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standard
Norman A l l e n S t a n f i e l d , 1977
In presenting
t h i s thesis i n p a r t i a l f u l f i l l m e n t o f the
and study.
I further agree
I t i s understood that
Department o f Music
The University o f B r i t i s h Columbia
2075 Wesbrook Place
Vancouver, Canada
V6T 1W5
October, 1977
ABSTRACT
The "San Koten Honkyoku" are three
("san") t r a d i t i o n a l
claim p r o p r i e -
Their
end-
Zen
Buddhism.
The progenitor of the shakuhachi most l i k e l y o r i g i n a t e s
from the Mesopotamian c i v i l i z a t i o n s of the fourth millennium
B.C.
A f t e r d i f f u s i o n to China, the v e r t i c a l f l u t e
acquired
When i t
(Jp. shakuhachi)
i t re-
iii
of the Imperial Court's shakuhachi and the r i s e of the Komoso's v e r t i c a l f l u t e i s a void f o r h i s t o r i a n s of the i n s t r u ment, but i t i s suggested i n t h i s t h e s i s that an e a r l i e r
group o f mendicant Buddhist priests/musicians, the "Mo-s5"
biwa players, may have been the source of t h i s renaissance.
By the time of the Edo Period (1600-1868),
the v e r t i -
adopted
They c a l l e d themselves
"Way"
of
iv
performance p r a c t i c e s which are only accessible through the
o r a l / a u r a l i n s t r u c t i o n o f a sensei.
scale and e x i s t i n a hierarchy made manifest i n tonal p r o c l i v i t i e s which are n a t u r a l l y or deceptively resolved.
The h i e r a r -
TABLE OP CONTENTS
PREFACE ..
vi
CHAPTER
1.
The Kinko-ryu
2.
A H i s t o r y o f the Shakuhachi
36
3.
85
4.
117
CONCLUSION
164
NOTES
167
APPENDICES
A.
Transcriptions
190
B.
Senritsukei
223
C.
Fingering Chart
229
D.
Character Index
233
BIBLIOGRAPHY
256
PREFACE
My graduate studies, culminating with t h i s thesis, were
an amalgam o f three seemingly disparate i n t e r e s t s :
playing, Buddhism and Japan.
flute
combines
Since my r e -
thesis.
vii
A renaissance figure who teaches as much by example as by
pedagogy, h i s dedication to the highest p r i n c i p l e s o f human
endeavour was c l e a r l y evident i n h i s devotion to "Takedo".
During the same period, I also received a considerable
amount o f valuable information concerning the Meian-ha from
Dr. Toyoaki Kojima Sensei.
It i s hoped that t h i s t h e s i s w i l l serve as a temporary
intermediary between the t r a d i t i o n as i t i s found i n Japan,
and the West which i s j u s t discovering i t .
Ideally, i t w i l l
CHAPTER 1
THE KINKO-RYU
1:1
The usual t r a n s l a t i o n of
("ryu") comprised o f p a t r i a r c h a l
However, Kinko IV
2
to d i v i s i v e factionalism with the r e s u l t that the kinko-ryu
has formed multiple branches and sub-branches.
necine c o n f l i c t s have developed,
Although
inter-
the r e s u l t o f t h i s d i s p e r s i o n
An emphasis on intense
(Osaka-Kyoto) area,
3
i s so i n t r i c a t e that i t i s v i r t u a l l y impossible t o o u t l i n e .
There are four other ryu besides the Kinko school.
The
1966:
founded by Nakao
His school i s
The r e -
His
work resulted i n the founding o f the Chikuo-ryu with a repert o i r e that u t i l i z e s the pre-1868 Fu-Ho-U" s y l l a b a r y because
M
("cho-
Finally,
Its
their
two
r e t a i n t h e i r own
may
share
"family" s t y l e .
i n Tohoku (North-East
i n Kyoto.
The l a t t e r was
as
Another organization
Although
prestigious r e c i t a l s as the National Concerts ("Zenkoku Daikai") which are held i n Meian-ji.
1:2
Gekkei, 1971:18).
For
There i s no u n i -
The distance between the thumb-hole and the fourth f i n g e r hole i s 5.4 cm. i n the Kinko shakuhachi and 3 cm. i n the
Tozan shakuhachi.
The diameter o f the t h i r d finger-hole i s 1 cm. i n the Tozan Shakuhachi and .9 cm. i n the Kinko shakuhachi. A l l
other holes i n both instruments are 1 cm. i n diameter.
3.
The inner wall o f the Kinko instrument i s e n t i r e l y l a c quered, whereas the Tozan instrument has alternate layers
of p l a s t e r o f Paris and lacquer.
4.
The decorative band around the ends o f the j o i n t s i s usua l l y made o f rattan i n the Tozan school, and lacquered i n
the Kinko school.
5.
6.
7.
Hasamiguchi
offers
more o f a challenge.
The t r a d i t i o n a l range
>
h_
Vi
a
Shakuhachi T r a d i t i o n a l
^ yC=z
Range
8
a normal p l a y i n g p o s i t i o n .
Example 3.
7
LJ
V;
c
^-v
pj
ai
<J
RO
KAN
("dai-meri").
The
opposite
motion ( i . e . , r a i s i n g the head) i s c a l l e d " k a r i " , and t h i s i n s t r u c t i o n i s used to cancel meri or dai-meri i n d i c a t i o n s .
The term "shakuhachi"
i s a truncated v e r s i o n o f the
(or " i s s h a -
An isshakuhassun
illus-
Example 4.
7_
(?
\
<
Stab
I I
I I
I I I
The a r -
Two
t r a d i t i o n ; the "isshaku-sansun"
(a "tankan",
o r s h o r t shaku-
h a c h i ) and t h e "nishaku-sansun"
(a chokan).
Both i n s t r u m e n t s ,
Example 5.
1:3
" M u k a i j i Reibo" T r i o ,
1.
Kumoi C h o s h i
2.
Honte C h o s h i
3.
Akebono C h o s h i
t h a n the
(see Example 5 ) .
