Art Appreciation -Auditory and Combined Arts.pdf

ARNEL G. PEREZ, MS
Instructor
Institute of Arts and Sciences

AUDITORY & COMBINED ARTS
MUSIC | LITERARY | PERFORMING ARTS
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PREFACE
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This module is exclusively intended to the all bona fide students of Mabalacat City College who are taking the course
or subject, Art Appreciation. The course or subject, Art Appreciation is one of the new General Education Course
(GEC) coded as SOCSCI104/GEC106 by this Institution which is mandated by Commission on Higher Education
(CHED). As stipulated in CHED Memo no. 20, Series of 2013, the general purposes or objectives of Art Appreciation
are the following: 1) Improve students’ ability to appreciate, analyze, and critique the works of art; 2) Equip students
with broad knowledge of experiential, historical, philosophical, psychological, and social relevance of the arts in order
to hone their potential and ability to articulate their broader understanding of the arts; 3) Develop students’ competency
in researching and curating art as well as conceptualizing, mounting, and evaluating art production; and 4) Flourish
students’ genuine appreciation for Philippine arts by providing them opportunities to explore their diversity, richness,
and rootedness in Filipino culture. Hence, for the students to achieve the course objectives, the module is designed
as a self-instructional module. A self-instructional module is a module design for the students to learn on their own
pace. Moreover, in self-instructional module, students are expected to work on their own pace and accomplish all the
activities before the end of the semester.
Nota Bene: To successfully accomplish this module, first you have to
familiarize yourself with these icons:
WORKSHEET
OFFICIAL MCC MODULE DISCLAIMER
It is not the intention of the author/s nor the publisher of this module to have monetary gain in using
the textual information, imageries, and other references used in its production. This module is only for
the exclusive use of a bona fide student of Mabalacat City College. In addition, this module or no part
of it thereof may be reproduced, stored in a retrieval system, or transmitted, in any form or by any
means, electronic, mechanical, photocopying, and/or otherwise, without the prior permission of
Mabalacat City College.

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VISION-MISSION OF MABALACAT CITY COLLEGE
VISION: MABALACAT CITY COLLEGE envisions
itself to be the TOP CHOICE in the community it
serves for QUALITY EDUCATION and TRAINING
by 2025
MISSION: The Mission of MABALACAT CITY
COLLEGE is to meet the needs of its community
as CENTER FOR LEARNING aiming for OPEN
ADIMISSION POLICY
COURSE DESCRIPTION
This course deals with arts as an important and dynamic endeavor of human. It aims to improve
students’ ability to appreciate, analyze, and critique the works of art. Similarly, through
interdisciplinary and multimodal approaches, it equips students with broad knowledge of experiential,
historical, philosophical, psychological, and social relevance of the arts in order to hone students’
potential and ability to articulate their broader understanding of the arts (CMO No. 20, Series of 2013;
CHED, 2017b). The Art Appreciation class is a reflective session carried out in an indoor or outdoor
setting. It involves thoughtful conversations between students on their interpretation of different art
forms based on their experiences, emotions and aspirations. These sessions will create a mindset that
there is more than one perspective to everything which is essential to a cultured society. In this course,
students will learn the personal and technical aspect of the art such as the background of the artists
including history, motivations, influences, inspirations, techniques and mastery to be able to fully-
appreciated the value of the art. Students from the different institutes who attend the art appreciation
module, their requirements will defend on their specific fields of specialization. The IHTM students are
required to suit their activities or requirements with their specialization such as the art of plating,
table skirting, napkin folding, fruit curving or food photography. The IAS and ITE students will focus
on observing actual filmmaking, poetry writing, composing polosa or take a quick visit to museum (or
virtual tour), and the IBCE (ICS and IBE) students may marvel in the architecture of modern buildings
which made use of geometry, lines and proportion, and utilize the technology in producing arts. Another
mandatory requirement in this module is the unique traditional kapampangan parul (lantern) making
that can be observed during the Lubenas (Limbun). In this requirement, the students will experience
hands-on on lantern making or painting/curving technique by observing the artworks of community
expert and visiting the museum and various artistry/craftsmanship establishments found in the
community.
COURSE INTENDED LEARNING OUTCOMES
At the end of the course, students should be able to:
Knowledge
1. Demonstrate a broad understanding and appreciation about the essentials of arts specific to its
function, value, and historical relevance
2. Define the various abstractions, concepts and ideas of arts in general
3. Explain and differentiate the diverse manners/styles of visual arts as well as the various
genres in auditory arts
4. Identify and determine the impact and significant of visual and auditory arts from the ancient
to the contemporary period to human culture and society
Skills
5. Analyze, critique and appraise works of arts based on their knowledge about the aesthetic
value, background of the artist, historical context, tradition and social relevance
6. Create their self-expression visual art(s) by using the available medium(s)/media of visual
art in their respective home
7. Utilize the available applications (apps) like the Clip Studio and others in creating digital
artworks, visual aids and the like
Values
8. Appreciate the various work of arts from the primitive, renaissance, mannerism, baroque,
romanticism, avant-garde, to the contemporary arts
9. Develop an aesthetic pleasure, appreciation, and gratitude through art activity
10.Promote self-discipline and self-care by utilizing the diverse manners/styles of visual arts
and the various genres of auditory arts

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GENERAL GUIDELINES AND POLICIES
As the College currently follows Hybrid Delivery of Learning on its instruction, the following
general guidelines and policies are set by the School to be followed by the faculty-in-charge and
the students of the course.
Attendance. Checking of attendance during face to face classes is a requirement. For general
education courses, attendance to the seminar classes will be strictly observed.
Academic Integrity. Observance of the outmost academic integrity shall be observed by the students
of the course. Plagiarism, cheating, and other forms of academic dishonesty shall not be tolerated by
the faculty-in-charge nor the Institute.
Accomplishment of Requirements. All requirements given by the instructor/faculty-in-charge of the
course to the students shall be called/referred to/addressed as “work output”. Each work output must
be accomplished by the students until the schedule set by the instructor/faculty-in-charge. FINAL
student’s output must also be accomplished by the schedule set by the instructor of the course.
Line of Communication
The course’s official line of communication shall be through the following:
a. MS Teams
b. MS Outlook (@mcc.edu.ph)
c. FB Messenger official group chat
The outmost respect and courtesy must be observed by students in communicating to their
instructor/faculty-in-charge of the course and to their classmates and vice versa. Any form of
disrespectful and discourteous way of communication shall not be tolerated by the School.
Instructional Materials (IMs). Working students may avail of the modular type of teaching. MS
Teams on-line platform may be utilized by the instructor/faculty-in-charge of the course to the
students – adapting the flexible learning scheme.
Course Requirements and Grading System
STUDENT PERFORMANCE Module 1 Module 2 Module 3
Formative and
Summative
Assessment
(60%)
Class Monitoring
(10%)
Week 1 to 6 Week 7 to 12 Week 13 to 17
Classwork/Student
Output (30%)
§ Digital paper works: Reflection paper/ Reaction Paper/ Essay/
Worksheet (Minimum of two)
§ Quiz on every topic at the MS Teams (MS Forms)
Class Participation
(20%)
§ Recitation and participation in the discussion forum (online
meeting/seminar type)
Major
Examination
(40%)
Midterm
Examination
§ Midterm Examination will be conducted on week 12 at the MS
Forms
Final Examination § Final Examination will be conducted on week 18 at the MS Forms
Components of
Grades
Attendance (10%) Classwork (30%) Class Participation (20%) Major Exam (40%)
Grade
Equivalent
(G.E) x
Percentage (%)
Every meeting the students
will gain 10 points for their
attendance. Fail to attend the
meeting means zero (0)
point.
Total Point of
Worksheets + Total
Score of Quizzes / 2
and then get the grade
equivalent
The Total Class
Participation for every
meeting is 25 points.
Hence, for every meeting,
15 points will be given to
students who attended the
meeting.
The minimum point for
the major exam is 50
which has grade
equivalent of 100
Sample
Computation of
Grade
G.E is 100 (.10) = 10 G.E. is 90 (.30) = 27 G.E. is 90 (.20) = 18 G.E. is 95 (.40) = 38
Add all the points [Attendance (10) + Classwork (27) + Class Participation (18) + Major Exam (38)] = 93
(Midterm Grade)
Semestral Grade = Midterm Grade + Final Grade/ 2

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MUSIC: BAROQUE TO CONTEMPORARY
MUSIC is composed of tones and sounds organize in such manner as to convey the emotions and ideas
conceived by the composer. Music uses medium such as instrumental and vocal medium. Instrumental
medium are the musical instruments which produce distinct sounds. The musical instruments are
classified as wind (brass and woodwind), stringed, and percussion instruments. The stringed or plectrum
instruments are used commonly in the Rondalla, which play through plectrum or pick to produce sounds.
The Orchestra is a group of instrumentalists, which especially combines string, woodwind, brass, and
percussion to produce sounds, it is usually seen in the classical music. Wind instruments such as brass and
woodwind are commonly associated with the Jazz band/music.
Vocal medium is produced by the human voice and it can be classified as bass, bass-baritone, baritone,
baritenor, tenor, and countertenor (male voice type); and contralto, alto, mezzo-soprano, and soprano
(female voice type). A voice type is group of voices with similar vocal range (range of pitch), capable of
singing in a similar tessitura (range within most notes of vocal part fall), and with similar passaggi (vocal
transition point).
The Male Voice Type
Type Definition Chord
Countertenor It is considered as the highest male adult voice, which is associated to French, huate-contre
(sing in falsetto register and use modal voice). It is sometimes distinguished from male alto
voice. Subcategories: Sopranist or "male soprano", the haute-contre, and the Castrato.
E3 to E5
Tenor It is described as a singing voice between baritone and alto or countertenor. It is the highest
voice of the ordinary male range. Subcategories: Tenorino, Tenore, Leggero tenor or tenore
di grazia, lyric tenor, spinto tenor or tenore spinto, dramatic tenor, heldentenor, and baritenor
(blend of baritone and tenor)
C3 to C5
Baritone It is the middle range voice type for adult male, between tenor and bass. Subcategories:
Baryton-Martin, Lyric bariton, Bel canto or coloratura baritone, Kavalierbariton,
Heldenbaritone, Verdi baritone, Dramatic baritone, Baryton-noble, and Bass-baritone.
A2 to A4
Bass It is the lowest singing voice and the lowest tessitura of all the voices. Subcategories: Basso
profondo, Basso buffo, Bel canto bass, Basso cantante, Dramatic bass, and Bass-bariton.
E2 to E4
Image by MUSICNOTES NOW. https://www.musicnotes.com/now/tips/determine-vocal-range/
LEARNING OUTCOMES: By the end of this topic, the students will be able to do the following:
§ Identify and demonstrate understanding and appreciation about the different genres in music
§ Analyze and interpret the various genres of music

