Noh, which was established in the late 14th century, is classified as an art that conveys the story of narratives by singing. At the same time Noh is the first full-scale theater art in Japan. Before the establishment of Noh, narrative performances were mostly for a small audience in the room. Noh needed a device to convey the story properly as the performance space expanded. In this presentation, it is inferred that the Noh melody has achieved a certain level of pattern making it easy to reach the audience.

First, by comparing with various music established before Noh, for example, Utahikou, the singing of Waka and the Buddhist singing, Koshiki, etc. It is pointed out that the melody before Noh has not been clearly patterned through one song.

Next, we examine the way of thinking about Noh's melody in the philosophy of Noh in the Edo period. The poetic form of Noh's lyrics basically consists of seven letters of upper phrasing and five letters of lower phrasing. On the basis of Yin and Yang thought, it is said that the upper phrase has the yang character and the lower phrase has the negative character. This philosophy is considered to be useful in achieving the simplification that the melody of Noh is easy to reach the audience.