P H I L C S T: Philippine College of Science and Technology

PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY
Old Nalsian Road, Nalsian, Calasiao, Pangasinan, Philippines 2418

Tel. No. (075)522-8032/Fax No. (075)523-0894/Website:www.philcst.edu.ph
ISO 9001:2015 CERTIFIED, Member: Philippine Association of Colleges and Universities (PACU), Philippine Association of Maritime Institutions (PAMI)
DETAILED TEACHING SYLLABUS (DTS) AND INSTRUCTORS GUIDE (IG’S)

GE6 (Art Appreciation)
PHILOSOPHY
The PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY is committed to the pursuit of excellence relative to student’s professional growth and development.
VISION
PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY envisions producing quality graduates fully equipped with knowledge, attitudes, values, and skills and who are
globally competitive in their chosen profession ever ready to render quality services.
MISSION STATEMENT
PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY provides quality education to every student through a well-balanced research oriented learning environment that
develops critical and creative thinking for maximum development of individual’s talents and capabilities.
INSTITUTIONAL OBJECTIVES
In pursuit of its Vision and Mission, PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY will achieve the following:
1. Provide programs and activities that will enhance the development of the students physically, intellectually, culturally, emotionally, socially, spiritually and morally.
2. Provide college education opportunities to poor but deserving students through the PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY scholarship grants.
3. Train students with globally competitive technical skills that will make them competent and capable of handling challenges in life.
4. Provide manpower needs of the country with professionally qualified graduates imbued with dignity and high moral values who are mature, productive, self-reliant,
responsible and self-disciplined citizens.
SPECIAL OBJECTIVES
To provide the country with globally competitive and professionally licensed graduates as integral part of the total manpower needed for the economic development in the
national and international levels.
CORE VALUES
Professionalism High Spirituality Integrity Love of Humanity Compassionate Solidarity Transformative

and Competent
Page | 1 CONTROLLED COPY FORM NO.: BEEDGE6 ART APPRECIATION APPROVED BY: SCHOOL PRESIDENT
COLLEGE OF EDUCATION AND JOURNALISM

PROGRAM DESCRIPTION:
The Bachelor of Elementary Education (BEEd) program of Philippine College of Science and Technology develops the teaching skills of students in educating early age
learners. It exposes the students to the modern methods and techniques in teaching the basic knowledge and skills in all subject areas covered by the primary education. In
as much as graduates of this course can only teach after having passed the Licensure Examination for Teachers (LET), students are as well prepared for them to pass this
examination.
The students are required to complete the following courses before they will be allowed to graduate: General Education, Professional Education and Elective Subjects, Field
Trips, Seminars and Workshops, Field Study Subjects such as School and Classroom Observation, Classroom Management Skills, Micro-Teaching, Team Teaching, and
Practice Teaching in Both Private and Public Elementary Schools, and Research Output.
BACHELOR OF ELEMENTARY EDUCATION
PROGRAM OUTCOMES:
A graduate of Bachelor of Elementary Education program at Philippine College of Science and Technology should:
1. Articulate the rootedness of education in philosophical, socio-cultural, historical, psychological, and political contexts;
2. Demonstrate mastery of subject matter/discipline;
3. Facilitate learning using a wide range of teaching methodologies and delivery modes appropriate to specific learners and their environments;
4. Develop innovative curricula, instructional plans, teaching approaches, and resources for diverse learners;
5. Apply skills in the development and utilization of ICT to promote quality, relevant, and sustainable educational practices;
6. Demonstrate a variety of thinking skills in planning, monitoring, assessing, and reporting learning processes and outcomes;
7. Practice professional and ethical teaching standards sensitive to the local, national, and global realities;
8. Pursue lifelong learning for personal and professional growth through varied experiential and field-based opportunities;
9. Demonstrate in-depth understanding of the diversity of learners in various learning areas;
10. Manifest meaningful and comprehensive pedagogical content knowledge (PCK) of the different subject areas;
11. Utilize appropriate assessment and evaluation tools to measure learning outcomes;
12. Manifest skills in communication, higher order thinking and use of tools and technology to accelerate learning and teaching;
13. Demonstrate positive attributes of a model teacher, both as an individual and as a professional, and;
14. Manifest a desire to continuously pursue personal and professional development.
Prepared by: Recommended by: Approved by:
________________________________ ________________________ ________________________
College of Education and Journalism Eva S. Barrientos, Ed. D. Engr. Raul B. Gironella, DMin
Instructor College Dean VP for Academic Affairs/QAM
Issue Date: June, 2019 Revision Status: 0 Revision Date: June, 2019
PART A
COURSE SPECIFICATION
PROGRAM EDUCATIONAL OBJECTIVE (PEO)
The Bachelor of Elementary Education of Philippine College of Science and Technology shall produce graduates who:
a. Exercise leadership in the practice of the profession;
b. Demonstrate professional and social responsibilities;
c. Pursue lifelong learning for continuous development; and
d. Possesses creativity and critical thinking skills to become globally competitive guided with values of integrity and honesty
PROGRAM DESCRIPTION : CMO 74, s. 2017 - SECTION 5.1
PROGRAM OUTCOMES : CMO 74, s. 2017 - SECTIONS 6.1, 6.2, 6.3
NAME OF PROGRAM : Bachelor of Elementary Education (BEED)

