SOCSCI104 | ART APPRECIATION

Teacher’s Guide Week 10 to 11

Lesson 4: Auditory Art-Baroque to Contemporary Music

Music is a higher revelation than all wisdom and philosophy
(Ludwig van Beethoven)
• Music-Definition, Medium, and Elements • Romantic Music: Franz Liszt
• Baroque Music- from Early to Late Baroque • Modern and Contemporary Music: Various Artist
• Classical Music: Franz Joseph Haydn; Wolfgang and Genres
Amadeus Mozart; and Ludwig van Beethoven

Sustainable Development Goals:

SDG No. 3-Good Health and Well-Being. This SDG No. 4-Quality Education. This SDG will be
SDG will be realized by relating music as a therapy, as emphasized in all the lessons of Art Appreciation.
well as the significance of art therapy to well-being

SDG No. 12-Responsible Consumption and Learning Materials

Production; SDG No.13-Climate Action; SDG Power point presentation, Videos from YouTube,
No.14-Life Below Water; and SDG No.15-Life Reading materials (Module 5 in Art Appreciation,
on Land. These SDGs will be realized with their and scholarly online materials)
reflection on the song, “Masdan Mo Ang Kapaligiran”

Learning Objectives:
At the end of this lesson, students should be able to:
1. Acquire a broader understanding about the various media in music such as the vocal and
instrumental;
2. Identify the essentials of musical components and symbols as well as their unique purposes and
functions;
3. Distinguish and identify the distinct characteristics of the various styles of music from Baroque to
Contemporary music; and
4. Identify and demonstrate deeper understanding and appreciation about the different genres in
music.

Overview: Conventionally, humans attributed art only to visual art forms such as architecture, painting
and sculpture. Eventually, music and literary works were categorized to auditory or time arts in the early
18th century. In this lesson, the students will acquire a better and deeper understanding about the
foundation of the various genres of music, the influences and impacts of the great composers/musicians
from the Baroque period to the Romantic period, and how their masterpieces gave birth to the new genres
of music from the modern to the contemporary period. Moreover, the focus of discussion in this lesson is
to develop and enhance the appreciation of the students towards the classical music.
MUSIC is composed of tones and sounds organized in such manner as to convey the emotions and
ideas conceived by the composer. Music uses mediums such as instrumental and vocal medium.
Instrumental medium is the musical instruments which produce distinct sounds. The musical
instruments are classified as wind (brass and woodwind), stringed, and percussion instruments. The
stringed or plectrum instruments are used commonly in the Rondalla, which is played through plectrum
or pick to produce sounds. The ochestra is a group of instrumentalists, which especially combines
string, woodwind, brass, and percussion to produce sounds, and is usually seen in classical music.
Wind instruments such as brass and woodwind are commonly associated with the Jazz band/music.

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Vocal medium is produced by the human voice, and it can be classified as bass, bass-baritone, baritone,
baritenor, tenor, and countertenor (male voice type); and contralto, alto, mezzo-soprano, and soprano
(female voice type). A voice type is group of voices with similar vocal range (range of pitch), capable
of singing in a similar tessitura (range within most notes of vocal part fall), and with similar passaggi
(vocal transition point).

The Male Voice Type

Type Definition Chord

Countertenor It is considered as the highest male adult voice, which is associated to French, E3 to E5
huate-contre (is sung in falsetto register and uses modal voice). It is sometimes
distinguished from male alto voice. Subcategories: Sopranist or "male soprano",
the haute-contre, and the Castrato.
Tenor It is described as a singing voice between baritone and alto or countertenor. It is C3 to C5
the highest voice of the ordinary male range. Subcategories: Tenorino, Tenore,
Leggero tenor or tenore di grazia, lyric tenor, spinto tenor or tenore spinto,
dramatic tenor, heldentenor, and baritenor (blend of baritone and tenor)
Baritone It is the middle range voice type for adult male, between tenor and bass. A2 to A4
Subcategories: Baryton-Martin, Lyric bariton, Bel canto or coloratura
baritone, Kavalierbariton, Heldenbaritone, Verdi baritone, Dramatic
baritone, Baryton-noble, and Bass-baritone.
Bass It is the lowest singing voice and the lowest tessitura of all the voices. E2 to E4
Subcategories: Basso profondo, Basso buffo, Bel canto bass, Basso cantante,
Dramatic bass, and Bass-bariton.

