10

Music
Quarter 1 – Module 1:
M u s i c of t h e 2 0 t h C e n t u r y

DRAFT07212020
Music – Grade 10
Alternative Delivery Mode
Quarter 1 – Module 1: Music of the 20th Century
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones

DRAFT
Undersecretary: Diosdado M. San Antonio

Development e a m of t he M o d u l e

Writer: Sherween F. Cabrales

Editors : Sherberk F. Cabrales, Luz vi m i nda T. Sa g ario ,
Regina Genelin C. Nagtalon
Reviewers: Arsendio A . Cabacungan, Francis A. Domi ngo , Adelyn C. Domi ngo
Antonio V. Laceste, Jr., Editha T. Giron , Gina A. A m o y e n
Illustrator: A b r a ha m S. Salvador
Layout Artist: Roger C . Vea
M anageme nt Te am :
Tolentino G. Aquino Vilma D. Eda

07212020
Arlene A. Niro Joye D. Madalipay
Editha T. Gir on Adelyn C. Domingo
Gina A. Amoyen Arsendio A . Ca ba cunga n
Francis A. Domi ngo Ma rlyn S. Ventura

Printed in the Philippines by:________________________________________

D e p a r t m e n t of Ed uc at i o n – R e g i o n 1

Office Address: Flores St., Ca tba ngen, City of S a n Fernando, L a Un i o n

Telefax: (072) 6 0 7 -8 1 3 7 / 6 8 2 -2 3 2 4
E -mail Address: region1@deped.gov.ph
 10
Music
Quarter 1 – Module 1:
DRAFT
M u s i c of t h e 2 0 t h C e n t u r y

07212020
Introductory Message
For the Facilitator:

Welcome to the Music 10 Alternative Delivery Mode (ADM) Module on the

M us i c of the 2 0 th Century. This m o dul e w a s collaboratively designed, deve loped a n d
reviewed by educators both from public and private institutions to assist you or the
teacher in helping the learners meet the standards set by the K to 12 Curriculum
while overcoming their personal, social, and economic constraints in schooling.

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

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

DRAFT
Notes to the eacher
This module is a self-directed module intended for the
learner to study at his most convenient time and place. This
is a complete package of three lessons that contain learning
competencies, pre-assessment, lesson proper, post-
assessment, summary of learning, key answers, and
references.

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

07212020
assist the learners as they do the tasks included in the module.

ii
For the Learner:

Welcome to the Music 10 Alternative Delivery Mode (ADM) Module on the

M u s i c of the 2 0 th Ce nt ur y.

The hand is one of the most symbolized parts 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 are 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:

07212020
DRAFT
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 aims to
What I Know
check what you already know about the
lesson to take. If you get all the answers
correct (00%), you may decide to skip this
module.
This is a brief drill or review to help you link
What’s In
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.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to process
what you learned from the lesson.
 What I Can Do This section provides an activity which will
help you transfer your new knowledge or
skill into real life situations or concerns.

Assessment This is a task which aims to evaluate your

level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of
the lesson learned. This also tends retention
of learned concepts.

Answer Key This contains answers to all activities in the

module.

DRAFT
At the end of this module you will also find:

References This is a list of all sources used in

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 instructions carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and in checking your
answers.
5. Finish the task at hand before proceeding to the next.

07212020
6. Return this module to your teacher/facilitator once you are done 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 increase understanding of the relevant competencies. You can do it!
 W h a t I Need to K n o w

T h i s m o d u l e p r o v i d e s y o u t h e f o u n d a t i o n o f M u s i c i n t h e 2 0 th c e n t u r y . I n
y our j ou r ne y t h r o ug h the di sc ussi ons a n d different tasks, y o u ar e e xpe c t e d to:

1. d escribe distinctive mus i ca l eleme nts of gi ve n pieces in 20t h century styles;

(MU10TC Ia-h-2)
2. explain the performance practice (setting, composition, role of
composers/performers, a n d audience) of 20th century mus i c ; (M U 1 0 T C I b -g-4)
3. relate 2 0th C e n t u r y m u s i c to o ther art fo r m s a n d m e d i a during the s a m e time
period; (MU10TC Ia-g-3)
4. p erform m usi c sample fr om the 20th century; (M U 1 0 T C Ib-5) and
5. e val uate m u s i c a n d m u s i c p e r f o r m a nc e s us i ng g u i d e d rubric s.

•
DRAFT
T he m o dul e is divided into 3 lessons, nam ely:
Less on 1 – Impr essionism
• Less on 2 – Expressionism
• Le ss on 3 – 2 0 th Ce nt ury M us ic a l Styles

07212020

1
 What I Know

R e a d t h e s t a t e m e nt s c a r e f ul l y a n d identi fy w h a t is b e i n g de s c r i be d. C h o o s e
t h e letter tha t r e p r e s e n t s y o u r b e s t a n s w e r . W r i t e y o u r a n s w e r o n a s e p a r at e s h e e t
of paper.
1. H i s tec hni que in c om posi ti on is the us e of s e m i -tone scale.
a. C a g e
b. D e b u s s y
c. G l a s s
d. S c h oe nbe r g

