8

MUSIC
Quarter 4 - Module 4
Week 4: Asian Musical Theater
Music – Grade 8
Alternative Delivery Mode
Quarter 4 – Module 4: Asian Musical Theater
First Edition, 2021

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the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
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Every effort has been exerted to locate and seek permission to use these materials from their
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over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Ian Gerhrome I. Perpetua
Content Editor/s: Suave C. Revillas, Rodjie L. Canada, Babelyn T. Gica
Language Editor: Jennalyn S. Gabuya, Joselito R. Pitong
Layout Editor: Milanie M. Panique
Beta Editors: Michael Vincent A. Lopez, Isidore Luther A. Herrera,
Maurie Jo D. Cabrera, Rogelio A. Saldua Jr.,
Perlita Gimena, Milanie M. Panique

Management Team:
Marilyn S. Andales, EdD CESO V – Division Superintendent
Anelito A. Bongcawil, EdD CESO VI– Assistant Division Superintendent
Fay C. Luarez, EdD, PhD, TM – Assistant Division Superintendent
Lorenzo M. Dizon EdD CESO VI – Assistant Division Superintendent
Mary Ann P. Flores – Chief CID
Isaiash T. Wagas – EPS LRMDS
Nenita G. Jaralve – EPS MAPEH

Printed in the Philippines by: Department of Education – Division of Cebu Province

Office Address: DepEd Cebu Province, IPHO Bldg., Sudlon, Lahug, Cebu City
Telefax: (032) 255-6405
Email Address: [email protected] ; [email protected]

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 What I Need to Know

This module was designed and written with you in mind. It is here to
help you master the concepts of Asian Musical Theater. The scope of this
module permits it to be used in many different learning situations. The
language used recognizes the diverse vocabulary level of students. The lessons
are arranged to follow the standard sequence of the course. But the order in
which you read them can be changed to correspond with the textbook you are
now using.

The module has one main lesson, namely:

 Improvising Elements for Asian Musical Theater Performances

MELC: improvises appropriate sound, music, gesture, movements, props and

costume for performance of a chosen Asian traditional musical and
theatrical form; MU8TH-IVb-h-7

After going through this module, you are expected to:

1. distinguish the sound, music, gesture, movements, props and costume
of Asian traditional musical and theatrical form through watching video
performances;
2. create appropriate sound, music, gesture, movements, props, and
costume for performance of a chosen Asian traditional musical and
theatrical form; and
3. express appreciation to the Asian traditional musical and theatrical
form through essay writing.

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 What I Know

Directions: Identify the concept described in each item below. Look for the
corresponding word/s in the box. The letters of the words may
be arranged horizontally, vertically, diagonally or in an inverted
manner. Use a separate sheet of paper for your answer.

Q U P A I D A L A N G
W A Y A N G K U L I T
S A R O N S U L U K S
A R E P O G N I K E P
R E B A B S U L I N G
S H E N G K A T A K A
G A M E L A N J I N G
B O N A N G B U S K I

1. The puppeteer and narrator of Wayang Kulit.

2. It is a combination of music, vocal, mime, dance and acrobats.

3. It refers to the background accompaniment in every performance of

Wayang kulit

4. It means “skill.”

5. A traditional theater art of Indonesia

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 Lesson Asian Musical Theater

According to the first theatrical scholar, Aristotle, the six elements that
make up any drama are plot, character, thought, diction, music, and
spectacle. Other traditions of theater from Asia, Africa, and elsewhere, share
in the essential nature of music in theater.

What’s In

Directions: Read the statements carefully. Write TRUE if the statement is

correct and FALSE if it is not. Do this on a separate sheet of
paper.

____________1. Kabuki is a form of modern, stylized Japanese theater that

includes singing and dancing.

____________2. Young male actors in a Kabuki theater is called wakashu.

____________3. Originally, male actors play the roles of a Kabuki theater.

____________4. Singing in Peking Opera has a certain tune that expresses the
sentiment of the dramatic persona.

____________5. Fighting is the martial arts performed by dancing in a Peking

opera.

____________6. The Indonesian words wayang means leather or skin and kulit
means shadow or ghost.

____________7. The purpose of Wayang Kulit is to educate its audience in moral

and religious, philosophy, and of course to entertain.

