Eulogio "Amang" Rodriguez Institute of Science and Technology

Republic of the Philippines
EULOGIO “AMANG” RODRIGUEZ

INSTITUTE OF SCIENCE AND TECHNOLOGY
Nagtahan, Sampaloc, Manila 1008
I. Humanities
Britannica, T. (2021) precisely defined humanities as those branches of
knowledge that concern themselves with human beings and their culture or with analytic
and critical methods of inquiry derived from an appreciation of human values and of the
unique ability of the human spirit to express itself. The knowingly website added that as a
group of educational disciplines, the humanities are distinguished in content and method
from the physical and biological sciences and, somewhat less decisively, from the social
sciences.
A. Definition and Nature of Humanities
According to Malonzo, A. M. (2019), the definition of Humanities is derived

from latin word “Humanus” which showcasing how every individual in this
loving peaceful earth artistically expressed their fluency and eloquence in
language, literature, historical events and arts, and philosophy. It has been
inherited by our ancestors, and evolved throughout centuries that depends on
the environment, culture and tradition of a society.On the other hand,
Britannica, T. (2021) precisely added the information, which the website point
out thatthe modern conception of the humanities has its origin in the Classical
Greek paideia, a course of general education dating from the Sophists in the
mid-5th century BCE, which prepared young men for active citizenship in the
polis, or city-state; and in Cicero’s humanitas (literally, “human nature”), a
program of training proper for orators, first set forth in De oratore (Of the
Orator) in 55 BCE. In the early Middle Ages the Church Fathers, including St.
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Augustine, himself a rhetorician, adapted paideia and humanitas—or the

bonae (“good”), or liberales (“liberal”), arts, as they were also called—to a
program of basic Christian education; mathematics, linguistic and philological
studies, and some history, philosophy, and science were included.
A. Significance of Studying Humanities

It has a significant in our life why is it important to study and know the
concept of Humanities because to understand ourselves how humans live in a
society, vesting its culture and tradition, including the history itself. It
introduces us new races, gender, ethnicity, including their language, culture
and tradition; to mesmerize and discover beautiful and breathtakingly tourist;
studying, fostering and cherishing Histories and Philosophy. Malonzo, A. M.
(2014) added that Humanities also helps us to effectively conceptualize a
global perspective by studying cultures and tradition by artworks throughout
the world. It supports and strengthens local arts community by learning to
appraise the value of creativity. It helps us address the challenges we face
together in our families, our communities, and our nation. It emphasizes the
dignity and worthiness of every human being.
B. University and Importance of Art

Humans born with the ability of creativity and imaginative in any form of arts.
As a person who possess and fondly in expressing myself in arts, could not
imagine how devastatingly and depressive the colorless world; a humanity
without self-expressionism through art. It could affect every individual: it
creates meaningless of life, without arts would not exist the culture and
tradition of every nation.Besancon, M. (2018) point out why art is important
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because it is the only way to express a feeling or thought is to immerse into

the process of bringing something into being. For others, mental clarity on a
particular situation only comes about after indulging in something artistic.
Also, art can help you to discover and understand things about yourself that
you never recognized before. Including art in your daily life can help you
become better at something that might not even be considered remotely
artistic. On the contrary of Burt, O. (2020),the importance of the arts is
constantly being questioned, disregarded and taken for granted in many ways,
starting with a lack of funding and education, and fostering the Arts that
should also exercise by every individual. It is too alarming that most of people
disregard arts because it can also disregard the culture,tradition and history,
even the self creative expression of one’s ideas and imaginations.
C. Related Views About Art

Based on the conducted study of a website (wordpress.com) entitled “How Do
PeopleView Art andWhat Influences These Views?” (n.d.), the meaning of art
is a controversial one with diverse views about it. Art is accessed and seen
differently in the world because different people have different views of art
and consider different things as art, and also value and appreciate art
differently. Art is generally seen as something beautiful when mentioned.
According to an online dictionary, ‘art is the quality, production, expression,
or realm, according to aesthetic principles, of what is beautiful, appealing, or
of more than ordinary significance’ (Dictionary.com, 2010). Something
appealing is expected when art is mentioned. There are different aspects of art
and art involves so many different things. The online dictionary also explains
art in different aspects, stating that ‘in the class of object subject to aesthetic
criteria; a museum of art; a field, genre, or category of art: Dance is an art,
Fine art collectively, any fields using the skills of techniques of art:
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advertising art; industrial art, (In printed matter) illustrative or demonstrative

materials, skill in conducting any human activity and a branch of learning or
university’ (Dictionary.com, 2010). Art has been transformed to so many
different things in the world today with a lot of stages like the recent art is
known as modern art. Art is now a field of study with different modules,
making it very important with massive demand for it.
D. Division of Art
In the website of Wikipedia (n.d.), published article which has an entitlement
of ‘The Arts’ tells it has been classified as seven: painting, architecture,
sculpture, literature, music, performing and cinema. Some view literature,
painting, sculpture, and music as the main four arts, of which the others are
derivative; drama is literature with acting, dance is music expressed through
motion, and song is music with literature and voice.Film is sometimes called
the "eighth" and comics the "ninth art". Britannica, T. (2018) said that the arts,
also called fine arts, modes of expression that use skill or imagination in the
creation of aesthetic objects, environments, or experiences that can be shared
with others.
E. Art Theories
Nishiyama, C. (n.d.) said that there are 4 main theories for judging whether a
piece of art asucceed: Imitationalism, Formalism, Instrumentalism, and
Emotionalism.Nishiyama explains each theories below:
(a) Imitationalism –“Art is good when it imitates reality.”
An Imitationalist artist focuses on mimicking and representing
real life. In a successful piece of art, the textures, light, shadows,
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human proportions, and perspective are all highly realistic, as if you

could reach out and touch them.
(b) Formalism – “Art is good when it masters the artistic elements and
principles.”
A Formalist artist focuses on an artwork’s form—the way its
made and what it looks like. In a successful piece of art, the visual
features are most important: line quality, color, composition, and other
artistic elements and principles.
(c) Instrumentalism – “Art is good when it communicates a message”
An Instrumentalist artist focuses on context and message. A
successful piece of art is an instrument to persuade the audience or
provide commentary. It is often political, social, moral, or thought-
provoking.
(d) Emotionalism – “Art is good when it evokes an emotional response.”
An Emotionalist artist focuses on the expression of emotion. A
successful piece of art communicates an emotion, but more
importantly, it pulls out an emotional reaction from the viewer.
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II. Art Appreciation
There are reason why Art Appreciation added to the college units of students, which
explained in the published module of ICCT Colleges Foundation Inc. (n.d.)where the main
reason is to develops students' ability to appreciate, analyze and critique works of art.
Through interdisciplinary and multimodal approaches, this course equips students with a
broad knowledge of the practical, historical, philosophical, and social relevance of the arts in
order to hone students‟ ability to articulate their understanding of the arts. The course also
develops students’ competency in researching and curating art as well as conceptualizing,
mounting, and evaluating art productions. The course aims to develop students‟ genuine
appreciation for Philippine arts by providing them opportunities to explore the diversity and
richness and their rootedness in Filipino culture.
A. Three Languages of the Arts

The three (3) languages of the arts consists primary, secondary and third
language which solely discussed by Sampang et. al.; Read, H. (n.d.).
(a) Primary Language - Built into us as a part of our human heritage. This
is the language of arts to which we are all heirs and can respond, given
the chance and some reassurance of its validity.According to Read, H.
(n.d.), the primary language of the art consists of the “cultivation of
the arts in an education of the sensibilities” he added, “when there is
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no will to creation, the death instinct takes over and wills endless,
gratuitous destruction.”
(b) Secondary Language - It is made up of the conventions, the traditions
and styles, which have accumulated over the ages. The greater the
number of works of art we come to know intimately, the larger our
vocabulary of these conventions.
(c) Third Language –It is the language in which this and other books on
the arts are written. It deals with the ability to talk about the arts
meaningfully and expressively.
B. The Work of the Artist

According to the published module of ICCT Colleges Foundation Inc. (n.d.)
an artist defines a person who performs any of the creative arts. This captures
all forms of art. For an example, a person who paints can be referred to as an
artist. In the modern world, the term artist is also used for musicians as well.
Here it is important to highlight that the term artist is not only attributed for
those who create art as an occupation, but also for those who are skilled in a
particular activity such as drawing, designing, composing, etc. The specialty
of an artist is that he is able to create art for the sake of art itself without
needing any ulterior motives. Some artists create their works of art for the
satisfaction of the society in which they live. In this case, they have to confine
to the societal demands and limitations. It is believed that through art the artist
can create a change in society. This is because art appeals to all senses of
people.
In conclusion, every Artists in this world artistically expressing themselves

(vision, ideal, portrayal, and etc.) through their masterpiece artworks. Every
produced artwork has a story that could be affiliated in their life experience
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that either a positive event or a traumatic incident which resulting a out of this
world artwork with meaning and symbolism. On the other hand, most of
Artists use political issue as an inspiration to create a meaningful artwork and
using that artwork as an instrument to open everyone’s eyes and change its
perspective to give political commentary. Meanwhile, the result of an artwork
can affect depending on the mental well being of an Artist or its mood; It can
be a delightful result which has an inspiration about his mood and ideal, or
can be depressive result due to its unstable psychological-being. However,
despite of those Factors: positive and negative; they effectively and
beautifully expressed themselves in the medium of artwork, even there’s a
hindrance.
C. Source of Subject of Art

This sectionsolely discussed in the Art Appreciation module of ICCT Colleges
Foundation Inc. (n.d.). In the module states that there are two types of subject:
(a) Representational Art - These types of art have subjects that refer to
objects or events occurring in the real world. It is also known as
“figurative art”.A painting or sculpture that is clearly recognizable for
what it claims to be. For examples: Mona Lisa (1503) by Leonardo da
Vinci; Boy Leading a Horse (1905) by Pablo Picasso; Palay Maiden
(1920) by Fernando Amorsolo.
(b) Non-representational Art - Art forms that do not make reference to the
real world, whether it is a person, Place, thing, or even a particular
event.It is stripped down only to visual elements to translate a
particular emotion and Concept.Best example of a non-
representational art is an abstract art.
The visual focus or the image that may be extracted from examining the
artwork; the “what”. Six (6) main kinds of subject:
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(a) Still Life – a collection of inanimate objects arranged together in a

specific way.
(b) Landscape – natural scenery such as mountains, cliffs, rivers, etc.
(c) Nature – a focused view or interpretation of specific natural
elements.
(d) Portraiture – an image of a particular person or animal, or group
thereof.
(e) Abstract – a non-representational work of art.
(f) Day of the Dead – a Mexican holiday with a vibrant artistic
tradition.
D. Approaches to Art Criticism

The approach to art criticism, which emphasizes the value and importance of
art to its audience, is known as the pragmatic approach. Pragmatic critics
attach little importance to the aesthetic value and instead judge art according
to how useful it is to the audience. (“Four Basic Relationships of a Work of
Art Approaches” n.d.)
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III. Medium of Art
The visual components of color, form, line, shape, space, texture, and value. Balance,
emphasis, movement, proportion, rhythm, unity, and variety; the means an artist uses to
organize elements within a work of art.This section is solely supportedby Massart.edu which
entitled of “Elements of Arts” (n.d.): which effectively defined the needed terminologies.
A. Shape, Form, Space, Texture,
(g) Shape – An element of art that is two-dimensional, flat, or limited

toheight and width.
(h) Form - An element of art that is three-dimensional and encloses
volume; includes height, width and depth (as in a cube, asphere, a
pyramid, or a cylinder). Form may also be freeflowing.
(i) Space - An element of art by which positive and negative areas are
defined or a sense of depth achieved in a work of art.
(j) Texture – An element of art that refers to the way things feel, or
look as if they might feel if touched.
B. Balance, Variety, Harmony,
(k) Balance - A way of combining elements to add a feeling of
equilibrium or stability to a work of art. Major types
aresymmetrical and asymmetrical.
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(l) Variety - A principle of design concerned with diversity or

contrast. variety is achieved by using different shapes,sizes, and/or
colors in a work of art.
(m)Harmony - A way of combining similar elements in an artwork to
accent their similarities (achieved through use ofrepetitions and
subtle gradual changes).
C. Proportion, Movement, Rhythm
(n) Proportion - A principle of design that refers to the relationship of
certain elements to the whole and to each other.
(o) Movement – A principle of design used to create the look and
feeling of action and to guide the viewer’s eye throughout the work
of art.
(p) Rhythm – A principle of design that indicates movement, created
by the careful placement of repeated elements in a work of art to
cause a visual tempo or beat.
IV. Music
Eperson, G. (2021) defines music is an art concerned with combining vocal or

instrumental sounds for beauty of form or emotional expression, usually according to cultural
standards of rhythm, melody, and, in most Western music, harmony. Both the simple folk
song and the complex electronic composition belong to the same activity, music. Both are
humanly engineered; both are conceptual and auditory, and these factors have been present in
music of all styles and in all periods of history, throughout the world.
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A. Properties of Music
On the following of the properties of music are supported of the most credible
source on Internet: “Chapter 2: Music: Fundamentals and Educational Roots
in the U.S.” (n.d.) on Music and the Child website.
(q) Sound (overtone, timbre, pitch, amplitude, duration)
 Overtone - A fundamental pitch with resultant pitches
sounding above it according to the overtone series.
Overtones are what give each note its unique sound.
 Timbre - The tone color of a sound resulting from the
overtones. Each voice has a unique tone color that is
described using adjectives or metaphors such as “nasally,”
“resonant,” “vibrant,” “strident,” “high,” “low,” “breathy,”
“piercing,” “ringing,” “rounded,” “warm,” “mellow,”
“dark,” “bright,” “heavy,” “light,” “vibrato.”
 Pitch - The frequency of the note’s vibration (note names
C, D, E, etc.).
 Amplitude – How loud or soft a sound is.
 Duration –How long or short the sound is.
(r) Melody - A succession of musical notes; a series of pitches often
organized into phrases.
(s) Harmony – The simultaneous, vertical combination of notes,
usually forming chords.
(t) Rhythm – The organization of music in time. Also closely related
to meter.
(u) Texture – The density (thickness or thinness) of layers of sounds,
melodies, and rhythms in a piece: e.g., a complex orchestral
composition will have more possibilities for dense textures than a
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song accompanied only by guitar or piano. Most common types of

texture:
 Monophony - A single layer of sound; e.g.. a solo voice.
 Homophony - A melody with an accompaniment; e.g., a
lead singer and a band; a singer and a guitar or piano
accompaniment; etc.
 Polyphony - Two or more independent voices; e.g., a round
or fugue.
(v) Structure/form - The sections or movements of a piece; i.e. verse
and refrain, sonata form, ABA, Rondo (ABACADA), theme, and
variations.
(w) Expression (Dynamics, tempo, articulation)
 Dynamics - Volume (amplitude)—how loud, soft, medium,
gradually getting louder or softer (crescendo, decrescendo).
 Tempo - Beats per minute; how fast, medium, or slow a
piece of music is played or sung.
 Articulation - The manner in which notes are played or
words pronounced: e.g., long or short, stressed or
unstressed such as short (staccato), smooth (legato),
stressed (marcato), sudden emphasis (sforzando), slurred,
etc.
B. Fashion, Discord and Melody

(x) Fashion- Music has been intertwined with fashion and style since
its beginning. However, today’s musicians have much more
impact on what is hot. Constantly cosigning labels in their songs,
having brand deals and creating their own clothing lines, these new
artists greatly influence fashion unlike ever before. As today’s
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musicians continue to have such a close relationship with fashion,

these two will not separate anytime soon. With the constant
cosigns, the brand deals, and merchandise, it is clear that music
will continue to impact fashion trends and inspire style as we know
it today. (Dougherty, A. 2020)
(y) Discord –There is an irony not to be lost here, that in music
terminology, the word discord is used to describe non-harmonious
sounds. And in everyday speech, it names a disagreement among
people.(“Why Discord is the most exciting place to be a stan right
now”, 2020)
(z) Melody - in music, the aesthetic product of a given succession of
pitches in musical time, implying rhythmically ordered movement
from pitch to pitch. Melody in Western music by the late 19th
century was considered to be the surface of a group of harmonies.
The top tone of a chord became a melody tone; chords were chosen
for their color and sense of direction relative to each other and
were spaced so that a desired succession of tones lay on top. Any
melody, then, had underlying chords that could be deduced. Thus,
a skilled guitarist, analyzing mentally, can apply chords to a
melody. (Britannica, T. 2021)
C. Music, Lyrics and You

(aa) Music- Eperson, G. (2021) defines music is an art
concerned with combining vocal or instrumental sounds for beauty
of form or emotional expression, usually according to cultural
standards of rhythm, melody, and, in most Western music,
harmony. Both the simple folk song and the complex electronic
composition belong to the same activity, music. Both are humanly
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engineered; both are conceptual and auditory, and these factors

have been present in music of all styles and in all periods of
history, throughout the world.
(bb) Lyric - a verse or poem that is, or supposedly is, susceptible
of being sung to the accompaniment of a musical instrument (in
ancient times, usually a lyre) or that expresses intense personal
emotion in a manner suggestive of a song. Lyric poetry expresses
the thoughts and feelings of the poet and is sometimes contrasted
with narrative poetry and verse drama, which relate events in the
form of a story. Elegies, odes, and sonnets are all important kinds
of lyric poetry. (Britannica T., 2017)
(cc) You – It defines the self whom portrays the meaning itself,
the music where made by the person which is you.
D. Power of Music
Music is a powerful tool in the way it can lighten up someone’s mood.
There’s a lot of evidences circulating on the Internet web surface and
testimonies of individuals which proved by listening music, it can lighten up
your mood and cleanse away your negative energy; it can cleanse our day
using yoga and meditation, or by a casual listening of music. Some studies
that was conducted by researchers have shown that music can lift our moods,
combat depression, improve blood flow in ways similar to statins, lower levels
of stress-related hormones such as cortisol, and ease pain.
E. Orchestra
Britannica, T. (2018), defines orchestra as an instrumental ensemble of
varying size and composition. Although applied to various ensembles found in
Western and non-Western music, orchestra in an unqualified sense usually
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refers to the typical Western music ensemble of bowed stringed instruments

complemented by wind and percussion instruments that, in the string section
at least, has more than one player per part. The word stems from the Greek
orchēstra, the circular part of the ancient Greek theatre in front of the
proscenium in which the dancers and instrumentalists performed.
F. Instrument: Wind/Percussion/String
According to an article entitled “Families of Musical Instruments”, 2017
(factmonster.com), instruments are grouped into families based on how they
make sounds. In an orchestra, musicians sit together in these family
groupings. But not every instrument fits neatly into a group. For example, the
piano has strings that vibrate, and hammers that strike.
(This section solely defined by an article entitled “Families of Musical
Instruments”, 2017 on the website of factmonster.com)
(dd) Wind – it produces sound when air (wind) is blown inside.
Air might be blown across an edge, as with a flute; between a reed
and a surface, as with a clarinet; or between two reeds, as with a
bassoon. The sound happens when the air vibrates
inside.Woodwind instruments include flute, piccolo, clarinet,
recorder, bassoon, and oboe.
(ee) Percussion - Most percussion instruments make sounds
when they are hit, such as a drum or a tambourine. Others are
shaken, such as maracas, and still others may be rubbed, scratched,
or whatever else will make the instrument vibrate and thus produce
a sound.Percussion instruments include drums, cymbals, triangle,
chimes, tam-tam, glockenspiel, timpani, bells, and xylophone.
(ff) String - the sounds of string instruments come from their strings.
The strings may be plucked, as in a guitar or harp; bowed, as with
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a cello or a violin; or struck, as with a dulcimer. This creates a

vibration that causes a unique sound. Stringed instruments include
the violin, viola, cello, bass, harp, and dulcimer.
G. Filipino Folk Music

According to an article entitled “Philippine Folk Music”, n.d. (Wikipedia.org),
the traditional music of the Philippines, like the folk music of other countries,
reflects the life of common, mostly rural Filipinos. Like their counterparts in
Asia, many traditional songs from the Philippines have a strong connection
with nature. However, much of it employs the diatonic scale rather than the
“more Asian” pentatonic scale, with the exception of indigenous people ritual
music.
V. DANCE
Barbara Mettler (1980) defines danceas an activity which can take many forms and
fill many different needs. It can berecreation, entertainment, education, theraphy, and
religion. In its purest and most basic form,dance is an art of body movement. Mackrell, J. R.
(2020) added that dance as the movement of the body in a rhythmic way, usually to music
and within a given space, for the purpose of expressing an idea or emotion, releasing energy,
or simply taking delight in the movement itself.
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A. Purpose of Dance
And Mackrell, J. R. (2020) point out one of the most basic motives of dance is
the expression and communication of emotion. People—and even certain
animals—often dance as a way of releasing powerful feelings, such as sudden
accesses of high spirits, joy, impatience, or anger.
B. Kinds of Dance
These are the varied identities of dance according to the module in Humanities
and Social Sciences for Grade 12 which solely published by the Philippine
College of Criminology (2020).
(gg) Classic Dance - dance with standardized rules and
restrictions. It can be religious-related dance or court royal
entertainment form.
(hh) Classical Ballet - a dance of supreme standards learned
from an academe. This originated from Italy and Flourished in the
royal court of France.
(ii) Modern Dance - It’s a deviation from the principles of the classical
ballet developed by Isadora Duncan. She believed in the principle
of naturalness and true expression of the human body and soul
(jj) Contemporary Dance - this is a combination of ballet and modern
dance whereby it uses the varied medium of other dance
(kk) Folk Dance - the term implies the traditional dance flavor
and characteristics of the people, their feelings and sentiments. It is
also referred sometimes as traditional dance.
(ll) Ethnic/ Tribal Dance - a dance particularly found in a group of
people living together in a locality with common beliefs and
customs.
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(mm) Ballroom Dance – a popular dance term for the dance

performed on ballroom areas or for purposes of recreation and
entertainment. It is considered as dance of all ages.
C. Elements of Dance
Dance can be broken down into the following five elements: Body, Action,
Space, Time, Energy. These five elements are inter-connected; at times it’s
hard to separate one from the other. But to discuss each one, we’ll include
specific vocabulary used to talk about dance and examine how each element
can be manipulated to create different results. (“Do You Wanna Dance?
Understanding the five elements of dance” n.d.)
D. Philippines Contemporary Dance

In the published article of National Commission of Culture and the Arts
(NCCA), particularly written by Villaruz, B. E. S. (n.d.), rising from the
rubbles of WW II and freed from American domination, the Filipinos surged
in creativity. The ’50 and ’60s saw dance revival and choreographic invention;
Contemporary Dance in the Philippines was born and started to added on the
big universities to be taught.Based on the published PowerPoint presentation
of Narvaez, A. (2018), to defined Contemporary Dance as a performing art
that involves rhythmic body movement within agiven space, choreographed
based on amusical beat. Britannica, T. (2020) added that itis also an
expression of idea or emotion,releasing energy, or simply takingdelight in
music and dance movementitself.
(a) In accordance of Lamcheck, M. J. (2017), there’s a
different composed ofElements of Contemporary
Dance:Ballet, Concert, Lyrical, and Jazz.
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(b) According to the article of Wikipedia entitled

“Contemporary Dance in the Philippines” (n.d.) explains
the Contemporary Dancing Styles:
 Disco Dancing is a dance style popularized during
the 1970’s. Disco dancing is associated with John
Travolta’s dance style during the movie Saturday
Night Fever.
 Hip-hop- which originated in America refers to
street dance styles performed to hip hop music. It
includes dance styles such as breaking, locking and
popping. What distinguishes hip-hop from other
styles is that it is often freestyle or improvisation.
(c) Based on the published PowerPoint presentation of
Narvaez, A. (2018) explains the Aspects of Dance
Appreciation:
 Knowledge of Choreography - Memory of the
routine and execution of the moves that were
choreographed.
 Technical Skills - Pointing toes, back straight, arm
placement is not sloppy, moves are executed
smoothly.
 Performing Skills – Projection of eye and cheerful
facial expressions with the judges. The dancer is
confident with movements.
 Rhythm/ Tempo- Staying on count and with the
beats of the music.
(d) There are 3 Prominent/Notable Names in Philippine
Dance:
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 Alice Reyes - National Artist for Dance

(2014)Known as the “Mother of Contemporary
Dance”.She initiated theProfessionalization of
dance arts in the country. She established the
AliceReyes ModernDance Company.
 Liza Teresita Pacheco Macuja – Elizalde - Founder
of Ballet Manila. In 198 she was recognized in
Europe and became a Prima Ballerina of Kirov
Ballet, in Leningrad. Ballet Manila has reached its
20th year.
 Douglas Nierras - In Jazz, Douglas Nierras is the
most prominent. He has more than two decades of
involvement in dance through choreography,
pedagogy, and production. He is famous for his
Metanoia, in which he collaborated with Ryan
Cayabyab to create-minute ballet set.
VI. Theatre
Guthrie, T. , Davis, . Tracy C. and Chaillet,Ned (2020) defined theatre, also spelled
theater, in dramatic arts, an art concerned almost exclusively with live performances in which
the action is precisely planned to create a coherent and significant sense of drama.
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B. Elements of Theatre
The article of Britannica which written Guthrie, T. , Davis, . Tracy C. and
Chaillet, Ned (2020) discussed the elements of Theatre. Theatrical art demands
the collaboration of the actors with one another, with a director, with the various
technical workers upon whom they depend for costumes, scenery, and lighting,
and with the businesspeople who finance, organize, advertise, and sell the
product.
(a) Producer - In the commercial theatre the most powerful person is
usually the producer, who is responsible for acquiring the
investment that finances the production.
(b) Director - The rehearsal of the play is conducted by the director,
who is responsible for interpreting the script, for casting, and for
helping to determine the design of the scenery and costumes.
(c) Staff - the director’s general direction, a stage manager, possibly
with several assistants, looks after the organization of rehearsal and
the technical elements of the performance—light and curtain cues,
properties, sound effects, and so on.
(d) Visual Aspect:
Visual Aspects – costumes, lighting, and some form of scenic
background.
Nonvisual Aspect – sound.
(e) Performers – the artists that will give a life for those characters;
People onstage presenting characters in dramatic action.
(f) Space – It is essential to have a stage, or some equivalent area,
where actors and actresses can perform. It is also essential to have
a place for audience members to sit or stand.
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(g) Audience – People who watch the performers onstage. The essence
of theater is the interaction between performer and audience.
(h) Script – A final element essential to theater is the script that is
performed, and it must be present for theater to occur.
C. Principle of Theatrical Balance

