Module 001: Introduction To Performing Arts

[Creative Industries II: Performing Arts / SHS]
1
[Introduction to Performing Arts]
Module 001: Introduction to Performing Arts
Welcome to your first module for the subject “Creative Industries II: Performing Arts.” This
module covers the Introduction to Performing Arts which includes its definition and
identification about its various practices. It also contains the benefits which every
individual is entitled when engaging with performing arts
At the end of this module, you will be able to:

1. explain the meaning of performing arts;
2. identify the elements of various performing arts practices; and
3. demonstrate understanding about the benefits of performing arts to
human lives.
What is Performing Arts?

Performing Arts is one of the several forms of art which has flourished in the early 1970s
as a general term for a multitude of activities—including happenings, body art, actions,
events, and guerrilla theatre. It is a time-based art form that typically features a live
presentation to an audience or to onlookers. This form of art can embrace a wide diversity
of styles (Encyclopædia Britannica, Inc., 2019).
Furthermore, Performing Arts helps students to discover their own voice, grow in
confidence, and develop empathy and ethical insight into the contradictions and paradoxes
of the human condition. It helps students to grow in understanding of what it means to not
only be human, but to be good, noble, honourable, kind, and compassionate (The Scots
College, 2017).
Various Performing Arts Practices

The performing arts range from vocal and instrumental music, dance and theatre to
pantomime, sung verse and beyond. They include numerous cultural expressions that
reflect human creativity and that are also found, to some extent, in many other intangible
cultural heritage domains.
Performing arts are often performed in specific places; when these spaces are closely
linked to the performance, they are considered cultural spaces by the Convention. Theatre,
music, dance and other kinds of performances are present in all human cultures.
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Skeeze (2014). Symphony Hall. Retrieved from

https://pixabay.com/users/skeeze-272447/
Shogol, N. (2017). Theater Play. Retrieved from

https://pixabay.com/photos/ballet-at-sunset-sunset-theatre-2450506/
Traditional theatre performances usually combine acting, singing, dance and

music, dialogue, narration or recitation but may also include puppetry or
pantomime. These arts, however, are more than simply ‘performances’ for an
audience; they may also play crucial roles in culture and society such as songs sung
while carrying out agricultural work or music that is part of a ritual. In a more
intimate setting, lullabies are often sung to help a baby sleep.
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Pexels (2016). Crowd on a concert ground. Retrieved from

https://pixabay.com/photos/audience-band-celebration-concert-
1867754/
Pexels (2016). Classical Music. Retrieved from

https://pixabay.com/photos/classical-music-orchestra-choir-
2199085/
Music is perhaps the most universal of the performing arts and is found in every
society, most often as an integral part of other performing art forms and other
domains of intangible cultural heritage including rituals, festive events or oral
traditions. It can be found in the most diverse contexts: sacred or profane, classical
or popular, closely connected to work or entertainment. There may also be a
political or economic dimension to music: it can recount a community’s history,
sing the praises of a powerful person and play a key role in economic transactions.
The occasions on which music is performed are just as varied: marriages, funerals,
rituals and initiations, festivities, all kinds of entertainment as well as many other
social functions.
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Rom, E. (2016). Ballet Dancing. Retrieved from

https://pixabay.com/users/romanen-2521638/
Tipchai, S. (2016). A Woman in Thai Traditional Dance and Costume. Retrieved

from https://pixabay.com/photos/dancer-asia-art-bangkok-pretty-1807516/
Dance, though very complex, may be described simply as ordered bodily

movements, usually performed to music. Apart from its physical aspect, the
rhythmic movements, steps and gestures of dance often express a sentiment or
mood or illustrate a specific event or daily act, such as religious dances and those
representing hunting or warfare (UNESCO, n.d.).
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Benefits of Performing Arts

Performing Arts assembles propensities for mind that are basic to sound living and
surviving from distress and it is very reviving to see that it is getting more consideration
than it has previously. As time passed by, its role have been carefully addressed for
individuals who seek for physical and mental development. Performing arts sharpens our
innovativeness and insight, encourages our empathy, and carries a higher comprehension
of mankind that is why it requires performers to be critical thinkers, problem solvers, and
good listeners for better experience and learning.
Below are the benefits, as identified by Wabisabi Learning (2018), which contributes to
the proactive development of an individual on many different levels:
1. CREATIVE SELF-EXPRESSION
The expression of a person’s individuality and creative nature is found in any art form. We
express ourselves in creative situations either in professional or personal relationship.
Every individual exploring themselves in performing arts must have a deep and unique
personality and ability. They tend to explore the richness of these abilities in different ways
such as dancing and theatrical arts through the concept of performing arts. Some people
who are having difficulties to express themselves find interest and develop confidence with
the help of this outlet.
2. CONFIDENCE
The fear of failure and judgement can be the primary reason why people hesitate to
perform in front of an audience. It can be terrifying for some but the truth is, it can really be
considered as a confidence builder. Confidence is the result of our knowing that those
opinions of us don't need to become our reality. After all, once we've created an expressive
project we must still perform it or present it no matter what.
Part of building confidence in performing arts is being able to let go of such expectations. This
takes the courage to accept whatever reactions come from sharing this part of ourselves
without sacrificing our integrity. This is a mindset we can apply to many areas of our lives.
3. COLLABORATION
Performing arts is profoundly collaborative by its very existence. Through sharing common
interests and goals, people in this field usually end up building relations. In a collaborative
work or project, this aspect contributes a lot to developing one’s confidence and ability.
With such experiences, we grow constructively and proactively to handle obstacles and
conflicts. In the performing arts field, whether academically or professionally, creating
something usually requires us to rely on others for help. We can rarely do it all on our own,
and it's not just a case of “many hands making light work.” It also has to do with improving
our performance with other people’s skills and experiences to gain positive involvement
and shared progress.
Every person may have something they can bring to the table in a group of like-minded
individuals that no one else can. Henry Ford, for example, claimed that he surrounded
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himself with people he knew were more intelligent and capable than he was. This kind of
desire to share allowed him to create something that ultimately changed the environment.
4. FOCUS
Regularly we work in reverse from what is expected to accomplish our ideal outcomes. On
the other hand, we also focus on a particular procedure as we envision our ultimate
objective. The entirety of this takes focus and concentration. Just like any other practices,
performing arts is also an activity which is worth doing which takes focus for it to have a
successful outcome.
5. PROBLEM-SOLVING
Sculptor Magdalena Abakanowicz said about art: “Art does not solve problems, but makes
us aware of their existence.” How does arts relate to the problem-solving skills that we
want from our students? Simply put, we know by definition the method of problem-solving
through knowing the creative process.
Just like how the saying goes, “In a group of like-minded individuals, each person may have
something they can bring to the table that no one else can.”
Out of this notion comes the birth of what they call Essential Fluencies which are solid
foundation for effective modern learning. They cover all the bases of the skills students
need for success beyond school.
Below are some types of fluencies which are now being used in classrooms across the world:
Solution Fluency is the flagship process of problem solving. It's a foolproof system
that will solve any problem no matter how big or small. All the other fluencies are
expressed in the Solution Fluency stages, which gives them their own contribution
in problem-solving methods.
Creativity Fluency emphasizes the fact that creativity can be taught, acquired, and
mastered. Learning how to be creative makes people understand that every
individual is a unique type of problem solver dealing with both abstract and artistic
concepts as well as technical and linear concepts.
6. LEVERAGING FEEDBACK
Performing arts is one of the greatest ways to learn about making appropriate feedbacks as
these activities are so intensely private and special to each individual. Students must learn
how to use feedback to their advantage, whether it be positive or negative.
Students will be constantly evaluated and graded during their school years, and part of any
careful evaluation will provide constructive and actionable feedback from which students
can grow. More so, feedback is always involved in the performing arts work. Students can
learn that feedback can be empowering when given and received the right way through
artistic practices. If a feedback is largely negative, they need to learn to turn it into
something that will benefit them instead of breaking them down.
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References and Supplementary Materials
Online Supplementary Reading Materials

1. The Scots College; https://www.tsc.nsw.edu.au/tscnews/the-importance-of-
performing-arts-in-education; August 9, 2019
2. Encyclopædia Britannica; https://www.britannica.org/art/performance-art; August

9, 2019
3. UNESCO – Intangible Cultural Heritage; https://ich.unesco.org/en/performing-arts-

00054; August 9, 2019
4. Wabisabi Learning; https://www.wabisabilearning.org/blog/6-skills-performing-

arts-develops; August 9, 2019
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[Explorations in Theater Part 1]
Module 002: Explorations in Theater Part 1

5. define what theater is;
6. identify the different types of theater;
7. discuss the different elements of artistic expression as applied in the
theater; and
8. demonstrate an understanding of theater as a synthesis of the art.
Theater
Theater is a building specifically designed for the purpose of presenting dramatic

performances before an audience. Theater includes formal presentation of scripted play
involving acting, directing, designing, managing and other technical aspects (Collier, 1995).
It is concerned with live performances in which the action is precisely planned to create a
coherent and significant sense of drama. Though the word theatre is derived from the
Greek theaomai, “to see,” the performance itself may appeal either to the ear or to the eye,
as is suggested by the interchangeability of the terms spectator (which derives from words
meaning “to view”) and audience (which derives from words meaning “to hear”)
(Encyclopædia Britannica, Inc., 2019).
The Basic Elements of Theater:

1. Script/Text, Scenario, Plan – Script is a written version of a play or other dramatic
composition. It is used in preparing a theatrical performance. I t can be simplistic, as in
the16th century, with the scenarios used by the acting troupes of the Comedia Dell’ Arte,
or it can be more elaborated, such as the works of William Shakespeare. The script,
scenario, or plan is used as a blueprint to build a production form.
2. The Process – This is the element that refers to the work in progress stage. It is
where the work of the playwright is realized by the director, actors, designers,
technicians, dancers, musicians, and any other collaborators that come together on
the script, scenario, or plan.
3. The Product – This is the finished work. This is what the viewers witness as they
sit in the theater and watch the work.
4. The Audience – The audience are indispensable in the theater. The physical
presence of the audience is very essential as it can change a performance, inspire
actors, and create expectations. The presence of live actors on the stage in front of
live audience differentiates it from modern day films and televisions.
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5. The Playwright – The playwright writes and produces plays for the theater. He
writes the literary composition specifically for the stage in play format (Terrin Adair-
Lynch, 2012).
Types of Theater
Theatres have evolved with different internal layouts according to the types of
productions presented there. The most common types of stage arrangements are
listed below.
Proscenium Theater
Proscenium stages have an architectural frame, known as the proscenium arch,
although not always arched in shape. Their stages are deep and sometimes raked,
meaning the stage is gently sloped rising away from the audience. Sometimes the
front of the stage extends past the proscenium into the auditorium. This is known as
an apron or forestage. Theatres containing proscenium stages are known as
proscenium arch theatres and often include an orchestra pit for live music and a fly
tower for the movement of scenery and lighting
Theatres Trust (2019). Image showing the proscenium arch at Sheffield Lyceum. Retrieved from
http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/170-what-are-the-types-of-theatre-
stages-and-auditoria
Gamil, D. R. (2015). Proscenium Stage. Retrieved from

https://www.slideshare.net/DianaRossGamil/theater-stage-types
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Thrust Theater
As the name suggests, these project or ‘thrust’ into the auditorium with the
audience sitting on three sides. The thrust stage area itself is not always square but
may be semi-circular or half a polygon with any number of sides. Such stages are
often used to increase intimacy between actors and the audience.
Theatres Trust (2019). Image showing the Thrust Stage at the

Gulbenkian,
University of Kent. Retrieved from
http://www.theatrestrust.org.uk/discover-theatres/theatre-
faqs/170-what-
are-the-types-of-theatre-stages-and-auditoria
Snyder, B. J. (2011). Thrust Stage. Retrieved from

https://www.slideshare.net/brandonjsnyder/types-of-stages-
9475001
Theater in-the-round
These have a central performance area enclosed by the audience on all sides.
The arrangement is rarely ‘round’: more usually the seating is in a square or
polygonal formation. The actors enter through aisles or vomitories between
the seating. Scenery is minimal and carefully positioned to ensure it does not
obstruct the audience’s view.
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Module 003: Explorations in Theater Part 2

