DEBUSSY (1862–1918)
MAURICE RAVEL (1875–1937)
SETTING SETTING
His works began to feature
increasingly in concert programs at
home and overseas.
In the opera
In the opera
` COMPOSITION
His musical compositions total
more or less 227, including
orchestral music, chamber music,
piano music, operas, ballets, songs,
and other vocal music.
Debussy's compositions deviated
from the Romantic Period and were
seen by how he avoided metric
pulses and preferred free form and
developed his themes.
The gamelan is an ensemble with
bells, gongs, xylophone, and
occasional vocal parts, which he
later used in his works to achieve a
new sound.
Ravel's compositional style has
the character by its uniquely
innovative but not atonal form of
harmonic treatment. Defined with
intricate and sometimes modal
melodies and extended chordal
components
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. The
extensive use of programmatic
nature, wherein visual imagery is
either suggested or portrayed.
12
ROLE OF COMPOSERS/PERFORMERS ROLE OF COMPOSERS/PERFORMERS
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.
Debussy was more spontaneous
and liberal in form, and more
casual in his portrayal of visual
imagery.
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.
Many of his works deal with water
in its flowing or stormy moods as
well as with human
characterizations.
Ravel was very attentive to the
classical norms of musical
structure and the compositional
craftsmanship.
Ravel was more formal and
exacting in the development of his
motive ideas.
AUDIENCE AUDIENCE
For a specific social class Wealthy patrons created and
funded nonprofit symphony
orchestra that specialized in
exalted music intended for a high
social level of the listening
audience.
13
EXPRESSIONISM
ARNOLD SCHOENBERG (1874-1951)
SETTING
At the concert Halls
COMPOSITION
His tonal preference gradually turned to the dissonant and atonal, as he
explored the use of chromatic harmonies.
His musical compositions total more or less 213, which include concerti,
orchestral music, piano music, operas, choral music, songs, and other
instrumental music.
ROLE OF COMPOSERS/PERFORMERS
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.
Known with the establishment of the twelve-tone system
AUDIENCE
Although full of melodic and lyrical interest, his music is extremely complex,
creating heavy demands for the listener. His works met with extreme reactions
and intense hostility from the general public or enthusiastic acclaim from his
supporters.
The elite and appreciative audience
1. ELECTRONIC MUSIC
2. EDGARD VARESE (1883–1965)
14
3. SETTING
4. The concert hall and public site
5. COMPOSITION
6. An emphasis on timbre and rhythm characterizes the musical compositions of
Varese. He invented the term "organized sound," which means that specific
timbres and rhythms are together to capture a whole new definition of sound.
7. ROLE OF COMPOSERS/PERFORMERS
8. Varese’s use of new instruments and electronic resources made him the
“Father of Electronic Music," and described as the “Stratospheric Colossus of
Sound.”
9. He pioneered and created new sounds that bordered between music and noise.
10. AUDIENCE
11. It's for the masses and the elite.
CHANCE MUSIC
JOHN CAGE (1912–1992)
SETTING
Through electronics and concert-hall setting
COMPOSITION
The prepared piano style found its way into Cage’s Sonatas
and Interludes (1946–1948), a cycle of pieces containing a wide range of sounds,
rhythmic themes, and hypnotic quality.
His involvement with Zen Buddhism inspired him to compose Music of Changes
(1951), written for conventional piano, that employed chance compositional
processes.
Cage also advocated bringing real-life experiences into the concert hall.
He was considered more of a musical philosopher than a composer. His conception
of what music can and should be has had a profound impact on his
contemporaries.
ROLE OF COMPOSERS/PERFORMERS
He challenged the very idea of music by manipulating musical instruments to
achieve new sounds. He experimented with what came to be known as "chance
music."
AUDIENCE
Good breeding and higher social status
15
SUMMARY
The music of the 20th century music had distinct style that reflected a move
away from the conventions of earlier classical music. The new styles were:
__________________, ________________, ________________,and, _____________________.
Some best-known composers made their distinctive mark on the
contemporary classical music styles that developed. One of the primary exponents of
impressionism was ____________________, who 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. Another exponent of
impressionism in music composer was _________________ who was very attentive to
the classical norms of musical structure and the compositional craftsmanship.