According to Tsai, H. (n.d.) the basic principle of theatrical balance are the
following:
(a) Director, Stage manager and Prompter
(b) Staging
(c) Cast: Performing
(d) Crew:
 Property
 Costumes and Make-up
 Lighting
 Sound effects
(e) Rehearsals
D. Drama and Elements of Drama
According to the article of Wikipedia entitled “Drama” (n.d.) definesas the
specific mode of fiction represented in performance: a play, opera, mime, ballet,
etc., performed in a theatre, or on radio or television. Considered as a genre of
poetry in general, the dramatic mode has been contrasted with the epic and the
lyrical modes ever since Aristotle’s Poetics (c. 335 BC)—the earliest work of
dramatic theory.
The Elements of Drama effectively discussed by the School Curriculum and

Standards Authority of Government of Western Australia (n.d.) which listed as:
role, character and relationships, situation, voice, movement, space and time,
23
language and texts, symbol and metaphor, mood and atmosphere, audience and
dramatic tension.
(a) Atmosphere: the interaction between the audience and the mood of
a drama performance.
(b) Character: a person or individual in the drama that may have
defined personal qualities and/or histories. Flat characters (or two
dimensional characters) demonstrate a lack of depth or change in
the course of a drama event. Rounded characters (or three
dimensional characters) feature more elaborate and complex traits
and histories and are changed by dramatic action in the drama
event.
(c) Dramatic tension: drives the drama and keeps an audience
interested. The tension comes when opposing characters, dramatic
action, ideas, attitudes, values, emotions and desires are in conflict
creating a problem that needs to be resolved (or unresolved)
through drama.
(d) Language and texts: referring to the use of spoken or written words
that observe particular conventions and language registers that
communicate ideas, feelings and other associations. Texts refer to
the use of published texts, online materials and other compositions
the reference of which adds meaning to the drama.
(e) Metaphor: creating an image or idea of one thing by saying it is
something else. For example, ‘He is a lion of a man.’ In drama, the
use of metaphor can be more subtle such as a metaphor of a mouse
created through a character having a squeaky voice and small
darting movements. Design and stylistic elements can also be
metaphors for characterisation or provide meaning in terms of
theme.
24
(f) Mood: describes the feelings and attitudes, often combined of the
roles or characters involved in dramatic action often supported by
other Elements of Drama as well as design elements. The mood is
the emotional impact intended by the playwright, director and/or
other members of the creative team.
(g) Relationships: refers to the qualities of the connection between two
or more characters or roles. That relationship may be fixed (largely
unchanged by the dramatic action) or variable (challenged or
changed by the dramatic action). The relationship may be
cooperative (as in a friendship), adversarial (as in enemies), neutral
(neither positive nor negative) or non-existent (as in total
strangers). Those relationships will be defined by shared interests,
common objectives, cultural values and/or human need.
(h) Role: a performer can present in performance a role that represents
an abstract concept, stereotyped figure, or person reduced to a
particular dominant trait (occupation, human condition or social
vocation) that lacks depth or a backstory normally present in a
‘Character’.
(i) Situation: the condition or circumstances in which a character or
characters are presented often at the opening of a performance.
(j) Space: the place where dramatic action is situated and the qualities
of that place including temperature, features, light levels,
population levels and other environmental factors that may be
presented to or imagined by the characters/audience.
(k) Symbol: symbolic parts of the scenography or design represent and
add further meaning to themes, narrative, emotion, mood and
atmosphere. Different colours are symbolic. Other symbols might
25
be found in a sound effect, music, style, images. Some symbols are

literal while others infer meaning.
(l) Time: both the time of day, time of the year and time in history or
the future. Time also reflects changes in time within a scene or
drama event. Time also refers to the flow of time over the length of
a drama event: fragmented time, cyclical time, linear time and so
forth.
E. Classification of Drama
Adel, Abdel-Fattah. (2011) says that in a strict sense, plays are classified as being
either tragedies or comedies.The broad difference between the two is in the
ending:Comedies end happily.Tragedies end on an unhappy note. In this
section Adel explains the classification of drama: comedy and tragedy, carefully.
(a) The nature of tragedy
 The tragedy acts as a purge. It arouses our pity for the
stricken one and our. Terror that we ourselves may be
struck down.
 As the play closes, we are washed clean of these emotions
and we feel better for the experience.
(b) Types of tragedies
 Classical tragedy tells of a high and noble person who
falls because of a “tragic flaw,” a weakness in his own
character.
 A domestic tragedy concerns the lives of ordinary people
brought low by circumstances beyond their control.
Domestic tragedy may be realistic seemingly true to life or
naturalistic realistic and on the seamy side of life.
(c) Types of comedies
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 A romantic comedy is a love story. The main characters

are lovers, the secondary characters are comic. In the end
the lovers are always united.
 Farce is comedy at its broadest. Much fun and horseplay
enliven the action.
 The comedy of manners or artificial comedy, is subtle,
witty, and often mocking.
 Sentimental comedy mixes sentimental emotion with its
humor.
 Melodrama has a plot filled with pathos and menacing
threats by a villain, butIt does include comic relief and has
a happy ending. It depends upon physical action rather than
upon character probing.
(d) Tragic or comic
 Tragic or comic, the action of the play comes from conflict
of characters how the stage people react to each other.
These reactions make the play.
F. Type of Acting
In this section, where Swift, L. (n.d.) discussed the types of acting on her
published article (Film Connection) entitled “The Main Types of Acting”.
(a) Classical Acting - Before talking pictures developed, actors
primarily learned and practices their craft on stage in theatres.
Acting for the stage required overly dramatic gestures, exaggerated
actions and slow, drawn-out speech to reach the audience in the
back of the theatre.
(b) Modern Acting - Modern acting techniques stem from Constantin
Stanislavski, a Russian actor and director and guiding force behind
27
the Moscow Art Theatre. In the early 1900s, he began developing a

style of acting that called for actors to inhabit authentic emotions
while performing by drawing upon their own life experiences. Part
of this acting process was to encourage actors to explore their
character’s motivations which is where the line “What’s my
motive?” began. This type of acting became known as the
Stanislavski method or “Method Acting.” Laurence Olivier and
John Gielgud were practitioners of the Stanislavski’s system.
(c) Method Acting Comes to the U.S. – Lee Strasburg and Stella Adler
In the early 1920s, the Moscow Art Theatre embarked on a world
tour. Several members of the troupe stayed on in the United States
and went on to instruct Lee Strasburg and Stella Adler who in turn
later founded their own acting schools. Lee Strasburg’s version of
method acting called for the actor to dredge up past experiences
“sense memory” to bring realistic emotions to the performance.
Famous actors who studied with Lee Strasburg include James
Dean, Al Pacino, Paul Newman and Dustin Hoffman. His acting
school where his techniques are still taught includes Angelina
Jolie, Scarlett Johansson and Steve Buscemi as alumni.Stella
Adler’s version of method acting allowed the actor to use their
imagination in bringing realistic emotions to the performance.
Stella even travelled to Paris to meet with Constantin Stanislavski
who revealed to her that he had moved on from “sense memory”
and embraced her use of imaginative motivation.
(d) The Meisner Technique - The Meisner Acting Technique preached
that constant repetition could lead to unconscious instincts that
would reveal a truthfulness in the performance.
28
(e) The Chekov Technique - the Chekov Acting Technique had actors
learn gestures that imparted universal psychological meaning.
Famous actors who use the Chekov Acting Technique include
Clint Eastwood, Patricia Neal, Johnny Depp, Helen Hunt and Jack
Nicholson. What all method acting techniques strive to do is to
bring the character to life by living the life of the character.
Method acting stresses the circumstances of a scene and demands
the actor identify and perform actions that relate to the
circumstances. The different Method Acting techniques vary on
how the actor finds these circumstances. Method actors often go to
extremes in living the character as they prepare for their role.
G. Nationalistic Plays
Every theatrical play that performed in the Philippines are considered as famous
and well-played in theater stage which all of them are considered a masterpiece
and deserved a standing ovation with cheerful applause. But in the accordance of
De La Cruz, C. I. (2019); and Canciano, F. (2019) these 3 plays are considered as
the best among the rest due to the hit with a touch of at least nationalism.
(a) The Kundiman Party - On the surface, The Kundiman Party is a

nostalgic ode to the Filipino tradition of the kundiman—a genre of
love songs that are meant for serenading. But, as with most great
stories, it also tackles one of the most relevant themes in today's
generation: the place of art in contemporary society. It's said to be
Floy Quintos' swan song, but we can only hope that it's just one of
his many last works because we will never get over this
playwright's brilliance.
29
(b) Ang Huling El Bimbo (Full House Theater Company/ Resorts

World Manila) - Bring back nineties’ nostalgia a second time with
this hit Eraserheads musical! Through the iconic hit songs by the
widely popular ‘90s rock band, the musical tells the story of three
friends who have drifted apart in adulthood until fate reunites them
in an unlikely mini-reunion to confront their haunted past.
(c) Miong (Repertory Philippines) - This original musical about the
country’s first President is getting restaged this year, just in time
for his 150th birth anniversary. It chronicles the youth and personal
life of Emilio “Miong” Aguinaldo, from his birth until the
declaration of Philippine independence.
H. Problems in the Philippines Theatre

In the article of Tabora, B. B. (2014) precisely explained the problems in
Philippine’ theater, which he stated that Philippine has come a long way in the
Philippines since it made its arrival during the American Occupation. But
challenges remain, especially the lack of financial wherewithal and support from
the state. Then there’s the seeming paucity in audience. In the statement of
Magtoto, she said that “There is a financial catastrophe that we feel in theater
because we don’t have any funding, we don’t have support from the Government
unless we apply for a grant”. Tabora also point out the urgency of time or lack of
preparedness and production time, production cost, lost of interest of the viewers,
gay sensibility, and performance and literature.But in the time of Pandemic
(COVID-19), businesses are temporarily , including theaters; hence, the viewers
loosing it desires to watch theatrical play, and also lack of financial in both
parties. However, the Philippine Contemporary Arts National Commission of
Culture and the Arts (NCCA) and some private sectors are entering the digital
30
world to deliver new and fresh theater plays with a comfort in home watching
with family in reduces of burden and boredom.
VII. Cinema
The Oxford Online Dictionary (n.d.)concisely defined Cinema as theater where

movies are shown for public entertainment; a movie theater.
I. Nature of Cinema
Cinematography is anart work. It focuses on storytelling through stills and
visuals: giving the life of the characters. The artistry in cinematography lies in
controlling what the viewer sees and how the image is presented to them — by
choosing the right shooting techniques that best tell the story.
J. Cinematographic Techniques
In an article published of Adorama website, entitled “14 Basic Cinematography
Techniques for Better Cinematic Shots” (n.d.), which listed and discussed below
some of the most widely-used cinematography techniques that can help dictate
how your audience should feel about your scene, as well as how they will
interpret it.
31
(a) Extreme long shot - The extreme long shot captures a very wide
area to show the scale of subjects in relation to their environment,
like tiny birds in a forest. It is typically used as an establishing shot
when changing from one big area or city to another.
(b) Bird’s eye shot - Like the extreme long shot, the bird’s eye shot
shows massive scale but from a much higher angle, to the point
where land starts to show abstract shapes and lines out of roads,
buildings, and trees. It is also typically used as an establishing shot
for introductions and scene transitions.
(c) Long shot - The long, full, or wide shot is a significantly closer
shot of an area where viewers can have a better look of what’s
going on, but still not close enough to actually be emotionally
involved in the scene. Subjects are also closer to the camera but far
enough to have their whole bodies in view. It can be used to make
your viewers feel like a casual bystander, such as when your
leading actors are shown walking hand in hand while crossing the
street.
(d) Medium shot - The medium shot allows viewers to move in a lot
closer, but in a more informative way than emotional. The frame
typically features a person from the waist up, and are used for
general group scenes with dialogues and interviews.
(e) Close up shot - The close up shot features just the entire head up to
the chin or neck to allow viewers to feel more engaged and
affected by the character’s emotions. By framing less of the
background and more of just the face, you are able to create impact
with the character’s facial expressions.
(f) Extreme close up shot - An extreme close up shot is used sparingly
and saved for moments when you need to increase the emotional
32
intensity of a scene. You can do this by really zooming in on the

character’s face, sometimes just on the eyes, or even the hands. It
works just as well for objects, like the ticking hands of a clock or
brush strokes. While these shots greatly lack context, it’s great for
setting the mood or adding drama and intimacy.
(g) Dutch angle shot - To execute the dutch angle shot, you simply
need to rotate the camera to either side until verticals (like people
and buildings) are tilted and the horizon is no longer parallel with
the bottom of the frame. It’s another shot that’s used sparingly in
narrative filmmaking, usually to portray uneasiness and
disorientation. You can use this to show a character’s unstable
emotional or mental state, or add an unsettling feeling to a
particular scene.
(h) Over-the-shoulder shot - As the name suggests, the over-the-
shoulder shot shows an out-of-focus shoulder and head in the
foreground while another person, object, or the background is in
focus. It’s one of the most essential cinematography techniques for
use in narrative filmmaking as it not only adds that much-needed
depth to a shot but also aids in making conversational scenes look
as natural to the viewer as possible.
(i) Tilt shot - The tilt shot is as easy as it sounds, but the best way to
turn this simple technique into an elegant shot is to carefully
coordinate the careful upward or downward camera movement
with some action within the scene. It can be used as an establishing
shot of a wide-angle view or for slowly revealing something at the
end of the shot.
(j) Panning shot - The panning shot is the horizontal equivalent of the
tilt shot. They can be used simply to show the surroundings, but
33
you can achieve truly professional results with it by keeping the

panning smooth and accurate (make sure to use a gimbal stabilizer
or something similar), especially when there’s action and a
carefully composed final frame involved. Remember, such
movements should be well-executed to look very natural and
almost unnoticeable so as not to distract the viewers from the story.
(k) Zoom shot - The use of the zoom shot has evolved over time —
from being jerky, fast, and cheesy to being a lot slower and
smoother to create a more natural zoom effect that doesn’t distract
viewers. Needless to say, it increases the focus on a scene, an
object, or a character.
(l) Crane shot - The crane shot captures vertical translational motion
by moving the camera up or down by a couple of feet. It used to be
achieved with huge and expensive cranes, but it can now be
replicated with drone cameras. Fortunately, it’s a shot that doesn’t
always have to be in every film, but it’s a great shot that will add
production value to your work.
(m)Tracking shot - You can very well do without a crane shot, but
you’ll probably have to include tracking shots to your film at some
point.
(n) Point-of-view shot - another important shot that you can make use
of (in case it works for your story) is the point-of-view (POV) or
first-person shot. Your camera can either be steady or moving
along its axis, as long as it shows how and where viewers should
look at or scan the scene and make them feel like they’re in the
movie.
K. Development of Philippine Theatre
34
The Philippine theater witnessed the history of the Philippines. From Pre-colonial
up until in the modern day, which proved before the colonization happened, the
Philippine theater was born. We will explore how the history of Philippine
Theater has evolved, from the various-compiled credible and uptmost trusted
sources from the website: “The Evolution of Philippine Theater” (n.d.); “The
History of Philippine Theater” (n.d.); and Pajaron, D. (1998).
(a) Pre-colonial Time - During the pre-historic times, theater in the
Philippines was in the form of indigenous rituals, verbal jousts or
games, or songs and dances to praise gods. According to early
chronicles, pre-historic dramas consisted of three elements – myth,
mimesis, and spectacle.
(b) Spanish Regime - When the Spaniards reached our shores, they
used dramas such as zarzuelas as a pedagogical tool to influence
the pagan tribes and teach them about Christianity and
religion.Another important form of theater popularized during the
Spanish colonization is the comedia, also known as moro-moro,
linambay, or arakyo. It’s a play in verse that portrays the lives,
loves, and wars of moors and Christians.Moro-Moro is a secular
comedy that dramatizes the war between Christians and Muslims
through the forbidden love between the prince and the princess.
The comedy is resolved with the non-Christian being converted to
Christianity, or through his or her death, immediately followed by
his or her resurrection.Comedias were normally performed in the
pueblos or village centers to attract more people to the foundation
of its regime. The comedia can last anywhere from 3 to 15 hours
through a series of performances. The first Filipino comedia was
performed in Latin and Spanish by Fr. Vicente Puche in Cebu in
1598.On the other hand, a zarzuela is a form of musical theater that
35
combines spoken word and song that celebrates various Catholic

liturgical feasts. Jugar Con Fuego by Francisco Asenjo Barbieri
was the first zarzuela introduced in the country in late 1878 or
early 1879.By August 17, 1893, Teatro Zorilla, the home of
zarzuela, was inaugurated.Throughout the 333 years of the Spanish
regime, the Philippines was widely influenced by their culture,
tradition, and religion. Today, zarzuelas and comedias are still
being performed, albeit with other cultural influences and
contemporary touches.
(c) American Colonization - When American colonial rule was
established, the United States introduced the American way of life
through education, media, and language. Their influence on
Philippine theatre is most apparent through the bodabil
(vaudeville) and the plays and dramas staged or translated into
English. In 1898, the first bodabil was produced by the Manila
Dramatic Guild for the sole purpose of entertaining American
soldiers and other Americans residing in Manila. It was also the
first theatrical performance since the revolution. The bodabil is not
a straight-up play. The theatrical performance is, in fact, a mix of
songs, dances, comedy skits, and even magical performances.
Local audiences bought-in and productions soon found themselves
becoming entertainment spectacles that can be transported from
one town to the next. Not long after, the bodabil was interjected
into comedias and zarzuelas, as intermission numbers known as
jamborees.In the 1930s, the country was introduced to Broadway
theatre or stage plays through the westernized education that was
provided in most private schools for privileged children.
36
Shakespearean tragedies and comedies, as well as western classics,

were performed in the original English or English adaptation.
(d) The Japanese Occupation - By the 1940s, when the Japanese took
over the Philippines from the Americans, movie actors and
actresses could no longer appear in films, as the Japanese
confiscated all film equipment. However, the comedia, zarzuela,
and bodabil remained in the country as forms of entertainment and
expression.Eventually, the bodabil evolved to become stage shows
or variety shows with a short melodrama at the end to
accommodate the actors and actresses who moved their craft to
bodabil and theatre. Venues such as the Manila Grand Opera
House and the Savoy Theatre became homes of bodabil.After the
war, movies returned to popularity, and the bodabil era slowly lost
its luster. Stage shows became small, cheap performances held in
open-air stages in the provinces. Sadly, the bodabil deteriorated
decades later to become burlesque and strip shows held in cheap
theatres around American military bases.
(e) Philippine Theatre as We Know It Today - After the Japanese
occupation, the Philippine theatre has evolved to become an
amalgamation of the various influences such that of the zarzuela,
comedia, bodabil, and western classics. Theatre was largely
performed in English during the time, as it became a large part of
classroom education. Meanwhile, zarzuelas such as “Ang Kiri,”
“Dalagang Bukid,” and “Paglipis ng Dilim” became well-known
beyond their regions.By the 1950s, theatre had moved out of
classrooms and the concept of paying for a ticket to see a theatrical
performance emerged. This “legitimate” theatre was held in closed
theaters – these became events in themselves, not just mere parts of
37
a celebration or religious ritual.During this time, playwrights such

as Severino Montano, Wilfrido Ma. Guerrero, and Alberto S.
Florentino honed their crafts and contributed to the development of
performing arts in the Philippines. Through the years, Philippine
theatre groups have staged numerous plays in both English and
Filipino, be it written by a Western or local playwright. Spanish
culture and traditions largely influence performing arts in the
Philippines, but the contemporary style is borrowed from the
Americans. Classic shows such as The Westside Story and Sound
of Music made waves in recent years when it took the local stage.
This year, The Theatre at Solaire presents The Lion King, an
internationally renown production set to wow Philippine
aaudiences
VIII. Painting
According to the Oxford Online Dictionary Language (n.d.), the definition of painting
is the process or art of using paint, in a picture, as a protective coating, or as decoration.
L. Painting Techniques
According to Britannica, T. (2014), the list comprises devices used to introduce
the illusion of three dimensions on a two-dimensional surface, methods of paint
38
application, and different mediums chosen by the artist to create the desired visual
effect. The following list of techniques used in painting:
(a) Acrylic painting - executed in the medium of synthetic acrylic
resins. Acrylics dry rapidly, serve as a vehicle for any kind of
pigment, and are capable of giving both the transparent brilliance
of watercolor and the density of oil paint. They are considered to
be less affected by heat and other destructive forces than is oil
paint. (Britannica, T. 2015)
(b) Action painting - direct, instinctual, and highly dynamic kind of art
that involves the spontaneous application of vigorous, sweeping
brushstrokes and the chance effects of dripping and spilling paint
onto the canvas. (Britannica, T. 2015)
(c) Aerial perspective - also called atmospheric perspective, method of
creating the illusion of depth, or recession, in a painting or drawing
by modulating color to simulate changes effected by the
atmosphere on the colors of things seen at a distance. (Britannica,
T. 2016)
(d) Anamorphosis - in the visual arts, an ingenious perspective
technique that gives a distorted image of the subject represented in
a picture when seen from the usual viewpoint but so executed that
if viewed from a particular angle, or reflected in a curved mirror,
the distortion disappears and the image in the picture appears
normal. (Britannica, T. 2016)
(e) Camaieu - plural camaieux, painting technique by which an image
is executed either entirely in shades or tints of a single color or in
several hues unnatural to the object, figure, or scene represented.
(Britannica, T. 2008)
39
(f) Casein painting - painting executed with colors ground in a

solution of casein, a phosphoprotein of milk precipitated by
heating with an acid or by lactic acid in souring. (Britannica, T.
2007)
(g) Divisionism - in painting, the practice of separating color into
individual dots or strokes of pigment. (Britannica, T. 2019)
(h) Easel painting - executed on a portable support such as a panel or
canvas, instead of on a wall. (Britannica, T. 1998)
(i) Foreshortening – a method of rendering a specific object or figure
in a picture in depth. (Britannica, T. 2019)
(j) Fresco painting - a method of painting water-based pigments on
freshly applied plaster, usually on wall surfaces. (Britannica, T.
2020)
(k) Gouache - painting technique in which a gum or an opaque white
pigment is added to watercolors to produce opacity. (Britannica, T.
2016)
(l) Graffiti - form of visual communication, usually illegal, involving
the unauthorized marking of public space by an individual or
group. Although the common image of graffiti is a stylistic symbol
or phrase spray-painted on a wall by a member of a street gang,
some graffiti is not gang-related. (Decker, S. H. and Curry, . Glen
D. 2020)
(m)Grisaille – a painting technique by which an image is executed
entirely in shades of gray and usually severely modeled to create
the illusion of sculpture, especially relief. (Britannica, T. 2020)
(n) Impasto - paint that is applied to a canvas or panel in quantities
that make it stand out from the surface. (Britannica, T. 2012)
40
(o) Miniature painting - also called (16th–17th century) limning, small,

finely wrought portrait executed on vellum, prepared card, copper,
or ivory. (Britannica, T. 2016)
(p) Mural - a painting applied to and made integral with the surface of
a wall or ceiling. (Britannica, T. 2021)
(q) Oil painting - painting in oil colors, a medium consisting of
pigments suspended in drying oils. (Britannica, T. 2018)
(r) Panel painting – a painting executed on a rigid support—ordinarily
wood or metal—as distinct from painting done on canvas.
(s) Panorama - in the visual arts, continuous narrative scene or
landscape painted to conform to a flat or curved background,
which surrounds or is unrolled before the viewer. (Britannica, T.
2018)
(t) Perspective - method of graphically depicting three-dimensional
objects and spatial relationships on a two-dimensional plane or on
a plane that is shallower than the original (for example, in flat
relief). (Britannica, T. 2014)
(u) Plein-air painting - in its strictest sense, the practice of painting
landscape pictures out-of-doors; more loosely, the achievement of
an intense impression of the open air (French: plein air) in a
landscape painting. (Britannica, T. 2017)
(v) Sand painting - also called dry painting, type of art that exists in
highly developed forms among the Navajo and Pueblo Indians of
the American Southwest and in simpler forms among several
Plains and California Indian tribes. (Britannica, T. 2013)
(w) Scroll painting - art form practiced primarily in East Asia. The two
dominant types may be illustrated by the Chinese landscape scroll,
41
which is that culture’s greatest contribution to the history of

painting, and the Japanese narrative scroll, which developed the
storytelling potential of painting. (Britannica, T. 2011)
(x) Sfumato - (from Italian sfumare, “to tone down” or “to evaporate
like smoke”), in painting or drawing, the fine shading that
produces soft, imperceptible transitions between colors and tones.
(y) Sgraffito - (Italian: “scratched”), in the visual arts, a technique
used in painting, pottery, and glass, which consists of putting down
a preliminary surface, covering it with another, and then scratching
the superficial layer in such a way that the pattern or shape that
emerges is of the lower color. (Britannica, T. 2014)
(z) Sotto in su - (Italian: “from below to above”) in drawing and
painting, extreme foreshortening of figures painted on a ceiling or
other high surface so as to give the illusion that the figures are
suspended in air above the viewer. (Britannica, T. 2008)
(aa) Tachism - French Tachisme, (from tache, “spot”), style of
painting practiced in Paris after World War II and through the
1950s that, like its American equivalent, Action painting, featured
the intuitive, spontaneous gesture of the artist’s brushstroke.
(bb) Tempera painting - painting executed with pigment ground
in a water-miscible medium. The word tempera originally came
from the verb temper, “to bring to a desired consistency.”
(cc) Tenebrism - in the history of Western painting, the use of
extreme contrasts of light and dark in figurative compositions to
heighten their dramatic effect. (The term is derived from the Latin
42
tenebrae, “darkness.”) In tenebrist paintings, the figures are often

portrayed against a background of intense darkness, but the figures
themselves are illuminated by a bright, searching light that sets off
their three-dimensional forms by a harsh but exquisitely controlled
chiaroscuro. (Britannica, T. 2015)
(dd) Trompe l’oeil - (French: “deceive the eye”) in painting, the
representation of an object with such verisimilitude as to deceive
the viewer concerning the material reality of the object. This idea
appealed to the ancient Greeks who were newly emancipated from
the conventional stylizations of earlier art. (Britannica, T. 2014)
M. Elements of Painting
Boddy-Evans, M. (2020) showcase the elements of painting on his article which
entitled “The Elements of Painting”, these elements are the basic components or
building blocks of a painting. In Western art, they are generally considered to be
color, tone, line, shape, space, and texture.Bodyd-Evans carefully discussed the
elements on the following:
(a) Color (or hue) - is at the heart of every painting. It is arguably the
most important element because it sets the tone for how viewers
feel about the work. It can, for instance, be warm and inviting or
cold and stark. Either way, color can set the mood for a piece.
(b) Tone and value - are used interchangeably in painting. It is,
essentially, how light or dark a paint is when you strip away the
color. Understanding how to use it can greatly affect the way your
art is perceived.
(c) Line - it is defined as a narrow mark made by a brush, or a line
created where two objects or elements meet. It defines the subject
of paintings and helps us imply things such as movement.
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(d) Shape- in every piece of artwork includes the element of shape,

which ties into line and space. In essence, a shape is an enclosed
area that is made when lines meet. When that shape takes on a
third dimension (as in sculpture or some mixed media), we then
also have form.
(e) Space (or volume) - it is another crucial element in any art and it
can be used to great effect in paintings. When talking about space
in art, we think of the balance between positive and negative space.
(f) Paintings - are the perfect medium to play with texture as well.
This can be interpreted as a pattern within the painting or the
brushstrokes themselves.
(g) Composition - it is the arrangement of the painting. Where you
place the subject, how the background elements support it, and
every little piece that you add to the canvas becomes part of the
composition. It is critical to how the work is perceived. There are
also “elements of composition” to consider. These include unity,
balance, movement, rhythm, focus, contrast, pattern, and
proportion. Each plays an important role in every painting, which
is why artists focus so much of their time on composition.
(h) Direction - In art, the word "direction" is a broad term that can be
interpreted in many ways. You might, for instance, consider the
format of a painting part of its direction. A vertical canvas can
work better than a horizontal one for certain subjects and vice
versa.
(i) Size - refers to the scale of the painting itself as well as the scale of
proportions within the painting’s elements.
(j) Time and Movement - Time can be viewed as the amount of time a
viewer spends looking at a piece. Are there various elements that
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continue to capture their attention? Is it intriguing enough so they

stop and don’t keep walking past your art? Admittedly, this is one
of the elements that concerns many artists;
(k) Movement is also one of the elements of composition, though its
importance should not be overlooked in that grouping. This refers
to how you direct the viewer’s eye within the painting. By
including various elements in strategic places and incorporating the
other elements of art, you can keep viewers moving around the
painting. This, in turn, increases the time they spend looking at it.
N. Factors Influencing Painting