Image by MUSICNOTES NOW. https://www.musicnotes.com/now/tips/determine-vocal-range/

The Female Voice Type

Type Definition Chord

Soprano It is considered as the highest female adult voice. French, Dugazon and Falcon are C4 to C6
known types of soprano, which are intermediate voice types between the soprano
and mezzo-soprano. Subcategories: Coloratura soprano, Sourbrette, Lyric soprano,
Spinto soprano, and Dramatic soprano
Mezzo- It is known as middle-range voice type for female. It lies between the soprano and A3 to A5
soprano contralto range. Subcategories: Lyric mezzo-soprano, Coloratura mezzo-soprano and
Dramatic mezzo-soprano
Contralto It is the lowest female voice. Subcategories: Coloratura contralto, Lyric contralto, F3 to F5
and Dramatic contralto

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Elements of Music:

• Rhythm refers to the systematic arrangement of musical sounds, principally according to duration
and period of stress. It is the way that music is systematically divided into beats (regular pulsation
in music) that repeats a specific number of times (time signature) within a bar at a collectively
understood speed or tempo.
• Melody refers to the musically satisfying sequences of notes collectively.
o Amplitude refers to the loudness or softness of sound.
o Pitch refers to the frequency of the vibration of sound, the high or low of tones or notes.
o Progression refers to the distance between tones or notes.
o Direction refers to the spatial movement of tones, to the changes in pitch.
o Duration refers to length of sound (long or short).
o Register refers to the location of the most notes of the melody.
• Harmony refers to the simultaneous, vertical combination of note, usually forming chords.
• Tone Color refers to the quality of sounds (timbre). It is the result of tempo, dynamic, and timbre.
o Tempo refers to the speed at which music may move.
o Dynamics refer to the changes in the degree of loudness and softness in music.
o Timbre refers to the tone quality of sound.
• Form or Structure refers to the sections or movements of a piece (overall design or plan of
music).
• Texture refers to the relationship between melody and harmony. It’s the density (thickness or
thinness) of the layers of sounds, melodies, and rhythms.
o Monophony (single layer of sound)
o Homophony (melody with accompaniment)
o Polyphony (two or more independent voices)

Baroque music is a style of European music that existed in the mid-18th century (c.1600-1760). The
word, baroque comes from the Portuguese word, barroco which means mis-shapen pearl; from Spanish,
barrueco; and from Italian baroco. Music historians described the term, Baroque as broad range of
styles. It was in October 1733 when the term, du barocque first appeared in the work of Rameau,
Hippolyte et Aricie and printed in Mercure de France in May 1734. Rameau’s Hippolyte et Aricie in
opera was criticized to be lacked coherent melody, filled with unremitting dissonances, constantly
changing in key and meter, and speedily running through every compositional device. Johan Sebastian
Bach, George Frideric Handel, Allessandro Scarlatti, Domenico Scarlatti, Antonio Vivaldi, Henry Purcell,
Georg Philipp Telemann, Jean-Baptise Lully, Arcangelo Corelli, Tomaso Albino, Francois Couperin, Denis
Gaultier, Claudio Monteverdi, Heinrich Schutz, Jean-Philippe Rameau, Jan Dismas Zelenka, and Johann
Pachelbel are the known composers during the Baroque period (Perez, 2021a; Perez, 2021c & Perez,
2021d).
In Baroque music, the size, range, and complexity of instrumental performance were expanded, and
the musical genres such as opera, cantala, oratorio, concerto, and sonata were found. The creation of
tonality and the elaboration of musical ornamentation, changes in musical notation, and the
development of new instrumental playing techniques were associated to Baroque period. The Baroque
music period was classified into three major phases such as Early Baroque Music (1580-1630); Middle
Baroque Music (1630-1680); and the Late Baroque Music, 1680-1730 (Perez, 2021a; Perez, 2021c &
Perez, 2021d).