In expressionism music, the primary exponent of, with the use of the twelve-tone
scale and atonality was _________________________.
In electronic music, the musical compositions of ______________ were
characterized by an emphasis on timbre and rhythm or also known as organized
sound. In contrast, ______________ experimented with what came to be known as
"chance music.
Activity 3: “MY PLAN”
Direction: Please answer the following questions below in your own words.
QUESTIONS ANSWERS
1. If you were to perform your music composition, which place would you like
to show?
2. What type of music in your composition
which you want to present?
3. How are you going to explore your
composed song?
4. Who do you think will be your target
audience during your performance?
5. If you were the composer, who among the
composers would you like to adopt? Why? Explain briefly.
16
What’s More
Activity 4: “Film Showing or Video Watching”
1. Research on the 20th-century musical play West Side Story written by
Leonard Bernstein.
2. Watch any video clip of West Side Story on the internet or YouTube.
3. Write a reaction paper explaining the following elements of the performance:
a. Setting
b. Music compositional style
c. Role of composer and lyricist
d. Role of the audience (yourself)
Suggested videos
This video is about the 20th century musical play West Side Story 1961: “I Feel
Pretty” written by Leonard Bernstein
https://www.youtube.com/watch?v=Ye7PIyIcCro
This video is about the 20th century musical play West Side Story: America written
by Leonardo Bernstein https://www.youtube.com/watch?v=I3-S
What I Have Learned
Activity 5: “MY UNDERSTANDING”
Direction: Complete the following unfinished sentences.
1. My understanding of the music of the 20th century is
____________________________________________________________________________
____________________________________________________________________________
2. The reason why I appreciate performance practices from 20th-century music is
____________________________________________________________________________
____________________________________________________________________________
3. I love listening to 20th-century music composition because
___________________________________________________________________________
___________________________________________________________________________
17
What I Can Do
Activity 6: Watch this! Attend concerts like a pro!
This video helps every learner the proper audience decorum.
https://www.youtube.com/watch?v=etKMvzjASFk
Question: What are the things you need to do and not to do during the proper
audience decorum in this kind of concert?
Things To Do Things Not To Do
Activity 7: "Creative Stage Layout"
Direction: Design a simple layout/plan in a long bond paper you want to have when
it is your turn to make your performance. You may use pictures in designing a
layout of your desired plan and paste it. Label and describe it briefly.
1. Theme related to music style
2. Setting
3. Target Audience
18
Note: The assessment of this activity will be done in module number 5.
Assessment
Part 1. Multiple Choice. Read the questions carefully. Encircle the letter of the best
answer.
1. Which is NOT a characteristic of Expressionism Music?
a. Unresolved dissonances c. Abstract Procedures
b. Episodic d. Great Emotional intensity
1. Which of the following musical styles is manipulated by musical
instruments to achieve new sounds?
a. Impressionism c. Chance Music
b. Expressionism d. Electronic Music
2. In impressionism, who among the composers specifically changed the musical
development by dissolving traditional rules and conventions into a new language
of possibilities in harmony, rhythm, form, texture, and color?
a. Joseph-Maurice Ravel c. Claude Debussy
b. Arnold Schoenberg d. John Cage
3. The composer can experiment with different sounds that cannot be produced by
regular musical instruments such as the piano or the violin, this statement refers to
a. musique concrete c. Piano concerto
b. musiquecoustic d. Piano music
Performance Practice Layout Design
Evident (5)
Not so evident (3)
Not evident (1)
The audience is considered in
stage design.
The event goal reflects the theme
and the stage design which
amplify both.
The stage design tells the event
story or mission.
Good visual composition.
19
4. The following statements best describe about impressionism EXCEPT one.
a. The sounds of different chords overlapped lightly with each other to produce
new subtle musical colors
b. The combination of external sounds cannot be duplicated as each happens by
chance.
c. Chords did not have a definite order and a sense of clear resolution
d. Sublime moods and melodic suggestions replaced highly expressive and
e. program music, or music that contained visual imagery.
Part II. Guess Where?
Numbers 6-10
Direction: Analyze the performance practice of 20th-century composers. Classify the
items in the box according to which it belongs. Write your answers in the table
below.
The compositional style gives emphasis on timbre and rhythm characterizes it.
The music was intended for a high social class of listening audience.