2. It is the m a r k of the begi nni ng of the Co nt e m p or a r y Period.

a. C h a n c e M u s i c

DRAFT
b. Ex pr e s s i oni s m
c. I m pr e s s i o n i s m
d. J a z z

3. T h i s c o m p o s e r belie ves that “ B e c a u s e t her e is little s e n s e of goa l -dir ecte d

motion, m u s i c does not s e e m to m o v e f r om one place to another.”
a. C a g e
b. D e b u s s y
c. G l a s s
d. S c h oe nbe r g

4. Sc hoe nbe r g experi enc ed Tris kaidekaphobia w h i c h is the fear of the n um b e r _.

a. 1 1
b. 1 2
c. 1 3
d. 1 4

5. It is also k n o w n as Aleatory M usic.

07212020
a. C h a n c e M u s i c
b. Ex pr e s s i oni s m
c. I m pr e s s i o n i s m
d. J a z z

6. It t e nds to m a k e m o r e u s e of di s s ona nc e a n d m o r e u n c o m m o n scal es s u c h a s

the wh ol e tone scale.
a. C h a n c e M u s i c
b. Ex pr e s s i oni s m
c. I m pr e s s i oni s m
d. J a z z

7. It is a m o d e r n c ont e m por a r y pi a no pie ce in Im pres sionism.

a. Claire D e L un e
b. F ü r Elis e
c. La Mer
d. Sunrise

2
8. It is a n e xpe rime ntal or d o w n t o w n m u s i c originated in the U S .
a. C h a n c e M u s i c
b. Ex pr e s s i oni s m
c. J a z z
d. Mi nim a li s m

9. Following are characteristics of Minimalism except _________.

a. Minimal Tim e
b. Reiteration of Motifs
c. S l o w Tra nsf orm ation
d. St e a d y Puls e

10. H e is k n o w n a s o n e of the 20t h centur y c o m p o s e r s wi t h the wi des t array

of s ou nds in his wor ks .
a. C a g e
b. D e b u s s y
c. G l a s s
d. S c h oe nbe r g

11. Alea
a.
b.
Cube
Di ce
DRAFT
in the word Aleatory means __________.

c. Impr ovi se
d. Play

12. H e is the Father of M o de r n Mus ic.

a. Cage
b. Debussy
c. Glass
d. S c h oe nbe r g

13. H e w a s the pr i ma r y e x po ne n t of the impressionist m o v e m e n t a n d the

focal point for other impressionist c om pose r s.
a. C a g e
b. D e b u s s y
c. G l a s s
d. S c h oe nbe r g

14. It is
a.
b.
07212020
e qua l to a twelfth of a n oct ave or a half tone. It is a half-step stone.
Ch r om a t i c S c a l e
Dissonant
c. S e m i T o n e Scale
d. W hol e Tone Scale

15. Music that uses the tape recorder is called _________________.

a. M usi que concre te
b. M us i c saving
c. R e c o r d tape
d. Sa ve M us ic

3
 L e s son
Impressionism
1
What music do you usually listen to? Are you into Rock? Pop? Or Hip-hop
music? I’m sure that you enjoy listening to these genres of music. Like any other
products of modernization, these songs have gone through several phases of
development. Come, let’s go down the memory lane and discover the roots of
today’s music.

T h e s t yl e s o f m o d e r n s o n g s c a n b e t r a c e d b a c k f r o m t h e 2 0 t h C e n t u r y. T h e
i nnovat i ve a n d e x pe r i m e nt a l styl es o f t he 2 0 th C e n t u r y M u s i c a r e t he i nfl ue nc es o f
the genius composers such as Claude Debussy, Maurice Ravel, Arnold Schoenberg,
Bela Bartok, Igor Stravinsky, Sergei Prokofieff, and George Gershwin. Coming from

DRAFT
different nations such as France, Austria, Hungary, Russia, and the United States,
these composers clearly reflect the growing globalization of musical styles in the
2 0 th ce nt ur y.

What’s In

When you were in Grade 9, you learned about Western Music and its history
from Middle Ages to the Romantic Period. Let us go back to those eras of Music. Try
to recall the characteristics of music in the following periods:

1. Middle Ages _______________________________

2. Renaissance _______________________________
3. Baroque Period _______________________________

07212020
4. Classical Period ______________________________
5. Romantic Period ______________________________

Notes to the Teacher

Please check the answers of the learner. If all answers are
correct, the learner will proceed to the next part of this module.
Otherwise, assist the learner to recall facts about the
abovementioned periods for better understanding of the next
lessons.

4
 A s y o u c onti nue y o u r j our ne y t hr ough the a ge s of m usi c , y o u will get a v i e w
of h o w m u s ic has de vel ope d into w ha t it is today. T h e First Quarter covers M us i c of
t h e 2 0 th C e n t u r y w h i c h is a l s o k n o w n a s C o n t e m p o r a r y M u s i c . Y o u wil l d i s c o ve r
different m o v e m e n t s i n this peri od, m e e t t he different c o m p o s e r s a n d ob s e r ve their
distinct t e c hni que s a n d styles.

