Difference Between Western Musicals and Beijing Opera in Terms of Performance and Musical Feature - Literature review Example

Institution : xxxxxxxxxxx Title : xxxxxxxxxxx Tutor : xxxxxxxxxxx Course : xxxxxxxxxxx @2015 DIFFЕRЕNСЕ BЕTWЕЕN WЕSTЕRN MUSIСАLS (NОТ ОРЕRА) АND BЕIJING ОРЕRА IN TЕRMS ОF РЕRFОRMАNСЕ & MUSIСАL FЕАTURЕ Introduction Culture of a people is highly embraced in their social political and economical spheres as argued by (Rehbein 2007, Pg 85). In general it’s the way of the life of a people and it is manifested in diverse ways and structures including institutions, governorship, music, economic activities such as farming fishing. Further culture manifests the values attitudes desirable virtues as well as norms as well as skills of a given society. Music as one of the factors that represent the culture of a people, varies among different societies in performance and the instruments used as well as the content of the message. One common factor in the varied music whether from different societies is that they express the issues happening in the society. Just like any other form of art, music acts as a public commentator either criticizing or encouraging a certain culture. Equally, just like culture is dynamic music of a people also tends to be dynamic as argued by (Rentfrow, Goldberg & Levitin, 2011, pg 1139). In the Chinese culture for instance Beijing opera is highly regarded and is wide spread theoretical art. Western musicals on the other hand, forms the focal point of western nations particularly America. This discussion seeks to establish via a table the differences between western musicals and Beijing opera in terms of performance as well as the musical features used. Differences between western musicals and Beijing Opera in performance and features Western music performance and features Beijing opera performance and features Western musical which includes genres such as orchestral, classical and chambers, Sonatas among others were highly marked by the incorporation of musical instruments. Indeed according to Daniel (2015, pg 2),the instrument were more important than vocals. In this regard, orchestra as well as chambers groups dominated the era. The chambers included the trio, string quartet and quantet. Later piano was equally included leading to frequent piano trio. (Daniel 2015, pg 2) Members of orchestra performing as they read Chambers performing a musical On the other hand while the Beijing opera highly incorporated culture, it mostly emphasized on acting, dance, fighting , singing, acrobats facial painting and masks as well as reading and talking stories. This made the art of Beijing opera more dramatic and interesting as argued by (Li, 2010 pg chapter 7). While acting, the actors narrate stories as they depict characters at the same time. Equally Beijing opera incorporates martial art which is an art of merging and transforming dance with traditional combat exercises of Chinese culture (Li, 2010 pg chapter 7). Characters fighting in Beijing performance Performers showcasing acrobatics Western musicals had an informal sort of a format where both genders that is men and women would sing together provided they had interest in music and had the skills of playing the different instruments from percussion, string, brass as well as the woodwind family of instruments (Daniel 2015, pg 2). The number of participants as well amount of musical instruments used determined the name of some genre including the orchestra which utilized relatively many participants and orchestra as well. The keyboard sonata on the other hand derived its name from the piano which was the key instrument used. Moreover chamber represented small orchestra and few participants. (Daniel 2015, pg 9). Members of string, brass percussion and woodwind Beijing Opera in the contrary has a formalized format of roles or actors Apart from the supporting roles, the main roles were four and they depict varied but synchronized character (Dale, 2004 Pg 143-150). Firstly there is Sheng commonly referred to male characters who includes Lao Sheng as well as Xiao sheng. While Lao Sheng portrays a man of middle age who has long beards and usually acts as a decent character, Xiao Sheng refers to a young man devoid of beards. Dan is the second role and it represented female characters. Further the female characters were divided into four roles including Huadan, Wudan, Laodan and Zhengdan. While Zhengdan is also refered to as the Qingyi, she is assumes the role/character of a strong minded woman of middle age and behave relatively elegantly. Huadan on the other hand, represent a small girl usually living at the society bottoms while Laodan assumes the role of a senior woman. Lastly, Wudan represent a woman who poses good fighting skills. (Dale, 2004 Pg 143-150) The third role is Jing given facial makeup and mask Stage properties while the fourth was Chou which signified the Clown. Lao Sheng Performers of western musicals such as the classical and orchestral as well as symphony purely emphasized on their expertise in using instruments and synchronizing them with sound so as to give the best homophonic melodies. Expertise was gained after rigorous exercises and as such there were individuals who were experts in playing the instruments. The threshold for the musicals defined that the musicals had to be balanced, proportioned as well as disciplined in expression (Herbst, 2005 Pg, 256-259). Equally, the musical for instance had to be simple and precise hence every participant had to ensure it. Though in Beijing opera there is wide use of instruments including percussion, string woodwind as well as brass, more emphasis was given on each participant performance on their roles. The four roles have to be accurate in their art and deliver the best. Experience is gained progressively. Melodies were harmonized with dancing and dialogue as well as fighting (Dale, 2004 Pg 143-150) Performance stage of the musicals was not really defined as they could be played in houses of the royal families like the chamber for instance where the families financed the composers and at the same time supported the musicals. Others like the orchestra would be played in the concerts and even in churches and institutions like schools (Herbst, 2005 Pg, 256-259). In general the stages never had specific names assigned to them and equally they were not necessarily strategically positioned, any place would turn into a stage as long as it is conducive for the entire performance. Though operas were performed in diverse stages including open airs, temple courtyard and teahouses, they did not have specific names except for the specific ones. Qimo was the name given to all stage characteristics as well as their simple settings utilized in performance of Beijing opera(Beijing Trip, 2015, pg 1). Normally, the stage setting comes from real