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The Female Voice Type
Type Definition Chord
Soprano It is considered as the highest female adult voice. French, Dugazon and Falcon are known
types of soprano, which are intermediate voice types between the soprano and mezzo-
soprano. Subcategories: Coloratura soprano, Sourbrette, Lyric soprano, Spinto soprano, and
Dramatic soprano
C4 to C6
Mezzo-
soprano
It is known as middle-range voice type for female. It lies between the soprano and contralto
range. Subcategories: Lyric mezzo-soprano, Coloratura mezzo-soprano and Dramatic
mezzo-soprano
A3 to A5
Contralto It is the lowest female voice. Subcategories: Coloratura contralto, Lyric contralto, and
Dramatic contralto
F3 to F5
Baroque music is a style of European music existed in the mid 18th century (c.1600-1760). The word,
baroque comes from the Portuguese word, barroco which means mis-shapen pearl; from Spanish,
barrueco; and from Italian baroco. Music historians described the term, Baroque as broad range of styles.
It was in October 1733 when the term, du barocque was first appeared in the work of Rameau, Hippolyte
et Aricie and printed in Mercure de France in May 1734. Rameau’s Hippolyte et Aricie in opera was
criticized to be lacked coherent melody, filled with unremitting dissonances, constantly changed key and
meter, and speedily ran through every compositional device. Johan Sebastian Bach, George Frideric Handel,
Allessandro Scarlatti, Domenico Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann, Jean-
Baptise Lully, Arcangelo Corelli, Tomaso Albino, Francois Couperin, Denis Gaultier, Claudio Monteverdi,
Heinrich Schutz, Jean-Philippe Rameau, Jan Dismas Zelenka, and Johann Pachelbel are known composers
during the Baroque period (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Elements of Music:
• Rhythm refers to the systematic arrangement of musical sounds, principally according to
duration and period of stress. It is the way that music is systematically divided into beats
(regular pulsation in music) that repeat a specific number of times (time signature) within a
bar at a collectively understood speed or tempo.
• Melody refers to the musically satisfying sequences of notes collectively.
o Amplitude refers to the loudness or softness of sound
o Pitch refers to the frequency of the vibration of sound, the high or low of tones or notes
o Progression refers to the distance between tones or notes
o Direction refers to the spatial movement of tones, to the changes in pitch.
o Duration refers to length of sound (long or short)
o Register refers to the location of the most notes of the melody
• Harmony refers to the simultaneous, vertical combination of note, usually forming chords.
• Tone Color refers to the quality of sounds (timbre). It is the result of tempo, dynamic, and
timbre.
o Tempo refers to the speed at which music may move
o Dynamics refer to the changes in the degree of loudness and softness in music.
o Timbre refers to the tone quality of sound
• Form or Structure refers to the sections or movements of a piece (overall design or plan of
music)
• Texture refers to the relationship between melody and harmony. It’s the density (thickness or
thinness) of the layers of sounds, melodies, and rhythms.
o Monophony (single layer of sound)
o Homophony (melody with accompaniment)
o Polyphony (two or more independent voices)

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

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Classical music. What makes a music a classical music? Baroque music was notable for its textual
intricacy, characterized by the creation of tonality and the elaboration of musical ornamentation, and
changes in musical notation. In Classical music, music was characterized by a near-obsession with
structural clarity. Classical Music (c.1750-c.1830) was rooted in the traditions of Western culture, specific
to liturgical or religious and secular music. It was prominent for its sonata form which dominated
instrumental composition until the contemporary period. The existence of Classical music gave way on the
development of the modern concerto, symphony, sonata, trio and quartet to the new peak of structural and
expressive refinement. Classical music was attributed with the masterpieces of the following composers
like Schobert and Honnauer (German classicist composer); Gluck; Boccherini; the ‘London Bach’ (Carl
Phillip Emmanuel, Wilhelm Friedmann and Johann Christian); and Joseph Haydn and Wolfgang Amadeus
Mozart, composers of extraordinary significance in the latter half of 18th century (Perez, 2021a; Perez,
2021c & Perez, 2021d).
Franz Joseph Haydn (1732-1809) was an Austrian composer and he was regarded as one of the
most prolific and prominent composers in the Classical period. Haydn was remembered for his master
pieces such symphonies (107), string quartets (83), piano trios (45), piano sonatas (62), masses (14),
and operas (26).
Haydn’s enthusiasm in music started at the age of five when he entered the Choir School of St.
Stephen’s Cathedral in Vienna, Austria. But at age of sixteen, he left the choir because his ethereal
treble tones lasted. By the year 1770, his reputation as composer spread rapidly in Austria, and
commissions began arriving from abroad. His music was known as ‘Sturn and Drang’ (storm and
stress).
In 1790, Haydn’s employer, Prince Nicholas Esterhazy died, that compelled him moved in Vienna,
and accepted the invitation of Johann Peter Salomon (great German-born violinist and impresario).
Haydn and Salamon visited England and found himself adored.
In 1795, Nicholas II successor of Prince Anton Esterhazy requested Haydn to return in Esterhaza and
was tasked to compose a new setting of mass music for every year. Haydn died on May 31, 1809.
Wolfgang Amadeus Mozart (1756-1791) was born on January 27, 1756 at Salzburg, Austria. He
was the son of a German composer and pedagogue, Johan Georg Leopold Mozart who likewise
trained and exposed his son in music in his early life.
In 1761, Mozart at age of five began to compose music through the education of his father, and during
this time he made his first public appearance as a dancer in a University of Salzburg student
production.
In 1762, Mozart together with his sister, Maria Anna Mozart had tour from Munich to Vienna, and he
performed to Empress Maria Theresia. His successful journey continued in Germany, Belgium,
Netherlands, France, England, and Switzerland.
In 1765, Mozart at age of nine, composed his first opera, Apollo et Hyacinthus, a Latin play for the
University of Salzburg. In 1767, he was awarded an honorary post, Konzermeister by the Salzburg
court after his first produced opera buffa, La finta semplice in Vienna, Austria.
In 1770, at age of fourteen, Mozart was elected as one of the members of the Accademia filarmonica
in Bologna, and had tour in Milan, Rome, and Naples which resulted to several opera commission for
over the next three years including Mithridate and Lucio Silla.
In 1777, he sought his fortune in Mannheim, Germany and Paris, France but his venture failed that
compelled him to return in Salzburg, Austria and then given him a position as court organist.
In 1780, Mozart wrote his first mature opera, Idomeneo for Munich and year later he was set adrift
from his official employment during a visit to the city of Vienna. His modus vivendi was identified as
teacher, composer, impresario, and keyboardist in the Imperial capital. In 1787, he was appointed as
the successor of Christoph Willibald von Gluck, as chamber musician to the imperial court.
Mozart was a prolific composer, who wrote 18 Masses; Requiem; four litanies; two vespers; eight
offertories; five antiphons; numerous other smaller sacred works; three oratories; six cantatas; 20
operas; 64 concert pieces with voice; 38 Lieder; numerous other secular vocal works; 53 symphonies;
23 serenades/divertimentos; over 100 dances; around 30 concertos for various instruments; 27 piano
concertos; 8 quintets; 34 quartets; host of sonatas, and solo sonatas for keyboard.
Reference: Van Boer, B. (2012). Historical Dictionary of Music of the Classical Period.
http://web.a.ebscohost.com/ehost/ebookviewer/ebook/

