What are the musical principles, building blocks, and performance practices of traditional Japanese theater and music? How are traditional performing arts transmitted from master to disciple? How are they performed today? This course explores the music and genres of Noh and Kyōgen, which are designated as UNESCO’s Intangible Cultural Heritage, by tracing their origin and development throughout history and by investigating their influences on traditional and contemporary theater forms. The course aims to give students the skills to critically analyze audio-visual recordings of compositions and performances, identify the driving forces onstage, and recognize the space for improvisation within the rigidity of tradition. Students will participate in oral transmission of the instruments and Noh singing and dancing, integrating theoretical knowledge and practical skills.
Upon completion of the course, students will have an appreciation of traditional Japanese theater and performing arts. They will understand the characteristics of Japanese theater and music and will be able to discuss them with colleagues in academic and non-academic settings.
|An instructor with work experience as a performer will provide hands-on experience in the performing arts, based on practice in the field that fosters critical thinking and encourages creativity and self-expression.|
traditional Japanese theater and music, Japanese performing arts, Noh, Kyōgen
|✔ 専門力||✔ 教養力||✔ コミュニケーション力||展開力(探究力又は設定力)||展開力(実践力又は解決力)|
The course focuses on class discussions. Students are expected to read the appropriate materials before class to prepare for discussion and to write response papers on the reading and class materials. At the end of the term, students will give a presentation on some aspect of traditional Japanese performing arts based on the paper they will submit on the last day of class. (Note: Syllabus is subject to change based on the level, needs, and actual number of students.)
|第1回||1. Introduction to course 2. Overview of traditional Japanese theater and music||identify course aims; acquire basic knowledge on traditional Japanese theater and music|
|第2回||Noh: History, genres, performers, costumes, and masks||understand Noh’s history, genres, performers, and performative aspects|
|第3回||1. Analysis of Noh Plays 2. Noh structure and analysis of Noh Izutsu 3. Analysis of New Noh and English-language Noh||analyze traditional and contemporary Noh plays; identify aspects of traditional and contemporary elements in performances|
|第4回||1. Noh Transmission: Instruments and music 2. Kyōgen: History and characters 3. Final paper proposal due: 75- to 100-words||experience oral transmission of Noh instruments from teacher to student; comprehend Kyōgen’s history and characters; prepare paper proposal|
|第5回||1. Noh transmission: Utai (chant) and shimai (dance) of Yuya (*Please wear socks!) 2. Kyōgen: Genres, costumes, and masks||experience oral transmission of Noh chant and dance; comprehend Kyōgen’s genres, costumes, masks, and performative aspects|
|第6回||Kyōgen: Analysis of traditional and contemporary performances||analyze traditional and contemporary Kyōgen plays; identify aspects of traditional and contemporary elements in performances|
|第7回||1. Final Presentations 2. Final paper due in class||consolidate key concepts; articulate ideas and opinions on issues; demonstrate knowledge of course material; deliver a presentation|
Handouts and reading materials will be provided in class and/or uploaded into OCW-i.
1. Malm, William P. Traditional Japanese Music and Musical Instruments. Tokyo, London, and New York: Kodansha, 2000. (ISBN: 4-7700-2395-2)
2. Salz, Jonah, ed. A History of Japanese Theatre. Cambridge: Cambridge UP, 2016.
3. Hoff, Frank, and Willi Flindt. “The Life Structure of Noh: An English Version of Yokomichi Mario’s Analysis of the Structure of Noh.” Concerned Theatre Japan 2 (Spring 1973): 209-256.
4. Keene, Donald. Nô and Bunraku. New York: Columbia UP, 1990.
5. Tyler, Royall, ed. and trans. Japanese Nô Dramas. London and New York: Penguin, 1992.
Class Participation: 30%
Response Papers and Homework: 30%
Final Paper proposal: 10%
Final Paper and Presentation: 30%
No experience in theater or music is required. Skills in reading and discussing materials in English are needed.
Attendance at the first class is compulsory for students planning to take this course. It is recommended that students take this course in sequence with (LAH.H317) Special Lecture: Traditional Japanese Theater and Music (Kabuki and Bunraku).