IDENTIFY THE DIFFERENT ELEMENTS OF ARTS

4.RL.2 Craft and Style B. Identify the characteristics of different genres of literary texts (e.g., drama, poems, stories) and refer to the structural elements of each. C. Identify the narrator of a story and the speaker of a poem. D. Differentiate between first-and third-person point of view.

To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

How do you differentiate a house from home? House is a physical structure made of different materials, which protect the family from outside elements like rain, heat of the sun, and such other factors that cause harm to the family living in it. It is usually made of various materials like nipa, bamboo, wood, cement, tiles, and marble. A house is considered a home when there is spiritual guidance, security, and sense of belonging among the members of the family. Therefore, a home is where the family resides with an atmosphere of respect, love, and harmony. Can you tell now, is your house a home? Introduction: Objectives: Home Economics and Livelihood Education 7 Seibo College 68 At the end of the module you are expected to:  differentiates a home from house ;  identify the factors that make-up a wholesome family;  strengthen family relationship by being an obedient and cooperative member of the family and  participate actively in a family/group discussions. Directions: Write true if the statement is correct. If the statement is incorrect change the words or group of words with the correct answer. 1. Home is a physical structure built for man’s shelter. 2. House is a place where there is love and affection overflowing among the family members. 3. Affection is a feeling of love, care, and devotion towards family members. 4. Open communication helps the family maintain a harmonious relationship. 5. Children should not be given the opportunity to voice out their opinion. 6. All families will be happy, if they live in a mansion. 7. The feeling of being love boosts one’s self-confidence. 8. Negative feelings must be left unsaid to avoid hurting 9. Responsible parents supply all the materials wanted by their children. 10. Family who lives harmoniously is an ideal family.

Earth's History. All the processes that have been discussed require long periods of time to create a noticeable change on Earth's surface. You can just imagine how long it would take to create an oceanS as vast as the Pacific Ocean if the ocean floor moves only at about 10 cm/year. It is then important to know the history of Earth to learn the complexities of its past and be able to use it to understand the present. Just like learning the history of a country that requires one to read a lot of books, learning the history of Earth involves studying a lot of rocks. Rocks, especially sedimentary rocks, contain a lot of information about Earth's past. It holds the key to most of the geologic processes that happened on Earth and the key to uncovering how life on Earth evolved. But these discoveries are worthless if there is no time perspective. Thus, one of the most important contributions of geologists to mankind is the geologic time scale, which holds a history that is exceedingly long.The geologic time scale divides the history of Earth into different blocks of time by using relative dating. Since geologists use rocks to understand Earth's history, dating does not give accurate numerical dates, it only tells that an event preceded the relative dating places these rocks in their proper sequence of formation. But relative other. This method is still widely used today, alongside a more accurate method called absolute dating, which uses radioactive elements. With relative and absolute dating. geologists can trace the history of Earth. Relative Dating. Relative dating requires one to know the basic principles such as law of super-position, principle of original horizontality, principle of cross-cutting relationships, and unconformities.Law of Superposition The law of superposition is the most basic principle in relative dating. It states that in an undeformed sequence of sedimentary rock, the layers found at the top are the youngest rocks and the layers at the bottom are the oldest. It may seem too obvious, but this principle has only been clearly stated in 1669 by the Danish anatomist, geologist, and priest, Nicolaus Steno. Principle of Original Horizontality Along with the law of superposition, Steno stated that an undeformed sequence is the one where the layers are still in a horizontal position. This follows the principle of original horizontality, which states that sediments are deposited horizontally. Principle of Cross-Cutting Relationships The principle of cross-cutting relationships determines which events occurred first depending on which rocks are affected. The geologic layer that cuts another is younger than the layer it cuts across.Unconformities Rock layers that have not been interrupted are considered conformable. These sites represent spans of geologic time. But there is no place on Earth that has a complete conformable stratum since external and internal processes have always interrupted the deposition of the sediments. These breaks in the record of the rock strata are called unconformities. Using unconformities, geologic events are determined. There are three basic types of unconformities angular unconformity, disconformity, and nonconformity. Angular unconformity is characterized by having tilted or folded sedimentary rocks below younger, horizontal layers of rock. Disconformity is determined where there are missing parallel rock layers. Erosion takes place and removes the younger top layers and then deposition would once again happen. Nonconformity is characterized by an igneous or metamorphic rock found below a sedimentary rock. Figure 3-13. Three basic types of unconformities Using these principles for relative dating, one can determine the order of events However, relative dating does not give a time element as to when they happened. Absolute Dating For a much more accurate method of determining the history of Earth, geologists make use of absolute dating. This method uses unstable elements to determine the exact age of rocks. Isotopes are elements that have the same number of protons but different number of neutrons. Most isotopes are stable but some may be unstable. This is because the forces that bind the protons and neutrons in the nucleus of the isotope are not strong enough to hold them together, resulting in a radioactive decay, The unstable isotopes are called radioactive isotopes or parent isotopes. When these parent isotopes undergo radioactive decay, new isotopes, known as daughter products, are formed. The time it takes for one-half of the nuclei in the sample to decay is called half-life. This amount of time is fixed for each kind of radioactive isotope no matter what physical conditions it is subjected to. The ratio of parent daughter isotope determines how many half-lives have passed. If it is 1:1, then one half-life has passed; if it is 1:3, then two half-lives have passed; and if 1:7, then three half-lives have passed, and so on. Therefore, using the concept of half-life and parent-daughter ratio, geologists can determine the exact age of the sample. This method is called radiometric dating. It uses five radioactive isotopes to determine the age of rocks. For dating rocks that are about a million years old, rubidium-87, thorium-232, and the two isotopes of uranium (U-238 and U-235) are used. The fifth radioactive isotope is potassium-40, which has a half-life of 1.3 billion years. With these radioactive elements, determining the accurate age of rocks becomes easier. For dating events that are more recent, radiocarbon dating is used. This method uses carbon-14. Carbon-14 has a half-life of 5730 years and can be used to date back events up to 75000 years. All organisms contain a small amount of carbon-14, which is proportional with the amount of carbon-12. When an organism dies, the carbon-14 decays and is no longer replaced. The amount of carbon-14 left in the sample is then compared to the amounts of carbon-12 present, and radiocarbon dates can then be determined. This method has been particularly useful for anthropologists, archeologists, historians, and geologists for events that are much more recent.Fossils Aside from rocks, geologists also use the remains of living organisms in understanding Earth's history. Some fossils are formed from parts of an organism (body fossil), while some provide signs or clues as to which life-forms were present at that time (Frace fossils). Fossils contain a lot of information about the past the kind of organisms that have lived, the environment where organisms lived, and the evolution organisms underwent as their environment changed. However, not all organisms turned into fossils, therefore, scientists cannot learn everything about the past using fossils alone. There are also fossils that are used to determine the age of a rock. These are index fossils and these are only found in rocks of a particular age. The organisms that turned into index fossils have a relatively short life-spanning from a few million years to a few hundred million years. Index fossils are also found in most of the common rocks around the world, which makes them easier to identify.The methods used for dating the age of rocks are also used for fossils. Absolute dating is more commonly used since it can give exact numerical dates for the age, but relative dating can also be used to determine which fossils are older.