COURSE CODE : GE6
COURSE DESCRIPTIVE PREREQUISITE : None
: Art Appreciation
TITLE CO-REQUISITE : None
Art Appreciation is a three-unit course that develops students' ability to appreciate, analyze, and critique works of art.
Through interdisciplinary and multimodal approaches this course equips students with a broad knowledge of the practical,
historical, philosophical, and social relevance of the arts in order to hone students' ability to articulate their understanding
COURSE DESCRIPTION :
of the arts. The course also develops students' competency in researching and curating art as well as conceptualizing,
mounting, and evaluating art productions. The course aims to develop students' genuine appreciation for Philippine arts by
providing them opportunities to explore the diversity and richness and their rootedness in Filipino culture.
LECTURE CONTACT LABORATORY CONTACT
COURSE CREDITS : : :
3 Units HOURSE PER WEEK 3 Hours HOURS PER WEEK 0 Hours
COURSE OUTCOME : At the end of the course, the students should be able to:
A. KNOWLEDGE
1. Demonstrate an understanding and appreciation of arts in general, including their function, value, and historical
significance.
2. Define and demonstrate the elements and principles of design.
3. Explain and evaluate different theories of art.
4. Situate Philippine arts in a global context.
B. SKILLS
1. Analyze and appraise works of art based on aesthetic value, historical context, tradition, and social relevance.
2. Mount an art exhibit (concept development production and postproduction, marketing, documentation, critiquing).
3. Create their own works of art and curate their own production or exhibit.
4. Utilize art for self-expression and for promoting advocacies.
C. VALUES
1. Deepen their sensitivity to self, community, and society.
2. Discover and deepen their identity through art with respect to their nationality, culture, and religion.
3. Develop an appreciation of the local arts.
FACULTY
: CMO 8 s. 2017: Implementing Guidelines for the Faculty Training for the New General Education Core Courses
REQUIREMENTS
REFERENCE/S : CMO 20 s. 2013: General Education Curriculum, Holistic Understandings, Intellectual and Civic Competencies
ART APPRECIATION Course Map

GENERAL EDUCATION (G.E.) LEARNING OUTCOMES
Opportunity to
A. INTELLECTUAL COMPETENCIES (Knowledge) Learned Practiced
Learn
L = Facilitates learning of the competencies (input is provided and competency is evaluated)
1 Analyze "texts" written, visual, oral, etc. critically X
Demonstrate proficient and effective communication (writing, speaking, and use of new
2 X
technologies
3 Use basic concepts across the domains of knowledge X
4 Demonstrate critical, analytical, and creative thinking X
5 Apply different analytical modes in problem solving X
Opportunity to
B. PERSONAL AND CIVIC COMPETENCIES (Values) Learned Practiced
Learn
P = Allows student to practice competencies (no input but competency is evaluated)
1 Appreciate the complexity of the human condition X
2 Interpret the human experience from various perspectives X

3 Examine the contemporary world from both Philippine and global perspectives X
4 Take responsibilities for knowing and being Filipino X
5 Reflect critically on shared concerns X
6 Generate innovative practices and solutions guided by ethical standards X
7 Make decisions based on moral norms and imperatives X
8 Appreciate various art forms X
9 Contribute to aesthetics X
10 Advocate respect for human rights X
11 Contribute personally and meaningfully to the country's development X
Opportunity to
C. PRACTICAL SKILLS (Skills) Learned Practiced
Learn
O = Opportunity for development (no input or evaluation but there is opportunity to practice the
competencies)
1 Work effectively in a group X
2 Apply computing tools to process information effectively X
3 Use current technology to assist and facilitate learning and research X
4 Negotiate the world of technology responsibly X
5 Create solutions to problems in various fields X
6 Manage one's knowledge, skills, and values for responsible and productive living X
7 Organize one's self for lifelong learning X
ART APPRECIATION Course Outline and Timeframe

Week Topics
Course orientation: Grading system, Requirements, Relevance of the course
1
Assumptions and Nature of Arts: Creativity, imagination
Functions of Art and Philosophy
2
Subject and Content
3-4 Art and Artisans; Production Process, Medium, Technique, Curation
5-6 Elements and Principles of Arts
7-12 Art History (Asian, Western, Philippines)

