Henry Purcell and Kabuki. Pamela Guinto

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1 Henry Purcell and Kabuki Pamela Guinto

2 Japan Population: 126,818,019 (as of 2015) Ethnicity/race: Japanese 98.5%, Koreans 0.5%, Chinese 0.4%, other 0.6% note: up to 230,000 Brazilians of Japanese origin migrated to Japan in the 1990s to work in industries; some have returned to Brazil (2004) Religion: Shintoism 83.9%, Buddhism 71.4%, Christianity 2%, other 7.8% note: total adherents exceeds 100% because many people belong to both Shintoism and Buddhism (2005) Land Mass (size): 145,925 mi² Geographical influences: several thousands of islands; the 4 largest islands are the main islands ( Honshu, Hokkaido, Kyushu and Shikoku); neighboring countries: Korea, China and Russia. Political influences: Japan s government is a constitutional monarchy (like Britain)

3 The Edo Era of Japan Edo: The old name for Tokyo. Edo literally means the mouth of bay. Incidentally, Tokyo means eastern capital (the western, or the traditional, capital is Kyoto). Edo Period Despite the isolation, domestic trade and agricultural production continued to improve. During the Edo period and especially during the Genroku era ( ), popular culture flourished. New art forms like kabuki and ukiyo-e became very popular especially among the townspeople. The most important philosophy of Tokugawa Japan was Neo-Confucianism, stressing the importance of morals, education and hierarchical order in the government and society The basic characteristics of the Edo society and politics were as follows. (1) It was a class society: The ruling class was samurai (military men who were permitted to carry a sword). Then farmers (ranked no.2), craftsmen (no.3), merchants (no.4). There was a big gap between the samurai class and other classes. Farmers were officially placed no.2 because they paid the rice tax, but they were not particularly respected. Below all of these classes, there were also outcasts (eta and hinin).

4 The Edo Era of Japan Pt.2 (2) Politically, it was a centralized system. The Bakufu (central government) had absolute political power over the fate of hans (local governments) and could even remove or abolish them It was a feudal society in the sense that the shogun gave daimyos the land to rule. In return, daimyos pledged loyalty to shogun. Any sign of disobedience was met with sternest punishment (often seppuku (ritual suicide) and/or the termination of the family). (3) Economically, it was more decentralized. The Bakufu was not very capable of (or interested in) imposing consistent economic policies. Its policies were often unstable and short-sighted. Each han could decide its tax rates and other economic regulations, or encourage certain industries (so long as it was not explicitly prohibited by the Bakufu). (4) The Bakufu imposed the following expenses on hans. (i) sankin kotai, bi-annual commuting between home and Edo This cost a large sum of money and usually constituted the largest part of han's expenditure (ii) public works ordered by the Bakufu, such as building castles, moats, roads, irrigation ponds and canals, waterworks, etc; (iii) other ad hoc and arbitrary taxes and charges

The Origins of Kabuki Near the end of the 16th century, a young dancing girl known to us as Okuni of Izumo, was working as a skilled Maiko in the service of the shrine of Izumo.

of religion. About 1596, she was seen by Sanzaburo (from Nagoya) who was sent by his family to train for priesthood at the Kennin Temple in Kyoto.

5 The Origins of Kabuki Near the end of the 16th century, a young dancing girl known to us as Okuni of Izumo, was working as a skilled Maiko in the service of the shrine of Izumo. Okuni's Kagura seems to have been a form of Buddhist nembutsu, a dance of worship in praise of Amida She was physically beautiful and had the grace of movement more than any appeal in the interests of religion. About 1596, she was seen by Sanzaburo (from Nagoya) who was sent by his family to train for priesthood at the Kennin Temple in Kyoto. He was attracted to her and wanted to elaborate her dancing for he found it to be too restrained for his taste. He then taught her to dance to the popular songs in the day to music of his own composition. This was the beginning of Kabuki, the use of written characters signifying the art of song and dance.

Kabuki Culture The average length of a performance is five hours, including

translated as: The art of singing and dancing ka, signifying song ; bu, dance ; and

Kabuki s highly lyrical plays are regarded, with notable exceptions less as

in visual and vocal performance These actors have carried the traditions of Kabuki

Many of them trace their ancestry and performing styles to the earliest Kabuki actors

6 Kabuki Culture The average length of a performance is five hours, including intermissions. translated as: The art of singing and dancing ka, signifying song ; bu, dance ; and ki, skill. Kabuki s highly lyrical plays are regarded, with notable exceptions less as literature than as vehicles for actors to demonstrate their enormous range of skills in visual and vocal performance These actors have carried the traditions of Kabuki from one generation to the next with only slight alterations. Many of them trace their ancestry and performing styles to the earliest Kabuki actors and add a generation number after their names to indicate their place in the long line of actors. As merchants and other commoners in Japan began to rise on the social and economic scale, Kabuki, as the people s theatre, provided a vivid commentary on contemporary society.