1. define what drama is all about;
2. demonstrate an understanding about its purpose;
3. identify and explain its important elements; and
4. classify its different types as applied in various theater performance.
What is Drama?
It is believed to have its origin in the art of dance, is found in some form in almost
every society, primitive and civilized, and has served a variety of functions in the
community. At its best, it is a reflection of many phases of life.
The abridged Oxford Dictionary defines drama as a composition in prose or verse,
adapted to be acted and is represented with accompanying gesture, costume, and
scenery, as in real life (Sanchez C. A., et al, 2016).
Moreover, it is a performing art that tells story and is performed on stage. It means
to act or to do from the Greek Word ‘dran’. It is a composition in prose for enactment,
intended, to portray life or character or to tell a story by action and dialogue. (Collier,
1995).
Purpose of Drama
Drama captures the essence of a culture or a group within that culture. It reveals the
attitudes and opinions of their time.
1. Improvisation is the ability to do something spontaneously to new and
unexpected situations. Drama gives us the opportunity to hone our improvisation
skills. Life is improvisation. We respond in new ways when spontaneous and
unexpected things occur to us.
2. Play Making is the process of experimenting with new roles. Through plays, you
can re-examine old roles and challenge society’s values and interpretations. In
drama, you will be expected to create plays.
3. Drama as a Cooperative Process is the process in which you are asked to
participate in group work. This helps you explore relationships on and off stage. It
helps your communication skills and helps you make friends on campus (AMA
Online Module, n.d.).
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Elements of Drama
There are six elements of drama which are considered vital in performing arts. They
are outlined as follows:
1. Theme/Thought/Idea
The theme contains the meaning or the main idea of the play. This is mostly the
abstract issues and feelings that grow out of the dramatic action of the characters.
Sometimes, this is straightforwardly stated in the title or it may be inserted into the
dialogue of a character. The theme may also be less obvious and would only emerge
after some study or thought (AMA Online Module, n.d.). It is the soul of the story and
it mostly involves conflict between individuals, man and society, man and a superior
force, and man and himself.
2. Action/Plot
The plot or action is the framework, the plan, or the main story line. Drama requires
a plot that is faster in progression and without too much interruption in order to
sustain the interest of the audience who usually are eager to get the show going. It is
the arrangement of action and movement in the play.
a. Initial complication/Exposition – It is also known as the introductory
part where the narrator introduces the story including the characters. It is
the beginning of the play which sets the time and place of the action; it
familiarizes the audience with the characters and the situations they are in
and initiates the development of the conflict.
b. Rising Action – It is the part where the issues, twists, and other important
matters in the story are slowly revealed.
c. Climax/Complication – It is the highest peak or the most intense part of
the story and also known as the middle part of the play which develops the
conflict that was started in the exposition. This is the parts of the play where
the audience gets to know the characters more deeply.
d. Falling Action – This is where matters being discussed delicately from the
climax are slowly resolved.
e. Resolution – It is the part where the story ends with the problems being
properly resolved and the characters are placed in well situations (Sanchez C.
A., et al, 2016).
3. Characters
Characters are the people involved in a story, they may seem real to us depending on
how the playwright put words on paper to make the characters come to life
(Dickinson, 1966). Each character should have his own distinct personality, age,
appearance, beliefs, socio-economic background, and language (AMA Online Module,
n.d.).
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Character Presentation:
a. Direct Presentation – author tells us straight out, by exposition or
analysis, or through another character.
b. Indirect Presentation –author shows us the character in action; the
reader infers what a character is like from what she/he thinks, or says, or
does. These are also called dramatized characters and they are generally
consistent (in behavior), motivated (convincing), and plausible (lifelike).
Character Types:
a. Flat Character – is known by one or two traits.
b. Round Character – is a complex and multi-sided character.
c. Stock Character – is a stereotyped character (a mad scientist, the absent-
minded professor, the cruel mother-in-law).
d. Static Character – is a character who remains the same from the
beginning of the plot up to the end.
e. Dynamic Character – is a developing character who undergoes
permanent change. This change must be:
i. within the possibilities of the character;
ii. sufficiently motivated; and
iii. allowed sufficient time for change (Balita, n.d.).
4. Language/Dialogue
It is the only way of telling the story in drama (Sanchez C. A., et al, 2016). Language
or dialogue delivered by the characters move the action or plot along. Each
playwright can create their own specific style in relationship to language choices that
they use in establishing character and dialogue (AMA Online Module, n.d.).
5. Music/Rhythm
Music is not a part of every play, but music can be included to mean all sounds in
production. This refers to the sound of the dialogue, musicality, pace, etc. Music and
rhythm help in establishing the mood of the play and builds the impelling force that
may lead to a climax. It can expand to all sound effects, the actor’s voice, songs, and
instrumental music played as underscore in a play. There is a need for the composers
and lyricists to work hand and hand with the playwright to strengthen the themes
and ideas of the play. This element enables the characters to relate with the audience
through lyrics and music (AMA Online Module, n.d.).
6. Spectacle
The spectacle in the theater involves all the visual elements of the play – all of the
aspects of scenery, costumes, and special effects in a production. These include the
qualities determined by the playwright that create the world and atmosphere of the
play for the audience’s eye (AMA Online Module, n.d.).
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Types of Drama
Below are some of the popular types of drama:
1. Comedy – are lighter in tone than ordinary works, and provide a happy conclusion.
The intention of dramatist in comedies is to make their audience laugh. Hence, they use
quaint circumstances, unusual characters, and witty remarks (Balita, n.d.).
This genre should have the view of a “comic spirit” and is physical and energetic. It is
tied up in rebirth and renewal. This is the reason most comedy end in weddings,
which suggest a union of a couple and the expected birth of children. Comedy create
light feelings. The playwright uses comic devices such as exaggeration, incongruity,
surprise, repetition, wisecracks, and sarcasm. (AMA Online Module, n.d.)
2. Tragedy – Tragic dramas use darker themes, such as disaster, pain, and death.
Protagonist often have a tragic flaw – a characteristics that lead them to their downfall.
Aristotle’s definition of tragedy: A tragedy is the imitation in dramatic
form of an action that is serious and complete, with incidents arousing pity
and fear wherewith it affects a catharsis of such emotions. The language used
is pleasurable and throughout appropriate to the situation in which it is used.
The chief characters are noble personage (“better than ourselves,” says
Aristotle) and the actions they perform are noble actions.
Central features of the Aristotelian archetype:
1. The tragic hero is a character of noble stature and has greatness. If the
hero’s fall is to arouse in us the emotions of pity and fear, it must be a fall
from a great height.
2. Though the tragic hero is pre-eminently great, he/she is not perfect. Tragic
flaw, hubris (excessive pride or passion), and hamartia (some error) lead to
the hero’s downfall.
3. The heroes downfall, therefore, is partially her/his own fault, the result of
one’s own free choice, not the result of pure accident or villainy, or some
overriding malignant fate.
4. Nevertheless, the hero’s misfortune is not wholly deserved. The
punishment exceeds the crime. The hero remains admirable.
5. Yet the tragic fall is not pure lost – though it may result in the hero’s death,
before it, there is some increase in awareness, some gain in self-knowledge
or, as Aristotle puts it, some “discovery.”
6. Though it arouses solemn emotion – pity and fear, says Aristotle, but
compassion and awe might be better terms – tragedy, when well performed,
does not leave its audience in a state of depression. It produces a catharsis or
an emotional release at the end, one shared as a common experience by the
audience (Balita, n.d.).
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Tragedy is a serious, complete, and of a certain magnitude action and deals with
intense problem. It involves the audience in the action and creates tension and
expectation (AMA Online Module, n.d.).
3. Farce – Generally, a farce is a nonsensical genre of drama, which often overacts or
engages slapstick humor.
4. Melodrama – Melodrama is an exaggerated drama, which is sensational and
appeals directly to the senses of the audience. Just like the farce, the characters are of
a single dimension and simple, or maybe stereotyped. (Balita, n.d.).
Melodrama is a drama of disaster and differs from tragedy significantly. The
protagonist is usually a victim of circumstance. He is acted upon by the antagonist or
anti-hero and suffers without having to accept responsibility and inevitability of fate.
Melodrama has a sense of strict moral judgement. All issues presented in the plays
are resolved in a well-defined way. The good characters are rewarded and the bad
characters are punished in a means that fits the crime (AMA Online Module, n.d.).
5. Musical Drama – In musical dramas, dramatists not only tell their stories through
acting and dialogue, but through dance as well as music. Often the story may be
comedic, though it may also involve serious subjects (Balita, n.d.).
6. Tragic Comedy – Tragicomedy is the most lifelike of all of the types of drama. It
focuses on character relationships and shows society in a state of continuous change.
There is a mix of comedy and tragedy side by side in these types of plays. (AMA
Online Module, n.d.).
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Books and Journals

1. Dr. Carl E. Balita, n.d. ; Ultimate Learning Guide to English General Education and
Majorship; Sampaloc, Manila; Ultimate Learning Series
2. Dr. Victoria Santos Lamucho, Jenalyn S. Baesa-Pagay, Danilo H. Cabalu, Janet C.

Pascual, and Dr. Lito F. Noroñ a, 2003; Introduction to Humanities; Valenzuela City;
Mutya Publishing House

1. AMA Online Module; https://blended.amauonline.com; August 9, 2019
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[Principles of Composition as applied in the Theater]
Module 004: Principles of Composition

as applied in the Theater

iv. identify the different principles of composition as applied in the
theater;
v. demonstrate understanding about the important viewpoints in
theater performances; and
vi. familiarize the process of mapping and devising stage-works.
Composition in Theater
Composition is a means of training but also a means of conducting research—of
exploiting otherwise hidden possibilities within a text or within a theme.
Composition as a studio practice is the equivalent of sketching. When we sketch we
are recording our ideas for later development, we are testing our ideas, or purely
pointing at expressive possibilities. Composition in the theatre has much in
common with composition in painting or in music, writing, or in the cinema—the
montage is instantaneous, the writing happens in real time directly on the stage.
Composition is the wielding of an entire theatre, an entire theatrical language to
the service of stage expression. It is the practice of drawing together, or
sequencing, potentially (personally) expressive elements into a composite whole: a
piece of music, a swath of color and an instant of video, a line of spoken text, a
burst of laughter, a gesture, and a farewell embrace. These elements when
arranged in a particular way could provide for us a composition that moves us to
laugh or to cry, or to feel.
As we seek to express ourselves on the stage we are confronted with the potential
of the theatre to amplify our perceptions of reality, our interpretation of the
necessity of fiction or of tragedy, our understanding of the text of a play. We are
compelled to make use of the language of the stage as a means of satisfying our
desire to express something essential about our existence. Composition in the
theatre is a matter of developing a theatrical language capable of expressing
something integral about our lives—whether through a play by Shakespeare,
Brecht, Tennessee Williams. Or an original work (Scheib, n.d.)
Origin: The Viewpoints

As a method of actor training, Viewpoints encourage actors to focus less on their
characters’ psychology and more on observation and movement.
While the Viewpoints have long been part of dance and theatre traditions across the
world, choreographer Mary Overlie was the first person to use the term Viewpoints to
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refer to six integral elements of onstage performance: space, shape, time, emotion,
movement, and story.
Today, the best-known practitioner of Viewpoints is Anne Bogart, whose New York
City-based SITI Company uses the approach to devise and stage theatre. Bogart met
Overlie in 1979 when both taught in New York University’s Experimental Theatre
Wing. Inspired by her colleague’s innovation, Bogart began using Viewpoints
theatrically in her work as an actor and director.
The Viewpoints
In 1987, Bogart met director Tina Landau while working at American Repertory
Theatre in Cambridge, Mass. The two collaborated extensively during the next
decade, expanding Overlie’s original six Viewpoints to nine Physical Viewpoints and
five Vocal Viewpoints. This is the method Bogart brought to SITI when she co-
founded the company with director Tadashi Suzuki in 1992.
Physical Viewpoints
Spatial Relationship: The distance between things (objects, bodies, etc.)
onstage.
Kinesthetic Response: How performers respond to movement from other
people, objects, or design elements.
Shape: The outline of a body in space.
Gesture: A behavioral or expressive shape that has a beginning, middle, and
end.
Repetition: When performers recreate something, they have done or seen.
Architecture: A performer’s physical environment.
Tempo: How fast or slow something happens onstage.
Duration: How long a movement lasts.
Topography: The onstage pattern or design a movement creates.
Photo from a 2018 ITF workshop by Susan Doremus. A gesture is a

behavorial
or expressive shape with a beginning, middle, and end. Retrieved from
https://dramatics.org/wp-
content/uploads/2019/05/gesture_web.jpg
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Vocal Viewpoints
Pitch: The highness or lowness of a sound.
Dynamic: The loudness or softness of a sound.
Acceleration/Deceleration: Speeding up or slowing down a sound.
Silence: The absence of sound.
Timbre: The texture or quality of a sound, distinct from its volume or pitch.
Production, Organization, and Responsibilities
CREATIVE
7. Director. The Director is the one who oversees the entire process of staging production. He
is the person who directs the making of a film/drama/musical play and supervises the
actors and directs the action in the production of a show.
8. Playwright/Dramatist. He is the person who writes plays
9. Costume, Set & Props Designer. Someone who creates plans to be used in making
something in the production.
10.Choreographer. A person who composes the sequence of steps and moves for a
performance.
11.Musical Director. A music/musical director is the director of music for a film. He is the
person who do the planning of what music or songs are to be used in a specific play.
PERFORMER
4. Actors. An actor (often actress for female) is a person who portrays a character in a
performance.
5. Dancers. A person who participates in a performance and who dances professionally.
6. Singers. A person who has a talent for singing.
7. Movers. A person who is in charge of moving the props and other materials used in a
particular play.
TECHNICAL
6. Technical Director. The Technical Director has the daily responsibility for the technical
operations of theatre or performing arts center, including lighting, sound, set design and
construction, and coordinating necessary maintenance.
7. Stage Manager. Stage managers typically provide practical and organizational support to
the director, actors, designers, stage crew and technicians throughout the production
process.
8. Lights & Sounds Crew. The person whose task is to support and follow what the technical
director says with regard to the proper lighting of the stage for every situation and the
proper timing to play the intended music and sounds.
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MARKETING AND PUBLICITY

3. Marketing Officers. These are the people who are given the responsibility to advertise or
sell productions or service. They are involve in marketing activities which are associated
with identifying the particular wants and needs of a target market of customers, and then
going about satisfying those customers better than competitors (AACT, 2019).
4. Ushers. They help those in attendance at entertainment and sporting events in theatres
and stadiums. Duties include checking tickets, directing people to their assigned seats,
distributing programs, answering questions and assisting people in finding restrooms and
refreshments.
DOCUMENTATION
1. Video. Video is used for filming or recording purposes. It is used to cover the entire and
complete happening at a certain production.
2. Photo. It is an image created by light falling on a photosensitive surface, usually
photographic film or an electronic image sensor for the purpose of documentation.
Mapping the Stage

Upstage: The area of the stage that is furthest from the audience.
Downstage: The area of the stage that is closest to the audience.
Stage Right: The right side of the stage from the actor’s point of view (facing the
audience.)
Stage Left: The left side of the stage from the actor’s point of view (facing
the audience.)
Center: Center of the stage.
Full Front: Facing the audience.
Full Back: Facing away from the audience.
Cross: Movement from one area of the stage to another.
Blocking: The set movement of all the actors onstage throughout the play.
Stage Parts. Retrieved from

https://i.pinimg.com/originals/e7/73/7d/e7737d37866059d4c7619315163219
7e.jpg
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Reference and Supplementary Materials
Books and Journals

1. Dr. Carl E. Balita, n.d. ; Ultimate Learning Guide to English General Education and
Majorship; Sampaloc, Manila; Ultimate Learning Series


1. AMA Online Module; https://blended.amauonline.com; August 9, 2019
2. Understanding Viewpoints; https://dramatics.org/understanding-

viewpoints/; August 23, 2019
3. Composition; Retrieved from

web.mit.edu/jscheib/Public/composition_05/Composition_fall05.doc; August 23,
2019
4. Stage Terms Glossary; Retrieved from

https://www.sewanhakaschools.org/cms/lib/NY01001491/Centricity/Domain/208
8/TheatreTerms3.pdf; August 25, 2019
5. American Association of Community Theatre; https://aact.org/marketingpublicity-

director; August 27, 2019
6. Wikipedia; https://en.m.wikipedia.org/wiki/Usher_(occupation); August 27, 2019
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[Story Building]
Module 005: Story Building

5. demonstrate understanding on the importance of knowing the process of
story building;
6. create group skits that are evolved from personal stories using the
different elements of arts and principles of composition; and
7. perform short skits in front of an audience noting the important qualities
of a good performance.
Reading the Script

Script. A plan that tells you how the final performance should look and
sound Playwright. The one who writes the script.
Three Kind of Writing Script

