8

Music
Traditional Asian Theater Music
Music— Grade 8
Alternative Delivery Mode
Quarter 4 — Module 1: Traditional Asian Theater Music
First Edition, 2020

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Published by the Department of Education – Division of Gingoog City

Division Superintendent: Jesnar Dems S. Torres, PhD, CESO VI

Development Team of the Module

Development Team of the Module
Writer: Jezza Jane A. Quimson
Writer: Jezza Jane Quimson
Reviewer: Sherwin A. Cuerdo, EPS-MAPEH
Reviewer: Sherwin A. Cuerdo, EPS-MAPEH
Jenny R. NAvarro, MAPEH Department Head
Jenny R. NAvarro, MAPEH Department Head
Julita A.A.Lauroza
Julita Lauroza
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JoemarP.P.Valdevilla
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JesnarDems
DemsS.S.Torres,
Torres,PhD,
PhD,CESO
CESO VI
VI
Schools
SchoolsDivision
DivisionSuperintendent
Superintendent

Co-Chairperson:
Co-Chairperson: Conniebel
ConniebelC.C.Nistal,
Nistal,PhD
PhD
Assistant
AssistantSchools
SchoolsDivision
DivisionSuperintendent
Superintendent

PablitoB.B.Altubar,
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Chief

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Sherwin Cuerdo,EPS-MAPEH
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 8
Music
Quarter 4 – Module 1:
Traditional Asian Theater Music
 Table of Contents

What This Module is About ................................................................................................................... i

What I Need to Know .............................................................................................................................. i

How to Learn from this Module ...........................................................................................................i

Icons of this Module......................................................................................................................1

What I Know
Activity 1: Pre- Assessment.......................................................................................................2
What’s New
Activity 2: Let’s Watch!...............................................................................................................3

Lesson 1:

Traditional Asian Theater Music ..............................................................................4

What Is It

Japanese Theater ......................................................................................................4

Chinese Theater.........................................................................................................6

Indonesian Theater ...................................................................................................9

Summary.....................................................................................................10
What This Module is About

Have you experienced watching a stage play or a theater play? How was it? Did you
enjoy watching? In this unit, you are about to discover the traditional Asian Theater art. You
will have a unique experience on how this traditional theater music is performed.

Theater arts is one of the ancient traditions of the people in Asia particularly in
Japan, Indonesia, and China. This theater art form was transmitted from generation to
generation. The message in every presentation conveys reflection of everyday life. The key
principles of theater is selectivity. Through the various forms of theater art, a specific form
can achieve clarity, order, and beauty rarely found in ordinary life.

What I Need to Know

At the end of this module, you should be able to:

1. Identifies musical characteristics of selected Asian musical theater through video films
or live performances. (MU8TH-IVa-g1)
2. Perform selection from chosen Asian musical theater. (MU8TH-IVa-g2)
3. Describe how the musical elements contribute to the performance of the musical
production. (MU8TH-IVb-h3)
4. Identifies the instruments that accompany Kabuki, Wayang Kulit, Peking Opera.
(MU8TH-IVa-g4)
5. Explains the distinguishing characteristics of representative Asian musical theater.
(MU8TH-IVa-g5)
6. Describe how a specific idea or story is communicated through music in a particular
Asian musical theater. (MU8TH-IVa-g6)
7. Creates/improvises appropriate sound, music, gesture, movements, props and costume
for performance of a chosen Asian traditional musical and theatrical form.
(MU8TH-IVb-h7)

8. Evaluates music and music performances applying knowledge of musical elements and
style. (MU8TH-IVc-h8)
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How to Learn from this Module

To achieve the objectives cited above, you are to do the following:

1. Carefully read all the lessons.

2. Take your time on going thru each lesson.

3. Answer the pretest honestly; the purpose of the pretest is for you to
determine your prior knowledge before going thru the lessons and activities.

4. If you have a hard time understanding the lessons and activities,

please do take a break. Having breaks between lessons and activities will
give you some space where you can absorb the lesson well.

5. You can use the internet if you need more information about the lesson.

6. Contact your subject teacher if you have some questions about the
submission of your output.

i
Icons of this Module

What I Need to This part contains learning objectives that

Know are set for you to learn as you go along the

module.

What I know This is an assessment as to your level of

knowledge to the subject matter at hand,

meant specifically to gauge prior related

knowledge

What’s In This part connects previous lesson with that

of the current one.

What’s New An introduction of the new lesson through

various activities, before it will be presented

to you

What is It These are discussions of the activities as a

way to deepen your discovery and under-

standing of the concept.

What’s More These are follow-up activities that are in-

tended for you to practice further in order to

master the competencies.

What I Have Activities designed to process what you

Learned have learned from the lesson

What I can do These are tasks that are designed to show-

case your skills and knowledge gained, and

applied into real-life concerns and situations.

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 WHAT I KNOW

Activity 1: Pre Assessment

Direction: Select only the letter of your choice and write it in your activity notebook.