Kabuki Culture Continued Since the word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be interpreted as "avant-garde" or "bizarre"

7 Kabuki Culture Continued Since the word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be interpreted as "avant-garde" or "bizarre" theatre. A kabuki play opens to the rapid clapping of wooden clappers as the traditional stage curtain Plays are performed using a combination of dramatic dialogue and dance, and accompanied by drums, flutes, stringed instruments called shamisen, and chanting. The kind of musical accompaniment changes according to the play.

Kabuki Culture Continued The dances themselves were very suggestive many prostitutes began learning the dances so they could attract customers.

8 Kabuki Culture Continued The dances themselves were very suggestive many prostitutes began learning the dances so they could attract customers. In 1629, the government stepped in and banned women from performing the dances. Male dancers took over. wakashu, these men were typically young and effeminate. prostitution wasn t stopped as the men were just as available as the female dancers. In 1652, the government banned young males from dancing as well since it became very common for brawls to break out at performances over them.

9 Kabuki Makeup Known for its elaborate makeup and its stylization of its drama.. Two types of makeup (or kesho): Standard makeup applied to most actors Kumadori (applied to villains and heroes) hundreds of types of kumadori make up, only 15 types still used today. Kumadori makeup is composed of very dramatic lines and shapes applied in colors that represent certain qualities. dark red represents passion or anger; dark blue represents depression or sadness; pink represents youth; light green represents calm; black represents fear; and purple represents nobility.

10 Kabuki Makeup The makeup and perfume worn throughout performances were highly significant to the stories that were being told. The makeup itself was composed of rice powder, and different shades of white actually represented class, age, and even gender of the character. Makeup is so important to kabuki plays that actors would often take a cloth and press it to their faces so they could make a print of the makeup. These prints were then sold as souvenirs.

11 Kabuki Genres Most kabuki theater plots were jidaimono, or history plays, focused on important events in Japanese history such as the Genpei War. The other popular genre of plays was sewamono ( contemporary plays ) or family play. These deal with love stories or revolved around family. The costumes of sewamono plays are in the fashion of the Edo period ( ), Strict censorship was employed to make sure the plays did not incite criticism of the government.

Kabuki Development Kabuki really came into its own during its Golden Age which lasted from 1673 to 1841. The dances really began to have a formal structure and kabuki theaters began to catch on.

12 Kabuki Development Kabuki really came into its own during its Golden Age which lasted from 1673 to The dances really began to have a formal structure and kabuki theaters began to catch on. Unlike most plays, these lasted all day from sunrise to sunset. Many theaters were destroyed again during World War II and the forces occupying the country banned kabuki. The ban only lasted until 1947, but the damage had already been done. As Japan tried to rebuild itself after the war, it began rejecting its old ways and kabuki was almost abandoned. However, a director began producing plays that revitalized kabuki and it remains popular today.

Kabuki Theatres Kabuki theaters relied on the stages, plots, and music The music sets the mood, and emphasizes important parts of the play Evolution of the Kabuki stage:

was introduced The stages consists of the hanamichi (lit.

13 Kabuki Theatres Kabuki theaters relied on the stages, plots, and music The music sets the mood, and emphasizes important parts of the play Evolution of the Kabuki stage: Theaters started introducing a stage known as a hanamichi, or walkway that extended into the audience a mawari-butai, or revolving stage, was invented the seri, or stage trap, was introduced The stages consists of the hanamichi (lit. "flower path") a long, narrow walkway and one of the most visible stage features, extends from the stage (just left of stage right) through the audience, all the way to the back of the house. This path is used for dramatic entrances and exits, as well as for other dramatic elements, such as monologues.

14 Kabuki Today The introduction of earphone guides in 1975, including an English version in 1982, helped broaden the art's appeal. As a result, in 1991 the Kabuki-za, one of Tokyo's most well-known kabuki theaters, began year-round performances and, in 2005, began marketing kabuki cinema films. Kabuki troupes regularly tour Asia, Europe and America, and there have been several kabuki-themed productions of canonical Western plays such as those of Shakespeare.

Kabuki Today Pt. 2 Western playwrights and novelists have experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004).