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Early Baroque Music (1580-1630). The early baroque music was associated on the masterpiece of
Claudio Monteverdi, who introduced the Renaissance polyphony, prima pratica and the new basso
continuo technique, seconda pratica in the new genre of opera, referring to opera writings of L’Orfeo
and L’incoronazione di Poppea among others. Under the patronage of Count Giovani de Bardi, the
Florentine Camerata (group of humanists, musicians, poets and intellectuals) gathered to discuss and
guide trends in arts, especially music and drama. In the gathering, they stressed the musical drama
based on ancient Greek which valued discourse, oration, and monody (solo singing accompanied by
kithara). The work of Jacopo Peri’s Dafne and L’Euridice, the catalyst for Baroque music, marked the
beginning of opera (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Middle Baroque Music (1630-1680). During the 1630s, the emergence of cantata, oratorio, and opera
in Italy depicted the middle baroque music. The bel-canto style was considered as one of the most
important contributions to the development of Baroque style as well as the later Classical style. The
Romans like Luigi Rossi and Giacomo Carissimi, who were the primary composers of cantatas and
oratorios, and the Venetian, Francesco Cavalli, an opera composer, were known important innovators
of the middle Baroque styles. Later, Antonio Cesti, Giovanni Legrenzi, and Allessandro Stradella likewise
practiced the style of middle Baroque music. Jean-Baptiste Lully was one of the pre-eminent examples
of a court style composers, who purchased patents from monarchy to be the sole composer of the
operas for the king. He accomplished 15 lyric tragedies and left unfinished Achille et Polyxene. His
middle baroque music was notable with the use of violins, violas-in hauste-contre, tailles and quintes
sizes, and bass violins (French Five-Part Disposition). Likewise, he introduced the used of flutes, oboes,
and the bass in the lyric theater; and trumpets and kettledrums were frequently added for heroic
scenes (Perez, 2021a; Perez, 2021c & Perez, 2021d).
In the middle Baroque music, Arcangel Corelli was one of the known musicians who introduced the
concert grosso (dynamic transition of the orchestra, to sharp transition from loud to soft and back
again); and the use of violin technique and pedagogy. Antonio Vivaldi was also one of the prominent
composers in the middle Baroque music, who composed hundreds of works based on the principles of
Corelli’s trio sonatas and concerti. Dieterich Buxtehude, a church musician, was a known contrast of
Corelli and Vivaldi, who directed and organized the Abendmusiken concerts during the middle Baroque
music period (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Late Baroque Music (1680-1730). Johann Sebastian Bach was one of the well-known leading
composers during the late Baroque music. As a church cantor, he produced close to 200 church cantatas
and most of the cantatas were composed during his 2 years in Leipzig, Germany. See this link for
masterpieces of Johann Sebastian Bach: https://www.udiscovermusic.com/classical-features/best-bach-
works-10-essential-pieces/
Johann Sebastian Bach (1685-1750) is regarded as one of the great composers in
Western musical history. He was born in Eisenach, Germany, into a family of working
musicians. When his parents died, he was sent to his brother, Johann Christoph, an
organist, and here at the age of nine years old, he learned the keyboard and studied
composition by his own. In his early life, he worked as an organist, and a court composer
at Köthen, Germany. He likewise worked as a musical director at St. Thomas’ Church in
Leipzig, in which he produced hundreds of choral and instrumental compositions. Bach
was known as devout and religious man. However, he married twice and was blessed
with 12 children of which only eight survived. Bach’s Baroque style is characterized by
lots of notes, simple motoric rhythms, and steady shifts of underlying harmony. His music
is considered as ‘absolute music’ which contained extraordinary ‘jazzy’ chords and
surprising dissonance, that jump off with many different harmonic areas. Bach was
prominent as gifted organ player and improviser, but not as composer.

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Classical music. What makes music a classical music? Baroque music was notable for its textual
intricacy, characterized by the creation of tonality and the elaboration of musical ornamentation, and
changes in musical notation. In Classical music, music was characterized by a near-obsession with
structural clarity. Classical Music (c.1750-c.1830) was rooted in the traditions of Western culture,
specific to liturgical or religious and secular music. It was prominent for its sonata form which
dominated instrumental composition until the contemporary period. The existence of Classical music
gave way on the development of the modern concerto, symphony, sonata, trio and quartet to the new
peak of structural and expressive refinement. Classical music was attributed with the masterpieces of
the following composers like Schobert and Honnauer (German classicist composer); Gluck; Boccherini;
the ‘London Bach’ (Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian); and Joseph
Haydn and Wolfgang Amadeus Mozart, composers of extraordinary significance in the latter half of
18th century (Perez, 2021a; Perez, 2021c & Perez, 2021d).

Franz Joseph Haydn (1732-1809) was an Austrian composer, and he was

regarded as one of the most prolific and prominent composers in the Classical
period. Haydn was remembered for his master pieces such as symphonies
(107), string quartets (83), piano trios (45), piano sonatas (62), masses (14),
and operas (26).
Haydn’s enthusiasm in music started at the age of five when he entered the
Choir School of St. Stephen’s Cathedral in Vienna, Austria. But at age of sixteen,
he left the choir because his ethereal treble tones lasted. By the year 1770, his
reputation as composer spread rapidly in Austria, and commissions began
arriving from abroad. His music was known as ‘Sturn and Drang’ (storm and
stress).
In 1790, Haydn’s employer, Prince Nicholas Esterhazy died, that compelled him to move in Vienna,
and to accept the invitation of Johann Peter Salomon (great German-born violinist and impresario).
Haydn and Salamon visited England and found himself adored.
In 1795, Nicholas II successor of Prince Anton Esterhazy requested Haydn to return in Esterhaza
and was tasked to compose a new setting of mass music for every year. Haydn died on May 31,
1809.

Ludwig van Beethoven (1770-1827) was born on December 16, 1770 at Bonn,
Germany. He was the third generation of the Beethoven family who found
employment as musicians at the court of the Electorate of Cologne. His grandfather,
Ludwig (Louis) van Beethoven (1712-1773) was a trained musician with a fine
bass voice, and was appointed as bass in the electoral chapel at Bonn. In 1761, he
was appointed as Kapellmeister.
In 1733, Beethoven’s grandfather married Maria Josepha Poll, and had a son,
Johann van Beethoven (c.1740-1792), who likewise earned a living in music like
giving lessons about piano and violin. In November 1767, Johann married Maria
Magdalena and had four children: Ludwig Maria (bap. 2 April 1769) who lived only
for six days; Ludwig (bap. 17 December 1770); Caspar Anton Carl (bap. 8 April
1774); and Nikolaus Johann (bap. 2 October 1776).

