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Music
Quarter 1 – Module 2:
Performance Practice of the
Medieval, Renaissance and
Baroque Period

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Music – Grade 9
Quarter 1 – Module 2: Performance Practice of the Medieval, Renaissance and Baroque
Period

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ownership over them.

Regional Director: Gilbert T. Sadsad

Assistant Regional Director: Jessie L. Amin

Development Team of the

Module Writers: Gielyn A. Corporal
Editors: Maribel Vargas
Reviewers: Name
Illustrator: Mark Anthony Taduran
Layout Artist: Name

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Introductory Message
For the facilitator:

Welcome to the Music 9 Self-Learning Module (SLM) on Performance Practice of the

Medieval, Renaissance and Baroque Period!

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21 st century skills while taking into consideration their
needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners’ progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

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For the learner:

Welcome to the Music 9 Self-Learning Module (SLM) on Performance Practice of the

Medieval, Renaissance and Baroque Period!

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills
or competencies you are expected to
learn in the module.
This part includes an activity that
What I Know aims to check what you already know
about the lesson to take. If you get all
the answers.
This is a brief drill or review to help
What’s In you link the current lesson with the
previous one.
In this portion, the new lesson will be
What’s New introduced to you in various ways
such as a story, a song, a poem, a
problem opener, an activity or a
situation.
This section provides a brief
What is It discussion of the lesson. This aims to
help you discover and understand
new
concepts and skills.
This comprises activities for
What’s More independent practice to solidify your
understanding and skills of the topic.
You may check the answers to the
exercises using the Answer Key at the
end of the module.

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 What I Have Learned This includes questions or blank
sentence/paragraph to be filled in to
process that you learned from the
lesson.
This section provides an activity
What I Can Do which will help you transfer your new
knowledge or skill into real life
situations or concerns.
This is a task which aims to evaluate
Assessment your level of master in achieving the
learning competency.
In this portion, another activity will be
Additional Activities given to you to enrich your knowledge
or skill of the lesson learned. This
also
tends retention of learned concepts
This contains answers to all activities
Answer Key in the module.

At the end of this module you will also find:

This is a list of all sources used in

References
developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of
the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not hesitate
to consult your teacher or facilitator. Always bear in mind that you are not alone.

We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it!

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 What I Need to Know

This module will explain the performance practice (setting, composition, role
of composers/performers and audience during Medieval, Renaissance and Baroque
Periods.

The module is divided into three lessons, namely:

 Medieval Music
 Renaissance Music
 Baroque Music

After going through this module, you are expected to:

1. explain the performance practice (setting, composition, role of

composers/performers and audience during Medieval, Renaissance
and Baroque Periods.
2. identify personalities and composers of the period; and
3. enumerate works Medieval, Renaissance and Baroque composers.

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 What I Know

Welcome to the next level! As we go one our next lesson, let us test your familiarity
with the performance practice and composers of the periods.

First, identify the photos as to their historical period (Medieval, Renaissance,

Baroque). Write your answers on your notebook.

1. 2. _ 3.

Well Done! Now, classify the personages according to historical period to which
they belong from box B. Write the words in the right column in box B. Write your
answers in your notebook.

A.

Adam de la Halle monks George Handel Pope Gregory I

Giovanni
Thomas Morley troubadours J.S. Bach
Palestrina
minstrels Antonio Vivaldi Trouvere Guido de Arezzo

B.

Medieval Renaissance Baroque

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 What’s In

Looking back to our previous lesson. Identify the following characteristics in

Column A as to their genre of music from the Medieval, Renaissance and Baroque
Period in Column B. Write the letter before the number

Column A Column B

1. Tells about chivalry and courtly love

2. Usually based on Latin Liturgy A. Madrigal
B. Gregorian Chant
3. Sacred musical composition used in the
C. Fugue
Eucharistic liturgy
D. Mass
4. Polyphonic trough-composed music
E. Troubado
a cappella music in 3 to 6 voices
ur Music
5. Contrapuntal piece, developed
mainly by imitative
counterpoint

Which of these music can you relate the most with?