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 What’s New

Directions: Observe the pictures shown below. Give the appropriate

descriptions on their gesture/movement and props/costume.
Do this on a separate sheet of paper.

https://www.viator.com/en-PH/tours/Beijing/Peking-Opera-
Experience-at-Liyuan-Theater/d321-6139P11 www.lajajakids.com/en/event

1. What can you say about its: 2. What can you say about its:
gesture/movement ____________ gesture/movement ____________
props/costume ______________ props/costume ______________

https://www.korea.net/NewsFocus/Culture/view?articleId=169 https://en.wikipedia.org/wiki/File:Ki_Sigit_Ariyanto_Dala
860 ng_Wayang_Kulit.jpg

3. What can you say about its: 4. What can you say about its:
gesture/movement ____________ gesture/movement ____________
props/costume ______________ props/costume ______________

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 What is it

Kabuki

https://www.google.com/url?sa=i&url=https%3A%2F%2Fw https://thetheatretimes.com/river-red-phoenix-returns-home-
ww.senzoku-online.jp%2FTMDL%2Fe%2F02- china-national-peking-opera-company-londons-sadlers-wells/
shamisen.html&psig=AOvVaw1_y_tDIWrzYruRj4-
MUSIC
g9m1d&ust=1621321074365000&source=images&cd=vfe&v
ed=0CAMQjB1qFwoTCMC05OyR0PACFQAAAAAdAAAAABAP
Kabuki features highly stylized dancing, singing and elaborate make-
up worn by a predominately all-male cast. Musically, it highlights the Nagauta
form (often associated with shamisen).
Kabuki music can be divided into three categories: geza, shosa-ongaku,
and ki and tsuke. Since the actual script of the plays were not highly regarded,
music and dance were used to emphasize what the actors are saying.
The nagauta form of lyric music, like most of the narrative forms, began
with a close relation to the Kabuki popular theatre of the Tokugawa period.
The first Kabuki performances used instruments (hayashi) from the Noh
drama.
The shamisen or samisen, also sangen, is a three-stringed traditional
Japanese musical instrument derived from the Chinese instrument sanxian.
It is played with a plectrum called a bachi.

GESTURE / MOVEMENTS
Kabuki acting styles are evocative of the history of kabuki as a dance.
Dancing is an essential part of kabuki, but in contrast to the noh dances,
which are very deliberate and stately, most kabuki dances are closer to lively
folk dances, featuring rapid energetic vertical movements and jumps.

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 Every part of the body is used in dances from the gestures of the fingers
down to the positions of the legs. Every action has a purpose.
Facial expressions are also used to convey a large range of emotions.
Kabuki has acting styles, such as the mie in which the actor holds a
characteristic pose to establish his character.
Mie means 'appearance' or 'visible' in Japanese, and one of the primary
purposes of this convention is to draw attention to a particularly important or
powerful portion of the performance. It is meant to show a character's
emotions at their peak, and can often be a very powerful pose.

PROPS AND COSTUME

Keshÿ, the particular make-up, provides
an element of style easily recognizable even by
those unfamiliar with the art form.
The Kabuki stage is equipped with
several gadgets, such as revolving stages and
trapdoors through which the actors can
appear and disappear. Another speciality of
the Kabuki stage is a footbridge (hanamichi)
that extends into the audience.

https://kabuki-theatre.weebly.com/dance-and-
music.html

In general, props are distinguished from ōdōgu (set and scenery) on the
basis that movable things and things that performers wear or have in their
hands are defined as props, while things that are anchored on the stage are
defined as set and scenery.
There is a wide variety of props, including umbrellas, tenugui (hand-
cloths) and swords. Among them, the sensu (folding fan) is an essential prop
and is often used in suodori, in which costumes and stages, as well as props,
are simplified.
Kabuki costumes use big wigs, and many different types of mask styles
to match the character they portray. The color red is excellent and means
passion and super human power. Blue is considered to be a bad color and
gives a negative feeling that articulates jealousy and fearfulness.