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Ludwig van Beethoven’s exposure to piano and violin started at a very early age through the instruction of his
father. On March 26, 1778, at the age of seven, he had his first public appearance in a concert “a contralto”,
where he played ‘various clavier concertos and trios’. At eight years old, he learned some grounding in music
theory as well as keyboard instruction from the old court organist van den Eeden. He had piano lessons from
Tobias Friedrich Pfeiffer, and he had violin and viola lessons from Franz Rovantini. Most of the out-of-school
hours of Beethoven were devoted to music, and like most of the children in Bonn, his general education was
not continued in accordance with the usual custom. In 1779, Beethoven enhanced his skill in music from Christian
Gottlob Neefe, musical director of a Theatrical Company and court organist in Bonn. In June 1782, Beethoven at
the age of 111/2 acted as deputy in the absence of Neefe. Through his teacher Neefe, Beethoven’s exposure to
music continued; heard all the popular operas of the day in Lucchesi; performed on numerous occasions in
Holland; and joined the orchestral concert at The Hague.
In 1784, Beethoven received his first salary as assistant organist of Neefe, and later the new elector, Maximilian
Franz (brother of the Habsburg Emperor Joseph II) fixed his salary to 150 florins. From 1789, when the musical
life of the town under the new elector was fully resumed, Beethoven played the viola in the orchestras both of
the court chapel and of the theatre, alongside such fine musicians as Franz Ries and Andreas Romberg (violins),
Bernhard Romberg (cello), Nikolaus Simrock (horn) and Antoine Reicha (flute); some of these were to remain
almost lifelong friends. He also began to be active again as a composer, producing, among other works, the most
impressive composition of the Bonn years, the cantata on the death of Emperor Joseph II.
In 1792, Beethoven settled in Vienna, Austria and he studied music under Haydn. On 23 November 1793, Haydn
wrote the elector on his behalf, enclosing five pieces of music, ‘compositions of my dear pupil Beethoven’, whom
he predicted would ‘in time fill the position of one of Europe’s greatest composers.’ He added (with characteristic
generosity): ‘I shall be proud to call myself his teacher; I only wish that he might remain with me a little while
longer.’ When Haydn left for England in 1794, he passed Beethoven on to another tutor, Johann Georg
Albrechtsberger, the Kapellmeister at the Stephansdom and the best-known teacher of counterpoint in Vienna.
On 18 December 1795, Beethoven made his second public appearance in Vienna as a composer-virtuoso, playing
a piano concerto at a concert which Haydn organized and which included three of his latest symphonies, written
for London.
In February 1796, he set out for Prague, travelling (as Mozart had done seven years earlier) with Prince
Lichnowsky. On 11 March, he gave a concert in Prague; on 29 April, he played before the Elector of Saxony in
Dresden. On reaching Berlin, he appeared several times before the King of Prussia (Friedrich Wilhelm II), and
with the king’s first cellist, Jean Louis Duport, he played the two op.5 cello sonatas, written for this
performance. At the end of 1796, Beethoven travelled again. He played at a concert at Pressburg (now Bratislava)
on 23 November. On 2 April 1800, Beethoven gave his first concert for his own benefit, in the Burgtheater. The
music included, besides a Mozart symphony and numbers from Haydn’s Creation, two new works by Beethoven,
the Septet (op.20) and the First Symphony.
The Beethoven we know today cannot be separated from the history of his critical and popular reception. No
other Western composer has been amplified to the same degree by posterity, and none has come to embody
musical art the way Beethoven had. More than a composer, he remains one of the pre-eminent cultural heroes
of the modern West. For a comprehensive view of the full impact of Beethoven, three related strands of the
history of his reception must be considered: the myth of the artist as hero; the deep and pervasive influence of
his music on later music and thought about music; and often, disturbing political appropriations of his music.
At a time of personal crisis, it was natural for Beethoven’s thoughts to turn to his last years in Bonn and to the
friends he still had there. One of these – his friend of longest standing, trained in medicine, discreet, remote
from Vienna – was particularly suited to be the first recipient of a secret that Beethoven had kept to himself for
some years and that had not yet been guessed by his circle of friends in the capital: the appalling discovery that
he was going deaf. These tidings were now conveyed to Wegeler in Bonn in a letter of 29 June 1801, and to
another absent friend, Karl Amenda in Courland, two days later.

