MUSIC, ARTS, PHYSICAL EDUCATION, AND HEALTH

I. MUSIC

INTEGRATED MUSIC THEORY

ELEMENTS OF MUSIC
 Music is an art of organized sounds which expresses ideas and emotions insignificant forms through the elements
of rhythm, melody, form, harmony and timbre-dynamics.
Every single tone has four qualities – pitch, intensity, duration and timbre – which are perceptible to the human ear.
1. Pitch –highness or lowness (or height or depth) of a musical sound.
2. Intensity – concerned with the strength or weakness (or loudness or softness) of sound.
3. Duration – covers the length of time between the beginning (attack) and the end (decay) of a sound.
4. Timbre – the distinctive quality or tone color of each instrument/voice.
5. RHYTHM – is the flow of music through time.
• Beat – is a regular, recurrent pulsation that divides music into equal units of time.
• Meter – the organization of beats into regular groups.
1. Simple Meter – division of time where the fundamental pulses subdivide into groups of 2-4 or etc.
2. Compound Meter – division in which the fundamental pulses subdivide into groups of three, six,
twelve, etc.
3. Polymeter – double meter to indicate that two meters are combined or there is constant change from
one meter to the other back and both.

6. MELODY – series of single notes that add up to a recognizable whole.

• Pitch – the highness and lowness of a sound.
• Key Signatures – consists of sharps and flats.
• Scale – group of musical notes collected in ascending and descending order.
7. TEMPO – rate or speed in music
• Andante – moderately slow
• Allegro – fast
• Moderato – moderately
• Lento – slow
• Vivace – lively
• Presto – very fast
• Accelerando – gradually becoming faster
• Ritardando – gradually becoming slower
8. DYNAMICS – the loudness and softness in music.
• Pianissimo (pp) – very soft/softness (voiceless)
 • Piano (p) - soft
• Mezzo Piano (mp) – half soft
• Mezzo Forte (mf) – half loud
• Forte (f) - loud
• Fortissimo (ff) – very loud/loudness
• Crescendo – gradually becoming louder
• Decrescendo – gradually becoming softer
9. FORM – the structure or framework of a composition.
• Tone – smallest unit of a composition.
• Figure – smallest characteristic group of a tone
• Motive – is a tone group that may be identified with a particular composition.
• Phrase – is a succession of tones arranged in such a way as to give a musical thought.
• Period – a complete musical thought consisting of two phrases in Question and Answer.
• Section – a combination of periods.
• Unitary – consist of one part.
• Binary – consist of two parts.
• Ternary – consist of three parts.
• Rondo – consist of more than three parts.
10. TIMBRE – is the qualifying difference between one tone and another. The color/quality of sound produced by the
voice and different instrument.
• Soprano – High Female
• Alto – Low Female
• Tenor – High Male
• Bass – Low Male
• Orchestral Instruments
• Rondalla Instruments – String Instruments
11. TEXTURE – is the relationship of melodies (horizontal) and harmonic (vertical) elements in music. Produce qualities
of lightness or heaviness, thickness or thinness.
• Monophonic – single unaccompanied melodic line.
• Polyphonic – consist of two or more melodic lines.
• Homophonic – one main melody accompanied by chords.
12. HARMONY – is the simultaneous sounding of a group of tones. The vertical relationship between a melody and its
accompanying chords or between melodies simultaneously played or sung.
• Triad – consist of three notes: the root, 3rd and 5th.
• Chord – a musical sonority consisting of three or more tones sounded simultaneously.
OTHER REF.
A. Elements of Music
1. Pitch
a. May be high or low and may repeat.
b. Creates melody.
c. Progression of pitches creates melodic contour.
d. Progressive pitches create scales.
e. Melodic meaning is affected by range, register, length of groupings, and size of intervals.
2. Rhythm
a. Measured by units of time.
b. These pulses, or “beats,” can be organized in sets (meters).
c. Patterns can be repeated.
3. Harmony
a. Consists of two or more simultaneous tones.
b. Three or more simultaneous tones make a chord.
c. Chords can be modified.
4. Form
a. The “design” of music is created b the interaction of its elements.
b. Sections of music (“phrase”) can be similar or different depending upon amount of repetition of elements.
c. Repetition of elements creates unity.
d. Contrasting elements create variety.
5. Texture
a. Total sound may have differing “textures,” such as thick, thin, opaque, and transparent.
b. Motifs may have textures, such as legato (smooth sounding) and staccato (clipped sounding).
6. Tempo
a. The speed of a section or composition.
b. Affects the music’s character.
c. Provides contrast when tempos differ.
d. Adds to expressiveness.
e. Is referred to by specific terms, for example lento (slow) and presto (quick).
7. Dynamics
a. The comparative loudness and softness of music.
b. Changes the expressive effect.
 c. Is referred to by specific terms, for example piano (soft), pianissimo (very soft), forte (loud), and fortissimo
(very loud).
8. Timbre
a. The unique tonal quality produced by an instrument or voice.
b. Each instrument family (such as woodwinds, percussion, strings, and brass) has its characteristics
sound (timbre).
c. Instruments of different cultures produce different timbres.
9. Notation
a. The written form of music.
b. Composed of a variety of symbols for notes, rests, pitch, etc.