Watch and listen carefully to the music, gesture/movements, props and

costumes of this Kabuki performance:
https://www.youtube.com/watch?v=67-bgSFJiKc

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Peking Opera

MUSIC
The melodies have harmonious
rhythms and are described as graceful
and pleasing to the ears.
The melody may be classified into two
groups: "Xipi" and "erhong."
The performance is accompanied by a
tune played on wind instruments,
https://www.google.com/url?sa=i&url=https%3A%2F%2Fww
percussion instruments, and stringed w.chinaculturetour.com%2Fculture%2Fpeking-
instruments. opera.htm&psig=AOvVaw2owdYepmXjRXCcy4KGI7P5&ust=16
21325386207000&source=images&cd=vfe&ved=0CAMQjB1qF
woTCKjhg_Sh0PACFQAAAAAdAAAAABAD
The chief musical instruments being jinghu (a
two-stringed bowed instrument with a high register),
yueqin (a four-stringed plucked instrument with a
full-moon-shaped sound box), Sanxian (a three-
stringed plucked instrument), Suona horn, flute
drum, big-gong, cymbals, small-gong, etc.

https://www.ebuy7.com/item/54731
1335539

GESTURE/ MOVEMENTS

In Peking Opera, finger movements express different emotions and

characters. Performers make expressive movements with their hands, such
as smoothing a beard, adjusting a hat, jerking a sleeve while raising a foot.
These all convey particular emotions.

A trembling body indicates extreme anger while the flicking of a sleeve

expresses disgust. If an actor throws his hand above his head and flicks his
sleeves back, he is astonished or surprised and an actress demonstrates
embarrassment by covering her face with one sleeve.

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 Finger patterns
(picture on the left side):

1. "Sword battle": this movement is

performed during the sword dance in
Farewell My Concubine.

2. "Pointing Hollowly": an artist Zhao

Yanrong used this pattern when she
said "I'm going to heaven" in Beauty
Defies Tyranny.

3. "Unfolding palm": Used by male

characters appearing in battle scenes.

4. "Orchid finger": A typical finger

pattern for actresses, emphasizing
their femininity.

5. "Holding the fan upside-down": an

artist Yang Yuhuan used this finger
pattern when she held her fan in The
Drunken Beauty.

6. "Fist": Also used in battle scenes.

http://www.chinadaily.com.cn/cndy/2008-
12/02/content_7258985.htm#:~:text=Peking%20Opera%20pe
rformers%20make%20expressive,of%20a%20sleeve%20expre
sses%20disgust.

PROPS AND COSTUMES

Costumes function first to distinguish the rank of the character being

played. Emperors and their families wear yellow robes, and high-ranking
officials wear purple. The robe worn by these two classes is called a mang, or
python robe. It is a costume suitable for the high rank of the character,
featuring brilliant colors and rich embroidery, often in the design of a dragon.
Persons of high rank or virtue wear red, lower-ranking officials wear blue,
young characters wear white, the old wear white, brown, or olive, and all other
men wear black.

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 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.slideshare.net%2Fmagienboo%2Fkto12-4th-quarter-chinese-peking-
opera&psig=AOvVaw16KMb48BzMyYm2BqjmFVDX&ust=1621337802041000&source=images&cd=vfe&ved=0CAMQjB1qFwoTCNi9
-NvQ0PACFQAAAAAdAAAAABAK

All three types of gowns have water sleeves, long flowing sleeves that
can be flicked and waved like water, attached to facilitate emotive gestures.
Tertiary characters of no rank wear simple clothing without embroidery. Hats
are intended to blend in with the rest of the costume and will usually have a
matching level of embroidery. Shoes may be high or low soled, the former
being worn by characters of high rank, and the latter by characters of low
rank or acrobatic characters.
Qimo (stage props) is the name for all stage properties and some simple
decorations. The term first occurred in the Jin dynasty (265–420).
Qimo includes articles of everyday life such as candlesticks, lanterns,
fans, handkerchiefs, brushes, paper, ink and ink slabs, and tea and wine sets.
The props also include: sedan chairs, vehicle flags, oars, and horsewhips, as
well as weapons.
Also employed are various articles to demonstrate environments, such
as cloth backdrops to represent cities, and curtains, flags, table curtains, and
chair covers.
Traditional qimo are not just imitations of real articles, but also artistic
articles in their own right. Flags are also frequently used on the stage. A
square flag with the Chinese character for "marshal" on it, a rectangular flag
with the Chinese character for "commander" on it, and a flag with the name
of a certain army on it represent the location of army camps and commanders-
in-chief.

