How do rhythm and percussion create dramatic meaning in Peking opera without Western-style harmony?

In Peking opera (jingxi), rhythm and percussion serve the structural and expressive functions that Western music typically assigns to harmony. Because traditional Chinese music does not utilize harmonic progression, the percussion ensemble—led by the bangu (drum) and including clappers and gongs—is essential for creating dramatic meaning, providing sonic contrast, and driving forward motion.1

Percussion instruments act as a primary communication tool between the musicians and the performers. The bangu player, for instance, uses specific signals to coordinate the ensemble and pace the performance. Rhythmic patterns are highly conventionalized; for example, specific gong patterns convey distinct dramatic situations, such as confusion or danger, which an attuned audience recognizes instantly even without melodic or harmonic cues.1

Furthermore, the rhythmic style of the percussion section is a defining factor in the two primary melodic prototypes, xipi and erhuang, helping to establish the mood and character of an aria. By using these standardized rhythmic conventions, the opera effectively communicates complex emotions and narrative developments to the audience.1