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Exactly when Beethoven first detected some impairment in his hearing cannot be determined. Perhaps he did
not quite know himself, for no doubt its onset was insidious, and he probably did not regard any temporary
periods of deafness or diminished hearing as sinister, especially since he had long become used to spells of
fever, abdominal pain and episodes of ill-health. A young man does not expect to go deaf, and although in one
account he implied that he had noticed the first symptoms in 1796, other statements set the date somewhat
later, and the crisis came only with the growing realization that his deafness was progressive and probably
incurable. From the descriptions of his symptoms, there is general agreement among modern otologists that his
deafness was caused by otosclerosis of the ‘mixed’ type, that is, the degeneration of the auditory nerve as well
by no means a rare condition. At this time, Beethoven had not yet given up hope that his doctors could do
something for his hearing, but he could already foresee incalculable troubles both for his professional life and
what was easy to forget was equally important to him for his social life. As he wrote to Wegeler: “I must confess
that I am living a miserable life. For almost two years, I have ceased to attend any social functions, just because
I find it impossible to say to people: I am deaf. If I had any other profession it would be easier, but in my
profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say?”
The funeral of Ludwig van Beethoven in Vienna, Austria on March 29, 1827 was celebrated as a grand affair.
Reference: Burnham, S.G., Drabkin, W., Johnson, D., Kerman, J. & Tyson, A. (2001). Beethoven, Ludwig van.
https://doi.org/10.1093/gmo/9781561592630.article.40026

Wolfgang Amadeus Mozart (1756-1791) was born on January 27, 1756, at

Salzburg, Austria. He was the son of a German composer and pedagogue, Johan
Georg Leopold Mozart who likewise trained and exposed his son in music in
his early life.
In 1761, Mozart at the age of five began to compose music through the
education of his father, and during this time he made his first public
appearance as a dancer in a University of Salzburg student production.
In 1762, Mozart together with his sister, Maria Anna Mozart had a tour from
Munich to Vienna, and he performed to Empress Maria Theresia. His successful
journey continued in Germany, Belgium, Netherlands, France, England, and
Switzerland.
In 1765, Mozart at age of nine, composed his first opera, Apollo et Hyacinthus, a Latin play for the University
of Salzburg. In 1767, he was awarded an honorary post, Konzermeister by the Salzburg court after his first
produced opera buffa, La finta semplice in Vienna, Austria.
In 1770, at age of fourteen, Mozart was elected as one of the members of the Accademia filarmonica in Bologna,
and had toured Milan, Rome, and Naples which resulted to several opera commissions for over the next three
years including Mithridate and Lucio Silla.
In 1777, he sought his fortune in Mannheim, Germany and Paris, France but his venture failed that compelled
him to return in Salzburg, Austria and then given him a position as court organist.
In 1780, Mozart wrote his first mature opera, Idomeneo for Munich and year later he was set adrift from his
official employment during a visit to the city of Vienna. His modus vivendi was identified as teacher, composer,
impresario, and keyboardist in the Imperial capital. In 1787, he was appointed as the successor of Christoph
Willibald von Gluck, as chamber musician to the imperial court.
Mozart was a prolific composer, who wrote 18 Masses; Requiem; four litanies; two vespers; eight offertories;
five antiphons; numerous other smaller sacred works; three oratories; six cantatas; 20 operas; 64 concert pieces
with voice; 38 Lieder; numerous other secular vocal works; 53 symphonies; 23 serenades/divertimentos; over
100 dances; around 30 concertos for various instruments; 27 piano concertos; 8 quintets; 34 quartets; host of
sonatas, and solo sonatas for keyboard.
Reference: Van Boer, B. (2012). Historical Dictionary of Music of the Classical Period. http://web.a.ebscohost.com/ehost/ebookviewer/ebook/

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Romantic Music (1830-1900) was the time where composers, artists and authors moved away from
the formal restraint of the Classical period. Composers like Weber, Schubert, Schumann, Chopin, Liszt,
Berlioz and Wagner were known in this period. Beethoven was often seen as the link composer
between the Classical and Romantic periods. However, his death in 1827 preceded the start of the
Romantic period, and much of his later music displayed many features of the Romantic music (Perez,
2021a; Perez, 2021c & Perez, 2021d).
Romantic music was remarkable with the following key features:
§ Emotional expression – this became more important than formal structural considerations as
composers rebelled against the formal restraint of the classical period.
§ Big expansion in size of orchestra and in types of instruments.
§ New structures/forms – rhapsody, nocturne, song cycle
§ Increasingly elaborate harmonic progressions
§ Longer melodies than classical period
§ Bigger range of dynamics
§ Larger range in pitch (could be very easily expressed on the piano).
§ Nationalism in music – some composers sought to use their compositions to celebrate their
countries. (e.g., Edelweiss)