F i n a l Cadence
(Chokan)
(Tankan)
The K i n k o - r y u R e p e r t o i r e
("kyoku") w h i c h a r e c a t e -
( i n t r i n s i c melodies),
( e x t r i n s i c m e l o d i e s ) , o r "Shinkyoku"
"Gaikyoku"
(contemporary m e l o d i e s ) .
are l a t e r
t i o n s which a r e s e c u l a r i n s p i r i t and c o n t e x t .
of
their
addi-
Shinkyoku i s
11
comprised of music written i n the 20th century but the r e l a t i v e l y few compositions i n t h i s category tend to be thought
o f as extraneous to the Kinko-ryu corpus.
While Honkyoku are self-contained compositions, G a i kyoku are a c t u a l l y part-books f o r " J i - u t a " and "Danmono" a r rangements.
while the former are medlies o f songs with instrumental accompaniment and interludes ("tegoto"), played without pause.
The compositional structure of both genres i s heterophonic,
with a lead koto melody "simultaneously v a r i e d " (Meyer,
1956:
In Danmono
always
In an e f f o r t to sustain
12
t r a d i t i o n a l o b l i g a t i o n s ) , Kodo II and Kondo Soetsu incorporated
the shakuhachi p a r t s of the popular music o f the time (mainly
J i u t a ) into t h e i r ryu systems o f pedagogy and r e p e r t o i r e . H i s tory has shown that t h i s innovation was extremely successful,
r e s u l t i n g i n a continuously expanding r e p e r t o i r e of Sankyoku
arrangements which c u r r e n t l y number over one hundred.
has also prompted
Gaikyoku
Kinko I and II
gathered the melodies from various temples as f a r away as Tohoku i n the north and Kyushu i n the south, although t h e i r major
sources were R e i h o - j i and I c h i g e t s u - j i , the two temples near
Tokyo that they d i r e c t e d .
13
less
temples had the same name so a p p e l l a t i o n s were devised to d i s t i n g u i s h them from each other.
appellations have meanings which have become l o s t and consequently can only be guessed at (see Kikkawa Eishi:,RCA
Victor).
Kyorei:
Shin Kyorei
Kinsan Kyorei
Uchikae Kyorei
Shimotsuke Kyorei
(Sk. sunyata),
and
("close-
1 4
Shin Kyorei
will
be d e a l t w i t h p r e s e n t l y .
2.
Reibo:
M u k a i i i Re i b o
Y o s h i y a Reibo
Koku Re i b o
Igusa Reibo
G i n r v u Koku
(Reibo)
Namima Reibo
Kyo(to)_ Reibo
Sokaku Reibo
Izu
Reibo Nagashi
Reibo
Kyushu Reibo
The word "Reibo" c o n s i s t s o f " R e i " , "a s m a l l h a n d b e l l " ,
and "Bo",
"yearning".
R e i a r e used by B u d d h i s t s i n e v e r y
c o u n t r y where Buddhism i s p r a c t i c e d .
used t o a r t i c u l a t e B u d d h i s t s e r v i c e s , t h e r e f e r e n c e h e r e
i s t o P'u hua
(Fuke) who
c o n s t a n t l y rang h i s l a r g e Rei
( i . e . , "takti") d u r i n g h i s supposed p e r e g r i n a t i o n s t h r o u g h
graveyards.
"Nagashi"
lations are:
nym
"Igusa"
Other, more p r o b l e m a t i c a l
("reed"), perhaps a t r u n c a t e d
"Yoshiya"
see 2:1,
symbol
transsyno-
"Wei-Yueh");
1 5
Sugagaki:
Akita
Sugagaki
Koro Sugagaki
Sanya Sugagaki
Sayama Sugagaki
"Sugagaki" i s a term found i n Wagon and Gaku-so (Gagaku
koto) music which r e f e r s to a melodic pattern played i n
a free, p r e l u d i a l s t y l e c a l l e d "Kaki-awase".
I t also
S t r i c t l y trans-
Although i t s name t r a n s l a t e s as
"Koro"
p r a c t i c e contained w i t h i n
i t s composition.
4.
Shirabe:
Hi, Fu, Mi
combined i n one Honkyoku
Hachi Kaeshi
Banshiki-cho
16
begging
2 3
c - f and g -c .
k y o r e i " and "Shika no Tone", the two most respected Honkyoku i n the r e p e r t o i r e .
5
Kyoku:
Takiochi no Kyoku
Shizu no Kyoku
Yugure no Kyoku
Sagariha no Kyoku
may be an obtuse reference to r e l i g i o u s awakening or takuhatsu protocol, and "Sagari-ha" ("hanging leaves") may be
an a l l u s i o n t o s h o r t , l o w - p i t c h e d songs i n Nohgaku
(Malm,
Shishi:
(Malm,
1959:22).
Sakae S h i s h i
Meguro S h i s h i
(an a n c i e n t symbol o f
m u s i c a l l y r e p r e s e n t e d i n f o l k f e s t i v a l s by
"Meguro"
is a
Ho-Sho-Su
T h i s c o m p o s i t i o n has a unique t i t l e b u t i s s i m i l a r i n
s t y l e t o Sokaku Reibo and S h i k a no Tone which a r e programmatic
(i.e.,
c o n t a i n performance t e c h n i q u e s t h a t a r e sup-
p o s e d l y onomatopoeic).
nix",
The t r a n s l a t i o n ,
"Young Male
Phoe-
i s an a l l u s i o n t o t h e C h i n e s e l e g e n d i n which s p e c i a l
(see 2 : 1 ) .
(a Yang symbol)
The
Phoe-
represent
(i.e., v e r t i c a l
(transverse f l u t e s )
respectively.
fifth
and s i x t h a r e s e c u l a r
("Gaiten
1 8
Honkyoku").
a l "preludes".
but a s u p e r f i c i a l
Tsuru no Sugomori
(which a l s o t r a n s l a t e s as "nesting cranes") i s more rhythmic a l l y constrained than Shika no T5ne and i s more responsorial
than canonic.
and most s o p h i s t i c a t e d stage of learning and co-operation between sensei and student.
I t i s a programmatic composition
d e p i c t i n g two deer c a l l i n g to each other i n Nara Park (a symb o l i c garden i n Nara that reproduces the deer park i n Sarnath
(Benares), India, where Gautama Buddha gave h i s f i r s t sermon
8
a f t e r a t t a i n i n g enlightenment)
The Juso and Seiso are arrangements of r e l a t e d Dokuso.
