Republic of the Philippines

Department of Education
MIMAROPA Region
Schools Division of Calapan City
Oriental Mindoro National High School
J.P Rizal St., San Vicente East, Calapan City

MAPEH 10
MUSIC
A. For the Facilitator
Ang manual na ito ay ginawa para sa patuloy na pagkatuto ng mga mag aaral kahit sila ay nasa tahanan sa
pakikibahagi at paggabay ng magulang o sinumang nakakatanda na maaring tumulong sa kanila upang mabasa
at maunawaan nila ng maayos ang nilalaman nito. Masusing paggabay at tulong ng inyong mga anak ay kailangan
upang masagutan ng maayos at matagumpay ang manual na ito. Laging ipaalala sa kanila na kailangang matapos
ang manual na ito sa takdang panahon na ibibigay sa ng guro sa kanila. Huwag kakalimutang sulatan ang reflective
diary.
B. For the Learner
Basahin ng maayos ang mga direksyon na nakasulat upang hindi magkamali sa mga babasahin at sasagutan sa
manual na ito. Panatilihing malinis at maayos, huwag susulatan ang mga pahinang hindi dapat sulatan o lagyan
ng anumang sulat o marka. Tapusin sa takdang panahon na ibinigay ng guro ang pagbabasa at pagsasagot nito.
Huwag kakalimutang sulatan and reflective diary.

Ano ang reflective diary?

This will provide teachers with information about the learning situation in every

household. This will also serve as one of the references/basis for appropriate

intervention or follow-up for learners with learning difficulties

TABLE OF CONTENTS

I. Reading Materials

II. Learning Activity Sheets

III. Assessments

IV. Reflective Diary Template

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LESSON I - Music of the 20th Century
The 20th (twentieth) century was a century that began on January 1, 1901 and ended on December 31, 2000. It was the
tenth and final century of the 2nd millennium.

In the history of music and arts, every period has its own characteristic style which is associated with the society from
which it originated. The period of the 20th century perceived the two world wars, and had been a period of many changes:
advancement in technology, a period of many inventions such as telephone, television, electronic light, computers,
cassette tapes, synthesizers, CD players, and many others. Because of these inventions, experimentations were made in
the field of music and arts. Many composers, struggling to build any further on the music of generations gone by, reacted
against established musical trends, creating exciting new forms and styles. .Among the musical styles that developed
during this period include impressionism, expressionism, electronic and chance.

Musical Styles:

 Impressionism
 made use of the whole-tone scale. In it, reality is often suggested, rather than depicted. It created a mood
rather than a definite picture. It had a translucent and hazy texture; lacking a dominant-tonic
relationship. It made use of overlapping chords, resulting in a non-traditional harmonic order and
resolution.
 major composers : Claude Debussy and Maurice Ravel
 compositions
 Clair de Lune
Many of technical applications such as arpeggio, pedal-point, staccato, tremolo and glissando are widely used to describe
the variable movements of water in this composition, from small ripples to raising surges or giant cascade. Dissonances
(sevenths, ninths and elevenths), pentatonic scale and whole-tone scale are also freely used, as well as parallel movements
of perfect intervals (fourths, fifths and octaves) and polytonality. All of these new compositional techniques, which were
not commonly used in the previous periods, effectively evoke impressionistic images through various sonorities.

 Expressionism
 revealed the composer’s mind, instead of presenting an impression of the environment. It used atonality
and the twelve- tone scale, lacking stable and conventional harmonies. It served as a medium for
expressing strong emotions, such as anxiety, rage, and alienation.
 composer: Arnold Schoenberg
 composition:
 Pierrot Lunaire
 https://www.youtube.com/watch?v=u6LyYdSQQAQ
It uses a variety of classical forms and techniques, including canon, fugue, rondo, passacaglia and free counterpoint.
The poetry is a German version of a rondeau of the old French type with a double refrain. Each poem consists of three
stanzas of 4 + 4 + 5 lines, with line 1 a Refrain (A) repeated as line 7 and line 13, and line 2 a second Refrain (B) repeated
for line 8.