Paintings tells stories. It tells stories about what inspires us, what saddens us, what
we’ve lost, what our society is like, and even who we are as individuals. This
form of art is able to capture complex and inexplicable parts of us and it has done
so for thousands of years. It can raised an awareness through the message of the
painting and its symbolism: it can be political, self expressionism, or appreciation
in art. Painting is an important form in the visual arts, it can be naturalistic and
representational (as in still life and landscape painting), photographic, abstract,
narrative, symbolistic (as in Symbolist art), emotive (as in Expressionism) or
political in nature (as in Artivism).
O. Ancient/Greek/Medium/Renaissance
(a) Ancient Painting – In the article of Wikipedia entitled “Ancient
Art” (n.d.) refers to the many types of a art produced by the
advanced cultures of ancient societies with some form of writing,
such as those of ancient China, India, Mesopotamia, Persia,
Palestine, Egypt, Greece, and Rome. The art of pre-literate
societies is normally referred to as Prehistoric art and is not
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covered here. Although some Pre-Columbian cultures developed

writing during the centuries before the arrival of Europeans, on
grounds of dating these are covered at Pre-Columbian art, and
articles such as Maya art and Aztec art.
(b) Greek Painting - on the published article of Wikipedia entitled
“Ancient Greek Art” (n.d.), find out thatgreek art stands out among
that of other ancient cultures for its development of naturalistic but
idealized depictions of the human body, in which largely nude
male figures were generally the focus of innovation. The rate of
stylistic development between about 750 and 300 BC was
remarkable by ancient standards, and in surviving works is best
seen in sculpture. There were important innovations in painting,
which have to be essentially reconstructed due to the lack of
original survivals of quality, other than the distinct field of painted
pottery. On the published article ofTomorrow’s World Today
(n.d.), the only surviving evidence of Ancient Greek painting is
that of painted vases. The vases were originally decorated with
geometric shapes and figures using a brown glaze. Eventually, they
evolved to what was referred to as ‘black figure style’ in which
humans were painted using a black color with the natural red clay
as the backdrop. This style was eventually reversed to a black
backdrop and people depicted with the red coloring.
(c) Renaissance period –in the article of Britannica, T. (2020), point
out that painting produced during the 14th, 15th, and 16th centuries
in Europe under the combined influences of an increased
awareness of nature, a revival of classical learning, and a more
individualistic view of man. Scholars no longer believe that the
Renaissance marked an abrupt break with medieval values, as is
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suggested by the French word renaissance, literally “rebirth.”

Rather, historical sources suggest that interest in nature, humanistic
learning, and individualism were already present in the late
medieval period and became dominant in 15th- and 16th-century
Italy concurrently with social and economic changes such as the
secularization of daily life, the rise of a rational money-credit
economy, and greatly increased social mobility.
The Medici traded in all of the major cities in Europe, and one of
the most famous masterpieces of Northern Renaissance art, the
Portinari Altarpiece, by Hugo van der Goes (c. 1476; Uffizi,
Florence), was commissioned by their agent, Tommaso Portinari.
Instead of being painted with the customary tempera of the period,
the work is painted with translucent oil glazes that produce brilliant
jewel-like colour and a glossy surface. Early Northern Renaissance
painters were more concerned with the detailed reproduction of
objects and their symbolic meaning than with the study of
scientific perspective and anatomy even after these achievements
became widely known. On the other hand, central Italian painters
began to adopt the oil painting medium soon after the Portinari
Altarpiece was brought to Florence in 1476.
High Renaissance art, which flourished for about 35 years, from
the early 1490s to 1527, when Rome was sacked by imperial
troops, revolves around three towering figures: Leonardo da Vinci
(1452–1519), Michelangelo (1475–1564), and Raphael (1483–
1520). Each of the three embodies an important aspect of the
period: Leonardo was the ultimate Renaissance man, a solitary
genius to whom no branch of study was foreign; Michelangelo
emanated creative power, conceiving vast projects that drew for
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inspiration on the human body as the ultimate vehicle for

emotional expression; Raphael created works that perfectly
expressed the classical spirit—harmonious, beautiful, and serene.
Although Leonardo was recognized in his own time as a great
artist, his restless researches into anatomy, the nature of flight, and
the structure of plant and animal life left him little time to paint.
His fame rests mainly on a few completed paintings; among them
are the Mona Lisa (1503–05, Louvre), The Virgin of the Rocks
(1483–86, Louvre), and the sadly deteriorated fresco The Last
Supper (1495–98; restored 1978–99; Santa Maria delle Grazie,
Milan).
Michelangelo’s early sculpture, such as the Pietà (1499; St. Peter’s,
Rome) and the David (1501–04; Accademia, Florence), reveals a
breathtaking technical ability in concert with a disposition to bend
rules of anatomy and proportion in the service of greater
expressive power. Although Michelangelo thought of himself first
as a sculptor, his best known work is the giant ceiling fresco of the
Sistine Chapel in the Vatican, Rome. It was completed in four
years, from 1508 to 1512, and presents an incredibly complex but
philosophically unified composition that fuses traditional Christian
theology with Neoplatonic thought.
Raphael’s greatest work, School of Athens (1508–11), was painted
in the Vatican at the same time that Michelangelo was working on
the Sistine Chapel. In this large fresco Raphael brings together
representatives of the Aristotelian and Platonic schools of thought.
Instead of the densely packed, turbulent surface of Michelangelo’s
masterpiece, Raphael places his groups of calmly conversing
philosophers and artists in a vast court with vaults receding into the
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distance. Raphael was initially influenced by Leonardo, and he

incorporated the pyramidal composition and beautifully modelled
faces of The Virgin of the Rocks into many of his own paintings of
the Madonna. He differed from Leonardo, however, in his
prodigious output, his even temperament, and his preference for
classical harmony and clarity.
IX. Sculpture
Rogers, L. R. (2020) defined sculpture as an artistic form in which hard or plastic

materials are worked into three-dimensional art objects. The designs may be embodied in
freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to
contexts that envelop the spectator. An enormous variety of media may be used, including
clay, wax, stone, metal, fabric, glass, wood, plaster, rubber, and random “found” objects.
Materials may be carved, modeled, molded, cast, wrought, welded, sewn, assembled, or
otherwise shaped and combined.
P. Sculptural Techniques and

On the article of Britannica tells that a sculptor may specialize in, say, stone
carving or direct metalwork, the art of sculpture is not identifiable with any
particular craft or set of crafts. It presses into its service whatever crafts suit its
purposes. Technologies developed for more utilitarian purposes are often easily
adapted for sculpture; in fact, useful artifacts and sculptured images have often
49
been produced in the same workshop, sometimes by the same craftsman. The
methods and techniques employed in producing a pot, a bronze harness trapping,
a decorative stone molding or column, a carved wooden newel post, or even a
fibreglass car body are essentially the same as those used in sculpture. For
example, the techniques of repoussé, metal casting, blacksmithing, sheet-metal
work, and welding, which are used for the production of functional artifacts and
decorative metalwork, are also used in metal sculpture; and the preparation,
forming, glazing, decoration, and firing of clay are basically the same in both
utilitarian pottery and pottery sculpture. The new techniques used by sculptors in
the 20th century were closely related to the new techniques applied in building and
industrial manufacture.
Q. Types of Sculpture
As Rogers, L. R. (2020) precisely point out that the two most important elements
of sculpture—mass and space—are, of course, separable only in thought. All
sculpture is made of a material substance that has mass and exists in three-
dimensional space. The mass of sculpture is thus the solid, material, space-
occupying bulk that is contained within its surfaces. Space enters into the design
of sculpture in three main ways: the material components of the sculpture extend
into or move through space; they may enclose or enfold space, thus creating
hollows and voids within the sculpture; and they may relate one to another across
space. Volume, surface, light and shade, and color are supporting elements of
sculpture.
R. Greek/Hellenistic/Roman Sculpture
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(a) Ancient Greek Sculpture - around 2,600 years ago, the Greeks
were already building life-size, freestanding statues that attempted
to mimic the human form at a time when other cultures had much
more abstract and stylistic approaches. The reasons for doing so
are mostly based in the values of Greek culture. Over the centuries,
their techniques for creating realistic and idealistic representations
improved, and even after Greece lost its independence, its culture
continued to be widely influential. (Beyer, C. n.d.)
Several core values of the ancient Greeks strongly influenced their
artistic styles. First, they were fiercely devoted to the study of the
natural world, which included both observation and
experimentation. This interest led to a very realistic style of
artwork. In short, the Greeks wished to be as visually accurate as
they were scientifically accurate.Second, they had several robust
schools of philosophy, something not seen in other ancient
cultures. One of the centerpieces of Greek philosophy was their
dedication to the understanding of ideals. Thus, while their artwork
was very realistic, it was also very idealistic realism. Rather than
depicting an average human, it would depict their concept of an
ideal human.(Stanska, Z. 2020); (“Greek Sculpture” n.d.)
(b) Early Greek Sculpture - As early as the 7 th century BCE, the
Greeks were building life-size statues. While the proportions were
awkward and the poses stiff, they already bore many traditional
traits of Greek art: primarily male, nude, well-muscled,
anonymous, and blank-faced. Bone and ivory carving had been
produced in Egypt since about 5,000 BCE, as part of cultural
traditions established during the late Stone Age (10,000-5,000
BCE). Then, from 2,600 BCE onwards, came various strands of
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Aegean art, notably Minoan civilization on Crete, with its stone

sculpture (notably seal stones), fresco painting, ceramics and
metalwork. Following a series of earthquakes, Minoan culture
collapsed around 1425 BCE, and the mainland-based Mycenean art
became the dominant type of Greek culture – known for its
ceramic pottery, carved gemstones and glass ornaments – until
about 1150 BCE, when they too were taken over – this time by
invading Dorians. After this came the Greek “Dark Ages” – a 400-
year period of chaos and fighting, when little if any art was
produced. During the calmer 8th century BCE, however, a new
culture of visual art began to emerge, involving pottery and some
painting and sculpture, while Homer’s Iliad and The Odyssey were
also written around this time. However, sculptural development
remained extremely slow until the Archaic Period (c.600-500
BCE). For more about the earliest Archaic styles, see: Daedalic
Greek Sculpture (650-600). For a wider ambit, see: Etruscan Art
(c.700-90 BCE). (“Greek Sculpture” n.d.)
(c) Hellenism, the outward spread of Greek culture to neighbouring
areas of the eastern Mediterranean and beyond, traditionally begins
with the death of Alexander the Great (323 BCE), when his huge
empire was divided into three: Antigonus I (Monophthalmus) and
the Antigonid dynasty took over Greece and Macedonia; Seleucus
I (Nicator) and the Seleucid dynasty controlled Anatolia,
Mesopotamia and Persia; and Ptolemy I (Soter) and the Ptolemaic
dynasty ruled Egypt. As well as Athens, cities like Alexandria in
Egypt, and Antioch, Pergamon and Miletus in Asia Minor
(Turkey), became wonders of the ancient world. Eventually,
however, all these regions came under the control of the Romans –
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the last to fall was Egypt in 31 BCE, and it is this event which
marks the end of Hellenism and the start of Roman sculpture. For a
look beyond the borders of Greece, see: Mesopotamian art (4500-
539 BCE) and the Art of Ancient Persia (3500-330 BCE). Most
importantly, there was a major change in aesthetics: in particular,
Hellenism replaced the serene beauty of classicism with a more
emotional type of sculpture, which also included an intense
realism. In this new era of expressionism, statues exuded energy
and power – see, for instance, The Farnese Bull, or The Winged
Victory of Samothrace (220-190); human figures began to radiate
suffering and emotion – see, for instance, The Dying Gaul (c.240
BCE) or Laocoon and His Sons (c.42-20). Genuine sensuality also
appears, in works like Aphrodite, Pan and Eros (c.100), excavated
at Delos, while for a more subtle version, see the exquisite
“Aphrodite of Cyrene” (c.100). In portraiture, Hellenism witnessed
an increasing fascination with individual psychology: see, for
instance, the melancholic, introspective sculpture of Demosthenes
(c.280) by Polyeuktos. (“Greek Sculpture” n.d.); (Hemingway, C.
2007)
(d) Roman Period –In this period, the article published of Department
of Greek and Roman Art which entitled “Roman Painting.” (2004),
the history of Roman painting is essentially a history of wall
paintings on plaster. Although ancient literary references inform us
of Roman paintings on wood, ivory, and other materials, works
that have survived are in the durable medium of fresco that was
used to adorn the interiors of private homes in Roman cities and in
the countryside. According to Pliny, it was Studius “who first
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instituted that most delightful technique of painting walls with

representations of villas, porticos and landscape gardens, woods,
groves, hills, pools, channels, rivers, and coastlines.” Despite the
lack of physical evidence, we can assume that many portable
paintings depicted subjects similar to those found on the painted
walls in Roman villas. It is also reasonable to suppose that Roman
panel paintings, which included both original creations and
adaptations of renowned Hellenistic works, were the prototypes for
the myths depicted in fresco. Roman artists specializing in fresco
most likely traveled with copybooks that reproduced popular
paintings, as well as decorative patterns.The majority of Roman
frescoes were found in Campania, in the region around the Bay of
Naples. It is here that Mount Vesuvius erupted on August 24, 79
A.D., burying much of the countryside, the cities of Pompeii and
Herculaneum, and nearby private residences. As so often happens
in archaeology, a disaster served to freeze a moment in the past,
allowing excavators to delve into the life of this region’s ancient
inhabitants. Frescoes from the villas at Boscoreale and
Boscotrecase provide an unparalleled record of the life of wealthy
Romans during this period.
Art historians and archaeologists describe the development of
Roman painting in four styles. The First Style (ca. 200–60 B.C.)
was largely an exploration of simulating marble of various colors
and types on painted plaster. Artists of the late Republican period
(second to first century B.C.) drew upon examples of early
Hellenistic (late fourth to third century B.C.) painting and
architecture in order to simulate masonry. Typically, the wall was
divided into three horizontal, painted zones crowned with a stucco
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cornice of dentils based upon the Doric architectural order. The

decline of the First Style coincided with the Roman colonization of
Pompeii in 80 B.C., which transformed what had essentially been
an Italic town with Greek influences into a Roman city. Going
beyond the simple representation of costlier building materials,
artists began to borrow from the figural repertoire of Hellenistic
wall painting, depicting gods, mortals, and heroes in various
contexts. The Second Style in Roman wall painting emerged in the
early first century B.C., during which time fresco artists imitated
architectural forms purely by pictorial means. In place of stucco
architectural details, they used flat plaster on which projection and
recession were suggested entirely by shading and perspective; as
the style progressed, forms grew more complex. The Villa P.
Fannius Synistor at Boscoreale is an exceptional example of the
fully mature Second Style. Throughout the villa there are visual
ambiguities to tease the eye, painted masonry, pillars, and columns
that cast shadows into the viewer’s space, and more conventional
trompe l’oeil devices. Objects of daily life are depicted in such a
way as to seem real, with metal and glass vases on shelves, and
tables appearing to project out from the wall. At Boscoreale, the
walls dissolve into elaborate displays of illusionist architecture and
realms of fantasy. Some of the frescoes provide copies of lost, but
presumably once famous, Hellenistic paintings. In the villa’s
triclinium, painted columns frame a series of figurative paintings
presented as if seen through a window in the wall or as if lodged in
the architecture. The intention of the owner was to create a kind of
picture gallery, with the choice of subjects most likely based on the
quality and renown of the original paintings.
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Under Emperor Augustus (r. 27 B.C.–14 A.D.) in the second half

of the first century B.C., there was a new impulse to innovate,
rather than re-create, in architecture, sculpture, and painting. The
Third Style (ca. 20 B.C.– 20 A.D.), which coincided with
Augustus’ reign, rejected illusion in favor of surface
ornamentation. Wall paintings from this period typically comprise
a single monochrome background—such as red, black, or white—
with elaborate architectural and vegetal details. Small figural and
landscape scenes appear in the center of the wall as a part of, not
the dominant element in, the overall decorative scheme. The finest
known achievements of the early Third Style are the frescoes from
the imperial villa at Boscotrecase, where attenuated candelabra and
columns support exquisitely rendered vignettes. The early Third
Style, which was in effect the court style of Emperor Augustus and
his friend Agrippa, eventually gave way to a rekindled interest in
elaboration for its own sake.
S. Current Trends in Sculpture

The uptmost trending sculpture is in the digital sculpture. As the published article
of Sybaris (n.d.), the 3D technology has been applied to many industries and is
being utilized in various art mediums, including sculpture. Traditional sculpture
described the process of creating a 3D object from a pliable material, whereas
digital sculpture involves the use of technological tools to manipulate virtual
objects as though they were clay.
T. Folk Sculpture
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Folk arts reflect the cultural life of a community. The art form encompasses the
expressive culture associated with the fields of folklore and cultural heritage.
Tangible folk art can include objects which historically are crafted and used
within a traditional community. Intangible folk arts can include such forms as
music, dance and narrative structures. Each of these art forms, both tangible and
intangible, typically were developed to address a practical purpose. Once the
purpose has been lost or forgotten, there usually is no reason for further
transmission unless the object or action has been imbued with meaning beyond its
initial practicality. These artistic traditions are shaped by values and standards that
are passed from generation to generation, most often within family and
community, through demonstration, conversation, and practice. (Wikipedia: Folk
Sculpture, n.d.)
Folk art covers all forms of visual art made in the context of folk culture.
Definitions vary, but generally the objects have practical utility of some kind,
rather than being exclusively decorative. The makers of folk art are typically
trained within a popular tradition, rather than in the fine art tradition of the
culture. There is often overlap, or contested ground with ‘naïve art’. “Folk art” is
not used in regard to traditional societies where ethnographic art continue to be
made. (Folk Art: Sculpture, n.d.)
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X. Architecture
Scruton, R. A. (2021) definesarchitecture as the art and technique of designing and

building, as distinguished from the skills associated with construction. The practice of
architecture is employed to fulfill both practical and expressive requirements, and thus it
serves both utilitarian and aesthetic ends. Although these two ends may be distinguished,
they cannot be separated, and the relative weight given to each can vary widely. Because
every society—settled or nomadic—has a spatial relationship to the natural world and to
other societies, the structures they produce reveal much about their environment (including
climate and weather), history, ceremonies, and artistic sensibility, as well as many aspects of
daily life.
U. Greek Architecture
Ancient Greek architecture came from the Greek-speaking people (Hellenic

people) whose culture flourished on the Greek mainland, the Peloponnese, the
Aegean Islands, and in colonies in Anatolia and Italy for a period from about 900
BC until the 1st century AD, with the earliest remaining architectural works dating
from around 600 BC. (Boardman et al. 1967)
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Ancient Greek architecture is best known from its temples, many of which are
found throughout the region, with the Parthenon regarded, now as in ancient
times, as the prime example (Lawrence 1957). Most remains are very incomplete
ruins, but a number survive substantially intact, mostly outside modern Greece.
The second important type of building that survives all over the Hellenic world is
the open-air theatre, with the earliest dating from around 525–480 BC. Other
architectural forms that are still in evidence are the processional gateway
(propylon), the public square (agora) surrounded by storied colonnade (stoa), the
town council building (bouleuterion), the public monument, the monumental
tomb (mausoleum) and the stadium.
Gardner, Kleiner & Mamiya (2004), said that Ancient Greek architecture is
distinguished by its highly formalized characteristics, both of structure and
decoration. This is particularly so in the case of temples where each building
appears to have been conceived as a sculptural entity within the landscape, most
often raised on high ground so that the elegance of its proportions and the effects
of light on its surfaces might be viewed from all angles. Nikolaus Pevsner refers
to “the plastic shape of the [Greek] temple placed before us with a physical
presence more intense, more alive than that of any later building”. (Pevsner 1943)
The formal vocabulary of ancient Greek architecture, in particular the division of
architectural style into three defined orders: the Doric Order, the Ionic Order and
the Corinthian Order, was to have a profound effect on Western architecture of
later periods. The architecture of ancient Rome grew out of that of Greece and
maintained its influence in Italy unbroken until the present day. From the
Renaissance, revivals of Classicism have kept alive not only the precise forms and
ordered details of Greek architecture, but also its concept of architectural beauty
based on balance and proportion. The successive styles of Neoclassical
architecture and Greek Revival architecture followed and adapted ancient Greek
styles closely.
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V. Roman Architecture
Roman architecture covers the period from the establishment of the Roman
Republic in 509 BC to about the 4th century AD, after which it becomes
reclassified as Late Antique or Byzantine architecture. Few substantial examples
survive from before about 100 BC, and most of the major survivals are from the
later empire, after about 100 AD. Roman architectural style continued to
influence building in the former empire for many centuries, and the style used in
Western Europe beginning about 1000 is called Romanesque architecture to
reflect this dependence on basic Roman forms. (Wikipedia: Roman Architecture,
n.d.)
The Romans only began to achieve significant originality in architecture around
the beginning of the Imperial period, after they had combined aspects of their
originally Etruscan architecture with others taken from Greece, including most
elements of the style we now call classical architecture. They moved from
trabeated construction mostly based on columns and lintels to one based on
massive walls, punctuated by arches, and later domes, both of which greatly
developed under the Romans. The classical orders now became largely decorative
rather than structural, except in colonnades. Stylistic developments included the
Tuscan and Composite orders; the first being a shortened, simplified variant on
the Doric order and the Composite being a tall order with the floral decoration of
the Corinthian and the scrolls of the Ionic. The period from roughly 40 BC to
about 230 AD saw most of the greatest achievements, before the Crisis of the
Third Century and later troubles reduced the wealth and organizing power of the
central governments. (Khan Academy, “The Roman Architecture”, n.d.)
The Romans produced massive public buildings and works of civil engineering,
and were responsible for significant developments in housing and public hygiene,
for example their public and private baths and latrines, under-floor heating in the
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form of the hypocaust, mica glazing (examples in Ostia Antica), and piped hot
and cold water (examples in Pompeii and Ostia). (Wikipedia: Roman
Architecture, n.d.)
W. Byzantine Architecture
As Britannica, T. Editors of Encyclopaedia (2020) point out, Byzantine
architecture, building style of Constantinople (now Istanbul, formerly ancient
Byzantium) after AD 330. Byzantine architects were eclectic, at first drawing
heavily on Roman temple features. Their combination of the basilica and
symmetrical central-plan (circular or polygonal) religious structures resulted in
the characteristic Byzantine Greek-cross-plan church, with a square central mass
and four arms of equal length. The most distinctive feature was the domed roof.
To allow a dome to rest above a square base, either of two devices was used: the
squinch (an arch in each of the corners of a square base that transforms it into an
octagon) or the pendentive. Byzantine structures featured soaring spaces and
sumptuous decoration: marble columns and inlay, mosaics on the vaults, inlaid-
stone pavements, and sometimes gold coffered ceilings. The architecture of
Constantinople extended throughout the Christian East and in some places,
notably Russia, remained in use after the fall of Constantinople (1453).
X. Romanesque Architecture
Based on the published article of Briannica, T. (2020), the article explained
Romanesque architectureis an architectural style current in Europe from about the
mid-11th century to the advent of Gothic architecture. A fusion of Roman,
Carolingian and Ottonian, Byzantine, and local Germanic traditions, it was a
product of the great expansion of monasticism in the 10th–11th century. Larger
churches were needed to accommodate the numerous monks and priests, as well
as the pilgrims who came to view saints’ relics. For the sake of fire resistance,
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masonry vaulting began to replace timber construction. Romanesque churches

characteristically incorporated semicircular arches for windows, doors, and
arcades; barrel or groin vaults to support the roof of the nave; massive piers and
walls, with few windows, to contain the outward thrust of the vaults; side aisles
with galleries above them; a large tower over the crossing of nave and transept;
and smaller towers at the church’s western end. French churches commonly
expanded on the early Christian Basilica plan, incorporating radiating chapels to
accommodate more priests, ambulatories around the sanctuary apse for visiting
pilgrims, and large transepts between the sanctuary and nave.
Y. Gothic Architecture
Based on the study of Britannica, T. (2020), Gothic architecture, architectural
style in Europe that lasted from the mid-12th century to the 16th century,
particularly a style of masonry building characterized by cavernous spaces with
the expanse of walls broken up by overlaid tracery.Gothic architecture,
architectural style in Europe that lasted from the mid-12th century to the 16th
century, particularly a style of masonry building characterized by cavernous
spaces with the expanse of walls broken up by overlaid tracery.
Z. Renaissance
Renaissance architecture, style of architecture, reflecting the rebirth of Classical
culture, that originated in Florence in the early 15th century and spread throughout
Europe, replacing the medieval Gothic style. There was a revival of ancient
Roman forms, including the column and round arch, the tunnel vault, and the
dome. The basic design element was the order. Knowledge of Classical
architecture came from the ruins of ancient buildings and the writings of
Vitruvius. As in the Classical period, proportion was the most important factor of
beauty; Renaissance architects found a harmony between human proportions and
62
buildings. This concern for proportion resulted in clear, easily comprehended

space and mass, which distinguishes the Renaissance style from the more
complex Gothic. Filippo Brunelleschi is considered the first Renaissance
architect. Leon Battista Alberti’s Ten Books on Architecture, inspired by
Vitruvius, became a bible of Renaissance architecture. From Florence the early
Renaissance style spread through Italy. Donato Bramante’s move to Rome
ushered in the High Renaissance (c. 1500–20). Mannerism, the style of the Late
Renaissance (1520–1600), was characterized by sophistication, complexity, and
novelty rather than the harmony, clarity, and repose of the High Renaissance. The
Late Renaissance also saw much architectural theorizing, with Sebastiano Serlio
(1475–1554), Giacomo da Vignola (1507–73), and Andrea Palladio publishing
influential books. (Britannica, T. 2020)
XII. WORLD CIVILIZATION
A civilization is the process by which a society or place reaches an advanced stage of social
development and organization.
A. Its History and Development
In this long-series of explanation by “World Civilization” (2009); and