CONDUCTING INTRUMENTAL AND LOCAL GROUPS

1. Chamber Music Groups – music intended for performance in an intimate setting, involving between one and
approximate eight players, each playing an independent part.
• Solo – one player
• Duo or duet – two players
• Trio – three players
• Quartet – four players
• Quintet – five players
• Sextet – six players
• Septets, octets, nonettes, etc., can be made up of various combinations of instruments.
2. Larger Ensembles – instrumental groups with more than eight to ten players usually perform with a conductor.
• String orchestra – consist of first violins, second violins, violas, cellos and basses.
• Woodwind choir – made up of flutes, oboes, clarinets and bassoons.
• Brass choir – has French horns, trumpets, cornets, trombones and tuba.
• Percussion Ensemble – has from two to ten players playing various combinations of percussion instruments.
• Symphonic wind ensemble – combination of a woodwind choir, a brass choir and a percussion ensemble.
• Concert band – usually has more than one player on each part.
• Jazz ensembles – vary from small ensemble such as piano, vibraphone, bass, and drums to large stage or concert
jazz bands with five saxophones, (players may play also double flute, clarinet, oboe and bassoon) five
trumpets, five trombones, piano, guitar, string bass and drums.
• Chamber orchestra – consist basically of the string orchestra plus a small number of additional keyboard,
woodwind, brass or percussion instruments.
• Symphony Orchestra – composed of instruments from the string, woodwind, brass and percussion sections,
occasionally with special instruments added.
CONDUCTING – this has been often defined as the art of leading a group through the use of bodily movements
and facial expressions in the interpretation of vocal as well as instrumental compositions.

CONDUCTING ESSENTIALS
1. Preparatory Beat – prepares the singers to attack on the beat; this is usually the beat which comes before the attack
beat; its purpose is also to allow the singers to breathe at the same time.
2. Attack Beat – start of the phrase.
3. Release Beat – end of the phrase or section–should be clearly seen by the choir members so that the cessation of the
sound will be done altogether.
4. Cueing – usually done with the left hand–used for entrances of voice parts and dynamic or tempo changes, as well as in
rhythm.
5. Cut-off- arm and hand motion by a conductor that indicates to an ensemble that they stop performing.

ASIAN MUSIC
JAPAN
Traditional Music
- Shomyo – is called Buddhist chanting. The chants are based on sacred texts and hymns. They are sung acapella and are
monophonic in texture.
- Gagaku –is court music, and the oldest traditional music in Japan. Gagaku music includes songs, dances and a mixture
of other Asian music.
- Noh – Japan’s first theater form. Its music became one of the most important genres of Japanese traditional music. It is
employed in the same theatrical arts that have music, dance, poetry, design and costumes. The drama consists of singing
known generally as yokyoku or utai.
- Kabuki – traditionally an all-male theater with a combination of melodrama and colorful dancing. It means “to act in an
unusual manner wearing unusual costumes”. It was first written with three Chinese characters which meant “song-dance
theater”.
- Bunraku – is a puppet theater. Its performance is sustained by three main elements: the art of the puppeteer himself, the
words of the narrator or the singer, and the music of the shamisen player. The puppet is manipulated by three puppeteers.