The cytoskeleton is a network of thin tubes and filaments that crisscrosses the cytosol. The tubes and filaments give shape to the cell from the inside in the same way that tent poles support the shape of a tent. The cytoskeleton also acts as a system of internal tracks, shown in Figure 4-18, on which items move around inside the cell. The cytoskeleton’s functions are based on several struc- tural elements. Three of these are microtubules, microfilaments, and intermediate filaments, shown and described in Table 4-2. Microtubules Microtubules are hollow tubes made of a protein called tubulin. Each tubulin molecule consists of two slightly different subunits. Microtubules radiate outward from a central point called the centrosome near the nucleus. Microtubules hold organelles in place, maintain a cell’s shape, and act as tracks that guide organelles and molecules as they move within the cell. Microfilaments Finer than microtubules, microfilaments are long threads of the beadlike protein actin and are linked end to end and wrapped around each other like two strands of a rope. Microfilaments con- tribute to cell movement, including the crawling of white blood cells and the contraction of muscle cells. Intermediate Filaments Intermediate filaments are rods that anchor the nucleus and some other organelles to their places in the cell. They maintain the inter- nal shape of the nucleus. Hair-follicle cells produce large quantities of intermediate filament proteins. These proteins make up most of the hair shaft. 84 CHAPTER 4 TABLE 4-2 The Structure of the Cytoskeleton Property Microtubules Microfilaments Intermediate filaments Structure hollow tubes made of two strands of intertwined protein fibers coiled into coiled protein protein cables Protein subunits tubulin, with two subunits: å actin one of several types of and ∫ tubulin fibrous proteins Main function maintenance of cell shape; cell maintenance and changing of maintenance of cell shape; motility (in cilia and flagella); cell shape; muscle contraction; anchor nucleus and other chromosome movement; movement of cytoplasm; cell organelles; maintenance of organelle movement motility; cell division shape of nucleus Shape Microtubules provide a path for organelles and molecules as they move throughout the cell. FIGURE 4-18 Microtubules Nucleus Endoplasmic reticulum Mitochondrion Ribosomes Copyright © by Holt, Rinehart and Winston. All rights reserved. Copyright © by Holt, Rinehart and Winston. All rights reserved. CELL STRUCTURE AND FUNCTION 85 1. Explain how the fluid mosaic model describes the plasma membrane. 2. List three cellular functions that occur in the nucleus. 3. Describe the organelles that are found in a eukaryotic cell. 4. Identify two characteristics that make mitochon- dria different from other organelles. 5. Contrast three types of cytoskeletal fibers. CRITICAL THINKING 6. Relating Concepts If a cell has a high energy requirement, would you expect the cell to have many mitochondria or few mitochondria? Why? 7. Analyzing Information How do scientists think that mitochondria originated? Why? 8. Analyzing Statements It is not completely accurate to say that organelles are floating freely in the cytosol. Why not? SECTION 3 REVIEW During cell division, centrioles organize microtubules that pull the chromosomes (orange) apart. The centrioles are at the center of rays of microtubules, which have been stained green with a fluorescent dye. FIGURE 4-20 Cilia and Flagella Cilia (SIL-ee-uh) and flagella (fluh-JEL-uh) are hairlike structures that extend from the surface of the cell, where they assist in movement. Cilia are short and are present in large numbers on certain cells, whereas flagella are longer and are far less numerous on the cells where they occur. Cilia and flagella have a membrane on their outer surface and an internal structure of nine pairs of micro- tubules around two central tubules, as Figure 4-19 shows. Cilia on cells in the inner ear vibrate and help detect sound. Cilia cover the surfaces of many protists and “row” the protists through water like thousands of oars. On other protists, cilia sweep water and food particles into a mouthlike opening. Many kinds of protists use flagella to propel themselves, as do human sperm cells. Centrioles Centrioles consist of two short cylinders of microtubules at right angles to each other and are situated in the cytoplasm near the nuclear envelope. Centrioles occur in animal cells, where they organize the microtubules of the cytoskeleton during cell division, as shown in Figure 4-20. Plant cells lack centrioles. Basal bodies have the same structure that centrioles do. Basal bodies are found at the base of cilia and flagella and appear to organize the devel- opment of cilia and flagella.

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