Dumitrache, G. (2015) which tackled deeper and concisely the World Civilization
including their development and/or advancement; from the form of family, their
lifestyle and so on, migration, agriculture – society, expansion and development,
Sumerianperiod, Akadian period, and so on.
63
(a) Hunting, Foraging, Family, and Gender

 Early Hominids scavengers/nomads
 Foraging parties were connected by Kinship, small easy to
relocate
 Members of Kinship group – extended family
 Children of hominids require nurturing longer.
 Family concerns may explain division of labor between
men and women
 Gender division does not mean women valued less. Adults
collaborated in making decisions for all in extended group.
(b) Migration/Ice Age
 Paleolithic period corresponds roughly with what
geologists called the Pleistocene Epoch aka the Great Ice
Age – (2,000,000 BCE to roughly 8,000 BCE.
 Ice age alternates in climate
 Induced by growing populations or environmental changes,
mammals created new habits
 1.8 million years ago hominids left Africa and traveled
toAsia.
 200,000 to 150,000 BCE; Homo Sapiens emerged (modern
man)
- Developed greater linguistic skills, ability to
reason, developed sharing of information
- Innovators: fashioned ropes from fibers,
developed spears andHarpoons for hunting,
warmer clothing, food preservation leading to
longer life span
64
- By about 50,000 BCE – human societies migrated

to Australia via boat
- 12,000 BCE when huge glaciers absorbed much
of the water, sea levels dropped hundreds of feet,
exposing a broad land bridge.
(c) Migration/Ice Age
 By the End, Paleolithic period, almost every region of
globe was inhabited by human societies.
 Cultural Diversity
- Each group adjusted to their climates and
conditions differently
 Paleolithic Cultural/Spiritual perspectives
- forms of expression, paintings, writing, burial
practices
(d) Inter-connections Conflict
 Distinct separate societies not in isolation
- Contact made with neighbors. Divide territory,
familial links,
- Conflict occurs when hunting became depleted
(e) Emergence of Agriculture
 10,000 BCE, Nomadic life changes
- West Africa – new techniques for gathering food
 Neolithic (New Stone Age, 9000-3000 BCE)
- New tools developed, domesticated plants &
animals, established permanent settlements.
 Farming began in West Africa (archeological evidence)
- Spread to Fertile Crescent between 9000-8000
BCE, crescent shaped region, Israel, Syria, Iraq
65
- It is believed that animal domestication began

here
 Agricultural Innovation and Expansion
- West Africa first place, Sudan, Sahara, 8000 BCE
- China, valleys of the great rivers’ settlers started
to grow crops and cultivated sorghum as early as
8000 BCE
- By 7000 BCE Ag began in the Indus Valley of
India
- By 6000 BCE AG it started in Europe and Egypt’s
Nile Valley
- In Western Hemisphere: Ag developed
differently, w/o contact with Eurasia, 7000 BCE
the crop was corn, beans, and squash
- In all areas the farming was accompanied by
population growth and need for more land, land
was cleared.
(e) Pastoral Nomads
 Foraging persisted, not all took up ag readily, harder work
than hunting
 Combination of hunting/ag in Northern areas (North
America)
 Americas, some took up farming but not herding, were
there were fewer large domesticated animals
 Central Asia, embraced herding but not farming where arid
climate were unsuitable for grazing animals bunt not crops.
 Mobile herders such as these know as Pastoral Nomads
66
 Contact with Ag societies and trade took place also

conflict. In long run Ag could support far more people
- Settled societies developed
(f) Agricultural Societies (Village, Land, Family)
 Ag societies would develop into settled societies, with
many advantages; population, weapons, possessions, and
power, enabling them to defeat or displace all nomadic
peoples
 Key Difference 1: permanence of place, the Farming
Village, small settlements of homes in a compact cluster,
surrounded by lands on which the villager’s raised food.
 Key Difference 2: Ag society communities grew larger than
nomadic groups, who were limited by the need for
mobility,
 Possession of land became a key concern in Ag societies.
Where livelihoods depended largely on the land they
sought to maintain/expand access to various lands families
were also more structured.
 Key Difference 3: Gender roles
- Nomadic societies: women’s role crucial to
survival, women supplied the plant food for whole
groups survival while men are out hunting
- AG: women worked in the home and village, men
in the fields
 Key Difference 4: Family size:
- Nomadic families smaller, women needed to be
able to share child rearing
67
- Ag societies: many hands were needed in the

fields, larger families were desirable
 Long run: Ag societies had a crucial advantage: the ability
to produce a food surplus, in good years, and store for bad
years, ensuring survival
(g) Complex Societies Emerge
 End of Neolithic Period. (West Africa, North Africa)
 Mesopotamia: The First Civilization
- Civilization is a culture that has attained a degree
of complexity, characterized by urban life and the
interdependence of its urban residents.
- Civilization is a culture capable of sustaining a
greater number of specialists to furnish the
economic, social, political and religious needs of a
greater unit
- Other concerns: writing (need to keep records)
architecture that is permanent, combined with a
religious background
(h) Sumer (Bronze Age)
 In the area of Mesopotamia. Emerged around 3500-3100
BCE.
- First complex society, 3500 wheels, and
transportation of wood and stone down rivers to
urban centers.
- 3200 BCE Sumer obtains majority of
characteristics of civilization.
- Contact with other civilizations: Egypt
68
- By 2800 BCE syllabic writing reduced from

2000 characters to 6oo, evolved from a pictorial
form of writing.
(i) Sumer (2800 BCE)

 Full complex civilization
- Age of constant warfare, (Old Sumerian Period),
each city attempted to protect and enlarge its land
and guarantee its access to water and irrigation
- Each city-state Theocracy, chief local god was
believed to be the actual ruler, in Sumer it was
Ensi.
- Gilgamesh the famous Ensi of Urk about 2700
BCE, was strong ruler, Epic poem shows
Sumerian rules could be questioned.
 Full complex civilization
- Like many religions to follow, priests,
administrators, Ensi’s began to confiscate land
and assert their authority over other people
- Slavery: like their other Mesopotamian
neighbors/ancestors used slavery. However, had
rights, and not based on race.
- Sumerian women could attain a high prominence
on the rank of their own or their husbands.
- Men had the greatest authority over their wives in
economic and legal matters, children were under
control of parents until 20 or 21 years of age.
(j) Akkadian Period (2300-2150)
69
 North of Sumer was Akkad, inhabited by Semites who

adopted Sumerian Culture
 Sargon I was the first Akkadian ruler from 2370-2315 BCE
to conquer Sumer and establish Empire from Persian Gulf
to the Mediterranean.
 Sargon I proud of his low status
 Successors were not as tireless as Sargon and Dynasty
collapsed around 2150 BCE
(k) Lugals Return (2150-2000)
 Lugal: those of the political elite in Sumer, often lugal
would refer to KING.
 By 2150 Lugals of Sumer city of UR returned the rule of
Sumer to Mesopotamia.
 New Neo-Sumerian period introduced centralized
administration to Akkad and Sumer
 The formerly temple dominated cities became provinces
administered by closely regulated governments.
(l) Lugals Return (2150-2000)
 Religion became an arm of the state, High priests became
state appointees
 Head of bureaucratic state was a Lugal located in Ur
 Lugal of Ur called themselves “Vigilant Sheppard” of their
people and were celebrated as living Gods.
 Disaster struck Ur around 2000 BCE when the Elamites
from what is now Iran destroyed the city.
 The Sumerians were never again a dominant political force,
but their cultural influence would be powerful throughout
all subsequent civilizations in the Tirgis Euphrates valley.
70
 Sumerian language continued as a language of scholarship

and ritual
(j) Summary
 Agricultural Revolution gave way to the birth of complex
civilizations
 Sumer/Akkad were first great complex civilizations
AA. The following Civilization are deeper and precisely discussed by

Dumitrache, G. (2015) the life of the civilizations including their advancement.
(a) Mesopotamia Civilization
This is the first of the civilization to have ever emerged on the face
of our planet. The timeline of ancient Mesopotamia is usually kept
around 3300 BC – 750 BC. Mesopotamia is generally credited
with being the first place where civilized societies truly began to
take shape.Once the Mesopotamians rose, they prospered in the
regions of modern-day Iraq – then known as Babylonia, Sumer and
Assyria Highlands.
(b) Indus Valley Civilization
This civilization flourished in areas extending from what today
isNortheast Afghanistan to Pakistan and northwest India. Along
withAncient Egypt and Mesopotamia, it was one of three early
civilizations of the Old World, and of the three the most
widespread, covering anarea of 1.25 million km2.The people of the
Indus Civilization achieved great accuracy in measuring length,
mass, and time. And based on the artifacts found in excavations, it
is evident the culture was richer in arts and crafts.
(c) The Ancient Egyptian Civilization
71
The ancient Egypt is one of the oldest and culturally richest

civilizations.The ancient Egyptians are known for their prodigious
culture, the ever-standing pyramids and the sphinx, the Pharaohs
and the once a majestic civilization that resided by the banks of the
river Nile.The civilization started around 3150 BC with the
political unification of upper and Lower Egypt under the first
Pharaoh.The ancient Egypt reached at its pinnacle towards the
New Kingdom, where Pharaohs like Ramsee the Great ruled with
such authority that another civilization of the Nubians also came
under Egyptian rule.
(d) Mayan Civilization
The ancient Mayan civilization flourished in Central America from
about2600 BC and had been much talked about in recent times
because of the timeline in the calendar they had created. Once the
civilization was established, it went on to prosper and become one
of the most sophisticated civilization with a booming population of
about 19 million at its peak. By 700 BC, the Mayans had already
devised their own way of writing which they used to create their
own solar calendars carved in the stones. According to them, the
world was created on August 11,3114 BC, which is the date their
calendar counts from. And the supposed end was on December 21,
2012.The ancient Mayans were culturally richer when compared to
many of the contemporary civilizations. The Mayans and Aztecs
both built Pyramids, many of which are larger than those in Egypt.
(e) Ancient China Civilization
Ancient China – also known as Han China, has doubtlessly one of
the most diverse history. In fact, if you consider all the dynasties
from the very first to the very last that ever ruled in China, you get
72
a significantly huge period of time that needs to be covered. The

Yellow RiverCivilization is said to be the cradle of entire Chinese
civilization as this is where the earliest dynasties were based. It
was around the 2700 BC thhat the legendary Yellow Emperor
began his rule.Inventions and products: gunpowder, paper,
printing, compass, alcohol, cannons.
(f) Ancient Greek Civilization
The ancient Greeks may not have been one of the oldest
civilizations, but they are doubtlessly one of the most influential
civilizations to have ever existed in the world. The rise of ancient
Greece came from theCycladic and Minoan civilization (2700 BC
– 1500 BC).These periods also saw a number of ancient Greeks
come into limelight
- Many of them changed our ways of world forever,
many of them are still talking about to this day.
The Greeks created the ancient Olympics. The
concept of democracy and a senate. They created
the base forModern geometry, biology, physics.
Pythagoras, Archimedes, Socrates,Euclid, Plato,
Aristotle, Alexander the great… the history books
are full of such names whose inventions, theories,
beliefs and heroics have had a significant
influence in the subsequent civilizations that
came.
(g) Persian Civilization
There was a time when ancient Persian civilization was in fact the
most powerful empires in the world. Though only in power for a
little over200 years, the Persians conquered lands that covered over
73
2 million square miles. From the southern portions of Egypt to

parts of Greece and then east to parts of India, the Persian Empire
was known for its military strength and wise rulers. Now before
you even start to contemplate the fact that they created such a vast
empire just within a period of 200 years, before 550 BC, Persian
used to be divided in factions among a number of leaders, like
King Cyrus Il or Alexander theGreat.
(h) The Roman Civilization
The Roman Civilization came into picture around the 6th century
BC. At the height of its power, the Romans ruled over the biggest
chunk of land in that era – all the present-day counties surrounding
the modern day Mediterranean sea were a part of ancient
Rome.Early Rome was governed by kings, but after only seven of
them had ruled, the Romans took power over their own city and
ruled themselves. They then instead had a council known as the
‘senate’ which ruled over them. From this point on one speaks of
the ‘Roman Republic’. Rome also saw the rise and fall of some of
the greatest emperors in human civilization, like Julius Caesar,
Trajan and Augustus.The Roman empire in the end was overrun by
millions of barbarians from the north and east of Europe.
(i) Aztec Civilization
The Aztecs came in the scenario around the 1200s and early 1300s,
the people in present day Mexico used to live in three big rival
cities: Tenochtitlan, Texcoco and Tlacopan. Around 1325, these
rivals created an alliance and thus the new state was brought under
the rule of the Valley of Mexico. Back then, the people preferred
the name Mexica than to the Aztecs. The rise of the Aztecs was
within a century of the fall of another influential civilization in
74
Mexico and Central America: The Mayans. In the early 1500s, the
Aztec civilization was indeed at the height of its power. But then,
Spanish arrived with their expansion plans.
(j) The Incas Civilization
The Incas was the largest Empire in South America in the Pre-
Columbian era. This civilization flourished in the areas of present-
day Ecuador, Peru and Chile and had its administrative, military
and political center located at Cusco which lies in modern day
Peru. The Incas were devout followers of the Sun God Inti. They
had a king who was referred to as “Sapa Inca” meaning the child
of the Sun. The first Inca emperorPachacuti transformed it from a
modest village to a great city laid out in the shape of a puma. The
Incas went on to become great builders and went on to build
fortresses and sites like Machu Picchu and the city of Cusco that
still stand to this day.
XIII. THE HIGH MIDDLE AGES
BB. Monaticism standardized strict practice or development whose individuals

endeavor to live by a standard that requires works that go past those of either the
people or the common otherworldly heads of their religions. A definitive
75
motivation behind the ascetic undertaking is to achieve a condition of

independence from subjugation, where both servitude and opportunity are
characterized in philosophical terms. The fundamental thought of asceticism in
the entirety of its assortments is confinement or withdrawal from the world or
society. Ascetic life is unmistakable from the "strict orders" like the ministers,
ordinances normal, agents ordinary, and the later strict assemblages. The
essential, normal highlights of asceticism, in this way, can be diminished to these
four unique status; commitment of monastics to the act of individual strict
disciplines custom passage and continuous recognizable proof set apart by
uncommon appearance the job of devotion as a possibility for certain people
inside a bigger. Devotion is a method of living that is strict, separated from others,
and self-restrained. In numerous religions, priests and nuns practice devotion.
Then, at that point, you can depict your way of life as religion.
CC. The University Prior to the 12th century, education was disorganized at all
levels, from the most basic to the most advanced. During this time, monastic
schools, as well as cathedral schools, were prominent centers of learning. In the
countryside, there were both internal and external monastery schools. The purpose
of the internal schools was to provide education to young people who wanted to
become monks. While the monastery's internal schools served students from the
surrounding area, the monastery's exterior schools served pupils from the
surrounding area.However, the lack of external schools in some monasteries, as
well as their inaccessibility, rendered them unappealing to the general public.
Furthermore, the external schools' curriculum was aligned with that of monastic
vocation, making it of limited utility to young people who selected a different
course in life. In medieval Europe, municipalities provided various levels of
education. Primary schools were the lowest level, with the goal of teaching the
fundamentals of reading and writing to young boys and girls.Grammar schools,
which provided advanced language skills training, were the next step up.
However, there was a bewildering array of offers at the highest level; there were a
variety of different sorts of schools. Because they were operated by a single
instructor, the majority of these schools would not even be considered schools in
today's society. In addition, each town's bishop ran a school for the benefit of the
people who resided there; these schools were known as cathedral schools. Mission
transformation, multiplicity, and complexity are analyzed. The medieval
university emphasizes teaching. Thereafter, the early modern university adopts
nationalization (service to the nation-state). The formative U.S. college advances
democratization. Simultaneously, the German university promotes research. The
modern American university elevates public service. Today's rapid globalization
suggests a new mission: internationalization.
76
DD. Scholasticism, the philosophical systems and speculative tendencies of

various medieval Christian thinkers, who, working against a background of fixed
religious dogma, sought to solve anew general philosophical problems (as of faith
and reason, will and intellect, realism and nominalism, and the provability of the
existence of God), initially under the influence of the mystical and intuitional
tradition of patristic philosophy, especially Augustinianism, and later under that
of Aristotle. From the time of the Renaissance until at least the beginning of the
19th century, the term Scholasticism, not unlike the name Middle Ages, was used
as an expression of blame and contempt. The medieval period was widely viewed
as an insignificant intermezzo between Greco-Roman antiquity and modern times,
and Scholasticism was normally taken to describe a philosophy busied with sterile
subtleties, written in bad Latin, and above all subservient to Roman Catholic
theology. Even the German idealist philosopher Georg Wilhelm Friedrich Hegel,
in his Vorlesungen über die Geschichte der Philosophie (1833–36; Lectures on
the History of Philosophy), declared that he would “put on seven-league boots” in
order to skip over the thousand years between the 6th and 17th centuries and,
having at last arrived at René Descartes, said that now he could “cry land like the
sailor.” In those same first decades of the 19th century, on the other hand, the
Romanticists swung the pendulum sharply to the opposite side, to an
indiscriminate overestimation of everything medieval. Scholasticism is so much a
many-sided phenomenon that, in spite of intensive research, scholars still differ
considerably in their definition of the term and in the emphases that they place on
individual aspects of the phenomenon. Some historians, seeming almost to
capitulate to the complexity of the subject, confine themselves to the general point
that Scholasticism can only be defined denotatively as that kind of philosophy that
during the European Middle Ages was taught in the Christian schools. The
question of its connotation, however, remains, namely, What kind of philosophy
was it? The answer that Scholasticism was “school” philosophy and, in fact,
“Christian” school philosophy can be understood only by examining the historical
exigencies that created the need for schools. The search thus leads the inquirer
back to the transition from antiquity to the Middle Ages—a point which,
according to Hegel, was marked by the symbolic date 529 CE, when a decree of
the Christian emperor Justinian closed the Platonic Academy in Athens and sealed
“the downfall of the physical establishments of pagan philosophy.” In the same
year,however, still another event occurred, which points much less to the past
than to the coming age and, especially, to the rise of Scholasticism, namely, the
foundation of Monte Cassino, the first Benedictine abbey, above one of the
highways of the great folk migrations. This highly symbolic fact not only suggests
the initial shift of the scene of the intellectual life from places like the Academy to
77
the cloisters of Christian monasteries but also marks even more a change in the
dramatis personae. New nations were about to overrun the Roman Empire and its
Hellenistic culture with long-range effects: when, centuries later, for example, one
of the great Scholastics, St. Thomas Aquinas, was born, though he was rightly a
southern Italian, his mother was of Norman stock, and his Sicilian birthplace was
under central European (Hohenstaufen) control. Aristotle was one of the
profoundest as well as one of the clearest of Scholastic writers. He brought his
wonderful classical lore into the service of the Church and endeavoured to make
Aristotle a chief pillar of Christian dogma. The event which divides the history of
Scholasticism into two periods was the introduction about the end of the twelfth
century into the Christian schools, through the medium of Arabian commentators,
of the writings of Aristotle. For generations Aristotle had been known in the
Church in a fragmentary way, and his dialectic method obtained from the Logic
was the approved instrument of Scholastic reasoning. But his more systematic
works were unknown. With the rediscovery of his works as a whole, speculation
received a new impulse, and the task of the later Schoolmen was to harmonize the
teaching of "the philosopher," as he was called, with the doctrines of the Church.
(1)Alexander of Hales, who was trained in the cloister of Hales in
Gloucestershire, studied in Oxford and Paris, styled "Doctor irrefragabilis," has
the honour of being the first who became acquainted with the writings of
Aristotle. The Emperor Frederick II had obtained Aristotle's works from
Constantinople and caused them to be translated into LatinAlbertus Magnus, so
styled from the extent of his erudition, born 1193 in Lauingen on the Danube, is
the most famous of the German Scholastics. He was a profound student of
Aristotle, and has left a large number of writings, consisting chiefly of
commentaries upon the Master. But it is said that he did not hesitate to modify the
doctrines of "the philosopher" to meet the views of the Church. He was conscious
of a distinction between natural and revealed religion, but it became the aim of his
labours to minimize the difference and to harmonize philosophy and theology. He
contended that what is known in philosophy by the natural light (lumine naturali)
holds good also in theology. But he abandoned the position that the doctrines of
the Trinity and the Incarnation can be made rational. When the soul is confronted
with contradictions, revelation gives the decision. Revelation is above reason, but
not contrary to reason. (3) The same attitude toward natural and revealed truth
was taken by Thomas Aquinas, the renowned pupil of Albert, and, like his master,
a Dominican (1226-1274). He was one of the profoundest as well as one of the
clearest of Scholastic writers. He brought his wonderful classical lore into the
service of the Church and endeavoured to make Aristotle a chief pillar of
78
Christian dogma. While agreeing in the main with Albert, he even goes further in
limiting the exercise of philosophical insight and enlarging the domain of faith.
EE.Romanesque brick work church is investigated to evaluate its primary conduct
and its seismic weakness as for the real condition of preservation. Beginning from
a particular contextual investigation, a commitment to the issue of displaying and
examination of amazing stone work structures under seismic activity is given. A
limited component approach for the static and dynamic nonlinear investigation of
authentic workmanship structures is portrayed and applied to the contextual
analysis. A semi static methodology (the seismic coefficient strategy) for the
assessment of the seismic burdens has been utilized (as without a doubt is normal
in many examinations of the seismic conduct of brick work structures). The
examination request versus limit affirms the vulnerability of this kind of working
to broad harm and perhaps to fall, as oftentimes noticed. Besides the genuine
proficiency of current strategies for fixing and reinforcing are examined to assess
their advantages. The investigation of fixing and fortifying procedures show the
viability of the typical underlying support as far as expanded seismic limit. The
paper advocates that huge data can be gotten from cutting edge mathematical
examination, specifically regarding the comprehension of existing harm and to the
base and satisfactory plan of reinforcing. An unmistakable comprehension of the
underlying conduct and solid reinforcing, in view of modern apparatuses of
primary investigation, can in this way lessen the degree of the medicinal measures
in the reclamation of old constructions.
FF. The earliest Gothic art was monumental sculpture, on the walls of Cathedrals
and abbeys. Christian art was often typological in nature (see Medieval allegory),
showing the stories of the New Testament and the Old Testament side by
side.Through their best scholarly efforts, music instructors must prepare students
to live and prosper in the global environment of today (and in the future). The
scale of change brought about by globalization necessitates a thorough rethinking
of school music programs based on the reality of the global geo-sociopolitical
context, rather than tradition, expediency, personal preferences, or political
agendas. If educators are to be relevant to the society they are expected to serve,
the entire practice of school-based music education must be reevaluated, and
many traditions must be abandoned. Everything is up for debate: the
organizational paradigm of general music, large ensembles, and elective classes;
the genres, instruments, and ensembles offered (western, non-western, "art," folk,
pop, etc. ); the technologies used and how they are used; the current emphasis on
government mandated standards; the role of the teacher as conductor; the
pedagogical practices used; and the musical skill sets, knowledge, and habits that
students must possess. The first step in this reevaluation process is to examine the
79
relevant effects of globalization and determine their consequences for music