CHINA
Four Stages or Period
a. Formative Period – music was used in folk festivals that are meant to give honor to the ancestors. Clay ocarinas and
stone chimes were some of the instruments used to accompany these celebrations.
b. International Period – there was an overflow of musical ideas brought about by Western contacts and Asian trade.
c. National Period – the emphasis of this period was on vocal music, instrumental forms existed as well.
d. World Music Period – a new kind of music was born from the tradition of Western instruments and forms.
Chinese traditional music is based on the five-tone scale or the pentatonic scale. It is written in duple meter in a single
melodic line or in strophic form. In the northern Chinese folk music, the seven-tone scale or the heptatonic scale is often
used as a basis for compositions. Some Chinese compositions are written on the twelve tone (12) pitch scale called LU
and the 60 pentatonic and eighty-four (84) heptatonic modes are called TIAO. Ideograms or symbols were used to notate
Chinese Music.
Peking Opera – is a musical art form, combines singing, heightened speech, mime, dancing, literature, theater and
acrobatics. This opera traces its roots from the ancient ritual dance, the Yuan and the Ming Romance. It is recognized and
considered as a national art form. The basic characteristics of the Peking Opera are its simplicity, symbolism and
synchronization
INDIA
- Tala – is the metrical cycles of beats.
- Laya – is the tempo in Indian music. The laya may vary from fast (druta) to medium (maghya) or slow (vilmabita).
- Matra – is the beat in Hindustani music and askhara in Carnatic music.
- Drone – is an important element in their music.
- Raga – is a combination of a scale and a melody. Each raga has its own mood such as happiness, sorrow, or peace.
There are two principal tones of the raga: vadi and samvadi.
- Shruti – is the smallest interval tone in Indian music. In Western music, it is called microtones.
- Gamaka – ornamentation in Indian music.
- Sargam – is the Indian solfege syllables, they are equivalent to western solfege syllables.
INDONESIA
- Wayang Kulit – (shadow puppetry) music and dance using puppets made of animal skin and painted with colorful
designs.
- Gamelan – is the one of the most important musical ensembles in Indonesia. A Gamelan consists of metallophones,
xylophones, drums, gongs and bamboo flutes. The arrangement of the instruments is important. The Gamelan is played in
the courts. It plays an important part in spiritual life. It is used for religious ceremonies and important events. It is also a
part of entertainment like the puppet show.
- Slendro - is the five tone scale or pentatonic scale.
- Pelog – is the seven tone system or diatonic scale.
KOREA
- Sog –ak – is the music of the common people that is usually live. It portrays the life of ordinary people. It is folk music
of Korea.
- Chong – ak – is the Korean Court music. The court music of the nobility is elegant, refined, delicate and formal. It is
extremely slow and solemn, has subtle dynamics and possesses a sense of majesty.
- Aak – an imported form of Chinese ritual music.
- Hyangak – a pure Korean music.
- Tangak – a combination of Chinese and Korean influences.
Vocal Music
- Kasa – a long narrative song.
- Kagok – a lyrical song.
- Sijo – a short lyrical song.
- Nong-ak – song of the farmers.
- P’ansori – song for the stage and drama.
- San-jo – song for solo instrument.
- Minjo – a folk song sung in triple meter with one basic rhythmic pattern.

