Download to read offline
MUSIC 8 fourth quarter music grade 8 lesson
- 1.
- 2. PART 1: THE KABUKITHEATRE OF JAPAN
- 3. • Kabuki isa highly stylized Japanese dance-drama. It is known for the high drama and the elaborate make-up worn by the cast. • Kabuki is a combination of music, dance, mime, and magnificent stage and costume in a unique way.
- 4. •Kabuki’s history inJapan dates back to the Edo period between 1603 and 1867, when it became popular among the lower classes rather than the upper classes. •The first performance of Okuni, a shrine dancer, in Kyoto in 1603 started Japanese interest in Kabuki theatre, which was a blend of religious and folk dance. •“Ka” means “songs” “Bu” means “dance” and “Ki” means “talent”
- 5. ELEMENTS OF KABUKI •Dance – the first performers dance with folk and religious dance music. • Costume – the performer’s costume’s stress the role being portrayed by the actors. • Make-up – one of the elements that is vital in Kabuki performances, make-up is very much emphasized with exaggerated colors. • Music – aside from song and dance accompaniment, music is used for sound effects. Wooden clappers also serve as the signal to start or end the play.
- 6. MUSICAL FEATURES OFKABUKI Vocal patterns and techniques used during the performance. • Ipponchoshi (continuous pattern) – used in speeches building up to an explosive climax in the aragoto style. It involves extraordinary breath control that only professional actors succeed in achieving. • Nori technique – adapted from chanting the jouri, which entails a very sensitive capacity of riding the rhythms of the shamisen • Yakuharai technique – a fine delivery of poetical material written in Japanese metrical form, with seven and five syllables alternated.
- 7. MUSIC INSTRUMENTS OFTHE KABUKI • Hyoshigi – a wooden clapper used in ceremonial music to signal the beginning and end of the performances. • Hayashi – a musical ensemble for kabuki theatre which is a live performance of the shamisen players. • Debayashi – this is an onstage music performance in full view of the audience. Nagauta is performed on a tiered platform backstage. Joruri is a musical ensemble located on the left side of the stage. • Hyudorodoro – is used to mark the appearance of the ghost, played by the instruments of flute and drum. • Geza – is used for special effects, the kagebayashi (hidden musicians) are invisible and the audience is seated at the lower seats of the stage.
- 12. PART 2: WAYANG KULITOF INDONESIA
- 13. WHAT IS WAYANGKULIT? • The Wayang Kulit shadow puppetry of Indonesia has a long-recorded history Java and Bali, Indonesia. • Its performances date back to atleast 930 A.D. It was during these times that Hinduism was brought to the area, with stories depicting excerpts from Mahabharata and the Ramayana, and Indian epics composed thousands of years ago. • The Wayang Kulit uses a flat puppets that are intricately constructed. The shadow images can be brought to life by projecting them on a screen using an oil lamp or an electric light. • Wayang is an Indonesian and Malay word for theatre. The term is also used to refer to kinds of puppet theatre. • “Bayang” the Javanese word for shadow or imagination, also connotes “spirit”
- 14. CHARACTERISTICS OF WAYANG KULIT •Wayangis performed in royal courts and commonly performed in public on religious occasions, and is well-known among people of all social groups. •The Wayang Kulit puppet theatre, dancing, and singing are accompanied by gamelan music.
- 15. ELEMENTS OF MUSICUSED IN WAYANG KULIT •Rhythm/Meter/Tempo •Melody •Timbre and Musical Effects •Texture •Dynamics •Musical Forms and Improvisation
- 16. ELEMENTS OF WAYANGKULIT
- 18. • The Dalangprepares all the materials used in the shadow, such as the cloth and light. The puppet on the right represents the good character, while the puppet on the left represents the bad. • The dalang is a puppeteer who is creative, humorous, and adaptable. He moves the puppets, sings, and sends signals to the orchestra. • He also plays all the characters in the shadow. • The gamelan is the heart of art music in Indonesia. It performs a vital part in establishing the mood and emphasizing the action of the play.
Editor's Notes
- #4 Brief History of the Edo Period (1603–1867) The Edo period, also known as the Tokugawa period, was a time of stability and isolation in Japan. It began when Tokugawa Ieyasu unified the country and established the Tokugawa Shogunate. This era was characterized by a rigid social hierarchy, peace, and economic growth. Japan adopted a policy of seclusion (sakoku), limiting contact with the outside world while fostering internal cultural development, including the rise of arts such as Kabuki, ukiyo-e (woodblock prints), and literature. Why Kabuki Became Popular Among the Lower Class Kabuki thrived among the lower classes because of its vibrant, accessible, and entertaining nature. It featured exaggerated acting, colorful costumes, and dramatic storytelling, which resonated with the common people. The upper classes, bound by strict societal norms and Confucian values, viewed Kabuki as too frivolous and vulgar. The samurai, in particular, were discouraged from attending Kabuki due to its association with hedonism and the theater district's lively, often bawdy atmosphere. This made Kabuki a cultural outlet for merchants, artisans, and laborers who sought entertainment outside the rigid social conventions of the era. Difference Between Lower and Upper Classes In the Edo period, society was divided into four main classes under the feudal system: 1. Samurai (Warrior Class)**: The upper class, including the ruling military elite and bureaucrats, who followed strict codes of honor and lived on stipends. 2. **Farmers**: Valued for their role in producing food but heavily taxed and restricted in lifestyle. 3. **Artisans**: Skilled workers who created tools, art, and crafts. 4. **Merchants**: Often wealthier than their social rank suggested but considered the lowest class because they did not produce goods. The lower classes, including merchants, artisans, and some farmers, were less constrained by formal expectations and could openly enjoy Kabuki's colorful and irreverent entertainment. In contrast, the upper classes adhered to more formal cultural pursuits like Noh theater, tea ceremonies, and poetry. Okuni was a legendary Japanese shrine maiden credited as the founder of Kabuki theatre. She is known for initiating the art form in the early 17th century. Key Facts about Okuni: Origins: Okuni was associated with the Izumo Shrine, where she likely performed as a miko (shrine maiden). Her performances combined religious rituals with entertaining dance and storytelling. First Performance: In 1603, Okuni began performing in Kyoto, presenting a unique blend of folk dances, music, and drama that captivated audiences. Her style was unconventional, flamboyant, and humorous, which appealed to the common people. Innovations: She often performed on a dry riverbed, which made her art accessible to the masses. Her performances also included gender-bending roles, as she sometimes played male characters, adding to her popularity. Legacy: Okuni's innovative performances laid the foundation for Kabuki theatre, which grew into a formalized art form after her time. While Okuni's original style was highly experimental and playful, the Kabuki that followed became more structured, with male actors taking over all roles after women were banned from performing due to moral concerns in 1629.