#26
04/17/24 Zaira Beatrice A.
Cruz
8 SAPPHIRE
MUSIC STUDY GUIDE
Quarter 4 - Module 1: Traditional Asian Theater Music
Lesson 1: Traditional Asian Theater Music
Japanese Theater __________
- Japan is rich in culture and tradition.
- Ikebana and cherry blossoms represent the beauty of its cultural heritage
- traditional form of theater began at the end of 16th century
- nÔh and kabuki are unique and genuine expressions of the Japanese spirit and culture
- "Sakura (Cherry Blossoms)" is a traditional song in Japan; mostly used in the performance of
noh and kabuki
- key features of Japanese theater is the vocal technique used in singing
- ipponchoshi is used in speeches building up to an explosive climax in the arogato style; requires
an extraordinary breath control
- nori is another technique adapted from the chanting of joruri; sensitive capacity of riding the
rhythms of the shamisen
VOCAL AND INSTRUMENTAL FEATURES
Gagaku - dances and movements are accompanied by shamisen music
- gagaku [classic court music imported from China during the 18th century]
- kagura [performed in Shinto shrines]
- --------- - nÔ [chant derives from shõmyo, the sophisticated and rich tradition of Buddhist
--------- chanting]
Naugata - most popular shamisen music
- very flexible
- can be performed by one shamisen or by an entire orchestra of twenty musicians
CHINESE THEATER
- highest form of arts in China
- Chinese form of opera dating from the late 18th century
The Peking Opera - has two main styles; erhhuang and his-p’l (lower sound). These are
--------- -similar but different in key
- fan-pan commonly used for sorrowful songs, and is only sung by
------ bearded characters
Peking Opera Orchestra - different from the western orchestra
- comprises about eight musicians sitting on stools in the
far------------- corner of the stage
- each performance begins with the ta-lo and siag-lo; some start
------ with a single skin drum
- conductor usually sits in the center of the orchestra and creates
------ tempo with this drum
The following are some musical instruments used in a Peking opera performance.
The form used in Peking opera is a collection of many older forms but the new form also
introduced its own innovation. The vocal requirements for all the major roles were greatly
reduced for Peking opera. The chou, in particular, rarely has a singing part in Peking opera,
unlike the equivalent role in Kungu style. They simplify the songs that accompany each play in
coordination to the traditional instruments used. The popularity of Peking opera has been
attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed
anyone to sing the arias themselves.
INDONESIAN THEATER
Shadow Puppet Theater is a well-known Indonesian theater popular not only in their own
country but spread in several countries around the world. Wayang Kulit in Central Java is one
of the oldest continuous traditions of storytelling in the world which includes the use of
puppet materials and background musical accompaniment to make it interesting to the
audience.
Wayang is an Indonesian and Malay word for theater. When the term is used to refer to kinds
of Puppet Theater, sometimes the puppet itself is referred to as wayang. Kulit means skin and
refers to the leather construction of the puppets that are carefully cut into a very fine tools and
supported with carefully shaped buffalo horn handles and control rods.
THE DALANG
The puppeteer is called the dalang. He is characterized by his being creative, humorous, and
flexible. He manipulates the puppets, sings, and taps out signals to the orchestra. He also
speaks the parts of all the characters. The use of the voice interchangeably is the main ability
of a dalang to give more life to a different character.
Non-jointed puppets were manipulated by the chief performer, the dalang, who told a story
to the accompaniment of several instruments, including some that are part of the present-day
gamelan ensemble.
Wayang Kulit was performed in royal court and widely performed in public on religious
occasions so that knowledge of wayang became widespread among all classes in Java.
THE MUSIC: GAMELAN
1. Saron – xylophone of heavy bronze bars
2. Gender – bronze xylophone with resonance chambers beneath
3. Bonang – set of bronze bowls
4. Gong and Kempul – hanging gongs
5. Kenong and Ketuk – single inverted bronze bowl
6. Gambang – wooden xylophone
7. Rebab – two-stringed fiddle
8. Suling – flute
9. Kendang – horizontal drum beat with the fingers on both ends
10. Tjelempung – a zither of thirteen double strings
The dalang sings the mood songs (suluk) at regular intervals during
performance; in a nine-hour Wayang Kulit, he may sing fifty or sixty. Nevertheless, they are
considered relatively unimportant except as mood pieces. The same generalized lyrics may
be used in play after play. Suluk are never accompanied by the full gamelan ensemble.
Often a single instrument accompanies the singer, never more than three or four. The major
dramatic function of gamelan music is to accompany stage action. Entrances, exits, and
fight scenes are executed in time to gamelan music.