1. What do you call to the Japanese waist drum?

a. shamisen b. fue c. otsuzumi d. taiko

2. It refers to the technique in the same way describes the subtle delivery of poetical text
written in the Japanese metrical form of alternating seven and five syllables.

a. yakuharai b. xiaosheng c. chou d. dan

3. A Chinese technique which commonly used for sorrowful songs and only sung by
bearded characters
b. kogakudo b. fan-pan c. mawaro butal d. suppon

4. It is a kind of theater traditionally considered as the highest form of arts in China.

a. Qingyi
b. wudan
c. Chinese
d. daomadan

5. It is a shadow puppetry play of Indonesia

e. Peking Opera
b. Kabuki Theater
c. Wayang Kulit
d. Kesho

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 WHAT’S NEW

Activity 2: Let’s Watch!

Direction: Please log on to the YouTube channel and watch the three video clips & identify
the varied art forms used in the three famous Asian theatrical art. Write your answer in your
activity notebook.

Kabuki Theater (JAPAN): https://cutt.ly/tsRV7pp

https://cutt.ly/TsTKGU7

Peking Opera (CHINA): https://cutt.ly/4sRBp3Z

https://cutt.ly/ssTLeYh

Wayang Kulit (INDONESIA): https://cutt.ly/SsRBz7Z

https://cutt.ly/vsTL1V5

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 Lesson

1 Traditional Asian Theater Music

WHAT IS IT

JAPANESE THEATER

Japan is rich in culture and tradition. Ikebana and cherry blossoms, to name a
few, represent the beauty of its cultural heritage. One of the traditions that is very popular
until today is the traditional form of theater which began at the end of sixteenth century and
soon became the most successful theater is considered the most important Japanese
contribution to world theater. Both nÔh and kabuki are unique and genuine expressions of
the Japanese spirit and culture. They mirror, however, taste and ideals of different social
classes, in profoundly different environments and periods.
Did you know that Sakura is one of the popular traditional songs of Japan?
Translated as Cherry Blossoms in English, it is a traditional song that produces distinct
characteristics used in the Asian style of making melodies also known as the pentatonic
scale. The pattern is mainly developed by using the pentatonic scale adopted mainly from
China. This style is mostly used in the performance of noh and kabuki.
One of the key features of Japanese theater is the vocal technique used in
singing. The continuous pattern or ipponchoshi is used in speeches building up to an
explosive climax in the arogato {oversize, supernatural, rough hero) style, it requires an
extraordinary breath control that only few experts succeed in achieving. Another technique
adapted from the chanting of joruri is called nori.It implies a very sensitive capacity of riding
the rhythms of the shamisen [string instrument], declaiming each accompaniment.
Yakuharai techniques in the same way describes the subtle delivery of poetical text written
in the Japanese metrical from of alternating seven and five syllables.

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 Kabuki Theater- https://cutt.ly/csTIu6G

VOCAL AND INSTRUMENTAL FEATURES

Dances and movements are accompanied by shamisen music which
collected and popularized a number of aspects from all previous forms of Japanese music,
from 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], down to the folk songs and fashionable songs of the day. The
most popular shamisen music was called nagauta [long song] which reached a golden age
in the first half of the 19th century as dance music for the henge mono or quick change
pieces.

Gagaku- https://cutt.ly/osR5xxW

Naugata music is a very flexible, can be performed by one shamisen or by an

entire orchestra of twenty musicians, of which ten are shamisen players, while others play
flutes (fue taken from the nõ) and drums (small drum-kotsuzumi; waist drum-õtsuzumi;
stick drum-taiko)

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 Naugata- https://cutt.ly/TsR8Un4

CHINESE THEATER
Chinese theater traditionally was considered as the highest form of arts in China.
Peking Opera Theater, according to the Oxford dictionary, is a stylized Chinese form of
opera dating from the late 18th century, in which speech, singing, mime, and acrobatics are
performed to an instrumental accompaniment. It became fully developed and recognized by
the mid-19th century. It was regarded as one of the cultural treasures of China and was
extremely popular in the Qing Dynasty court.
Basically, the Peking opera has two main styles of music, namely: the erhhuang
and the his-p’l. These styles are very similar and the only difference is the key. His-p’l has
lower sound than the erh-huang. They also utilize the technique called fan-pan which is
commonly used for sorrowful songs, and is only sung by bearded characters.

The Peking Opera- https://cutt.ly/zsTeQgB

The orchestra of a Peking opera is different from the western orchestra. It comprises
about eight musicians sitting on stools in the far-corner of the stage. Each performance in a
Peking opera begins with the ta-lo and siag-lo, a small and large gong and cymbals, in
some performances they also start with a single skin drum. The conductor usually sits in the
center of the orchestra and creates tempo with this drum.