15 Kabuki Today Pt. 2 Western playwrights and novelists have experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004). Writer Yukio Mishima pioneered and popularized the use of kabuki in modern settings and revived other traditional arts, such as Noh, adapting them to modern contexts. There have even been kabuki troupes established in countries outside of Japan. For instance, in Australia, the Za Kabuki troupe at the Australian National University has performed a kabuki drama each year since 1976, the longest regular kabuki performance outside of Japan In November 2002 a statue was erected in honor of kabuki's founder Okuni and to commemorate 400 years of kabuki's existence.

Kabuki Instruments kotsuzumi Taiko Drums Hyoshigi Shamisen hon-choshi - a form of tuning

"Taiko" in general is often used to mean the relatively modern art of Japanese drum

Literally, taiko means "fat drum," although there is a vast array of shapes and sizes of

against his right shoulder. Then, the skins are struck with the right hand.

There are four different sounds, which are called "po," "pu," "ta" and "chi.

16 Kabuki Instruments kotsuzumi Taiko Drums Hyoshigi Shamisen hon-choshi - a form of tuning - solemn niagari - a form of tuning - serene san-sagari - a form of tuning - melancholic "Taiko" in general is often used to mean the relatively modern art of Japanese drum ensembles (kumi-daiko), but the word actually refers to the taiko drums themselves. Literally, taiko means "fat drum," although there is a vast array of shapes and sizes of taiko the player sits on a stool, in Nagauta the player sits in the seiza formal kneeling style. The performer grasps the shirabe cords with the left hand and then rests the instrument against his right shoulder. Then, the skins are struck with the right hand. The sound of the instrument can be changed by adjusting the tension of the cords. There are four different sounds, which are called "po," "pu," "ta" and "chi." used in traditional theaters in Japan to announce the beginning of a performance. The clappers are played together or on the floor to create a cracking sound. They are struck, slowly at first, then faster and faster.

Kabuki Instruments continued Noh Flute A parallel, bamboo flute (fue) is in non-congruent segments, the flute plays set patterns improvisationally.

The melody of the flute has no specific pitch relationship with the melody of the chanting, O-daiko While the term odaiko refers to any drum larger than 84cm in

Odaiko can refer to a large drum of any style, but usually is reserved for drums of the nagado style Shime Daiko a small Japanese drum.

17 Kabuki Instruments continued Noh Flute A parallel, bamboo flute (fue) is in non-congruent segments, the flute plays set patterns improvisationally. It also plays in free rhythm (ashirai) along with the chanted text to heighten or expand emotion. The melody of the flute has no specific pitch relationship with the melody of the chanting, O-daiko While the term odaiko refers to any drum larger than 84cm in diameter, some odaiko are on a almost unbelievable scale, as the images below will prove. Odaiko can refer to a large drum of any style, but usually is reserved for drums of the nagado style Shime Daiko a small Japanese drum. It has a short but wide body with animal skin drum heads on both its upper and bottom sides. The hide is first stretched on metal hoops, then stretched over the body. both drum heads are bound together with cords so that the drum heads are bound by each other. The shime-daiko is played with sticks called "bachi," while it's suspended on a stand.

18 Musume Dojoji [The maiden at Dojo Temple]

19 Biography Henry Purcell ( ) His father was a gentleman of the Chapel Royal, in which musicians for the royal service were trained, and the son received his earliest education there as a chorister known to be the Greatest English composer until the 20th century was a composer, organist and singer composed the first great opera performed and written in English He wrote for the stage, for the church and for popular entertainment Master of English word-setting and contemporary compositional techniques for instruments and voices.

Biography Henry Purcell (1659-1695) Purcell made great use of a rhythmic figure based on the succession of dotted eighth notes followed by sixteenths: to emphasize emotional parts For half of his

20 Biography Henry Purcell ( ) Purcell made great use of a rhythmic figure based on the succession of dotted eighth notes followed by sixteenths: to emphasize emotional parts For half of his life, he was employed as an organist of the Chapel Royal and at Westminster Abbey. Purcell was just twenty when he was made Organist of Westminster Abbey Purcell, was a great keyboard virtuoso by his late teens Purcell received a post in 1679: succeeding John Blow, an English Baroque composer and organist, as the organist at Westminster Abbey, a position he would retain all his life.

Some of these G minor for death, F minor for horror, witches and the like, F major and B flat major for pastoral scenes.