The Juso duets juxtapose d i f f e r e n t sections of t h e i r r e l a t e d
Dokuso, each section having been a r b i t r a r i l y defined as
te"
( o r i g i n a l l i n e ) or "Kaede" (added l i n e ) .
"Hon-
The r e s u l t a n t
The
19
heterophony i n the Seiso t r i o s was achieved by transposing
the Honte i n t o two d i f f e r e n t tunings r e l a t e d to the s i z e o f
the shakuhachi that performs them.
Koku Reibo
Seiso:
Koku Reibo
Koro Sugagaki
Koro Sugagaki
Mukaiji Reibo
A k i t a Sugagaki
Sakae S h i s h i
(dan)
Fu,Mi,,Hachi
K a e s h i no S h i r a b e , making t h e l a t t e r almost
t w i c e as l o n g
("Nagai").
who
h e l p e d c a r r y t h e t r a d i t i o n o f shakuhachi p l a y i n g
the
Edo P e r i o d t o t h e M e i j i
from
Period.
"Oraote ( I n t r i n s i c ) - - U r a
Sato, 1966).
(Extrinsic)" classifications
The l a t t e r system i s as
Koten Honkyoku:
Oraote Honkyoku:
Mukaiji
Koku Reibo
Shin Kyorei
Gyoso no
4
(see
follows:
Reibo
(with B a n s h i k i no S h i r a b e )
Te:
T a k i o c h i no W * u
Kyushu Re i b o
A k i t a Sugagaki
S h i z u no Kyoku
Koro Sugagaki
Kyo
Reibo
S h i n no Te:
10
Kinsan Kyorei
15
Igusa Reibo
11
Y o s h i y a Reibo
16
Izu
12
Yugure no Kyoku
17
Reibo Nagashi
13
Sakae S h i s h i
18a
Sokaku Reibo
14
Uchikae K y o r e i
18b
T s u r u no Sugomori
Reibo
Ura Honkyoku:
19/20
Akebono/Kumoi Choshi
Mukaiji Reibo
21/22
Akebono/Kumoi Choshi
Koku Reibo
23/24
Akebono/Kumoi Choshi
Koro Sugagaki
25/26
Akebono/Kumoi Choshi
Sakae S h i s h i
27
Sanya Sugagaki
31
28
Shimotsuke Kyorei 32
Sagariha no Kyoku
30
Ginryu Koku
Ho Sho Su
34
Sayama Sugagaki
Hikyoku:
35
Shika no Tone
This c l a s s i f i c a t i o n does
not include the 2 Shirabe which are so i n t e g r a l to the t r a d i t i o n that t h e i r existence i s assumed, and the 4 Juso which
probably d i d not e x i s t independent
of t h e i r r e l a t e d dokuso
u n t i l recently.
The Pedagogical L i s t has 29 t i t l e s .
the 4 Akebono and 4 Kumoi choshi (or the 4 Juso) but i t does
include the 2 Shirabe.
The
impres-
Omote-Ura L i s t
Shoden (basic t r a d i t i o n )
Shoden (basic t r a d i t i o n )
2-7 = 4-9
Shoden (basic t r a d i t i o n )
8-11 = 1-3
Gyoso no Te
Koten Honkyoku, plus
Banshiki no Shirabe
12-28 = 10-18
Shin no Te
Oden
21-29 = 27-35
Ura Honkyoku
(advanced
" )
They were
supposedly
Be-
The
other two Koten Honkyoku are Koku Reibo (Sunyata Reibo) and
Mukai-ji Reibo (the "Flute of the Foggy Sea" Reibo).
Tradi-
resi-
Mukai-ji may be a
To hear h i s voice
24
Rather than b e i n g an i s o l a t e d phenomenon, Honkyoku a r e
p a r t o f a t r a d i t i o n t h a t has
f l o u r i s h e d throughout
Japanese
U s i n g t h i s Western
may
d i s t u r b some r e a d e r s , but,
n o t a t i o n w i l l be shown t o be q u i t e a c c e p t a b l e
1959:239,247).
F o r the purposes
ing d e f i n i t i o n w i l l hold:
based
terminology
(see Meyer,
o f t h i s t h e s i s , the f o l l o w -
It i s
exist.
no-
t o impro-
v i s e w i t h i n t h e l i m i t a t i o n s imposed by h i s s k e l e t a l n o t a t i o n
u s i n g the i n f o r m a t i o n he has a c q u i r e d from o r a l / a u r a l
tion.
(The r e a d e r may
h a r p s i c h o r d by L o u i s C o u p e r i n which are, i n f a c t ,
s i m i l a r t o Honkyoku and o t h e r Japanese
There a r e two
remarkably
Preludes.)
types o f P r e l u d e s i n Japan
tradi-
(and t h e West):
Prelude.The
for-
precedes
a r h y t h m i c a l l y and a r c h i t e c t o n i c a l l y s t r u c t u r e d c o m p o s i t i o n i n
the same mode.
In Gagaku, t h i s i n t r o d u c t o r y music i s g e n e r a l l y
r e f e r r e d t o as "Jo"
Kyu".
The popu-
l a r music of the Edo Period adopted several o f the Gagaku funct i o n a l i s t Preludes and named them "Mae-biki"
(i.e.,
"Jo-hiki".
"Cho-
Reading)
The e a r l i e s t
Choshi
(Harich-Schneider,
frequent references to songs, dances, and instrumental p e r f o r mances performed i n the improvisatory s t y l e of the choshi (e.g.,
i b i d . , 1973:246).
(Harich-Schneider,
26
requiems
the t r a d i -
Kaki-awase
27
1:4
This statement
i s particularly
The "end" o f
i s enlightenment,
an
"Age
of Enlightenment".
was
the "new"
The men of the Enlightenment foresaw no end to the t r i umphant expansion of reason into a l l areas of s o c i a l
l i f e . But here too reason has foundered upon i t s oppos i t e , upon the surd and unpredictable r e a l i t i e s .
(The
"enlightened" society) requires of man only that he perform competently h i s own p a r t i c u l a r s o c i a l function.