4. Dialogue. Words spoken by two or more characters.
Line. One character’s single speech
5. The character. Imaginary person who speaks the dialogue
6. Stage direction. Instruction or advice about unspoken things to be done.
Reading the Complete Play

vii. Plot . What happens?
More than just series of happenings.
Events only turn into plot when they are part of dramatic action.
viii. Characters. Who does it?
The plot is done by the characters and the nature of characters is revealed
by what they do.
What is each character like?
ix. Scenes. The plot is revealed to the audience in the sequence of the scenes.
Two kinds of scene:
Part of a play that happens in one place in the continuous time
French scene. A scene begins when a character enters and ends either
when another character enters or exits or the same character exits.
x. Conflict. What is the conflict? Whom is the conflict
between? Dramatic action is where built upon.
Conflict arise simply because some obstacle prevents the character from
doing what they set out to do.
xi. Setting. When and where the action happen?
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[Story Building]
Two different meanings of setting:

Imaginary time and place in which the action occurs
Specific scenery onstage in each scene.
3. Exposition. Most play begin in with the information about the past and or the
setting. Exposition usually happens in the first scene of the play, but may recur
throughout the play.
4. Climax. Characters get more upset, the situation becomes more complicated or
more desperate, events pile on events until a point is reached at which things
can’t get worse anymore or more complicated. At the point the conflict is
resolved, is the climax.
5. Theme. What is the play about?
What idea or issue the play is about and the point where playwright is trying
to make about this idea.
Moral. tries to tell the audience how to live their lives. e.g.: “crime doesn't
pay”, “love thy neighbor
6. Theme. How should the play make the audience feel?
Three basic types of play:
Comedy. A humorous play with a happy ending.
Tragedy. The principal characters fail or die and which tends to be very
serious in tone.
Melodrama. Serious tone but with a happy ending.
Three Steps to The Perfect Story

12.The Preparation. Understand your culture and your audience.
Relevance. What you want to say and what your audience are interested in.
Bas van den Beld (2017). The Power of Storytelling and How to Create a
Compelling Story. Retrieved from
https://www.slideshare.net/basvandenbeld/the-power-of-
storytelling-and-
how-to-create-a-compelling-story
Create a story that fits your audience

See where you match your audience
8. The Structure. Structure in a story is like the structure in a building: it can
collapse if done wrong.
Situation  Obstacle  Approach  Plan
Act 1: Situation
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[Story Building]
Set the Stage

Introduce your hero
Important to make people care about your hero
Act 2: Obstacle
Inciting incident
Build out the conflict
A series of challenge
It’s a growth opportunity for the character
People have to believe something is bad before they start believing
solutions
Act 3: Approach, Plan (and solution)
Show the solution
You should feel they fixed the problem
The characters are in better place now
9. The story. Bring it together.
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[Story Building]

5. Story Building vs Story Telling; https://gearlimitsmedia.com/storytelling-
vs-storybuilding/; August 24, 2019
6. The Power of Storytelling and How to Create a Compelling Story;

https://www.slideshare.net/basvandenbeld/the-power-of-storytelling-and-how-to-
create-a-compelling-story; August 24, 2019
7. Msed4118: Speech and Stage Arts; https://www.slideshare.net/mukrat/msed4118-

speech-and-stage-arts-77430707; August 24, 2019
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[The World of Music]
Module 006: The World of

Music
Music as a language can communicate without words, with no explanations

needed, just like when one experiences the sheer pleasure of listening to it. On
the other hand, a particular musical characteristic can evoke a specific meaning of
emotions like a heroic mood, a sense of quiet or contentment.

9. define what music is;
10. identify its elements;
11. acquire knowledge about its history; and
12. demonstrate understanding about its importance.
Music
The dictionary defines music as the art of producing significant arrangement of
sounds (Funk and Wagnalls, 1984) usually with reference to basic elements like
pitch, melody, rhythm, harmony, texture, tempo, dynamics, and timbre.
It is a unique language for expression. It expresses and arouses feelings that are
emotionally compelling. It also challenges the mind, in the sense that what it
communicates is felt, and how it communicates must be understood.
Music as an Art
Music is the art of combining and regulating sounds of varying pitch to produce
melodious harmony expressive of various ideas and emotions. Music which deals
primarily with sound, uses words called lyrics usually rhythmic in cadence to
harmonize with the musical score. Music as sound has no meaning beyond itself
especially if there is a generally agreed upon designation for them such as in taps
or martial music. Taps signifies the day’s end; martial music the rhythm of
marching. Different listeners, however, may make different associations, upon
hearing the same musical sound. There is no generally accepted basis, such as a
dictionary in the case of words, for determining which listener is correct. Musical
meaning, unlike verbal meaning, is largely a subjective matter.
The primary function of music is to express joy, pain, etc. However, when sounds
are not regulated or when a piece of music is played improperly or in full blast as
an unregulated stereo, it ceases to give pleasure, thus failing in its purpose. As an
art, music bases its appeal on the sensuous beauty of musical sounds.
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Like other arts, music deals with emotions. It is a “pure art” which enables it to convey
emotions with great intensity and can directly affect people. Good music radiates joy.
Those who are receptive to good music find it exhilarating (Estolas et al., 2007).
Purpose of Music
Music can be considered as the most effective and precious medium to express one’s
feelings and emotions. As the famous Singer/Song Writer, Jose Mari Chan once said,
“Music is a gift from God, we must embrace and cherish it no matter what.”
Below are important things that a music can do for us:
5. Religious Purpose – Music is used to set a devotional mood, for invocation, or to
focus the congregation on the spiritual life.
6. Entertainment (For audience) – Music for entertainment is very common, and
encompasses concerts and other live performances.
3. Enhancement of the Oral Tradition – Music is often used to transmit a story or
ballad in literature. In this way, many long poems were memorized in pre-literate
cultures.
6. Festivities – Music is used to enhance festivals, weddings, parties, receptions,
sporting events, and other public and private social events.
7. Work Songs – In pre-technical society, work songs helped ease the burden of
repetitious physical activity.
6. Commercials – Anytime, we turn on the television or radio, we are likely to be
subjected to commercial jingles. They have been found very effective in selling
products and services.
7 . Therapy – Music can definitely calm a distracted soul. Most of the time, it serves
as a therapy and is used for relaxation and meditation.
8. Ambient Music – This is usually played at low volume, so as not to interfere with
other activities. It can be of any style and is often found in restaurants, stores,
airports, and other places where the public gathers.
9. Enhancement of other media – Movie, and TV music, video games, and computer
presentations are not only widely varied, but a major source of income for today’s
composers.
10. Educational Purposes – Children’s song are often for educational purposes as
well as entertainment. Lessons can be more effectively learned by children when
sang, that is why it is already widely used by educators. Remember the Alphabet
song? Also note that all the musical examples you hear can be used and applied for
educational purposes.
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History of Music
People use music to communicate and express feelings to lighten labors, to tell about
their words and to satisfy emotional needs. We hear music from mothers singing
lullabies to their babies, from children as they chant song games while they play, or from
workers as they sing to the rhythm of their tasks. Music for the royalty is different from
that of the commoners, the church too, has its own brand of music for worship.
Music is very much a part of living and is related to historical and social movement.
Anywhere around the world, people have diverse musical styles distinct to their own
culture and heritage.
St. Benedict’s High School (2018). History of Classical Music.

Retrieved from
http://oraetlabora.co.uk/WordPressInstalls/Music/wp-
content/uploads/2013/11/N4-5-History-of-Classical-Music-
PUPIL-COPY.pdf
1. Greek Music
Greek drama makes extensive use of the chorus, as exemplified by Aeschylus in
his work Agamemnon where most of it was sung. The Greek chorus was
employed to advice the characters beforehand of forthcoming danger or evil;
verbalize the observation or remark of the audience on the action; recap to the
actors what has already happened; or strengthen, support, and reinforce
downfall or disastrous destiny.
Two pieces of genuine Greek music are the Epitaph of Seikelos, found
engraved on a steele or tomb stone in Tralles, Asia, Minor and dates back from
the first century A.D. and the Hymn to Apollo by Mesomedes of Crete, which
dates back from the second century A. D. (Dr. Lamucho et al., 2003).
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2. Roman Music
Vocal and instrumental music using the lyre, the tubular trumpet and the
drum, became an important part of daily life for the Romans, especially in
religious and civic gatherings including entertainment.
The early Greek and Roman appreciation for the beauty of music had influence in
the development of music in Western and Central Europe in the Middle Ages.
The literary works of renowned Roman poets also became the basic for an
opera. Such were: Book Four of Virgils Aenid, the basis of English opera entitled
Dido and Aeneas composed by Henry Purcell in the 17 th century; Catullus’ Lyric
poems about his love affair with a famous Roman Beauty, were set to music by
a 20th century German composer named Carl Orff, the setting is called Catulli
Carmina; Ovid’s Orpheus and Eurydice, the basis of more operas than any other
story, the greatest of which is by the German, Christoph Willibald Gluck in the
18th century (Dr. Lamucho et al., 2003).
3. Medieval Music
In the eleventh and twelfth centuries Troubadours, Trouveres and Minstrels
were the poets and musicians who influenced Medieval Music. The
troubadours and minstrels sang songs of courtly love and romance. Noble
ladies of the Medieval period were famous for their patronage of Medieval
Music. Eleanor of Aquitaine married King Henry II of England in 1152 and
brought her love of music and the troubadours to the English court
transferring the tradition to England.
Medieval Music and Musicians:
a. The Troubadours
The Troubadours were originally travelling musicians. The early
Troubadours travelled from one village to the next and many also
travelled abroad. The role of the Troubadours changed to part of an
elite society of royalty and nobles. The themes of the songs sung by the
Troubadours mainly dealt with Chivalry and Courtly love - romantic
ballads. In Germany, the troubadours became Minnesingers, or singers
of love songs. The German minnesingers differed from the troubadours
in that they accompanied their songs on the viol, instead of employing
Jongleurs.
b. The Trouveres
The Trouveres were troubadours of nobler birth with finer imagination,
including kings and nobles. They were a school of poets who flourished
in Northern France and Europe from the 11th to the 14th century.
c. The Minstrels
The Minstrels earned a living by the arts of poetry and music, and sang
verses to the accompaniment of a lute, harp or other instruments.
Minstrels often created their own ballads but they were also famous for
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memorizing long poems based on myths and legends which were called
'chansons de geste'.
d. The Jongleurs
The Jongleurs were often the assistants of the Troubadours or Minstrels.
Jongleurs gained a reputation as itinerant entertainers and many were
deemed to be vagabonds and untrustworthy. Their repertoire included
various skills in dancing, conjuring, acrobatics, and juggling.
e. The Waits
The Waits were originally employed as watchmen who alerted people
to danger by playing loud instruments. The role of the Waits gradually
evolved into groups of musicians employed by the towns. The Waits
therefore became official musicians employed in the large English
towns, who were equivalent to the town band. The Waits were expected
to compose and play music for important town and civic ceremonies
and occasions.
Alchin, L.K. (2018). Medieval Life and Times, Medieval Music

by the Waits. Retrieved from www.medieval-life-and-
times.info/ medieval-music/?
fbclid=IwAR1okaehkZ5YAB0aO4ENX9ZOJPFOIa0vAQXAqeE
MmtA wppLhAMIQhmlUyPE
4. Renaissance Music
Renaissance was the Age of Individual hence, the most important concept that
Renaissance handled down to us is the optimistic faith in the man’s ability to
create enduring works of beauty.
A great number of vocal music survived during this period although
instrumental music was the most popular form. Melodies with four voice parts
became standard and imitation was frequently used. Imitation is the
repetition of a melodic idea, with or without small changes, from one voice part
to the next (Collier, 1995). Polyphony likewise, reached new heights and
composers found new ways of expressing themselves.
Franco-Flemish composers held the glory throughout the Renaissance. The
leading composer was Johannes Ockegman (1410-1479), famous for his Missa
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Prolationum, made of two canons, each with two voices, with each of the four
voices written in different meter (Dr. Lamucho et al., 2003).
5. Baroque Music
Derived from the Portuguese barroco, or “oddly shaped pearl,” the term
“baroque” has been widely used since the nineteenth century to describe the
period in Western European art music from about 1600 to 1750. Comparing
some of music history’s greatest masterpieces to a misshapen pearl might
seem strange to us today, but to the nineteenth century critics who applied the
term, the music of Bach and Handel’s era sounded overly ornamented and
exaggerated. Having long since shed its derogatory connotations, “baroque” is
now simply a convenient catch-all for one of the richest and most diverse
periods in music history.
In addition to producing the earliest European music familiar to most of us,
including Pachelbel’s Canon and Vivaldi’s The Four Seasons, the Baroque era
also greatly expanded our horizons. The acceptance of Copernicus’s 16th
century theory that the planets didn’t revolve around the earth made the
universe a much larger place, while Galileo’s work helped us get better
acquainted with the cosmos. Advances in technology, such as the invention of
the telescope, made what was believed to be finite seem infinite. Great thinkers
like Descartes, Hobbes, Spinoza, and Locke tackled the big questions of
existence. Geniuses like Rubens, Rembrandt, and Shakespeare offered unique
perspectives through their art. European nations grew more and more
involved with foreign trade and colonization, bringing us into direct contact
with parts of the globe that were previously unfamiliar. And the growth of a
new middle class breathed life into an artistic culture long dependent on the
whims of church and court.
Musical forms of Baroque Era:
Many of the forms associated with the baroque era came directly out of this
new dramatic impulse, particularly opera, the oratorio and the cantata. In
the realm of instrumental music, the notion of contrast and the desire to
create large-scale forms gave rise to the concerto, sonata and suite.
a. Opera
A drama that is primarily sung, accompanied by instruments, and presented on
stage. Operas typically alternate between recitative, speech-like song that
advances the plot, and arias, songs in which characters express feelings at
particular points in the action. Choruses and dances are also frequently
included. The advent of the genre at the turn of the seventeenth century is
often associated with the activities of a group of poets, musicians and scholars
in Florence known today as the Florentine Camerata.
b. Oratorio
An extended musical drama with a text based on religious subject matter,
intended for performance without scenery, costume or action. Oratorio
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originally meant prayer hall, a building located adjacent to a church that