21 Henry Purcell continued Though he was an organist, he did not pay attention to writing for keyboard instruments, such as organ and harpsichord. For educational purposes he had written several suites for harpsichord solo, taking themes from popular theater tunes Purcell used keys with remarkable consistency. Some of these G minor for death, F minor for horror, witches and the like, F major and B flat major for pastoral scenes. Beyond these common effects Purcell often used C minor to depict melancholy, seriousness, mystery, or feeling of awe; E minor might be called his key of hate. of course such usual exigencies of performance like C and D major are often linked with triumph, ceremonies, reinforced by trumpets, which normally played in those keys.

Henry Purcell s Major Works One of Purcell's

Arthur in 1691, then composed the music for The

Midsummer Night's Dream, both productions also

In the final year of his life Purcell remained

22 Henry Purcell s Major Works One of Purcell's greatest successes came in 1689 with the production of Dido and Aeneas. He then collaborated with John Dryden on King Arthur in 1691, then composed the music for The Fairy-Queen (1692), based on Shakespeare's A Midsummer Night's Dream, both productions also scoring triumphs. In the final year of his life Purcell remained exceedingly busy, writing much for the stage, including The Indian Queen, which was left incomplete at his death on November 21, 1695.

, later he indisputably was influenced by the French school, and especially by Jean Baptiste Lully.

23 Henry Purcell s Influences The very first of his works were written in old English style like that of Orlando Gibbons, William Byrd, etc., later he indisputably was influenced by the French school, and especially by Jean Baptiste Lully. Like Lully, Purcell often used a vertical style of writing, in which each note of the melody is supported by a cord. Like Lully, Purcell sometimes doubled voice part in the bass of his harmony. Jean-Baptiste Lully

Henry Purcell s Influences Towards the latter half of the century a simpler form of work influenced by Italian composers supplanted instrumental music in several parts, in which the

with string music such as 12 sonatas in III parts and sets of fantasias for violin his style is very close to contemporary Italian composers.

24 Henry Purcell s Influences Towards the latter half of the century a simpler form of work influenced by Italian composers supplanted instrumental music in several parts, in which the middle parts of the musical texture, were replaced by music for keyboard. Purcell's Sonatas of III Parts show the composer responding to this new Italian style. with string music such as 12 sonatas in III parts and sets of fantasias for violin his style is very close to contemporary Italian composers. Purcell was among the first English composers to begin marking parts in Italian, assigning tempos as allegro, largo etc. Much of his instrumental music was written for practical purposes, as fantasias for string and orchestra, Arcangelo Corelli

25 Henry Purcell - Overture (Dido and Aeneas)

26 Primary Link Both forms of theatre entertainment brought new elements such as being performed in English and a new form of entertainment that was to be done in elaborate costumes and makeup. Similarities Both forms of theatre entertainment brought new elements such as being performed in English and a new form of entertainment that was to be done in elaborate costumes and makeup. Progressional music follows the theme of the play/opera periodically Both written in the composer s native language Performances done inside a theatre Both does or does not have lyrics, depending on the play/opera Both are still enjoyed and appreciated in modern times still two forms of entertainment Secondary Link Progressional music follows the theme of the play/opera periodically Difference Difference in the origin of inspiration Kabuki originated from the early 17th century from a Japanese dancer, Okuni. Purcell branched off from the former Greek and Roman style of operas into a uniquely English style. Written for different instruments Kabuki: Shamisen, Noh Flute, Shime Daiko etc. Purcell: Violin, Viola, Harpsichord Difference in Influences: Kabuki: based on Japanese culture Purcell: derived from French and Italian influences Culture: Kabuki: the ancestors of the actors were Kabuki actors before them Purcell: opera singers and actors/actresses not required to have ancestors that were involved in opera Time period: Kabuki: near the end of the 16th century Purcell: Baroque era ( )

27 Works Cited / Sources "About Kabuki." About Kabuki. N.p., n.d. Web. 20 Nov "Henry Purcell." Henry Purcell. N.p., n.d. Web. 20 Nov "History of Japan." Japanese History. N.p., n.d. Web. 20 Nov Infoplease. Infoplease, n.d. Web. 20 Nov "Kabuki Japanese Arts." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 20 Nov "Kabuki." - SamuraiWiki. N.p., n.d. Web. 20 Nov "Kabuki: A History." Kabuki: A History. N.p., n.d. Web. 20 Nov "The Kabuki Story." The Kabuki Story. N.p., n.d. Web. 20 Nov Wikipedia. Wikimedia Foundation, n.d. Web. 20 Nov

H Purcell: Music for a While (For component 3: Appraising)

H Purcell: Music for a While (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659 95) was an English Baroque composer and is widely regarded as being one