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Ludwig van Beethoven (1770-1827) was born on December 16, 1770 at Bonn, Germany. He was the
third generation of the Beethoven family who found employment as musician at the court of the Electorate
of Cologne. His grandfather, Ludwig (Louis) van Beethoven (1712-1773) was a trained musician with a
fine bass voice, who was appointed as bass in the electoral chapel at Bonn, and in 1761, he was
appointed as Kapellmeister.
In 1733, Beethoven’s grandfather married Maria Josepha Poll, and had son, Johann van Beethoven
(c.1740-1792), who likewise earned a living in music like giving lessons about piano and violin. In
November 1767, Johann married Maria Magdalena and had four children: Ludwig Maria (bap. 2 April
1769) lived only six days; Ludwig (bap. 17 December 1770); Caspar Anton Carl (bap. 8 April 1774); and
Nikolaus Johann (bap. 2 October 1776).
Ludwig van Beethoven’s exposure to piano and violin started at a very early age through the instruction
of his father. In March 26, 1778, at age of seven, he had his first public appearance in a concert “a
contralto”, where he played ‘various clavier concertos and trios’. At eight years old, he learned some
grounding in music theory as well as keyboard instruction to the old court organist van den Eeden. He
had piano lessons from Tobias Friedrich Pfeiffer, and he had violin and viola lessons from Franz
Rovantini. Most of the out-of-school hours of Beethoven were devoted to music, and like most of the
children in Bonn, his general education was not continued in accordance with the usual custom. In 1779,
Beethoven enhanced his skill in music from Christian Gottlob Neefe, musical director of a Theatrical
Company and court organist in Bonn. In June 1782, Beethoven at age of 111/2 acted as deputy in the absence of Neefe. Through his teacher
Neefe, Beethoven exposure to music continued; heard all the popular operas of the day in Lucchesi; peformed numerous occasions in Holland;
and joined the orchestral concert at The Hague.
In 1784, Beethoven received his first salary as assistant organist of Neefe, and later the new elector, Maximilian Franz (brother of the Habsburg
Empereror Joseph II) fixed his salary to 150 florins. From 1789, when the musical life of the town under the new elector was fully resumed,
Beethoven played the viola in the orchestras both of the court chapel and of the theatre, alongside such fine musicians as Franz Ries and
Andreas Romberg (violins), Bernhard Romberg (cello), Nikolaus Simrock (horn) and Antoine Reicha (flute); some of these were to remain almost
lifelong friends. He also began to be active again as a composer, producing, among other works, the most impressive composition of the Bonn
years, the cantata on the death of the Emperor Joseph II.
In 1792, Beethoven settled in Vienna, Austria and he studied music to Haydn. On 23 November 1793, Haydn wrote on his behalf to the elector,
enclosing five pieces of music, ‘compositions of my dear pupil Beethoven’, whom he predicted would ‘in time fill the position of one of Europe’s
greatest composers’. He added (with characteristic generosity): ‘I shall be proud to call myself his teacher; I only wish that he might remain with
me a little while longer’. When Haydn left for England in 1794, he passed Beethoven on to another tutor, Johann Georg Albrechtsberger, the
Kapellmeister at the Stephansdom and the best-known teacher of counterpoint in Vienna. On 18 December 1795 Beethoven made his second
public appearance in Vienna as a composer-virtuoso, playing a piano concerto at a concert which Haydn organized and which included three of
his latest symphonies, written for London.
In February 1796 he set out for Prague, travelling (as Mozart had done seven years earlier) with Prince Lichnowsky. On 11 March he gave a
concert in Prague; on 29 April he played before the Elector of Saxony in Dresden. On reaching Berlin, he appeared several times before the
King of Prussia (Friedrich Wilhelm II), and with the king’s first cellist, Jean Louis Duport, he played the two op.5 cello sonatas, written for this
performance. At the end of 1796 Beethoven again travelled. He played at a concert at Pressburg (now Bratislava) on 23 November. On 2 April
1800 Beethoven gave his first concert for his own benefit, in the Burgtheater. The music included, besides a Mozart symphony and numbers
from Haydn’s Creation, two new works by Beethoven, the Septet (op.20) and the First Symphony.
The Beethoven we know today cannot be separated from the history of his critical and popular reception. No other Western composer has been
amplified to the same degree by posterity; and none has come to embody musical art the way Beethoven has. More than a composer, he
remains one of the pre-eminent cultural heroes of the modern West. For a comprehensive view of the full impact of Beethoven, three related
strands of the history of his reception must be considered: the myth of the artist as hero; the deep and pervasive influence of his music on later
music and thought about music; and the often disturbing political appropriations of his music.
At a time of personal crisis it was natural for Beethoven’s thoughts to turn to his last years in Bonn and to the friends he still had there. One of
these – his friend of longest standing, trained in medicine, discreet, remote from Vienna – was particularly suited to be the first recipient of a
secret that Beethoven had kept to himself for some years and that had not yet been guessed by his circle of friends in the capital: the appalling
discovery that he was going deaf. These tidings were now conveyed to Wegeler in Bonn in a letter of 29 June 1801, and to another absent
friend, Karl Amenda in Courland, two days later.
Exactly when Beethoven first detected some impairment in his hearing cannot be determined. Perhaps he did not quite know himself, for no
doubt its onset was insidious, and he probably did not regard any temporary periods of deafness or diminished hearing as sinister, especially
since he had long become used to spells of fever, abdominal pain and episodes of ill-health. A young man does not expect to go deaf, and
although in one account he implied that he had noticed the first symptoms in 1796, other statements set the date somewhat later, and the
crisis came only with the growing realization that his deafness was progressive and probably incurable. From the descriptions of his symptoms
there is general agreement among modern otologists that his deafness was caused by otosclerosis of the ‘mixed’ type, that is, the
degeneration of the auditory nerve as well by no means a rare condition.At this time Beethoven had not yet given up hope that his doctors
could do something for his hearing, but he could already foresee incalculable troubles both for his professional life and what it is easy to forget
was equally important to him for his social life. As he wrote to Wegeler: “I must confess that I am living a miserable life. For almost two years I
have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession it would
be easier, but in my profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say?” The funeral
of Ludwig van Beethoven in Vienna, Austria on March 29, 1827 was celebrated as a grand affair. Reference: Burnham, S.G., Drabkin, W.,
Johnson, D., Kerman, J. & Tyson, A. (2001). Beethoven, Ludwig van. https://doi.org/10.1093/gmo/9781561592630.article.40026

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Franz Liszt (1811-1886) was born on October 22, 1811 at Doborjan, kingdom of Hungary, Austria.
Hungarian composer and pianist. He was a key figure in the romantic movement; many of his piano
compositions combine lyricism with great technical complexity, while his twelve symphonic
poems (1848–1858) such as two completed piano concerti, several sacred choral works, and a great
variety of solo piano pieces, created a new musical form.
At the age of five, Franz was already attracted to the piano and was soon given lessons by his father,
Adam Liszt who was a talented amateur musician, playing the cello in the court concert. At his early year,
Franz showed interest in both church and Roma music. Through the influence of his father, Franz spent
his two years to the Franciscan order during his adolescent year.
Franz began to compose at the age of eight, and at age of nine years he made his first public appearance
as a concert pianist at Sopron and Pozsony (now Bratislavia, Slovakia). His first concert as pianist gained
admiration to the Hungarian, and paid his musical education for the next six years.
Franz early education in music was spent in Vienna, Austria where he had piano lessons with Carl Czerny (pupil of Ludwig van Beethoven). In
1823, the Liszt family moved in Paris, France and had his concerts in Germany on the way. However, in Paris, he was rejected by the Paris
Conservatoire because he was a foreigner.
Between 1830 and 1832 he met three men who were to have a great influence on his artistic life. At the end of 1830 he first met Hector
Berlioz and heard the first performance of his Symphonie fantastique. From Berlioz he inherited the command of the Romantic orchestra and
also the diabolic quality that remained with him for the rest of his life. He achieved the seemingly impossible feat of transcribing
Berlioz’s Symphonie fantastique for the piano in 1833, and he helped Berlioz by transcribing other works of his and playing them in concert. In
March 1831 he heard Niccolò Paganini play for the first time. He again became interested in virtuoso technique and resolved to transfer some
of Paganini’s fantastic violin effects to the piano, writing a fantasia on his La campanella. At this time he also met Frédéric Chopin, whose poetical
style of music exerted a profound influence on Liszt.
In 1834 Liszt emerged as a mature composer with the solo piano piece Harmonies poétiques et religieuses, based on a collection of poems
by Alphonse de Lamartine, and the set of three Apparitions. The lyrical style of these works is in marked contrast to his youthful compositions,
which reflected the style of his teacher Czerny. In the same year, through the poet and dramatist Alfred de Musset, he met the novelist George
Sand and also Marie de Flavigny, countess d’Agoult, with whom he began an affair. In 1835 she left her husband and family to join Liszt in
Switzerland; their first daughter, Blandine, was born in Geneva on December 18. Liszt and Madame d’Agoult lived together for four years, mainly
in Switzerland and Italy, though Liszt made occasional visits to Paris. He also taught at the newly founded Geneva Conservatory and published
a series of essays, “On the Position of Artists,” in which he endeavored to raise the status of the artist who up to then had been regarded as a
kind of superior servant to that of a respected member of the community.
For the next eight years Liszt lived mainly in Rome and occupied himself more and more with religious music. He completed the oratorios Die
Legende von der heiligen Elisabeth (1857–62) and Christus (1855–66) and a number of smaller works. He hoped to create a new kind of religious
music that would be more direct and moving than the rather sentimental style popular at the time. Liszt was one of the few 19th-century musicians
to be interested in Gregorian plainsong, but his efforts were frowned on by the ecclesiastical authorities, and much of his sacred music remained
unpublished until many years after his death.
In 1886 Liszt left Rome for the last time. He attended concerts of his works in Budapest, Liège, and Paris and then went to London—his first
visit there in 45 years—where several concerts of his works were given. He then went on to Antwerp, Paris, and Weimar. He played for the last
time at a concert in Luxembourg on July 19. Two days later he arrived in Bayreuth for the festival. His health had not been good for some
months, and he went to bed with a high fever, though he still managed to attend two Wagner performances. His illness developed
into pneumonia, and Cosima, who was then the director of the festival, left him to the care of a doctor as she managed the performances. He
Romantic Music (1830-1900) was the time where composers, artists and authors move away from the
formal restraint of the Classical period. Composers like Weber, Schubert, Schumann, Chopin, Liszt, Berlioz
and Wagner were known in this period. Beethoven was often seen as the link composer between the
Classical and Romantic periods. However, his death in 1827 preceded the start of the Romantic period, and
much of his later music display many features of the Romantic music (Perez, 2021a; Perez, 2021c & Perez,
2021d).
Romantic music was remarkable with the following key features:
§ Emotional expression – this became more important than formal structural considerations as
composers rebelled against the formal restraint of the classical period.
§ Big expansion in size of orchestra and in types of instrument.
§ New structures/forms – rhapsody, nocturne, song cycle
§ Increasingly elaborate harmonic progressions
§ Longer melodies than classical period
§ Bigger range of dynamics
§ Larger range in pitch (could be very easily expressed on the piano).
§ Nationalism in music – some composers sought to use their compositions to celebrate their
countries e.g. Edelweiss