Philippine Music

Early Filipino Music

1. Du-mu-ra – is a love song with long verses.
2. Tal-bun – is a song sung on festive occasions or when there are visitors. This kind of song includes improvised words
to suit the occasion.
3. Pag-pag – is a song composed of three notes and in two parts. The song is sung while pounding rice during wedding
ceremonies.
4. Ayoweng – an industrial song consists of three notes and sung in social gatherings.
5. Nan-a-an-to-o-ay – is an Igorot funeral song of three notes and expresses grief over the death of one who died
prematurely.
6. Cañao – ia a ceremonius occasion with dancing, drinking of bubud or fermented rice, butchering of pigs and speeches.
7. Sua-sua – both song and courtship dance of Jolo.
Classification of Songs
1. Art Song – is one that meets the requirements of the musical and poetic arts.
2. Folk Song – is a song of the people and consists of simple melodic, harmonic, and metric fundamentals.
3. National Song – is one that belongs to the nation. The national an them or hymn, with a martial theme, is a national
song.
4. Popular Song – is a song of trivial musical and poetic value, usually written by laymen for popular mass appeal. It is a
song of the people.
5. Strophic Song – is a folk art or art song consisting of two or more stanzas, each of them set to an identical tune.
6. Ballad –is a class of song particularly common in England and derived from ballata, a song with dance.
7. Plain Song – is a piece of unisonous vocal music popularly used in Christian church rituals.
Traditional Melodies of the Filipinos
1. Suliranin – a sad monotonous song, pilgrims sing when the weather is hot.
2. Indolanin – a song, rustics sing in the streets when leaving or entering the town.
3. Hila-Hila – a dramatic song, sung when paddling a banca.
4. Oyayi – a kind of cradle song, sung to make babies go to sleep.
5. Holohoo – a song, sung to quiet down crying children or to pacify them when they are restless because of some
ailment.
6. Ombayi – a song with funeral sentiment, sung by guests during interment or when one is sad.
7. Sambotani – a song, sung at a feast.
8. Tagumpay – a victory song to commemorate a battle won or to honor the victors.
9. Tagulaylay – a monotonous melody portraying grief over someone’s death.
10. Sambitan – a funeral song performed by relatives of the deceased.
Secular Music – is non-religious music.
 Kumintang – an ancient native dance and melody of the Christian is an authentic example of pre-Spanish
music in the Tagalog areas. Originally a war song, it was later adapted into a love song and still later into a song
of repose.
 Kundiman – a passionate lyrical song with a theme professing true love.
 Balitaw – is song and dance common among Tagalogs and Visayans.
 Habanera – named after its place of origin of Havana, Cuba, and also known as danza or danza habanera is in
duple time
 Polka – dance in fast duple meter
 Jota – originally a Spanish folk dance, has sections in duple and quadruple time
Composers
1. Nicanor Abelardo – Father of Kundiman (Nasaan Ka Irog, Mutya ng Pasig, Bituing Marikit, Himutok and Kung Hindi
Man)
2. Julian Felipe –Tune of National Anthem (Jose Palma – lyricist)
3. Antonio Molina – “Hatinggabi” – violin solo – impressionistic style, “Ang Batingaw,”Misa Antoniana Grand Festival
March.” (Claude Debussy of the Philippines)
4. Dolores Paterno – Composer of “La Flor De Manila 1897 (Sampaguita)”
5. Lucio San Pedro – 1991 National Artist (Sa Ugoy ng Duyan, Sa Mahal Kong Bayan and Sa Lupang Sarili)
6. Francisco Santiago – Composer of “Pilipinas Kong Mahal”, “Kundiman (Ako’y Anak ng Dalita)”, “Madaling Araw”,
“Pakiusap”, “Ano Kaya ang Kapalaran” and “The Dignity of Labor.”
7. Alfredo Buenaventura – Conductor, teacher and composer of “Piano Concerto in C minor”, “Kayumanggi
Symphony”, opera: “Maria Makiling”, “Alamat ng Pinya” and “Hinilawod.”
8. George Canceso – Composer of “Kapantay ay Langit”, “Kailangan Kita”, “Ngayon at Kailanman”, “Kastilyong
Buhangin” and “Gaano Kadalas ang Minsan.”
9. Ryan Cayabyab – Conductor, musical director, teacher and composer of “Isang Dipang Tao,” “Magandang Gabi sa
Inyong Lahat,” “Kay Ganda ng Ating Musika,” and “Nais Ko.”
10. Jose Mari Chan – Singer and composer of “Christmas in Our Hearts,” “Beautiful Girl,” “Please Be Careful with My
Heart,” and “Constant Change.”
11. Willy Cruz – “Araw-Araw, Gabi-Gabi,” “I’ll Never Ever Say Goodbye,” “Kung Mahawi Man ang Ulap” and
“Pahiram ng Isang Umaga.”
12. Ogie Alcasid – Singer, songwriter, television presenter, comedian, parodist, actor, entrepreneur and composer of
“Nandito Ako,” “Bakit Ngayon Ka Lang,” “Hanggang Ngayon,” “Pangako” and “Kung Mawawala.”
13. Freddie Aguilar –“Anak,” “Magdalena,” “ Bulag, Pipi at Bingi,” “Ipaglalaban Ko” and “Estudyante Blues.”
14. APO Hiking Society – Jim Paredes, Buboy Garrovillo and Danny Javier’s “Pumapatak ang Ulan,” “Salawikain,”
“Mahirap Magmahal ng Syota ng Iba,” “American Junk,” and “Yakap sa Dilim.”
15. Joey Ayala – Singer, poet and composer of “Panganay ng Umaga,” “Mga Awit ng Tanod-lupa,” “Lumad sa Siyudad”
and “Sa Bundok ng Apo.”
10 Famous Traditional Filipino Musical Instruments
Kubing: This is a jaw harp made with bamboo and is one of the more
well-known traditional musical instruments. Found all throughout the
Philippines, the design and name of the instrument changes from region
to region. Meranao and other groups in Southern Mindanao call it the
Kubing, while the Tagalogs call it Barmbaw. It’s the Kuláing for the
Kapampangans, and Kinaban for the Hanunoo Mangyans. The Ibaloi
and Kalinga call it Koding, while it’s known as the
Aroding in Palawan. This instrument is known to be used as a way for
our ancestors to communicate through song, especially during
courtship. The Kubing is played by placing the instrument between the
lips and the end is plucked to create different notes and sound,
depending on the tempo and rhythm of the plucking.
Kulintang: Another well-known Filipino instrument, the natives of
Meranao, Tausug, and Maguindanao take a lot of pride and joy with
these. The Kulintang is a set of 5 to 9 pieces of gongs that vary in size
and sound. They’re aligned horizontally next to each other, usually on a
rack, and are arranged in order of their pitch. The gong with the lowest
pitch is placed on the players left side and two wooden sticks are used
to hit the gongs to make sounds. They were
traditionally made with bronze, but since the Second World War, most
of the gongs are made with brass. The frame or rack that the gongs are
placed in are often made with wood or bamboo and are decorated with
intricate designs and rich color. The Kulintang is usually played for
entertainment during festivals, weddings, and healing ceremonies.
Kudyapi: Also known as the Kutiyapi, this is a stringed wooden lute
that’s about 4-6 ft long. The lumads of Meranao, Maguindanao, T’boli,
and Manobo often play this instrument, but versions of it is seen
throughout the Philippines. Traditionally, the instrument is played by
men, mainly when singing love songs. A female equivalent of the
Kutiyapi is called a Korlong, which is a zither-like
instrument made with bamboo and is played with both hands like a
harp. The strings are traditionally made with abaca fibers or horse hair,
but modern versions of the Kutiyapi use wires like a guitar.