was designed as a place for religious experiences distinct from the liturgy.
c. Cantata
An extended piece consisting of a succession of recitatives and set pieces
such as arias, duets and choruses. Originating in early 17th century Italy,
the cantata began as a secular work composed for solo voice and basso
continuo, most likely intended for performance at private social gatherings.
Many of these works were published, suggesting that they were performed
by professional musicians and amateurs alike.
d. Sonata
Used to describe several types of pieces in the baroque era, the term sonata
most commonly designated a work in several movements for one or more
instruments (most frequently violins) and bassocontinu.
A sonata for two violins or other treble instruments plus bass was usually
called a trio sonata.
e. Concerto
Derived from the Italian concertare (to join together, unite), the concerto
took several forms during the baroque era. Until the early 18th century, a
concerto was simply a composition that united a diverse ensemble
consisting of voices, instruments or both. Sacred works for voices and
instruments were often called concertos, while similar secular works were
generally termed arie (airs), cantatas or musiche. While large scale sacred
concertos can be found in the works of Claudio Monteverdi, more intimate
compositions for one to four voices, continuo and additional solo
instruments were far more common.
f. Suite
Based on the traditional pairing of dances in the Renaissance, the suite was
the first multi-movement work for instruments. The suite was essentially a
series of dances in the same key, most or all of them in two-part form.
Around the middle of the 17th century in Germany the sequence of
allemande, courante, sarabande and gigue became relatively standard,
although other dance movements, such as additional allemandes or
courantes,bourreés, gavottes and minuets, were often inserted. Most suites
also began with an introductory movement such as a prelude, ouverture or
fantasia (Music of the Baroque, 2019).
6. Classical Music
The period of classical music was approximately from 1750-1820. It is
generally lighter, clearer and less complicated than Baroque music. Modulation
is frequently used to create more interest and a wide range of emotions are
often depicted in a single movement, building up to a dramatic climax then
resolving it to end (History of Classical Music, 2013).
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The middle 18th century ushered in the Classical Period, the Age of Reason or the
Enlightenment and the term Classical, described the arts of ancient Greece and
Rome. A renewed interest in Greek and Roman art and the spirit which inspired
these arts forms is called neoclassicism, new or revived classicism.
There was very little to revive in music during the Classical Era, new musical
styles were only extensions of the preceding Baroque Era. Instrumental music
became the most important form of classical music and most composers wrote
for solo voices and choirs with specific instrumental accompaniment. New
compositions were the sonata for piano or solo instrument with piano
accompaniment; the string quartet for two violins and cello or other
combinations; the concerto for solo instrument accompanied by orchestra; and
the symphony, the chief Classical form (Dr. Lamucho et al., 2003).
7. Romantic Music
The word romanticism was first used to describe new ideas in painting and
literature, towards the end of the 18th century. This word was later taken up
by musicians, to describe the changes in musical style, which took place soon
after the turn of the century. Unlike Classical composers, Romantic composers
aimed for a store powerful expression of emotion, often revealing their
innermost thoughts and feelings. Romantic music is not just about the emotion
of love, it can also be about hate or death (positive or negative feelings). It
flourished approximately from 1850-1900. Many Romantic composers took an
interest in art and literature as well such as:
Far off lands The joy and pain of love

The distant past Fairy tales
Dreams The supernatural
Night and moonlight Magic
Rivers, lakes and forests Nature and the seasons
Furthermore, Romantic composers got their inspiration from poetic ideas,

portrayals of emotional moods and from folk songs because of the timeliness of
these age-old tunes; they best expressed themselves in the art songs and short
musical vignettes usually for piano (Dr. Lamucho et al., 2003).
8. Modern Music
The early 20th century music was greatly influenced by industrialized and
urbanization which found their way into some concert music. Harmony was
taken with extreme creativity such as the simultaneous use of two or more
tonalities at the same time bitonality or polytonality. Percussion instruments
like triangles, tambourines, cymbals and many types of drums were added to
the orchestra to create a new form called tonal music, apart from the
symphonies, sonatas, Masses, the opera, and so on.
In this period, music became widely disseminated with the advances in sound
recording and with the emergence of electronic music or music generated by
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electrical means where sounds are recorded on audiotape (Dr. Lamucho et al.,
2003).
9. Postmodern music
Postmodern music is both a musical style and a musical condition. As a musical
style, postmodern music contain characteristics of postmodern art—that is, art
after modernism. It favors eclecticism in form and musical genre, and often
combines characteristics from different genres, or employs jump-cut
sectionalization. It tends to be self-referential and ironic, and it blurs the
boundaries between "high art" and kitsch. Daniel Albright (2004) summarizes
the traits of the postmodern style as bricolage, polystylism, and randomness.
As a musical condition, postmodern music is simply the state of music in
postmodernity. In this sense, postmodern music does not have any one particular
style or characteristic, and is not necessarily postmodern in style. However, the
music of postmodernity is thought to differ from that of modernity in that whereas
modern music was valued for its fundamentals and expression, postmodern music
is valued as both a commodity and a symbolic indicator of identity. For example,
one significant role of music in postmodern society is to act as a language by which
people can signify their identity as a member of a particular subculture (Academic
Kids Encyclopedia, 2005)
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Books and Journals

2. Josefina V. Estolas, Clarita G. Javier, Nieves Pada-Payno, 2011; Introduction to

Humanities (Arts for Fine Living); Mandaluyong City; National Book Store

8. Purposes of Music; https://www.slideshare.net/johnnegri/15-purposes-of-
music-3552126; September 7, 2019
9. Medieval Music; http://www.medieval-life-and-times.info/medieval-music/?fbclid=

IwAR1okaehkZ5YAB0aO4ENX9ZOJPFOIa0vAQXAqeEMmtAwppLhAMIQhmlUyPE;
September 3, 2019
10. Music of the Baroque; https://www.baroque.org/baroque/whatis?fbclid=IwAR02c

WPWYQtNoH-_9mI519WewHRQGFiBUqmTMJKlfi6PGfABsbzhm9CIR2E; September 7,
2019
11. History of Classical Music; http://oraetlabora.co.uk/WordPressInstalls/Music/wp-

content/uploads/2013/11/N4-5-History-of-Classical-Music-PUPIL-COPY.pdf;
September 7, 2019
12. Richard Fuller’s Romantic Music; https://www.rpfuller.com/gcse/music/romantic.html?

fbclid=IwAR0PN65R4VcWaxv nro0KIkQ9pt9Qc7Hgc_tuNoi7zHrX4D7VXUzRs8wc2cQ;
September 7, 2019
13. Academic Kids Encyclopedia;

https://academickids.com/encyclopedia/index.php/Postmodern_music;
September 7, 2019
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[The Elements and Organization of Music]
Module 007: The Elements and Organization

of Music
9. identify the different elements and organization of music;
10. recognize melodic intervals visually and aurally; and
11. read melodies in simple meters and in major and minor key.
1. Music Notation
To facilitate the learning of the elements and organization of music, the student should have a
knowledge about some of the rudiments of musical notation.
Notation – is a system of signs by means of which music is written down. The notation of
music serves mainly to indicate two properties of tone which are pitch and duration.
Notation of Pitch
Staff. The five horizontal lines with four equal spaces where musical notation is written.
Komponist, Music Theory (2019). The Staff. Retrieved from

https://encrypted-tbn0.gstatic.com/images?q=tbn
%3AANd9GcTmLxIhbmGiE5dYQo92ypu9Nd2yD3MPTK xS34tVcZqJw-
ErTt57
Clef. It is a letter sign placed on the staff in order to indicate the pitch of the notes. The
clef signs used in musical notations are the G clef, C clef, and F clef.
G or Treble Clef
Smithsonian (2019). G or Treble Clef. Retrieved from https://encrypted-

tbn0.gstatic.com/images?q=tbn%3AANd9GcTXWblvDZhy-
LmLlfFE9O6ejXxsimhBot7I86ca321jTnx-tyigF or Bass Clef
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F or Bass Clef
Smithsonian (2019). F or Bass Clef. Retrieved from https://encrypted-

The G clef (or treble clef) locates the tone G by circling the “G line.” Below represents
middle C on the piano. Middle C can be located near the center of the piano keyboard
about 21 inches from the left end. The lower staff is the F clef (or bass cleff). The two
dots next to each symbol indicate the note
F
Sanchez, C. A., Ph. D, et. al. (2018). Introduction to the Humanities (The Elements and
Organization of Music, pp. 154). Quezon City; REX Book Store Inc.
Leger lines. The short lines which are used to indicate pitches which lie below or above
the range of the staff. When note on the staff is preceded by a sharp sign (#), the tone is
one half step higher and played on the piano one key to the right. Thus, the tone C# may
be written:
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Sanchez, C. A., Ph. D, et. al. (2018). Introduction to the Humanities (The
Elements and Organization of Music, pp. 154). Quezon City; REX Book
Store Inc.
and played on the black key between C and D.
Keyword Basket (2019). Sharp Notes. Retrieved from

http://www.keywordbasket.com/YyBzaGFycCBwaXRjaA/
When a note on the staff is preceded by a flat sign (b), the tone is one half step lower
and played on the piano one key to the left. Thus, the tone D may be written:
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and played on the black key between C and D (the same black key and the same
sound as C#):
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Keyword Basket (2019). Sharp Notes. Retrieved from

http://www.keywordbasket.com/YyBzaGFycCBwaXRjaA/
Octave. The pitch distance between any note and the next note of the same letter, either
to the right or left on the keyboard.
Basic Music Theory (2018). Octave Piano Keys. Retrieved from

https://www.basicmusictheory.com/img/d-chromatic-scale-1-octave-
of-notes-on-piano-keyboard.png
Chords. The vertical groups of notes. Notes on the staff which are arranged in vertical
position are played simultaneously.
Right Hand
Left Hand
Smithsonian (2019). G or Treble Clef and F or Bass Clef. Retrieved

from
https://encrypted-
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Notation Duration (Note Values)

To read notes, one has to know not only where a note is (its pitch position) but also how
long a time it is held (its duration). Duration of silence between notes is indicated by a rest.
Every kind of note has a corresponding kind of rest to indicate that nothing shall be
sounded. The following kinds of notes and the equivalent rest signs are most commonly
used in musical notation.
WHOLE NOTE WHOLE REST

Whole note Whole rest
Half note Half rest
Quarter note Quarter rest
Eighth note Eighth rest
Several eighth notes together:
Sixteenth note Sixteenth rest

Several sixteenth notes together:
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It takes two notes of one kind to make the same time value of the next larger kind of
note: thus, two half notes make one whole note, two sixteenth notes make one eight
note, etc.
Sometimes note values are divided by three’s instead of two’s. These are called triplet
groups and are indicated by the sign 3. For example:
= and =
3 3
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A dot following a note gives it an additional one-half of its regular value; thus,
= +
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Most music is written in meter. Meter is a series of regular pulses, as in ticking of a

clock. If we are to think of them as being grouped in two’s, threes, or fours, we are in
this way measuring the pulses. Meter is indicated by time signatures which show the
number of beats to a measure. Measures are indicated by means of vertical lines or
bars down through the staff.
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A double bar is used to mark the end of a composition or of an important part of it.
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The time signature of a composition appears on the staff or staffs at the beginning of
the score. It consists of two numbers: (1) the upper number indicates the number of
beats to a measure and (2) the lower number indicates the kind of note that will
receive the beat. Thus, the time signature ¾ means that there are three beats in one
measure and every quarter note will receive one beat.
Here are few more signs one needs to know in order to read music accurately:
The accent mark (__ or __) above a note gives extra stress to the note it accompanies.
It means play the note louder.
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The crescendo mark (_________) indicates a gradual increase in loudness. The

decrescendo mark, also called diminuendo mark (_________) gradually decreases the
loudness.
The fermata (____) means the holding of a note or chord longer than its normal value.
A dot over or under a note indicates staccato, i.e., detached, shortening the sound. Thus,
or would be the approximate equivalent of .
A curved line above or below two or more notes means legato, i. e. connected, no
silence between notes:
Marting Goulding (2010). Legato. Retrieve from

http://martingoulding.com/lessons/legato/
A passage or section of music between the signs
and is to be repeated.
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Key Signature
The group of flats or sharps appearing at the beginning of a piece is called key signature.
Each sharp or flat, appearing on a line or space of the staff, means that the tone (and all
others of the same letter) is to be raised (if sharps) or lowered (if flats) by a half tone
throughout the entire composition unless it is temporarily cancelled for the duration of the
measure by the use of a natural sign ( ) appearing immediately before a note.
Every key signature may indicate either a major or a minor key. Below is an illustration of a
key signature:
No sharps, no flats: C major, A minor
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2. Sound
Sound is the particular quality of the music that a musician or a group of musicians produce.
Music is an art whose basic material is sound. Unlike the sounds in literature, musical sounds have
no meanings beyond themselves and therefore may be said to deal with “pure” sound. It, however,
is not meaningless because in music, one tone is made to lead to the next in an orderly and logical
way, with the result that the total effect seems to make “sense” and to be “meaningful” to the
listeners. It is this quality of organization which distinguishes music from other sounds we hear
every day. Thus, the “composition” of music can be defined as “the organization of sound.”
Music as the art of combining tones and silences in such a manner as to convey the emotions and
ideas conceived by the composer. Unlike the work of the painter who puts his ideas on canvas
through lines, colors, and other elements, which then become a painting to be appreciated, the
composer’s work must be interpreted by another artist – the performer. It is the performer who
makes it possible for the listeners to hear or understand the composition. The listener then must
have or develop a “tonal memory” of what has been heard so that at the end of the performance or
the listening session, he will be able to see the relationship of the different parts of the composition
(Ortis, et al. 1979).
The appreciation of music, which may be defined as “the acquired ability to listen to music
intelligently,” implies that the ability to appreciate music is not inborn, and that it may be
acquired. Conscious effort is at all times necessary in the exercise of intelligent listening.
3. Tone
Tone, as distinguished from common noise, is a sound produced by regular vibrations of air.
Sound made by wind, traffic, clapping of hands, or creaking of doors are merely noise because the
vibrations thus set up are irregular.
The Components of Tone

As mentioned earlier, tone is the basic sound material with which the composer works. All musical
tones have four properties: (1) pitch, (2) duration, (3) volume, and (4) quality or timbre.
10. Pitch – The term pitch refers to the highness or lowness of a tonal sound. It is a physical
principle that the faster the vibrations are, the higher the pitch will be, and the slower
the vibration, the lower the pitch (Sanchez et al., 2002).
A pitch may be high or low or it may repeat, while melody is created when pitch and
silence occur successively. A progression of pitches creates a melodic contour. Melodic
meaning is affected by range, register, length of melodic groupings, and size of intervals
(Lamucho et al., 2003).
11. Duration –The duration of a tone is determined by the length of the vibration is
sustained. This property of tone becomes one of the bases of rhythm. Tones are not only
high or low but also short and long.
12. Intensity of Volume – Tones may vary in their degree of loudness and softness. This
component of tone is called intensity. Intensity is fundamental to musical rhythm (as
accent), and it provides the basis for a separate musical element (dynamics).
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8. Timbre or Quality – all musical tones possess a characteristic quality. This property
enables one to distinguish one sound from another, one instrument from another – a
violin from flute, for example, or a piano from an organ. The quality of a tone is referred
to as timbre, tone quality or tone color.
The Organization of the Elements