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Modern music is broadly defined as the breaking-down of all traditional aesthetic conventions that
eventually developed into unleashing complete freedom in all aesthetic dimensions, including melody,
rhythm, and chord progression. The convention of major-minor tonality (already heavily strained by
Wagner and his successors) was completely abandoned by many composers. The advancement of
technology paved the way the development of audio recording technology, along with the ability to quickly
and cheaply distribute recordings and scores, were central to the revolutions of modern music (Perez,
2021a; Perez, 2021c & Perez, 2021d).
The vast catalogue of Western art music became much more accessible and the non-Western music was
suddenly open to exploration (via notated and recorded works), hence exposing Western composers to
countless exotic musical ideas. Recording technology also provided composers with a new
"instrument": recorded sounds, which could be manipulated in endless ways. Further advances in audio
technology gave rise to electronically-produced sounds. Ultimately, many composers agreed that all
sounds, even "noise", can be considered forms of music (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Pre-modern music is classified as folk and art music. The Folk music emerged naturally among cultures
throughout the world. It generally features relatively simple structure/theory and has a relaxed, informal
quality. The Art music was deliberately cultivated by small numbers of professional composers. It usually
features relatively complex structure/theory has elevated, formal quality. Western style of music such as
impressionism is considered to embody the transition from Romantic to modern music. Impressionist
music tend to feature static harmony (chords are not arranged to provide tension and release). Hence, the
sense of forward motion is mild or absent (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Impressionist composers often select chords for their individual sounds rather than arranging them in
progressions. Impressionist music can thus be described as series of harmonic textures, as opposed to a
melody supported by a harmonic foundation. This makes impressionism superb for
conveying atmosphere rather than forceful emotion. The two foremost impressionist composers
are Claude Debussy, who founded the style during the early modern period of music, ca. 1850-1900
and Maurice Ravel, who led impressionism during the late modern period, ca. 1900-60. Both excelled in
works for piano and orchestra. Debussy's most famous composition is the piano work Clair de Lune, while
Ravel's is the orchestral work Bolero (Perez, 2021a; Perez, 2021c & Perez, 2021d).
The revolutionary development of the late modern period (ca. 1900-60) was atonal music, which lacks a
tonal center. This was an extraordinarily novel concept; all pre-modern musical traditions throughout the
world are tonal. In Western art music, major-minor tonality had prevailed throughout the Baroque,
Classical, and Romantic periods . Atonality emerged from the abundant chromaticism of late Romantic
music. "Chromaticism" denotes the use of notes that lie outside the scale on which a passage is based
(Perez, 2021a; Perez, 2021c & Perez, 2021d)
The Modern Western Art Music can be classified into three branches such as Radical modern music,
Moderate modern music, and Major-minor tonal music. Radical modern music encompasses all types that
depart extremely from traditional Western music. The primary member of this branch is atonal music and
the non-musical sounds. Moderate modern departs less severely from tradition and it features heavy
chromaticism, yet retains a sense of tonality, as well as other traditional conventions. Major-minor
tonal encompasses most film music and musicals; additionally, it includes most popular music. Thus, in
terms of sheer audience size, major-minor tonality continues to dominate Western music(Perez, 2021a;
Perez, 2021c & Perez, 2021d).
Arnold Schoenberg, an Austrian was the most famous and influential atonal composer. He developed a
widely-used approach to atonal composition, the twelve-tone system, in which a composer arranges the
twelve notes of the octave in any desired order; this sequence is then repeated continuously throughout
the composition (Perez, 2021a; Perez, 2021c & Perez, 2021d).
Igor Stravinsky was considered as foremost moderate modern composer, often considered the greatest
composer of the twentieth century. The Rite of Spring, a ballet was one of his most famous works. Modern
Opera. The age of Romantic opera extended several decades into the twentieth century, led by Puccini and
Richard Strauss. Opera then became the domain of modern composers, the most popular of which
is Benjamin Britten. His most-performed work is “The Turn of the Screw” (Perez, 2021a; Perez, 2021c &
Perez, 2021d)

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The Contemporary music started in the early 1900s. The major early features of contemporary music were
the use of dissonance, merging music styles, and experimenting new approach to music. Minimalism,
postmodernism, serialism, are subcategories of contemporary music that was explored in the early years.
Contemporary music has no particular music style. It was a term that referred to the period rather than the
style of music engaged. As a result, you cannot outrightly say it was patterned in a particular manner
(Perez, 2021a; Perez, 2021c & Perez, 2021d).
Contemporary music is any style of music that is current or modern, addressing current issues in a
manner that is appealing to the current audience. The manner of appeal may involve fusing more than one
original music style together. The characteristics of contemporary music include the following: 1) The use
of dissonant harmonies; 2) The use of uncommon and/or complex rhythms; 3) More use of brass and
percussion instruments; and 4) Use of electronically created and synthetic sounds. Examples of
contemporary music include Jazz, Blues, Pop, Rock, Folk, Hip-hop, Metal, Dance music, and Country music.
All of these music genres were either formed or well explored in the 1940s and afterward (Perez, 2021a;
Perez, 2021c & Perez, 2021d)
Non-orchestral musical instruments and digital equipment are mostly used in contemporary music. Non-
orchestral instruments such as the piano, guitar, acoustic drum, and saxophone all fall into this category.
With the influence of electricity and technology, many contemporary music styles use digital equipment
that can be found in studios. These play a huge part in recording and publicizing the various contemporary
art music styles (Perez, 2021a; Perez, 2021c & Perez, 2021d)
Pic 1a. The World's Favorite Music Genres (2018). By Richter, image by Statista.
https://www.statista.com/chart/15763/most-popular-music-genres-worldwide/. As revealed from
the survey, among the 18 countries consisting 19,000 consumers with age ranged from 16-64 years
old, most of the respondents (64%) preferred to listen to pop music. The survey likewise showed that
the respondents (57%) still liked to listen to rock music. Unexpectedly, the survey also revealed that
there were some respondents (24%) who were fascinated in listening to Classical or Opera music.

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Elements of Novel
§ Character
§ Narrative method
§ Plot
§ Point of View
§ Myth (Symbolism)
§ Setting
§ Scope
Elements of Poetry
§ Connotation refers
to emotional or
symbolical meaning.
§ Figurative Language
refers to the use of
metaphor and
simile.
§ Imagery refers to
the comparison
between one that is
usually evoking a
more meaningful
visual experience
for the reader.
Kinds of Poetry
§ Narrative Poem
§ Lyric Poem
§ Reading Poem
Forms of Poetry
§ Sonnet
§ Limerick
§ Haiku
§ Free Verse
LITERARY ARTS : FICTIONAL TO NON-
FICTIONAL
Literature is derived from the Latin word, litera means letter. It literally
means acquaintance with letters. It is a written works that exploit the
suggestive power of language. It is broadly defined as collection of written
work which includes works in various non-fiction genres such as
autobiography, diaries, memoirs, letters, and the essay; and likewise works
in various fictional genres such as novel, poem and short story. It is
classified into Fiction (Imaginative or Literature of power) interprets
human experiences through the presentation of non-factual (fictitious)
events or imaginary person, and Non-Fiction (Literature of knowledge)
presents or interprets actual facts, experiences, ideas, or events based on
actual circumstances or real life (Perez, 2021b; Perez, 2021e).
Autobiography is a self-written account of one’s life. Diary is originally in
handwritten format which is usually used to record personal experiences,
thoughts and feelings. Memoir refers to any non-fiction narrative writing
based on the author’s personal memories. Essay derives from the French
infinitive essayer (essais), which means to try or to attempt. It is a
composition which discuss a single topic. It is a piece of writing which is
often written from an author's personal point of view. It is a prose
composition focused on subject of discussion or on systematic discourse
(Perez, 2021b; Perez, 2021e).
Novel is a fictional prose narrative of considerable length, typically having
a plot that is unfolded by the actions, speech, and thoughts of the characters.
It is a fictional prose narrative with complexity that deals imaginatively
with human experience through a connected sequence of events involving
a group of persons in a specific setting. The typical elements of a
conventional novel are plot, character, setting, narrative method and point
of view, scope, and myth or symbolism (Perez, 2021b; Perez, 2021e).
Poetry (Poem) is a composition written in verse depends on imagery,
precise word choice, and metaphor, which may take the form of measures
consisting of patterns of stresses (metric feet) or of patterns of different-
length syllables (as in classical prosody); and they may or may not utilize
rhyme, free-verse. Short story is a piece of prose fiction that typically can
be read in one sitting and usually focuses on self-contained incident. It is
one of the oldest types of literature which is traditionally in a form of oral
literature. It can be described in the form of legends, myths, tales, folk tales,
fairy tales, fables and anecdote (Perez, 2021b; Perez, 2021e).
§ Identify and demonstrate understanding and appreciation about the different genres in
literature
§ Demonstrate familiarity about the Symbolism Imagery Figurative language Tone and Theme
(SIFT) Analysis in critiquing literary works
§ Compose their preferred genre specific to essay, poem and short story
§ Analyze, critique and appraise works of arts based on their knowledge about the aesthetic

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Open Discussion. Read the short story of Leo Tolstoy, “God Sees the Truth but Wait”. Write your
reaction in the OneDrive: Open Discussion - God Sees the Truth but Waits.docx
GOD SEES THE TRUTH, BUT WAITS
(Leo N. Tolstoy)
Source: Seltzer, Thomas (ed.)(2004). Best Russian Short Stories. Project Gutenberg EBook of Best
Russian Short Stories by Various. https://www.gutenberg.org/files/13437/13437-h/13437h.htm#link2H_4_0007
In the town of Vladimir lived a young merchant named Ivan Dmitrich Aksionov. He had two shops and a
house of his own. Aksionov was a handsome, fair-haired, curly-headed fellow, full of fun, and very fond of
singing. When quite a young man he had been given to drink, and was riotous when he had had too much;
but after he married he gave up drinking, except now and then.
One summer Aksionov was going to the Nizhny Fair, and as he bade good-bye to his family, his wife said to
him, “Ivan Dmitrich, do not start to-day; I have had a bad dream about you.”
Aksionov laughed, and said, “You are afraid that when I get to the fair I shall go on a spree.”
His wife replied: “I do not know what I am afraid of; all I know is that I had a bad dream. I dreamt you
returned from the town, and when you took off your cap I saw that your hair was quite grey.”
Aksionov laughed. “That’s a lucky sign,” said he. “See if I don’t sell out all my goods, and bring you some
presents from the fair.” So he said good-bye to his family, and drove away.
When he had travelled half-way, he met a merchant whom he knew, and they put up at the same inn for
the night. They had some tea together, and then went to bed in adjoining rooms.
It was not Aksionov’s habit to sleep late, and, wishing to travel while it was still cool, he aroused his driver
before dawn, and told him to put in the horses.
Then he made his way across to the landlord of the inn (who lived in a cottage at the back), paid his bill,
and continued his journey.
When he had gone about twenty-five miles, he stopped for the horses to be fed. Aksionov rested awhile in
the passage of the inn, then he stepped out into the porch, and, ordering a samovar to be heated, got out
his guitar and began to play.
Suddenly a troika drove up with tinkling bells and an official alighted, followed by two soldiers. He came to
Aksionov and began to question him, asking him who he was and whence he came. Aksionov answered him
fully, and said, “Won’t you have some tea with me?” But the official went on cross-questioning him and
asking him. “Where did you spend last night? Were you alone, or with a fellow-merchant? Did you see the
other merchant this morning? Why did you leave the inn before dawn?”
Aksionov wondered why he was asked all these questions, but he described all that had happened, and
then added, “Why do you cross-question me as if I were a thief or a robber? I am travelling on business of
my own, and there is no need to question me.”
Then the official, calling the soldiers, said, “I am the police-officer of this district, and I question you because
the merchant with whom you spent last night has been found with his throat cut. We must search your
things.” They entered the house. The soldiers and the police-officer unstrapped Aksionov’s luggage and
searched it. Suddenly the officer drew a knife out of a bag, crying, “Whose knife is this?” Aksionov looked,
and seeing a blood-stained knife taken from his bag, he was frightened. “How is it there is blood on this
knife?”
Aksionov tried to answer, but could hardly utter a word, and only stammered: “I—don’t know—not mine.”
Then the police-officer said: “This morning the merchant was found in bed with his throat cut. You are the
only person who could have done it. The house was locked from inside, and no one else was there. Here is
this blood-stained knife in your bag and your face and manner betray you! Tell me how you killed him, and
how much money you stole?”