Soul making (Soul, Sound, Structure)
13-18 Workshops on Improvisations, Installation, Transcreation
Local Arts
PART B
COURSE SYLLABUS
METHODOLOGY
INDICATIVE
LEARNING OUTCOME TOPIC TEACHING-LEARNING RESOURCES ASSESSMENT
HOURS
ACTIVITY (TLA)
- To determine - Course orientation - Group discussion: - Gardner's Art through - Essay: 1 Hour
students’ - Grading system oral recitation the Ages: A Concise - If you were an artist,
expectations of the - Requirements - Why study History of Western what kind of artist will
course. - Relevance of the humanities? Art, Fred S. Kleiner, you be?
course - What is art history? 3rd Ed., 20121 Pp. 1-2 - What art field will you
- To characterize - Art history - What is art explore? Why?
artistic expression - Art appreciation appreciation? - Imagination in - How can you utilize
based on personal - Art, creativity, - Why do people Teaching and the arts to express
experiences with art. imagination and the create works of art? Learning, Kieran yourself, your
expression (individual) Egan, 1992, Pp. 12- community, and your
- Differentiate art - What is creativity? 37 relation to others and
history from art - Why is creativity with the earth?
appreciation. necessary in - Nature and Young
artmaking? Children, 2nd Ed.,
- Discuss the nature of - When can you say Encouraging Creative
art's preliminary that a person is Play and Learning in
expression. creative? Natural
Environments, Ruth
Wilson, 20121 Pp. 1-
17
- Clarify - Assumptions of art - Lecture - Art Perception and - Insight paper: 2 Hours
misconceptions (Art is universal; art is - Dynamics Appreciation, Ortiz et. Students will select
about art. cultural; art is not - Guide questions al. 1976, Pp. 5-12 from the following
nature, art involves - "Art is good because topics
- Differentiate art from experience) (Art as it is popular" or "Art is - The Humanities, - Why is art ageless
nature. expression, as a form good because it is Dudley and Faricy, and timeless?
of creation) universal" Why is art 1968, Pp. 5-22 - Why is art not
- Categorize works of universal? (Nature of Art) nature?
art by citing personal - Visual arts (2D, 3D) - Why is art not - Why does art involve
experiences. - Film (Digital arts / nature? - Alampat: An experience?
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
analog) - Why does art Introduction to Art
- Performance art demand Appreciation, Perez,
- Poetry - performance involvement? Cayas, and
- Architecture - Suggested activity: - Narciso, 2013, Pp. 9-
- Dance Debate 12, 15-21
- Film
- Literary - The Humanities,
- Theater Dudley Faricy and
- Characterize the
Rice, 1968, Pp. 5-12
assumptions of the
- Applied Arts
arts.
(Fashion, Furniture) - Alampat: An
Introduction to Art
Appreciation, Perez,
Cayas, and Narciso,
2013, Pp. 9-12, 15-
21(Imagination) Pp.
38-40
- Distinguish directly - Functions of art: - Individual sharing - Dayaw (6 episodes), - Oral recitation 1 Hour
functional and • Personal (utilitarian, What artform/artwork Legarda, 2015, - Group discussion
indirectly functional public display, has changed online and plenary
art. expression) something in your presentation
• Social (used for life? Why? - Art: Perception and - Reflection questions:
- Apply concepts and public display and - Film Viewing: Appreciation Ortiz et Does art always have
theories on beauty celebration, used to Video Documentary al., 1978, Pp. 27-32 a function?
and aesthetics in real affect the collective "Sa Duyan ng Sining" If artwork did not
life scenarios. behavior) (Jesuit - Alampat: An have any function,
• Physical (utilitarian) Communications) Introduction to Art will it remain art?
"Tuklas Sining n CCP Appreciation, Perez,
- Philosophical import Cayas, and Narciso,
of art: - Discuss basic 2013, Pp. 23-25
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
• Integrity philosophical
• Proportion / perspectives such as: - Cultural Center of the
Consonance (Suggested topics) Philippines, Tuklas
• Radiance/Clarity Art as mimesis Sining, DVD
(Plato)
Art as representation - "The Philosophical
(Aristotle) Concept of Beauty,"
Art for art's sake Jacques Maritain
(Kant) (from Creative
Art as an escape Intuition in Art and
Art as functional Poetry), 1953, Pp.
122-127
- Aesthetics and Art

Theory, Osborne,
1970, Pp. 104-
107,142144, 171-
191, 226-283
- Differentiate content - Subject type. - Lecture - Alampat: An - Gallery visits 2 Hours
from subject. Representation - Provide classic Introduction to Art - Reflection paper on
(with subject) and examples Appreciation, Perez, students' experiences
- Classify artworks nonrepresentational - What are the two Cayas, and Narciso, during visit to a
according to subject. (without subject) types of representing 2013, Pp. 27-34 gallery or museum
subject?
- Analyze how artists - Source of subject - What are the sources - Cultural
present their subjects (nature, history, and kinds of subject? Appropriation and the
in relation to the real Greek and Roman - Assign students to Arts, Young, 2008,
subject. mythology, Judeo bring either digital or Pp. 1-27
Christian tradition, printed copies of
- Characterize sources sacred oriental texts, Filipino contemporary - Art: Perception and
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
and kinds of art. other works of art) artworks to be Appreciation, Ortiz et
presented orally or al., 1978, Pp. 14-26
- Kinds of subject using Powerpoint;
(history, still life, Identify and discuss
animals, figures, the source, type, and
nature, landscape, kind of subject
seascape, cityscape,
mythology, myth,
dreams, and
fantasies
- Content in art (levels

of meaning)
Factual
Conventional
Subjective
- Identify the medium - Artists and artisans - Video Documentary - Myths and Symbols - Oral recitation 6 Hours
in various forms of Philippines, - Quiz
art, viz., visual, - Managers, curators, - Lecture Francisco Demetrio, - Organize a forum
auditory, and buyers, collectors, art - Topics to be SJ, 1978, Pp. 406- about an artist;
combined arts. dealers discussed. 411 artist's or artisan's
- What is the brochure and video
- Define an artist's or - Production process difference between - Alampat: An clip to be uploaded
artisan's medium and - (preproduction, artists and artisans? Introduction to Art on social media
technique. production and - What is the Appreciation, Perez, (Note: before
postproduction) relationship between Cayas, and Narciso, uploading, the
- Define the role of artists and artisans? 2013, Pp. 35-56 teacher will check the
managers, curators, - Medium, technique - Which is more output for validation
buyers, collectors, art approach (in visual important, the artist - “Making the Theatre” and observance of
dealers in the art arts auditory, and or the artwork? The Craft of the ethics)
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
world. combined arts) - What are medium Stage, Steven Patrick - Exhibit of artists and
and technique? C. Fernandez, 2010, artisans' portfolio
- Differentiate between - GAMABA - What are new trends Pp. 15 -20 - Mini-exhibit of
artists' and artisan - National Artists or practices in art? artists'/artisans' work
approach/ technique - What is the role of - "Pioneers of
toward a particular - Events / Exhibits / the following figures: Philippine Art," video
medium. Managing Audience (managers, curators, documentary directed
buyers, collectors, art by F
- Understand that the dealers) in the - Capistrano-Baker,
artisan's work is an community? Ayala Museum,
end in itself and the 20061 29min.
artist's work is a - Students will be
means to an end. assigned to discuss - Art: Perception and
the characteristics of Appreciation, Ortiz et
- Identify national and different art al., 1978, Pp. 14-26,
GAMABA artists' expressions (7 arts) 40-73
notable works and - Interview of artists /
their contribution to studio visit (off - Festival and Events
society. campus) Management,
Yeoman et al., 2004,
Pp. 53 -115
- The Role of the Art

