Partch's ideal musical form -- Japanese musical drama and Chinese opera

Partch portrayed the Greek theatrical art form that weaves poetry, music, acting, and dance into a profound and moving unity, comparing the similarity of Japanese music drama and Chinese opera, to show the ideal corporeal musical form that Partch pursuit.

Japanese drama, Noh, from the Japanese social-religious culture, was an amalgam and refinement of the epic recital. Noh developed from and into many forms, the vocal and bodily mechanics of which consisted of dancing, reciting, chanting, and outright singing. Noh eventually brought Kabuki. 'kabuki' can be read as "sing" (歌), "dance" (舞), and "skill" (伎) can be understood as "the art of singing and dancing". The actors mostly focus on acting, gesturing, and occasional reciting. The musical part, singing, and instrumental playing is often played by the onstage ensemble and choir (Actors may sing in Hoh theater, but not as much as we understand in typical opera). The actor and singer are separate, the reason that Kabuki is not translated as Japanese opera.

The Chinese opera performers are even tougher, on the other hand, singing, acting, reciting, and acrobatics are the basic skills for an actor that have to equally master. Singing part by the actors mostly occupied most of the music, backstage or onstage narrator or choir is rare. The actors mostly sing by themselves, opera is a better description. In cut scenes, reciting, and acrobatics help push the development of the story.

The music of both has a strong focus on the text that Partch persisted, but each has a slightly different approach. Japanese use narrator and choir with light instrumental accompaniment; while Chinese instrumental accompaniment always follows the singers, lightly lag behind.


  Malm, W. P. (1963) Nagauta : the heart of kabuki music. Rutland, Vermont: Charles E. Tuttle.


Britannica, T. Editors of Encyclopaedia (2019, November 27). Kabuki. Encyclopedia Britannica. https://www.britannica.com/art/Kabuki

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