Tongali: This noseflute is called by many names and is found all over
the Philippines, especially in the northern areas. According to
historians, the Tongali is played to mimic a mournful human voice. The
flute has three or four holes where the fingers are placed over. One hole
is found in the back where air is forced through from the right or left
nostril. Another hole is found about midway on the flute’s bottom
where the thumb is placed to change the tone and pitch of the flute.
Although it gives off a low, mournful, sound, the Tongali often played
during celebrations, special meals, festivals, the planting season, and in
courtship.
 Gambal: There are many different drums played by different local
groups in the Philippines. Among the lumads in the Visayas area, war
drums called Gambal or Gadang were used to boost their warrior’s
esteem and get them ready for battle. The drums were made with
hollowed out tree trunks and deer skin for drumheads. Usually, drums
are not played alone. They’re accompanied by other
instruments, especially gongs. Drums are played by hand or by striking
a wooden stick on the drumhead.
Dabakan: Another traditional drum, the Dabakan is often played along
with a Kulintang ensemble. It’s also the only non-gong element in the
group. It has an hour-glass, conical, tubular, or goblet in shape and is
usually less than 2 feet tall and a feet wide. The body is made from
coconut or jackfruit wood that’s hollowed out. The body is also
intricately designed with fine carved details. The drumhead is made
from deer hide, carabao skin, or goat skin. However, many traditional
Dabakan users say that the best drumheads are made with lizard or
bayawak skin.

Butting: was a single string of hemp stretched taut across a wooden

bow, and played with a wooden stick. As such it belongs in the
chordophone family of instruments, along with other native instruments
like the kudyapi, the kudlung and the gurimbao, and Western
instruments like the guitar, lute and zither, which have their own ethnic
variants in the Philippines.

( Note: Latest instrument included in LET)

Lantoy: is a mouth instrument made from a bamboo locally called

“Badtek”. Used in waiving basket. It has three holes. These holes in the
bamboo to cover with your fingers as you blow to make the different
notes. The lantoy is played during festivals, harvests and meal time. It
is also an instrument that was played by young, single men played.

(Note: Latest instrument included in LET)

Buktot: Originating from the Visayas area, the Buktot is a small, four-
stringed guitar-like instrument that’s made from a coconut husk. It
likely got its name from its shape. In Bisaya, the word Boktot means
hunchbacked, which perfectly describes the instrument’s arched back.
The Boktot is used for personal entertainment. It makes sounds similar
to a ukulele and is played alone or with other instruments.

Classification of Instruments
Hornbostel-Sachs instrument classification system was created by Erich Moritz von Hornbostel and Curt Sachs. Among
ethnomusicologists, it is the most widely used system for classifying musical instruments. Instruments are classified using
5 different categories depending on the manner in which the instrument creates the sound: Idiophones, Membranophones,
Chordophones, Aerophones, & Electrophones.

1. Idiophones
Sound is produced by the body of the instrument vibrating, rather than a string, membrane, or column of air.
• Struck – clapping, cymbals, xylophones, bells, rattles
• Plucked – thumb piano, jaw harp
• Friction – friction sticks
• Blown – blown sticks
2. Membranophones
Sound is produced by the vibration of a tightly stretched membrane.
• Struck – drums (many varieties)
• Plucked – plucked drums (a string is attached to the membrane and causes the vibration)
• Friction – friction drums (rubbed rather than struck or instruments in which a cord is attached to the
membrane and rubbed)
• Singing – kazoos
• Unclassified
• Bowed instrument
• Bowed instrument
3. Chordophones
Sound is produced by the vibration of a string or strings that are stretched between fixed points.
• Simple/Zither – musical bows, zithers
• Composite – lutes, harps, tube fiddle, violins, viola, cello, bass, guitars
• Unclassified
4. Aerophones
Sound is produced by vibrating air.
 Free – early organs, accordion, harmonica
 Non-free – flutes, recorder, oboes, clarinet, saxophone, trumpet, trombone, euphonium, tuba
 Unclassified
5. Electrophones
Sound is produced by electric action or amplification.