The atonal, expressionistic settings of the text, with their echoes of German cabaret, bring the poems vividly to life.
Sprechgesang or Sprechstimme, literally “speech-singing” in German, is a style in which the vocalist uses the specified
rhythms and pitches, but does not sustain the pitches, allowing them to drop or rise, in the manner of speech.
 Electronic music
 is produced by electronic devices recorded on magnetic tape and played through amplifiers. These
electronic devices are capable of producing tones of any intensity desired that exceed the normal auditory
range of the human ear. The tape may be played at half speed, double speed, forward, backward or they
even slice the tape and rearrange the sound. The term for this kind of music that uses a tape recorder
is “musique concrete”.
 composer: Edgard Varese
 composition”:
 Poème Électronique
 https://www.youtube.com/watch?v=iqxMgC7C3po

This particular piece was an example of what Varese referred to as "organized sound", which expanded the composer's
potential for sonic expression beyond traditional classical norms, be it through the use of rhythm, tone color, silence and
layering via magnetic tape. Within his work, there are "no chords, no harmonies, no imitations of instruments, and no
cliches of composition that have been done a thousand times over." Instead of strings and brass, there are sirens, human
cries, explosions, and electronic squelches.
 Chance Music
 It is also known as aleatory music that refers to the style in which the piece 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. As such, the combination of external sounds cannot be duplicated as each happens by chance.
 composer: John Cage
 composition:
 4’33” (four minutes, thirty-three seconds)
 https://www.youtube.com/watch?v=gN2zcLBr_VM
It is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present
for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as
is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's
challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic

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 both in musicology and the broader aesthetics of art and performance.

Characteristics of 20th Century Music:

Rhythm
 Multimeter - changing meters or the use of different meter signatures in a composition
 Polyrhythms - 2 or more contrasting, independent rhythms used at the
same time
 complex rhythms

 Ostinato - the same rhythmic pattern repeated throughout the piece

Timbre
 all sounds are possible, even no sounds
 instrument played in extreme registers or in unusual ways
 performing groups during this era include chamber orchestras; instrumental ensembles; orchestras; choral
groups; computer generated instruments (including synthesizers); and mixed media (taped sounds with
traditional instruments).
 the prominence of percussion instruments, and at times the use of noisemakers
 composers found inspiration from other music genres as well as other continents (i.e. Asia-Gamelan)

Dynamics
 convey emotion of a character - forte (loud) to convey agression, piano (soft) to convey timidness, crescendos
(gradually getting loud) to build tension, dolcissimo (as sweetly as possible
Melody
 melodies can be long and abstract or reduced to small gesture
 melodies are often not very song-like
 Sprechstimme– a German word that refers to a manner of performing a song which sounds half-sung and
half-spoken.
 12-tone system (twelve tones are used in the same order over and over again)
 Whole-tone scale – composed of six different pitches, each a whole tone from each nearest neighbor

Harmony
 intricate harmonies
 extreme dissonance
 new chord structure
 tonality
 Alternatives to the traditional tonal system
 Bitonality - use of 2 keys at the same time
 Polytonality - use of 2 or more keys at the same time
 Atonality - absence of a tonality or key
Texture
 Contrapuntal textures – also called counterpoint, contains multiple melodies that are equally important
 Homophonic textures – having one voice, a melody, which stands out from background accompaniment
 Polyphonic textures are often used (twelve-tone music often uses homophonic texture)
 music such as impressionism or aleatory music experiment with new textures using layers of different sounds

Form
 musical forms from previous musical periods are used, often in experimental ways
 composers experiment with “aleatoric” music
 form and structure are determined by chance
 form can be controlled to an almost infinite degree classical sonata form

LESSON II - What is Performance Practice in music?

Performance practice, is a term adapted from the German Aufführungspraxis but in America the usage ‘performance
practice’ is generally preferred. As applied to Western music, it involves all aspects of the way in which music is and has
been performed, and its study is of particular importance to the modern performer concerned with historically informed
performance. It is simply defined also as a field within musicology that is primarily concerned with how music is or was
performed

Music of the Early 20th Century

In the early part of the 20th century, many composers wrote music which was an extension of 19th-century Romantic
music, and traditional instrumental groupings such as the orchestra and string quartet remained the most typical -
traditional forms such as the symphony and concerto remained in use. Most music was characteristically late Romantic
in style. The composers were influenced by composers and music forms of the past, but they created their own unique
sound as well as dramatic innovations in musical forms and styles