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 What’s New

After learning the characteristics of the music of the Medieval, Renaissance and
Baroque Period, let us discover the people behind the music of these periods.
Discover who they are by searching of the words inside the WORD SEARCH Box.

W T R O U V E R E Q T Y B
Q R S W E S D D C Q C M K
F O A W W D G T F F O L J
G U S J A D J D A T M J A
K B D K G M O N K S P K M
M A H N F V F J E A O N Q
J D D M D S G H L Z S H W
K O C A L A E E Q C E G I
L U K S D O W J K X R M O

J R J S D F F W S A U I O
P O E T M U S I C I A N S

Have you heard of these people before? Are they still present in our present times?

If yes, describe them and their works?

Well done! Let’

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 What is It

Let us now discover the performance practice of the music of the

Medieval, Renaissance and Baroque Period.

MEDIEVAL PERIOD

Medieval Period
 The Catholic Church was dominant.
 Most writings were by monks. Only few composers were recognized
because notation was used as a tool and music for worship.
 Music was organized according to the needs of the Liturgy.
 Secular music was formed by the desire for self-expression outside the
Church.
 Composers of Troubadour music were nobles. The most important of
them was Adam de la Halle.
 Minstrel singers sing the compositions of the troubadours and
trouvéres. B
Pope Gregory I
 Compiled existing monophonic plainchants and was later named after
him.
Guido de Arrezo
 Italian Benedictine monk who invented the modern notation that
replaced the neumatic notation. He developed the use of “ut-re-mi-fe-
so-la” now the modern sofa syllables “do-re-mi-fa-so-la-ti.” He is also
famous for his Guidonian Hand technique.

Source: Own work http://images.amazon.com/images/P/B00000IX6O.jpg

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Adam de la Halle

Adam de la Halle was also known as Adam de Bossu (Adam the

Hunchback). He was the son of a well-known citizen of Arras, Henri de la
Halle. He received his education at the Cistercian Abbey of Vaucellas, near
Cambral. Adam was destined for the church but he eventually married. His
patrons were Robert II, Count of Artois, and Charles of Anjou, brother of
Louis IX.

Adam was one of the oldest secular composers whose literary and
musical works include chansons and poetic debates. He was a trouvére,
poet, and musician, whose literary and musical works include chansons and
jeux- partis (poetic debates) in the style of the trouvéres, polyphonic rondel,
and motets in the style of early liturgical polyphony. His musical play, Jeu
de Robin et de Marion was considered the earliest surviving secular French
play with music.

His works include:

1. Le Jeu de Robin et de Marion

2. La Chanson du roi de Secile

Source: DepEd: A Journey Through Western Music and Arts 9 Learner’s Module by Department of
Education, pp. 2-8

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 RENAISSANCE PERIOD

Renaissance Period
 The invention of printing in the 1400s paved way for a wide
distribution of renaissance compositions.
 With the emergence of the bourgeois class, renaissance music became
popular as entertainment and activity for amateurs and the educated.
 Lute was prominent instrument
 Influence of the Roman Catholic Church started to decline as the new
genre arose
 Though sacred music was still of great importance, secular music
became more prominent in the renaissance period.
 Also known as the “golden age” of a cappella choral music

Giovanni Pierluigi da Palestrina

This is a retouched picture, which means that it has been digitally altered from its original version. Modifications: Mise en
valeur du sujet. The original can be viewed here: Giovanni Pierluigi da

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 Palestrina.jpg: . Modifications made by Sémhur.

Giovanni Pierluigi da Palestrina

Giovanni Pierluigi da Palestrina is said to be the greatest master of
Roman Catholic Church music during the Renaissance Period. Majority of
his compositions are sacred music. He was committed to sacred music and
has a keen interest in satisfying the desires of the Church leaders in the
sixteenth century. Pelestrina’s Pope Marcellus Mass is held up as the perfect
example of counter-reformation style. Kyrie is part of the first two section of
the Pope Marcellus Mass.
His career reflects his commitment to the music of the church. He
received his early training and spent the majority of his career in various
churches in Rome, including the Pope’s chapel. He was an organist and
choir master at both the Sistine Chapel and at St. Peter’s Basilica which
may have influenced his distinctively pure and restrained style in musical
compositions. Palestrina also served as an organist in St. Agapito. Hist first
book, Masses became popular and was greatly appreciated by Pope Julius
III.
Palestrina has two sons but lost them both during the plague
epidemic that struck Rome in 1570s. He had planned to become a priest but
eventually changed his mind and married a wealthy widow. This improved
his wealth and enabled him to pursue a musical career for the rest of his
life.