(He) becomes i d e n t i f i e d with t h i s function, and the rest
of h i s being i s allowed to subsist as best i t c a n u s u a l l y to be dropped below the surface of consciousness and
forgotten.
Barrett, 1958:35-36
Japanese Zen Buddhism, p a r t i c u l a r l y during the Edo
od (1600-1867) countered the problem of man
man
Peri-
as i n d i v i d u a l and
h i s t arts which were aimed at enlightening i n d i v i d u a l consciousnesses while not d i s t u r b i n g the s o c i a l order of the community.
Previous to t h i s period, the p r e r e q u i s i t e to a t t a i n i n g e n l i g h t -
28
enment was to "drop out" o f s o c i e t y and j o i n a Zen Buddhist
establishment.
don society and j o i n a monastery or, b e t t e r yet, he could pursue the goals o f Zen Buddhism by studying one o f i t s a r t s
while remaining
arts.
On the p o s i -
This i s i n l i n e
Mahayana d o c t r i n e i s found i n the f i r s t century, A.D. V i m a l a k X r t i Nirdesa S u t r a (Jp. Yuimagyo) where the main character,
V i m a l a k T r t i , i s a layman who e x h i b i t s a l l the c h a r a c t e r i s t i c s
of a bodhisattva.
1959:410).
29
pleased; and the extraordinary person was under the s u r v e i l lance of zealous dependants whose constant duty was to reprove
any breach of usage."
(Hearn, 1904:158).
These repressive
1:4:1
Zendo
The "way"
(fl.
officially
en-
(Suzuki, 1927:254),
society.
Hakuin.
The essence and goal of Zen i s the e l i m i n a t i o n o f anguish
(Jp. Ku; Sk. duhkha) by experiencing " s e l f " r e a l i z a t i o n ,
sho",
"ken-
"satori".
(Jp. Kuy
(Jp.
This u l -
31
12
("Shikan-
o r a c t i v e meditation
(Rinzai
When the l e v e l of p e r p l e x i t y
(but not
32
The p r i n c i p l e s of Zendo may
be summarized i n the
follow-
1:4:2
Takedo
Zen Buddhism of a l l r e l i g i o n s i s the one that most s p e c i f i c a l l y educates the aesthetic impulses, and for that
reason alone i t i s a r e l i g i o n that engages the i n t e r e s t
o f a r t i s t s everywhere, even i n the Western world.
Read, 1967:19
Almost since the advent of Zen Buddhism, various
disci-
The
of
Zen"
(e.g.,
p a r t i c u l a r l y i n a r t s and
In e f f e c t , a r t i s t i c expression
r e l i g i o u s expression
a manifestation
(Jp.
A f t e r developing
and
33
strug-
the
( i . e . , the a r t i s t i s
F a i l u r e r e s u l t s i n the u n i v e r s a l
artistic
transgressionmimicry.
The koan for the shakuhachi performer i s h i s instrument.
In order to experience Kensho he must coincide three b a s i c
elements (Sanmi I t t a i ) of performance:
1. G i t e c h n i q u e
The per forme reacquires
:
When he per-
(The
lat-
34
instrument
The
shakuhachi i s i d e a l l y suited to Zendo* because o f the fundament a l and rigorous emphasis on breath c o n t r o l required t o play
i t properly.
diaphragm (Tanden).
1963:162).
2. Shinmind
The "set and s e t t i n g " o f the mind i s p a r t i c u l a r l y d i f f i c u l t to a t t a i n .
13
composure,
tent because i t s "natural sound" (Shizen no Ne) i s " S a b i u n pretentious or archaic imperfection, apparent s i m p l i c i t y or
e f f o r t l e s s n e s s i n execution...and
i n e x p l i c a b l e elements that
(Suzuki, 1959:24).
This l a s t c r i t e r i a i s r e f e r r e d t o
35
i n Noh (Harich-Schneider, 1973:424-25).
"Shizen no Kyoku" i s
In es-
ManjusrT (Mon-
(Suzu-
k i , 1955:199).
Rather than attempt to define or categorize the "inner
meaning" o f "Ken", Lao-tzu has i n d i r e c t l y suggested the best
explanation:
"Those that speak do not know
Those that know do not speak"
Tao Te Ching, Chapter LVI
CHAPTER 2
A History of the Shakuhachi
Any h i s t o r y of Japanese music h i s t o r y i s troubled by
circumstantial evidence, biased c h r o n i c l e s , and large gaps
in chronological information.
This i s p a r t i c u l a r l y true of
Despite
i n i t i a t e d by the a r r i v a l of v e r t i c a l f l u t e s from
The
16th
Dynasty China
or i t
A l l three p o s s i b i -
2:1
Ch'ih-pa
"shakuhachi"
A l t h o u g h C u r t Sachs (1940
178-82) and S y b i l Marcuse (1975:575-77) have attempted t o unr a v e l the t a n g l e o f Chinese v e r t i c a l f l u t e etymology
and o r -
o f t h e Ch'ih-pa seems t o
(618-907).
Tuan A n - c h i e h
i n h i s comprehensive
i t e l u d e s some contemporary
Even
commen-
music t r e a t i s e Yvieh-fu T s a - l u
The word
i f a t a l l , before or a f t e r t h i s period.
information.
(Gimm,
(1951:126) d i d
music s o u r c e s .
38
Even the word i t s e l f i s somewhat of a mystery.
than t r a n s l a t i n g as " v e r t i c a l
Rather
feet".
In the European-
L i u Hsu
(887-946) noted i n h i s
(Liu, 1959:3338),
Lu t s ' a i (Jp.
39
1962:173,186,199).
The p i t c h o f the Huang-chung was a subject o f intense
concern because i t s frequency was a symbol of cosmological
sympathy as perceived by the governing authority embodied i n
the person of the emperor.
and
I f t h e i r "wind"
(Feng, i . e
personal
ch'i) was " i n tune" with the environmental c h ' i they would
produce the r i g h t "sound"
(Ko).
chung Kuan date from the Ch'in and Han Dynasties (221
B.C.-
40
220 A.D.)
discussed
was
The most
Shu by Pan
Ku
The Yo was
(Dubs, 1938-44:
occupied
a l s o an
ab-
i n Chinese music
(ibid.,
B.C.