The different styles that emerged from the music of the previous century influenced composers to follow new trends,
sometimes as a reaction to that music, sometimes as an extension of it, and both trends co-existed well into the 20th
century. Certain compositional techniques and rules were either altered or rejected. This time, composers had more
creative freedom - musical themes that weren’t widely used in past periods were given a voice. The established

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performance situation has moved from the formal, ritualized event of the past to a more informal and spontaneous type
of gathering

Impressionism - Claude Debussy

He was born on August 22nd, 1862, in Saint-Germain-en-Laye, France and was the eldest of five children. He became a
prominent musician who was known as the founder of Impressionist music and was one of the most influential/highly
regarded composers in the world during the late 19th and early 20th centuries. He developed a highly original system of
harmony and musical structure that expressed, in many respects, the ideals to which the Impressionist and Symbolist
painters and writers of his time aspired. Most of his compositions are for orchestra or for piano. He also wrote some
songs, chamber music and one opera.

Expressionism - Arnold Schoenberg

He was born in Vienna on September 13, 1874, into a family that was not particularly musicale was an Austrian-born
composer and later American, music theorist, teacher, writer, and painter and is widely considered one of the most
influential composers of the 20th century.

He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School.
His significant compositions in the repertory of modern art music extend over a period of more than 50 years which is
divided into three periods: late Romanticism, free atonality and twelve-tone and tonal works. He also developed the
twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the
chromatic scale. he was the first modern composer to embrace ways of developing motifs without resorting to the
dominance of a centralized melodic idea

LESSON III - Music of the Mid-part of the 20th Century

The 20th century was a time when musicians and other experts made important contributions to the evolution of musical
compositions and performances. The middle 20th century particularly featured great innovations, such as:

- there was a large increase in the variety of music

-composers and songwriters explored new forms and sounds that challenged the previously accepted rules of
music of earlier periods

- existing technologies were improved upon and new inventions were made, such as audio tapes and computers
- technological advancements in radio, TV, and recording enabled the public to listen to music in the comforts of
their own home

- composers used new techniques in composing and technology allowed these works to reach more people, the
public grew interested in new music

- composers and musicians used new electric, electronic, and digital instruments and musical devices
Also, thee development of powerful, loud guitar amplifiers and sound reinforcement systems in the 1960s and 1970s
permitted bands to hold large concerts where even those with the least expensive tickets could hear the show. Faster
modes of transportation such as jet flight allowed musicians and fans to travel more widely to perform or hear shows,
which increased the spread of musical styles. Therefore, any artists have attempted to create performance situations that
actively involve as participants all those in attendance. The roles of composer, performer, and listener are consolidated
in a single participant, who in interaction with others arrives at an art work, which all have invented, realized, and
perceived, and which can never take place in exactly the same way again. Inventiveness and taking risk in introducing
methods, sounds and materials became a feature of this time where musicians teamed with non-musicians like engineers
and technicians to recreate music for changing times

Electronic Music - Edgard Varese

He was a French-born composer who spent the greater part of his career in the United States and was greatly impressed
by Medieval and Renaissance music. In his career, he founded and conducted several choirs devoted to this repertoire. His
music emphasizes timbre and rhythm. He conceived the elements of his music in terms of "sound-masses", likening their
organization to the natural phenomenon of crystallization Here are some of his major musical innovations:

- he coined the term "organized sound" in reference to his own musical aesthetic
- his conception of music reflected his vision of "sound as living matter" and of "musical space as open rather
than bounded"

- he thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and
he posed the question, "what is music but organized noises?"

- he saw potential in using electronic media for sound production, and his use of new instruments and electronic
resources led to his being known as the "Father of Electronic Music" while Henry Miller described him as "The
stratospheric Colossus of Sound"

He composed the piece ‘Poème électronique ‘, an 8-minute piece of electronic music written for the Philips Pavilion at the
1958 Brussels World’s Fair, with the intention of creating a liberation between sounds and as a result uses noises not
usually considered "musical" throughout the piece. His contributions to music are his widening of the material of music
to include noise as well as "musical" sound, his development of new ways of organizing musical compositions, and writing
of music to be heard as a part of an environment. All of these revolutionary ideas proved to be of great importance to the
composers of the so-called avant-garde of the 1950s and 1960s.