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 Peking Opera Orchestra- https://cutt.ly/ysTrqvo

Traditionally, the musicians are in view throughout the performance and are dressed
in the same style as the stage assistants. They come and go freely and are never
considered part of the stage picture. In contemporary China, the musicians are often seated
in an orchestra pit and kept offstage. Music is an integral part of every performance. It
provides an atmospheric background, accompanies the many sung passages, controls the
timing of movements, and welds the performance into a rhythmical whole. Theater musicians
learn their parts by rote since Chinese musical notation is very imprecise. Most music used
in the Peking opera has been worked out collaboratively between actors and musicians.
Most are borrowed from already existing sources and recombined according to the
requirements of a particular play.
The actor’s delivery of lines is rigidly controlled by conventions. Each role has its
prescribed vocal timbre and pitch, and syllables are often drawn out with regards to
conversational usage in order to maintain the appropriate rhythm. Even spoken passages
are governed by strict rhythms and tempos. Chanted and sung passages are freely inserted
into spoken monologues or dialogues. Thus lines are rendered in an extremely stylized
manner.
The following are some musical instruments used in a Peking opera performance.
Instrument Description

Aerophone

Ti-ts Cross flutes – usually played along with singing

Siao Recorded flutes – usually played along with singing

Sona Trumpet announces prosperous occasions

Chordophone

Violin like

Hu-ch’in Two stringed instruments

Bu-ch’in Two stringed instruments

Guitar like

Yue-ch’in Four stringed instruments

San-sien Three stringed instruments

Pi-p’a Similar to lute with four strings

Idiophone

Ta-lo Gongs – signify the beginning of

Siao-lo the performance

Tan-pi-ku Kettle drum – used to create the tempo of the performance

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 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.

The highest aim of performers is to put beauty into every motion. The four skills of
Peking opera are not separate, but rather combined in a single performance. One skill may
take precedence at certain moments during a play, but this does not mean that other actions
should cease. Much attention is paid to tradition in the art form, and gestures, settings,
music, and character types are determined by long-held convention. This includes
conventions of movement, which are used to signal particular actions to the audience.
Here are some pictures of male & female Peking Opera performers.

https://cutt.ly/asTsywu

https://cutt.ly/6sTsz2w

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 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 PERFORMANCE
The audience is the most important person in a Wayang Kulit performance. The
dalang prepares all the materials used like the cloth and the light for the shadow. The
puppet on the right side signifies the good character, on the left hand side the bad. The open
space between them about two meters wide represents the stage.

The Performance- https://cutt.ly/7sTgE92

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.

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 The Dalang- https://cutt.ly/5sTfYIB

THE MUSIC: GAMELAN

A gamelan ensemble is comprised mainly by bronze percussion instruments
augmented by other percussion instruments, strings, and a flute. A full Javanese gamelan
ensemble consists of:
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 Gamelan Ensemble- https://cutt.ly/gsTg6W8

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 The preponderance of bronze instruments gives gamelan music a bright, lingering
sound, ranging from slow, majestic melodies of the Javanese gamelan to the
clangorous vibrancy of the Balinese gamelan. Fiddle and flute add a delicate
counterpoint to a four-square pattern of percussive melody.

The Javanese Gamelan Ensemble- https://cutt.ly/1sThAxi

The Balinese Gamelan Ensemble- https://cutt.ly/hsTjpuV

In addition to setting the mood or atmosphere of a play, music has two major
dramatic functions in the theatre. It accompanies the singing/chanting and it accompanies
stage actions including dance. The importance of each function varies from area to area and
from theater form to theater form.
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.

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 SUMMARY

Kabuki Theater (JAPAN)

Kabuki (歌舞伎) is a classical Japanese dance-drama. Kabuki theatre is known for

the stylization of its drama and for the elaborate Kumadori (make-up) worn by some of its
performers. Kabuki is considered to have begun in 1603 when Izumo no Okuni formed a
female dance troupe to perform dances and light sketches in Kyoto, but developed into an
all-male theatrical form after females were banned from kabuki theatre in 1629. This form of
theatre was perfected in the late 17th and mid-18th century.

Peking Opera (CHINA)

Peking opera, or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is the most dominant
form of Chinese opera which combines music, vocal performance, mime, dance and
acrobatics. It arose in Beijing in the mid-Qing dynasty (1636–1912) and became fully
developed and recognized by the mid-19th century. The form was extremely popular in the
Qing court and has come to be regarded as one of the cultural treasures of China. Major
performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also
preserved in Taiwan, where it is also known as Guójù (Chinese: 國劇; lit.: 'National opera'). It
has also spread to other regions such as the United States and Japan.

Wayang Kulit (INDONESIA)

Wayang kulit is a traditional form of puppet-shadow play originally found in the

cultures of Java, Bali, and Lombok in Indonesia. In a wayang kulit performance, the puppet
figures are rear-projected on a taut linen screen with a coconut-oil (or electric) light. The
dalang (shadow artist) manipulates carved leather figures between the lamp and the screen
to bring the shadows to life. It's mainly about good vs evil.

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