Franz Liszt (1811-1886) was born on October 22, at Doborjan, kingdom of

Hungary, Austria. A Hungarian composer and pianist, he was a key figure in the
romantic movement; many of his piano compositions combine lyricism with great
technical complexity, while his twelve symphonic poems (1848–1858) such as two
completed piano concerti, several sacred choral works, and a great variety of solo
piano pieces, created a new musical form.
At the age of five, Franz was already attracted to the piano and was soon given
lessons by his father, Adam Liszt, who was a talented amateur musician, playing
the cello in the court concert. At his early years, Franz showed interest in both
church and Roman music. Through the influence of his father, Franz spent his two
years at the Franciscan order during his adolescent year.
Franz began to compose at the age of eight, and at the age of nine, he made his first public appearance as a
concert pianist at Sopron and Pozsony (now Bratislavia, Slovakia). His first concert as pianist gained admiration
to the Hungarians that paid his musical education for the next six years.
Franz’s early education in music was spent in Vienna, Austria where he had piano lessons with Carl Czerny
(pupil of Ludwig van Beethoven). In 1823, the Liszt family moved in Paris, France and had his concerts in
Germany on the way. However, in Paris, he was rejected by the Paris Conservatoire because he was a foreigner.
Between 1830 and 1832, he met three men who were to have a great influence on his artistic life. At the end
of 1830, he first met Hector Berlioz and heard the first performance of his Symphonie fantastique. From Berlioz,
he inherited the command of the Romantic orchestra and also the diabolic quality that remained with him for
the rest of his life. He achieved the seemingly impossible feat of transcribing Berlioz’s Symphonie fantastique for
the piano in 1833, and he helped Berlioz by transcribing other works of his and playing them in concert. In
March 1831, he heard Niccolò Paganini play for the first time. He again became interested in virtuoso technique
and resolved to transfer some of Paganini’s fantastic violin effects to the piano, writing a fantasia on his La
campanella. At this time he also met Frédéric Chopin, whose poetical style of music exerted a profound influence
on Liszt.
In 1834, Liszt emerged as a mature composer with the solo piano piece Harmonies poétiques et religieuses, based
on a collection of poems by Alphonse de Lamartine, and the set of three Apparitions. The lyrical style of these
works is in marked contrast to his youthful compositions, which reflected the style of his teacher Czerny. In the

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same year, through the poet and dramatist Alfred de Musset, he met the novelist George Sand and also Marie de
Flavigny, countess d’Agoult, with whom he began an affair. In 1835, she left her husband and family to join Liszt
in Switzerland; their first daughter, Blandine, was born in Geneva on December 18. Liszt and Madame d’Agoult
lived together for four years, mainly in Switzerland and Italy, though Liszt made occasional visits to Paris. He
also taught at the newly founded Geneva Conservatory and published a series of essays, “On the Position of
Artists,” in which he endeavored to raise the status of artists who up to then had been regarded as a kind of
superior servant to that of a respected member of the community.
For the next eight years, Liszt lived mainly in Rome and occupied himself more and more with religious music.
He completed the oratorios Die Legende von der heiligen Elisabeth (1857–62) and Christus (1855–66) and a
number of smaller works. He hoped to create a new kind of religious music that would be more direct and
moving than the rather sentimental style popular at the time. Liszt was one of the few 19th-century musicians
to be interested in Gregorian plainsong, but his efforts were frowned on by the ecclesiastical authorities, and
much of his sacred music remained unpublished until many years after his death.
In 1886, Liszt left Rome for the last time. He attended concerts of his works in Budapest, Liège, and Paris and
then went to London—his first visit there in 45 years—where several concerts of his works were given. He then
went on to Antwerp, Paris, and Weimar. He played for the last time at a concert in Luxembourg on July 19. Two
days later, he arrived in Bayreuth for the festival. His health had not been good for some months, and he went
to bed with a high fever, though he still managed to attend two Wagner performances. His illness developed
into pneumonia, and Cosima, who was then the director of the festival, left him to the care of a doctor as she
managed the performances. He died on July 31. Source: Searle, H. (n.d.) Franz Liszt. Hungarian Composer.
https://www.britannica.com/biography/Franz-Liszt
Modern music is broadly defined as the breaking-down of all traditional aesthetic conventions that
eventually developed into unleashing complete freedom in all aesthetic dimensions, including melody,
rhythm, and chord progression. The convention of major-minor tonality (already heavily strained by
Wagner and his successors) was completely abandoned by many composers. The advancement of
technology paved the way to the development of audio recording technology, along with the ability to
quickly and cheaply distribute recordings and scores, and were central to the revolutions of modern
music (Perez, 2021a; Perez, 2021c & Perez, 2021d).
The vast catalogue of Western art music became much more accessible, and the non-Western music was
suddenly open to exploration (via notated and recorded works), hence exposing Western composers
to countless exotic musical ideas. Recording technology also provided composers with a new
"instrument": recorded sounds, which could be manipulated in endless ways. Further advances in audio
technology gave rise to electronically produced sounds. Ultimately, many composers agreed that all
sounds, even "noise", can be considered forms of music (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Pre-modern music is classified as folk and art music. The Folk music emerged naturally among
cultures throughout the world. It features relatively simple structure/theory and has a relaxed,
informal quality. The Art music was deliberately cultivated by small numbers of professional composers.
It usually features complex structure/ elevated theory, formal quality. Western style of music such as
impressionism is considered to embody the transition from Romantic to modern music. Impressionist
music tend to feature static harmony (chords are not arranged to provide tension and release). Hence,
the sense of forward motion is mild or absent (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Impressionist composers often select chords for their individual sounds rather than arranging them
in progressions. Impressionist music can thus be described as series of harmonic textures, as opposed
to a melody supported by a harmonic foundation. This makes impressionism superb for
conveying atmosphere rather than forceful emotion. The two foremost impressionist composers
are Claude Debussy, who founded the style during the early modern period of music, ca. 1850-1900