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 In addition, there are water, fire, wind, and vehicle flags. Actors shake
these flags to represent waves, fire, wind, or moving vehicles.

Watch and listen carefully to the music, gesture/movements, props and

costumes of this Peking Opera performance:
https://www.youtube.com/watch?v=76Ojw_xVRLw

Wayang Kulit
MUSIC

https://in.pinterest.com/pin/213006257364573183/ https://www.youtube.com/watch?v=zJ4kL3DO80w

The gamelan orchestra is a vital accompaniment for Wayang Kulit

performance. Music supports the all-night performance almost non-stop,
though the number of instruments that play may vary.
Gamelan serves both musical and dramatic functions -- music sets the
mood, interprets, and reinforces various aspects of the dalang’s narrative.
The entrances and exits of particular characters to the stage, journeys,
battles, and narrations are accompanied by musical compositions of various
lengths.
At certain junctures of the play, the dalang chants or sings songs (called
sulukan) to set the mood of the scene, which is accompanied by soft-sounding
instruments.

http://collections.nmmusd.org/Gamelan/9869/Ken https://en.wikipedia.org/wiki/Kendang
dhangCiblon9869.html

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 Also essential to wayang performance is the kendang, a drum. The
kendhang sets the tempo of the music and the puppets’ dances. Tempo
signifies dramatic action: loud, accelerated music bolsters the intensity of the
drama, whereas soft music, with a slow tempo, serves as background music
for the dalang’s narration or an important character’s recitation. Changes in
the tempo are led by the kendhang when the drummer receives a cue from
the dalang.

GESTURE / MOVEMENTS
In wayang kulit, the puppets are
moved behind a white cotton or
unbleached muslin screen by a dalang,
or “puppetmaster”.
The dalang presides over the
shadow play as its sole controlling
performer who tells the story, and
interprets characters and dialogue using
a variety of voices. He manipulates all
the puppets between a lamp and the
screen to bring the puppet shadows to
life.
https://wayangpuppettheatre.weebly.com/

Most of the stories in the shadow plays of Java, Bali, the Malay
Peninsula and mainland Southeast Asia are based on two well-known Hindu
epics from India: the Mahabharata and the Ramayana.

Watch and listen carefully to the music, gesture/movements, props,

and costumes of this Wayang Kulit performance:
https://www.youtube.com/watch?v=Y46Gb39CXRw

PROPS
The puppets are decorated with details of facial features,
head-dresses, jewellery and clothes. They are painted with
bright colours, as they may be used in daytime shows as
well as shadow performances. A stick supports the body.
This is wider at the bottom where it has to stick in the
banana log to keep the puppet upright.

https://www.iels.org/assets/19/A37578_l.1.jp
g_resized_380_.jpeg

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 What’s More

Directions: Read each item carefully and arrange the jumbled letters to form
the correct answer. Write your answers on a separate sheet of
paper.

_____________ 1. (OIQM) (stage props) is the name for all stage properties and
some simple decorations.
_____________ 2. (NAGALD) He manipulates all the puppets between a lamp
and the screen to bring the puppet shadows to life.
_____________ 3. (LENAAGM) is a vital accompaniment for wayang kulit
performance.
_____________ 4. (DNEKGNA) a drum that is also essential to wayang
performance.
_____________ 5. (IHDROC GFNREI) A typical finger pattern for actresses in
Peking Opera, emphasizing their femininity.
_____________ 6. (QYEINU) a four-stringed plucked instrument with a full-
moon-shaped sound box.
_____________ 7. (BURMLELSA) one of the wide variety of props in Kabuki.
_____________ 8. (ASMHIENS) is a three-stringed traditional Japanese
musical instrument.

What I Have Learned

Directions: Answer following questions briefly. Write your answers on a

separate sheet of paper.
1. In your own opinion, what makes a theater performance interesting?

2. What are the different theatrical elements in Asian musical theater

performances?

3. Based on the videos you have watched, how does music,

gestures/movements, props, and costumes affect the theater art
performance?

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 What Can I Do

Directions: Copy the table on a separate sheet and answer the following
questions.

QUESTIONS ANSWERS

1. If you are to create your own story

in a theater performance, which of
the Asian musical theater will you
choose as your inspiration?

2. Why did you choose it?

3. In your area, who can be the

performers / casts on your theater
performance?
4. Can you teach them your
learnings about Asian Musical
Theater?