The four components of tone constitute the basic elements of music. These elements have been
organized in music in the following manner:
The Organization of Pitch. There are many pitches that exist in nature but one really does not
hear distinct pitches. In Western Music from which we derive our pitch, the “pitch spectrum” is
limited to a total of 12 pitches. Because of pitch, it is possible to construct musical scales.
Scale. It should be noted that a scale is an abstract arrangement of the pitches in step-
wise order forming the basis of a composition (Dudley and Faricy, 1961). The first and
last notes of a scale are always the tonic, or central pitch.
It is the series of consecutive tones. These tones of different pitches may move in an
ascending order, from tones of lower pitch to higher ones, or in a descending order, from
higher to lower pitches, in much the same way that one goes up and down a staircase.
Without the scale, the organization of sounds into what we call music would be
impossible. Although there are many different scale patterns to be found in music, the
most commonly used are the major scale and the minor scale. Very major and minor scale
is a pattern of whole steps (alternate keys on the piano, including the black keys) and half
steps (adjacent keys on the piano).
For example, the C major scale has half steps between E and F and between B and
the upper C, and all other scale degrees are a whole step apart:
1 2 3 4 5 6 7 8
( indicates whole steps : indicates half step) This scale is played entirely on
the white keys of the piano.
The minor scale in its natural form has the following pattern of half steps between the
second and third scale degrees and between the fifth and sixth scale degrees.
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Note that the C minor scale has three flats and correspondingly, three black keys on the
piano.
The words whole and half refer to the distance between the successive steps in the scale.
Thus, the fact that there is a whole step between the first and the second pitch indicates
that one of the twelve tones, a tone between these two pitches, is omitted from this scale.
There are five such whole steps, indicating that five pitches have been omitted. The two
half steps (between the third and fourth tones and the seventh and eighth tones),
however, are adjacent pitches in the total fund of twelve pitches, and thus, no pitches
have been omitted between them. The eighth tone in the scale is not a new pitch, it is the
same pitch as the first, but placed one octave higher. The entire scale can now be
repeated up through the next octave.
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Tonality. This is an element of music into which one should have a clear insight for a better
understanding of it. In almost any melody, one tone can be found which seems more
important, more final, than any of the others used in making the melody. Tonality is the key or
tonal center. Here, one particular pitch receives more emphasis than the others. Most music is
written in a key. This means that all its harmony is related to a single tone known as the tonic.
Tonic. It is called the central pitch. Thus, a composition which uses the C major scale and
treats C as a tonic is said to be in the tonality (or in the key) of C major; and a composition
which used the C minor scale, again treating C as a tonic, is said to be in C minor. The
tonality or key of a musical composition is indicated by a key signature, which as
mentioned earlier, is placed at the beginning of the piece. The key signature is determined
by the scale which forms the basis of the piece being studied.
Polytonal. Music in which two or more keys are combined simultaneously in a single
composition.
Multitonality or displaced tonality. A practice of the twentieth century composers, it is
shifting rapidly from one key center to another.
The Organization of Duration. Sounds can be made to last for a longer or shorter period of
time because sounds have duration. Thus, it is possible to organize sounds rhythmically.
Rhythm. It is referred to as the aspect of music which has to do with the organization of
duration. Rhythm is usually considered the most basic musical element. Any combination of
notes of different duration produces rhythm: e.g. alternating long and several short notes.
Rhythm, in original Greek, means flow. A movement that surges and recedes in intensity. The
flow or rhythm assumes many forms in music. Not only the contrast of strong and weak
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impulses, but also that f long and short note values, and tones of lower and higher pitch, as
well as the flow of consonant and dissonant harmonies are experienced as movement
which gains or loses intensity.
Meter. As the term implies, it is a way of measuring durations on a fixed regular pattern, so that
the listener becomes aware of a basic pulse or beat. It is by his yardstick that we judge rapid or
slow events, by the extent of their departure from the tempo.
Our music most commonly assigns the quarter note as the symbol of the metric unit. There are
also note values which are shorter than the metric pulse, and those which are longer. Our note
values are binary; each may be divided into two of the next smaller unit, and two together
comprise the length of the next larger unit.
Binary
Ternary
Dotted half note = three quarter notes
Sanchez, C. A., Ph. D, et. al. (2018). Introduction to the Humanities (The Elements and
Organization of Music, pp. 162-163). Quezon City; REX Book Store Inc.
If we wish to divide our notes into three units rather than two, we use dotted notes; a dot adds
one half of its value to a note. Thus, a dotted half note is equal in duration to three quarter notes
instead of two, and the dotted quarter note to three eighth notes instead of two, and so on.
Meter, which may be defined as the pattern of strong and weak beats n a measure, is indicated
by a time signature which is placed at the beginning of the piece, just after the key signature.
The numerator tells us how many beats are there in each measure, and the denominator tells us
which kind of note (quarter, half, or whatever) will receive one beat. Thus, if the time signature
is ¾, this means that there are three beats in one measure and every quarter note will receive
one beat. If the time signature is 4/4, there are four beats in one measure and every quarter
note will receive one beat.
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Elements and Organization of Music, pp. 163). Quezon City; REX Book Store
Inc.
The most common meters are duple (grouping in two) and triple (grouping in three)
Beat can be equated with the footsteps of a soldier marching. If we think of the command –
“Mark time, march!” given to CAT or CMT students and they react immediately by marching,
one-two, one-two –note that the regularity of the steps is emphasized and that “one” is stressed
or accented whereas “two” is not, that is, unaccented or unstressed. Here, we can note a pattern
of two beats, the first accented, the second unaccented. This is called duple meter.
In the Ilocano song “Manang Biday,” on the other hand, the pattern is made up of groups of threes
– one accented beat followed by two unaccented ones. This is called triple meter. When we lead a
song, the first accented beat is given the downbeat. It should be pointed out that the first note of a
piece does not necessarily carry the stress or accent. It may begin on an upbeat. Instead of
beginning on the downbeat (the name given to the first beat), it may begin on an upbeat. Thus, in
“Manang Biday” the stress or accent is on “day”, since it is accented, not on “Ma”. Other time
signatures that are commonly met are 4/4 and 6/8.
Tempo. This is an Italian word which literally means time. In music, it refers to speed. Music may
move at a fast, moderate or slow speed, and in varying degrees.
Customarily, tempo is indicated by such general terms as:
a. allegro (fast) e. adagio (slower than andante)
b. vivace (lively) f. lento (slow)
c. moderato (moderate speed) g. largo (very slow) etc.
d. andante (moderately slow)
These terms are still employed but today, tempo is more accurately indicated in musical scores
by metronome designations, which show the number of beats per minute.
For example:
=60, which means that there are 60 quarter notes in a minute (thus each quarter note
would equal one second).
Melody. It is the element of music which makes the most direct appeal. It is generally what we
remember and whistle or hum. By melody, we mean an orderly succession of tones or musical
sounds. It consists of a series of pitches and durations. It displays an overall balance between
ascending and descending motions. Leaps in a melody are generally filled in immediately after
the leap occurs. The most fundamental feature of melody is continuity. It appeals to the
emotion. Often times we say that a melody is either sad or melancholy or gay and happy.
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A melody is may be compared to a spoken sentence in which words have been arranged in
certain relationships to one another, and then spoken with varying pauses and inflections
(Ortiz et al., 1976).
Melody divides itself into two halves. Each half is called a phrase.
Phrase. In music, as in language, this denotes a unit of meaning within a larger structure.
Two phrases together form a sentence, a musical period.
Motif. It is the smallest melodic unit which expands into a phrase.

Cadence. A cadence in music means a closing phrase. This is when a phrase usually rises to a
high point from which it falls to a point of rest. An entire melody is formed out of repeated and
contrasting phrases.
Melody has four other characteristics or properties:

a. Dimension
Melody has two dimensions, the length and range.
i. Length – The length of the melody is relative to the number of measures which
compose it. Some melodies are characterized by being short and fragmentary. Such
melodic fragments are called motives. Other melodies are long and extended. Many
melodies are neither extremely short nor unusually long.
Generally speaking, popular songs consist of one, two, or more melodies which are
repeated several times. This means that the entire song is not only one melody from
its beginning to its end.
For example, notice the song “Bayan Ko.”The first melody of the song begins with the
article “ang” and ends with the world “dilag.” “At sa kanyang to dusa” is a repetition of
the melody, although there is a difference from the middle up to the end.
A melody of eight measures is generally considered of moderate length.

Melodies consisting of less than eight measures are considered short.
Those consisting of more than eight measures are considered long.
Range – The range of melody is the pitch from its lowest to its highest tone. Some
melodies are wide range; other melodies may be narrow in range; and many
melodies have only a moderate range.
7. Register
Register is the relative highness or lowness of the aggregate tones of a melody. A melody
may have a high, medium, or low register. In a given composition, the same melody may
shift from one register to another. In any case, register affects the quality of a melody.
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c. Direction
Melody moves in two directions of pitch: (1) upwards and (2) downwards. Either
direction may predominate in a melody. Moreover, a melody may move rapidly or
gradually in either direction: rapidly ascending, rapidly descending, gradually
ascending, or gradually descending.
Static melody. A melody which remains at a given pitch level, moving neither up nor
down any appreciable distance. Usually a melodic line moves towards a high point which
is the climax of the melody. A melodic climax may appear near the beginning, in the
middle, or at the end of the line. Observation of melodic contours will greatly increase
your perception and enjoyment of the world’s great melodies.
d. Progression
Melodic progression refers to the intervals (pitch distance) between the tones as a
melody moves from one tone to the next. A melody may move mostly stepwise; that is, it
progresses to adjacent notes of the scale or adjacent keys of the piano.
For example. “Plant” is lower than “ing” in “Planting Rice.” This is called conjunct
progression. On the other hand, a melody may contain numerous prominent skips (as in
“Nagtatanim ng Palay”), in which case, it is said to have disjunct progression. A melody
often contains both conjunct and disjunct progression.
Function of Melody
Melody is the element of music that arouses interest. It is what most listeners can
easily identify. It is the musical idea around which a composition is constructed. This
melodic idea or basic tune of the composition is called theme.
Theme. The theme is of paramount importance to a composition, and it provides one

of the most important approaches to intelligent listening. The ability to recognize one
or more themes, when they recur in a composition, is a clear indication that you are
moving toward full appreciation.
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Let us now examine the song “Bayan Ko” and try to describe it in terms of its
dimensions, progressions, direction, and register.
ANG BAYAN KONG PILIPINAS

(KUNDIMAN)
Sanchez, C. A., Ph. D, et. al. (2018). Introduction to the Humanities (The Elements and Organization
of Music, pp. 166). Quezon City; REX Book Store Inc.
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In learning any song, we find ourselves doing so phrase by phrase rather note by note.
Written out, “Bayan Ko” will be easier to analyze in terms of the melody’s
characteristics. The staffs/staves numbered I, II, III, and IV show the four phrases into
which the first part of the song may be divided. Altogether, the whole song make up a
total of 32 measures. The highest note is fa, the third note of the second phrase. The
distance between the highest note and the lowest note is more than an octave, the
lowest note being on the space below the leger line of the staff.
The first melody is eight measures. This is considered of moderate length. Likewise,
the second melody is eight measures and is repeated; hence, the song appears long; it
has a moderately wide range. The melody has an ascending-descending direction, but
in the first melody, the ascending movement predominates. In the second melody
however, the descending movement predominates.
Taking the general location of the majority of notes, one can see that it is of
moderately high register. Note that most of the tones are found with in the five lines
and spaces of the staff. Some notes, however, are on the leger lines below the staff and
even below the leger lines.
4. Harmony
Another element of music is harmony. It is the simultaneous sounding of two or more tones.
Harmony is apparent when a singer accompanies his melody with chords on the guitar or when
the pianist plays the melody with his right hand while the left strikes the chords. We are jolted if
the wrong chord is sounded, for at that point, we become aware that the necessary unity of
melody and harmony has been broken.
Chord. It is two or more notes or tones sounded at the same time and conceived as an entity.
Triad. It is the most common chord in our music, it is a certain combination of three tones.
Such chord may be built by combining the first, third, and fifth degrees of the do-re-mi-fa-
sol-la-ti-do scale: do –mi-sol.
Inc.
We can build a triad by selecting any tone and by adding two more tones above it on alternate
degrees of the scale (on alternate white keys on the piano, on adjacent lines or adjacent
spaces of the staff).
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For example, if we start with tone C as do, the first scale degree, we get the triad do-mi-sol, 1-
3-5, or using letters names C-E-G, as shown below:
Inc.
The tones of any chord may be arranged in different orders, and they may be duplicated an
octave above or below without changing the essential nature of the chord:
Inc.
Chord Progression. It is the scheme by which chords change. Not only chords are constructed in
a variety of ways, but also progress from one to another according to many different plans.
Harmony, like melody, has rhythm; that is, chord changes may come at regular or irregular
intervals of time, thus producing a harmonic rhythm. Sometimes harmonic rhythm is
independent of melodic rhythm which means that it is not determined by melodic rhythm;
sometimes it is dependent on it. Harmonic rhythm is static when a given chord is maintained
for a number of measures, or chord changes may come frequently, producing a more energetic
and exciting effect.
Consonance and Dissonance. The distinction between consonance and dissonance is

necessary in the discussion of harmony.
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Consonance. Certain combinations of which tones produce a quality of repose or relaxation.