Critic, Flores, in
Paleta 5: A
Handbook for Visual
Artists, Ed
Hernandez, 2002,
Pp. 27-31
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
- How to Document
One's Work, Cajipe -
Endaya, in Paleta 5:
A Handbook for
Visual Artists, 2002,
Pp. 24-26
- How to Document a
Structure, R. T. Jose,
Balangkas, 20071
Pp. 25-28
- Identify the elements - Elements of art: - Lecture/ illustration / - Sining at Lipunan, - Quiz (identification) 3 Hours
of art. • Visual - Discuss basic Flores and De la Paz, and oral recitation
• Auditory elements 20001 Pp. 24-26 - Analysis paper by
- Analyze the various • Combined - Assign students to - Art in Focus, group: Choose a
present in visual, discuss the elements Interactive Student contemporary work
auditory, and - Arts/Performance art of the 7 arts (visual Ed., Gene A. Mittler, and discuss the
combined arts. - Discuss fusions and arts, film, literature, 2006, Pp. 2639 subject) medium, and
overlapping and dance, film, (Elements), Pp. 40- technique. Discuss
- Determine dominant interrelated elements architecture, music), 49 (Principles) further how the artist
elements used in • Graffiti, poetry then conduct an FGD - Alampat: An utilized the elements
hybrid or modified art performance, to look into the Introduction to Art and principles of
expressions. performance art, variations, Appreciation, Perez, design in an artwork
digital art overlapping, Cayas, and Narciso,
- Determine the factors dominant elements in 2013, Pp. 61- 95
influencing artists - Transcreation art production in a (Elements), Pp. 97-
such as distortion, • Music to text particular art 106 (Principles)
transformation, • Text to dance expression - Art: Perception and
appropriation in an • Dance to visual - Suggested topic : Appreciation, Ortiz et.
experimental or How do artists al. 1978, Pp. 75-179
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
hybrid art expression. recreate, transform, - Merce Cunningham:
or translate one art- Fifty Years, Vaughan
form into another and Harris, 1997, Pp.
work? 10, 60-61, 100-101
- Suggested exercises (dance technique)
• Analog drawing
• Room design
• Visual tapestry
• Soil/coffee art
(value)
• Illustration (lines,
texture, form)
• Scribbling souls
(color)
• Creative writing
(erasure)
• Dula-tula (poetry
performed)
• Poem writing
• Performance
art/deviant art
• Advocacy art
- Identify the principles - Principles of design - Lecture/illustration - Art in Focus, Mittler, - Essay 3 Hours
of design. • Unity and harmony - Exercises: Product 2006, Pp. 26-39 - Collaborative room
• Rhythm, variation design critiquing (Elements), pp. 40-49 design
- Define and translate • Balance and (Principles) - With rubrics
principles of design in proportion
an artwork. • Emphasis and - Alampat: An
subordination Introduction to Art
- Create an artwork (focal point) Appreciation, Perez,
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
depicting the various - The rule of thirds Cayas, and Narciso,
principles of design. 2013, Pp. 61- 95
(Elements), Pp. 93-
97 (Principles)
Prelim Period Partial Requirement:
Present an experimental art expression based on recent issues in society fusing art and reality; function and beauty; weaving sound, image, form, scent,
and space. Students will submit a concept paper or script and production in a specific site, either a physical stage or mobile, web (on-line) or any form of
guerilla art expression. Prior to the performance, concept paper must be submitted for guidance and critiquing. Posters, audience evaluation, and
documentation will be required and will be submitted after the performance. Running time will be based on the concept.
PRELIMINARY EXAMINATION
- Identify various - Reading the image: - Lecture - Image to Meaning: - Read and research 3 Hours
planes in art. • Semiotic plane - Demonstration Essays on Philippine about selected
• Iconic plane simulation Arts. Alice Guillermo, Western and Asian
- Categorize and • Contextual plane 2001 Pp. 1 -16 art
organize information - Art history - Gardner's Art through
from different the Ages: A Concise
sources. History of Western
Art, Fred S. Kleiner,
3rd Ed. 2012 Pp. 1-2
- Identify the - Cave art, Egyptian - Lecture - Art through the Ages: - Designed rubrics for 9 Hours
underlying history, and Greek - Creative presentation A Global History. creative output
philosophy of the era - Roman, Medieval, - Gallery walk Kleiner, 15th Ed., - Quiz
or movements - Chinese Painting, - Games 2016, Pp. 1032-1047 - Oral recitation
Ukiyo-e (Japanese - Talk show (South and - Brochure about their
- Classify the various print) - Video documentary Southeast Asia, respective topics
art movements by - Renaissance and 1200-1980), Pp. - Long test (true or
citing their important Mannerism, 1048-1063 (China false identification, fill
characteristics such Baroque and Rococo and Korea, in the blanks,
as historical - Neo-classicism, 2791980)) Pp. 1064- enumeration, essay)
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
background, factors, Romantic and 1066 (Japan, 1333- - Individual output:
influential person, Realism 1980), Pp. 9941031 modern/classical
socio-political issues, - Impressionism (Contemporary Art works appropriation
and prevalent artists Post-Impressionism Worldwide), Pp. 948- through photography
art forms, and media. Neo-impressionism 993 (Modernism and
- Symbolism, Art Postmodernism in
- Present the history Nouveau Europe and America,
and movements of - Fauvism and 1945-1980)
the arts through a Expressionism
timeline. - Cubism, Futurism - Art in Focus, Mittler,
- Abstract or non- 2006 pp. 136-471
- Cite important Objective (classic), Pp. 492-
characteristics in an - Dadaism and 562 (modern art)
artwork based on the Surrealism
era movement Constructivism, De - Cave Art to Modern
(document and Still Abstract Art, in Fleming's Arts
annotate works). expressionism and Ideas, 10th Ed.,
Optical Art, Pop Art Mary Warner Marien
Minimalism, and William Fleming,
Conceptual Art 2005, Pp. 1-654
- Photo-realism
- Installation Art (Body - Art: Perception and
Art, Earth and Land, Appreciation, Ortiz et
Performance Art al. 1978, Pp. 163-
229
- Alampat: An
Introduction to Art
Appreciation Perez,
Cayas, and Narciso,
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
2013, Pp. 113-129
- ArtSpoke, Robert
Atkins, 1993, Pp. 43-
415
- A World History of
Art, 7th Ed., Hugh
Honour and John
Flemin, 2009, Pp.
356-845
- Identify the various - Instrumental music: - Brief lecture - Music as Discourse: - Creative output/ 6 Hours
genres in music. • Baroque (Johann - Creative presentation Semiotic Adventures Presentations:
Pachelbel, Antonio (from solo to group, in Romantic Music, - Students will interpret
- Make a creative Vivaldi, Johan depending on Agawu, 2009 music through their
interpretation of the Sebastian Bach students' interests in own art expressions
different musical George Frederic art expression) - The Human Image in (music video, dance,
genres. Handel, Franz the Arts, Fernandez, poet live painting,
Schubert 2009, Pp. 65-76 film, digital art,