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Chance Music - John Cage

He was an American composer, music theorist, artist, and philosopher and was a pioneer of indeterminacy in music,
electroacoustic music, and non-standard use of musical instruments. He introduced the prepared piano (a piano with its
sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works
and a few concert pieces. He is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of
deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the
title.

The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the
sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions
about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader
aesthetics of art and performance. All of his music since 1951 was composed using chance procedures, most commonly
using the I Ching, as well as a type of divination called cleromancy, which uses apparently random numbers.

LESSON IV – Music and Art Forms (Theater and Visual Arts)

It is undeniable that music and art are related with each other and this became clear in the previous periods and even so
during the 20th century. There are some composers whose works are influenced by some visual artists through paintings.
One of these composers was Claude Debussy who was recognized as a pioneer of musical style impressionism.
Impressionism is a philosophical and aesthetic term borrowed from late 19th-century French painting after Monet's
Impression, Sunrise. Composers were labeled impressionists by analogy to the impressionist painters who use starkly
contrasting colors, effect of light on an object, blurry foreground and background, flattening perspective, etc. to make
the observer focus his attention on the overall impression. Monet’s paintings are characterized by distinct, thin brush
strokes, soft edges, and changing light. Likewise, Debussy’s music blurs the edges and creates new harmonies in ways
that give a dreamy characteristic to his music which can be heard in some of his major works such are Clair de Lune,
Prelude to the Afternoon of a Faun and La Mer. Another composer who was also influenced by visual art painting was
Arnold Schoenberg who was associated with the art movement expressionism.

Edgard Varese, on the other hand, had closer affiliations throughout his life with painters and poets than with composers,
and his explanations or descriptions of his music resembled those of visual artists describing their own work. Avant-
garde visual artists of the 20th century was testing the dimensional limits of their arts by experimenting with perspective
and concepts of space and time. In accordance with these artists, Varèse tested the dimensional limits of his music
through experimentation with the concept of musical space and the projection of sounds into such space. While Duchamp
rationalized color, the most intuitive aspect in painting, and dismissed or changed the function or appearance of everyday
objects, Varèse turned his music into a three-dimensional object moving in space. In Intégrales he removed the intuitive
progress of melody and harmony and substituted blocks of static sounds changing at very slow harmonic speeds. Rapid
dynamic changes and continuous rhythmic variety became responsible for the movement and direction within the music.
He changed the functions and the hierarchy of the elements of music within Intégrales, thereby pushing the limits of his
art.

Unlike the previous composers mentioned above, John Cage is different. In the case of John Cage, towards the end of his
life, he turned to visual art, using the same methods of random composition for his drawings and prints he used for his
music. The results are strangely serene.

In regards to music and theater art, although theater art does not have a direct influence on music, the two are still
related. Music and theater combined forms musical theater- a form of theatrical performance that combines songs,
spoken dialogue, acting and dance. Although it overlaps with other theatrical forms like opera and dance, it may be
distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements
as the closest route to integrating art and real lLESSON V - Music and Art Form (Literary Art) and Media (Radio and
Television)

The early part of the 20th century features three important artistic attitudes. They are Impressionism and the related
literary attitude of Symbolism, Primitivism, and Expressionism. All three ideas are borrowed from literature and the visual
arts, especially painting. Each of these three attitudes can be seen as extensions of some aspect of Romanticism, and
they thus form an appropriate bridge to the 20th century.

• Impressionism and Symbolism sought to avoid explicit "meaning" in painting and poetry. Painters explored the
idea that the ways that external objects "really" look depends upon conditions of light and weather, plus the state
of mind of the observer. Poets sought to write poems rich in ambiguous imagery. Composers, most notably Claude
Debussy, sought to translate these ideals into musical expression. Impressionism is principally a French
phenomenon, although Spanish, Italian, and American composers contributed important examples.

• Primitivism may have a different meaning in the visual arts from that in music. Primitive paintings may be
those created by artists outside academic circles. Their lack of educated technique often resulted in an artistic
vision or expression that was of great originality and interest. Another use of the term "Primitivism" in art refers
to the choice of "primitive" subjects, or the deliberate adoption of a style similar to that of unschooled artists.
Primitivism in music rarely suggests lack of conventional technique. Rather, it seeks to express ideas or images
related to antiquity or to some "primitive" culture or attitude. Primitivism can also be understood as a late
development of 19th century nationalism.

