Download - Introduction to Japanese Music - Week 4
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Introduction to Japanese Music
Week 4 – Nō drama
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• J Thomas Rimer, ‘What More do we Need to Know About the Noh?’ Asian Theatre Journal 9/2 (Autumn 1992): 215-223.
• Noh Plays Database (www.the-noh.com/en/)
• John Wesley Harris, The Traditional Theatre of Japan: Kyogen, Noh, Kabuki and Puppetry (The Edwin Mellen Press, 2006).
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Origins of Nō drama
• Sarugaku – theatre from earlier periods
• The Ashikage shogun patronized sarugaku in the 14thC
• Zeami (1364-1443)
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Description of Nō theatre
• Main stage
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Description of Nō theatre
• Main stage
• Side stage for chorus
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Description of Nō theatre
• Main stage
• Side stage for chorus
• Back stage for musicians
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Description of Nō theatre
• Main stage
• Side stage for chorus
• Back stage for musicians
• Long passageway for entry and exit
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Description of Nō theatre
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Status of Nō
• From 16thC, Nō was transmitted as an amateur pastime
• Developed into a refined pursuit
• Formalized, upper-class art
• Serious, solemn, high-art feel
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Music in Nō
• Music has a secondary role, behind the text
• Shite – principal actor
• Utai – sung text
• Hayashi – instrumental music, played by musicians also called hayashi
• Usually two acts, with an interlude; may last between one and two hours
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Kyōgen
• Comic Nō scenes
• Often used as interludes, or performed separately
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Utai (structure)
• Nō plays are built from dan, or scenes
• Each dan often has an introductory song; a speech, or sung narrative; then a song in one or two parts.
• The utai is divided further into shōdan, small structural units
• Jo-Ha-Kyu
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Utai
• Kotoba – speech mode (stylized intonation)
• Yowagin – uses three tones, in tetrachords –female, emotional, beautiful
• Tsuyogin – centered on one tone, within range of min 3rd – male, martial, congratulatory
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Jiutai
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Melodic and Rhythmic Patterns
• Five- and seven-syllable text, in eight-beat metre
• Utai uses standard rhythmic and melodic patterns
• Hiranori – chunori – onori
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Fue
• Seven finger holes
• Wide mouth-hole for embrouchure changes
• No absolute pitch – unmatched to the vocal
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Kō-tsuzumi
• Shoulder drum
• Binding ropes used to control pitch
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Ō-tsuzumi
• Second drum, held on the knee
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Hayashi patterns
• Each instrument has its own patterns, repeated during a shōdan or dance
• Drummers match pauses to the correct utaisyllables – enabling them to follow the singer
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Current day…
• Nō (and kyōgen) are still performed, though now a high classical art
• Little public interest?
• Intangible Cultural Heritage
• Around 200 extant plays
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• Kagekiyo / Shidohogaku – Noh and KyogenPlays Live (Asch Records, 1969)
• Kyoto Nohgaku Kai, Japanese Noh Music(Lyrichord World, 1993)