The consonant chord resolves the tension caused by the dissonant chord.
Dissonance. Certain other combination of tones which produce a quality of unrest or
tension. The dissonant chord creates tension.
Both consonance and dissonance complements each other and they are necessary part of the
artistic whole.
Diatonic and Chromatic Harmony

Diatonic harmony. It is one in which there are very few altered tones (i.e sharps, flats, and
natural signs). “Home on the Range” has a diatonic harmony.
Chromatic Harmony. It is one in which there are numerous altered tones.
5. Tonality
It is one of the qualities of music which is closely related to and dependent upon harmony. It is an
element of music which is difficult to define but for our purposes, we shall define tonality as a
musical property which creates a sense of gravitation toward a key or tonal center. Here, one tone
assumes greater importance than the rest. Most music is written in a key. That means all its
harmony is related to a single tone known as the tonic. The key of C, for example, will have as its
tonal center “do” (C) because this is the first and last tone in the scale of C. When the tonic is F, the
key is F, and so forth. Most music is written in a single key and this is the reason an accompanist –
a guitarist or a pianist – usually asks the soloist in what key he wishes to sing. Once a key is given,
he can construct chords to provide harmonic accompaniment to the song.
Polytonality. It is used to bring out the different levels or planes of the harmony. Piano
music especially lends itself to this usage, the right and left hands playing in different keys.
Polytonal. Music in which two or more keys are combined simultaneously in a single
composition.
Multitonality. This is sometimes called displaced tonality. Here the composer rapidly
shifts from one key center to another so that the entire key feeling is disturbed.
Atonal. It is music that rejects the framework of key. Here, the composer avoids any feeling
of key at all times. The technique is named as “the method of composing with twelve tone.”
Atonality and polytonality are characteristics of modern music, a great contrast to the tonal
music composed in previous centuries.
Dynamics. When intensity is applied to a piece of music, rather than to a single tone. The
term refers to force or percussive effects: degrees of loudness and softness and the process
involved in changing from one to the other. Certain Italian words are used to indicate
dynamics. The most important are:
a. forte (loud)
b. piano (soft)
c. fortissimo (very loud)
d. pianissimo (very soft).
As to the directions to change the dynamic, the most common are:

a. crescendo (becoming louder)
b. diminuendo (becoming softer)
c. sforzando (sudden stress) accent on a single note or
chord. A number of terms embrace both tempo and dynamics:
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a. Andante maestoso (fairly slow and majestic) implies a stately pace and full sonority.
b. Morendo (dying away indicates that the music is to become slower and softer).
c. Scherzando (playful) requires a light tone and brisk movement.
d. Conbrio (with vigor) suggests an energetic pace and vibrant sonority.
Tempo. It refers to the rate of speed, the pace of the music. It determines the speed of the
beats in the measure, their duration in actual time.
There is a close connection between tempo and mood; tempo markings indicate the
character of the music as well as the pace. Like dynamics, the terms used to indicate tempo
and those that indicate changes in it, from fast to slow and vice versa, are generally in
Italian. Most frequently encountered are the following:
Very slow: Largo (broad)

Grave (solems)
Slow: Lento
Adagio (gently, leisurely, slowly)
Moderate: Andante (going at a walking space)
Andantino (a little andante, somewhat faster than andante)
Moderato (moderate speed)
Fairly Fast: Allegrato (a little lively – not as fast as allegro)
Fast: Allegro (happy, cheerful, lively)
Very fast: Allegro molto (very lively)
Vivace (vivacious, lively)
Presto (very quick)
Prestissimo (as quick as possible)
Music does not always move along at an even, regular pace. It may speed up or slow down
gradually or abruptly.
a. Accelerando – gradual increase of speed
b. Ritardando – gradual decrease of tempo
When tempo becomes faster, the music is in general more tense and exciting; when the
music slows down, relaxation usually takes place. A ritardando is often employed in the
concluding measure of a composition.
Timbre. It is tone quality. Every musical medium has its own distinctive quality of tone.
The tone quality of each of the following instruments – a piano, an organ, an orchestra, a
band, a voice, etc. – can be easily identified by anyone who has heard these mediums.
The same can be stated of the human voice. The human voice can produce a variety of tone
qualities. These tone qualities are evident in the different vowel sound of a song. Each
human voice has its own characteristic quality, so that it is easy to distinguish between the
voices of different singers even when they sing at the same pitch. The composer has at his
disposal the selection of the medium that will best express the quality and the meaning of
his ideas. Like harmony and rhythm, tone color is part and parcel of the composer’s idea.
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6. Texture
In music, texture refers to the melodic and harmonic relationship of musical factors. It is how the
melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the
overall quality of the sound in a piece.
Types of Texture. The relations between melodic and harmonic factors exist solely as a
single melody; it is without a harmonic accompaniment or other vocal lines. Any
instrument or voice performing a melody without an accompaniment is effecting a
monophonic texture.
Homophonic texture. Here, we have single-melody-with-chords. We hear homophonic

texture when the pianist plays the melody with his right hand while the left sounds the
chords, or when the singer carries the tune against a harmonic accompaniment on the
piano. A folk song with guitar accompaniment is homophonic music.
Polyphonic texture or many-voiced texture. This is a combination of two or more

melodies of more or less equal prominence. The terms “polyphonic” and “contrapuntal” are
nearly synonymous. To create polyphonic texture, there should be at least two melodies
sounded simultaneously. Here, the composer would consider how the rhythmic, melodic
and harmonic elements relate to one another.
Non-melodic texture. It is created for special effects in which harmonic sounds obscure or
partly exclude the melodic content of a composition. This occurs in contemporary and
modern music.
Sonority. It is an attribute of texture which is based more on harmonic than melodic

consideration. This refers to quality of richness or thinness of texture. It is determined by:
(1) the number of parts, (2) spacing of tones, (3) register of tones, and (4) timbre.
The number of parts refers to the number of voices involved, whether all or only some
of them are to be sung or played by different instruments.
Spacing of tones refers to the musical intervals between the parts, whether thirds,
fourths, or any other interval.
The register of tones refers to whether thirds, fourths, or any other interval. The
register of tones refers to whether the tones are high, medium or low.
Timbre refers to the tone quality or qualities of the mediums which will play the music.
A polyphonic composition that consists of six parts has a far richer sonority than one
consisting of only two parts. Likewise, a homophonic composition which is accompanied by
full chords has a richer sound than one having an accompaniment of only a few notes.
When the tones of a chord or voice parts are closely spaced, the result is a thick texture;
when tones are widely spaced, the texture is thin.
In music from which a high register predominates, a thin sonority is likely to result and in
music from which a bass or low register predominates, a thick sonority results. Tone quality
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or timbre also affects sonority. In a flute solo, we hear only a thin sound; in the symphonic
chord, we hear a rich sound resulting from multiple timbres.
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Books and Journals
1. Custodia A. Sanchez, Ph. D., Paz F. Abad, Ph. D., Loreto V. Jao, Ed. D., 2018;
Introduction to the Humanities; Quezon City; REX Book Store Inc.

1. The Elements and Organization of Music; theelementsandorganizationofmusic-
130811051758-phpapp01.pdf; September 9, 2019
2. Cambridge Dictionary; https://dictionary.cambridge.org/dictionary/english/sound;

September 9, 2019
3. Lumen Music Appreciation: https://courses.lumenlearning.com/musicappreciation

_with theory/chapter/monophony/; September 9, 2019
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[The Mediums of Music]
Module 008: The Mediums of Music

Like literature, music is an art that deals with sound. In literature, however, all
sound are produced by the human voice. In music, the human voice is but one of a
number of possible instruments. It is helpful for the listeners to have some
understanding of the various musical instruments most frequently used in their
culture and of the kind of sounds they produce.

14. identify the different types of musical instrument;
15. demonstrates basic understanding in playing selected instruments; and
16. familiarize the appropriate position of hands and fingers in playing simple
pieces.
Musical Instrument
A musical instrument is a mechanism that is able to generate musical vibrations and
launch them into the air. These various musical instruments are the means by which
the composer communicates to the listener; they are his mediums of expression.
Like any artist, the composer must choose his medium for any given composition
according to the requirement of his artistic conception.
Pitch
All musical sounds have pitch. By pitch, we mean the location of a tone in the musical
scale in relation to high or low. It therefore refers to the highness or lowness of tone.
All sounds are caused by vibration. The musical note and noise are both caused by
something vibrating (moving to and fro) but sounds of definite pitch are created by
regular or periodic vibrations. The vibration of musical sound are regular. The sound
produced by speaking results from irregular vibrations and is thus, not of definite
pitch while that produced by singing results from regular vibrations and is thus,
definite in pitch. There are many different pitches, ranging from very high to very
low. Pitch is determined by the rate of vibration which to a large extent depends on
the length of the vibrating body. Other conditions being equal, the shorter the string
or column of air, the more rapidly it vibrates and the higher the pitch. The longer a
string or column of air, the fewer vibrations per second and the lower the pitch. The
width, thickness, density, and tension of vibrating body also affects the outcome.
Range
The range of an instrument has to do with the total number of tones it can produce
from highest to lowest, and is determined largely by the size of the instrument. Large
objects vibrate more slowly than small ones, and slower vibrations create lower
tones. Small objects produce faster vibrations and hence higher tones. For example,
the range of the cello is lower than that of a trumpet.
Four basic areas of Pitch Range:
1. Soprano (high female)
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7. Alto (low female)

8. Tenor (high male)
9. Bass (low male)
xii. High (bassoon)

xiii. Middle (violin)
xiv.Low (trumpet)
The Two Mediums of Music
There are two mediums of music, the vocal medium and the instrumental medium.
1. Vocal Medium
The oldest and still most popular of all instruments is the human voice. It is the most
personal and direct of all instruments as it comes from within the body. The song projected
by the human voice is the most natural form of music.
Vocal Register. Voices differ considerably in range and register. The six classes of
vocal register are:
2. Soprano (high-register female)

3. Mezzo-Soprano (medium-register female voice)
4. Alto or Contralto (low-register female voice)
5. Tenor (high-register male voice)
6. Baritone (medium-register male voice)
7. Bass (low-register male voice)
If each of the range is sung by many singers, the group is a chorus or a choir. Choral
music is either accompanied or unaccompanied. A chorus may be accompanied by
any group of instruments or by a solo keyboard instrument. It is frequently used in
combination with the orchestra.
Vocal Qualities. In addition to the six vocal registers, voice are also classified
according to their timbre or quality of sound. Thus, we distinguish lyric and
dramatic sopranos etc.
7. The Coloratura Soprano is the highest and lightest of all voices. The music
written for this voice is full of runs, trills, and light ornaments.
8. The Lyric Soprano Voice is less high and flute-like and usually sings less
ornamental music. The voice is especially suited to sweet song-like melodies
in which beauty of tone is the predominant quality.
9. The Dramatic Soprano Voice is heavier and can convey intense emotions
in dramatic situations.
10. The Mezzo-Soprano Voice is between the soprano and contralto in
quality and range.
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13. The Contralto Voice is low and rich in quality.

14. The Tenor is the highest type in men’s voices.
15. The Lyric Tenor, just like the lyric soprano has a voice especially
suited to sweet song-like melodies.
16. The Dramatic Tenor, just like the dramatic soprano has a heavier
voice and is capable of conveying intense emotions in dramatic situations.
17. The Baritone Voice has a range between tenor and bass.
18. The Bass Voice has the lowest and deepest quality.
2. Instrumental Medium
Musical instrument have been a source of wonder to both the player and the listener. They
figure in our music either singly, in small groups, (chamber music), band, or as part of the
ensemble-orchestra.
The Different Musical Instruments

Musical instruments are of four main types:
12. The Percussion Family
13. The String Family
14. The Woodwind Family
15. The Brass Family
Below are the list of the most common types of musical instrument. Their size
corresponds to their pitch – the smaller instruments producing faster vibrations and
thus higher sounds, and larger instruments producing slower vibrations and thus
lower sounds.
1. The Percussion Family

The percussion family is the largest in the orchestra. Percussion instruments include
any instrument that makes a sound when it is hit, shaken, or scraped. It's not easy to
be a percussionist because it takes a lot of practice to hit an instrument with the
right amount of strength, in the right place and at the right time. Some percussion
instruments are tuned and can sound different notes, like the xylophone, timpani or
piano, and some are untuned with no definite pitch, like the bass drum, cymbals or
castanets. Percussion instruments keep the rhythm, make special sounds and add
excitement and color. Unlike most of the other players in the orchestra, a
percussionist will usually play many different instruments in one piece of music.
The most common percussion instruments in the orchestra include the timpani,
xylophone, cymbals, triangle, snare drum, bass drum, tambourine, maracas, gongs,
chimes, celesta, and piano.
a. Piano
People disagree about whether the piano is a percussion or a string instrument.
You play it by hitting its 88 black and white keys with your fingers, which suggests
it belongs in the percussion family. However, the keys lift hammers inside the
piano that strike strings (indeed, the piano has more strings than any other string
instrument), which produce its distinctive sound. Which family do
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you think it belongs to? Wherever it fits in, there's no disputing the fact that
the piano has the largest range of any instrument in the orchestra. It is a tuned
instrument, and you can play many notes at once using both your hands.
Within the orchestra the piano usually supports the harmony, but it has
another role as a solo instrument (an instrument that plays by itself), playing
both melody and harmony.
Oregon Symphony (2019). The Percussion Family. Retrieved from