• Expressionism extends to the point of abnormal psychology the fascination that many Romantic composers
felt about heightened emotional states. Essentially a phenomenon of German and Northern European culture, this
artistic movement owes much to the studies of the unconscious mind undertaken at this time by the Viennese
physician Sigmund Freud.

Another thing is when we associate music with literary art form in the 20th century period, it appears that modernism in
music describes how they relate with each other. In music, modernism is an aesthetic stance underlying the period of
change and development in musical language that occurred around the turn of the 20th century, a period of diverse
reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and
approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close

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 relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is
"innovation" (Metzer 2009, 3). Its leading feature is a "linguistic plurality", which is to say that no one music genre ever
assumed a dominant position (Morgan 1984, 443).

Eero Tarasti defines musical modernism directly in terms of "the dissolution of the traditional tonality and transformation
of the very foundations of tonal language, searching for new models in atonalism, polytonalism or other forms of
altered tonality", which took place around the turn of the century (Tarasti 1979, 272). Examples include the celebration
of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move
away from metrical rhythm (Campbell 2010, 37).

The same goes for the media, when it comes to 20th century music, the media did not lose its usefulness in developing
music since this was the beginning of technological advancement. Modern technological advances (especially mass media)
have caused rapid changes in musical style, and expanded our knowledge of music from other cultures, further
accelerating changes in musical taste while providing a wider range of music to listeners, composers and performers.
Unquestionably, the major new influence on 20th-century music performance was electronics. Broadcasting and
recording widened even further the potential audience for concert artists, at the same time as they tended to decrease
the physical necessity for large new public performance arenas. Radio helped spread the culture of classical music. The
majority of music programming throughout the early 1920s was of an artistic nature. Individuals of the upper and middle
classes were impacted by radio, because they now heard music at home that they might have been able to hear only by
going to a concert. The impact on the lower socioeconomic class was dramatic. These listeners now had free access to
classical music on a daily basis. Furthermore, the music available through broadcasting did not require purchasing new
records each week to hear the latest performers. Of course, the availability of classical music through the radio does not
prove that every individual of the lower socioeconomic class listened to it. However, the popularity and demand for radio
indicates that it was not only a fad of the wealthiest. People of all classes could afford radios and did purchase them. The
radio, thereby, enabled all people to listen to similar music.

Television played a huge role in distributing music to the public. Music videos soon began to be developed and the public
loved them. It became a new medium for musicians to entertain their audience. TV as a medium progressed the music
industry.

The electronic media continue to improve so that anyone may be able to select chamber, concert, opera, and other new
types of performance from anywhere in the world, experiencing them through nearly lifelike reproduction facilities. Other
new compositional and perform ance possibilities also emerged—for example, film, tape, stereophonism, and
computers.

The development of relatively inexpensive reproduction of music via a succession of formats including vinyl records,
compact cassettes, compact discs (introduced in 1983) and, by the mid-1990s, digital audio recordings, and the
transmission or broadcast of audio recordings of music performances on radio, of video recordings or live performances on
television, and by the 1990s, of audio and video recordings via the Internet, using file sharing of digital audio recordings,
gave individuals from a wide range of socioeconomic classes access to a diverse selection of high-quality music
performances by artists from around the world.
Today, new musical ideas and styles can be introduced almost instantly, allowing large-scale trends to change in months or
years, instead of decades. Computer-based technologies, synthesized sounds, and new recording techniques continually
add new dimensions to today's music. The commercial music industry, which began in the 1930s, is now the dominant
musical force across the world, leaving today's art-musicians scrambling to preserve an audience.

LESSON VI - SUMMARY

The early half of the 20th century gave rise to new musical styles, which were not quite as extreme as the electronic,
chance, and minimalist styles that arose later.

These new styles were impressionism, expressionism and others.

Impressionism made use of the whole-tone scale. It also applied suggested, rather than depicted, reality. It created a
mood rather than a definite picture. It had a translucent and hazy texture; lacking a dominant-tonic relationship. It made
use of overlapping chords, with 4th, 5th, octaves, and 9th intervals, resulting in a non-traditional harmonic order and
resolution.