Western Music
MUSIC IN THE MIDDLE AGES (450-1450)
- Gregorian chant – consists of melody set to sacred Latin texts and sung without accompaniment. The chant is
monophonic in texture. The melodies of Gregorian chant were meant to enhance specific parts of religious services.
- The Church Modes – consist of seven different tones and an eighth tone that duplicates the first an octave higher. The
church modes were the basic scales of western music during the middle ages and Renaissance and were used in secular as
well as sacred music.
- Sacred Music: music that was composed for purposes other than religious.
  Kyrie Eleison: Lord have mercy
 Gloria: Glory to God.
 Credo: Apostles Creed or Nicean Creed
 Agnus Dei: Lamb of God

MUSIC IN THE RENAISSANCE (1450-1600)

Characteristics of Renaissance Music:
1. The texture is polyphonic.
2. Typical choral piece has four, five or six voice parts of nearly equal melodic interest.
3. Imitation among the voices is common: each presents the same melodic idea in turn, as in a round.
4. Homophonic texture, with successions of chords, is also used, especially in light music, like dances.
5. Period of “golden age” of unaccompanied – a Capella – choral music.
Sacred Music
1. Motet – is a polyphonic choral work set to sacred Latin text other than the ordinary of the mass.
2. Mass – is a polyphonic choral composition made up of five sections: Kyrie, Gloria, Credo, Sanctus and Agnus
Dei.
3. Secular Vocal Music: Madrigal – a piece for several solo voices set to a short poem, usually about love. A
madrigal like a motet, combines homophonic and polyphonic textures.
4. Secular Instrumental Music: Dance Forms – the development of in dependent instrumental music grew out of two
sources: the use of instruments to double or replace parts of a vocal composition and the use of instruments for
dance music.
a. Josquin Desprez (1440-1521) – master of Renaissance music. Composed music for masses, motets and secular vocal
pieces. “Ave Maria...virgo serena” is the outstanding choral work.
b. Giovanni Pierluigi da Palestrina (1525-1594) – devoted himself to Catholic Church music that includes 104 masses
and some 450 other sacred works. “Pope Marcellus Mass” is the famous mass by Palestrina written for a capella choir of
six voice parts: soprano, alto, two
MUSIC IN THE BAROQUE (1600-1750)
Characteristics of Baroque Music:
1. Baroque pieces usually express one basic mood: what begins joyfully will remain joyful throughout
2. Rhythmic patterns heard at the beginning of a piece are repeated throughout it.
3. Baroque melody creates a feeling of continuity.
4. Paralleling continuity of rhythm and melody in baroque music is continuity of dynamic level: the volume tends to
stay constant for a stretch of time.
5. Polyphonic in texture.
Single Vocal Forms
1. Recitative – is a free form for solo voice with accompaniment in which the vocal melody approximates the
natural rhythm and pitch inflection of the text.
2. Aria – is a song for solo and accompaniment in which the vocal part is written in a fairly complex style, often
with several notes to each syllable of the text.
3. Chorale – sung in unison or in four-part block chord style.
- Multi-movement Vocal Forms
1. Opera – is a drama sung with instrumental accompaniment and presented with appropriate scenery, costumes and
staging.
2. Cantata – is a composite vocal form in several movements for solo voice and instrumental accompaniment or for
solo voices, chorus and instrumental accompaniment.
3. Oratorio – is a composite vocal work for soloists, chorus and orchestra based on a sacred or secular text.
- Single Movement Instrumental Forms
1. Sectional Dance Form – dances written in rounded binary form.
2. Orchestral Overture – an instrumental composition which serves as an introductory movement for an opera,
oratorio or cantata or as the first movement of a composite instrumental piece.
3. Fugue – is a composition based on polyphonic imitative treatment of a short theme known as the subject.