- Translate sound or magic, experimental,
music into a new • Classical (Joseph - Art Perception and etc.)
form and in a new Haydn, Wolfgang Appreciation, Ortiz et.
context. Amadeus Mozart, al. 1976, Pp. 98-121
Ludwig Van
Beethoven, Franz - Who Needs Classical
Schubert) Music? Cultural
Choice and Musical
• Romantic (Carl Maria Value, Johnson,
Von Weber, Frederic 2002
Chopin, Robert
Schumann, Franz
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
Liszt, Richard
Wagner,
Jacques Offenbach,
Johannes Brahms,
Pyotr Ilyich
Tchaikovsky, Nikolai
Rimsky, Korsakov,
Richard Strauss)
• Modern (Claude
Debussy, Arnold
Schoenberg, Maurice
Ravel, John Cage,
Philip Glass
Midterm Period Partial Requirement:
A paper that analyzes their own respective topics; comparison, difference of factors, influential persons, styles, subject, technique affecting the era or
movement; notable artists and works; semiotic lane, iconic lane, contextual lane, and evaluative lane.
MIDTERM EXAMINATION
- Discuss the concept - Soulmaking - Lecture - Soulmaking, Narciso, - Individual reflective 2 Hours
of "soulmaking" (artmaking): Demonstration 2016 essay (8 images and
- Develop students' • Crafting images - Simulation - Mick Basa, The Soul 80 words to describe
artistic potentials • Crafting stories - Workshop Maker 2013, online self)
through soulmaking • Crafting instruments - Nature and Young - Quiz
- Enhance students' performance Children, 2nd ed., - Art output with
sensitivity and - 7 da Vincian Encouraging Creative rubrics
awareness toward principles Play and Learning in - Art portfolio
their environment Natural - Organize an
- Extend to the Environments, Ruth advocacy art or
immediate Wilson, 2012, Pp. 3- immersion or
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
community the 17 workshop for the
students' art works as - Dela Cruz et al., Art community
a form of service Republik, 2012,
learning (e.g., video, 10 episodes
recyclable materials)
- Characterize and - Narratives, - Lecture - Cultural - Creative output 2 Hours
define narratives appropriation, - Students are Appropriation and the - Students will
appropriation, borrowing, and assigned to look for Arts, Young, 2008, appropriate an ad in
borrowings, and ownership works that have been Pp. 1-27 any form, take a
ownership of the appropriated in any - Black Film as a picture of it and
artists or any agency - Posit five (5) acts of form; Discuss and Signifying Practice: create another poster
in the art world. cultural appropriation compare the old and Cinema, Narration that incorporates
• Object appropriation new meanings and the African- their new concept
- Contextualize • Content - Suggested topics: American Aesthetic - Essay
classical notable • Style What contemporary Tradition Yearwood,
works into a certain • Motif appropriation art forms or art 2000, Pp. 124-129
theme and comment • Subject appropriation expressions utilize
on a certain issue, the principle of
either on a personal appropriation?
or societal level. Why do they
appropriate? What
- Develop students' art forms are
artistic ability in any commonly
form they would like appropriated?
to appropriate an art.
- Draw out metaphors - Textile art Soul, - Video documentary - Hinabing Panaginip, - Reflective essay 3 Hours
from local myths so dreams and - Brief lecture Fruto Corre, - Quiz (multiple choice,
students will value imagination - Illustration Bookmark video, enumeration,
cultural roots. - Tnalak process - Mind mapping 1999 identification)
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
- Tnalak and T'boli art
- Deepen students - Dagmay, - Myth, Mimesis and
understanding of - Pis-yabit Seputangan Magic in the Music of
imaging. - Inaul the Tboli, Mora,
2005, Pp. 66-68
- Alampat: An
Introduction to Art
Appreciation, Perez,
Cayas, and Narciso,
2013, Pp. 34-40
(imagination)
- Sinaubang Habi.
Philippine Ancestral
Weave, Pastor
Roces, Marian, 1991,
Pp. 206-305
- Analyze how line was - Visual elements in - Lecture - Sourcebook of - Quiz 2 Hours
interpreted and Philippine traditional - Workshop FGD Philippine Traditional - Individual output with
utilized in traditional motifs and crafts Motifs and Crafts rubric
crafts. - Decorative motifs Processes, Mercedita - Visual tapestry
and symbols, Jose Dela Cruz, 1982
- Develop students’ classification Pp. 18-34
ability in manipulating - Ukkil: Visual Arts of
the elements of art. the Sulu Archipelago,
Ligaya Fernando—
- Document changes Amilbangsa, 2005,
and the shifting Pp. 15-38
environment such as
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
terrain, texture,
sound through fusion
of various elements
of art.
- Determine the - Soul and space: - Lecture - The Maranaw - Oral recitation 2 Hours
implications of soul • Torogan - Video documentary Torogan, Madale, - Build miniature
and space for our • Ifugao Bate - Collaborative artistic 1996, Pp. 7-31 skeletal or structural
society • Bahay Kubo work stilt houses
• Bahay na Bato - Group activity with
- Characterize how • Other indigenous rubrics
Filipinos utilize space houses
to determine its
implications for their
identities, history,
religion, philosophy.
- Discuss the concept - Symmetry art Okir / - Lecture - Ukkil: Visual Arts of - Portfolio of Okir 2 Hours
of Okir in relation to Ukkil - Demonstration the Sulu Archipelago, inspired artworks in
Islamic Art. workshop Ligaya Fernando- the city or community
- Locate Okir inspired Amilbangsa, 2005, - Artistic output
- Identify the parts of artworks in the city Pp. 174-175 symmetry art
Okir / Ukkil. (paintings, drawings,
- Create a symmetry architecture,
art inspired by Okir / functional toots,
Ukkil. jewelries, furniture,
fabric or fashion)
- Determine the
cultural relevance of
the Okir.
- Define improvisation. - Improvisation in - Lecture - Choreography: A - Workshop with rubric 3 Hours
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
various artforms - Demonstration Basic Approach - Quiz
- Utilize the body as - Contact-body - Simulation Using Improvisation, - Oral recitation
the basic tool in improvisation (Flow, - FGD Minton, 1986, Pp. 18- - Group dynamics with
expression and staccato, chaos, - Performance art 19 rubrics
communication. lyrical, stillness) simulation (e.g., - Improvisation for the
- Strengthen students - Sound improvisation planking, flash mob, Theater, Spolin, 3rd
initiative and artistic Theatre improvisation happenings) Ed. 1999 (entire
sensibilities. - Solving - Video documentary book)
improvisational - Culture of
challenges Improvisation,
Antolihao, 2004, Pp.
83-84
- The Wave Dance,
Roth, 2008, online
- The Way of
Improvisations.
Morris, 2011, online
- Trace and - Indigenous art - Lecture - Local Community - Reflective essay 2 Hours
summarize the - Muslim art - Creative presentation - Immersion - Quiz Exam
development of the - Christian art - Exhibit (online and - Gallery/studies or
arts, art appreciation - Contemporary art actual) workshop visit
and aesthetics in - Practice and - (Immersion/Research
contemporary art movement of their own
practice. community)
- Appreciate better the