https://www.orsymphony.org/learning-
community/instruments/percussion/
b. Timpani
Timpani look like big polished bowls or upside-down teakettles, which is why
they're also called kettledrums. They are big copper pots with drumheads
made of calfskin or plastic stretched over their tops. Timpani are tuned
instruments, which means they can play different notes. The timpanist changes
the pitch by stretching or loosening the drumheads, which are attached to a
foot pedal. Timpani are a central part of the percussion family because they
support rhythm, melody and harmony. Most orchestras have four timpani of
different sizes and tuned to different pitches and they are usually played by
one musician, who hits the drumheads with felt-tipped mallets or wooden
sticks. The timpani player must have a very good ear because he/she usually
needs to change the pitches of the drums during performances.
c. Xylophone
The xylophone originally came from Africa and Asia, but has a Greek name that
means "wood sound." The modern xylophone has wooden bars or keys
arranged like the keys of the piano, which the player hits with a mallet. You can
change the quality of the pitch by using different kinds of mallets (hard or soft),
and by hitting the wooden bars in different ways. Attached to the bottom of the
wooden bars are metal tubes called resonators, where the sound vibrates. This
gives the xylophone its bright bell-like sound.
There are several other instruments similar to the xylophone, which are also
part of the percussion family. They include the marimba, a larger version of a
xylophone with wood or plastic resonators attached to the bottom of the
wooden keys, which give it a mellower, more rounded sound, and the
vibraphone (known as vibes), which has both metal bars and metal resonators,
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with small rotating disks inside. The disks are attached to a rod, which is turned
by an electric motor. When you play a sustained note on the vibes and the motor is
running, the disks create vibrato, or a wiggly pitch. In addition, percussionists
often play a glockenspiel (pronounced GLOCK-en-shpeel), which is a miniature
xylophone with metal bars instead of wood. The percussionist uses hard mallets to
play the glockenspiel, which sounds like clear tinkling bells.
d. Cymbals
Cymbals are the biggest noisemakers of the orchestra. They are two large
metal discs, usually made of spun bronze. Cymbals, which are untuned, come in
a range of sizes, from quite small to very large. The larger the cymbal, the
lower the sound they make. Cymbals can be used for drama and excitement, to
accent the rhythm or create delicate sound effects. You can play the cymbals
either by hitting one cymbal against the other, or you can use sticks, mallets or
brushes to hit one or both cymbals.
e. Triangle
You've probably played a triangle yourself at one time or another. It's a small
metal bar that's bent into the shape of a triangle and makes a ringing sound
when you hit it. There are many sizes of triangles and each one sounds a
different pitch. You play the triangle by holding it on a string and striking it
with a metal beater. The size and thickness of the beater can change the sound
the triangle makes.
f. Snare Drum
The snare drum is a smallish drum made of wood or brass with drumheads
made of calfskin or plastic stretched over both ends of a hollow cylinder. It has
a set of wire-wrapped strings stretched across the bottom head (the snare),
which give the snare drum its unique "rattling" sound when the drum is hit. A
small switch on the side of the drum allows the player to turn the snare on or
off depending on the requirements of the piece. The snare drum is an untuned
drum, so it doesn't sound distinct pitches. It is often used in military music and
is a central part of any marching band. Snare drums are used to keep the
rhythm and make special sounds, such as drumrolls. You play the snare drum
by hitting the top with drumsticks, mallets or brushes.
g. Bass Drum
The bass drum, like the double bass, is the biggest member of the percussion
family and therefore makes the lowest sounds. The bass drum is built like a
very large snare drum, although without the snare; it is also an untuned
instrument. You play the bass drum by hitting either drumhead with sticks that
have large soft heads, often covered with sheepskin or felt. It can produce a lot
of different sounds from roaring thunder to the softest whispers.
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h. Tambourine
Have you played one of these? A tambourine is a small drum with metal jingles
set into the edges. Both the drumhead and the jingles are untuned. To play it,
you hold it in one hand and tap, shake or hit it, usually against your other hand.
i. Maracas
Maracas come from Mexico. They are rattles, often made from gourds (a kind
of squash), and filled with dried seeds, beads or even tiny ball bearings that
make them rattle. Maracas can also be made of wood or plastic; the sound they
make depends on what they're made of. To play them, you hold them in your
hands and shake.
j. Gong
The gong, also known as the tamtam, is a very large metal plate that hangs
suspended from a metal pipe. It looks similar to a cymbal and is also untuned,
but is much larger and has a raised center. To play it, you hit the center with a
soft mallet. Depending on how hard you hit it, you can make a deafening crash
or the softest flicker of sound.
k. Chimes
Chimes are metal tubes of different lengths that are hung from a metal frame.
When you strike the tubes with a mallet, they sound like the ringing bells of a
church. Each chime sounds a different pitch.
l. Castanets
These fun wooden instruments come from Spain and are used to punctuate the
music with a distinctive clickety-clack. Castanets are made of two pieces of
wood tied together. To play them, you hold them with your fingers and click
the two pieces of wood together. In the orchestra, castanets are sometimes
mounted on a piece of wood, and the percussionist plays them by hitting them
with his/her hands.
m. Celesta
The celesta looks like a tiny upright piano and sounds a lot like the
glockenspiel with its delicate bell-like tone. Celestas usually have a keyboard of
49–65 keys. As with the piano, you make sound on the celesta by pressing
down on a key with your finger, which lifts a hammer inside and strikes a
metal bar. You can play many notes at once using both your hands.
2. The String Family

String instruments, also called stringed instruments, provide the basic orchestral
sounds. They produce tones by means of the vibration of a stretched strings
(Sanchez, 2018).
When you look at a string instrument, the first thing you'll probably notice is that
it's made of wood, so why is it called a string instrument? The bodies of the string
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instruments, which are hollow inside to allow sound to vibrate within them, are
made of different kinds of wood, but the part of the instrument that makes the
sound is the strings, which are made of nylon, steel or sometimes gut. The strings
are played most often by drawing a bow across them. The handle of the bow is made
of wood and the strings of the bow are actually horsehair from horses' tails.
Sometimes the musicians will use their fingers to pluck the strings, and occasionally
they will turn the bow upside down and play the strings with the wooden handle.
The strings are the largest family of instruments in the orchestra and they come in
four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double
bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.")
The smaller instruments, the violin and viola, make higher-pitched sounds, while the
larger cello and double bass produce low rich sounds. They are all similarly shaped,
with curvy wooden bodies and wooden necks. The strings stretch over the body and
neck and attach to small decorative heads, where they are tuned with small tuning
pegs.
a. Violin
The violin is the baby of the string family, and like babies, makes the highest
sounds. There are more violins in the orchestra than any other instrument
(there can be up to 30) and they are divided into two groups: first and second.
First violins often play the melody, while second violins alternate between
melody and harmony. A typical-sized violin is around 24 inches (two feet) long,
with a slightly longer bow. You play the violin by resting it between your chin
and left shoulder. Your left hand holds the neck of the violin and presses down
on the strings to change the pitch, while your right hand moves the bow or
plucks the strings.
b. Viola
The viola is the older sister or brother of the violin. It is slightly larger, just over
two feet long, and has thicker strings, which produce a richer, warmer sound than
the violin and it is lower in range. There are usually 10 to 14 violas in an orchestra
and they almost always play the harmony. You play the viola the same way as you
do the violin, by resting it between your chin and shoulder. Your left hand holds
the neck of the viola and presses down on the strings to change the pitch, while
your right hand moves the bow or plucks the strings.
c. Cello
The cello looks like the violin and viola but is much larger (around 4 feet long),
and has thicker strings than either the violin or viola. Of all the string instruments,
the cello sounds most like a human voice, and it can make a wide variety of tones,
from warm low pitches to bright higher notes. There are usually 8 to 12 cellos in
an orchestra and they play both harmony and melody. Since the cello is too large
to put under your chin, you play it sitting down with the body of the cello between
your knees, and the neck on your left shoulder. The body of the cello rests on the
ground and is supported by a metal peg. You play the cello
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in a similar manner to the violin and viola, using your left hand to press down
on the strings, and your right hand to move the bow or pluck the strings.
d. Double Bass
This is the grandfather of the string family. At over 6 feet long, the double bass
is the biggest member of the string family, with the longest strings, which allow
it to play very low notes. The 6 to 8 double basses of the orchestra are almost
always playing the harmony. They are so big that you have to stand up or sit on
a very tall stool to play them, and it helps if you have long arms and big hands.
Like the cello, the body of the double bass stands on the ground, supported by
a metal peg, and the neck rests on your left shoulder. You produce sound just
like on a cello, using the left hand to change pitch and the right to move the
bow or pluck the string.
e. Harp
The harp is different from the other stringed instruments. It's tall, about six
feet, shaped a little like the number 7, and has 47 strings of varying lengths,
which are tuned to the notes of the white keys of the piano. There are usually
one or two harps in an orchestra and they play both melody and harmony. You
play the harp sitting down with your legs on either side, with the neck of the
harp leaning on your right shoulder. Each string sounds a different note (they
come in different colors to help you tell one from another) and you play them
by plucking the strings with your fingertips and thumb. Attached to the bottom
of the harp are seven foot pedals, which change the pitch of each string and
allow them to sound the pitches of the black keys on the piano.
3. The Woodwind Family

The instruments in this family all used to be made of wood, which gives them their
name. Today, they are made of wood, metal, plastic or some combination. They are
all basically narrow cylinders or pipes, with holes, an opening at the bottom end and
a mouthpiece at the top. You play them by blowing air through the mouthpiece
(that's the "wind" in "woodwind") and opening or closing the holes with your fingers
to change the pitch. Metal caps called keys cover the holes of most woodwind
instruments.
The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use
a thin piece of wood called a reed, which vibrates when you blow across it. The
clarinet uses a single reed made of one piece of wood, while the oboe and bassoon
use a double reed made of two pieces joined together. Just as with the stringed
instruments, the smaller woodwinds play higher pitches while the longer and larger
instruments play the lower notes. The woodwind family of instruments includes,
from the highest sounding instruments to the lowest, the piccolo, flute, oboe, English
horn, clarinet, E-flat clarinet, bass clarinet, bassoon and contrabassoon.
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a. Flute
The flute is the oldest of all instruments that produce pitched sounds (not just
rhythms), and was originally made from wood, stone, clay or hollow reeds like
bamboo. Modern flutes are made of silver, gold or platinum; there are
generally 2 to 4 flutes in an orchestra. A standard flute is a little over 2 feet
long and is often featured playing the melody. You play the flute by holding it
sideways with both hands and blowing across a hole in the mouthpiece, much
like blowing across the top of a bottle. Your fingers open and close the keys,
which changes the pitch.
b. Piccolo
A shorter version of the flute is called the piccolo, which means small in Italian.
At half the size of a standard flute, piccolos play the highest notes of all the
woodwinds; in the orchestra one of the flute players will also play piccolo if
that instrument is required. The high piping sound of the piccolo is also heard
in traditional drum corps and marching band music.
c. Oboe
The oboe is a 2 foot long black cylinder with metal keys covering its holes, and
its mouthpiece uses a double reed, which vibrates when you blow through it.
This vibration of the reed makes the air inside the oboe move, and thus creates
sound. To play it, hold the oboe upright, blow through the double reed in your
mouth, and use both hands to press down on the keys to open and close the
holes and change the pitch. There are usually 2 to 4 oboes in an orchestra and
they produce a wide range of pitches, from haunting sounds to warm, velvety
smooth notes, which make the sound of the oboe very memorable. In addition
to playing in the orchestra, the first oboist is also responsible for tuning the
orchestra before each concert. Listen for the special note "A" that the oboe
plays before the music begins.
d. English Horn
Despite its name, it isn't English and it isn't a horn. The English horn is actually
closely related to the oboe, also uses a double reed, and is played in the same
manner. It's longer than an oboe and its tube is a bit wider. At the bottom end of
the English horn it opens out into a rounded bell shape, which gives it a warmer,
fuller sound. Because it's larger, the English horn also has a lower pitch range than
an oboe. An oboe player will also play English horn if it is needed.
e. Clarinet
The clarinet could easily be mistaken for an oboe, except for the mouthpiece,
which uses a single reed. Clarinets come in a number of different sizes, and the
standard B-flat clarinet is just over 2 feet long. Some musical works require the
clarinetist to play several types of clarinet in the same piece. The 2 to 4 clarinets in
the orchestra play both melodies and harmonies, and they have a dark rich sound
in their lower notes, while the upper part of the clarinet's range is bright and
resonant. You play the clarinet as you do an oboe, by holding it upright,
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blowing through the reed, and using your hands to change the pitches by
opening and closing the keys with your fingers.
f. E-flat Clarinet
The smaller E-flat clarinet is just like a standard clarinet, but about half the
length. Its shorter size allows it to play higher notes.
g. Bass Clarinet
This is the grandfather of the clarinet family. The bass clarinet is so large that
its top and bottom are bent to make it easier for musicians to hold and play. Its
greater length allows it to play some of the lowest notes in the orchestra.
h. Bassoon
The bassoon is a long pipe, doubled in half, made of wood, with many keys. The
bend in the pipe makes it possible for musicians to play it comfortably. If it were
straight, the bassoon would be around 9 feet long! Like the oboe, the bassoon uses
a double reed, which is fitted into a curved metal mouthpiece. There are 2 to 4
bassoons in an orchestra and they have a similar range to that of the cello.
Bassoons usually play lower harmonies, but you will sometimes hear their hollow
low notes featured in a melody. You play the bassoon by holding it upright and
blowing through the double reed. The air travels down the tube and then makes a
u-turn and goes up and out the top. Just like the oboe, you use both hands to press
on the keys to open and close the holes and change the pitch.
i. Contrabassoon
Imagine a longer bassoon with a wider pipe. The contrabassoon is the
grandfather of the wind section and is so much larger than a regular bassoon
that its tube is doubled over twice to allow the player to hold it. It takes a lot of
breath to make sound come out of such a long pipe! The lone contrabassoon
plays the lowest notes in the entire orchestra.
4. The Brass Family

If you think the brass family got its name because the instruments are made of
brass, you're right! This family of instruments can play louder than any other in the
orchestra and can also be heard from far away. Although their early ancestors are
known to have been made of wood, tusks, animal horns or shells, today's modern
instruments are made entirely of brass. Brass instruments are essentially very long
pipes that widen at their ends into a bell-like shape. The pipes have been curved and
twisted into different shapes to make them easier to hold and play.
Like the woodwind family, brass players use their breath to produce sound, but instead
of blowing into a reed, you vibrate your own lips by buzzing them against a metal cup-
shaped mouthpiece. The mouthpiece helps to amplify the buzzing of the lips, which
creates the sound. Most brass instruments have valves attached to their long pipes; the
valves look like buttons. When you press down on the valves, they open and close
different parts of the pipe. You change the pitch and sound by pressing
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different valves and buzzing your lips harder or softer. The brass family members
that are most commonly used in the orchestra include the trumpet, French horn,
trombone, and the tuba.
a. Trumpet
The ancestors of the modern trumpet have been a part of human culture for a
very long time. Old trumpet-like instruments played by ancient peoples were
made of conch-shell, animal horn, wood or metal. Throughout history the
trumpet has been used to sound alarms, gather people together, as a call to
war, and to add luster to parade music. Like the violin, the trumpet is the
smallest member of its family and plays the highest pitches with its bright and
vibrant sound. Today's modern trumpet is a slender brass pipe with three
attached valves, which is curved and bent into long loops. If you stretched out
the trumpet to its full length, it would be 6 ½ feet long. There are 2 to 4
trumpets in an orchestra and they play both melody and harmony and also
support the rhythm. You play the trumpet by holding it horizontally, buzzing
your lips into the mouthpiece, and pressing down the three valves in various
combinations to change pitch.
Oregon Symphony (2019). The Brass Family. Retrieved from

community/instruments/brass/
b. French Horn
Unlike the English horn, which is neither English nor a horn, the French horn
does originally come from France and is unquestionably a horn. It comes from
the French hunting horn of the 1600s, and produces a wide variety of sound
ranging from very loud to very soft, and from harsh and blaring to mellow and
smooth. The French horn's 18 feet of tubing is rolled up into a circular shape,
with a large bell at its end. There are anywhere from 2 to 8 French horns in an
orchestra, and they play both melody and harmony as well as rhythm. To play
the French horn, hold it with the bell curving downward and buzz into the
mouthpiece. Your left hand plays the three valves and you can change the type
of sound you make by the way you place your right hand in the bell.
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Oregon Symphony (2019). The Brass Family. Retrieved from

community/instruments/brass/
c. Trombone
The trombone is the only instrument in the brass family that uses a slide
instead of valves to change pitch. A standard trombone is made of long thin
brass pipes. Two U-shaped pipes are linked at opposite ends to form an "S."
One pipe slides into the other so the total length of the pipe can be extended or
shortened. You play the trombone by holding it horizontally, buzzing into the
mouthpiece, and using your right hand to change pitch by pushing or pulling
the slide to one of seven different positions. If you stretch the trombone out
straight, it is about 9 feet long. There are usually 3 trombones in the orchestra
and they play pitches in the same range as the cello and bassoon. The three
trombones often play harmonies together.
d. Tuba
This is the grandfather of the brass family. The tuba is the largest and lowest
brass instrument and anchors the harmony not only of the brass family but the
whole orchestra with its deep rich sound. Like the other brasses, the tuba is a
long metal tube, curved into an oblong shape, with a huge bell at the end.
Tubas range in size from 9 to 18 feet; the longer they are, the lower they sound.
Standard tubas have about 16 feet of tubing. There is generally only one tuba
in an orchestra and it usually plays harmony. You play the tuba sitting down
with the instrument on your lap and the bell facing up. You blow and buzz into
a very large mouthpiece and use your hand to press down on the valves which
changes the sound. It takes a lot of breath to make sound with the tuba.
Oregon Symphony (2019). The Brass Family.