Composers:
a. Johanne Sebastian Bach (1685-1750) – German composer, organist, harpsichordist, violist and violinist whose sacred
and secular works for choir, orchestra, and solo instruments drew together the strands of Baroque period and brought it to
its ultimate maturity. Works: “Branderburg Concerto,” “Air on G-String,” “Toccata and Fugue in D minor,” “Organ
Mass” and “The Magnificat.”
b. Claudio Monteverdi (1567-1643) – one of the most important composers in early baroque era. Created the earliest
operatic masterpiece “Orfeo”. The last opera by Monteverdi is “L’incoronazione di Poppea (The Coronation of Poppea).”
c. Henry Purcell (1659-1695) – an English organist and Baroque com- poser of secular and sacred music. Works: “Dido
and Aeneas,” “The Fairy Queen” (an adaptation of Shakespeare’s A Midsummer Night’s Dream), “King Arthur”, and
“Jubilate Deo”.
d. Antonio Vivaldi (1678-1741) – Italian composer, priest, and virtuoso violinist and known for composing instrumental
concertos, especially for the violin, as well as sacred choral works and over 40 operas. Works: “The Four Seasons,”
“Twelve sonatas for two violins and basso continuo (opus 1),” “La Stravaganza for twelve violin concertos.”
e. George Frideric Handel (1685-1759) – a master of Italian opera, English oratorios, anthems and organ concertos.
Works: “Messiah,” “Water Music,” “Music for the Royal Fireworks,” “For unto Us a Child Is Born.”
MUSIC OF CLASSICAL PERIOD (1750-1820)
- Characteristics of Classical Music:
1. Emphasis on beauty, elegance and balance.
2. Homophonic Texture
3. Classical melodies are among the most tuneful and easiest to remember.
4. Sonata form was the most important design.
Single Movement Instrumental Forms
1. Binary Form – form of movement with two principal themes or two distinct sections.
2. Ternary Form – form of movement with three principal themes or three sections.
3. Rondo Form – a typical pattern which letters representing thematic sections (ABACABA) there are five- and
seven-part rondo forms.
Multi-Movement Instrumental Forms
1. Sonata Form – refers to the form of a single movement and consists of three main sections: the exposition, where
the themes are presented; the development, where themes are treated in new ways; and the recapitulation, where
the themes return. The three main sections are often followed by a concluding section, the coda. These sections
are all within one movement.
2. Concerto –an extended composition for a solo instrument and orchestra, frequently in a sonata form.
Composers:
a. Wolfgang Amadeus Mozart (1756-1791) – one of the most amazing child prodigies, prolific and influential composer
in the history of classical music. Works: “Eine Kleine Nachtmusik,” “Don Giovanni,” “Symphony No.40 in g minor,”
“The Marriage of Figaro.”
b. Ludwig Van Beethoven (1770-1827) – represents the highest level of musical genius. He opened new realms of
musical expression and profoundly influenced composers throughout the 19th century. Works: “Symphony No. 5 in c
minor,” “Piano Sonata in C minor Op.13,” “Moonlight Sonata.” The Deaf Musician
c. Franz Joseph Haydn (1732-1809) – the first master of Viennese Classicism and the Father of Symphony. Works: “The
Creation,” “The Seasons,” “Surprise Symphony,” “Trumpet Concerto in E Flat Major.”
d. Niccolo Paganini (1782-1840) – composer, guitarist and virtuoso violinist. Works: “Caprice No. 24 in A minor,”
“Tarantella,” “God Save the King.”
ROMANTIC PERIOD (1820-1900)
- Characteristics of Romantic Music:
1. Describe as subjectivity, emotionalism, longing exuberance, imbalance, fantasy.
2. Emphasis on self-expression and individuality of style.
3. Expressive aims and subjects
4. Nationalism and Exoticism
5. Program music
6. Expressive tone color
7. Colorful harmony
Composers:
a. Franz Schubert (1797-1828) – earliest master of the romantic art song wrote some 600 lieder, nine symphonies,
liturgical music, operas, some incidental music, and large body of chamber and solo piano music. Works: “Unfinished
Symphony,” “Serenade,” “Symphony No.8 in B minor.”
b. Felix Mendelssohn (1809-1847) – composer, pianist and conductor. Works: “A Midsummer Night’s Dream,” “Italian
Symphony,” “Hebrides Overture.”
c. Frederic Chopin (1810-1849) – composer, genius of the piano who created a unique romantic style of keyboard music.
Works: “Nocturne in E flat Major,” “Etude in C minor,” “Polonaise in A flat Major.”
d. Peter Ilyich Tchaikovsky (1840-1893) – was one of the most loved of Russian composers. His music is famous for its
strong emotion, and his technical skill and strict work habits helped guarantee its lasting appeal. Works: “Nutcracker
Suite,” “Romeo and Juliet,” “Sleeping Beauty,” “Swan Lake.”
e. Giuseppe Verdi (1813-1901) – the most popular of all opera composers. Works: “Rigoletto,” “La Donna e Mobile,”
“Aida,” “La Traviata.”
THE TWENTIETH CENTURY MUSIC AND BEYOND
- Impressionism – musical style that stresses tone color, atmosphere and fluidity, typical of Debussy.
- Expressionism – musical style stressing intense, subjective emotion and harsh dissonance, typical of German and
Austrian music of the early 20th century.
- Neoclassicism – musical style marked by emotional restraint, balance and clarity, inspired by the forms and stylistic
features of 18th century music.
- Nationalism – Inclusion of folksongs, dances, legends, and other national material in a composition to associate it with