history and
development of
Philippine arts.
METHODOLOGY
INDICATIVE
HOURS
ACTIVITY (TLA)
Final Period Partial Requirement:
A five-minute individual art talk; a summative, application or reflection of all the ideas and concepts that students have learned by discussing any topic /
theme, artwork, concepts, ideas, nature of the art; either cultural, artistic, historical, object, artifact, movement, practice.
FINAL EXAMINATION
ART APPRECIATION Required Readings and Other Materials

No. Books
1 Agawu, Kofi. (2009). Music as Discourse: Semiotic Adventures in Romantic Music. New York: Oxford University Press.
2 Antolihao, Lou. (2004). Culture of Improvisation. Quezon City: Institute of Philippine Culture, Ateneo de Manila University
3 Atkins, Robert. (1993). Art Spoke: A Guide to Modem Ideas, Movements, and Buzzwords, Pp. 1848 – 1944. New York: Abbeville Press.
Cajipe-Endaya, Imelda. (2002). How to Document One's Work. In Paleta 5: A Handbook for Visual Artists, Ed. Eloisa May Hernandez, Pp. 24-26.
4
Manila: NCCA.
Dela Cruz, Mercedita Jose. (1982). Sourcebook of Philippine Traditional Motifs and Crafts Processes. Manila: Philippine Committee for [the
5
UNESCO] International.
6 Dudley, Louise and Austin Faricy. (1968). The Humanities: Applied Aesthetics. 4th Ed. New York. McGraw-Hill.
7 Demetrio, Francisco. (1978). Myths and Symbols Philippines. Manila: National Bookstore.
8 Egan, Kieran. (1992). Imagination in Teaching and Learning: The Middle School Years. Chicago: University Chicago.
Fernandez, Steven Patrick. (2010). Making Theatre: The Craft of the Stage. Iligan City: MSU-Iligan Institute of Technology, Mindanao State
9
University.
10 Fernandez, Steven Patrick. (2009). The Human Image in the Arts. Iligan City: IPAG Arts Resource Management, Inc.
11 Fernando-Amilbangsa, Ligaya. (2005). Ukkil: Visual Arts of the Sulu Archipelago. Quezon City: Ateneo de Manila University Press.
12 Flores, Patrick. (2002). The Role of the Art Critic. In Paleta 5: A Handbook for Visual Artists, Ed. Eloisa May Hernandez, Pp. 27-31. Manila: NCCA.
13 Flores, Patrick and Cecile Sta. Maria de la Paz. (2000). Sining at Lipunan. Manila: Sentro ng Wikang Filipino, Sistemang Unibersidad ng Pilipinas.
14 Guillermo, Alice. (2001). Image to Meaning: Essays on Philippine Art. Quezon City: Ateneo de Manila University Press.
15 Honour, Hugh and John Fleming. (2009). A World History of Art. 7th Ed. London: Laurence King Publishing.
16 Johnson, Julian. (2002). Who Needs Classical Music? Cultural Choice and Musical Value. New York: Oxford University Press.
Jose, Regalado Trota. (2007). How to Document a Structure. In Balangkas: A Resource Book on the Care of Built Heritage in the Philippines, Ed.
17
Fernando Zialcita, Pp. 25-28. Manila: NCCA.
18 Kleiner, Fred. (2012). Gardner's AH Through the Ages: A Concise History of Western AH. 3rd Ed. Belmont, CA' Wadsworth.
19 Kleiner, Fred. (2016). AH through the Ages: A Global History. 15th Ed. Boston: Cengage Learning.
20 Madale, Abdullah T. (1996). The Maranaw Torogan. Manila: Rex Book Store.
21 Maritain, Jacques. (1953). Creative Intuition in AH and Poetry. New York: Pantheon Books.
22 Marien, Mary Warner and William Fleming. (2005). Fleming's AHS and Ideas. 10th Ed. Belmont, CA: Wadsworth.
23 Minton, Sandra. (1986). Choreography: A Basic Approach Using Improvisation. Illinois: Human Kinetics Publishers.
24 Mittler, Gene A. (2006). AH in Focus. 3rd student Ed. New York: McGraw-Hill/Glencoe.
25 Mora, Manolete. (2005). Myth, Mimesis and Magic in the Music of the T’boli, Philippines. Quezon City: Ateneo de Manila University Press.
26 Narciso, Norman. (2016). Soulmaking. Davao City: Aletheia Publications.
Ortiz, Ma. Aurora, Teresita Erestain, Alice Guillermo, Myrna Montano, and Santiago A. Pilar. (1976). Art: Perception and Appreciation. 13th
27
Printing. Manila: University of the East.
28 Osborne, Harold. (1970). Aesthetics and Art Theory: An Historical Introduction. New York: E. P. Dutton.
Perez, Teody Boylie, Rogelito Cayas, and Norman Narciso. (2013). Alampat: An Introduction to Art Appreciation. Davao City: Blue Patriarch
29
Publishing House.
Pastor-Roces, Marian. (1991). Sinaubang Habi: Philippine Ancestral Weave. Nikki Coseteng Filipiniana Series, 1.
30
Manila: Nikki Books.
Spolin, Viola. (1999). Improvisation for the Theater: A Handbook of Teaching and Directing Techniques. 3rd Ed. Evanston, IL: Northwestern
