MUSIC
Quarter 4 - Module 3
Chinese Musical Theater:
Peking Opera
What We Need To Know
Identify musical characteristics of selected Asian musical theater through video films
or live performances;
Describe the instruments that accompany Kabuki, Wayang Kulit, Peking Opera;
Describe how a specific idea or story is communicated through music in a particular
Asian musical theater;
Improvise appropriate sound, music, gesture, movements, props, and costume for
performance of a chosen Asian traditional musical and theatrical form;
Perform selection/s from chosen Asian musical theater;
valuate music and music performances using guided rubrics applying knowledge of
musical elements and style.
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What is It?
What makes Peking Opera a well-loved art form in China?
Chinese civilization rose along the banks of the Yellow River in the northern part of China
centuries ago. Over time, it has spread in the countries in East Asia and then to Southeast
Asia. Chinese songs, music, and musical instruments like the chin, pipa, erhu, zhu or hsiao
were adapted and modified by other nations. In the course of the development of music in
China, the people have developed another means too express themselves by combining
dance, mime, music, and movement through the popular theatre form known as "opera."
There are several operas being performed in China, but the Peking Opera is by far the most
important.
Origin and Development of Peking Opera
The Peking Opera started when it was brought to Beijing in 1790 by the Four Greeat Anhui
Troupes (Sanqing Troupe, Sixi Troupe, Chuntai Troupe, and Hechun Troupe). It was staged
for the imperial court specifically for Emperor Qianlong's birthday celebration. It became
popular and was regarded as one of China's pride during the Qing dynasty.
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Characteristics of Peking Opera
Peking Opera has more than 200 years of history. It is an art form that is considered
unique, magnificent, and full of Chinese traditional values. It is a combination of music,
dance, literature, theatre, and even acrobatics. It traces its roots from the ancient ritual
dances, the Yuan and the Ming Romance. It is considered a national art form.
The basic characteristics of Peking Opera include simplicity, symbolism, and
synchronization. Actors wear elaborate and colorful costumes and move in very precise,
symbolic, and suggestive manners. Their skills are evaluated according to the beauty of
their movements. They vividly and symbolically perform with few props on stage. The
performer's main aim is to make every motion attractive on stage. Every moment is
pleasing to the sense of sight and the sense of hearing. Most Opera derives their plots
from folklore, popular novels, and historical events.
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There are four major roles with numerous subdivisions
in the Peking Opera:
Sheng refers to male characters, specifically Laosheng, Wusheng, and Xiaosheng.
Laosheng is an old man in his middle age with a beard. He is a portrayal of decency
and maturity. Xiaosheng is a picture of youth and handsomeness. He sings in a high-
pitched voice which sometimes breaks to imitate adolescent voices. Wusheng
portrays a character that is adept combat. This character, with all the acrobatics he
presents, sings in a natural voice.
Dan refers to female characters, specifically Zhengdan, Laodan, Huadan, and
Wudan. Zhengdan is also sometimes called Qingyi. This is the female who is strong-
minded in her middle age. Laodan is the old woman. Huadan is the young woman
who belongs to the bottom of society. Wudan is the woman adept at combat. In the
early days of Peking opera, these roles were performed by malees.
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Jing is a male role which is differentiated by the use of face paint. Tonchui is a
singing role. Jiazi is a physical performance with less singing. Wujing is more on
acrobatics. The paint, as in Kabuki, represents certain qualities of the character.
Red is usually uprightness and loyalty; white represents evil; and black is given to
characters with soundness and integrity.
Chou is the male clown role. The name of the role is a homophone of the
Mandarin word chou, meaning "ugly." The Chinese believe that ugliness and
laughter combined could drive evil spirits away.
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Music in Peking Opera
The aural aspect of the Peking Opera includes singing, speech, instrumental interludes,
and percussion patterns. A passage may be sung by one character expressing his
feelings, narrating an event, or posing an argument. Alternate singing dialogues are also
observed in this theatre form.
The two main melodies used in the Peking Opera are the Xipi and Erhuang. Xipi which
means "Skin Puppet Show originated from Shaanxi Province. Its melody is relatively
vivacious, bright and powerful in aria, and intensive in rhythm whichn manifests a
pleasant, firm, and resentful mood. The erhuang, on the other hand, expresses a lyric
mood such as mild, placid, and gentle. Erhuang is smooth in rhythm, fluent in aria. It has
a melody that expresses grief and pensive emotion suitable in portraying sadness and
tragedies.
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The tempo of the Peking Opera depends on the plot, scene, and personality of the
character being portrayed. Tempo may be manban (slow tempo), sanban (rubato beat),
yuanban (medium-fast tempo), and yaoban (shaking beat).
Majority of the Peking Opera songs are written within the range of a scale in an octave
and fifths. The keys of the songs are of great value in Peking Opera. Tne singers may
sing the songs in different keys that is why the accompanists are required to retune their
instruments every now and then. There are six main types of song lyrics of Peking Opera
that use the same lyrical structure. They differ in the degree of emotions that should be
given to the music portrayed.
1. Emotive emotional and touchy
2. Condemnatory critical and disapproving
3. Narrative descriptive
4. Descriptive explanatory and expressive
5. Disputatious argumentative
6. Shared space and separate sensation lyrics
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Musical Instruments
Peking Opera is accompanied by an orchestra
composed of wind and string instruments. Percussion
instruments like the drums, bells, castanets, gongs,
and cymbals are also used to give color to the
sounds of opera music. The orchestrais usually
positioned at the left side of the exit stage.
Lead Melodic Instruments
Jing Hu is a small high pitched two-stringed
fiddle that is played with a bow. It
accompanies songs in a heterophonic texture,
meaning the Jinghu only follows the melodic
contour of the songs.
Yueqin is a circular body plucked lute.
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Instruments that accompany
singing
Erhu is a two-string bowed
fiddle that is used as a solo in
small ensembles.
Sheng is a mouth-blown free-
reed instrument used as a solo
instrument and as
accompaniment in Peking
Orchestra.
Suona is a double-reed wind
instrument that has a conical
shape. It produces a sound
when air is blown through its
mouthpiece
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Instrument used to accompany
military scenes and create special
effects
Bangzi is a wooden drum that is
struck using a pair of wooden
sticks.
Other percussion instruments in
Peking opera
Daluo is a mallet. large flat gong
whose pitch drops when struck
with a padded.
Xiaoluo is a small flat gong whose
pitch rises when struck with the
side of a flat wooden stick.
Naobo is a pair of large ancient
cymbals that create a loud
clashing sound when struck
against each other. 11
Processing
Questions:
What are the characteristics of Peking Opera
that makes it unique?
What is the role of music in a Peking Opera
performance?
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Thank you
for listening!