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Thomas Morley
Morley, the son of a brewer, was born in Norwich, East England. He
was a singer in the local cathedral form his boyhood, and he became master
of choristers there in 1583. Thomas Morley was the most famous composer
of secular music in his time. He was a singer in the local cathedral during
his childhood and was believed to have studied music with William Byrd, an
Elizabethan composer of sacred music. He received his Bachelor’s degree in
Oxford and became an organist at St. Paul’s Cathedral in London.
He tried imitating Byrd in his early works but veered towards
composing madrigals that show a variety of color, form, and technique. Most
of his madrigals are light and easy to sing with some aspects of Italian style.
His Musica Transalpina, a collection of Italian madrigals fitted with English
text, was published in 1588 by Nicholas Yonge. Shortly after, he began
publishing his own collections of madrigals and made significant
contribution to the history of music.
His works include:

 “Fire, Fire, My Heart”

 “Sing and Chant It”
 “Fantasie”
 “April is in My Mistress’ Face”
 “It Was a Lover and His Lass”

Source: DepEd: A Journey Through Western Music and Arts 9 Learner’s Module by Department of
Education, pp. 11-12

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 BAROQUE PERIOD

Baroque Period
 The arts highlighted grandiose and elaborate ornamentation.
 New instrumental techniques and changes in musical notation were
developed
 Major and minor tonality was created
 A lot of the musical terms and concepts that evolved in this era are
still used today.

Famous Composers

Johann Sebastian Bach

Born: Germany, March 21, 1685; Died July 28, 1750

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 Johann Sebastian Bach
Date: 1746
Source: Unknown
Artist: Elias Gottlob Haussmann

Johann Sebastian Bach

Born: Germany, March 21, 1685; Died July 28, 1750
J.S. Bach came form a family of musicians. He was taught to play
violin by his father who was then the town musician in Eisanach. He
entered school at age 7 where he was taught religion and other subjects. He
became orphaned at age ten. His brother, a church organist, provided for
him. Bach’s beautiful soprano singing voice helped him to be accepted at a
school in Luneberg. A few years later, his voice changed and Bach focused
his attention to playing the violin and harpsichord.

Bach was a religious man. His personal and deep faith is shown in his
sacred music. He was known for his compositions for organ, orchestra, and
oratorio. His most important and long-term position was as cantor at St.
Thomas Church.

His works include:

 Concerto Gross
 Masses
 Cantatas
 Fugues
 Works of clavichord and harpsichord

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 http://www.empire.k12.ca.us/capistrano/Mike/capmusic/baroque/Vivaldi/VIVportrait.jpg

Antonio Vivaldi
Born: Venice, March 4, 1678; Died: Vienna, July 18, 1741
Antonio Lucio Vivaldi, nicknamed il Prete Rosso (“The Red Priest”)
because of his red hair, was an Italian Baroque composer, Catholic priest,
and a virtuoso violinist. Recognized as one of the greatest Baroque
composers, his influenced during his lifetime was widespread over Europe.
Vivaldi is known mainly for composing instrumental concertos, especially for
the violin, as well as sacred choral works and over forty operas. HE entered
the priesthood and was ordained in 1703. Vivaldi is well known for giving
the strings a major role in his compositions.

His famous piece is The Four Seasons. The composition is a series of

four violin concerti depicting each of the seasons, “Spring,” “Summer,”
“Autumn,” and “Winter”.