II,35-36).
i t s r o l e as
Wu)
sym-
bolozing p o l i t i c a l s t a b i l i t y , imperial authority, and cosmol o g i c a l sympathy i n the form of the o f f i c i a l Huang-chung Kuan.
The Wen
instrument
41
became e x t i n c t during the Chou Dynasty.
(Couvreur,
Con-
attained
t r a ' s eight p a i r s o f instruments are i d e n t i c a l , but the anomalous p a i r i s comprised o f a v e r t i c a l , double-reed instrument
and a v e r t i c a l f l u t e instrument
( c f i Kishibe, 1965:116,fn.15).
42
Further study o f the Kuan shows that the Kuan music
instrument mentioned i n the Chou Dynasty annals was e x c l u s i v e l y a f l u t e aerophone.
A
and small z i t h e r , Se and Ch'in) one may s a f e l y assume that
Kuan and Hsiao are small and large v a r i e t i e s o f the same
instrument.
to two i n t e r p r e t a t i o n s .
The
f i r s t i n t e r p r e t a t i o n i s the more t r a d i t i o n a l .
type,
(Needham
Further i n -
43
as paired, single f l u t e s r e l a t e d according t o the a c o u s t i c a l
p r i n c i p l e of "San-fen Sun-i Fa". Each "superior" (Yang) Kuan
could generate an " i n f e r i o r "
and Robinson, 1962:173).
pression " f i v e sheng (pentatonic s c a l e ) , s i x Lii (superior p i t ches), 12 Kuan (12 pipes/notes)" (see Needham and Robinson,
1962:139).
A second, l e s s t r a d i t i o n a l i n t e r p r e t a t i o n could be that
the Chou Dynasty Kuan and Hsiao were small and large v e r t i c a l
f l u t e s which became grouped into double and multiple panpipes
by the time o f the Han Dynasty.
lance, the word "Hsiao" means v e r t i c a l f l u t e , while c l a r i f i cation of t h i s term i s offered i n the dual nomenclatures
"Tung; Hsiao" ( v e r t i c a l f l u t e ) and "P'ai Hsiao" (panpipes).
Therefore, Kuan may be defined as an end-blown, v e r t i c a l
bamboo wind instrument.
(i.e.,
combined i n the form of the "Yo" (a s p e c i a l Lu Kuan, "Huangchung Kuan", which was also a music instrument).
The double-
reed Kuan has a foreign name, " P i - l i " , which could be i n t e r preted as a melding of the e a r l y Kuan construction with an
imported sounding-device ( i . e . , a double-reed.
See Garfias,
44
1965:Table 1 ) .
"silk
effluence was the re-establishment of the Imperial Huangchung, neglected during the d i s s o l u t i o n of the Chou Dynasty.
According to the author of Feng-su-t'ung (Ying Shao, c. 178
B.C.), Ch'iu Chung designed a f l u t e he c a l l e d " T i " and which
seemed to have functioned i n the same dual r o l e as the Chou
Dynasty Yo.
), i s a combination o f
45
Unfortunately, confusion a r i s e s from another meaning
of " T i " which i s " h o r i z o n t a l f l u t e " .
This d e f i n i t i o n even-
generally c a l l e d T i , while v e r t i c a l
I sus-
by
no-
diffuse.
"Hsiao"
re-
a f l u t e with a dragon's
the
o f f i c e of the emperor;'
Huang-ti (Jp. O-teki)
Huang-chung;
Heng-ti (Jp. O-teki)
a transverse Huang-chung
flute.
The nomenclatures that were eventually adopted f o r vert i c a l f l u t e s were "Tung Hsiao" and "Ch'ih-pa".
Organological-
flexibility.
As mentioned e a r l i e r , the
Even the
47
Tung H s i a o i n s t r u m e n t seems t o have o v e r - t a k e n t h e Ch* i h - p a
i n nation-wide p o p u l a r i t y w i t h one important e x c e p t i o n .
The
s o u t h e r n c o a s t a l c i t y o f Amoy ( i n F u k i e n P r o v i n c e ) r e t a i n e d
many T'ang and Sung Dynasty
t r a d i t i o n s which had m i g r a t e d
(see Lieberman,
1971:1).
In t h e next pages,
flute
I w i l l show t h a t
2:2
Indigenous
shakuhachi.
Flutes
E v i d e n c e f o r an i n d i g e n o u s v e r t i c a l
f l u t e t h a t may have
i s scant, i f
("Stone f l u t e " )
a stone o c a r i n a o r w h i s t l e .
from t h e i n d i g e n o u s Japanese
"barbarians" o f the
( m i d d l e - s i z e d Kuan)
f l u t e s than t r a n s v e r s e f l u t e s
Pre-
a term
(usually
48
c a l l e d " t e k i " or "bue").
8th century by the more s o p h i s t i c a t e d Yamato Clan of the western provinces was
By the Muromachi
cen-
1973:
600
This legend i s t o l d i n a
Gagaku dance c a l l e d Somakusha, but recent research (see HarichSchneider, 1973:163,fn.58) has found the o r i g i n s of t h i s dance
49
and legend i n Central A s i a v i a the imported entertainment of
T'ang Dynasty
China.
2:3
Gagaku Shakuhachi
During the Yamato Period (400-645) China was
the w e l l -
of the Konin Period (794-894) when the l a s t o f f i c i a l ambassad o r i a l v i s i t to China was cancelled (Reischauer and Fairbank,
1958:506-507).
un-
merchants and p i r a t e s
Therefore, Japan's
50
are assimilated before contact i s resumed.
In 701 A.D.,
"Ch'ih-pa"
2:3:1
are as-
court
events, many of these temples would immortalize t h e i r c e l e b r a tions by r e t a i n i n g a l l the costumes, implements
(including
Judging
presence
Within
(Tanabe, 1964:285-86)
51
and a small, sculptured "angel" (Tennin) playing a shakuhachi.
The l a t t e r i s one of a group of s i x heavenly musicians (Akiyama, 1966:v.2,pi.10 and p.186) placed on a canopy above the
"Shaka Triad" i n the main h a l l
from the Hakuho Period.
(Hoko)
of Horyu-ji.