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Aksionov swore he had not done it; that he had not seen the merchant after they had had tea together; that
he had no money except eight thousand rubles of his own, and that the knife was not his. But his voice was
broken, his face pale, and he trembled with fear as though he went guilty.
The police-officer ordered the soldiers to bind Aksionov and to put him in the cart. As they tied his feet
together and flung him into the cart, Aksionov crossed himself and wept. His money and goods were taken
from him, and he was sent to the nearest town and imprisoned there. Enquiries as to his character were
made in Vladimir. The merchants and other inhabitants of that town said that in former days he used to
drink and waste his time, but that he was a good man. Then the trial came on: he was charged with
murdering a merchant from Ryazan, and robbing him of twenty thousand rubles.
His wife was in despair, and did not know what to believe. Her children were all quite small; one was a
baby at her breast. Taking them all with her, she went to the town where her husband was in jail. At first
she was not allowed to see him; but after much begging, she obtained permission from the officials, and
was taken to him. When she saw her husband in prison-dress and in chains, shut up with thieves and
criminals, she fell down, and did not come to her senses for a long time. Then she drew her children to her,
and sat down near him. She told him of things at home, and asked about what had happened to him. He
told her all, and she asked, “What can we do now?”
“We must petition the Czar not to let an innocent man perish.”
His wife told him that she had sent a petition to the Czar, but it had not been accepted.
Aksionov did not reply, but only looked downcast.
Then his wife said, “It was not for nothing I dreamt your hair had turned grey. You remember? You should
not have started that day.” And passing her fingers through his hair, she said: “Vanya dearest, tell your wife
the truth; was it not you who did it?”
“So you, too, suspect me!” said Aksionov, and, hiding his face in his hands, he began to weep. Then a soldier
came to say that the wife and children must go away; and Aksionov said good-bye to his family for the last
time.
When they were gone, Aksionov recalled what had been said, and when he remembered that his wife also
had suspected him, he said to himself, “It seems that only God can know the truth; it is to Him alone we
must appeal, and from Him alone expect mercy.”
And Aksionov wrote no more petitions; gave up all hope, and only prayed to God.
Aksionov was condemned to be flogged and sent to the mines. So he was flogged with a knot, and when the
wounds made by the knot were healed, he was driven to Siberia with other convicts.
For twenty-six years Aksionov lived as a convict in Siberia. His hair turned white as snow, and his beard
grew long, thin, and grey. All his mirth went; he stooped; he walked slowly, spoke little, and never laughed,
but he often prayed.
In prison Aksionov learnt to make boots, and earned a little money, with which he bought The Lives of the
Saints. He read this book when there was light enough in the prison; and on Sundays in the prison-church
he read the lessons and sang in the choir; for his voice was still good.
The prison authorities liked Aksionov for his meekness, and his fellow-prisoners respected him: they called
him “Grandfather,” and “The Saint.” When they wanted to petition the prison authorities about anything,
they always made Aksionov their spokesman, and when there were quarrels among the prisoners they
came to him to put things right, and to judge the matter.
No news reached Aksionov from his home, and he did not even know if his wife and children were still
alive.
One day a fresh gang of convicts came to the prison. In the evening the old prisoners collected round the
new ones and asked them what towns or villages they came from, and what they were sentenced for.
Among the rest Aksionov sat down near the newcomers, and listened with downcast air to what was said.

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One of the new convicts, a tall, strong man of sixty, with a closely-cropped grey beard, was telling the others
what he had been arrested for.
“Well, friends,” he said, “I only took a horse that was tied to a sledge, and I was arrested and accused of
stealing. I said I had only taken it to get home quicker, and had then let it go; besides, the driver was a
personal friend of mine. So I said, ‘It’s all right.’ ‘No,’ said they, ‘you stole it.’ But how or where I stole it they
could not say. I once really did something wrong, and ought by rights to have come here long ago, but that
time I was not found out. Now I have been sent here for nothing at all... Eh, but it’s lies I’m telling you; I’ve
been to Siberia before, but I did not stay long.”
“Where are you from?” asked someone.
“From Vladimir. My family are of that town. My name is Makar, and they also call me Semyonich.”
Aksionov raised his head and said: “Tell me, Semyonich, do you know anything of the merchants Aksionov
of Vladimir? Are they still alive?”
“Know them? Of course I do. The Aksionovs are rich, though their father is in Siberia: a sinner like ourselves,
it seems! As for you, Gran’dad, how did you come here?”
Aksionov did not like to speak of his misfortune. He only sighed, and said, “For my sins I have been in prison
these twenty-six years.”
“What sins?” asked Makar Semyonich.
But Aksionov only said, “Well, well—I must have deserved it!” He would have said no more, but his
companions told the newcomers how Aksionov came to be in Siberia; how someone had killed a merchant,
and had put the knife among Aksionov’s things, and Aksionov had been unjustly condemned.
When Makar Semyonich heard this, he looked at Aksionov, slapped his own knee, and exclaimed, “Well, this
is wonderful! Really wonderful! But how old you’ve grown, Gran’dad!”
The others asked him why he was so surprised, and where he had seen Aksionov before; but Makar
Semyonich did not reply. He only said: “It’s wonderful that we should meet here, lads!”
These words made Aksionov wonder whether this man knew who had killed the merchant; so he said,
“Perhaps, Semyonich, you have heard of that affair, or maybe you’ve seen me before?”
“How could I help hearing? The world’s full of rumours. But it’s a long time ago, and I’ve forgotten what I
heard.”
“Perhaps you heard who killed the merchant?” asked Aksionov.
Makar Semyonich laughed, and replied: “It must have been him in whose bag the knife was found! If
someone else hid the knife there, ‘He’s not a thief till he’s caught,’ as the saying is. How could anyone put a
knife into your bag while it was under your head? It would surely have woke you up.”
When Aksionov heard these words, he felt sure this was the man who had killed the merchant. He rose and
went away. All that night Aksionov lay awake. He felt terribly unhappy, and all sorts of images rose in his
mind. There was the image of his wife as she was when he parted from her to go to the fair. He saw her as
if she were present; her face and her eyes rose before him; he heard her speak and laugh. Then he saw his
children, quite little, as they were at that time: one with a little cloak on, another at his mother’s breast.
And then he remembered himself as he used to be-young and merry. He remembered how he sat playing
the guitar in the porch of the inn where he was arrested, and how free from care he had been. He saw, in
his mind, the place where he was flogged, the executioner, and the people standing around; the chains, the
convicts, all the twenty-six years of his prison life, and his premature old age. The thought of it all made
him so wretched that he was ready to kill himself.
“And it’s all that villain’s doing!” thought Aksionov. And his anger was so great against Makar Semyonich
that he longed for vengeance, even if he himself should perish for it. He kept repeating prayers all night,
but could get no peace. During the day he did not go near Makar Semyonich, nor even look at him.

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A fortnight passed in this way. Aksionov could not sleep at night, and was so miserable that he did not know
what to do.
One night as he was walking about the prison he noticed some earth that came rolling out from under one
of the shelves on which the prisoners slept. He stopped to see what it was. Suddenly Makar Semyonich
crept out from under the shelf, and looked up at Aksionov with frightened face. Aksionov tried to pass
without looking at him, but Makar seized his hand and told him that he had dug a hole under the wall,
getting rid of the earth by putting it into his high-boots, and emptying it out every day on the road when
the prisoners were driven to their work.
“Just you keep quiet, old man, and you shall get out too. If you blab, they’ll flog the life out of me, but I will
kill you first.”
Aksionov trembled with anger as he looked at his enemy. He drew his hand away, saying, “I have no wish
to escape, and you have no need to kill me; you killed me long ago! As to telling of you—I may do so or not,
as God shall direct.”
Next day, when the convicts were led out to work, the convoy soldiers noticed that one or other of the
prisoners emptied some earth out of his boots. The prison was searched and the tunnel found. The
Governor came and questioned all the prisoners to find out who had dug the hole. They all denied any
knowledge of it. Those who knew would not betray Makar Semyonich, knowing he would be flogged almost
to death. At last the Governor turned to Aksionov whom he knew to be a just man, and said:
“You are a truthful old man; tell me, before God, who dug the hole?”
Makar Semyonich stood as if he were quite unconcerned, looking at the Governor and not so much as
glancing at Aksionov. Aksionov’s lips and hands trembled, and for a long time he could not utter a word. He
thought, “Why should I screen him who ruined my life? Let him pay for what I have suffered. But if I tell,
they will probably flog the life out of him, and maybe I suspect him wrongly. And, after all, what good would
it be to me?”
“Well, old man,” repeated the Governor, “tell me the truth: who has been digging under the wall?”
Aksionov glanced at Makar Semyonich, and said, “I cannot say, your honour. It is not God’s will that I should
tell! Do what you like with me; I am in your hands.” However much the Governor tried, Aksionov would say
no more, and so the matter had to be left. That night, when Aksionov was lying on his bed and just beginning
to doze, someone came quietly and sat down on his bed. He peered through the darkness and recognised
Makar. “What more do you want of me?” asked Aksionov. “Why have you come here?”
Makar Semyonich was silent. So Aksionov sat up and said, “What do you want? Go away, or I will call the
guard!” Makar Semyonich bent close over Aksionov, and whispered, “Ivan Dmitrich, forgive me!” “What
for?” asked Aksionov. “It was I who killed the merchant and hid the knife among your things. I meant to kill
you too, but I heard a noise outside, so I hid the knife in your bag and escaped out of the window.”
Aksionov was silent, and did not know what to say. Makar Semyonich slid off the bed-shelf and knelt upon
the ground. “Ivan Dmitrich,” said he, “forgive me! For the love of God, forgive me! I will confess that it was
I who killed the merchant, and you will be released and can go to your home.” “It is easy for you to talk,”
said Aksionov, “but I have suffered for you these twenty-six years. Where could I go to now?... My wife is
dead, and my children have forgotten me. I have nowhere to go...” Makar Semyonich did not rise, but beat
his head on the floor. “Ivan Dmitrich, forgive me!” he cried. “When they flogged me with the knot it was not
so hard to bear as it is to see you now ... yet you had pity on me, and did not tell. For Christ’s sake forgive
me, wretch that I am!” And he began to sob.
When Aksionov heard him sobbing he, too, began to weep. “God will forgive you!” said he. “Maybe I am a
hundred times worse than you.” And at these words his heart grew light, and the longing for home left him.
He no longer had any desire to leave the prison, but only hoped for his last hour to come. In spite of what
Aksionov had said, Makar Semyonich confessed his guilt. But when the order for his release came, Aksionov
was already dead.