life objects and experiencing. The scene of horse riding for instance can is exhibited by an actor making use of a horse whip without the presence of a real horse on the stage. A bridge on the other hand, can be signified by a two chairs which stands on two ends of the table. Actors dancing with umbrellas show the presence of storms. (Beijing Trip, 2015, pg 1) Actors on stage while performing Beijing opera Themes of the musicals depends on different societal issues that the composer feel like addressing given they are public commentators. They may address issues in political economic as well as socials spheres. For instance they may address love, moral decay as well as complement a good behavior. The messages in return facilitate in educating the society, informing it or even cautioning it. Classical for instance had diverse themes according to Daniel (2015, pg 9). Beijing on the other hand employs themes that encompass political and historical military struggle issues; the art takes a historical view for instance the past dynasties and their characteristics. (Beijing Trip, 2015, pg 1) Western musicals normally do not emphasize on dressing code. There is no universal rule that insist on dressing code and as such the dressing code can be decided by the performers. They may decide to have matching colors or even to have different clothes for the male and female performance. The dressing code may at time relate to the theme of the genre or the setting of the place of performance. Further, the host of the performers may request them to have a particular dressing code according to the event or likes. On the contrary according to Beijing Trip, (2015, pg 1), Beijing opera gives more important to dressing given those clothes signifies specific characteristics and equally plays a role of attracting the audience. Dressing in for instance may resemble those a certain generation in a particular dynasty or may even every day dressing among the people. Equally varied role may have different dressing code while characters in the same role may have similar dressing code but different face painting or varied mask. Usually the clothes include long gowns, armor, casque hats, shoes and boots as well as short clothes. Assistant clothes or even objects attached to the clothes. Normally, the clothes are extremely colorful and gorgeous given that they are intended to capture a rich experience as well as artistic style that the audience cherishes. (Beijing Trip, 2015, pg 1) Spectacular dressing during Beijing Opera performance Western musicals including a sonata, chambers and orchestra do not require the use of facial painting or any form of painting. In an effort to enhance the music which would have been facilitated by the painting is usually done by the instruments. (Daniel 2015, pg 9). Facial make up or lianpu which are quite fundamental art in Beijing opera vary among the actors in terms of colors and designs. Lianpu is normally the dramatic multicolored dressing on the charactors faces. The colors and designs manifest or signify different factors including personalities, fate of the actors or roles or even characteristics of the roles. Through the transformative and exaggerated looks or figure a critical and [professional audience would easily give a certain roles characteristics. Usually a certain format of face painting is followed during color dressing. The painting varies in shape as well as color and type or design. Most painted parts are eyes, cheeks and forehead which are painted to resemble the wing of butterflies, bats or even swallow. Additionally, the different make up and designs signifies age of the actors or roles, their social status and they are absolutely archetypal. Red make up for instance symbolizes allegiance while black manifests honesty and frank character. A character Face painting prior to Beijing opera Varied face painting adopted by roles Some masks used during Beijing opera performance Lastly the according to Herbst, (2005 Pg, 256-259), western music don’t have a common specific melody but rather the melodies are quit dynamic given the different instruments as well as the various kinds of songs that performers can comfortably sing. (Bijsterveld & Schulp, 2004 pg 638) Melodies in Beijing opera unique and same all through. Indeed, Beijing Trip, (2015, pg 1) notes that Beijing opera have Xipi as well as Erhuang melodies no wonder the name Pi Huang opera. The two melodies are usually specified by Ban and Yan where the strong and noticeable beat is the Ban while weak almost unnoticeable beat is the Yan. Though Sipingdiao originating from Sichuan opera as well as Chuiqiang which have roots in Anhui are also utilized in Beijing Opera, Ban and Yan are standard. (Beijing Trip, 2015, pg 1) Conclusion Differences between western musicals and Beijing Opera are relatively many but the most central one is the manifestation of western culture and Chinese culture as they are performed. Though both types of music are fully embedded in culture, Beijing Opera is mostly confined in politics as well as the military history of the people while western musicals are open to comment anything in the culture of a people. Though both types of music vary in diverse way as we have seen above, their ancient nature have been revolutionarised by the imergence of new technology including electronic instrument and recording which have enhance them more. Electronic instrument technology for instance has enhanced the sound while recording have facilitated recoding of music as performers act. Recording have consequently reduced the contact between the audience and performers hence reduction of more concerts that were there during open-air, teahouses as well as in temple in the ancient times. With recording one can watch Beijing Opera or even western musicals at home and enjoy without necessarily having the performers around. References Rehbein B., 2007, Globalization, Culture and Society in Laos. Routledge Rentfrow P., Goldberg L.,& Levitin D., 2011. The Structure of Musical Preferences: A Five-Factor Model. J Pers Soc Psychol. Vol., 100(6): 1139–1157 Li R., 2010, Soul of Beijing Opera, the: Theatrical Creativity and Continuity in the Changing World. Hong Kong University Press Dale C., 2004, Chinese Aesthetics and Literature: A Reader SUNY series in Asian Studies Development. SUNY Press Beijing Trip 2015, Beijing Opera retrieved on May 17, 2015 from Daniel R., 2015, Western music. On 17 May 2015 from http://www.britannica.com/EBchecked/topic/398976/Western-music A Contemporary Study of Musical Arts: The foliage : consolidation Herbst A., 2005, Emerging Solutions for Musical Arts Education in Africa. African Minds Bijsterveld K., & Schulp M., 2004,Breaking into a World of Perfection Innovation in Today’s Classical Musical Instruments. Social studies of science. Vol. 34: 635-648 Read More

