contributor
27,128
edits
Changes
From SamuraiWiki
Jump to navigationJump to search→Performance
==Performance==
==Performance==
The chant (''utai'') is typically performed in lines of eight, twelve, or sixteen syllables, aligning or intentionally mis-aligning with a pattern of eight drum beats.
The chant (''utai'') is typically performed in lines of eight, twelve, or sixteen syllables, aligning or intentionally mis-aligning with a pattern of eight drum beats.
In one of Zeami's many descriptions and categorizations of types of chant or voice, he divides voice into two moods: the low half of the musical scale for conveying a sadness and pathos known as the ''bôoku'' mode (desolation), and the high half of the scale for conveying auspiciousness and happiness, a mode known as ''shûgen'' (auspiciousness).
The musicians of the ''hayashi'' are advised in Zeami's ''[[Shudosho|Shûdôsho]]'' to adjust their performance to the ''shite'' actor. In Noh, as in kabuki, it is not the text which is the supreme authority as to how a play should be performed, but rather the lead actor (though the actor, of course, performs largely in accordance with tradition). The drummers are advised to adjust their playing in accord with the spirit or intent (''kokoro'') of the actor, and the flute player similarly adjusts his pitch in accordance with the "fragrance" of the actor's voice.<ref>Quinn, ''Developing Zeami'', 135.</ref>
The musicians of the ''hayashi'' are advised in Zeami's ''[[Shudosho|Shûdôsho]]'' to adjust their performance to the ''shite'' actor. In Noh, as in kabuki, it is not the text which is the supreme authority as to how a play should be performed, but rather the lead actor (though the actor, of course, performs largely in accordance with tradition). The drummers are advised to adjust their playing in accord with the spirit or intent (''kokoro'') of the actor, and the flute player similarly adjusts his pitch in accordance with the "fragrance" of the actor's voice.<ref>Quinn, ''Developing Zeami'', 135.</ref>
