Forms
Jo-Ha-Kyuu Principle
In Western music there are theories of organisation which are central to the process of creation. For example the development of music in the "Classical" era was inextricably bound to sonata form.
In a similar way an underlying principle of Japanese musical theory is illustrated with the "jo-ha-kyuu" concept where the "jo" section marks the introduction, the "ha" section marks the exposition, and the "kyu "section the final unravelling of the plot. Each of the three sections can in turn be constructed from several recognisable subdivisions. This form of organisation can be traced back to the bugaku dances of the Heian Period, and reference is made in the terminology of ancient Buddhist chanting (shoumyou).
In kabuki dance form the sections are apportioned: JO - oki, michiyuki / HA - kudoki, monogatari, maeodoriji / KYUU - chirashi, dangire.
Nagauta
Background
The narrative tradition in Japanese music stretches back to the blind biwa players of the Nara period (7th and 8th centuries). By the 13th century they were travelling throughout Japan recounting the tales of the battles between the Heike and Genji clans, much in the same way that the troubadours and minnesingers moved within medieval Europe. The origins of nagauta can be considered an extension of this 13th century biwa tradition. The 15th century folk narrative form of joururi also played a role. Although in kabuki, joururi is more associated with the puppet theatre style of music, performed by the chobo, elements became intermingled with nagauta. The introduction of the shamisen into Japan (c.1560) was an important development and it eventually became the instrument to make the most significant musical contribution to nagauta and the kabuki theatre.In early kabuki performances the dances were accompanied by short songs (kouta), but the desire to perform longer more involved dances provoked the need for more extensive music. The organisation and linking of these evolved into nagauta.
Whilst forms of nagauta exist away from the stage (ozashiki), this is the principal musical form to be found within kabuki. Literally translated, nagauta means "long song" and its original role within kabuki was to accompany the dancing. However, it also came to serve the purpose of developing or underpinning the narrative of the plot. To this extent it serves a similar role to that of recitative in Baroque opera with the vocal line taken by the debayashi singer/s rather than the actor. Unlike recitative however, nagauta consists of a framework of clearly identifiable sections.
A number of attempts at the classification of kabuki's nagauta has left a somewhat confused picture with several examples spanning multiple categories. There are some common elements. All are used to support the action on stage and in particular, dance. There will be some element of narration. All are organized into sections, or dan, and it is the organization of these coupled with their stylistic differences that tend to determine nagauta's classification
William Malm in his book "Nagauta: the heart of kabuki music" simplifies the classification of nagauta into five types:
- Noh:
- drawing on the sophisticated structures found within the Noh plays dating from the 14th century.
- Kumiuta:
- developed from the tradition of grouping together a series poems set to music. This was popular in the shamisen music of the late 17th century.
- Joururi:
- is influenced by the narrative gidayuu bushi form of joururi used in the puppet theatre.
- Kabuki dance:
- growing from the need to provide a more suitable accompaniment for the dancing. The compositional elements of this style tend to underlie all nagauta.
- Mixed forms:
- containing an assortment of dan frequently taken from the preceding four types.
Structure
Depending upon the style of nagauta the contrasting narrative or instrumental dan that make up the structure tend to maintain a traditional order. For example, kabuki dance form, mentioned above, maintains a basic structure of six main sections. Okiuta, michiyuki, kudoki, odoriji, chirashi and the dangire. Within this framework can be included subsidiary dan which serve the function of links between the main sections.
Instrumentation
The debayashi ensemble provides the main accompaniment to a nagauta. However, the hidden geza ensemble may also contribute. For more details about the debayashi ensemble click (more).
Joururi
The term joururi is used to describe a range of styles of narrative with shamisen accompaniment originating in the 15th century. They take their name from the popular 15th century romance "Joururi-hime Monogatari Juunidan Zoushi" (The Tale of Princess Lapis Lazuli in twelve Sections). In particular, it is the gidayu style of joururi, developed for the puppet theatre, which plays a major role in kabuki. It is performed by the chobo.
The physical motion of the actor(s) during the chobo's performance is taken directly from that used by the puppets (maruhon style), and is linked closely to the rhythm of the chanted text and the shamisen accompaniment. Maruhon performance places great emphasis upon the narrative role played by the chobo.
Other styles of joururi appear in kabuki such as tokiwazu, kiyomoto or shinnai, however they occur only rarely and in specific plays. They usually require different instrumentation and alternative stage placements from the debayashi and the chobo.