Others like the orchestra would be played in the concerts and even in churches and institutions like schools (Herbst, 2005 Pg, 256-259). In general the stages never had specific names assigned to them and equally they were not necessarily strategically positioned, any place would turn into a stage as long as it is conducive for the entire performance. Though operas were performed in diverse stages including open airs, temple courtyard and teahouses, they did not have specific names except for the specific ones.

Qimo was the name given to all stage characteristics as well as their simple settings utilized in performance of Beijing opera(Beijing Trip, 2015, pg 1). Normally, the stage setting comes from real life objects and experiencing. The scene of horse riding for instance can is exhibited by an actor making use of a horse whip without the presence of a real horse on the stage. A bridge on the other hand, can be signified by a two chairs which stands on two ends of the table. Actors dancing with umbrellas show the presence of storms.

(Beijing Trip, 2015, pg 1) Actors on stage while performing Beijing opera Themes of the musicals depends on different societal issues that the composer feel like addressing given they are public commentators. They may address issues in political economic as well as socials spheres. For instance they may address love, moral decay as well as complement a good behavior. The messages in return facilitate in educating the society, informing it or even cautioning it. Classical for instance had diverse themes according to Daniel (2015, pg 9).

Beijing on the other hand employs themes that encompass political and historical military struggle issues; the art takes a historical view for instance the past dynasties and their characteristics. (Beijing Trip, 2015, pg 1) Western musicals normally do not emphasize on dressing code. There is no universal rule that insist on dressing code and as such the dressing code can be decided by the performers. They may decide to have matching colors or even to have different clothes for the male and female performance.

The dressing code may at time relate to the theme of the genre or the setting of the place of performance. Further, the host of the performers may request them to have a particular dressing code according to the event or likes. On the contrary according to Beijing Trip, (2015, pg 1), Beijing opera gives more important to dressing given those clothes signifies specific characteristics and equally plays a role of attracting the audience. Dressing in for instance may resemble those a certain generation in a particular dynasty or may even every day dressing among the people.

Equally varied role may have different dressing code while characters in the same role may have similar dressing code but different face painting or varied mask. Usually the clothes include long gowns, armor, casque hats, shoes and boots as well as short clothes. Assistant clothes or even objects attached to the clothes. Normally, the clothes are extremely colorful and gorgeous given that they are intended to capture a rich experience as well as artistic style that the audience cherishes. (Beijing Trip, 2015, pg 1) Spectacular dressing during Beijing Opera performance Western musicals including a sonata, chambers and orchestra do not require the use of facial painting or any form of painting.

In an effort to enhance the music which would have been facilitated by the painting is usually done by the instruments. (Daniel 2015, pg 9). Facial make up or lianpu which are quite fundamental art in Beijing opera vary among the actors in terms of colors and designs. Lianpu is normally the dramatic multicolored dressing on the charactors faces. The colors and designs manifest or signify different factors including personalities, fate of the actors or roles or even characteristics of the roles.

Through the transformative and exaggerated looks or figure a critical and [professional audience would easily give a certain roles characteristics.

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