George Friedrich Händel

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George Friedrich Händel

George Händel was the second son from the second marriage of a
pastor. Despite his father’s opposition, George secretly taught himself to
play the harpsichord. At age 7, he gained access to a church organ and
started to play. A Duke heard him play and insisted on giving him a formal
music education. Under Zachau, organist of Halle Cathedral, he studied
counterpoint, canon and fugue.

Händel is remembered for his operas and oratorios. Handel became

England’s favorite composer. He has given English audiences music that in
variety and interest rivalled anything they could remember. Handel lost both
of his eyesight in 1753. When he conducted his oratorio, “Samson,” a few in
the audience were unaware that he had lost his eyesight. The Messiah is
Handel’s most famous creation and the very well know “Hallelujah Chorus”
is part of Handel’s “Messiah.”

The Messiah was written in the space of twenty – four days in London
but it was in Dublin when The Messiah was first performed and became an
instant success.
Source: DepEd: A Journey Through Western Music and Arts 9 Learner’s Module by Department of
Education, pp. 17-18

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 What’s More

Let us test your understanding.

Place the title of compositions below in the chart according to their

respective composers. Use a separate sheet for your answers.

Le Jeu de Robin at de
Fire Fire my Heart Spring
Marion
Summer Sing and Chant it Mass in B minor
April is in my Mistress
Fugue in G minor Samson
Face
Winter Autumn Well-Tempered Clavier
Kyrie (Pope Marcellus La Chanson du roi de
Messiah
Mass) Sicile

Adam de la Halle Thomas Morley Giovanni da Palestrina

Johann Sebastian Bach Antonio Vivaldi Handel

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 What I Have Learned

Almost done. Answer the following questions below starting with phrases:

Describe the life of the monks during the Medieval Period.

I learned that

Music evolved from Church music to music for one’s expression of love and
chivalry in the streets and courts. Describe the musicians of the secular
period.
I realized that

How was the life of the composers during the Baroque Period?

I discovered that _

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 What I can do

Imagine you are a composer!

Choose one Era (Medieval, Renaissance, Baroque). Imagine you live during that era
and you were applying for a job as composer. Are you a monk? troubadour?
Madrigal Singer? A Baroque Composer? Impress your patron by filling-up the form
below in order to get the job. Remember - Medieval, Renaissance or Baroque
composer.

photo
COMPOSER RESUME FORM
Period

Position:

Name:
Personal Info
Birthplace/country:
Birthday:
Skills:

Experience:

Education:

Compositions:

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 3 2 1

Ideas and Content Creative and Generally creative Little creativity or

original originality

Language and word Each word is Some carefully Little words

choice carefully chosen words are carefully carefully chosen
chosen

Relevance to the Very relevant to the Relevant to the Not related to the
Period period period period

Followed the format Answered all the Answered most Answered few of
asked questions asked question the questions
asked

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 Assessment

Do you agree or not agree?

Answer whether you agree or disagree on the statements below. Encircle thumbs
up is you agree to the statement, or encircle thumbs down if you disagree to the
statement. Use another sheet of paper for your answer.

1. Renaissance : Giovanni da Palestrina

Baroque : Johann Sebastian Bach
2. Antonio Vivaldi : violin music
George Handel : oratorio
3. Giovanni Palestrina : Pope Marcellus
Mass Thomas Morley : Musica
Transalpina
4. Medieval : ‘golden Age’ of a cappella music
Renaissance : grandiose and elaborate
5. Troubadour music : Adam de la
Halle Madrigal music : Thomas
Morley

It’s true or False Time!

This time, decide whether you agree or disagree with the following statements by
answering True if the statement is true and false if the statement is false before the
number. Answer on your notebook.

1. Troubadours were noble poet musicians.

2. Monks lives inside the monastery.
3. Pope Gregory I composed chants, thus, naming it after
him.
4. Bach, Handel and Beethoven were known composer of
the Baroque Period
5. Renaissance was known as the “golden age” of a
capella.

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 Additional Activities

List down present composers of sacred and secular music in your community and
identify them as to their genre of music compositions.

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 References

A Journey Through Western Music and Arts 9 Learner’s Module by Department of

Education, pp. 2-8

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