education. The extent of music education, as well as its function in and impact on
society, must be considered in such a review. The author of this paper uses
Christopher Small's (Small 1996) three categories of music, society, and
education to focus his analysis and structure his explanation. He discusses the
effects of globalization and their implications for music education in each case.
(There are 16 notes and 2 tables in this book.Discusses how medieval music can
be used to teach middle school students and meet the National Standards for
Music Education in choral and general music classrooms. Background material on
medieval music, instructional ideas, and a dictionary of significant concepts are
included.
GG. Discusses how medieval music can be used to teach middle school students
and meet the National Standards for Music Education in choral and general music
classrooms. Background material on medieval music, instructional ideas, and a
dictionary of significant concepts are included. Through their best scholarly efforts,
music instructors must prepare students to live and prosper in the global environment
of today (and in the future). The scale of change brought about by globalization
necessitates a thorough rethinking of school music programs based on the reality of
the global geo-sociopolitical context, rather than tradition, expediency, personal
preferences, or political agendas. If educators are to be relevant to the society they are
expected to serve, the entire practice of school-based music education must be
reevaluated, and many traditions must be abandoned. Everything is up for debate: the
organizational paradigm of general music, large ensembles, and elective classes; the
genres, instruments, and ensembles offered (western, non-western, "art," folk, pop,
etc. ); the technologies used and how they are used; the current emphasis on
government mandated standards; the role of the teacher as conductor; the pedagogical
practices used; and the musical skill sets, knowledge, and habits that students must
possess. The first step in this reevaluation process is to examine the relevant effects
of globalization and determine their consequences for music education. The extent of
music education, as well as its function in and impact on society, must be considered
in such a review. The author of this paper uses Christopher Small's (Small 1996)
three categories of music, society, and education to focus his analysis and structure
his explanation. He discusses the effects of globalization and their implications for
music education in each case. (There are 16 notes and 2 tables in this book.)
HH. Usually known as "the support of the Renaissance," fifteenth century Florence
was among the biggest and most extravagant urban areas in Europe and its richest
inhabitants were energetic benefactors of human expression, including model. Leaving
from the Global Gothic style that had recently overwhelmed in Italy, and drawing from
the styles of traditional vestige, Renaissance mold started in Florence and was
reluctantly impacted by antiquated figure. Lorenzo Ghiberti Renaissance mold
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appropriate is regularly thought in any case the renowned contest for the entryways of
the Florence baptistery in 1403, from which the preliminary models presented by the
victor, Lorenzo Ghiberti, and the second place, Filippo Brunelleschi, actually make due.
Ghiberti's bronze entryways comprise of 28 boards portraying scenes from the existence
of Christ, the four evangelists, and the Congregation Fathers Holy people Ambrose,
Jeromy, Gregory, and Augustine. They required 21 years to finish and still remain at the
northern entry of the baptistery, in spite of the fact that they are obscured by the
quality of his second pair of entryways for the eastern entry, which Michelangelo named
"the entryways of heaven." These new entryways were appointed in 1425 and worked
over a 27-year time span. They comprise of 10 rectangular boards portraying scenes
from the Hebrew Scripture and utilize a smart utilization of the as of late found
standards of viewpoint to add profundity to the sythesis . They are encircled by a
lavishly designed overlaid structure of products of the soil, statuettes of prophets, and
busts of the artist and his dad. To do these tremendous commissions, Ghiberti set up an
enormous studio in which numerous renowned Florentine stone carvers and craftsmen
prepared in later years, including Donatello, Michelozzo, and Paolo Uccello. He restored
the lost wax projecting of bronze, a method which had been utilized by the people of old
and hence lost. This made his studio especially well known and was an extraordinary
draw for trying craftsmen. Donatello One more profoundly powerful stone worker from
Florence was Donatello (1386—1466), who is most popular for his work in bas-
alleviation , a type of shallow help that he utilized as a vehicle for the consolidation of
huge fifteenth century sculptural improvements in perspectival deception. Donatello
accepted his initial imaginative preparing in a goldsmith's studio and afterward prepared
momentarily in Ghiberti's studio prior to undertaking an outing to Rome with Filippo
Brunelleschi, where he embraced the review and exhuming of Roman engineering and
figure. Roman craftsmanship turned into the absolute most significant effect on
Donatello's work. His chief support in Florence was Cosimo de'Medici, the city's most
prominent benefactor of workmanship. Donatello made his bronze David for Cosimo's
court in the Palazzo Medici. Considered completely in the round and autonomous of any
engineering environmental factors, it was the main realized detached bare sculpture
created since vestige and addressed a purposeful anecdote of city temperances beating
ruthlessness and obliviousness. This figure addressed an especially significant
advancement in Renaissance form: the development of model free of engineering,
dissimilar to the former Worldwide Gothic style where design once in a while existed
autonomous of design. Donatello's other significant undertakings in and close to
Florence incorporate the marble lectern of the veneer of the Prato house of God , the
cut Cantoria or ensemble at the Florence Duomo, which was impacted by antiquated
stone caskets and Byzantine ivory chests, the Annunciation scene for the Cavalcanti
special raised area in the congregation of Santa Clause Croce, and a bust of Young fellow
with an Appearance, the principal illustration of a lay bust representation since the old
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style time. Support of Model The time frame was set apart by an incredible expansion in
support of model by the state for public workmanship and by well off benefactors for
their homes. Public model turned into an essential component in the presence of
notable downtown areas, and representation design, especially busts, turned out to be
massively famous in Florence following Donatello's developments. These fifteenth
century developments before long spread all through Italy and later through the
remainder of Europe. The motet is a choral arrangement dependent on Latin text that
started in Bygone eras. Not at all like the mass, the motet is a short, sacrosanct work
that could be utilized in any faith gathering. Renaissance motets had singable songs, the
harmonies were smooth and unsurprising, and impersonation – one voice mimicking
another – was vital. Pay attention to Ave Maria, a motet by our companion Josquin des
Prez: Another well known Renaissance consecrated music arranger was Giovanni
Pierluigi da Palestrina. He formed more than 500 consecrated works during his life, and
was powerfu.
II. The High Renaissance, Along these lines authored to indicate the creative zenith of the
Renaissance, alludes to a thirty-year time span exemplified by the pivotal, notorious
masterpieces being made in Italy during what was viewed as a flourishing cultural prime.
A restoration of old style craftsmanship wedded with a profound examination
concerning the humanities prodded specialists of unmatched dominance whose
manifestations were educated by a sharp information on science, life structures, and
design, and remain today, the absolute most spectacular works of greatness in the
verifiable workmanship group. Although many artists vied for status and commissions
during the High Renaissance, Leonardo da Vinci, Michelangelo, Raphael, and architect
Donato Bramante are undoubtedly the period's most notable legends who exemplify
the term "Renaissance" man in their proficiency and mastery of multiple subjects and
interests. During this period, a social development toward Humanism emerged,
convincing craftsmen to get back to Old style Roman and Greek methods of reasoning
concerning all inclusive man and his spot on the planet. This was a takeoff from the
archaic period's admired strict iconography and brought about new portrayals of
heavenly subjects mixed with a more resounding and human emotionality and
articulation. A rise of new styles arose that were groundbreaking for the time. Leonardo
created sfumato, a glazing effect that revolutionized the blending of tone and color, and
quadratura, or ceiling paintings, were born, meant to rapturously draw the gaze of
viewers up into a heavenly visage. The period is noted for infusing ideals of beauty back
into art. Whether depicting religious figures or everyday citizens, in architecture and in
art, the High Renaissance artists' key concerns were to present pieces of visual,
symmetrical, and compositional perfection. In art history, the High Renaissance was a
short period of the most exceptional artistic production in the Italian states, particularly
Rome, capital of the Papal States, and in Florence, during the Italian Renaissance. Most
art historians state that the High Renaissance started around 1495 or 1500 and ended in
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1520 with the death of Raphael, although some say the High Renaissance ended about
1525, or in 1527 with the Sack of Rome by the army of Charles V, Holy Roman Emperor,
or about 1530 (see next section for specific art historians’ positions). The best-known
exponents of painting, sculpture and architecture of the High Renaissance include
Leonardo da Vinci, Michelangelo and Raphael, and Bramante. In recent years, the use of
the term has been frequently criticized by some academic art historians for
oversimplifying artistic developments, ignoring historical context, and focusing only on a
few iconic works.
JJ. Mannerism One of the incredible types of Peculiarity during the Venice Renaissance,
Tintoretto is most popular for his amazing strict craftsmanship. ... Notwithstanding strict
works, Tintoretto additionally dominated at fanciful canvas, just as being an
extraordinary portraitist. He additionally portrayed probably the best drawings of the
Renaissance. El Greco's life and work were set apart by a profound hidden dedication to
God. Constrained as a youngster to turn into a craftsman, he dominated a longstanding
practice of Byzantine symbol workmanship, yet when he at last got comfortable Spain
his motivation was to a great extent drawn from the expanding Italian and Spanish
Renaissances. In spite of the fact that his initial desires were to turn into a court painter,
his singular style that started to arise in Spain immediately launch him from the bounds
of any regular school. He turned out to be endlessly keen on the new Mannerist
development, a gathering who repudiated the simple impersonation of nature in
workmanship, and on second thought looked to communicate the basic mental parts of
a work past its fanciful or strict topics. These ideas educated a body regarding work that
is profoundly suggestive of the Heavenly and all around noted for showing the
otherworldliness that lay underneath all being. Idiosyncrasy alludes to a period during
and after the High Renaissance (1520-1600). The sheer virtuoso of Correggio's work
sheds understanding on the Mannerist style. Assessments place his introduction to the
world somewhere close to 1489 and 1495. Antonio Allegri of Correggio, known as
Correggio, was the child of a shipper. By 1540, Pontormo's understudy Agnolo Bronzino
(1503–1572) had turned into the main craftsman working in this style in Florence and
court painter to Cosimo I de' Medici, excellent duke of Mannerism, Italian Manierismo,
(from maniera, “manner,” or “style”), artistic style that predominated in Italy from the
end of the High Renaissance in the 1520s to the beginnings of the Baroque style around
1590. Two Florentine artists, Giovanni Battista di Jacopo, known as Rosso Fiorentino or Il
Rosso, and Jacopo da Pontormo pioneered Mannerism. The term mannerism describes
the style of the paintings and bronze sculpture on this tour. Derived from the Italian
maniera, meaning simply “style,” mannerism is sometimes defined as the “stylish style”
for its emphasis on self-conscious artifice over realistic depiction. The characteristics of
Mannerism include hyper-idealization, distorted human forms; staged, awkward
movement; exaggerated poses; crowded, unorganized compositions; nervous, erratic
line; sour color palettes, and ambiguous space. Mannerism is a period of European art
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that emerged from the later years of the Italian High Renaissance. It began around 1520
and lasted until about 1580 in Italy, when a more Baroque style began to be favored.
Stylistically, Mannerist painting encompasses a variety of approaches influenced by and
reacting to, the harmonious ideals and restrained naturalism associated with artists such
as Leonardo da Vinci, Raphael, and early Michelangelo. Mannerism is notable for its
intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities.
There is an existing debate between scholars as to whether Mannerism was its own,
independent art movement, or if it should be considered as part of the High
Renaissance.
KK. Mannerism Mannerism is a period of European art that emerged from the later
years of the Italian High Renaissance. It began around 1520 and lasted until about 1580
in Italy, when a more Baroque style began to be favored. Stylistically, Mannerist painting
encompasses a variety of approaches influenced by, and reacting to, the harmonious
ideals and restrained naturalism associated with artists such as Leonardo da Vinci,
Raphael, and early Michelangelo. Mannerism is notable for its intellectual sophistication
as well as its artificial (as opposed to naturalistic) qualities. There is an existing debate
between scholars as to whether Mannerism was its own, independent art movement, or
if it should be considered as part of the High Renaissance.
XIV. THE BAROQUE PERIOD
LL.Baroque architecture started with very sober elements and evolved to more
ornamented facades. . The main characteristics of this style in Spain are the use of
humble materials, very simple plan layout, but very dynamic and volumetric
facades and altars. It was a more ornamental than structural architecture.
style.After the Renaissance, the Baroque appeared in Italy as a new artistic and
architectonic style meant to exhibit the power of the Catholic Church. Its most
defining feature was the abundance of ornaments. Baroque expressions began in
Italy in the early 17th century and from there quickly spread throughout Europe.
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Baroque architecture developed in Spain between the mid-17th century and the
18th century.
MM. The Baroque style was the guideline and reference for new constructions
and urban planning throughout all the Spanish Empire of that time, so we also see
the Baroque influence in colonial architecture in Latin America and the
Philippines. Baroque in Spain developed essentially as a regional style, with
important variations when compared to other countries in Europe. The golden age
of Spain had come to an end, and the country faced an economic decay, losing
influence as a major power in Europe. Because of this, we often see that
construction projects had a very long time span and were usually completed by an
architect other than the one who started it. Economic difficulties also lead to the
use of humble materials. Brick was used for most of the construction, and better
materials like stone were reserved for ornaments like window framing and key
elements such as facades of main entrances. In Spain, we see a limited use of
noble materials like marble and bronze, widely used during the Baroque in other
parts of Europe.
NN. On the other hand, the Catholic Church had a strong influence and wealth.
Art and architecture were used to prove such power because they were elements
of religious propaganda, and the Church could afford ambitious projects for new
cathedrals or major renovations of the existing ones. Therefore, most Baroque
pieces outside of the capital, Madrid, are religious buildings. In the capital, many
civic buildings were made to exhibit the power of the monarchy, and in major
cities in the provinces, the main square was the most important civic building,
which was also created to show power. The buildings continue to have a very
simple plan layout, the geometric rigor with rectangular and square volumes
continues to be the norm. In Spain, we don't see the dynamic and complex layout
found in plans of the Italian Baroque. The constructive elements continue to be
those of the Renaissance, like arches and columns, with the main difference being
that they became more complex during this period.
OO. The facade and the altar are the most representative elements of Spanish
Baroque architecture since here is where most decorative elements are
concentrated and brought together as a masterpiece of art. These architectural
elements were meant to be dynamic, volumetric, and with plenty of shadows in
order to create a sense of movement. The exterior walls are a mixture of
ornamentation and soberness. On each side of the ornamented facades, there are
plain, straight walls with little decoration. So Baroque architecture in Spain was
more ornamental than structural.
PP. Spanish Baroque architecture evolved from a certain simplicity and austerity to
forms that were more and more elaborated, especially on facades. Because of this
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evolution, it's common for authors to divide the Spanish Baroque architecture into
two periods: an early Baroque period (17th century) and a second period (late
17th century and 18th century), though there is arguably also a late Baroque
period in the mid-18th century. In the first decades of Spanish Baroque, we see
the transition between late renaissance architecture and new architectonic ideas
coming from Italy; this was the early period. During the second period, the style
developed to highly ornamented elements and more dynamic conceptions. The
Churriguera brothers were the most influential architects of the second period, and
their style would later define some of the characteristics of the Spanish Rococo.
QQ. Valuable items in metalwork, ivories, and polishes held high status in the
Romanesque time frame. The designers of these items are more notable than
contemporary painters, illuminators, and draftsman bricklayers. Metalwork,
remembering adornment for lacquer, turned out to be extremely complex.
Numerous tremendous places of worship made to hold relics have made due, of
which the most popular is the Sanctum of the Three Lords at Cologne Church
building by Nicholas of Verdun (around 1180–1225). The bronze Gloucester
candle is a wonderful illustration of metal projecting, with unpredictable and
vivacious characteristics that draw on composition painting. The Stavelot Three
panel painting and Reliquary of St. Maurus are different instances of Mosan
enamel work. Huge reliquaries and raised area frontals were worked around a
wooden edge, yet more modest coffins were made completely of metal and
veneer. A couple of common pieces, for example, reflect cases, adornments, and
catches have likewise made due, yet these no question under-address the measure
of fine metalwork claimed by the respectability.
II. THE CLASSIC PERIOD
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A. The Classical Era is often cited as the latter half of the eighteenth century. The period
takes the appellation "Classical" due to the philosophical and cultural return to the
classical values of antiquity, which greatly influenced musical composition. The Baroque
Era ended Europe's first return to the philosophical and artistic values of classical Rome
and Greece. Short description of what ClassicaL Era music is Most modern music fans
would most likely find it odd to learn that the music of the Classical Era developed from
a search for a simpler, cleaner, more humanistic musical expression with universal
qualities and appeal. Indeed, writing and performing music that would delight the
greatest number of people was a primary goal of Classical Era composers. This change in
phrasing and increased used of cadences allowed composers to display a diverse range
of mood and emotional expression within the same work. First, it exposes us to the life
and culture of Jews in a particular time and place eastern Europe at the turn of the
twentieth century. However, literature because of its suggestive power can serve as a
bridge to the past. Many of Sholem Aleichem's characters struggle to construct and
reconstruct their own identities in the wake of rapid modernization in the society
around them. In doing so, they capture an essential characteristic of our time: the need
and the freedom to define and redefine who we are in response to a world that is
undergoing constant change.
B. The Classical Period also saw the formalization of many musical forms, such as the
symphony and concerto, that still form the basis of little "c" classical music. With this
standardization of forms and simpler melodies, the composers of the time included
more notations as to how their works were to be performed. While the era of the
virtuoso was yet to come, the individual composer started the transition from servant to
the Church or court to celebrated artist during the Classical Era. Music evolved within
the broader culture of the time, called the Age of Enlightenment, which shared some
characteristics with the Renaissance, most obviously its return to the ancient world of
Greece and Rome for cultural inspiration. The visual arts of the time are often called
"neoclassical" because of their use of antiquity as a creative touchstone. These visual
artists, as well as the composers of the Classical Era, believed that beauty itself could be
achieved through the execution of logical, objective rules, such as proportion and
balance. Painting and sculpture In painting there was a long tradition from the Middle
Ages and Renaissance that, while perhaps not matching those of Italy or the Low
Countries, produced a number of religious subjects and court portraits. Beginning in the
1820s, the bold eroticism and "Orientalism" of the works of Romantic painter Eug ne
Delacroix angered the academy, while at midcentury the gritty Realism of the art of
Gustave Courbet and Honor Daumier was viewed as scandalous. In the period between
the World Wars, Paris remained a major centre of avant-garde activity, and branches of
prominent international movements such as Dada and Surrealism were active there.
Courses for art historians and restorators are available at the School of the Louvre.
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C. Jews have undergone a tremendous process of transformation, and Sholem Aleichem,

perhaps more than any writer, has captured its difficulty. He’s captured its challenges;
he’s captured its humor. He’s captured so much of it and so brilliantly. If one has lost
access to Sholem Aleichem, then, in fact, one has lost access to that process of
modernization itself. If you cut it away, then what you cut away is such a valuable
understanding of one’s own transformation into who we are. How did you become
that? It’s all there. And when that is lost, then one is empty of something empty of
something that is really part of one’s self. Ruth Wisse, Sholem Aleichem: Laughing in the
Darkness Reading Sholem Aleichem’s writing serves a dual purpose. First, it exposes us
to the life and culture of Jews in a particular time and place—eastern Europe at the turn
of the twentieth century. Second, it allows us to connect history to our own lives, as any
encounter with great literature does. Of course, recognizing connections between
oneself and the life of someone who lived a century ago is a difficult task, especially
considering that the particular world Sholem Aleichem wrote about is gone—
transformed by modernization, and then eventually destroyed by the Holocaust.
However, literature because of its suggestive power can serve as a bridge to the past.
Many of Sholem Aleichem’s characters struggle to construct and reconstruct their own
identities in the wake of rapid modernization in the society around them. In doing so,
they capture an essential characteristic of our time: the need and the freedom to define
and redefine who we are in response to a world that is undergoing constant change.
Because this is a fairly universal theme, Sholem Aleichem’s works are particularly useful
for bridging gaps, resolving tensions, and forging connections between students’ own
lives and the lives of their parents and grandparents. These stories can be used to
humanize and to illuminate the lives of eastern European Jews as well as to encourage
both Jewish and non-Jewish students to examine the roots of their own identities. Most
importantly, this writing can breathe life into a community whose members are too
often discussed as victims rather than a thriving group that—despite the constraints of
antisemitism, poverty, and discrimination—left a rich, vibrant, and relevant cultural
heritage.
D. Lavish, style in inside plan, the improving expressions, painting, design, and model that
started in Paris in the mid eighteenth century however was before long taken on all
through France and later in different nations, chiefly Germany and Austria. It is
described by daintiness, class, and an extravagant utilization of bending normal
structures in ornamentation. The word Extravagant is gotten from the French word
rocaille, which meant the shell-shrouded rock work that was utilized to enhance fake
grottoes. At the beginning the Ornate style addressed a response against the massive
plan of Louis XIV's Castle of Versailles and the authority Rococo craft of his rule.
Meissonier, Jean Berain, and Nicolas Pineau, fostered a lighter and more private style of
embellishment for the new homes of aristocrats in Paris. In the Lavish style, dividers,
roofs, and moldings were enlivened with sensitive interlacings of bends and
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countercurves dependent on the key states of the "C" and the "S," just as with shell
structures and other normal shapes. Light pastels, ivory white, and gold were the
overwhelming tones, and Ornate decorators oftentimes utilized mirrors to improve the
feeling of open space. Extravagant composition in France started with the smooth,
tenderly melancholic artworks of Antoine Watteau, finished in the energetic and exotic
nudes of Fran ois Boucher, and finished with the unreservedly painted class scenes of
Jean-Honor Fragonard. Extravagant representation had its best specialists in Jean-Marc
Nattier and Jean-Baptiste Perroneau. French Extravagant work of art overall was
portrayed by agreeable, cheerful medicines of legendary and romance topics, rich and
fragile brushwork, a generally light apparent key, and exotic shading.
E. Lavish workmanship, at times called a "feminized" rendition of the Rococo style, is
related with the gentry. These are spring or summer settings with no trace of downpour
or any regular occasion to upset the bliss of the entertainers in the setting. Regularly
sculptures are portrayed in these normal "stops"; the sculptures at times remark on the
activity in the works of art (for instance, Venus and her child Cupid might support the
teases continuing). Antoine Watteau Embarcation for Cythera 1717 Embarcation for
Cythera One of the most renowned instances of Extravagant workmanship, this canvas
portrays a party of blue-bloods getting back from the legendary island of Cythera, a spot
related with Venus. Apparently the male in this canvas is charming a lady, however the
sculpture behind the scenes might show that his advances are being dismissed. This
work has a despairing topic yet being dismissed in an affection suit scarcely has the
reality of a portion of the strict or political subjects we analyzed in the specialty of the
Florid time frame. The Shower of Diana 1742 The Shower of Diana Boucher is popular
for his portrayal of the naked female. The "heavenly right" of rulers clearly did not imply
that the lord was dependent upon the Precepts of the Heavenly. The Gathering 1771-3
The Gathering This artistic creation is the first in a series called the "Progress of
Affection". In any case, note the date.
F. The symphonic music of lavish was similarly demonstrative of the new imaginative style
coming to fruition in western music. The reception of the lighter surface and more
divided melodic considerations of this pre-Traditional style is especially indebted to the
noticeable quality of the Italian string concerti of Tartini, Giovanni Battista Sammartini,
Luigi Boccherini, and Giovanni Battista Viotti. Bach's children, C.P.E. Bach and Johann
Christian Bach are basically liable for the advancement of the console concerto and
orchestra into a main classification of music during the lavish time and, later all through
the old style time frame and then some. Another of Bach's children, Wilhelm
Friedemann Bach was nearer to his dad, Johann Sebastian Bach in his music style and
proceeded to form about six concerti for harpsichord, strings, and basso continuo.C.P.E.
Bach embraced empfindsamer stil with 50 console concerti, among those for different
instruments. The recent fad was particularly apparent in instrumentation, exchange
among piano and symphony just as the consideration of recitatives loaded down with
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ornamentation (obviously acquired from the Extravagant drama custom). It is not