31
University Press.
32 Vaughan, David and Melissa Harris. (1997). Merce Cunningham: Fifty Years. New York: Aperture.
33 Wilson, Ruth. (2012). Nature and Young Children: Encouraging Creative Play and Learning in Natural Environments. 2nd Ed. New York: Routledge.
Yearwood, Gladstone L. (2000). Black Film as a Signifying Practice: Cinema, Narration and the African American Aesthetic Tradition. Trenton, NJ:
34
Africa World Press.
Yeoman, Ian, Martin Robertson, Jane Ali-Knight, Siobhan Drummond, and Una McMahon-Beattie. (2004). Festival and Events Management:
35
An International Arts and Culture Perspective. New York: Taylor and Francis.
36 Young, James O. (2008). Cultural Appropriation and the AHS. Malden, MA: Blackwell Publishing.
No. Videos and Other Materials
1 Basa, Mick. (2013). The Soul Maker. Online, http://durianwriter.wordpress.com/tag/noy-narciso/
2 Capistrano-Baker, Florina. (2006). Pioneers of Philippine Art. Makati: Ayala Museum and Dream Pulse Production, video, 32.25 min.
3 Corre, Fruto and Nancy Pe-Rodrigo. (1999). Hinabing Panaginip (Dream Weavers), Bookmark video, 45 min.
4 Dela Cruz, Elvie, JL Burgos, Imelda Morales, Opaline Santos, Ria Torrente, Kathrina Reston, Tom Estrera Ill, Allan Alcantara, Erwin dela
Cruz, Rene Bayking, and Joel Laserna. (2012). Art Republik. Asian Christian Arts Association, Inc. video. Episode 1: Siblings in Art; Episode 2:
Spoken Words; Episode 3: Performing Bayanihan; Episode 4: Space and Sound; Episode 5: Artists by Night Director's Cut; Episode 6: Tambayan;
Episode 7: On Women; Episode 8: Skin, Street and Comics; Episode 9: The Old and the New; Episode 10: The Collector; and Episode 11: The
Winner Is.
5 Kleon, Austin. (2012). Steal Like an Artist. TEDxKC. Online, https://www.youtube.com/watch?v=oww70B9rjgw, 11:14 min.
Legarda, Loren. (2015). Dayaw Episode 1 "Lupa, Karagatan, Kagubatan." NCCA. ABS-CBN News Channel Production. Online, https://www
6
youtube.com/watch?v=uDvufr-3xFw, 23.30 min.
Legarda, Loren. (2015). Dayaw Episode 2 "Mito, Kwento, Musika." NCCA. ABS-CBN News Channel Production. Online, https://www youtube.com/watch?
7
v=3Xp6PLC6xJU, 21.20 min.
Legarda, Loren. (2015). Dayaw Episode 3. "Inukitl Hinulma, Nilikha." NCCA. ABS-CBN News Channel Production. Online, https://www
8
youtube.com/watch?v=-OPfH8RAbjQ, 20.09 min.
Legarda, Loren. (2015). Dayaw Episode 4. "Hinabing Kasaysayan ng mga Kababaihan." NCCA. ABS-CBN News Channel Production, Online,
9
https://www.youtube.com/watch?v=mL013U97tlE, 23.20 min.
Legarda, Loren. (2015). Dayaw Episode 5. "Pagbangon, Pagpapatuloy." NCCA. ABS-CBN News Channel Production. Online,
10
https://www.youtube.com/watch?v=oi0YEeYsNwQ, 22.52 min.
Legarda, Loren. (2015). Dayaw Episode 6. "Parangal Sa Mga Ninuno." NCCA. ABS-CBN News Channel Production.Online, https://www
11
youtube.com/watch?v=ClrjWNVC9HA, 26.02 min.
12 Morris, Dave. (2011). The Way of Improvisation. TEDxVÎctoria. Online, https://www.youtube.com/watch?v=MUOpWJ0riQ, 10:49 min.
13 Roth, Gabrielle. (2008). The Wave Dance. Online, https://www youtube.com/watch?v=8cYYzcTzm6Y, 9:22 min.
PART C
COURSE REQUIREMENTS
GRADING CRITERIA:
Final Grades of the students will be based from knowledge and understanding of the course which will constitute fifty percent (50%) of the final grade. The other fifty percent
will be based from the Assessment Result (Evaluation of the course outcomes)
Knowledge and understanding will be evaluated according to the following:
1. Examinations (Check-Up Examination, Preliminary Examination, Mid-Term Examination, Semi-Final Examination, and Final Examination);
2. Recitations (Preliminary Recitation; Mid-Term Recitation; and Final Recitation);
3. Quizzes, and;
4. Assignments
5. Including the laboratory experiments, and laboratory report if the course has a laboratory component.
The final course grade will be computed according to the following formula:
1. [(Knowledge and Understanding Result) x 0.50] + [Assessment Result] x 0.50,
2. The passing standard shall be the grade of 75% but the student must have attended at least eighty percent (80%) of the total number of required meeting of
the course, and must have a rating of “Competent” in all the Assessment Result.
3. The table below shows a sample of the range of percentage marks and their corresponding equivalents.
PERCENTAGE LETTER FIVE POINT