What’s New

IMPRESSIONISM
A s t h e w o r l d e n t e r e d t h e 2 0 th c e n t u r y , a n e w e r a i n m u s i c w a s i n t r o d u c e d
a n d i m p r e s s i o n i s m w a s o n e o f t h e e a r l i e s t m u s i c a l f o r m s t h a t p a v e d w a y t o t hi s
m o d e r n e r a. I m p r e s s i o n i s m is a F r e n c h m o v e m e n t i n t h e l at e 1 9 t h a n d e a r l y 2 0 t h
century. T h e sentimental melodies a n d dramatic emotionalism of the preceding
R o m a n t i c P e r i o d w h o s e t h e m e s a n d m e l o d y a r e e a s y to r e c og ni z e a n d e nj oy, w e r e

DRAFT
being replaced in favor of m o o d s a nd impressions. Feat ure s of Im pr es s i oni s m
music are as follows:
• T h e u s e o f "c o lo r " , o r in m u s i c a l t e r m s , t i m b r e , w h i c h c a n b e a c h i e v e d
t h r o u g h o r c h e s t r a t i o n , h a r m o n i c u s a g e , t e x t u r e , e t c . ( T i m b r e is k n o w n a s t h e
tone color or tone quality)
• N e w c o m b i n a t i o n s o f e x t e n d e d c h o r d s , h a r m o n i e s , w h o l e to ne ,
c hr om at i c scales, a n d pentaton ic scales e m e r g e d .
• Impressionism was an attempt not to depict reality, but merely to
sugges t it.

CLAUDE DEBUSSY (1862–1918)

C l a u d e D e b u s s y w a s o n e o f t h e m o s t i nf l ue n t i a l a n d
l e a d i n g c o m p o s e r s o f t h e 2 0 th c e n t ur y. H e w a s t h e pr i nc i pa l
e x p o n e n t of t h e i m pr e s s i oni s t m o v e m e n t a n d t he ins pir a ti on
for other impressionist c om po s e r s . H e r ef or m e d t he course of
m us i c a l d e v e l o p m e n t b y era dicat ing traditional rul e s a n d
c o nve nt i ons into a n e w l a n g u a g e of possibilities i n h a r m o n y ,
rhyt hm, f o r m , texture, a n d color.

I ma ge f ro m
melhores musi cascla ssic a s.c
07212020
H e w a s b o r n o n A u g u s t 22, 1 8 6 2 in a s m a l l t o w n
called St. Ge r m a i n -e n -Layein in France.

m in S unico, et.al, 20 15, p.5. H e c o m p o s e d a total of m o r e or less 2 2 7 m a s t e r pi e c e s

whi ch include orchestral music, c ha m be r music, piano
m usi c , oper a s, ballets, s ongs, a n d ot her vo c a l m u s i c .
H e w a s k n o w n as the “Father of the M o d e r n S c h o o l of C om po s i t i o n” a n d m a d e
his impa ct in the styles of the later 2 0t h century c o m p o s e r like Igor Stravinsky .
Debussy’s mature creative period w a s exemplified b y the following works:

• String Quartet
• L a M e r (1905) -a highly imaginative a n d atmospheric s ym p h o n i c w o r k
for or c hes t r a a b o u t t he s e a
• Première Arabesque
• Claire de Lune (Moonlight) -The third and most fam ous m ovem e nt
of Suite bergamasque.

5
 I n t h e fiel d o f vi s ua l arts, D e b u s s y w a s i n f l ue n c e d b y M o n e t , P i s s a r o , M a n e t ,
D e g a s , a n d Re noir ; a n d f r o m the literary arts, b y M a l l a r m e , Ve rl a i ne a n d R i m b a u d .
M o s t o f hi s c l os e f ri e nds w e r e pai nt er s a n d p o e t s w h o si gnif ica ntly i n f l u e n c e d hi s
w o r k s . O n M a r c h 2 5, 1 9 1 8, h e d i e d of c a n c e r at the he i ght o f t he First W o r l d W a r
in Paris.

What I Can Do

T h e m o s t r e m a r k a bl e c o m p o s i t i o n o f D e b u s s y is Cl a i re D e L u n e . H a v e y o u
wa t c he d the H ol l yw oo d m o vi e hit Twilight Sa ga? Tr y to recall its sentimental s o un d
t ra c ks . O n e o f t h e m is C l a i r e D e L u n e ! W o u l d y o u l ike t o list en t o it o n c e a g a i n ?
P l a y f r o m t h e a c c o m p a n y i n g C D T r a c k 1 ( Cl a i r e d e L u n e ) o r y o u c a n a c c e s s it at
htt ps:/ /www.youtube. com/ wa tch?v=CvFH_6DNRCY .

DRAFT
W h i l e l i s t e n i n g t o t h e t r a c k, a n s w e r t h e f o l l o w i n g g u i d e q u e s t i o n s . U s e a
s e par a t e s he et of pa pe r.

• W h a t m usi c a l instr ume nt is be i ng pl a ye d ?

• H o w did the m usi c affect your m o o d or feelings in terms of the general
at m os phe r e of the piece?