exceptional to track down the Finale developments of his concerti display clear
attributes of emotional turn of events and melodic eccentricity of the Italian comic
drama buffa. Furthermore, his sibling Johann Christian, otherwise called "London Bach'
added to the advancement of the ensemble, a superior sort of traditional music in
general. Extravagant music was an impression of the ornate style in engineering, style,
and inside plan, at the focal point of which is the sensitive enjoyableness of short
expressions, homophonic rather than polyphonic construction of organization, and
another accentuation on ornamentation, similarly as the intricate stylistic theme and
embellishments decorate the lavish item d'art and design.
G. Fundamental to the writing and craft of the ornate period style is the idea of metonymy.
While Patrick Brady, the main scholar of this style, has dissected exhaustively its
consequences in an assortment of regions, the proper parts of extravagant verse have
been dismissed. This review searches out metonymy in the metrical association, or
absence of it, in French ornate verse using Benoit de Cornulier's hypothesis of section.
An outline of the French verse in the Extravagant Collection uncovers that the
isometrical structure stays prevailing; in any case, the favored line length shifts from the
alexandrine to the octosyllable. In the space of heterometrical verse, the traditional
standard structure consolidated generally alexandrine and octosyllabic lines.
Extravagant scaling down is communicated in the quickness of the verse of the period.
This present review's conversation of the inward association of the extravagant and
traditional graceful line centers around caesurae in alexandrines and decasyllables just
as the topic of mood. In spite of the cases of past pundits, a plenitude of deceiving
commas, periods and interjection marks disguises the hidden routineness of inside
caesurae. The presence of writing and the reliance on melodic meter further add to the
ametricality of the lavish sonnet. This review hypothesizes that while traditional show
was not disposed of, the metonymic inclinations of the lavish artist’s sabotage show
musically and fundamentally.
H. Neoclassicism (also spelled Neo-classicism; from Greek νέος nèos, "new" and Greek
κλασικός klasikόs, "of the highest rank") was a Western cultural movement in the
decorative and visual arts, literature, theatre, music, and architecture that drew
inspiration from the art and culture of classical antiquity. Neoclassicism was born in
Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the
rediscovery of Pompeii and Herculaneum, but its popularity spread all over Europe as a
generation of European art students finished their Grand Tour and returned from Italy
to their home countries with newly rediscovered Greco-Roman ideals. The main
Neoclassical movement coincided with the 18th-century Age of Enlightenment, and
continued into the early 19th century, laterally competing with Romanticism. In
architecture, the style continued throughout the 19th, 20th and up to the 21st century.
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XV. THE ROMANTIC ERA
I. Literature- As the Normans conquested England, Middle English replaced the Old
English and was used by the father of English Literature, Geoffrey Chaucer in his famous
work, The Canterbury Tales. Traditionally, it was particularly active in landscape
paintings and portraits, and less active in religious art. Movements like the Pre-
Raphaelite Brotherhood are incomparable in other countries. " what-makes-british-art-
british Britain's most distinctive styles include Late Middle Ages Vertical Gothic, High
Victorian Gothic, and Queen Anne Style.
J. Italian literature, the body of written works produced in the Italian language that had its
beginnings in the 13th century. Until that time nearly all literary work composed in
Europe during the Middle Ages was written in Latin. Moreover, it was predominantly
practical in nature and produced by writers trained in ecclesiastical schools. Literature in
Italian developed later than literature in French and Provençal, the languages of the
north and south of France, respectively. Only small fragments of Italian vernacular verse
before the end of the 12th century have been found (although a number of Latin legal
records contain witness testimonies in an Italian dialect vernacular), and surviving 12th-
and 13th-century verse reflects French and Provençal influence.
K. The music of Italy has traditionally been one of the cultural markers of Italian national
and ethnic identity and holds an important position in society and in politics. Italian
music innovation – in musical scale, harmony, notation, and theatre – enabled the
development of opera, in the late 16th century, and much of modern European classical
music – such as the symphony and concerto – ranges across a broad spectrum of opera
and instrumental classical music and popular music drawn from both native and
imported sources. Italian folk music is an important part of the country's musical
heritage, and spans a diverse array of regional styles, instruments and dances.
Instrumental and vocal classical music is an iconic part of Italian identity, spanning
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experimental art music and international fusions to symphonic music and opera. Opera
is integral to Italian musical culture, and has become a major segment of popular music.
The Canzone Napoletana—the Neapolitan Song, and the cantautori singer-songwriter
traditions are also popular domestic styles that form an important part of the Italian
music industry, alongside imported genres such as jazz, rock and hip hop from the
United States. Italy was also an important country in the development of disco and
electronic music, with Italo disco being one of the earliest electronic dance genres.
L. German writing, German writing involves the composed works of the German-talking
people groups of focal Europe. It has shared the destiny of German legislative issues and
history: fracture and intermittence. Germany didn't turn into a cutting edge country
state until 1871, and the earlier history of the different German states is set apart by
fighting, strict disturbance, and times of financial decay. This divided improvement
separates German writing from the public written works of France and England, for
example, which delighted in continuous brightness from the Middle Ages to the cutting
edge period. By the by, German writing has encountered three times of set up
significance: the high Middle Ages (c. 1160–c. 1230), the turn of the eighteenth to the
nineteenth century (the "period of Goethe"), and the turn of the nineteenth to the
twentieth. This article gives a succinct recorded study of German writing. Its significant
periods, developments, works, and topics are examined and set into their political and
social setting. The point is to portray major and delegate works and thoughts and not to
endeavor a total or even intensive overview of creators and the artistic scene.
M. Russian literature, the body of written works produced in the Russian language,
beginning with the Christianization of Kievan Rus in the late 10th century. Russian
literature, the body of written works produced in the Russian language, beginning with
the Christianization of Kievan Rus in the late 10th century. The unusual shape of Russian
literary history has been the source of numerous controversies. Three major and sudden
breaks divide it into four periods—pre-Petrine (or Old Russian), Imperial, post-
Revolutionary, and post-Soviet. The reforms of Peter I (the Great; reigned 1682–1725),
who rapidly Westernized the country, created so sharp a divide with the past that it was
common in the 19th century to maintain that Russian literature had begun only a
century before. The 19th century’s most influential critic, Vissarion Belinsky, even
proposed the exact year (1739) in which Russian literature began, thus denying the
status of literature to all pre-Petrine works. The Russian Revolution of 1917 and the
Bolshevik coup later in the same year created another major divide, eventually turning
“official” Russian literature into political propaganda for the communist state. Finally,
Mikhail Gorbachev’s ascent to power in 1985 and the collapse of the U.S.S.R. in 1991
marked another dramatic break. What is important in this pattern is that the breaks
were sudden rather than gradual and that they were the product of political forces
external to literary history itself. The most celebrated period of Russian literature was
the 19th century, which produced, in a remarkably short period, some of the
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indisputable masterworks of world literature. It has often been noted that the
overwhelming majority of Russian works of world significance were produced within the
lifetime of one person, Leo Tolstoy (1828–1910). Indeed, many of them were written
within two decades, the 1860s and 1870s, a period that perhaps never has been
surpassed in any culture for sheer concentrated literary brilliance. Until the 18th
century, Russian music consisted mainly of church music, folk songs and music for
dances. Among the bourgeoisie, Italian, French, and German operas were especially
popular. Two opposing groups of composers were founded in the 19th century: the
Russian Music Society, a pro-Western association of composers led by the brothers
Anton and Nikolay Rubinstein and the "Migighty Handful", a group of composers known
for using elements of Russian folk and religious music and folk themes in their works.
Among the most famous members of the "Mighty Handful" are Rimsky-Korsakov,
Mussorgsky and Balakirev. In the beginning of the 20th century, romances written and
performed in the Russian, Caucasian, Gypsy and Italian styles became popular in Russia.
The greatest and most popular singers of the romance movement were Fyodor
Shalyapin, Alexandr Vertinsky, Konstantin Sokolsky and Pyotr Leshchenko.In the 20th
century, the pressure of the Soviet authorities caused many artists to leave the Soviet
Union. At the same period a musical underground of folk-oriented and rock groups
formed. Magnitizidat recorded and distributed forbidden folk, rock, and jazz works in
small batches. After Communism fell, many exiled artists including Vladimir Horowitz
and Mstislav Rostropovich returned to Russia to continue producing and performing
their music. During this period, much of Russian rock music lost the creativity of its
underground period and tended towards imitating Western groups in style.
N. Spanish literature generally refers to literature (Spanish poetry, prose, and drama)
written in the Spanish language within the territory that presently constitutes the
Kingdom of Spain. Its development coincides and frequently intersects with that of
other literary traditions from regions within the same territory, particularly Catalan
literature, Galician intersects as well with Latin, Jewish, and Arabic literary traditions of
the Iberian peninsula. The literature of Spanish America is an important branch of
Spanish literature, with its own particular characteristics dating back to the earliest
years of Spain’s conquest of the Americas (see Latin American literature).
O. Germany has a solid, rich practice in the visual expressions. In the middle age time, the
rule of Charlemagne acquainted German specialists with the three-dimensionality of
Roman workmanship. Compositions and models, regularly in the Gothic style advocated
in France and Germany, were by and large made to adorn houses of worship, and
enlightened original copies and stained glass were additionally made. In the fifteenth
century, the plan of altarpieces, which consolidated human expressions of painting,
figure, and engineering, turned into a famous pursuit, and the ascent of book printing
prompted the plan of many fine woodcut representations. In the late fifteenth and the
sixteenth hundreds of years, an age of German craftsmen arose that included Albrecht
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Dürer, Lucas Cranach, Matthias Grünewald, and Hans Holbein the Younger, every one of
whom worked in a style impacted by the Italian Renaissance; their work addressed a
brilliant age in German craftsmanship. During this time, the Protestant Reformation of
the 1520s achieved the annihilation of some craftsmanship that was considered
excessive and prompted more mainstream topic, as found in the various self-
representations by Dürer.
P. Resulting ages of specialists investigated French and Italian minor departure from the
Baroque and Rococo, yet German craftsmanship didn't foster an unmistakable public
person again until the mid-eighteenth century, when a sullen Neoclassicism, pushed by
scholar Johann Winckelmann and a progression of new workmanship institutes, grabbed
hold. At the turn of the nineteenth century, Romanticism bloomed, maybe best
exemplified in crafted by Caspar David Friedrich and Philipp Otto Runge, who in the
principal quarter of the century investigated nature with an enthusiastic, practically
strict enthusiasm. By the late nineteenth century, craftsmen started to shape bunches
that withdrew from the moderate lessons and display chances of the foundations. All
things considered, the sullen Neoclassical style for the most part ruled until the late
nineteenth century, when secessionist bunches framed in Munich (1892), Berlin (1898),
and, under the authority of Gustav Klimt, Vienna (1897).
Q. The National Exhibition of Fine Arts (Spanish: Exposiciones Nacionales de Bellas Artes)
was a regular event that took place in Spain from 1856 to 1968; usually in Madrid. These
exhibitions were in the form of a competition, established by a Royal Decree from
Queen Isabella II in 1853. It was the largest official exhibition of Spanish art. It was
initially divided into five categories: Painting, Sculpture, Engraving, Architecture, and
Decorative Arts. Painting was always considered the most prestigious category,
however, and Decorative Arts was only occasional. Although the decree specified that
they were to be held biennially, this was not always strictly. Germany has for quite some
time been a country of melodic visionaries. From the twelfth century, when German
Benedictine pious devotee Saint Hildegard investigated wedding Catholic "plainchant"
with moral show, through the "normal practice period" (1600-1920), during which
German writers routinely rethought both drama and instrumental traditional music, way
into the late twentieth century–any place would we be without Kraftwerk?– German
performers have reliably tracked down better approaches to ponder music, thus moving
better approaches to contemplate the world. We should take a moderately ordered hike
through the numerous wonderful musics of Germany.
R. GERMAN CHRISTIAN HYMNS: The primary extraordinary author in the written history of
German music was a twelfth century productive rationalist, Benedictine spiritualist,
botanist, artist, writer, religious community organizer and–in case we forget–a cloister
adherent, known as Hildegard of Bingen. Occupied "Holy person Hildegard," otherwise
called Sibyl of the Rhine, formed Latin-language Christian psalms, large numbers of
which are still important for chapel sacrament. Watch an exhibition of Hildegard von
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Bingen's "Ordo Virtum," which might be the soonest "profound quality play." The 19th
century was a period in American history that was immensely rich. The United States
was still forging its own identity and culture following the American Revolution and the
War of 1812. This period, known as the Romantic Era in history, had a significant impact
on American philosophy and is credited with giving rise to the concept of "becoming an
American." Romanticism (the most common name for the period known as The
Romantic Era) was a European arts and literature movement that spread to the United
States and took on a life of its own. Romanticism began as a reaction to Industrialism
and the restricted neoclassical notions of the previous Enlightenment period. It
eschewed modernity, logic, and religious rigidity in favor of human passion, self-
exploration, and the importance and beauty of nature. It was a time when emotion
overtook reason, and self-expression trumped traditional restraint. In the history of
American literature, American Romanticism was the first true literary movement to
emerge from the country. In fact, the Romantic Era in the United States was dubbed
the"American Renaissance" because it was at this time that American writers and artists
began to seek out a distinct "American" voice from their British and European
counterparts. Only a few decades after the American Revolution, and in the aftermath
of the War of 1812, the country found itself in a position of newly obtained
independence and boundless opportunity in terms of national identity. This state of
liminality resulted in a rush of creativity. American painters were inspired by British
romantic writers who focused on natural aesthetics, passion, and the ego, and began
writing about America through these Romantic lenses. For example, the Romantic
enthusiasm for environment prompted William Cullen Bryant to write poems about New
England outdoors. These writings influenced Henry David Thoreau, a crucial character in
American literature, who went on to become a leading member of the peculiarly
American movement of Transcendentalism. Meanwhile, social and political events such
as Andrew Jackson's inauguration shaped democratic philosophy and concept, affirming
the individual's importance regardless of background or social class. As a result of this
rise in democratic ideals, American culture began to lean more toward individualism,
exacerbating the romantic notions of self-expression and freedom that previously
existed.
S. French literature, the body of written works in the French language produced within the
geographic and political boundaries of France. The French language was one of the five
major Romance languages to develop from Vulgar Latin as a result of the Roman
occupation of western Europe.
T. The fine arts French traditions in the fine arts are deep and rich, and painting, sculpture,
music, dance, architecture, photography, and film all flourish under state support.
U. Painting and sculpture In painting there was a long tradition from the Middle Ages and
Renaissance that, while perhaps not matching those of Italy or the Low Countries,
produced a number of religious subjects and court portraits. By the 17th century,
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paintings of peasants by Louis Le Nain, of allegories and Classical myths by Nicolas

