The Gale costume lectures: music and myth of old Japan

              The GALE COSTUME LECTURES MUSIC AND MYTH OF OLD JAPAN



MR. GALE IN JAPANESE COSTUME DRAWN BY A JAPANESE ARTIST




ELABORATE STAGE SETTING OF HANDSOME JAPANESE DRAPERIES


RICH COSTUMES OF ORIENTAL SILKS AND GOLD BROCADE


PRICELESS MUSICAL INSTRUMENTS FROM THE BUDDHIST AND SHINTO TEMPLES


FASCINATING FOLK-TALES INTERWOVEN WITH SEDUCTIVE MELODY


A GLIMPSE OF THE QUEER AND QUAINT CUSTOMS OF THE 
LITTLE BROWN PEOPLE


THE ART-LIFE OF A STRANGE, POETIC RACE REVEALED




IT TAKES YOU AWAY FROM THE COMMONPLACE AND TRANSPORTS YOU TO A WONDERLAND OF FANCY- A LAND OF MYTHS AND MYSTICS





The GALE COSTUME LECTURES




POSING






READY FOR GUESTS






SALUTATION






THE STAGE SETTING




Program



Subject to minor changes and omissions, according to circumstances.



Part I


Mythological Birth of the Fairyland of Nippon (Japan)



Temple bells heard in the distance.  Tinkling myth-music lends its accompaniment.



Kimigayo (the National Anthem of Japan)



Sung by Mrs. Gale in true Japanese fashion.



The Music of a Race the Expression of Its Character



Comparison of the music of Norway, Germany and Japan.



Banzai March



Played upon the violin by Mr. Gale, with piano accompaniment, to show the possibilities of the Japanese music through its development into art forms.



Japanese Scales



The Chidori scale, representing the singing of Japanese birds, played by Mr. Gale upon a whistle.



The Shakuhachi



Introducing Mrs. Gale in the olden-time costume of the Komoso, or itinerant knight-musician of the past.



Oiwaki



Played by Mr. Gale upon the Shakuhachi.



Oiwaki (Harmonized)



Developed upon the violin with piano accompaniment.



Shen Nen (New Year's Song)



Sung by Mrs. Gale with violin obligato.



The Sono Koto



Thirteen-string harp of Japan.



Hime Matsu



Mrs. Gale accompanying herself upon the Koto.



Legend of the Koto



By Mrs. Gale.



Legend of the Bells



Dealing with the lotus blossom, emblem of purity, and of the metal mirror that would not melt.



Costumes



Mrs. Gale describes the articles of dress in the costumes worn by men and those worn by women.



Shin-fa-diu (Chinese Melody)



Played by Mr. Gale upon the Chinese Gut-kim, with piano accompaniment.



Sumera-Mikuni (Patriotic Japanese Melody)



Sung by Mrs. Gale, with accompaniment by Mr. Gale upon the Japanese Getkin.



The Theater Orchestra



Its dramatic expression through the use of Samisens, Drums, Cymbals, Gongs, Clappers, etc.



Percussive Instruments of Wood



The Hioshigi, the Mokkin and the Mokugyo, or Buddhist prayer-drum.



The Hioshigi



Ancient processional clappers.



Riu-kiu-bushi (Formosan Air)



Played by Mr. Gale upon the Mokkin, with piano accompaniment.



A Buddhist Prayer



Intoned with Mokugyo accompaniment.



Drums



Introducing those used in the temples and in the theaters; also the ancient worship-drum, or Tsuzumi, the only type of drum upon which a melody can be played.



Sakura (Cherry Tree)



Played by Mr. Gale upon the Japanese Fue (flute), with piano accompaniment.



The Hichiriki



Called by the Japanese 
The sad-toned tube.



Musical Frogs and Beetles



No Intermission



Part II



A short scene from Japanese home-life, given entirely in the Japanese language, introducing home devotions to ancestors, flower arrangement, tea-drinking, posing to music and Japanese magic.