MAURICE RAVEL (1875–1937)

J o s e p h M a u r i c e R a v e l w a s b o r n i n C i b o ur e , F r a n c e t o a
B a s q u e m o t h e r a n d a S w i s s f a t he r . A t a g e 1 4 , h e e n t e r e d t h e
Par is C o n s e r v a t or y w h e r e h e w a s m us i c a l l y nur t ur e d b y a
pr o m i ne nt Fr e nc h c om p os e r , Ga bri e l Fa ur e . T h e c om posi ti ona l
styl e o f R a v e l is m a i n l y c ha r a c t e r i z e d b y its di stinctively
i n n o v a t i v e b u t n o t a t o n a l s t yl e ( m u s i c t hat is w r i t t e n i n a w a y
that is not b a s e d o n a n y part icular k e y) of h a r m o n i c treatm ent.
H i s w o r k s a r e d e f i n e d w i t h intricate a n d s o m e t i m e s

07212020
I ma ge f ro m
rateyourmusic.com in
m o d a l m e l odi e s a n d e xt e n de d c h or d a l c o m p o n e nt s . It
d e m a n d s c o ns i d e r a b l e t e c hni c a l vi rt uos it y f r o m t h e p e r f o r m e r
S unico, et.al, 20 15, p.7.
w h i c h is t h e c ha ra c t er , ability, o r skill o f a vi r t uos o — a p e r s o n
w h o is e xe m pla r y in musi cal te chnique or execution.
Ravel’s works include the following:

• Pavane for a Dea d Princess (1899)

• String Quartet (1903)
• Sonatine for Piano (c.1904)
• Rhapsodie Espagnole
• Bolero
R a v e l w a s a perfectionist a n d eve ry bit a mus i ca l cr aftsm an. H e strongly
a dhe re d to the classical for m, specifically its ternary structure. A strong a dvoc a t e of
R u s s i a n m u s i c , h e a l s o a d m i r e d t h e m u s i c o f C h o p i n , Lis z t, S c h u b e r t , a n d
M e ndel s s ohn. H e di ed in Paris in 1937.

6
 What I Can Do

Ravel’s defining composition is “Bolero.” Bolero is a one-m ovem e nt

or c hes t r al p i e c e w h i c h w a s p r e m i e r e d i n 1 9 2 8 . P l a y f r o m t h e a c c o m p a n y i n g C D
Tr a c k 2 (Bolero) or y o u c a n access it at https://w ww. yo ut ub e. c om /w atc h? v= b5 V3 1O 8l l1 4
W h i l e listening, a n s w e r the fol l owi ng g u i d e ques t i ons o n a se par ate s he et of
p a p er:

• W h a t specific danc e for m ca n be perf orm ed with Boler o as musi c?

• W h a t feelings or emotions does the music e voke ?

DRAFT
What ’s M o r e

COM POSERS’ T AB L E ACTIVITY . ill out the table below by indicating the name of
t h e artists a n d the ir w o r k s d u r i n g t h e I m p r e s s i o n i s m E r a a n d a n s w e r t h e q u e s t i o n
that follows. Pl e a se u s e a separate s heet of pa pe r for yo ur a ns we r s.

Artists W or k s / C o mposition

07212020
WRI TI NG ACTIVITY. Which among the compositions of Impressionism inspired
you most? W h y?

M USIC LISTENING ACTIVITY . Play from the accompanying C D track 1 and write a
3 -4 stanza p o e m inspired b y the musi cal pie ce Claire d e Lune.

7
L e s son

2 Expressionism

What’s In

It was an interesting start, right? Let’s continue to a more exciting journey in

the world of music!
In Lesson 1, you have learned that Impressionism was the first movement to
b e i nt r o duc e d d u r i n g t h e 2 0 th c e nt ur y. Y o u a l s o st udi e d t h e life a n d w o r k s of s o m e

07212020
DRAFT
of the impressionist composers. Remember that the most distinctive feature of
impressionism is the use of "color," or timbre in musical term which can be
achieved through orchestration, harmonic usage, texture, etc. Impressionism
reigned supreme for years until it was superseded by another style which is
Expressionism.

What’s New

The term “Expressionism" was originally used in visual and literary arts and
was probably first applied to music in 1918, especially to Schoenberg because like
the painter Wassily Kandinsky (1866–1944), he veered away from "traditional forms
of beauty" to convey powerful feelings in his music. Features of expressionism
music are as follows:

• a h i g h d e g r e e o f di s s o n a n c e ( d i s s o n a n c e is t h e qual it y of s o u n d s that s e e m s
unstable)
• e x t r e m e c ont r a s t s o f d y n a m i c s ( f r o m p i a n i s s i m o t o f or t i s s i m o, v e r y s of t t o
very loud)
• consta nt c ha n g i n g of textures
• "distorted" me l odi e s a n d har m oni e s
• angular melodie s wit h wi de leaps

ARNOLD SCHOENBERG (1874–1951)

Arnold Schoenberg was born on September 13,

I ma ge f ro m
b log. dataphiles mus ic. com i n
S unico, et.a l, 2 01 5, p. 9.
1874 in a working-class suburb of Vienna, Austria. He
taught himself music theory but took lessons in
counterpoint. His works was greatly influenced by the
German composer Richard Wagner as evident in his
symphonic poem Pelleas et Melisande, Op. 5 (1903), a
counterpoint of Debussy’s opera of the same title.
8
 Schoenberg’s style in music reformed from time to time. From the early
influences of Wagner, his tonal preference gradually revolved to something
dissonant and atonal, as he explored the use of chromatic harmonies. He was
responsible for the establishment of the twelve-tone system.