Poussin, and of formally pastoral scenes by Claude Lorrain began to give French art its
own characteristics. Within the next hundred years, styles became even more wide-
ranging: mildly erotic works by François Boucher and Jean-Honoré Fragonard; enigmatic
scenes such as Pierrot, or Gilles (c. 1718–19), by Antoine Watteau; interiors by Jean-
Siméon Chardin that were often tinged with violence, as in La Raie (c. 1725–26; “The
Ray”); emotive portraits by Jean-Baptiste Greuze; and rigorous Neoclassical works by
Jacques-Louis David. Much as the Académie Franƈaise regulated literature, painting up
to this time was subject to rules and conventions established by the Academy of Fine
Arts. In the 19th century some artists, notably J.-A.-D. Ingres, followed these rules.
Others reacted against academic conventions, making Paris, as the century progressed,
a centre of the Western avant-garde. Beginning in the 1820s, the bold eroticism and
“Orientalism” of the works of Romantic painter Eugène Delacroix angered the academy,
while at midcentury the gritty Realism of the art of Gustave Courbet and Honoré
Daumier was viewed as scandalous.
V. Classical French Music The most celebrated classical music era from France is known as
the Romantic Era, which closely resembles the period of Romantic French literature and
poetry. Set during the 19th century, famous French musicians like Ravel and Debussy
were able to compose classical masterpieces that were not only appreciated in France at
the time, but also made their way around the world, wowing audiences and inspiring
composers in other countries.Erik Satie is another famous French composer from this
era, although his music is not generally classified as belonging to the Romantic
movement. Satie's compositions are still viewed as ahead of their time. In the 20th
century, music in France took a turn for the modern, much as music did in many regions
of the world. Many composers experimented with new sounds and rhythms, and the
history of French music is also made richer by the French invention of 'spectral music'.
This invention is a form of computer-aided musical composition, and its capabilities are
still not quite fully appreciated around the world.
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XVI. THE MODERN PERIOD
 In many anthologies of art, sculpture is given short shrift in relation to other media, if it is
treated at all. Modern Sculpture Reader aims to rectify this situation by presenting a collection
of important texts that have defined sculpture’s radically changing status and role since the end
of the nineteenth century, a time marked by a general reappraisal of the forms and functions of
art. From the rigorously theoretical to the experimental and poetic, Modern Sculpture Reader
offers a lively discourse on the medium by a range of artists, writers, critics, and poets—Marcel
Duchamp, Louise Bourgeois, Claes Oldenberg, André Breton, Ezra Pound, and Clement
Greenberg—in a variety of genres: poems, lectures, transcribed interviews, newspaper and
magazine articles, and artists’ statements. These diverse text selections offer valuable insight
into the development of the critical language of sculpture and its connections to other media in
an era of increasingly conceptual artistic practice. Many of the essays highlight key ongoing
concerns such as sculpture’s physical properties and conditions of display, both of which have
important implications for the viewer’s tactile and emotional interaction with sculptural works.
 The modern period of art history witnessed the demolition of traditional restrictions, in terms of
both form (the appearance of art) and content (the subject matter). This occurred in all
branches of art, with painting leading the way; indeed, painters had led aesthetic innovation in
Europe since the end of antiquity.The most prominent innovation in form was the rise of
increasingly distorted painting styles, culminating in the birth of abstract art. In terms of
content, painting of the modern period tends to feature ordinary, everyday scenes, as opposed
to the traditional "lofty" subjects (biblical, mythological, historical). The modern period
witnessed the conclusion of the "age of academies". In the context of art history, an academy is
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an official body that upholds traditional artistic standards, via the provision of artistic training
and the hosting of prestigious exhibitions. These exhibitions, which could make or break an
artist's career, would naturally only accept works of art that respected the academy's standards.
(Such works are known as "academic art".) Academies flourished in Europe from the
Renaissance up to the Neoclassical/Romantic era. Though their grip on aesthetic standards was
often challenged by unorthodox artists, it was only truly shattered in the modern age. This was
largely due to the expansion of the middle class, which allowed artists to sell to a public
audience rather than depending on commissions from nobles or clergy (whose tastes generally
conformed to academic standards). Modern art movements tended to flourish most strongly in
Western Europe and the United States, and to a lesser extent in Eastern Europe. France was the
leading region of modern art until WWII, at which point the United States (namely New York)
took over for a few decades. Since the late twentieth century, however, the world of art has
largely ceased to feature dominant trends led by a particular region, or indeed dominant trends
at all. Non-Western art played a key role in the development of modern art. In the search for
new aesthetic possibilities, Western artists found limitless inspiration in the traditions of other
cultures across the world. Sub-Saharan Africa, the pre-colonial Americas, and Oceania were
particularly influential. It’s easy to confuse modern architecture with contemporary
architecture. In casual usage, the two words mean the same thing. But modern architecture
refers to design inspired by the historical art movement of modernism. In fact, most examples of
modern architecture are at least 50 years old, so they aren’t actually all that modern anymore.
 Modernism was a rebellion against classic architecture traditions. Because it was a broad
movement spanning almost 60 years, it encompasses several familiar architectural styles, like
Arts and Crafts, art deco, and even ranch. It also produced some giants in the architecture
pantheon: American Frank Lloyd Wright, German Ludwig Mies van der Rohe and Swiss-born Le
Corbusier, among others. Open living spaces. Wright and his contemporaries thought separate
rooms impeded the flow of living. Modernist homes usually feature open floor plans that
combine spaces for dining, relaxing and entertaining. Clean, geometric lines. Forget fussy arches
and columns -- modernist homes emphasize spare geometric forms. Technologically advanced
materials. Rather than traditional wood and plaster, modernism advanced the use of new
materials like iron, concrete, steel and glass. Function over form. You can thank modernist
pioneer Mies van der Rohe for the present-day office cubicle. Mies thought buildings (including
homes) should be large and open to accommodate any function, and then subdivided with
movable walls and screens. He believed the open space would foster a feeling of community.
Modern homes were built to honor the concept of free-flowing space. They exemplify highly
functional living as well as a rejection of sentimental ornaments and clutter. The modern
movement came to be criticized, however, because its slavish devotion to function ignored basic
human needs. For example, towering modern apartment complexes may be a great use of
vertical space, but their lack of natural greenery and common areas tends to discourage human
interaction. Truly open space in a home can interfere with privacy needs. And not many people
actually want to live a life totally free of sentimental objects. But modernist ideas have made the
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jump to contemporary architecture in the form of modified open floor plans that convey a
feeling of spaciousness while preserving some privacy and storage space.
 Expressionism was a modernist movement, initially in poetry and painting, originating in
Germany at the beginning of the 20th century. Its typical trait is to present the world solely from
a subjective perspective, distorting it radically for emotional effect in order to evoke moods or
ideas. Expressionist artists sought to express meaning or emotional experience rather than
physical reality. Expressionism was developed as an avant-garde style before the First World
War. It remained popular during theWeimar Republic, particularly in Berlin. The style extended
to a wide range of the arts, including expressionist architecture, painting, literature, theatre,
dance, film and music. The term is sometimes suggestive of angst. In a general sense, painters
such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in
practice the term is applied mainly to 20th-century works. The Expressionist emphasis on
individual perspective has been characterized as a reaction to positivism and other artistic styles
such as Naturalism and Impressionism. Over the long haul the term Impressionism turned out to
be more conventional, alluding to the cutting edge developments of the last many years of the
nineteenth century. This included Imagery: a scholarly development with which the
Impressionists shared some shallow qualities.
 The Impressionists and Symbolists shared an inspiration to catch the theoretical and the
transient, yet their points had fundamental differentiations. The Impressionists planned to be
painters of 'the genuine,' getting on the thoughts of the Pragmatist Gustave Courbet. They did
this by moving away from portrayals of romanticized structures and wonderful balance and on
second thought focusing on the world from their perspective, defective and transitory. This
brought about endeavors to catch the flitting tangible impact of a scene, or as we examined
previously, the impression objects made on the eye and the brain in a brief moment. This
implied forsaking the conventional direct point of view of prior styles and keeping away from
the lucidity of structure that recognized the more fundamental components from the lesser
ones. It likewise implied leaving the rich completion and detail to which most craftsmen of their
day sought by easing up their brushwork and growing their ranges to incorporate unadulterated,
extraordinary shadings. Interestingly, Symbolist painters followed the thoughts of Charles
Baudelaire and other Symbolist artists. They portrayed ideas through images and underscored
the significance behind structures, lines, shapes, and shadings in their works. These craftsmen
were impacted by Sigmund Freud's conceptualization of the oblivious. They looked to recharge a
feeling of the secret of life and the world's excellence through insight, utilizing craftsmanship to
uncover the profound instincts of the oblivious. At the end of the day, they could take the
indefinable and give it structure. The truth of the matter is that Claude Debussy broadly
dismissed the utilization of the term Impressionism to depict his music. He said: "I'm attempting
to accomplish 'something different'...[than] what the numbskulls call 'impressionism,' a term
which is pretty much as ineffectively utilized as could be expected, especially by the pundits."
Debussy was likewise known to be disparaging of crafted by Monet and other Impressionist
painters and thought that his work followed the thoughts of the Symbolists artists. What joins
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the different painters, essayists, and performers related with Imagery (and which isolates them
from the Impressionists) is the accentuation on subjectivity rather than authenticity and the
intend to tackle images' ability to send or catch thoughts rather than catching or portraying a
second. Accentuate that these works are close to home and communicate individual thoughts
and not a bound together belief system. Most importantly, these works express the confidence
in the craftsman's ability to uncover reality.
 Paul Cézanne, (born January 19, 1839, Aix-en-Provence, France—died October 22, 1906, Aix-en-
Provence), French painter, one of the greatest of the Post-Impressionists, whose works and
ideas were influential in the aesthetic development of many 20th-century artists and art
movements, especially Cubism. Cézanne’s art, misunderstood and discredited by the public
during most of his life, grew out of Impressionism and eventually challenged all the conventional
values of painting in the 19th century because of his insistence on personal expression and on
the integrity of the painting itself, regardless of subject matter. See also the Britannica Classic by
Roger Fry: Cézanne.Cézanne was the son of a well-to-do bourgeois family. He received a classical
education at the Collège Bourbon in Aix. In 1858, under the direction of his father—a successful
banker determined to have his son enter the same profession—Cézanne entered the law school
of the University of Aix-en-Provence. He had no taste for the law, however, having decided at an
early age to pursue some kind of artistic career, and after two years he persuaded his father,
with the support of his mother’s entreaties, to allow him to study painting in Paris. Cézanne’s
first stay in Paris lasted only five months. The instability of his personality gave way to severe
depression almost immediately when he found that he was not as proficient technically as some
of the students at the Académie Suisse, the studio where he began his instruction. He stayed as
long as he did only because of the encouragement of the writer Émile Zola, with whom he had
formed a close friendship at the Collège Bourbon. Returning to Aix, Cézanne made a new
attempt to content himself with working at his father’s bank, but after a year he returned to
Paris with strengthened resolution to stay. During his formative period, from about 1858 to
1872, Cézanne alternated between living in Paris and visiting Aix. Cézanne was to use essentially
the same approach in his portraits. Some of the best known are Madame Cézanne in a Yellow
Armchair (1890–94), Woman with Coffee-Pot (1890–94), and The Card Players (1890–92). This
last painting portrays a theme that Cézanne treated in five different versions. Except for the
card-player paintings, in which the sober dignity of the men is well expressed, there is no
attempt in Cézanne’s portraits to hint at the sitter’s character. In most cases he treats the
background with the same care as the subject and often violently distorts facial colour to bring it
in harmony with the total composition. Cézanne also applied his principles of representation to
his extraordinary still lifes, of which he painted more than 200. He organized them as though
they were architectural drawings, giving the most familiar objects significance and force through
the intensity of the colour and the essential simplicity of the form.
 TINTORETTO: THE LAST SUPPER Tintoretto was a well known Italian painter of fifteenth century
Europe, who made different masterpieces perceived all through the period. The most significant
of these is the strict painting, The Last Supper. The Last Supper is known as one of the most
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imaginatively deciphered story of the Bible. The Last Supper is in a real sense the last dinner. It is
the last dinner Jesus Christ had with his devotees before his torturous killing and restoration.
During the last dinner, Jesus addressed with his adherents, ate, and offered wine in his
recognition. This story is most popular for its relationship with a strict service, or Eucharist. It is a
training performed by Christian divisions all throughout the planet. The service known as
Communion is a significant image in Christianity. It addresses confidence in Christ, including his
introduction to the world, demise, restoration, and lessons. Along these lines, The Last Supper
addresses exemplary craftsmanship that mirrors the strict development of the time. It supports
commitment and Catholicism through imagery, light, and character. Jacapo Robusti, known as
Tintoretto, was conceived 1518 and passed on 1594 in Venice, Italy (Lewis and Lewis 304). It is
supposed that Tintoretto had an "apprenticeship with Titan" in any case, "a contemporary called
attention to that Tintoretto's style was shaped by concentrating on conventional components of
the Tuscan school" (Pallucchini). Tintoretto found out about and concentrated on workmanship
officially. This assisted with creating a one of a kind style that is famous and extraordinarily
perceived today. In the course of his life Tintoretto painted many pieces, most reflecting religion
and Christian accounts of the Holy book. He rehearsed workmanship using different structures.
From representations to molds and figures, Tintoretto played with and dominated the type of
light (Pallucchini). He painted roof craftsmanship too. It is found in his initial period, painting
"with legendary topics which display particular refinement in context and account clearness"
(Pallucchini). Stories from the Book of scriptures was frequently used to showed his confidence.
It permitted Tintoretto to, "offer a delineated Book of scriptures to the hordes of poor" in
sixteenth century Venice (Pallucchini). Tintoretto's life and workmanship is characterized by the
period of Counter-Renewal. Counter-Reconstruction is perceived as, "the roman Catholics
endeavor to battle the protestant reorganization that had moved throughout quite a bit of
Europe during the sixteenth century" (Lewis and Lewis 305). This was communicated through
the Protestants and Catholics clash of convictions. Albeit both are Christian categories, each side
quarreled about various essentials of the Holy book and social control of individuals. To support
Catholicism, "in 1545, Pope Paul II met the Gathering of Trent to suggest changes in chapel
strategy and new drives" (Lewis and Lewis 304). One drive was strict craftsmanship, design, and
portrayal. This creative period is known as Peculiarity. It was a period after the Renaissance and
before the Florid. Peculiarity offers the significant connection between the two periods. It
"mirrors the powerful soul of Counter-Reorganization" (Lewis and Lewis 304). Counter-
Transformation and the Board of Trent gave rules and guidelines for the specialty of this time. It
held that, "the dedicated are told and fortified by honoring and often reviewing the articles of
our confidence through the articulation in pictures or other resemblance of the narratives of the
secrets of our reclamation" (qtd. in Albury and Weisz 12).
 Counter-Reorganization addressed Catholicism and its scriptural understandings. Tintoretto
addressed this in his creative piece, The Last Dinner. This piece is of chronicled and creative
significance for different reasons. Albury and Weisz express that, "The Last Dinner has been a
steady subject in Western Workmanship from at minimum the sixth century". Today, there are
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different understandings of the Last Dinner, the most famous being by Leonardo Di Vinci. The
two imaginative portrayal of the Last Dinner by Di Vinci and Tintoretto has been thought about
and investigated by different researchers for their disparities in style, shading, utilization of light,
and by and large translation. Lewis and Lewis portray Tintoretto's way of painting as,
"emotional, ready to go, contradicting movements, and whirling lines" (305). Therefore,
Tintoretto had the option to, "make his scriptural stories live" (Lewis and Lewis 305).
Tintoretto's, The Last Dinner, is remarkably not the same as different understandings. The table
of the last dinner isn't even and is drawn at a heavenly messenger, as though the finish of the
table is vanishing into the shadows. In spite of the fact that there are twelve known supporters,
they can't be brought up in the work of art and the picture of Judas can't be distinguished from
the group. Judas is regularly thought to be an unpredictable piece of the story and its portrayal.
Judas is the known bad guy, the supporter who might sell out Jesus for bits of silver. One more
remarkable understanding of Tintoretto's piece is Christ himself. In this canvas, "Christ is
certifiably not a static, fixed figure, nor is he the reasonable focus of the structure; he remains
mostly down the table passing out bread" (Lewis and Lewis 305). The watcher can direct Jesus
out from the rest due toward his gleaming radiance. The portrayal additionally incorporates
heavenly messengers drifting, creatures, and workers, in the midst of a dull room.
 EL GRECO: CHRIST AT GETHSEMANE The Misery in the Nursery is a subject frequently painted by
specialists all through Christian history, for intrinsic in the scene is all the energy and torment of
Loaned, and its incredible call of the devoted to supplication. For sure, what better model for
true supplication could there be than Jesus in his season of preliminary? One of the most
striking works of the Distress is painted by the craftsman, El Greco, who was brought into the
world in Crete as Doménikos Theotokópoulos in 1541, and passed on in Spain in 1614. El Greco
and his studio painted this scene various occasions, in both vertical and level directions. This
specific picture was painted late in the craftsman's profession, and is an upward portrayal. El
Greco's variant is remarkable in that the supporters Peter, James and John who have went with
Jesus to the Nursery of Gethsemane, are a lot bigger in height than the chief figure of Jesus, who
is looking at a holy messenger holding a brilliant cup. To one side behind the scenes are the
moving toward figures of Judas and the Roman warriors. El Greco, an astonishing narrator,
outwardly portrays the Sacred text of Christ's misery with all its feeling, and different
components and characters. The Good news of Luke lets us know that Jesus went, "similar to his
custom, to the Mount of Olives, and the supporters followed him." Realizing that he most
definitely was to go through a definitive preliminary, Jesus tells them, "'Ask that you may not go
through the test.' Subsequent to pulling out with regards to a short distance from them and
stooping, he implored," (22:39-41). While El Greco’s painting depicts Jesus in this submissive
posture, the artist chose not to illustrate Jesus with eyes closed and hands folded, but rather in
an open stance, with hands spread on either side of him, almost as if caught off guard. The angel
holds in her hand a golden chalice, making visible the metaphysical vessel in Jesus’s prayer:
“Father, if you are willing, take this cup away from me; still, not my will but yours be done. And
to strengthen him an angel from heaven appeared to him” (Lk 22:42-43). Jesus’s right hand
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reaches out toward the cup, seemingly anticipating the answer to his desperate prayer. The
chalice also reminds us of its sacred place in the Last Supper (which Jesus had just celebrated
before his agony in the garden), and in the Liturgy of the Eucharist. In El Greco’s painting, Jesus
is clothed in a red robe, symbolic of his Passion and death, as well as his prayer in the Garden:
“He was in such agony and he prayed so fervently that his sweat became like drops of blood
falling to the ground” (Lk 22:44). (Red is the liturgical color for Palm/Passion Sunday.) The face
of Jesus, serene even in its turmoil, reveals a human being in desolation, making a heartrending
appeal to his Father while at the same time displaying our Lord’s surrender to his Father’s will
(“not my will but yours be done”). Thus in this one image El Greco profoundly illustrates both
Christ’s humanity and divinity.
 PIETER BRUEGEL THE ELDER: FALL OF ICARUS Scene with the Fall of Icarus is a genuine magnum
opus. It is, in any case, covered in secret, and various inquiries stay unsettled today, especially
with respect to its attribution. The artistic creation in this manner keeps on applying a suffering
interest. Nonetheless, the arrangement is amazing to the point that various caretakers
distinguish it as one of the well known painter's manifestations. This work of art, highlighting a
subject from Greek folklore, portrays the saint depicted by Ovid in his Transformations. Be that
as it may, in the actual piece, the presence of the legendary saint is in the detail, as just the legs
of Icarus himself can be seen frantically thrashing noticeable all around. In the base right-hand
corner of the artwork, Icarus, encircled by a fine splash of water, has recently fallen into the
water. Around him, the remainder of the world remaining parts unperturbed, as though
unaffected by his destruction. The composition was neither marked nor dated. It showed up on
the craftsmanship market in 1912 and turned out to be important for the assortment at the
Regal Exhibition halls of Expressive arts of Belgium around the same time.
 Béla Bartók and Modern Music by 0. NORDWALL Stockholm I It is a notable yet effortlessly
ignored truth that in numerous ways no age is more unfamiliar to ourselves than the first one
and most likely no music can look so particularly dated as that written in the most recent
deserted style. However long it addresses something that should be van quished and denied,
insofar as scores of epigones produce works where its methods of articulation become
banalized and unbelievably streamlined in a vain endeavor to carry new life to something
certainly dead, there are obviously incredible challenges in taking on a reasonable and fair-
minded disposition to even the most significant of the works. Hence, when one stops to see the
structures of Bartók as pitiful trade offs with the Schoenberg the everyday schedule
disappointments to compose something like Boulez, and when they are not generally held up as
models for contemporary writers, their genuine significance will show up in a less aggravated
light. Bartók's melodic demeanor was, extensively talking, what we view as 'conventional'; like
Stravinsky, from whom he clearly got solid driving forces during the nineteen-twenties and
thirties, he never endeavored the job of the progressive renegade, albeit the two of them
unjustifiably have gotten this sobriquet. Be that as it may, even contrasted and Stravinsky's
music before the nineteen-fifties, it is very clear how significantly less 'current' it sounds to us.
Thus it is surprising to find likenesses between specific ideas that have become key to the
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current melodic idea and a few thoughts that Bartók communicated in a mostly secret paper.
from 1920, Das Problem der neuen Musik, and appearantly additionally attempted halfway to
acknowledge particularly in two works from about a similar time: the once in a while performed
Études pour le piano creation 18 (August 1918) and the music for Menyhért Lengyel's expressive
dance emulate A csodálatos mandarin creation 19 (October 1918 May 1919; coordination and
authoritative variant completed 1924 or potentially not until 1925). Ernest Bloch, (conceived
July 24, 1880, Geneva, Switzerland—passed on July 15, 1959, Portland, Oregon, U.S.), author
whose music reflects Jewish social and ceremonial topics just as European post-Romantic
practices. His understudies included Roger Sessions and Randall Thompson. Bloch contemplated
with noted Swiss author Émile Jaques-Dalcroze and in Belgium with violin player Eugène Ysaÿe.
From 1911 to 1915 he educated at the Geneva Conservatory. He visited the United States in
1916 with the English artist Maud Allen, and after the visit organization failed he got
comfortable New York. In 1920 he turned into the primary head of the Cleveland Institute of
Music, a position he held until 1925. Bloch turned into a U.S. resident in 1924. He coordinated
the San Francisco Conservatory of Music from 1925 to 1930. In 1930 he went to Switzerland, yet
he got back to the United States in December 1938. In June 1939 he got a proposal to instruct at
the University of California at Berkeley. In 1941 he purchased a house in Agate Beach, Oregon,
close to that of his wedded child, where he created 33% of his compositional yield when he was
not instructing or voyaging. His relationship with Berkeley went on until his retirement in 1952.
Bloch's music reflects many post-Romantic impacts, among them the styles of Claude Debussy,
Gustav Mahler, and Richard Strauss. His advantage in the chromatic sonorities of Debussy and
Maurice Ravel is obvious in the tone sonnet Hiver-Printemps (1905; Winter-Spring). Bloch made
a huge gathering out of chips away at Jewish subjects, among them the Israel Symphony (1916),
Trois poèmes juifs for ensemble (1913; Three Jewish Poems), the tone sonnet Schelomo for cello
and ensemble (1916; Solomon), and the suite Baal Shem for violin and piano (1923). His
sacrosanct help Avodath Hakodesh for baritone, tune, and ensemble (1930–33) addresses the
complete development of his utilization of music fitting to Jewish topics and sacrament. A
considerable lot of Bloch's works show a solid neoclassical pattern, joining melodic types of the
past with twentieth century procedures. Models incorporate his Concerto Grosso No. 1 (1925)
and his Quintet for piano and strings (1923), which uses quarter tones to shading and increase
the enthusiastic power of the music. His other remarkable works incorporate an "epic
composition" for symphony (America, 1926), the Suite for viola and piano (1919), and five string
groups of four (1916, 1945, 1952, 1953, 1956).
 Vaughan Williams' arrangements incorporate symphonic, stage, chamber, and vocal works. His
three Norfolk Rhapsodies (numbers 2 and 3 later removed), quite the first in E minor (first
performed, 1906), were the principal attempts to show his absorption of society tune forms into
an unmistakable melodic and consonant style. His nine ensembles cover a huge expressive
reach. Particularly well known are the second, A London Symphony (1914; revamped 1915; fire
up. 1918, 1920, 1934), and the seventh, Sinfonia Antartica (1953), a variation of his music for the
film Scott of the Antarctic (1949). Other instrumental works remember the Fantasia for a Theme
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by Thomas Tallis (1910); concerti for piano (later set up for two pianos and symphony), oboe,
and tuba; and the Romance for harmonica and ensemble (1952). Of his stage works, The
Pilgrim's Progress (1951) and Job (1931), a masque for moving, mirror his genuine, enchanted
side. Hugh the Drover (1924), a ditty drama, originates from his society tune interest. Riders to
the Sea (1937) is a powerful setting of John Millington Synge's play He composed numerous
tunes of extraordinary magnificence, remembering For Wenlock Edge (1909), set to sonnets of
A.E. Housman and comprising of a cycle for tenor, string group of four, and piano (later sorted
out for tenor and symphony) and Five Mystical Songs (1911), set to sonnets of George Herbert.
Especially eminent among his choral works are the Mass in G Minor, the cantatas Toward the
Unknown Region (1907) and Dona Nobis Pacem (1936; Grant Us Peace), and the oratorio Sancta
Civitas (1926; The Holy City). He additionally composed some part-tunes, just as psalm and
people melody settings. Vaughan Williams broke the binds with mainland Europe that for a long
time through George Frideric Handel, Felix Mendelssohn, and lesser German authors had made
Britain practically a melodic area of Germany. In spite of the fact that his archetypes in the
English melodic renascence, Sir Edward Elgar, Sir Hubert Parry, and Sir Charles Stanford, stayed
inside the Continental custom, Vaughan Williams, as such patriot authors as the Russian Modest
Mussorgsky, the Czech Bedřich Smetana, and the Spanish Manuel de Falla, gone to people tune
as a wellspring of local melodic style. Britten made as a youngster and at 12 years old started
quite a long while of study under the arranger and instructor Frank Bridge. He later examined
under John Ireland and Arthur Benjamin at the Royal College of Music in London and, while
there, made the set out of choral varieties A Boy Was Born (1933; updated, 1958). He then, at
that point, functioned as a writer for the radio, theater, and film, coming into close contact with
the artist W.H. Auden. In 1937 his Variations on a Theme of Frank Bridge, for string symphony,
won him global praise.
 Partager Some needed to confront exile, others would moor themselves, every one
encountered the Revolution in his own particular manner. France Musique offers you a little
outline showing Russian music during sovietism. Disponible en français Shostakovitch, Prokofiev,
Stravinsky… Russian authors confronting the Revolution Serge Prokofiev, Dimitri Chostakovitch
et Aram Khatchatourian (vers 1945), © Getty During the beginning phases of the Russian
Revolution of 1917, Russian authors have high expectations towards the new system. In any
case, the 1930s definitely change their assumptions. Artistic expressions are totally taken over
by Stalin. The tyrant forces a tasteful regulation since April 23rd, 1932, called communist
authenticity. It endeavors to make for individuals and to laud the system by joining "public
structure" and "communist substance". Music should be clear, apparent, sweet, it should
address the majority. The Union of authors, a body devoted to controlling and assessing new
organizations, comes around. Any type of music viewed as "formalistic", that is innovator,
airtight and "saved" for a Western first class, is dismissed.
 Patriotism develops further after the conflict: in 1948, Stalin's right-hand man, Andrei Zhdanov,
proposes a declaration that outcomes in a new and a lot harder philosophy. Shostakovitch and
Prokofiev, who are truth be told the authority arrangers, are the main casualties of that.
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Unexpectedly, this time of requirements is joined by a snapshot of creation during which the
best works of art of the Russian collection are conceived. There are the people who submit, and
the individuals who violate. Furthermore, the violators are the people who impacted the world
forever. It was not until Stalin's demise, after five years, that arrangers tracked down piece of
their opportunity. The main author of the Soviet system, obviously. Stalin's manikin, just to
some extent… In 1917, Shostakovich is just eleven. One should say that is music is the offspring
of the Revolution. What's more, clearly, the youthful writer observes the guidelines. If on one
hand he endeavors a deviation in 1934 with his drama, Lady Macbeth de Mtsensk, at first
acclaimed, on the other he is called to arrange by an article in the authority paper of the Soviet
system, the Pravda, straightforwardly motivated by Stalin. There was a ton of analysis, and its
title was "Mayhem replaces music". The subject is considered as upsetting, its music is viewed as
muddled and totally terrible.
 A lot of American well known music of the principal many years of the twentieth century was
composed by European foreigners, like Victor Herbert, Rudolf Friml, and Sigmund Romberg.
They carried a type of operetta to the United States that was, in each sense, the conventional
hotspot for melodic satire; it was wistful and sweet and set up a practice of the play dependent
on melodic numbers and tunes. Romberg's works, like The Student Prince (1924) and The Desert
Song (1926), were additionally made into fruitful films. George M. Cohan introduced the prime
of melodic satire with his creations; they presented such vital tunes just like "a Grand Old
Flag,"""Give My Regards to Broadway," and "Around there". During the 1920s and '30s, melodic
parody entered its most extravagant period. Jerome Kern working with Guy Bolton and P.G.
Wodehouse, composed various extraordinary comedies. George and Ira Gershwin collaborated
to compose Oh, Kay! (1926), Funny Face (1927), Strike Up the Band (1930), and others. Cole
Porter composed immortal and complex pieces for such musicals as Anything Goes (1934) and
Dubarry Was a Lady (1939). Other prominent writers and lyricists of this period were Richard
Rodgers and Oscar Hammerstein II, Harold Arlen, Jule Styne, and Vincent Youmans.
 Musicals as they were known from the 1930s to the 1950s started to decrease in the last part of
the 1960s. By then, at that point, musicals had started to separate in a wide range of bearings:
rock and roll, operatic styling, lavish lighting and organizing, social remark, wistfulness,
unadulterated scene. The principal prominent illustration of the stone melodic was Hair (1967),
which tracked down its social contradiction in a mix of boisterous music, stroboscopic lighting,
energetic disrespectfulness, and nakedness. In a couple of cases, exciting music was joined with
scriptural stories, as in Godspell (1971) by Stephen Swartz and Jesus Christ Superstar (1971) by
Andrew Lloyd Webber and Tim Rice. Other prominent later musicals incorporate Stephen
Sondheim's Company (1970) and Sweeney Todd (1979), Marvin Hamlisch and Edward Kleban's A
Chorus Line (1975), Lloyd Webber's Evita (1978), Cats (1981), and The Phantom of the Opera
(1986); and The Lion King (1997), with music by Elton John and verses by Tim Rice. Well known
musicals in the 21st century included Stephen Schwartz's Wicked (2003); The Book of Mormon
(2011), with music, verses, and book by Matt Stone, Trey Parker, and Robert Lopez; and Lin-
Manuel Miranda's Hamilton (2015).
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 Pieter Bruegel the Elder: Peasant Dance dance: The melodic Maybe the most truly well known of
all the subgenres inside artful dance and present day dance are the dance structures related
with the melodic, like tap, jazz, dance hall, and disco. In musicals of both stage and screen,
dance is a fundamental fixing alongside tune, teatro farnes. The impact of Jazz on current well
known music is some of the time disregarded. While the profound and rich history of this
American assortment of music is at times misjudged, numerous classes have intentionally (or
not) acquired from it. The impact is extraordinary to the point that as we remember the means
of our cherished specialists' persuasions, it's inevitable until we end up in the jazz world. We
should investigate which variables have affected pop the most and two or three different
elements shown different contemporary styles.
 Amicability A great deal of the normal harmony movements highlighted in Jazz can be found in
different styles of well known music, however R&B, blues and society highlight them
particularly. For instance, the blues movement and the well known II-V-I (or its direct relation
the IV-V-I) is found in many styles and has been rethought on many occasions. Some further
developed cycles have additionally been acquired from jazz, similar to harmony expansions,
harmony replacements and modular exchange. This large number of highlights are frequently
depicted in well known music and make up a great deal of the material, even today.
 Mood Jazz includes a huge swath of different rhythms. The most well known is the swing
musicality which has been adjusted into well known music and furthermore changed into the
mix groove, frequently included in blues. This timed mood truly gets things rolling forward with
irresistible enthusiasm and brilliance. Jazz additionally acquired from different societies to
extend its musical prospects and promoted different latin sections like sambas, bossa novas,
afro-cuban and others. These styles have moved to pop, once in a while shockingly. Shrewd
specialists incorporate these latin rhythms in unique ways, for example, Taylor Hawkins' bossa
nova groove in Foo Fighters' "Stacked Actors" joining two totally various styles, latin and rock.
 Hip jump is presumably the class that is most affected by jazz and is ostensibly the most well
known style as of now. As a matter of first importance, the measure of tests taken from jazz is
tremendous. Hundreds what's more, many rhythms and backups are circled from different
accounts of jazz performers, making a totally new music filling in as a cadenced setting for a text
conveyed by one or numerous hip bounce specialists. For instance, as indicated by
whosampled.com, Miles Davis' music has been examined multiple times, George Bensons' 176
and Herbie Hancock's a walloping multiple times. The sheer measure of music acquired from
jazz is colossal and truly set the vibe for hip jump on an entirety. A shared characteristic
between the two classes can be likewise drawn when you analyze the improvisational
viewpoint. Jazz artists ordinarily alternate ad libbing performances over repeating congruity and
skip thoughts off each other. Tunes, rhythms and statements are utilized to make unconstrained
music that mirrors the artist's experience, culture and creative dreams. In hip jump, you get a
similar peculiarity, however with language over examples or potentially circles. Rappers can
utilize words, statements, rhythms and references to different raps in their exposition to pass
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their message. On the spot, ad libbed raps are normal place and can get very thrilling while
seeing it face to face, very much like a Jazz show.
 Jazz In Rock Albeit all the more frequently identified with blues, rock has taken from jazz in more
ways than one. Most importantly, the greatest stone demonstrations of the 60s and 70s like Led
Zeppelin, Pink Floyd, Jimi Hendrix, Neil Youthful and so on, all pre-owned extemporization
generally and frequently highlighted segments where a soloist would concoct material on the
spot for an impromptu measure of time. While normal harmony movements weren't that much
moved from jazz to shake, the performers in the last class didn't avoid broadening their
harmonies with extra harmony tones as Jazz artists do. For instance, harmonies are as often as
possible extended shaping Maj7s, Maj ninth, 7ths, 9ths, Min7 and Min9 in numerous tunes,
something that isn't really normal spot in the other different impacts of Rock. Conspicuous Rock
acts, for example, David Bowie, Frank Zappa and Sting regularly call upon the musicality of jazz
performers. For instance, David Bowie's last collection was for the most part recorded by
acclaimed contemporary players including Ben Monder, Donny McCaslin, Mark Guiliana, Tim
Lefebvre and Jason Lindner. The collection vigorously draws its dull tone from the profound
melodic information on the band and offers a totally remarkable encounter for the audience.
 literature BY The Editors of Encyclopaedia Britannica | View Edit History stream of
consciousness, narrative technique in nondramatic fiction intended to render the flow of myriad
impressions—visual, auditory, physical, associative, and subliminal—that impinge on the
consciousness of an individual and form part of his awareness along with the trend of his
rational thoughts. The term was first used by the psychologist William James in The Principles of
Psychology (1890). As the psychological novel developed in the 20th century, some writers
attempted to capture the total flow of their characters’ consciousness, rather than limit
themselves to rational thoughts. To represent the full richness, speed, and subtlety of the mind
at work, the writer incorporates snatches of incoherent thought, ungrammatical constructions,
and free association of ideas, images, and words at the pre-speech level.
 FAST FACTS Related Content The Waves The Waves See all media Key People: Aleksei Gogua
Related Topics: consciousness interior monologue narrative The stream-of-consciousness novel
commonly uses the narrative techniques of interior monologue. Probably the most famous
example is James Joyce’s Ulysses (1922), a complex evocation of the inner states of the
characters Leopold and Molly Bloom and Stephen Dedalus. Other notable examples include
Leutnant Gustl (1901) by Arthur Schnitzler, an early use of stream of consciousness to re-create
the atmosphere of pre-World War I Vienna; William Faulkner’s The Sound and the Fury (1929),
which records the fragmentary and impressionistic responses in the minds of three members of
the Compson family to events that are immediately being experienced or events that are being
remembered; and Virginia Woolf’s The Waves (1931), a complex novel in which six characters
recount their lives from childhood to old age. The 20th century Writing from 1914 to 1945
Important movements in drama, poetry, fiction, and criticism took shape in the years before,
during, and after World War I. The eventful period that followed the war left its imprint upon
books of all kinds. Literary forms of the period were extraordinarily varied, and in drama, poetry,
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and fiction the leading authors tended toward radical technical experiments. America Between
the Wars North America after WWI and before WWII Jump to: 1919 and the 1920s The 1920s:
Mysteries and Thrillers The Great Depression The Great Depression: Mysteries and Thrillers
 After World War II The literary historian Malcolm Cowley described the years between the two
world wars as a “second flowering” of American writing. Certainly American literature attained a
new maturity and a rich diversity in the 1920s and ’30s, and significant works by several major
figures from those decades were published after 1945. Faulkner, Hemingway, Steinbeck, and
Katherine Anne Porter wrote memorable fiction, though not up to their prewar standard; and
Frost, Eliot, Wallace Stevens, Marianne Moore, E.E. Cummings, William Carlos Williams, and
Gwendolyn Brooks published important poetry. Eugene O’Neill’s most distinguished play, Long
Day’s Journey into Night, appeared posthumously in 1956. Before and after World War II, Robert
Penn Warren published influential fiction, poetry, and criticism. His All the King’s Men, one of
the best American political novels, won the 1947 Pulitzer Prize. Mary McCarthy became a widely
read social satirist and essayist. When it first appeared in the United States in the 1960s, Henry
Miller’s fiction was influential primarily because of its frank exploration of sexuality. But its
loose, picaresque, quasi-autobiographical form also meshed well with post-1960s fiction.
Impressive new novelists, poets, and playwrights emerged after the war. There was, in fact, a
gradual changing of the guard. Not only did a new generation come out of the war, but its
ethnic, regional, and social character was quite different from that of the preceding one. Among
the younger writers were children of immigrants, many of them Jews; African Americans, only a
few generations away from slavery; and, eventually, women, who, with the rise of feminism,
were to speak in a new voice. Though the social climate of the postwar years was conservative,
even conformist, some of the most hotly discussed writers were homosexuals or bisexuals,
including Tennessee Williams, Truman Capote, Paul Bowles, Gore Vidal, and James Baldwin,
whose dark themes and experimental methods cleared a path for Beat writers such as Allen
Ginsberg, William S. Burroughs, and Jack Kerouac
 The Musketeers This tale of three murderous, ultra-masculine, womanising soldiers using their
wit and brute strength to defeat the enemy became one of the first truly popular novels in
literary history, and was translated from French countless times within its first year of
publication. Although The Three Musketeers was written in the 19th century and set in the 17th
century, it has all the ingredients of a modern gripping novel. The Phantom of the Opera is a
masterpiece of Gothic tension and horror that crescendos to the book's haunting finale. A
mysterious phantom haunts the Paris Opera House, wreaking havoc both on and offstage. It is
only when the beautiful and talented young soloist, Christine, is targeted by the Phantom that
his true motivations start to become clear. The Hunchback of Notre Dame The Phantom of the
Opera is a masterpiece of Gothic tension and horror that crescendos to the book's haunting
finale. A mysterious phantom haunts the Paris Opera House, wreaking havoc both on and
offstage. It is only when the beautiful and talented young soloist, Christine, is targeted by the
Phantom that his true motivations start to become clear.
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 What is drama? And how do you write about it? When we describe a situation or a person’s
behavior as “dramatic,” we usually mean that it is intense, exciting (or excited), striking, or vivid.
The works of drama that we study in a classroom share those elements. For example, if you are
watching a play in a theatre, feelings of tension and anticipation often arise because you are
wondering what will happen between the characters on stage. Will they shoot each other? Will
they finally confess their undying love for one another? When you are reading a play, you may
have similar questions. Will Oedipus figure out that he was the one who caused the plague by
killing his father and sleeping with his mother? Will Hamlet successfully avenge his father’s
murder? For instructors in academic departments—whether their classes are about theatrical
literature, theater history, performance studies, acting, or the technical aspects of a production
—writing about drama often means explaining what makes the plays we watch or read so
exciting. Of course, one particular production of a play may not be as exciting as it’s supposed to
be. In fact, it may not be exciting at all. Writing about drama can also involve figuring out why
and how a production went wrong.
 Poetry is a vast subject, as old as history and older, present wherever religion is present,
possibly—under some definitions—the primal and primary form of languages themselves. The
present article means only to describe in as general a way as possible certain properties of
poetry and of poetic thought regarded as in some sense independent modes of the mind.
Naturally, not every tradition nor every local or individual variation can be—or need be—
included, but the article illustrates by examples of poetry ranging between nursery rhyme and
epic. This article considers the difficulty or impossibility of defining poetry; man’s nevertheless
familiar acquaintance with it; the differences between poetry and prose; the idea of form in
poetry; poetry as a mode of thought; and what little may be said in prose of the spirit of poetry.
The short story is usually concerned with a single effect conveyed in only one or a few significant
episodes or scenes. The form encourages economy of setting, concise narrative, and the
omission of a complex plot; character is disclosed in action and dramatic encounter but is
seldom fully developed. Despite its relatively limited scope, though, a short story is often judged
by its ability to provide a “complete” or satisfying treatment of its characters and subject. Title
Athena Lemnia Description The original acrolithic statue was created by Pheidias (ca. 440-435)
and paid for by Athenians living on the island of Lemnos (hence, the "Lemnian Athena"); the
statue stood on the Acropolis in Athens. The Wilcox Collection has a plaster cast replica of one
of the two existing Roman marble copies. The Roman copies, a head preserved in Museo Civico,
Bologna, and a body that is shown in the Staatliche Museum, Dresden, were modeled after an
original Greek bronze. Adolf Furtwängler reconstructed the statue in 1891. His reconstruction is
in Dresden. There is also a well-preserved cast of the whole figure in Oxford, England. The
association of the head and body has been disputed, and Athena is also missing her arms. It is
presumed that she held either an owl or a helmet in her outstretched arms. The original
sculpture was among the first of many famous works to come, including Athena Parthenos at
Athens and the Zeus in the temple of Olympia. It was said by the ancient Pausanias that the
Athena Lemnia is the most worth seeing of the works of Pheidias. Phidias, also spelled Pheidias,
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(flourished c. 490–430 BCE), Athenian sculptor, the artistic director of the construction of the
Parthenon, who created its most important religious images and supervised and probably
designed its overall sculptural decoration. It is said of Phidias that he alone had seen the exact
image of the gods and that he revealed it to man. He established forever general conceptions of
Zeus and Athena. Little is known about Phidias’s life. When Pericles rose to power in 449, he
initiated a great building program in Athens and placed Phidias in charge of all artistic
undertakings. Among works for which Phidias is famous are three monuments to Athena on the
Athenian Acropolis (the Athena Promachos, the Lemnian Athena, and the colossal Athena
Parthenos for the Parthenon) and the colossal seated Zeus for the Temple of Zeus at Olympia;
none of these survives in the original. The first of Phidias’s monuments to Athena, the bronze
Athena Promachos, was one of his earliest works. It was placed on the Athenian Acropolis about
456. According to the preserved inscription, it measured about 30 feet (9 metres) high. At the
time, it was the largest statue yet erected in Athens.
 Giotto Bondone: The Lamentation of the Death of Christ The Lamentation of Christ's Death is a
fresco painting by Italian painter Giotto di Bondone from the High Middle Ages. After Christ was
crucified, the artwork represents his body, his supporters, and the Angels in heaven. Giotto's
fresco is one of thirty-seven paintings depicting the Virgin Mary that he painted for the
Scrovegni Chapel (also known as Arena Chapel). The Scrovegni Chapel frescoes, which were
completed in 1305, are considered Giotto's magnum accomplishment. Giotto is able to depict
more detailed emotions through the facial expressions of Christ's supporters and the body
movements of the Angels in this sequence of frescoes, particularly in the Lamentation of the
Death of Christ. This fresco would have a significant influence on Giotto's later paintings, as well
as the painters of the Italian Renaissance.
 Madonna with Child and two Angels by Filippo Lippi This Renaissance picture by Filippo Lippi,
created in 1465, is one of his most well-known and admired works.The story of Filippo Lippi, a
Carmelite monk, is fascinating. The monk was not entirely dedicated to his religious
responsibilities, and he fell in love with Lucrezia Buti, a nun. His love was returned by the nun
Lucrezia, and they were both obliged to resign their religious vocations after years of a
passionate "secretive" affair. They had two children, a girl and a son, Filippino, who would
eventually follow in his father's footsteps as a superb painter.The popularity of this work of art
stems fromthe fact that many people believe the Madonna's resemblance to Lucrezia Buti's
image.The Virgin Mary is shown praying in profile in front of the Child, flanked by two angels
with faces that resemble two rascals or young lads. A lovely landscape inspired by Flemish art
lies behind them. The Virgin's hair is adorned with pearls and veils and is quite lovely.Sandro
Botticelli : The Birth of VenusThe composition, known as the "Birth of Venus," depicts the
goddess of love and beauty coming on land, on the island of Cyprus, born of sea spray and
driven there by the winds Zephyr and, perhaps, Aura. The goddess is standing on a massive
scallop shell, as pure and as perfect as a pearl. She is greeted by a young woman who holds out
a flower-covered cloak and is frequently referred to as one of the Graces or the Hora of Spring.
Even the blown-in blooms serve as a reminder of spring. The poet Agnolo Poliziano may have
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suggested the painting's subject, which honors Venus as a symbol of love and beauty.Although
nothing is known about the painting before 1550, when Giorgio Vasari mentions it at the
Medici's Villa of Castello, which has been possessed by the cadet branch of the Medici family
from the mid-fifteenth century, it is highly likely that it was commissioned by a member of the
Medici family. The orange trees in the painting, which are considered a symbol of the Medici
dynasty due to the assonance between the family name and the name of the orange tree at the
time,'mala medica,' seem to support this theory.Unlike the "Allegory of Spring," which was
painted on wood, the "Birth of Venus" was painted on canvas, a popular medium for decorative
works designed for noble residences in the 15th century.Venus' modest pose, in which she
covers her nakedness with long, blond hair that reflects light due to its gilding, is based on an
ancient work, a gem from the Hellenistic period owned by Lorenzo the Magnificent; even the
Winds, the pair flying in each other's embrace, is based on an ancient work, a gem from the
Hellenistic period owned by Lorenzo the Magnificent.
 Leanardo da Vinci : The Last Supper Leonardo da Vinci's Last Supper (Cenacolo Vinciano) is one
of the most well-known paintings in the world. This painting was created between 1494 and
1498 under the direction of Ludovico il Moro and depicts Jesus' final "dinner" with his
followers.Leonardo conducted extensive research and created an infinite number of preparatory
sketches in order to create this one-of-a-kind work. Leonardo disregards the usual fresco
painting approach in favor of painting the scene "dry" on the refectory wall. Traces of gold and
silver foils have been discovered, indicating the artist's willingness to make the figures more
realistically, with valuable features. His method and the environment had both contributed to
the eventual degeneration of the fresco, which had undergone multiple repairs, after it was
completed.The most current restoration, done in 1999, used many scientific processes to
restore the original colors as closely as possible, as well as to remove traces of paint added in
prior restoration attempts.
 Raphael Sanzio : Sistine Madonna The Sistine Madonna is an oil painting of the Virgin Mary
carrying the newborn Jesus in her arms. Her face, as she looks into his, appears troubled, just as
it does in the crucifixion painting. Two cherubs lean on their elbows underneath her, gazing up
at the Virgin Mother. Mary stands on clouds in front of several hidden cherubs, surrounded by
the beneficent Saints Sixtus and Barbara.Raphael Sanzio da Urbino painted the Sistine Madonna
just a few years before his death in the year c. 1514. It was his final picture, and it was produced
for the Benedictine Monks of the San Sisto Monastery in Piacenza. The Monks specifically
requested that the artwork include both of the aforementioned Saints with the Virgin Mary.
When this great work of art was finished, it was displayed near the Monk's alter. Antonio da
Correggio is believed to have been moved to tears when he first viewed the picture, as have
many others since its completion.
 Michelangelo Buonarroti : Creation of Man One of the most iconic images in the Western
imagination is Michelangelo's The Creation of Man, a detail from his great fresco that covers the
interior of the Sistine Chapel ceiling. It is a ubiquitous icon of Renaissance ideas and a triumph of
the humanist spirit. The image shows the moment when God created the first man, Adam, and
112
was completed between 1511 and 1512 by the Italian painter Michelangelo Buonarroti. God
touches the figure without their fingers ever coming together, as though an electrical charge of
rushing emotional intensity connects their two outstretched digits. The flawless body of Adam
lies outstretched, yet devoid of the spark of life, surrounded by God and the angels, who are
flying in a circle around him.The Creation of Man area of the ceiling of the Sistine Chapel has
drawn the most attention and captured the imagination of the majority of visitors. The coming
hands of the Lord and Adam, without a doubt, are the narrative heart of the picture,
emphasizing Michelangelo's entire oeuvre's central topic of man's being in the world and the
interaction between humans and the divine. The most common current interpretation was
released in 1990 by American neurologist Frank Lynn Meshberger, who published a study on the
fourth segment of the Sistine Chapel. According to his research, the mantle and the angelic
group surrounding the figure of God corresponds to the cross-section of a human brain. Many
others have discovered a startling resemblance between the billowing red cave behind the
figures and the organ of human intellect as a result of meticulous research and comparisons
between human anatomy and Michelangelo's work.Many of Michelangelo's acquaintances in
Renaissance Italy's literary and philosophical circles would very probably have been discussing
man's cognitive abilities and the divine world's sentient thought process. Michelangelo may also
have witnessed a number of illegal autopsies, allowing him to become familiar with the shape
and functions of the brain. In many ways, however, an understanding of the gift of mind as
transmitted through divine revelation ignores the humanist and rationalist objectives behind
this monumental work, which was developed as an expression of the prevailing Neo-Platonic
method of thinking that dominated the Renaissance world.
 Giorgione : The Open Air Concert Giorgione, a representative of the so-called Venetian school of
painting, was well-versed in the representation of a poetic pastoral scene. A scene like this is
used as a backdrop in the artwork "Rural concert" (also known as "Concert in the Open
Air").Majestic trees with beautiful crown shapes, a serene summer sky with passing clouds, a
modest cottage in the background, and a shepherd grazing goats The silky contours of the young
men's robes and the voluptuous proportions of their girlfriends are in perfect accord with this
calm countryside. The outfits are muted in color, and the movements are leisurely. The young
males are entirely absorbed in their music and are oblivious to the sensual beauty of two
women whose movements are restrained and peaceful.In the face of the young guys with
musical instruments, however, nature in the photograph appears to be subordinated to art. The
pipes in one of the women's hands had just gone silent, the strings on the young man's lute are
still shaking, and the shepherd's bagpipes can be heard from afar. The second woman leans
against the fountain, which quietly murmurs a drip of water. The overall poetic atmosphere
softens the composition's somewhat confusing view of two naked ladies, who could be
allegorical characters or courtesans who have fled to nature.The painting began with a balance
of warm and cold hues, but the varnish that covered it darkened over time, giving the finished
piece a golden hue. However, this did not alter the composition's poetic essence, in which
sensuality and joy of being are tempered by a harmonious, even enlightened perspective toward
113
life.In this painting, Giorgione's particular appeal of creativity, whose disciple was the legendary
painter Titian, is vividly apparent.
 Rogier van der Weyden : Descent from the CrossWeyden painted The Descent From the Cross
(Deposition) shortly after completing his apprenticeship with Robert Campin (Master of
Flemalle), and one gets the impression that the Tournai master knew he was about to create a
unique work. To build the wooden panel, he used the best Baltic oak and painted it with gold
and the finest lapis-lazuli (ultramarine), one of the most expensive of all color pigments.
Following that, he exhibited his mastery of pictorial design by creating a breath-taking narrative
composition, highlighted by the emotive effect of crying mourners grieving over the dead
Jesus.Indeed, the triptych was reproduced by an anonymous artist in the Edelheer Altarpiece
only eight years after it was installed on the main altar of the church of Our Lady Without Walls
in Louvain (1443, Sint-Pieterskerk, Louvain). It was purchased by Mary of Hungary, Emperor
Charles V's sister, for her house at Binche, south of Brussels, in the 1540s, and given to her
nephew, Philip II of Spain, in approximately 1556. (1527-1598; reigned from 1556). It was then
moved to El Escorial's massive monastery complex. It is now one of the most important exhibits
of the Prado Museum in Madrid.
 Rogier van der Weyden : Descent from the CrossWeyden painted The Descent From the Cross
(Deposition) shortly after completing his apprenticeship with Robert Campin (Master of
Flemalle), and one gets the impression that the Tournai master knew he was about to create a
unique work. To build the wooden panel, he used the best Baltic oak and painted it with gold
and the finest lapis-lazuli (ultramarine), one of the most expensive of all color pigments.
Following that, he exhibited his mastery of pictorial design by creating a breath-taking narrative
composition, highlighted by the emotive effect of crying mourners grieving over the dead
Jesus.Indeed, the triptych was reproduced by an anonymous artist in the Edelheer Altarpiece
only eight years after it was installed on the main altar of the church of Our Lady Without Walls
in Louvain (1443, Sint-Pieterskerk, Louvain). It was purchased by Mary of Hungary, Emperor
Charles V's sister, for her house at Binche, south of Brussels, in the 1540s, and given to her
nephew, Philip II of Spain, in approximately 1556. (1527-1598; reigned from 1556). It was then
moved to El Escorial's massive monastery complex. It is now one of the most important exhibits
of the Prado Museum in Madrid.
114
Acknowledgement
ThisMidterm Assignment Research requirement was made with a full-forceof