the composer’s homeland; characteristic of romantic music.
- Exoticism – Use of melodies, rhythms, or instruments that suggest foreign lands; common in romantic music.
- Minimalist music – is characterized by steady pulse, clear tonality, and insistent repetition of short melodic patterns; its
dynamic level, texture, and harmony tend to stay constant for fairly long stretches of time, creating a trancelike or
hypnotic effect.
- Electronic music – whose sound is produced, modified or amplified/synthesizers by electronic means.
- Free Jazz – jazz style that departs from traditional jazz is not being based on regular forms and established chord
patterns.
- Jazz – music rooted in improvisation and characterized by syncopated rhythm, a steady beat, and distinctive tone colors
and performance techniques. Jazz was developed in the United States predominantly by African American musicians and
gained popularity in the early twentieth century.
- Jazz Rock (fusion)– style that combines the jazz musician’s improvisatory approach with rock rhythms and tone colors.
- Ragtime – style of composed piano music, generally in duple meter with a moderate march tempo, in which the
pianist’s right hand plays a highly syncopated melody while the left hand maintains the beat with an “oompah”
accompaniment.
- Popular Music – belongs to any of a number of musical genres “having wide appeal” and is typically distributed to
large audiences through the music industry. It stands in contrast to both art music and traditional music.
Composers:
1. Arnold Schoenberg (Austrian, 1874-1951) – composer and theorist whose intransigent method of organizing music
according to twelve equal notes profoundly influenced the direction of 20th century music. Works: “Pierrot Lunaire,” “A
Survivor from Warsaw,”
2. Claude Debussy (French, 1862-1918) – composer, originator of musical Impressionism. Works: “Clair de Lune,”
“String Quartet in G minor,” “Nocturne,” “Fantaisie for piano and orchestra.”
3. Bela Bartok (Hungarian, 1881-1945) – a composer whose style was intimately welded to his pioneering folk music
research. Work: “Concerto for Orchestra,” “Third Piano Concerto,” “Violin Concerto.”
Glossary of Musical Terms:
 Allegro - Fast tempo.
 *Bar lines - The vertical lines on the staff used to mark off the grouping of beats.
 Beat - The underlying pulse present in most music.
 Brasses - Wind instruments made of metal, including the trumpet, French horn, trombone, and tuba.
 Chamber music One to twenty performers.
 Chord - Several notes sounded together.
 Clavichord - A small predecessor of the piano.
 *Clef - The symbol indicating the pitch of the notes.
 Consonance - The combination of tones that produces a quality of relaxation.
 Dissonance - The combination of tones that produces a quality of tension.
 Dynamics - The loudness of music.
 Fugue - A fugue is based upon a short theme called a subject. The fugue subject contains both rhythmic and
melodic motifs. The opening of the fugue is announced by one voice alone. A second voice then restates the
subject, usually on a different scale. A third and then a fourth voice enter, each carrying the subject.
 Harmony - Refers to the choral aspect of music.
 Harpsichord - Another predecessor of the piano, sounded by plucking the strings.
 *Interval - The distance between notes.
 Largo - Very slow tempo.
 Lento - Slow tempo.
 Lyre - An ancient harp.
 Mass - Music for a Catholic service.
 *Measure - The space on a staff between two bar lines.
 Melody - Concerns the sequence of notes.
 Meter - The organization of beats into groups.
 *Meter signature - The numerical symbol at the beginning of a composition to indicate the meter – for example,
2/4, 3⁄4, 6/8, 4/4.
 Moderato - Intermediate tempo.
 Motif - A recurring group of notes, as the four in Beethoven’s Fifth Symphony.
 Movement - A large section of a lengthy composition.
 *Note - A musical sound of specific pitch, as middle C.
 Opus - Work, usually identified by a number.
 Oratorio - A major orchestral piece with solo voices and chorus.
 Orchestra - A large group of instrument players, usually seventy-five to ninety.
 Percussion - Instruments sounded by striking, as drums, cymbals, and chimes.
 Pitch - The frequency of a sound wave.
 Polyphony - Choral music with several simultaneous voice-lines.
 Presto - Very fast tempo.
 Rhythm - Concerns the relative duration of the notes.
 Rondo - The main feature of a rondo is the return of the main theme, which alternates with secondary themes. For
example,
Simple rondo: ABABA
Second rondo: ABACA
Third rondo: ABACABA
 *Scale - The succession of notes arranged in an ascending order.
 Sonata - A work for one or two instruments.
 Song Form - When the first section of a simple ternary form is repeated – for example, AABA. (A simple ternary
form is music in three sections, with the third generally an exact repetition of the first, ABA)
 Staff - The five lines on which notes are written.
 Strings - Violin, viola, cello, and double bass (bass viol).
 Subject - The principal melodic motif or phrase, especially in a fugue.
 Symphony - A major orchestral composition.
 Syncopation - A rhythmic effect produced when the expected rhythm.
 Tempo - The pace of the music.
 Timbre - The characteristic sound of a voice
 Tone - A musical sound of a specific pitch.
 Woodwinds - Instruments originally made of wood, including the piccolo, flute, clarinet, oboe, English horn,
bassoon, and saxophone.