John Cage’s contribution was challenged the very idea of music by
manipulating musical instruments to achieve new sounds. He experimented
with what came to be known as "chance music.
Maurice Ravel was very attentive to the classical norms of musical structure
and the compositional craftsmanship.
Claude Debussy’s works featured increasingly in concert programs at home
and overseas.
SETTING COMPOSITION ROLE OF
COMPOSERS/PERFORMERS AUDIENCE
6. 7. 8.
9.
10.
20
Part III Matching Type
Direction: Match the following music composers in 20thcentury in column A to the
musical styles in column B. Write the letters of your choice on the space provided.
__________11. John Cage a. Impressionism
__________12. Edgarde Varese b. Expressionism
__________13. Claude Debussy c. Chance Music
__________14. Maurice Ravel d. Electronic Music
__________15. Arnold Schoenberg e. Neo-classicism Music
Additional Activities
Activity 8: “Do-it-yourself Journal”
Direction: Using a scrapbook, old magazine, or old notebook, make a creative
journal of two-day music activities. Write something or have a picture of the event
and paste it. You can also write something that you read from any books or articles
from the internet related to the topic in 20th-century music.
Things to accomplish in your journal:
a. Picture of at least one 20th century music composer
b. Articles related to 20th century Music based on your chosen composer and
his music style.
c. Lessons learned inside or outside the classroom discussion
d. Pictures of music activity done inside or outside the classroom
21
Answer Key
Pre-assessment/Post-assessment
1.b 2.c
3.d
4.a
5.b
6. Claude Debussy’s works featured increasingly in concert programs at home and overseas.
7. The musical style gives emphasis on timbre and rhythm characterizes it.
8. John Cage’s contribution was challenged the very idea of music by manipulating musical
instruments to achieve new sounds. He experimented with what came to be known as "chance music.
9. Maurice Ravel was very attentive to the classical norms of musical structure and the compositional
craftsmanship.
10. The music intended for a high social class of listening audience 11.c
12.d
13.a
14.a
15.b
Pre-assessment/Post-assessment
1. Claude Debussy
2. Maurice Ravel
3. Arnold Schoenberg
4. John Cage
5. Edgard Varese
Summary
The music of the 20th-century music had a distinct style that reflected a move away from
the conventions of earlier classical music. The new styles were: Impressionism,
Expressionism, Electronic Music, and, Chance Music
Some best-known composers made their distinctive mark on the contemporary
classical music styles that developed. One of the primary exponents of impressionism was
Claude Debussy. 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. Maurice Ravel, who was very attentive to the classical norms of musical
structure and the compositional craftsmanship.
In expressionism, the primary exponent of, with the use of the twelve-tone scale and
atonality, was Arnold Schoenberg.
In electronic music, the musical compositions of Edgard Varese characterized by an
emphasis on timbre and rhythm or organized sound. At the same time, John Cage
experimented with what came to be known as “chance music.
22
References
(HORIZONS Grade 10 Learners Material) DepEd Central Office (HORIZONS Grade 10 Teaching Guide) DepEd Cenetral Office https://www.youtube.com/watch?v=CvFH_6DNRCY – CLAUDE DEBUSSY: CLAIR
DE LUNE
https://www.youtube.com/watch?v=jGOZ7V40PiQ- Ravel: Prelude
https://www.youtube.com/watch?v=FkF5HY3QLTk - Arnold Schoenberg: Pierrot Lunaire https://www.youtube.com/watch?v=gXOIkT1-QWY- John Cage "Water walk"
23
For inquiries or feedback, please write or call: Department of Education – SOCCSKSARGEN Learning Resource Management System (LRMS)
Regional Center, Brgy. Carpenter Hill, City of Koronadal
Telefax No.: (083) 2288825/ (083) 2281893
Email Address: [email protected]
DISCLAIMER
This Self-learning Module (SLM) was developed by DepEd SOCCSKSARGEN with the
primary objective of preparing for and addressing the new normal. Contents of this
module were based on DepEd’s Most Essential Learning Competencies (MELC). This
is a supplementary material to be used by all learners of Region XII in all public
schools beginning SY 2020-2021. The process of LR development was observed in
the production of this module. This is version 1.0. We highly encourage feedback,
comments, and recommendations.