Twelve-tone system
His works include the following:
• Verklarte Nacht
• Three Pieces for Piano, op. 11
• Pierrot Lunaire
• Violin Concerto
• Skandalkonzert , a c oncert of the Wi e ne r Konzertverein .

DRAFT
Although full of melodic and lyrical interest, his music was also extremely
complex, creating heavy demands on the listener. He experienced
Triskaidekaphobia (fear of number 13). Schoenberg died on July 13, 1951 in Los
Angeles, California, USA where he had settled since 1934.

What I Can Do

One of the most significant compositions of Schoenberg is Three Piano

Pieces, Op. 11. This musical piece was the first composition ever to dispense
completely with “tonal” (counterpart of atonal) means of organization. Play from the
accompanying C Track 3 (Three Piano Pieces). Alternatively, you can access it at
https://www.youtube.c om/watch?v=xrjg3jzP2uI

While listening, answer the following guide questions on a separate sheet of

paper:

07212020
• W h a t genr e of m o v i e c a n this m us i c be us e d?
• W h a t particular m o m e n t in your life does this m us i c r e m i n d y o u of ?

IGOR STRAVINSKY (1882–1971)

He was born in Oranienbaum (now Lomonosov), Russia

on June 17, 1882. Stravinsky’s early music reflected the
influence of his teacher, the Russian composer Nikolai
Rimsky-Korsakov. But in his first notable composition “The
Firebird Suite (1910)” which was composed for Diaghilev’s
Russian Ballet, his skillful handling of material and rhythmic
inventiveness went beyond anything written by his Russian
predecessors. He added a new ingredient to his nationalistic
musical style. The Rite of Spring (1913) was another
Image from 8notes.com in
outstanding work showcasing his new technique.
S unico, et.al, 2 0 1 5 , p. 11.

9
 Other accl aime d w o r k s b y Stravinsky includes:
• Ballet Pe t r ouc hka (1911), featuring shifting r hy t hm s a n d polytonality,
a signature devi ce of the c om p os e r
• The Nightingale (1914)
• Three Tales for Children (1917)
• Du o Concertant (1932)
• The Rake’s Progress (1951), a full-length opera
S t r a v i n s k y w r o t e a p p r o x i m a t e l y 1 2 7 w o r k s , i n c l u d i n g c o n c e r t i , or c h e s t r a l
m u s i c , i n s t r u m e n t a l m u s i c , op e r a s , ball ets, s ol o v oc a l , a n d c h or a l m u s i c . C o n c e r t i
or concerto is a musical composition for a solo instrument or instrume n t s
a c c o m p a n i e d b y a n orc hes tra, e s pe ci a ll y o n e c o nc e i v e d o n a relatively l a r ge scale.
He died in N e w York City on April 6, 1971.

What ’s M o r e

DRAT
M U S I C L I S T E N I N G A C T I V I T Y . F r o m the C D, play track 4 (Petrouchka b y
St r a vi ns ky) or a c c e s s it at ht t p s : / / w w w . y o u t u b e . c o m / w a t c h ? v = O J R f I m h t j q 4 . Af t er
l i s t e ni ng t o t h e t r a c k, c r e a t e a n a r t w o r k i n s p i r e d b y P e t r o u c h k a u s i n g a n y
c ont em por ar y m e d i u m of arts. U s e a ny pape r available for your artwork.

W O R D H U N T . Encircle the wor ds that are related to expressionist music in the grid
below. T h e wor ds run horizontally, vertically a nd diagonally.

S U S A D G E V O L
D I S P T E I C L L
E A A I E R V O O L
R I R A O M N N H U

07212020
Y L G N E A B C U H
S C H O E N B E R G
A S H M R A N R I U
T N A R K S S T S H
O A H A O R O I N N
N Y A S G M A N I O
A R U S S I A R A R
L Y H C R E M T N A
X S S D F G H I I A
D I S T O R T E D C

10
 L e s son

3 2 0 t h C e n t u r y M u s i c a l Style s

Now that you are familiar with Impressionism and Expressionism, you are
re ady to explore the very interesting musica l f o r m s of the 2 0 th Century. Let’s
discover the techniques and styles of Electronic and Chance Music.

What’s In

DRAFT
Expressionism is a style of music where composers seek to express
emotional experience. For the next lesson, we will discuss the several musical
styles that developed in the modern era. Some of these were short-lived, being
experimental and too radical in nature, while others found an active blend between
the old and the new. New inventions and discoveries of science and technology led
to continuing developments in the field of music.

What’s New

Technology has been a game-changer in music. It has produced electronic

music devices such as cassette tape recorders, compact discs and their variants,
the video compact disc (VCD) and the digital video disc (DVD), MP3, MP4, digital

07212020
music players, smart phones, karaoke players, and synthesizers. These devices are
used for creating and recording music to add to or to replace acoustical sounds.