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Specific Forms of Poetry
Sonnet is one of several forms of poetry that originates in Europe. It is derived from Italian word, sonetto
which means little song or little sound. It is poem of fourteen lines that follows a strict rhyme scheme and
specific structure (iambic pentameter/ hexameter). William Shakespeare, John Milton, and Elizabeth
Barrett Browning are among the well-known English sonnet writers. Dante Alighieri and Giacomo da
Lentini are among the popular Italian sonnet writers (Perez, 2021b; Perez, 2021e).
Limerick is kind of a witty, humorous, or nonsense poem especially one in five-line anapestic or
amphibrachic meter with a strict rhyme scheme. It was popularized by Edward Lear in the 19th century.
The standard form of a limerick is a stanza of five lines, with the first, second and fifth usually rhyming with
one another and having three feet of three syllables each. Limerick is generally taken to be a reference to
the City or County of Limerick in Ireland. The limerick form was popularized by Edward Lear in his first
Book of Nonsense (1845) and a later work (1872) on the same theme. Lear wrote 212 limericks, mostly
nonsense verse (Perez, 2021b; Perez, 2021e)
Elements of Literature
§ Allegory. The characters are representative of some larger humanistic trait and attempt to
convey some larger lesson or meaning in life
§ Allusion. A reference to something in history, culture or literature (especially historical).
§ Antagonist. The force that works against the protagonist.
§ Characterization. The creation and development of the people in a story.
§ Climax. The point in the story where the conflict is at its peak.
§ Conflict. The struggle a character must overcome.
§ Connotation. Implied meaning of the word is the associated meaning that comes from its
use in various social contexts; will change over time and vary from location to location.
§ Crisis. A significant turning point in the story that determines how it must end.
§ Diction. The author's choice of words to imply some social or connotative meaning.
§ Exposition. The background information of a story.
§ Flashback. A strategy of plot sequencing where the author takes the reader back to events
that occurred before the present time in the story.
§ Foreshadowing. Use of clues to suggest something that is going to happen.
§ Imagery. The author's attempt to create a mental picture in the mind of the reader.
§ Irony. A twist of fate in which the results of action are not the expected results.
§ Metaphor. A comparison of two generally unlike things meant to illuminate truth.
§ Motif. A recurring image or idea.
§ Mood. The feeling a reader gets from a story.
§ Plot. The events that occur in a story.
§ Point of View. It refers to whether that story is told by a character or an outside observer.
§ Protagonist. The character the story revolves around.
§ Resolution. The conclusion of the story.
§ Setting. Where and when the action takes place.
§ Structure. The way that the writer arranges the plot of a story.
§ Subplot. A secondary plot strand that is a supporting side story for the main plot.
§ Suspense. The tension that the author uses to create a feeling of discomfort about the
unknown.
§ Symbolism. A person, place, event or object that has a deeper meaning that its literal
meaning
§ Theme. The central idea or lesson about life that an author conveys.
§ Tone. The author's voice or attitude about what he or she writes
§
Source: Elements of Literature retrieved from https://www.sunnyvalepubliclibrary.org/online-catalog/elements-of-
literature.html -

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Haiku refers to the use of three lines of up to 17 syllables; use of a season word (kigo); and the use of a cut
or kire (sometimes indicated by a punctuation mark) to compare two images implicitly. It is a very short
form of Japanese poetry typically characterized by three qualities. The essence of haiku is "cutting" (kiru).
This is often represented by the juxtaposition of two images or kireji ("cutting word") between them, a kind
of verbal punctuation mark which signals the moment of separation and colors the manner in which the
juxtaposed elements are related. Traditional haiku consist of 17 on (also known as morae), in three phrases
of 5, 7 and 5 on respectively.Any one of the three phrases may end with the kireji. Although haiku are often
stated to have 17 syllables, this is incorrect as syllables and on are not the same. A kigo (seasonal reference),
usually drawn from a saijiki, an extensive but defined list of such words. The majority of kigo, but not all,
are drawn from the natural world. This, combined with the origins of haiku in pre-industrial Japan, has led
to the inaccurate impression that haiku are necessarily nature poems (Perez, 2021b; Perez, 2021e)
Do you know that the first novel I read was the work of Og Mandino, “The
Greatest Success in the World”? This inspiring novel had changed my attitude
in reading, and inspired me to read more novels, and to love reading and
eventually turned into a habit. As the saying goes, “Read today and lead
tomorrow”
Trivia
Augustine “Og” Mandino II (December 12, 1923 – September 3, 1996) was an
American author. He wrote the bestselling book The Greatest Salesman in the World.
His books have sold over 50 million copies and have been translated into over
twenty-five different languages. He was the president of Success
Unlimited magazine until 1976 and is an inductee of the National Speakers
Association's Hall of Fame. According to the 1930 U.S. Census, Og Mandino was
born in Natick, Massachusetts on December 12, 1923 to parents Silvio and Margaret
Mandino, and was named Augustine after his paternal Italian grandfather. Mandino
was once the editor of his high school paper and planned to attend the University of
Missouri's journalism school. In the summer of 1940, before he entered college, his
mother died from a massive heart attack. He decided to work in a paper factory until
1942. Afterward, he joined the United States Army Air Corps where he became a
military officer and a bombardier. He flew for thirty bombing missions over
Germany on-board a B-24 Liberator during World War II.[4] During this time, he
flew with fellow pilot and movie star, James Stewar. Mandino eventually became a
successful writer and speaker. His works were inspired by the Bible and influenced
by Napoleon Hill, W. Clement Stone, and Emmet Fox. He was inducted into
the National Speakers Association Speaker Hall of Fame
Source: Project Gutenberg Self-Publishing Press. Og Mandino.
http://self.gutenberg.org/articles/Og_Mandino?View=embedded%27
Lyric Poetry: Meters
§ Iambic - two syllables with the short or unstressed syllables followed by the long
or stressed syllable.
§ Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed
syllable.
§ Pyrrhic – Two unstressed syllables
§ Anapestic– three syllables, with the first two short or unstressed and the last long or stressed.
§ Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
§ Spondaic– two syllables, with two successive long or stressed syllables.

agperez2022 19
PERFORMING ARTS: DANCE, FILM, AND
THEATER ARTS
Performing arts are arts such as music, dance, and drama which are performed for an audience. 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 (Perez, 2021e; Perez, 2022).
Theater art is a collaborative art form which combines words, voice, movement and visual elements to
express meaning. Theater art is a collaborative form of performing art that uses live performers,
usually actors/actresses to present the experience of a real or imagined event before a live audience in a
specific place, often a stage (Perez, 2021e; Perez, 2022).
History of Theater Art
§ 525 - 385 B.C. The Athenian or Classical period introduces a dramatic era of tragic poets that includes
Aeschylus (Agamemnon, 458 B.C.), Sophocles (Antigone, 441 B.C.; Oedipus Rex, 430 B.C.) and
Euripides (Medea, 431 B.C.) - considered the first choreographer, incorporates dance into his plays
§ C. 500 – 800 A.D. Theater is all but extinct in both the western and eastern Roman Empires during
the Dark Ages because Christians oppose the entertainment
§ C. 900 A.D. The church introduces dramatic performances to Easter services, acting out the story of
the Resurrection. Ironically, the institution that discouraged theater is responsible for its rebirth
§ 1489 - Ballet is performed for the first time
§ 1550 - Commedia dell'arte flourishes in Italy and Western Europe. Theater form features
improvisation from a standard script and stock characters
§ 1570 - Count Giovanni Bardi debuts the Elizabethan masque, an aristocratic form of entertainment
that features music, dance and elaborate costuming
§ 1576 - The Theatre, the first commercial theater, opens in London (Elizabethan playhouse)
§ 1594 - The Chamberlain's Men, the leading Elizabethan and Jacobean theatrical company of the day,
is formed (William Shakespeare as the chief playwright and Richard Burbage, most famous actor)
§ 1597 - Jacopo Peri's musical fable, Dafne, often considered as the first opera performed at the palace
of Jacopo Corsi (Opera becomes the preferred entertainment of the aristocracy)
§ 1598 – 1608. William Shakespeare writes Much Ado About Nothing, As You Like It, All's Well That Ends
Well, Julius Caesar, Hamlet, Othello, King Lear, Macbeth and Anthony and Cleopatra
§ 1607 - Claude Monteverdi's Orfeo, regarded as the first masterpiece in opera history, performed and
revolutionized music by establishing a tonal system and giving the recitative a more flexible
accompaniment
§ Identify and demonstrate understanding and appreciation about the different genres in
performing arts
§ Analyze, critique and appraise works of arts based on their knowledge about the aesthetic
§ Evaluate the qualities and values of the movies that they have watch

