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Paper short abstract

Noh is a classical Japanese art where chanting conveys narrative. Though its notation system dates back centuries, it has been understudied due to Western influence. This paper reconsiders Noh notation as integral, tied to embodied practice, linguistic structure, and cultural tradition.

Paper long abstract

Noh is a classical Japanese performing art in which narrative is conveyed through melodically inflected chanting performed by actors and a chorus. The notational system for this chanting developed from the fourteenth century, when Zeami systematized Noh theory, and by the Edo period had largely assumed the form still used today. Despite this long history, notation for narrative genres has rarely been treated as a subject of scholarly inquiry and has remained marginal in both research and education.

This neglect is often explained by the assumption that Noh notation provides little concrete information about pitch and functions merely as a mnemonic aid. More fundamentally, it reflects the impact of cultural policies since the Meiji period, which promoted Western music and Western-based models of arts and music education. Over time, these policies contributed to the devaluation of traditional Japanese vocal practices and their associated notational systems.

This paper reconsiders Noh notation as an integral element of narrative performance rather than a secondary aid. Noh chant is transmitted through embodied pedagogical practices in which performers trace goma (sesame-shaped neumes) with hand gestures while chanting. These notational signs are internalized and embodied by performers, demonstrating their close connection to musical and narrative cognition.

The paper further situates Noh chant within the linguistic structure of Japanese, in which consonant–vowel syllables encourage the clear articulation of each unit in narrative delivery. This mode of articulation, shared with ritual recitations such as Shinto norito, corresponds closely to the syllable-based structure of Noh notation. By integrating perspectives from performance studies, linguistic analysis, and modern cultural history, this presentation contributes to broader discussions of narrative, notation, and embodiment in Japanese studies.