Retrieved from https://www.orsymphony.org/
learning-community/instruments/brass/
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Books and Journals
9. Oregon Symphony; https://www.orsymphony.org/learningcommunity/instruments/

percussion/; September 10, 2019

strings/; September 10, 2019
11. Instrument Lab; https://www.edu.xunta.es/espazoAbalar/sites/espazoAbalar/files/

datos/1461829433/contido/string_instruments.html; September 10, 2019

woodwinds/; September 10, 2019

brass/; September 10, 2019
Course Module
1
[Ensemble and Choral Music]
Module 009: Ensemble and Choral Music

7. identify the different terms in combining musical instruments;
8. familiarize the importance of choral singing;
9. demonstrate basic skills in playing selected musical instruments; and
10. perform with a group and conduct pieces with accompaniment and include
precise movements indicating desired tempo, dynamics and expression.
Combinations of Instruments
A composer uses any kind of instruments in any combination he wishes, but certain
combinations – or ensembles as they are usually called in music – have been found to be
particularly satisfying and consequently commonly used.
Ensemble Mediums
When two or more performers are equally engaged in playing or singing a piece of music,
the medium is called an ensemble (an sam’b’l ) and the music is called ensemble music.
Instrumental ensembles exist in almost infinite combinations. Some of these are as follows:
1. Orchestra
It is the most spectacular of ensembles, composed of any sizable group of instrumental
performers usually under the direction of a conductor. In the orchestral ensemble, several
instruments of the same kind usually play a given part. This is particularly true of the strings.
An orchestra may vary in size from a relatively small groups to an ensemble of a hundred
or more players. The number of instruments used in the orchestra varies according to the
demands of the music. The orchestra is constituted with a view of securing the best balance
of tone. The performers are divided into four sections we have described. In large
orchestras, approximately two thirds are string players and one third are wind players.
Three to five men take care of the percussion.
In a typical modern orchestra, there are 34 violins which are divided into two groups, first
and second. Each group functions as a unit and plays a part distinct from the rest. In the
woodwind section, one of the players of the principal instrument generally doubles with
another related instrument. The third flutist, for example, also plays the piccolo.
Saxophones are added when called for. Certain works call for a larger brass section with
additional horns and one or more extra trumpets. Included in these large ensembles are
two harps and, for certain contemporary scores, a piano. The instruments are arranged so
as to secure effective blending and contrast.
Course Module
2
2. The Symphony Orchestra

The symphony orchestra is a large ensemble which includes all the principal instruments
types. The modern symphony orchestra has about 100 players, but this number varies
according to the kind of music being played. It is composed of four sections corresponding
to the four instrumental groupings; the string section, the woodwind section, the brass
section, and the percussion section. Each of these sections has at least one instrument
which falls into each of the four basic ranges: soprano, alto, tenor, and bass.
3. Concerto
The concerto is a form written for orchestra and usually one solo instrument (piano, violin,
etc.) is given a prominent role in music.
4. Band
A band is an instrumental ensemble, large like the orchestra but consisting mainly or
exclusively of wind and percussion instruments. Although the band is closely associated with
outdoor events (parades, funerals, football games, etc.) it is also used as a concert ensemble.
The Rondalla
It is a band made up mostly of stringed instruments:
8. Banduria – This assumes the lead part and plays the melody.
9. Laud and Octavina – This carry the alto and contrapuntal parts.
10. Piccolo – It is the stringed instrument tuned above the banduria, which plays
the ornamental passages.
11. Guitarra and Bajo – These give solidity to the rhythm and support the
harmony.
Some percussion instruments have found their way into the rondalla to add color and
varied tonal rhythmic effects.
A very interesting musical ensemble in the Philippines is the Pangkat or Bandang

Kawayan composed of instruments made of bamboo. Among these are the single-note
bumbong, the native marimba or talunggating, the bamboo harp or tipangklung, the
gabbang which is patterned after the Muslim –type xylophone, the tulali or bamboo flute,
the bungkaka or bamboo clapper, and the kalatok or bamboo knockers.
5. Mixed Ensembles
A considerable literature of music exists for large mixed ensembles which include
instruments and voices. Such musical types as an opera, oratorio, cantata, Mass, Requiem
Mass, and even symphonies may employ vocal soloists, chorus, and orchestra. Mixed
chamber ensembles have made their appearance in the twentieth century.
6. Chamber Orchestra
The term chamber orchestra is applied to small instrumental ensembles in which there are
only a few performers for a part. Chamber orchestras are in a category of ensemble
between a chamber ensemble and the full orchestra.
Course Module
3
7. Chamber Ensembles
Chamber music is a medium which calls for only a few performers (from two to about eight
or nine instruments) with one player to each part. The most common chamber music
ensembles are listed below:
1. Solo Sonatas
Music written for a solo instrument (violin, cello, flute, oboe, horn, etc.), with an
accompaniment by such instruments as the piano or harpsichord, belongs to the
category of chamber music ensemble.
2. String Quartet
The most common medium of chamber music appears to be the string quartet. It
consists of two violins, a viola, and a cello. When the piano replaces one of the four
instruments, the ensemble is called a piano quartet.
3. Duos, Trios, Quintets, and other

Music in which two instruments have equal importance is called a duo; music for three
instruments is a trio; for five a quintet; for six, a sextet; for seven, a septet; for eight, an
octet; for nine, nonet. These ensembles may consists of any combination of instruments,
including strings, woodwinds, brass, keyboard, and percussion instruments.
8. Special Ensembles
As music evolves, composers search for new mediums more congenial to their changing
musical ideas. A particularly significant trend in recent years has been the development of
electronic instruments, which many contemporary composers feel are more versatile than
traditional instruments and more suitable for achieving the sounds they want for the music.
During a show, the performers swap instruments in-between numbers as they shift from
ballads, to rock to pop, mixing traditional instruments such as bongo drums with the
modern electronic organs and synthesizers in a two-hour show (Philippines Panorama,
June 29, 1980).
The Conductor
Today, the size of the orchestras and the complicated music have made the conductor
essential. The conductor is the director of the orchestra. He has to know every detail of the
music and be able to give the most precise directions with his baton and hands.
Choral Music or Choral Singing
Choral music is music performed by a group of singers or a choir. The singers may perform
without accompaniment, or may be accompanied by any instrumental combination, from
piano to full orchestra. Choral music is necessarily “polyphonal” i.e., consisting of two or
more autonomous vocal lines. Choral, chorale, choir, and chorus stand in obvious
relationship to one another and are in some respects used interchangeably when a body of
singers, for example, is referred to as a choir.
Course Module
4
Below are definitions of common used musical terms in choral music:
Choir – Group of singers in a chorus

Chorale – A hymn sung by the choir and congregation often in
unison. Chorus – A group singing in unison.
Classical – The period of music history which dates from the mid 1700’s to mid
1800’s. The music was spare and emotionally reserved, especially when compared
to Romantic and Baroque music.
Duet – A piece of music written for two vocalists or instrumentalists.
Types of Choral Music

There are various types of choir depending on the participating members in the choir group.
Few of the most common types are:
Mixed choir (with male and female voices) – This is perhaps the most common type,
usually consisting of soprano, alto, tenor, and bass voices.
Male choirs – with the same SATB voicing as mixed choirs, but with boys singing the
upper part (often called trebles or boy sopranos) and men singing alto (in falsetto),
also known as countertenors.
Women’s choir – a choir of adult women, high voices only, usually consisting of
soprano and alto voices, two parts in each.
Men’s chorus – a choir of adult men, low voices only, usually consisting of two
tenors, baritone, and bass.
Children’s choir – This includes boy choirs. Boy choirs typically sing SSA or SSAA,
sometimes including a cambiata/tenor part for boys whose voices are changing.
Boys’ choir – a choir of boys
Girls’ choir – a choir of girls, high voices only
Importance of Choral Music

Research has shown for some time that singing in a choir has tremendous benefits for
physical and mental well-being, leading some to campaign for it to be prescribed as a
treatment for medical conditions. Choral music brings out the hearts and souls in perfect
harmony which is the kind of emblem what we need in today’s world. Let’s go through the
importance of choral music in our lives.
1. Strengthen feeling of togetherness

Humans are wired for rhythmic togetherness; from choral singers, musicians, and dancers,
the science is coming in that we bond best when we are making music with each other.
Research led by psychologist Nick Stewart of Bath University indicates that people who
participate in a choir enjoy a greater feeling of togetherness and being part of a collective
endeavor than others involved in different social activities.
2. Reduce stress levels and depression

For the Singers – Singers develop breathing techniques to create phrasing and musical
expression. This has many physical benefits like singing increases blood flow,
Course Module
5
improves sleep, boosts your immune system, releases chemicals like endorphins,
dopamine and oxytocin, which affect our moods and happiness. And it also
transports the singer to another level, to a place where they no longer think about
their day-to-day worries.
For the Audience – Watching a concert also leads to reduced negative mood states
(afraid, tense, confused, sad, anxious and stressed) and increased positive mood
states (relaxed and connected).
3. Benefits of choir at schools

Singing is very important for children; an inclusive activity whereby all children can be
equal and connected. Singing helps children’s memories. Practicing musical patterns and
rhythms helps form neurological pathways, with huge implications for children’s learning.
4. Improves discipline and teamwork

Choirs truly know what teamwork means. Preparing for concerts not only requires the
discipline of attending weekly rehearsals, but it also develops the skills of listening,
concentration, teamwork and developing confidence. Choirs bring people together with a
sense of purpose.
5. Bridges social gaps

Choral groups and choral singers are diverse in the broadest sense: involving people from
every region of all ages, in numerous musical styles from classical to gospel. Many
choristers testified to the degree to which their choral singing made them more aware of
other people’s life experiences, helping them to bridge social gaps.
Course Module
6
Books and Journals

xv. Chorsymphonica; https://chorsymphonica.org/choral-music-and-importance-of-
choral-music/; September 11, 2019
xvi.Classical Works; http://www.classicalworks.com/html/glossary.html; September

11, 2019
Course Module

Module 001: Introduction To Performing Arts

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Module 001: Introduction To Performing Arts

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[Creative Industries II: Performing Arts / SHS]

Module 001: Introduction to Performing Arts

At the end of this module, you will be able to:

What is Performing Arts?

Various Performing Arts Practices

Skeeze (2014). Symphony Hall. Retrieved from

Shogol, N. (2017). Theater Play. Retrieved from

Traditional theatre performances usually combine acting, singing, dance and

Pexels (2016). Crowd on a concert ground. Retrieved from

Pexels (2016). Classical Music. Retrieved from

Rom, E. (2016). Ballet Dancing. Retrieved from

Tipchai, S. (2016). A Woman in Thai Traditional Dance and Costume. Retrieved

Dance, though very complex, may be described simply as ordered bodily

Benefits of Performing Arts

References and Supplementary Materials

Online Supplementary Reading Materials

2. Encyclopædia Britannica; https://www.britannica.org/art/performance-art; August

3. UNESCO – Intangible Cultural Heritage; https://ich.unesco.org/en/performing-arts-

4. Wabisabi Learning; https://www.wabisabilearning.org/blog/6-skills-performing-

Module 002: Explorations in Theater Part 1

At the end of this module, you will be able to:

Theater is a building specifically designed for the purpose of presenting dramatic

The Basic Elements of Theater:

Gamil, D. R. (2015). Proscenium Stage. Retrieved from

Theatres Trust (2019). Image showing the Thrust Stage at the

Snyder, B. J. (2011). Thrust Stage. Retrieved from

Module 003: Explorations in Theater Part 2

At the end of this module, you will be able to:

References and Supplementary Materials

Books and Journals

2. Dr. Victoria Santos Lamucho, Jenalyn S. Baesa-Pagay, Danilo H. Cabalu, Janet C.

Online Supplementary Reading Materials

Module 004: Principles of Composition

At the end of this module, you will be able to:

Origin: The Viewpoints

Photo from a 2018 ITF workshop by Susan Doremus. A gesture is a

Production, Organization, and Responsibilities

MARKETING AND PUBLICITY

Mapping the Stage

Stage Parts. Retrieved from

Reference and Supplementary Materials

Books and Journals

2. Dr. Victoria Santos Lamucho, Jenalyn S. Baesa-Pagay, Danilo H. Cabalu, Janet C.

Online Supplementary Reading Materials

2. Understanding Viewpoints; https://dramatics.org/understanding-

3. Composition; Retrieved from

4. Stage Terms Glossary; Retrieved from

5. American Association of Community Theatre; https://aact.org/marketingpublicity-

6. Wikipedia; https://en.m.wikipedia.org/wiki/Usher_(occupation); August 27, 2019

Module 005: Story Building

At the end of this module, you will be able to:

Reading the Script

Three Kind of Writing Script

Reading the Complete Play

Two different meanings of setting:

Three Steps to The Perfect Story

Create a story that fits your audience

Set the Stage

References and Supplementary Materials

Online Supplementary Reading Materials

6. The Power of Storytelling and How to Create a Compelling Story;

7. Msed4118: Speech and Stage Arts; https://www.slideshare.net/mukrat/msed4118-