Expressionism revealed the composer’s mind, instead of presenting an impression of the environment. It used atonality
and the twelve- tone scale, lacking stable and conventional harmonies. It served as a medium for expressing strong
emotions, such as anxiety, rage, and alienation.

The new musical styles created by 20th century classical composers were truly unique and innovative. They experimented
with the elements of rhythm, melody, harmony, tempo, and timbre in daring ways never attempted before. Some even
made use of electronic devices such as synthesizers, tape recorders, amplifiers, and the like to introduce and enhance
sounds beyond those available with traditional instruments.

Among the resulting new styles were electronic music and chance music. These expanded the concept of music far beyond
the conventions of earlier periods, and challenged both the new composers and the listening public.

As the 20th century progressed, so did the innovations in musical styles as seen in the works of composers. From France,
Edgard Varese’s use of new instruments and electronic resources led to his being known as the “Father of Electronic
Music” and a description of him as “The Stratospheric Colossus of Sound.”

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 LEARNER’S ACTIVITY SHEET
Name: ___________________________________________________ Date: __________________________
Grade Level and Section:

Activity 1: Yay or Nay?

In this activity, your prior knowledge about the topic will be assessed.
Directions: Reach each statement carefully. Write TRUE if the statement is correct and FALSE if the
statement is incorrect.
1. Advancement in technology led to experimentations in the use of elements and principles of music in most
of the compositions.
2. Atonality is a manner of performing a song which sounds half-sung and half-spoken.
3. Schoenberg used whole tone scale is the system in his compositions.
4. Impressionistic music projects a hazy and dreamlike quality, and nature is frequently the subject.
5. “Musique concrete” is a kind of music that uses a tape recorder.
6. Combination of external sounds may be duplicated as each happens by chance in electronic music.
7. Clair de Lune is an example of impressionistic music that uses whole-tone scale.
8. The use of twelve-tone scale in different forms contributed to expression of intense emotions, such as anxiety and
aggression in a composition.
9. During the performance of 4’33” (four minutes, thirty-three seconds), total silence is achieved.
10. Sprechstimme is evident in the performance of Pierrot Lunaire

Activity 2 In or Out
Directions: Read each statement carefully. Put a √ mark if the statement is true and an X mark if the statement is
false.
1. In creating one’s own music, it is necessary to establish a theme first.
2. Any tangible material could be used to create chance music.
3. A composition can be called electronic music if it is accompanied by any musical instrument.
4. The sound created from objects coming from the surrounding is still the same for the second time.

5. When a person uses an amplifier in his musical instrument, the sound that comes out can be classified as
electronic music.

ACTIVITY 3 – MUSICAL BIOGRAPHY

Directions: Write the composer’s name on the first line, his musical style on the second line and his performance
practice on the remaining lines.

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ACTIVITY 4
Directions: Write in the table below what you learned in the lesson today.

Topic: Connection of 20th century music with art forms (literary art) and media

(television and radio) during the same time period.

What I Learned

B. Q and A
Fill the scroll with your idea. What is the connection of 20 th century music with literary art and media during the same
time period?

Satisfactory (6-5) Needs

Criteria Excellent (10-9) Good (8-7)
Improvement (4-1)
Clarity and Sentences and 2-3 sentences were 4-5 sentences were More than 5
Organization of ideas details were placed not logically arranged not logically arranged, sentences were
in a logical order and according to the sentence structures not in order,
the way they were appropriate were not appropriate sentence
presented effectively scaffolding of ideas to and contain 4-5 structures were
keeps the interest of support the accuracy errors. not appropriate
the readers. of concepts and and contain more
Sentence structures information than 5 errors

were appropriate and

free fro errors

Coherency Relevant, telling, Supporting details Supporting details Supporting details

quality details gave and information were and information were and information
the reader important relevant, but one key relevant, but 3 or were typically
information that goes issue or portion of the more key issues or unclear or not
beyond the obvious or storyline or sentence portion of the related to the
predictable was unsupported storyline or sentences topic.
was unsupported
Correct Grammar Writers made no errors Writer made 1-2 Writer makes 3-4 Writer made 5+
in grammar or spelling errors in grammar or errors in grammar or errors in
that distract the reader spelling that distract spelling that distract grammar or
from the the reader from the the reader from the spelling that
content content content distract the
reader from
the content.
Total