MUSIC 8 IV.pptx FOURTH QUARTER LESSON ARTS

ART LESSON

1. Traditional Asian music theater

2. Part 1: the kabuki theatre of japan

3. Kabuki is a 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 in Japan 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 of kabuki 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 of the 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.

8. Part 2: Wayang kulit of indonesia

9. What is wayang kulit ? 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”

10. Characteristics of wayang kulit Wayang is 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.

11. Elements of music used in Wayang kulit Rhythm/Meter/Tempo Melody Timbre and Musical Effects Texture Dynamics Musical Forms and Improvisation

12. Elements of Wayang kulit

13. The Dalang prepares 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.