During the eighth century the c a p i t a l moved to Nara,
where i t became the r e c i p i e n t of the majority of the Chinese
importations.
the
On the
shakuhachi
52
players, one standing and one s i t t i n g , and a b u c o l i c scene
painted on a biwa kambachi (plectrum guard) contains a young
man playing e i t h e r an extra-long h i c h i r i k i
( o - h i c h i r i k i ? ) or
S a i d a i - j i temple, S a i d a i - j i Shizaicho (780) includes one madaradake (mottled bamboo) shakuhachi f o r a l a t e T'ang ensemble
and eight shakuhachi f o r e a r l y T'ang ensembles ( c f . Garfias,
1965:40,Table 2).
Council"
(Daijokan) and l a b e l l e d
Daijokanpu
(809), l i s t s
(Josango, 1971:7).
Line-drawings of a s o l i t a r y shakuhachi p l a y e r
53
(copied from the Dankyu Bow?) and a procession of musicians
performing Rinyu-Gaku which includes a shakuhachi p l a y e r add
more evidence to the hypothesis that the shakuhachi was
active
2:3:2
(9th-10th Centuries)
rare that one can only assume that i t d i d not survive the c u l t u r a l metamorphoses.
A document from the 12th century, Ryumeisho (1133), cont a i n s a b r i e f anecdote s t a t i n g that Sadayasu Shinno
one of the sons of Emperor Seiwa
(870-924),
anecdote and the actual event, and the fact that t h i s anecdote
does not appear i n the other Ryuteki manuals written before
the Ryumeisho, t h i s curious piece of information i s not above
suspicion.
The author of the 10th century d i c t i o n a r y Wa Myo
Ruiju
54
Sho, Minamoto no Shitagu, l i s t s the shakuhachi among r e l a t e d
"oddities",
1 2
"Cho-teki"
(short f l u t e , c f . Harich-Schneider,
and
"Tan-
1973:392-93, r e :
"sakuhachi
ch.6,
13
Her
Heian f e l l "
(Harich-Schneider, 1973:272).
The r e v i v a l of the
On the other
hand, the " r y u t e k i " (also " o t e k i " and "yokobue") transverse
55
f l u t e had become extremely popular.
Oto
t r a v e l l e d to China
(Harich-Schneider, 1973:102).
of the r y u t e k i .
The r e s u l t of a l l t h i s
not extant;
(918-80);
2:2)
A f t e r the f a l l of the
56
concerns as Buddhist temples
2:4
Medieval Shakuhachi
Between the period o f the Gagaku shakuhachi and the ad-
flutes
When the
flute
present.
2:4:1
Komo-so* Shakuhachi
Throughout
58
associated with indigenous Shintoism, melded with Buddhism
to
did
They
(the l a t t e r being a
(Keene, 1967:66,98-99).
Remnants of t h i s t r a d i t i o n
still
Mountains.
(Budd-
although
59
Haniwa figurines show that the biwa was extant i n Japan's
p r o t o h i s t o r i c a l period and chronicles such as the Koj i k i
indicate kami (gods), emperors, and noblemen o c c a s i o n a l l y
used s t r i n g instruments during t h e i r shamanistic a c t i v i t i e s .
During the Heian Period the Moso were l o o s e l y organized i n t o
a g u i l d (be) and informally aligned with the Tendai Buddhist
sect, but t h e i r basic roles as mendicants remained
largely
undisturbed.
At f i r s t t h e i r music only consisted of sutra r e c i t a t i o n s with b r i e f interludes played on the biwa.
reason, pre-reforra Buddhist chant
For t h i s
(bombai) figures
prominant-
When the
"Sekkyo-bushi",
60
fashioned themselves a f t e r
t h e i r "takuhatsu", r e l i g i o u s alms-taking.
not
Per-
adopted the
It
61
i s s a i d that he introduced the v e r t i c a l f l u t e which was to
become named the " H i t o y o g i r i "
Kinko I i s supposed to
(Hofuku),
founded
Whatever
62
been w e l l documented.
N e v e r t h e l e s s , i t would seem e n t i r e l y
vertical
(e.g.,
c e n t u r i e s ) t o become t h e Indonesian
" s u l i n g " H e
may
o r i g i n a t e d w i t h t h e n a t i v e Chinese Tung H s i a o , b e -
How-
ever, r e c e n t i n v e s t i g a t i o n s have r e v e a l e d t h e e x i s t e n c e o f t h e
Amoy Tung H s i a o which i s v e r y s i m i l a r t o t h e shakuhachi and
which i s p r o b a b l y r e l a t e d t o the T'ang Dynasty Ch'ih-pa (see
2:1).
indigenous t h e o r y o f development.
quoted
Using a s c a t t e r i n g o f o f t e n -
r e f e r e n c e s , I would l i k e t o suggest a d i r e c t
relation-
flute.
reported i n h i s
( S h i n h o s h i ) and Sarugaku
(Josango, 1971:8).
Emperor Godaigo
( r . 1318-39),
recoun(1336-39),
Emperor Gokomatsu
(1417-
64
Zoku-Kyokunsho Harich-Schneider, 1973:394). F i n a l l y , the most
t e l l i n g evidence i s a p i c t u r e o f a Moso i n the Shokunin Zukushi Uta-awase by Tosa Mitsunobu
Schneider, 1973:pl.17b).
types:
At h i s feet l i e two v e r t i c a l f l u t e
(cf. Genji-
65
One f i n a l hypothesis can be drawn to support the above.
The imported Fukien v e r t i c a l f l u t e would have had s i x holes
and an a l i e n scale which would probably not have captured the
i n t e r e s t of the Japanese, just as the Gagaku Shakuhachi d i d
not.
As mentioned e a r l i e r , the Komo-so seemed to have d i s appeared from 16th-century Japanese s o c i e t y a f t e r only
odd years o f existence.
fifty-
"Hitoyogiri",
The former
(the Komo-
In the l i g h t of Japan's
66
2:4:2
Tenpuku
(16th Century)
Rather than a p p e a r i n g
Tenpuku o r i g i n a t e d i n the s o u t h e r n
9th century,
i s l a n d o f Kyushu.
In the
established i n northern
Provinces".
Between 901
and
903,
was
v i r t u a l l y e x i l e d t o D a z a i f u a f t e r v a r i o u s a l t e r c a t i o n s a t the
c o u r t i n Kyoto.