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and Maurice Ravel, who led impressionism during the late modern period, ca. 1900-60. Both excelled
in works for piano and orchestra. Debussy's most famous composition is the piano work Clair de Lune,
while Ravel's is the orchestral work Bolero (Perez, 2021a; Perez, 2021c & Perez, 2021d).
The revolutionary development of the late modern period (ca. 1900-60) was atonal music, which lacks
a tonal center. This was an extraordinarily novel concept; all pre-modern musical traditions throughout
the world are tonal. In Western art music, major-minor tonality had prevailed throughout the Baroque,
Classical, and Romantic periods. Atonality emerged from the abundant chromaticism of late Romantic
music. "Chromaticism" denotes the use of notes that lie outside the scale on which a passage is based
(Perez, 2021a; Perez, 2021c & Perez, 2021d)
The Modern Western Art Music can be classified into three branches such as Radical modern music,
Moderate modern music, and Major-minor tonal music. Radical modern music encompasses all types
that depart extremely from traditional Western music. The primary member of this branch is atonal
music and the non-musical sounds. Moderate modern departs less severely from tradition, and it
features heavy chromaticism, yet retains a sense of tonality, as well as other traditional conventions.
Major-minor tonal encompasses most film music and musicals; additionally, it includes most popular
music. Thus, in terms of sheer audience size, major-minor tonality continues to dominate Western
music (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Arnold Schoenberg, an Austrian was the most famous and influential atonal composer. He developed
a widely use approach to atonal composition, the twelve-tone system, in which a composer arranges
the twelve notes of the octave in any desired order; this sequence is then repeated continuously
throughout the composition (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Igor Stravinsky was considered as a foremost moderate modern composer, often considered the
greatest composer of the twentieth century. The Rite of Spring, a ballet was one of his most famous
works. Modern Opera. The age of Romantic opera extended several decades into the twentieth century,
led by Puccini and Richard Strauss. Opera then became the domain of modern composers, the most
popular of which is Benjamin Britten. His most-performed work is “The Turn of the Screw” (Perez,
2021a; Perez, 2021c & Perez, 2021d)
The Contemporary music started in the early 1900s. The major early features of contemporary music
were the use of dissonance, merging music styles, and experimenting new approach to music.
Minimalism, postmodernism, serialism, are subcategories of contemporary music that was explored in
the early years. Contemporary music has no particular music style. It was a term that referred to the
period rather than the style of music engaged. As a result, it cannot outrightly say it was patterned in
a particular manner (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Contemporary music is any style of music that is current or modern, addressing current issues in a
manner that is appealing to the current audience. The manner of appeal may involve fusing more than
one original music style together. The characteristics of contemporary music include the following: 1)
The use of dissonant harmonies; 2) The use of uncommon and/or complex rhythms; 3) More use of
brass and percussion instruments; and 4) The use of electronically created and synthetic sounds.
Examples of contemporary music include Jazz, Blues, Pop, Rock, Folk, Hip-hop, Metal, Dance music, and
Country music. All of these music genres were either formed or well explored in the 1940s and
afterward (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Non-orchestral musical instruments and digital equipment are mostly used in contemporary music.
Non-orchestral instruments such as the piano, guitar, acoustic drum, and saxophone all fall into this
category. With the influence of electricity and technology, many contemporary music styles use digital

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equipment that can be found in studios. These play a huge part in recording and publicizing the various
contemporary art music styles (Perez, 2021a; Perez, 2021c & Perez, 2021d).

Pic 1a. The World's Favorite Music Genres (2018). By Richter, image by Statista.
https://www.statista.com/chart/15763/most-popular-music-genres-worldwide/. As revealed from the survey,
among the 18 countries consisting of 19,000 consumers with age ranging from 16-64 years old, most of the
respondents (64%) preferred to listen to pop music. The survey likewise showed that 57% the respondents still
liked to listen to rock music. Unexpectedly, the survey also revealed that 24% of the respondents were fascinated
in listening to Classical or Opera music.