cooperation ofGroup 1 - Bachelor of Science in Criminology- 1C, Year 1, in order to
successfully passed on/before the desired deadline.We, the Group 1, would like also to express
our deepest gratitude for our professor, Mr. Virgel E. Diamante, for helping, guiding, and
answeringour never-ending questions for this requirement. Moreover, ourbeloved parents are
deserving of honor for being inspiration and for making sure we have enough moral and material
support to successfully finished this requirement.
This research would like to thank the helped of the Internet browser and a module book
for having the access for credible sources.
Most of all, we would like to give the highest glory to the one who helped us reach this
far, Lord Jesus Christ. This research requirement serves as a testament to the support and
encouragement for all those people.
115
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French literature
https://www.discoverfrance.net/France/Literature/DF_literature3.shtml
Music History
126
https://pianistmusings.com/2017/01/06/music-history-renaissance-music/
Baroque literature
https://www.thoughtco.com/baroque-prose-style-1689021
https://www.europeana.eu/en/exhibitions/baroque-and-enlightenment/baroque-drama
Modern sculpture
https://scholar.google.com/scholar?
hl=en&as_sdt=0%2C5&q=modern+sculpture&oq=modern+scul#d=gs_qabs&u=%23p%3D-
3ZwPdGLbLAJ
Modern painting
http://www.essential-humanities.net/western-art/painting/modern/
Modern architecture
https://www.hgtv.com/design/decorating/design-101/modern-architecture
The romantic era
https://leverageedu.com/blog/history-of-english-literature/
https://www.bbc.com/culture/article/20130524-what-makes-british-art-british
Tintoretto : the last supper
https://russiarobinson.wordpress.com/2017/04/06/tintoretto-the-last-supper/
El Greco
https://austindiocese.org/el-greco-reflects-christs-passion-agony-in-the-garden
Landscape with the fall
https://artsandculture.google.com/exhibit/landscape-with-the-fall-of-icarus-royal-museums-of-fine-
arts-of-belgium/MgIyXpmuNdcLJg?hl=en
127
Athena lemnia
https://www.britannica.com/art/colossus-sculpture
https://wilcox.ku.edu/s/wilcox/item/14632
Hermes carrying the infant Dionysius
https://www.britannica.com/topic/Hermes-Carrying-the-Infant-Dionysus
https://joyofmuseums.com/museums/europe/greece-museums/olympia-museums/archaeological-
museum-of-olympia/hermes-and-the-infant-dionysus/
Euripides's Medea : A timeless drama
https://www.wsws.org/en/articles/1998/08/med-a04.html
https://www.sparknotes.com/lit/medea/section3/
The dying Gaul
https://www.transceltic.com/pan-celtic/dying-gaul
https://www.nga.gov/press/exh/3655.html
Golden Madonna of Essen
https://arts.st-andrews.ac.uk/after-empire/2019/03/04/golden-madonna-of-essen/
https://www.routeyou.com/en-de/location/view/48866467/golden-madonna-of-essen
The spectacular mouter grandval Bible
https://blogs.bl.uk/digitisedmanuscripts/2018/05/the-spectacular-moutier-grandval-bible.html
https://blogs.umb.edu/buildingtheworld/iconic-monuments/solomons-temple-israel/
https://www.worldhistory.org/Moses/
Bela Bartok modern music
128
https://www.jstor.org/stable/901468
Ernest Bloch
https://www.britannica.com/biography/Ernest-Bloch
Ralph Vaughan Williams
https://www.britannica.com/biography/Ralph-Vaughan-Williams
Benjamin Britten
https://www.britannica.com/biography/Benjamin-Britten
Paul Hindemith
https://www.britannica.com/biography/Paul-Hindemith
Darius Milhaud
https://www.britannica.com/biography/Darius-Milhaud
Roy Harris
https://www.britannica.com/biography/Aaron-Copland
Musical
https://www.britannica.com/art/musical
https://www.indigoboom.com/single-post/jazz-influence-on-modern-music
Stream ,home, literature
https://www.britannica.com/art/stream-of-consciousness
American literature
https://www.britannica.com/art/American-literature/The-new-poetry
http://www.historicalnovels.info/America-Between-the-Wars.html
129
https://www.britannica.com/art/American-literature/After-World-War-II
https://offtheshelf.com/2016/04/12-contemporary-british-novels-we-cant-live-without/
12 classic European novel
https://www.panmacmillan.com/blogs/classics/classic-european-novels-french-italian-austrian
https://www.britannica.com/art/short-story
Drama
https://writingcenter.unc.edu/tips-and-tools/drama/
Poetry
https://www.britannica.com/art/poetry
Short story
https://www.britannica.com/art/short-story
Gioto Bondone
https://discover.hubpages.com/art/Giotto-Bondone-The-Lamentation-of-the-Death-of-Christ
Madonna
https://www.visituffizi.org/artworks/madonna-with-child-and-two-angels-by-filippo-lippi
The birth of Venus
https://www.uffizi.it/en/artworks/birth-of-venus
Leonardo Da Vinci
https://www.milan-museum.com/leonardo-last-supper-cenacolo.php
Raphael Sanzio; Sistine madonna
https://totallyhistory.com/the-sistine-madonna/
130
Michelangelo Buonarroti; creation of man
https://www.artsheaven.com/painting/artists/m/buonarroti-michelangelo/the-creation-of-man/
Giorgione : the open air concert
https://www.google.com/search?q=Giorgione+
%3A+The+Open+Air+Concert&sxsrf=AOaemvKLjTytBGYTz4vi_TBKRVchLYyymw
%3A1637636007300&ei=p1ecYdrDEYXi2roPpKus0AQ&ved=0ahUKEwias_HDva30AhUFsVYBHaQ
VC0oQ4dUDCA4&uact=5&oq=Giorgione+
%3A+The+Open+Air+Concert&gs_lcp=Cgdnd3Mtd2l6EAM6CggjEK4CELADECc6BAgjECc6BQguEJE
COgoIABCxAxCDARBDOgQILhBDOgcIABCxAxBDOg4ILhCABBCxAxDHARDRAzoLCAAQgAQQsQMQ
gwE6BAgAEEM6DQguELEDEMcBENEDEEM6BQgAEJECOggILhCABBCxAzoICAAQgAQQsQM6Bwgu
ELEDEEM6CwguELEDEMcBEKMCOg4ILhCABBCxAxDHARCjAjoLCC4QgAQQsQMQgwE6CAguELEDE
JECOgsILhCABBDHARCvAToNCC4QsQMQxwEQowIQQzoFCC4QgAQ6BQgAEIAEOgcIABCABBAKOg
YIABAWEB46BQghEKABOggIIRAWEB0QHjoHCCEQChCgAUoECEEYAVDSjgxY05YPYM-
YD2gIcAB4AYAB0QKIAZQfkgEJMTEuMjMuMC4xmAEAoAEByAEBwAEB&sclient=gws-wiz
Rogier Van Der Weyden
http://www.visual-arts-cork.com/famous-paintings/descent-from-the-cross-weyden.htm
https://en.wikipedia.org/wiki/Self-Portrait_(D%C3%BCrer,_Munich)
131
LEADER:
RHEA MAE ALMINIANA
MEMBER:
MARIA MIRASOL T. MABBORANG
MARY ROSE BRUTAS
SALLY S. CALLOS
JANNA MAE N. BUENAVENTURA
ERICA ANN G. BALAGAT
DANICA A. FERNANDEZ
JEFFERSON JAYME
JOHN PHILIP B. ENSO
JOHNCRIZ D. ABOG
RAFAEL GO
NATHANIEL CASANARES
JUSTIN HORLAND
MARK CHRISTIAN A. FRIAS
CARL BRYAN L. CHACHARO
132

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Eulogio "Amang" Rodriguez Institute of Science and Technology

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Republic of the Philippines

EULOGIO “AMANG” RODRIGUEZ

A. Definition and Nature of Humanities

According to Malonzo, A. M. (2019), the definition of Humanities is derived

Augustine, himself a rhetorician, adapted paideia and humanitas—or the

A. Significance of Studying Humanities

B. University and Importance of Art

because it is the only way to express a feeling or thought is to immerse into

C. Related Views About Art

advertising art; industrial art, (In printed matter) illustrative or demonstrative

human proportions, and perspective are all highly realistic, as if you

II. Art Appreciation

A. Three Languages of the Arts

B. The Work of the Artist

In conclusion, every Artists in this world artistically expressing themselves

C. Source of Subject of Art

(a) Still Life – a collection of inanimate objects arranged together in a

D. Approaches to Art Criticism

III. Medium of Art

(g) Shape – An element of art that is two-dimensional, flat, or limited

(l) Variety - A principle of design concerned with diversity or

Eperson, G. (2021) defines music is an art concerned with combining vocal or

song accompanied only by guitar or piano. Most common types of

B. Fashion, Discord and Melody

musicians continue to have such a close relationship with fashion,

C. Music, Lyrics and You

engineered; both are conceptual and auditory, and these factors

refers to the typical Western music ensemble of bowed stringed instruments

a cello or a violin; or struck, as with a dulcimer. This creates a

G. Filipino Folk Music

(mm) Ballroom Dance – a popular dance term for the dance

D. Philippines Contemporary Dance

(b) According to the article of Wikipedia entitled

 Alice Reyes - National Artist for Dance

C. Principle of Theatrical Balance

The Elements of Drama effectively discussed by the School Curriculum and

be found in a sound effect, music, style, images. Some symbols are

 A romantic comedy is a love story. The main characters

the Moscow Art Theatre. In the early 1900s, he began developing a

(a) The Kundiman Party - On the surface, The Kundiman Party is a

(b) Ang Huling El Bimbo (Full House Theater Company/ Resorts

H. Problems in the Philippines Theatre

The Oxford Online Dictionary (n.d.)concisely defined Cinema as theater where

intensity of a scene. You can do this by really zooming in on the

you can achieve truly professional results with it by keeping the

K. Development of Philippine Theatre

combines spoken word and song that celebrates various Catholic

Shakespearean tragedies and comedies, as well as western classics,

a celebration or religious ritual.During this time, playwrights such

(f) Casein painting - painting executed with colors ground in a

(o) Miniature painting - also called (16th–17th century) limning, small,

which is that culture’s greatest contribution to the history of

tenebrae, “darkness.”) In tenebrist paintings, the figures are often

(d) Shape- in every piece of artwork includes the element of shape,

continue to capture their attention? Is it intriguing enough so they

N. Factors Influencing Painting

covered here. Although some Pre-Columbian cultures developed

suggested by the French word renaissance, literally “rebirth.”