ELECTRONIC MUSIC
The ability of electronic machines such as synthesizers, amplifiers, tape
recorders, and loudspeakers to produce different sounds was popularized by 20th
century composers like Edgar Varese, Karlheinz Stockhausen, and Mario
Davidovsky.

Music that uses the tape recorder is called musique concrete, or concrete
music. The composer records different sounds that are heard in the environment
such as the bustle of traffic, the sound of the wind, the barking of dogs, the
strumming of a guitar, or the cry of an infant. These sounds are arranged by the
composer in different ways like playing the tape recorder in its fastest mode or in
reverse. In musique concrete, the composer is able to experiment with different
sounds that cannot be produced by regular musical instruments such as the piano
or the violin.
11
 The first electronic devices for performing music were developed at the end of
the 19th century, and shortly afterwards, Italian futurists explored sounds that
had not been considered musical.

EDGARD VARÈSE (1883–1965)

Born on December 22, 1883, Edgard (also spelled Edgar)
Varèse was considered an “innovative French-born composer.”
However, he spent his life and career mostly in the United
States where he pioneered and created new sounds that
bordered between music and noise.

His musical compositions are characterized by:

• a n e m p h a s i s o n t i m br e a n d r h y t hm ; a n d
• “organized s o u n d” (certain timbres a n d rhythms ca n be
Image from blogs.nmz.de
in S unico, et.al, 2 01 5, p.
grouped together in order to capture a whole new
27 . definition of sound).
Varèse’s use of new instruments and electronic resources made him the

DRAFT
“Father of Electronic Music” and he was also dubbed as the “Stratospheric
Colossus of Sound.” He died on November 6, 1965.

What I Can Do

Varèse’s Poème Électronique is one of the first compositions that was created
through the use of technology. It’s an 8-minute piece written in 1958. Varèse
composed the piece with the intention of creating a liberation between sounds and
as a result uses noises not usually considered “musical” throughout the piece. Play
from the accompanying C Track 5 (Poème Électronique) or access it at
https://www.youtube.com/watch?v=bEkjC76oSNk .

While listening, answer the following guide questions on a separate sheet of

paper:

07212020
• C a n y o u gues s t he materials u s e d to create the different t ype s of nois e
used in the piece? Name at least 5.
• H o w does the piece affect your current m o o d or em otion? Describe.

KARLHEINZ STOCKHAUSEN (1928– 2007)

Karlheinz Stockhausen is a central figure in the

realm of electronic music. Born in Cologne,
Germany, he had the opportunity to work with
Messiaen, Schoenberg, and Webern, the principal
innovators at the time. Together with Pierre Boulez,
Stockhausen drew inspiration from these composers
Image from youtube.com
in S unico, et.al, 2 0 1 5 , p. 28. as he developed his style of total serialism.
Stockhausen’s music was initially met with
resistance due to its heavily atonal content with practically no clear melodic or
rhythmic sense. Still, he continued to experiment with musique concrete.

12
 Some of his works include:

• G r u p p e n ( 1 9 5 7 ) , a pi e c e for t hre e or c he s t r a s tha t m o v e d m u s i c t h r o u g h

time and space;
• Ko nt a kt e ( 1960), a w o r k that p u s he d t he t a pe m a c h i n e to its limits; a n d
• H y m n e n (1965), a n ambiti ous t w o -hour w o r k of 4 0 juxta posed s ongs a n d
anthems from around the world
• Licht (Light), a seven -part opera (one for each d ay of the w e e k ) for a
gigantic ensemble of solo voices, solo instruments, solo dancers, choirs,
orchestras, mimes, and electronics.
It has led him to dream of concert halls in which the sound attacks the
listener from every direction. Stockhausen’s works total around 31.

What I Can Do

0721220
Another popular electronic music composition is Studie II by Karlheinz

DRAF
Stockhausen. Play from the accompanying CD Track 6 (Studie II) or access
https://www.youtube.com/watch?v=_qi4hgT_d0o.
While listening, answer the following guide questions on a separate sheet of
paper:
• W h e r e d o you ima gine yourself to be in while listening to the musi c?
Why?
• W h a t m a k e s this track distinct f r o m the other m usi c a l exc erpts w h i c h
you have heard so far?
CHANCE MUSIC
Chance music also known as Aleatoric music refers to a style which the
piece always sounds differently at every performance because of the random
techniques of production, including the use of ring modulators or natural elements
that become a part of the music. Most of the sounds emanate from the
surroundings, both natural and man-made, such as honking cars, rustling leaves,
blowing wind, dripping water, or a ringing phone.
An example of Chance music is John Cage’s Four Minutes and Thirty-Three
Seconds (4’33") where the pianist merely opens the piano lid and keeps silent for
the duration of the piece. The audience hears a variety of noises inside and outside
the concert hall amidst the seeming silence.

JOHN CAGE (1912–1992)

Image from classical-
sce ne. co m in Sunico, et.al,
2 0 1 5 , p. 30.
John Cage was known as one of the 20th century
composers with the broadest array of sounds in his works.
He was born in Los Angeles, California, USA on September 5,
1912 and became one of the most original composers in the
history of western music.
He challenged the very idea of music by manipulating
musical instruments in order to attain new sounds. He
experimented with what came to be known as “chance
music.”