D e s p i t e the f a c t t h a t he was
only there f o r
three years, h i s c u l t u r a l i n f l u e n c e , p a r t i c u l a r l y
i s . s t i l l f e l t i n the e n v i r o n s
(Harich-Schneider,
i n music,
1973:417).
and the T s u k u s h i - g o t o
the
(17th
century).
In the southern end o f the i s l a n d , c u l t u r a l a c t i v i t y
dominated by the Shimadzu c l a n .
In the 12th c e n t u r y ,
was
Shimadzu
D u r i n g the same c e n t u r y ,
the
of
over-
(Malm, 1959:135).
century.
ment o f " l i g h t c l a s s i c s " among h i s samurai retainers by i n s t r u c t i n g them to learn how to play the Satsuma-biwa and
tenpuku.
One
fixtures
The co-incidence o f
2:4:3
68
a c t u a l l y name the instrument, b u t r a t h e r d e s c r i b e s i t .
It
was
(bu)
measured i n Japanese f e e t
r a t h e r than i n c h e s
decessor.
was
The
(shaku) and m i c r o - i n c h e s
f l u t e e x i s t e d i n many d i f f e r e n t s i z e s ,
so i t
was
During the h e i g h t of i t s p o p u l a r i t y ,
called
i t was
"oshiki-
construc-
the f i n g e r - h o l e s
Omori Sokun
i t s body between
(Malm, 1959:155).
(1568-1625) i s the f i r s t
the h i s t o r y o f the h i t o y o g i r i .
He was
major f i g u r e i n
o r i g i n a l l y i n the
strips
r e q u e s t e d h i s presence
ser-
a t which
His
skill
(1586-
and a s e t o f h i s i n s t r u m e n t s .
Tanteki Hidenfu
A l a t e r anonymous c o l l e c t i o n I k a n o b o r i c o n t a i n e d
f i v e more c o m p o s i t i o n s .
I t has been i m p o s s i b l e t o
reproduce
of
i n c l u d i n g the K i n k o - r y u
(Josango,
1971:8).
69
A c c o r d i n g t o t h e Doshokyoku, two " s c h o o l s " o f p l a y i n g
developed, t h e Shusa-ryu and N i s h i m i - r y u ; they performed
each o t h e r i n t h e same manner as t h e Uta-awase.
with
Illustrations
and e x p l a n a t i o n s about h i t o y o g i r i p l a y e r s p e r f o r m i n g i n p a i r s
(Fuku-awase) a r e found i n t h e S h i c h i k u Shoshinshu
the J i n r i n Kimmo Z u i (1689).
(1664) and
In t h e Yamato Kosaku E i s h o , t h e
h i t o y o g i r i i s shown b e i n g p l a y e d i n an ensemble c o n s i s t i n g o f
shamisen,
t a i k o and ko-tsuzumi,
accompanying a B o n - o d o r i dance
(ibid.).
The h i t o y o g i r i reached t h e peak o f p o p u l a r i t y d u r i n g t h e
Genroku E r a (1688-1703) and then q u i c k l y f e l l
cause o f a new b e r t i c a l
popular
i n t o d e c l i n e be-
t h e l a r g e r "Nedake" Shakuhachi
p l a y e d by t h e s u c c e s -
s o r s o f t h e Komo-so, t h e "Komu-so".
2:4:4
Komuso Shakuhachi
(17th-19th C e n t u r i e s )
with-
ment i n t h e e a r l y p a r t o f t h e Edo P e r i o d .
volatile
ele-
A group o f t h e s e
70
ronin took up the shakuhachi and became wandering
musicians i n the komosS t r a d i t i o n .
mendicant
However, they c a l l e d
p r i e s t s " ) to
l i v e d i n the e a r l y
Between the
t i v e l y , i n Japan.
Wu-
Sasaki, 1966:199-203).
A document written i n 1779
purported to be a h i s t o r y
71
Kakushin i s s a i d t o have s t u d i e d w i t h Chang Ts'an
(Cho-
17
san),
extending
(Baso D o i c h i
707-
786).
P'u
of
his
fn.19).
ing
-hua was
around
I t i s s a i d t h a t he wandered through g r a v e y a r d s ,
feign-
implement o f Buddhism.
A t t h a t time, Chang Po
ringing a b e l l ,
footsteps, but
instead
Unde-
he became the f i r s t
flute.
patri-
(Fuke-shu).
under Wu-m^n t o g e t h e r .
One
Kakushin
founded
S a i h o - j i Temple ( l a t e r c a l l e d K o k o k u - j i ) i n wakayama P r e f e e -
(or
72
ture where he resided f o r most of h i s remaining
life.
Within
had accom-
Pao
time l a t e r .
o r i g i n s to t h i s
source.
1298)
who
of the shakuhachi
He i s c r e d i t e d with
ini-
founded
Kyo-
Thereafter, Meian-ji
became the head temple of the Komuso with the statue of Kyochiku enshrined within i t .
(1542-1616) sup-
73
o f the p r o c l a m a t i o n ,
govern t h e i r own
affairs.
in a f i r e ; only copies
A critical
48).
o r i g i n a l document was
destroyed
documents conducted
by
r e p o r t e d h i s f i n d i n g s i n an a r t i c l e
Shakuhachi Shikan
Nakatsuka was
and
exist.
The
to "incorporate"
( c f . Tanabe Hisao,
en-
1963:147-
c u r i o u s about the h i s t o r i c i t y o f t h e
"Kyo-
He
the
He
shakuhachi
then
discovered
t h a t d u r i n g the Kamakura P e r i o d , M e i a n - j i d i d n o t e x i s t as a
temple but as a h o s t e l f o r monks who
were v i s i t i n g t h e
greater
H i s c o n c l u s i o n was
komuso o r g a n i z a t i o n was
t h a t t h e Fuke-shu
a c t u a l l y founded sometime d u r i n g
of
the
2 0
evidence.
Conjecture
on my
alter-
p a r t l e d me
to
the thought t h a t the Komuso/ronin were ex-members o f the S h i madzu c l a n which was
d i s b a n d e d i n 1587.