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§ 1619 - Teatro Farnese in Parma, Italy, uses the proscenium arch for the first time
§ 1637 - San Cassiano Theater in Venice becomes the home of the first public opera house
§ 1642 – 1660. Following the civil war of 1642, the Puritans close or burn down all English theaters
and forbid acting
§ 1660 - Women start appearing in French and English plays (Elizabeth Barry and Anne Bracegirdle
are among the pioneers)
§ 1681 - Pierre Beauchamps and Jean Baptiste write Le Triomphe de I'Ammour, which features
LaFontaine, the first woman to dance professionally in a ballet
§ 1685 - Alessandro Scarlatti founds the Neapolitan School of Opera, which establishes the da capo
(three-part aria)
§ 1689 - Henry Purcell's Dido and Aeneas, the first English operatic masterpiece performed by the
young women at Josias Priest's finishing school in Chelsea, England
§ 1730 - Romeo and Juliet, the first play by Shakespeare performed in New York
§ 1735 - Ballet arrives in America. Henry Holt staged the first production for the amusement of the
Charleston, South Carolina, and John Hippisley's Flora, the first opera was also performed
§ 1751 –Virginia Company of Comedians (first professional theater company in USA) opens a
temporary wooden playhouse in Williamsburg, Virginia
§ 1766 - Southwark Theater (first permanent American theater building) is erected in Philadelphia
§ 1778 - Milan's Teatro alla Scala (Italy's leading opera house and one of the world's most renowned)
is built
§ 1786 – Wolfgang Amadeus Mozart collaborates with Lorenzo da Ponte on The Marriage of Figaro,
which premieres in Vienna. He completes Don Giovanni the following year, and it premieres in Prague
§ 1816 - Gaslighting is used for the first time in American theater at Philadelphia's Chestnut Street
Theatre and Thomas Drummond invents the limelight, which is used in the same manner as the
spotlight is used today
§ 1859 - The French Opera House (first great opera house in America) is built in New Orleans
§ 1865 - Former circus clown Tony Pastor opens the first variety theater in New York
§ 1868 - Lydia Thompson and her British Blondes bring burlesque to the United States
§ 1876 - The first complete production of Wagner's Ring, a titanic cycle of four musical dramas, opens
the first Bayreuth Festival
§ 1881 - The first modern cabaret, Le Chat Noir (The Black Cat), opens in Paris
§ 1883 - The Metropolitan Opera House opens in New York with Gounod's Faust
§ 1890 - Modern dance emerges when choreographers and dancers begin to rebel against traditional
ballet
§ 1901 - Konstantin Stanislavski (Founder of the Moscow Art Theatre) formulates the revolutionary
Stanislavski Method of acting
§ 1902 - Claude Debussy introduces impressionism in Pellas and Mlisande at the Opra Comique in Paris
§ 1905 - Isadora Duncan establishes the first school of modern dance in Berlin
§ 1907 - Florenz Ziegfeld introduces his Ziegfeld Follies (the legendary musical extravaganzas)
§ 1909 - Serge Diaghilev opens the Ballets Russes de Serge Diaghilev, which begins the era of modern
ballet and his 20-year reign as ballet's leading figure. Mikhail Fokine, Diaghilev's choreographer is
considered the most influential choreographer of the 20th century
§ 1911 - Der Rosenkavalier, Richard Strauss's masterpiece, premieres in Dresden
§ 1913 - Darktown Follies opens in Harlem and helps to make Harlem a black cultural center
§ 1920 - Eugene O'Neill's first full-length play, Beyond the Horizon, is produced on Broadway and wins
a Pulitzer Prize, marking the beginning of modern American drama
§ 1921 - The Cleveland Playhouse opens, becoming the country's first resident professional theater
§ 1926 - Martha Graham, the American pioneer of the modern-dance revolt, gives her first New York
performance, which features 18 barefoot, evocatively costumed dancers
§ 1930 - Jean Rosenthal, one of the greatest lighting designers in theater history, pioneers the concept
of stage lighting
§ 1935 - George Gershwin combines black folk idiom and Broadway musical techniques in Porgy and
Bes

agperez2022 21
§ 1945 - Benjamin Britten's Peter Grimes premieres in London, which signals the rebirth of British
opera
§ 1946 - George Balanchine and Lincoln Kirstein establish the New York City Ballet.
§ 1950 - Broadway classic Guys and Dolls debuts at the 46th Street Theatre and becomes an instant hit.
The show ran for three years and became one of the Great White Way's longest-running shows, with
1,200 performances
§ 1951 - Yul Brynner makes his first appearance as the king of Siam in Rodgers and Hammerstein's The
King and I and Gertrude Lawrence as costars
§ 1957 - Leonard Bernstein's West Side Story debuts on Broadway and brings violence to the stage.
Eugene O'Neill's A Long Day's Journey Into Night is produced posthumously and wins both the Tony
Award and Pulitzer Prize
§ 1958 - Alvin Ailey establishes the American Dance Theatre
§ 1962 - The first dance concert is held at New York's Judson Memorial Church, marking the beginning
of the Judson Movement and postmodern dance. Judson dancers also introduce the use of a
performance space instead of a stage
§ 1966 - The old Metropolitan Opera House is abandoned as the company moves to Lincoln Center. The
new Metropolitan Opera opens with Samuel Barber's Antony and Cleopatra.
§ 1968 - The rock musical Hair opens on Broadway.
§ 1971 - The Kennedy Center for the Performing Arts opens in Washington, D.C. with the premiere of
Leonard Bernstein's Mass.
§ 1974 - Mikhail Baryshnikov (Premier Russian dancer) defects and joins the American Ballet Theatre.
§ 1980 - Mark Morris establishes the Mark Morris Dance Group in New York and is widely received as
the most promising modern-dance choreographer of his generation.
§ 1982 - Cats opens on Broadway. Becomes Broadway's longest-running play.
§ 1983 - Harvey Fierstein's Torch Song Trilogy wins the New York Drama Critics' Circle Award and
Tony Award for best play, marking the acceptance of gay theater.
§ 1995 - The Metropolitan Opera installs screens on audience seats that display captions, to attract a
wider audience (Perez, 2021e; Perez, 2022).
Cinematography is the illusion of movement by the recording and subsequent rapid projection of many
still photographic pictures on a screen. Originally a product of 19th-century scientific endeavor, cinema
has become a medium of mass entertainment and communication. Prior to COVID-19 Pandemic, it is a
multi-billion-pound industry but at the onset of pandemic in 2020, all cinemas ceased their operation to
mitigate the spread of the coronavirus (Perez, 2021e; Perez, 2022).
History of Cinematography
§ 1891 - the Edison Company successfully demonstrated a prototype of the Kinetoscope, which enabled
one person at a time to view moving pictures
§ 1893 - the first public Kinetoscope demonstration took place
§ 1894 - the Kinetoscope was a commercial success, with public parlors established around the world.
§ 1895 (December) - the first to present projected moving pictures to a paying audience were the
Lumiere brothers (Auguste and Louis) in Paris, France
§ 1914 - several national film industries were established (Europe, Russia and Scandinavia)
§ 1906 - the principles of color separation were used to produce so-called ‘natural color’ moving images
with the British Kinemacolor process
§ 1909 - first presented to the public
§ 1912- Kinemacolor was primarily used for documentary films, such as the epic With Our King and
Queen Through India (also known as The Delhi Durbar) which ran for over 2 hours in total
§ Charles Urban (April 15, 1867 – August 29, 1942) – was Anglo-American film producer and
distributor, and one of the most significant figures in British cinema before the WWI.
§ He was a pioneer of the documentary, educational, propaganda and scientific film, as well as being the
producer of the world's first successful motion picture color system

agperez2022 22
§ 1915 onwards - The early Technicolor processes were cumbersome and expensive, and color was not
used more widely (Three-color process, 1932)
§ 1927 - The first feature-length movie incorporating synchronized dialogue, The Jazz Singer (Warner
Brothers’ Vitaphone system)
§ By the early 1930s, nearly all feature-length movies were presented with synchronized sound and, by
the mid-1930s, some were in full color (Golden Age of Hollywood)
§ 1939 - Gone With the Wind and The Wizard of Oz in Hollywood
§ 1946 - A Matter of Life and Death in United Kingdom
§ During the 1930s and 1940s, cinema was the principal form of popular entertainment, with people
often attending cinemas twice a week.
§ Ornate ’super’ cinemas or ‘picture palaces’, offering extra facilities such as cafés and ballrooms, came
to towns and cities; many of them could hold over 3,000 people in a single auditorium.
§ In Britain, the highest attendances occurred in 1946, with over 31 million visits to the cinema each
week (Perez, 2021e; Perez, 2022).
History of Philippine Cinema by Arsenio “Boots” Bautista retrieved from https://ncca.gov.ph/about-
ncca-3/subcommissions/subcommission-on-the-arts-sca/cinema/history-of-philippine-cinema/
Philippine Theater Before the Advent of Cinema. Long before the coming of cinema in the Philippines,
theater originated in the culture of the country’s early societies. Their theatron was on the ground within
the community. The ritual practitioners in their dance-dramas used imitative dances to propitiate the
supernatural powers that were believed to control forces to regulate the seasons and elements; to ensure
the earth’s fertility; and to grant the tribe success in hunting and warfare.
At the turn of the 19th century, the zarzuela, a traditional Spanish one-act comic opera with satirical theme;
and the vaudeville, a stage show consisting of various acts, such as singing,dancing and comedy, became
famous and prominent among the Filipinos. These were shown and performed at town fiestas where
Filipino viewers go eagerly from different parts of the province so as not to miss the stage plays.
The Spanish Operetta or musical comedy introduced by a political deportee from Spain, Don Narciso de
Escosura, at Teatro de Binondo or Castellano in 1848, was given impetus by Don Alejandro Cubero, the
father of Spanish zarzuela in the Philippines, at Teatro Filipino on Calle Echague. The Tagalog zarzuela
found a home at Teatro Zorilla, the only surviving 19th century theater located at the corner of Calle San
Pedro ( now Evangelista ) and abbreviated the Iris which formed part of Calle Azcarraga (now Recto). It
provided ready material for the nascent Filipino silent motion picture.
The Advent of Cinema in the Philippines. During the last decade of the 19th century, in 1896, a Spaniard
by the name of Pertierra, prepared to launch his first movie show in Manila at Christmas Time. The venue
was to be at Salon de Pertierra, which he established nine months earlier as the Phonograph Parlor on the
ground floor of the Casino Espanol at Calle Perez, off the Escolta. But for some reasons still unknown to this
writing, Pertierra failed to make his presentation despite several published announcements to this effect.
The show kept being postponed until the New Year.
Other countries, such as France, England, and Germany have their claims to the introduction of publicly
projected motion picture but the corresponding credit should have been given to Mr. Pertierra and the
centennial anniversary of the first movie shown in the Philippines should have been commemorated on
January 1, 1997
The Arrival of Lumiere Cinematograph. Antonio Ramos, a Spanish soldier from Alhama de Aragon, who
had arrived earlier in the year with the “Batallon de Cazadores” (Hunter’s Batallion), which had been sent
to quell the Philippine revolution, was able to import a Lumiere Cinematograph from Paris. With it he
bought 30 film titles. He did the acquisition with his savings, and evidently, with the financial backing of
Liebman and Peritz.