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Open Discussion: My Music, My Awareness, My Concern to Mother Nature

Directions: Click the link and follow the instruction on the link: Music Memory. https://www.proprofsgames.com/music-memory/ . Then,
listen to the song, “Masdan Mo Ang Kapaligiran” by Asin with this link: https://www.youtube.com/watch?v=KqwxE2ySrK0 . After your
active participation with this activity, post your score (screen shot) as well as your experience at the MS Teams . Limit your sharing not
exceeding 150 words. See rubric for written output as your guidance.
Paste your photo-
documentation
here

Submitted by: Course/ Section:

Date Submitted:
Photo-documentation 15 points Total Score /45

RUBRIC for the Written Output

Score Criteria
26-30 The paragraph is well organized, and all claims are supported. Content is thorough and lacking in no area. There are no
or few errors in tone, format, mechanics, grammar, and content.
20-25 The majority of the paragraph is clear, focused, and well detailed, but there may be a few areas requiring further
development. While it may contain a few errors with tone, mechanics, grammar, and/or content, these errors are not
enough to detract from the overall point being made.
14-19 The paragraph is clear although lacking in both control and command. Organization may be a slight problem but can be
fixed. There may be multiple errors in tone, mechanics, grammar, and/or content, but these errors do not detract from the
overall point.
8-13 The paragraph is generally unorganized and unfocused. There are frequent errors in tone, mechanics, grammar, and/or
content, but these errors do not detract from the overall point.
0-7 The paragraph is totally vague.

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References
Textbook
Tabotabo, Claudio V. (2010). Art Appreciation: Introduction to the Humanities (Revised Edition). Manila. Mindshapers
Co., Inc.
Marcos, Lucivilla L. (2006). Introduction to the Humanities Visual and Performing Arts. Manila. Mindshapers Co., Inc.
Zulueta, Francisco (2003). The Humanities (Revised Edition). Mandaluyong City. National Book Store inc.
Sanchez, Custodiosa A., Abad, Paz F., & Jao, Loreto V. (2002). Introduction to the Humanities (Revised Edition). Q.C. Rex
Printing Company Inc.
Website Resources
Burnham, S.G., Drabkin, W., Johnson, D., Kerman, J. & Tyson, A. (2001). Beethoven, Ludwig van.
https://doi.org/10.1093/gmo/9781561592630.article.40026
Essential Humanities (2013). Modern Music. http://www.essential-humanities.net/western-
art/music/modern/#:~:text=The%20defining%20feature%20of%20modern,%2C%20rhythm%2C%20and%20chor
d%20progression
NAXOS (n.d.). History of Classical Music. https://www.naxos.com/education/brief_history.asp

Mirisola, J. (2019 September 13). What is Contemporary Music. https://www.berklee.edu/news/berklee-now/what-

contemporary-music

Modern Art Music (n.d.). https://wmich.edu/mus-

gened/mus150/1500%20webbook%20modern%20artmusic/Modern%20ArtMusic.htm

Music Appreciation (n.d.). History of Baroque Music and Origins.

https://courses.lumenlearning.com/musicapp_historical/chapter/chapter-1/

Music Theory Academy (n.d.). Romantic Period Music. https://www.musictheoryacademy.com/periods-of-

music/romantic-period-music/

Perez, A. (2021a June 18). Music: Baroque, Classical, Romantic, Modern and Contemporary (Video). YouTube.
https://youtu.be/iM8KWmwn730

Perez, A. (2021c). Auditory Arts: Baroque to Contemporary Music. (Power Point Presentation).
https://www.academia.edu/84504163/Auditory_Art_Baroque_Music_to_Contemporary_Music

Perez, A. (2021d). Module 5 in Art Appreciation. Music: Baroque; Classical; Romantic; Modern and Contemporary.
https://www.academia.edu/49054316/Module_5_in_Arts_Appreciation

Poore, B. (2018 March 13). Ten works from the 20th century that shaped contemporary classical music.
https://bachtrack.com/top-ten-twentieth-century-shaped-contemporary-classical-march-2018

Romantic Music – Classical Music from the Romantic Period (Video). YouTube.
https://www.youtube.com/watch?v=bSR4vkskCyk

The Best of Beethoven (Video). YouTube. https://www.youtube.com/watch?v=W-fFHeTX70Q

The Best of Mozart (Video). YouTube. https://www.youtube.com/watch?v=Rb0UmrCXxVA

The Romantic Period: Music History Video Lesson (Video). YouTube.

https://www.youtube.com/watch?v=UAKWm1LfSes

Van Boer, B. (2012). Historical Dictionary of Music of the Classical Period.

http://web.a.ebscohost.com/ehost/ebookviewer/ebook/

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OFFICIAL MCC TEACHER’S GUIDE DISCLAIMER

It is not the intention of the author/s nor the publisher of this teacher’s guide to have monetary gain in
using the textual information, imageries, and other references used in its production. This guide is only for the
exclusive use of a bona fide student of Mabalacat City College.

In addition, this teacher’s guide or no part of it thereof may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying, and/or otherwise, without the
prior permission of Mabalacat City College.

Compiled by: Prepared by: Recommending Approval: Approved by:

LESTER LISING ARNEL G. PEREZ, MS MARILYN S. ARCILLA, MAN, LPT MICHELLE AGUILAR-ONG, DPA
Clerk-IAS Instructor Dean-IAS VPAA

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