13
 In one instance, Cage created a “prepared” piano, where screws and pieces of
wood or paper were inserted between the piano strings to produce different
percussive possibilities.
He became notable for his work The Four Minutes and 33 Seconds (4’33"), a
chance musical work that instructed the pianist to merely open the piano lid and
remain silent for the length of time indicated by the title.

What I Can Do

T h e popularity of televisions started during the 2 0 th Century. T V s ho ws

became a huge part in the lives of the people and music played a vital role in its
flourishment. Water Walk by John Cage was one of the compositions used in TV
shows. Watch a video clip #1 (Water Walk) at https://youtu.be/gXOIkT1-QWY

07212020
After watching, answer the following guide questions on a separate sheet of
paper:
DRAFT
• W h a t characteristics o f C h a n c e m u s i c c a n b e d e d u c e d f r o m t he vi d e o
clip?
• A s i d e f r o m t he obj e c t s u s e d i n t h e vi d e o, w h a t ot he r o bj e c t s c a n y o u
use to create sounds which are similar to the piece?

What ’s M o r e

D i r e c t i o n s . In e a c h it em , e nc ir c le t h e w o r d that do e s n ’ t b e l o n g t o t he 2 0 th C e n t u r y
Music and identify the classification of the remaining words. (You are
given1 point for the encircled word and 1 point for the classification.)

EXAMPLE Piano Gu i t a r Violin BOOK MUSICAL INSTRUMENT

1. 4’33” Prepared Piano Zen Buddhism Study II _______________

2. Gruppen Kontakte Stratospheric Study II _______________
3. Varèse Debussy Stockhausen Glass _______________
4. Germany France USA India _______________
5. Harpsichord Mp3 Player Mobile Phones Mp4 _______________

What I Have Learned

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

14
 What I Can Do

A C T I V I T Y 1 - Per f orm a n experim ent creating 2 0 th C entury M u s i c System. C h o o s e

one from the activities below.

1. Chance Music – Ask 3 family members to join you in this activity and do the
following:
a. Prepare a dice or draw lots with 6 numbers.
b. Roll the dice 4 times or draw a number 4 times and record the numbers
that will appear. Out of these numbers, prepare a rhythmic pattern in
each number.
c. From the rhythmic pattern, randomly choose any materials available in

07212020
DRAFT
your house like plastic bottle, books, paper, pen, etc.
d. Assign a number to every material. Organize all the materials with
corresponding rhythmic pattern.
e. Record your performance in your cellphone.

2. Electronic Music – Create a short electronic music piece using your knowledge of
20th century musical styles. Save in mp3 format with the file name in this
manner: (ELECTRONIC MUSIC) (YOUR COMPLETE NAME). Example:
ELECTRONIC MUSIC JUAN DELA CRUZ.

B e l o w is the rubric to b e us ed in evaluating your performance.

Very Good Good Fair Poor

CRITERIA
(4) (3) (2) (1)
All of the Majority of the S om e of the None of the
Inst ruct i o ns i nst r uct i ons i nst ruct i ons w e r e i nst ruct i ons w e r e i ns t r uct i ons
were followed. followed. followed. were followed.
P er fo rm s wi t h P e rf or m s wi t h P e rf or m s wi t h P erform s wit h
great a m o un t of a d e q u a t e e ne rg y, s o m e energy, little energy,
Perfor mance energy, focus, fo cu s, i n t ensi t y focus, i ntensit y focus,
intensity a n d and confidence and confidence i nt e n s i t y a n d
conviction confidence
T h e perform an ce T h e perform anc e T h e perform anc e The
is very clear and is generally clear is fairly executed performan ce
S t yl e/
perfectly and well with som e is not clear
Interp retation
execu ted. execu ted. inconsistencie s. and not well
execu ted.
Creates a highly Creates an Creates an Lacks
Improvisation effective a n d effective accept ab le improvisation
innovative improvisation improvisation
improvisation

15
 Assessment

I. M ul t i pl e C h o i c e . Ide ntif y w h a t is b e i n g des c r i be d i n the f ol l ow i n g st a te m e nt s .

Encircle the correct a nswer.
1. H e is o n e of the m o s t im port a nt a n d influential c o m p o s e r s of the 20t h
c e nt ur y.
a. Ravel
b. D e b u s s y
c. B e e t ho ve n
d. S c h oe nbe r g
2. H e c ha nge d the course of mus i ca l de ve l opm e nt b y dissolving traditional rules
a n d c o n v e n t i o n s i n t o a n e w l a n g u a g e o f po s s i bi l i t i e s i n h a r m o n y , r h y t h m ,