agperez2022 23
By August, 1897, Liebman and Peritz presented the first movies on the Lumiere Cinematograph in
Manila19Te First. The new cine was set up at Escolta, corner San Jacinto, the hall formerly occupied by the
Ullman Jewelry shop. A test preview was presented to a limited number of guests on August 28. The
inaugural show was presented to the general public the next day, August 29, 1897.
During the first three weeks, Ramos had a selection of ten different films to show, but by the fourth week,
he was forced to shuffle the 30 films in various combinations to produce new programs. These were four
viewing sessions, every hour on the hour, from 6:00 P.M. to 10:00 P.M. After three months, attendance
began to slacken for failure to show any new feature. They transferred the viewing hall to a warehouse in
Plaza Goiti and reduced the admission fees. By the end of November, the movie hall closed down.
The First Movie Shot in the Philippines. Impelled desperately to attract patronage and as a matter of
survival, Ramos, using the Lumiere as a camera, locally filmed Panorama de Manila (Manila
landscape), Fiesta de Quiapo (Quiapo Fiesta), Puwente de España (Bridge of Spain), and Esceñas Callejeras
(Street scenes), in 1898. Notwithstanding the possibility that some cameramen aboard an ocean liner or
naval expedition might have earlier filmed the enchanting panorama of Manila, Antonio Ramos thus
became the first motion picture producer in the Philippines.
Among the pioneers who left documentary evidences of their visits to the Philippines were: Burton Holmes,
father of the “Travelogue” who made the first of several visits in 1899; and made the Battle of Baliwag;
Kimwood Peters who shot the Banawe Rice Terraces and Raymond Ackerman of American Biography and
Mutoscope who filmed Filipino Cockfight and the Battle of Mt. Arayat.
In 1905, Herbert Wyndham, shot scenes at the Manila Fire Department; Albert Yearsly shot the Rizal Day
Celebration in Luneta 1909; in 1910, the Manila Carnival; in 1911, the Eruption of Mayon Volcano; the
firstAirplane Flight Over Manila by Bud Mars and the Fires of Tondo, Pandacan and Paco; and, in 1912,
the Departure of the Igorots to Barcelona and the Typhoon in Cebu.
Filmmakers, indeed, covered wide ranges of the Philippines: Zamboanga children diving for coins thrown
from the ship’s deck; Muslim ladies ogling at the camera; fiestas, carabao races, fluvial parades, religious
processions, panoramic shots of Philippine cities and towns; gold mining in Paracale; concerts at the
Luneta, or the construction of the Manila Hotel on land reclaimed from the Manila Bay.
The Establishment of Movie Houses. Film showing was not resumed until 1900. The man who opened
the first hall exclusively for movie viewing that year was a British named Walgrah who naturally called his
establishment Cine Walgrah, located at No. 60 Calle Santa Rosa in Intramuros. The second movie house
was opened in 1902 by a Spanish entrepreneur, Samuel Rebarber, who called his building, Gran
Cinematografo Parisien, located at No. 80, Calle Crespo, Quiapo. In 1903, Jose Jimenez, a stage backdrop
painter, set up the first Filipino-owned movie theater, the Cinematograpo Rizal. This was located on
Azcarraga street, in front of Tutuban Train Station
The assurance of abundant and continuous supply of films at cheap introductory prices brought a
landslide of movie theaters. The first of these was Cine Anda which opened on August 8, 1909, operated
by two American Manila Policemen, Frank H. Goulette and Eddie Teague, others followed: It, Paz,
Cabildo, Empire, Majestic,Comedis, Apollo, Ideal, Luz and Gaity appeared between 1909 and 1911. Zorilla,
the vanguard of zarzuela and opera presentations, switched to showing films in late 1909, while Grand
Opera House began to include movies in-between vaudeville number in 1910. Likewise, moviehouses
mushroomed in the Provinces which had electricity . To date, among Asean countries, the Philippines has
myriad moviehouses established from the urban to the remotest rural areas.
First Feature Film Produced in the Philippines. The first story film made in the Philippines- Rose of the
Philippines may have been produced on location in Manila in 1909 by the IMP Company– Carl Laemmele’s
Independent Moving Picture Company, out of which grew the Universal Pictures Corporation. Some film
historians dispute this contending it must have been a slide show. But the IMP released this 760 foot film
(eight minute’s screening time) in the U.S. theaters in January, 1910. When it was released in Manila in
1911, Rose of the Philippines, was advertised in the Manila Times as “among the first films produced
locally-a dramatic story from the days of the Empire.”

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The First Movie with Sound. The first picture with sound reached Manila in 1910, using the Chronophone.
But, remember, the silent movies were never shown in silence starting with the first show in 1897.
There was always a gramophone, a piano, or a quartet, or when Caviria was shown at the Manila Grand
Opera House– a 200 man choir. By 1930, the talking pictures was already one year old in the country with
the showing of Syncopation, the first American sound film, in Radio theater, Plaza Santa Cruz. The event
naturally incited competition among local producers and filmmakers as to who would create the country’s
first talkie. On December 8, 1932, an article came out in Graphic magazine featuring the movie, Ang
Aswang (The Vampire). The feature enthused that the said film will be the country’s first talkie. Apparently,
as attested by those who remember, the film did not turn out to be a completely sound film. In all likelihood,
the honor of having made the very first talkie properly belongs to Jose Nepomuceno. His Film Punyal na
Guinto (Golden Dagger), which premiered on March 9, 1933, at the Lyric theater, was credited as the first
completely sound movie to all-talking picture.
The Film Marketing in the Philippines. In 1912, New York and Hollywood film companies started to
establish their own agencies in Manila to distribute films. By 1915, the best films of both Europe and U.S.
were being enjoyed by Filipino audiences in Manila and the Provinces. When World War I (1914-1918)
choked off the production of European studios, Manila theater managers turned to U.S. for new film
products. With the variety they offered, American Production-distribution-exhibition combinations
quickly dominated the Philippine film market. It has stayed that way since then– until now!
The Golden Episodes in Philippine Cinema. In 1937, the first Filipino movie to achieve international
plaudit was Zamboanga, a picture starred in by Fernando Poe and Rosa del Rosario. Hollywood director
Frank Capra praised the film as the most exciting and beautiful picture of native life he had ever seen.
Manuel Conde’s Genghis Khan, released in 1950 was a rave at the Venice Film Festival in 1952; and dubbed
in French, it was shown in Paris in 1954. Inspired by Conde’s picture, Hollywood remade Genghis Khan,
with John Wayne as its lead actor. The people who had seen both pictures adjudged that the latter was
incomparable to the former in terms of authenticity.
Undoubtedly, the 5th and the 6th decades were the Golden age of Philippine cinema with subsequent films
making a mark in the overseas scene: Kandelerong Pilak, Ifugao, Anak Dalita, Badjao, Anak ng Dagat, to
name just a few, swept awards at the Cambodian, Asia and Berlin Film Festivals. Even at the annual Asian
Film Festival with a dozen countries taking turns in hosting the major filmfest (now the Asia-Pacific Film
Festival with 18 countries), there was a tacit acceptance that the Philippine cinema was, at the time, the
undisputed leader in the continents film scene.
The First Color Film in the Philippines. A British film crew also visited the Philippines, and filmed, among
other scenes, the Pagsanjan Falls (Oriental, 1911) in kinemakolor. Bert Yearley’s Oriental Films, which
commissioned this production, generated some excitement by offering six months free movie passes to the
lucky movie patron who could guess to the closes minute the arrival of the steamship “Empress Russia”
which was bringing the processed film from London. During the 5th decade of the 20th century, Filipinos
awesomely seen Hollywood’s first full length picture in living Technicolor. Filipino local producers
presented too, during this period, their own full length pictures in color and one of which was Prinsipe
Amante (Prince Amante). But inevitably, the color was imperfect due to technical deficiency. However,
Filipino technicians were quick to cope up with the fast technical development, so that by the turn of the
6th decade, they succeeded in presenting to the public some full length pictures in living Eastmancolor, one
of which was Ito ang Pilipino, by J.E. Production. The lead actor was Mr. Joseph Estrada himself. By the turn
of the 7th decade, local producers and filmmakers ceased to produce pictures in black and white.
Censorship and Taxes on Philippine Cinema. The Government established the Board of Censors for
cinematographic films in 1912, It was in constant operation until it was superseded by the Board of
Censorship for Moving Pictures in 1929. This is now the Movie and Television Review and Classification
Board (MTRCB). The government also imposed the first taxes on film in 1915, the same year income taxes
were imposed. Direct taxes were slapped by the national government on “kinetoscope, biographs,
cinematographs, magic lanterns and similar picture-projecting devices.

Art Appreciation -Auditory and Combined Arts.pdf

Art Appreciation -Auditory and Combined Arts.pdf

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