SYNOPSIS.—When the scene opens, the Japanese husband is away on a journey.  The wife enters in street costume, for she has been out viewing the cherry blossoms.  She begins putting the house in order in anticipation of the return of her lord and master.  He arrives unexpectedly, but does not at once acquaint her with his coming, as he wishes first to arrange a surprise which he has planned.  The situation proves so awkward, however, that he finally decides to make his presence known and trust to strategy.  Then follows the Japanese greeting.  He next bids her bring his koto, that they may have some music; and while her back is turned, he secretes under one of the cushions the gift which he has brought from his travels.  After she has favored him with a song, he thanks her and then excuses himself for a moment that she may have opportunity to discover the surprise in store.  She regrets his early departure and sings a plaintive love-song.  She soon recalls that for her there is no time for sorrowing, for the first duty of the Japanese wife is to think of her husband's comfort.  She must be always ready to obey his every command, so she cheers up and light-heartedly resumes her household duties.  In her haste to put the house in order, she stumbles upon the gift.  She is at first mystified, then delighted as she discovers it to be a trinket for her adornment.  She at once proceeds to make her appearance more befitting her husband's homecoming.  He re-enters unexpectedly and surprises her in the act.  After thanking him profusely, she serves the customary cup of tea and then poses for his entertainment.  In return he shows her the many curious things brought from his travels, and the scene closes.





MAGIC






READY FOR THE STREET






IKEBANA
 (FLOWER ARRANGEMENT)






A

LBERT GALE has been aptly called the Ethnologist of Music because of his scientific musical research bearing upon the relationships of seemingly diversified primitive peoples.  Other investigators have succeeded in tracing racial relationships through other channels, every conceivable source of information having received attention excepting that of the music and musical instruments.  Mr. Gale is the first to draw conclusions from this quarter.





ALBERT GALE 
ETHNOLOGIST OF MUSIC





Having a conviction that the music of a race must of necessity be impregnated with the spirit of the people and therefore constitute an infallible index of the inner life of the race, he reasoned that, conversely, a study into the racial characteristics must lead to a better understanding and appreciation of the typical music.




He therefore undertook the collection of the native instruments of many of the primitive races of the world, gathering at the same time the typical melodies and songs, supplementing this with a more or less exhaustive study of the racial traits, going even so far as to collect the various costumes, that he might wear them while mastering the technique of the instruments and learning the melodies.  As a result he has accumulated much significant material and valuable data of an ethnological character.




The interest manifested by the public in the work he was doing, and the demand to know more of it, have resulted in the presentation of the material in the popular form known as
 —



The Gale Costume Lectures



These lectures are an innovation in themselves independent of that for which they stand, as they are the first presentation upon the lyceum platform of lecture-recitals of an instructive and entertaining character given in costume with scenic setting, and illustrated with genuine accessories.




Being scientifically constructed and presented in popular form, these lectures make ENTERTAINMENT PERMANENTLY VALUABLE.




THE GALE COSTUME LECTURES stand for Entertainment that is Informing, and Information that is highly Entertaining.




MARTHA BROCKWAY GALE




Music and Myth of Old Japan




Gives a new and unusual insight into the art life of the Japanese.  The stage setting and costumes are not only characteristic but are accurate in detail.




The music and action are typical.  Twenty Japanese instruments are shown, described and played upon during the evening




Mythology, folk-lore and legends, dealing with the origin and use of the peculiar instruments and some of the quaint customs of 
the little brown people,
 enhance the interest




The lecture is instructive, entertaining and thoroughly unique — a charming bit of poetical reality.  The program closes with the most unique scene ever presented upon any platform — a scene in which only the Japanese language is spoken.  It gives a glimpse of Japanese home-life, including home devotions to ancestors, flower arrangement, tea-drinking, posing to music, and Japanese magic.




The 
GALE 
COSTUME LE
CTURES




Music and Myth of Old Japan Songs and Stories of the Red man Tone-Pictures from Chinatown (nearly ready) OTHERS IN PREPARATION



The Chautauqua Managers Association 630 Orchestra Building, Chicago




Designed and Drawn by 
ALBERT GALE
 Photographs by 
BENNETT, ALBION, MICH
 & Engraved and Printed by 
GAGE PRINTING CO, LTD., BATTLE CREEK
.



REPRINTED BY THE RECORDER PRESS COMPANY ALBION, MICHIGAN