DESCRIPTIVE RATING REMARKS
GRADE GRADE GRADING
97% – 100% A+ Very Excellent 1.00 Meets minimum competence with exceptional score
94% – 96% A- Excellent 1.25 Meets minimum competence with exceptional score
91% – 93% A Very Good 1.50 Meets minimum competence with exceptional score
88% – 90% B+ Good 1.75 Meets minimum competence with over and above average score
85% - 87% B- Good 2.00 Meets minimum competence with over and above average score
82% - 84% B Very Satisfactory 2.25 Meets minimum competence with above average score
78% - 81% C+ Very Satisfactory 2.50 Meets minimum competence with above average score
76% - 77% C- Satisfactory 2.75 Meets minimum competence with average score
75% C Satisfactory 3.00 Meets minimum competence with average score
Below 75% D Failed 4.00 Does not meet the minimum competence
COURSE POLICIES:
A. Attendance Procedure: Attendance will be taken at the beginning of each class. Students are expected to attend every class. Students are responsible for all
material covered during any absence and assignments must be completed by the due date for credit. The absence of more than twenty percent (<20%) of the
required number of meetings in lectures and/or laboratory will result in a “DROPPED” grade (DRP). Missed exams will require proof of extenuating circumstances for
any make-up consideration.
B. Absence due to Illness: If you are sick, DO NOT ATTEND THE CLASS. Contact the instructor by e-mail, telephone, or cell phone to discuss how you will keep up
with the coursework assignments and complete the Laboratory Experiments.
C. Methods of Instruction: Methods will include round-robin discussion and demonstrations that discuss key terms, concepts and formulae of the assigned chapter.
During the discussion, a quiz about the basic concepts of each chapter will be given. The student is expected to read one chapter and solve the assigned problems
each week. This will require an average of five hours of study outside of the classroom each week. The previously assigned problems will be collected for grading and
the solutions will be derived in class. This process is designed to help the student thoroughly understand the concepts and applications of the material covered.
D. Academic Honesty: All students are expected to behave with academic honesty. It is not academically honest, for example, to misrepresent another person’s words
or ideas as one’s own, to take credit for someone else’s work or ideas, to copy and paste material from another document or from the internet, to accept help on a test
or to obtain advanced information or confidential test materials, or to act in a way that might harm another student’s chance for academic success. When the
instructor believes that a student has failed to maintain academic honesty, he or she may be given an “FAILED” grade, either for the assignment, lab report, quiz,
examination, or the course depending upon the severity of the offense.

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PHILIPPINE COLLEGE OF SCIENCE AND TECHNOLOGY

Old Nalsian Road, Nalsian, Calasiao, Pangasinan, Philippines 2418

DETAILED TEACHING SYLLABUS (DTS) AND INSTRUCTORS GUIDE (IG’S)

Professionalism High Spirituality Integrity Love of Humanity Compassionate Solidarity Transformative

COLLEGE OF EDUCATION AND JOURNALISM

BACHELOR OF ELEMENTARY EDUCATION

NAME OF PROGRAM : Bachelor of Elementary Education (BEED)

ART APPRECIATION Course Map

2 Interpret the human experience from various perspectives X

ART APPRECIATION Course Outline and Timeframe

7-12 Art History (Asian, Western, Philippines)

- Aesthetics and Art

- Content in art (levels

- The Role of the Art

- Appreciate better the

ART APPRECIATION Required Readings and Other Materials

PERCENTAGE LETTER FIVE POINT

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