07212020
DRFT
form, texture, a n d color.
a. Ravel
b. D e b u s s y
c. B e e t ho ve n
d. S c h oe nbe r g
3. H e w a s a n Austri an - bo r n A m e r i c a n c o m p o s e r a n d a m u s i c theorist.
a. S c h o e n b e r g
b. St r a vi ns ky
c. D e b u s s y
d. B a r t o k
4. Hi s skillful handling of material a n d rhyt hmic inventiveness we nt b e y on d
a nyt hi ng c o m p o s e d b y his R us s i a n pr edece ssors.
a. S c h o e n b e r g
b. St r a vi ns ky
c. D e b u s s y
d. B a r t o k
5. H e w a s a c knowl e dge d for establishing the twelve-tone system.
a. S c h o e n b e r g
b. St r a vi ns ky
c. D e b u s s y
d. B a r t o k
6. Hi s wo r k s we r e m e t wit h e xt r em e reactions, either strong hostility f r om the
gene ral publi c or enthusiastic a c c l a i m f r o m hi s supporters.
a. S c h o e n b e r g
b. St r a vi ns ky
c. D e b u s s y
d. B a r t o k

16
 7. It is a m u s i c t hat u s e s t he t a p e r e c or de r.
a. M u s i q ue Conc re t e
b. Ca s se t te D i s k
c. Magneti c T a p e
d. Ca sse tte D e c k
8. H e is a n “innovative French-born composer.”
a. E d g a r d V a r è s e
b. Ka rl he i nz S t o c k h a u s e n
c. J o h n C a g e
d. Mario Davidovsky
9. H e is a central figure in the realm of electronic m usi c .
a. E d g a r d V a r è s e
b. Ka rl he i nz S t o c k h a u s e n
c. J o h n C a g e
d. Mario Davidovsky

DRAFT
10. H i s m u s i c w a s initially m e t wi t h resistance d u e to its h e a v y atonal conte nt
with n o clear m el odi c or rhyt hmic sense.
a. E d g a r d V a r è s e
b. Ka rl he i nz S t o c k h a u s e n
c. J o h n C a g e
d. Mario Davidovsky

II. E s s a y . B e l o w ar e state ment s a bout 2 0 th Ce nt ur y M us i c . C h o o s e o n e f r o m

the fol l owi ng state ment s a n d expres s y o u r ide as a bout it.
• M u s i c dur i ng t he 2 0 th C e n t ur y b e c a m e readily available t o the m a s s e s
because of technology.
• M us i c al styles that w e r e prohibited dur i ng the earlier time s b e c a m e
a c c e p t e d i n t he 2 0 th C e n t u r y.
• 2 0 th C e n t u r y is a n era of varie d m u s i c a l styles.

71020

17
Answer Key (Upon Checking)

DRAFT07212020

18
 DRAFT

Holistic R u b r i c for the Es s a y (5 points)

5 points – Th e ma in idea is well-focused a nd properly developed b y relevant,
ac cu ra te a n d subs tantial e v i d e n c e .
4 points – T h e m a i n idea is clearly presented w it h relevant a n d accurate
supporting evidences.
3 points – T h e m a i n idea is unders tandable b u t w it h m i n i m a l s upporting
evidences
07212020
2 points – T h e m a i n idea is present but not well express ed w ith slightly
inconsistent evidences
1 point – There is n o clear m a i n idea w h i c h the ess ay revolves o n an d the
s up po rt in g i de as a re inconsistent.

19
References
Sunico, Raul M ., Evelyn F . Cabanban, & Melissa Y. M or a n . Grade 10 Learner’s
Material. HORIZONS Music and Arts Appreciation for Young Filipinos.
Philippines: T a w i d Publications, 2 0 1 5 .

CHANNEL YOUTUBE. “CLAUDE DEBUSSY: CLAIRE DE LUNE.” YouTube video,

5:02. Oct. 7, 2008. htt ps :/ / www. yout ube . c om / wa tc h? v= CvFH_6DN RC Y

Dez ve zes De z Heteronimus . “Stockhausen Studie II.” Y o u T u b e video, Jan.2, 2013.

3:05. ht t ps: / / www. yout ube. c om/ wa t c h? v= _qi 4hgT_d0o& t = 5s

Ethereal, Queen. “【 Piano】 Bolero ボ レ ロ （ ラ ヴ ェ ル Ravel).” YouTube video, 5:16.

Nov. 1, 2019. htt ps :/ / www. yout ube . c om / wa tc h? v= b5V31O8l l 14

medici.tv . “Stravinsky Petrushka - Yuja Wa ng. ” Y ouTube video, 2:41. Aug.5, 2009.
h t t p s : / / w w w . y o u t u b e . c om / w a t c h ? v = O J R f I m ht j q 4
Nave for Eva . “John Cage "Water Walk".” Y ouTube video, 3:58. Oct.3, 2014.
https://www.youtube.com/watch?v=gXOIkT1 - Q W Y

07102
DRAF
Robert Craft - Topic . “Poèm e Électronique.” Y ouTube video, 8:04. Feb.14, 2016.
h t t p s : / / w w w . y o u t u b e . c om / w a t c h ? v = bE kj C7 6o SN k

VladekMeyer83. “Schoenberg - Three Piano Pieces, No. 1 (with sheet music).”

Y ouTube video, 4:11. Jan.15, 2009.
ht t ps : / / w ww . y ou t u be . c om / wa t c h ? v= xr j g3j z P2uI

20
 DRAFT07212020
F o r inquiries o r feed back , please write or call:

D epartment of Education - Bureau of Learning Res ources

(DepEd-BLR)

Ground Floor, Bonifacio Bldg., D epEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 86 34 -1072; 8 63 4 -1054; 8 63 1 -4985