5. What do you think are the

materials needed in creating your
own theater performance?

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 Assessment
Directions: Choose one (1) Asian musical Theater: Kabuki, Peking Opera,
Wayang Kulit. Improvise a musical instrument to create a
sound/music, gesture/movements, props/costumes of your
chosen Asian musical theater.
 Kindly follow the instructions inside each row.
 Copy and use the table as your guide.
 Do this on a long bond paper.
MY MUSICAL THEATER PERFORMANCE
My
chosen
Gesture/ Props and
Asian Sound / music
movements costumes
musical
theater
(Choose
only one) (Paste here (Put here picture/s
(Paste here picture/s of your of your improvised
(Kabuki, picture/s of your improvised props and
Peking improvised gestures / costumes to be
Opera or instrument/s to movements to be used in your
Wayang be used in your used in your performance on the
Kulit) performance on performance on next module)
the next module) the next module)

Note: You can also submit your output through messenger or if

gadgets are not available, submit your improvised instruments,
the picture/drawing of your improvised gestures / movements,
props and costumes to your subject teacher.
Rubrics:
Excellent You have a wide understanding and knowledge about Asian
(10) Musical Theater.
Very Good You have knowledge about Asian Musical Theater.
(8)
Good (6) You have some knowledge about Asian Musical Theater.

Poor (4) You have little knowledge about Asian Musical Theater.

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 Additional Activities

Directions: Write an essay about these topics. Use a separate sheet of paper
for your answer.

( Content – 2, Relevance – 2, Neatness – 1)

1. What is the importance of theatrical elements in the performance of

Asian musical theater?

_______________________________________________________________________
_______________________________________________________________________

2. In what way/s can you express your appreciation to Asian Musical

Theater?

_______________________________________________________________________
_______________________________________________________________________

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 16
What’s In
1. TRUE
2. TRUE
What I know 3. FALSE
4. TRUE
5. TRUE
6. FALSE
7. TRUE What’s More
1 .QIMO
2. DALANG
What I have learned 3. GAMELAN
4. KENDANG
1. Kabuki, Peking Opera, 5. ORCHID
Wayang Kulit FINGER
Assessment
2-3. Answers may vary 6. YUEQIN
depending on your /their 7. UMBRELLAS
Answers may vary depending on your
understanding and opinion 8. SHAMISEN
/their understanding and opinion
Answer Key
References
1. Music and Arts of Asia Learner’s Module 8
2. Internet
 Google images (links below the picture)
 https://globalshakespeares.mit.edu/glossary/kabuki/
 https://www.beijingtrip.com/feature/opera.htm
 https://kabuki-theatre.weebly.com/dance-and-music.html
 https://japanesetradmusic.blogspot.com/p/kabuki-theatre-
nagauta.html
 https://www.britannica.com/art/Japanese-music/Samisen-
music
 https://en.wikipedia.org/wiki/Shamisen
 https://ich.unesco.org/en/RL/kabuki-theatre-00163
 https://en.wikipedia.org/wiki/Mie_(pose)
 https://sites.google.com/site/utnarukami/kabuki-theatre-
3/kabuki-acting-traditions-
techniques#:~:text=Kabuki%20acting%20styles%20are%20evoc
ative,energetic%20vertical%20movements%20and%20jumps.
 https://kabuki-theatre.weebly.com/dance-and-music.html
 http://www.chinadaily.com.cn/cndy/2008-
12/02/content_7258985.htm#:~:text=Peking%20Opera%20perf
ormers%20make%20expressive,of%20a%20sleeve%20expresses
%20disgust.
 https://en.wikipedia.org/wiki/Peking_opera#:~:text=Due%20to
%20the%20scarcity%20of,a%20mang%2C%20or%20python%20
robe
 https://www.objectlessons.org/ceremony-and-celebration-
puppets-and-masks/wayang-kulit-shadow-puppets-
indonesia/s81/a925/#:~:text=Wayang%20Kulit%20are%20Indo
nesian%20shadow,the%20arms%20are%20very%20long.

17
For inquiries or feedback, please write or call:

Department of Education – Region VII, Division of Cebu Province

IPHO Bldg., Sudlon, Lahug, Cebu City, Philippines

Telefax: (032) 255-6405

Email Address: [email protected]

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