These w a r r i o r s would
(i.e.,
Tenpuku) and
74
This would also explain why
t h e i r way
H i t o y o g i r i melodies d i d not
find
clearly dif-
There i s no
way
Nevertheless,
they
proli-
(an
Edo
f o r unimpeded t r a v e l
The
role of clandestine
spying
75
covered t h e i r heads
( c f . Malm, 1959:pl.51).
Although
the
"tradition"
s t a t e s t h a t these h a t s symbolized m e t a p h y s i c a l
"emptiness"
f o r the
P r e v i o u s t o t h i s time, t h e i r d r e s s i n c l u d e d
a simple, s h a l l o w h a t .
illustration
see Josango,
1971:12).
e i t h e r because
i t was
t o the government's
advantage
the concept
of
Two
temples
and
Ichigetsu-ji in
(Tokyo).
Each
(Three S a c r e d M e l o d i e s )
2:4:5
Chonin
temple
A l l music
tradition.
Shakuhachi
adopted
by
76
widely disparate groups of the urban "chonin" (bourgeoisie)
class (see Josango,
1971:12-14).
supposedly
At t h i s time,
the Nedake Shakuhachi developed into i t s f i n a l form with remnants of the roots of the bamboo l e f t i n t a c t on the end of
the instrument to become a deadly club.
Moreover, the i n s t r u -
D i a m e t r i c a l l y opposite to
(1710-1771).
His most
temples.
he enlarged t h e i r c o l l e c t i o n to a t o t a l of 21 t i t l e s .
In a l l ,
His son
Sometime
a clandestine move-
a system of i n s t r u c t i o n and
certification
reaffirming their
Therefore, a c l a n -
i n i t i a t e d , and i n 1792
including Kinko I I .
1816)
the Tokugawa
of
shakuhachi
1772-
temples
Otojiro, d. 1860)
was
(nee
Kinko p a t r i l i n e a g e ended with him, but the i d e a l s and repert o i r e of the Kinko-ryu continued to f l o u r i s h .
However, the
to allow
78
men
o t h e r t h a n s a m u r a i i n t o t h e r a n k s o f t h e Komuso* i n
I n a p p o s i t i o n t o t h e K i n k o l i n e was
the Ikkan-ryu
begun by M i y a g i Ikkan, a s t u d e n t o f K i n k o I .
c e s s o r was
II.
The
Ikeda I k k i
(Senzuke)
who
tive
Fuyo.
Miyagi's sucKinko
f r o m I k e d a t o Yamada J o d o
T h e s e l a s t two
j u s t p r i o r t o Japan's
line,
t h e n t o T o y o d a K o d o I ( K a t s u g o r o ) who
Hisamatsu
1847.
was
"sensei"
and
contemporary
with
( t e a c h e r s ) were
great watershed,
the M e i j i
ac-
Resto-
ration.
Before proceeding t o the shakuhachi i n the M e i j i
is
Era, i t
sparked
t h e e n t h u s i a s m o f s o many B u d d h i s t l a y m e n d u r i n g t h e
18th
century;
Tokugawa u r b a n
defined groups.
One
ent merchant c l a s s ,
and
t h e l i k e who
t e r s o f "UkiyO"
s o c i e t y may
group
be d i v i d e d
i n t o two
c o n s i s t e d o f members o f t h e
dissolute
s a m u r a i , "demimonde"
( f l o a t i n g w o r l d ) i n Edo,
o t h e r g r o u p was
characters,
O s a k a , K y o t o , . and'
hostels.
c o m p r i s e d o f members O f t h e w a r r i o r
and
(Tokugawa j u n t a ) ;
This
afflu-
p o p u l a t e d and e n l i v e n e d t h e p l e a s u r e g u a r - :
c o u n t l e s s m i n o r c e n t r e s a t c r o s s - r o a d s , and T o k a i d o
The
roughly-
a Sung D y n a s t y
s c h o l a r : who
idealistic
(Chu H s i ,
created a renaissance
of
C o n f u c i a n s t u d i e s t h a t was e n t h u s i a s t i c a l l y a d o p t e d b y t h e
C h i n e s e and Japanese.
arise
rior.
the
t h e way o f t h e w a r -
I t was d e v e l o p e d p a r t l y a s a n a r t i f i c i a l
o f s a m u r a i who f o u n d t h e m s e l v e s
their society,
the
important manifestation t o
thousands
in
The f i r s t
control of
anachronistic
and p a r t l y as a s i n c e r e attempt t o p r e s e n t
w a r r i o r s w i t h a new c o d e t h a t t h e y c o u l d l i v e b y .
townsmen f o l l o w e d s u i t
groups
so t h a t a group
a r o s e w h i c h were a n t i t h e t i c a l
idealistic
o f a r t s common t o b o t h
t o the Ukiyo a r t s .
each a r t r e f l e c t e d t h e Zen B u d d h i s t
o n a p e r s o n a l s e a r c h f o r t h e way
t h e a r t s were m a r t i a l - o r i e n t e d ,
of
s u c h a s "kendo"
Do
emphasis
(Do) t o e n l i g h t e n m e n t .
of
Many
( t h e way
( t h e way o f t h e w r e s t l e r ) , w h i l e
o t h e r p o p u l a r a r t s were t h e t e a ceremony
w r i t i n g and p a i n t i n g w i t h
("shodo"),
The
a r t s o f t h e s e p e o p l e were c o l l e c t i v e l y c a l l e d
(Tao), because
do"),
Many
India
(Cha no Y u , o r " c h a -
I n k a n d a bamboo b r u s h
and f l o w e r a r r a n g i n g ("kado"),
t o name o n l y a f e w .
(see 4 : 3 ) .
immediate
source o f t h e a e s t h e t i c s i n h e r e n t i n each
Do was t h e a u s t e r e p r i n c i p l e s
melding o f Heian s e n s i b i l i t y
D u r i n g t h e Tokugawa p e r i o d ,
found i n Ashikaga a r tw i t h i t s
t o Zen metaphysics
and f r u g a l i t y .
t h e "Do" a r t s w e r e i n f u s e d
a m u l t i t u d e o f moral o b l i g a t i o n s
(giri)
with
t o o n e s e l f and t o
80
one's sensei and peers which became the foundation of the
Ryu,
2:5
(1868)
In a sweeping e f f o r t to eliminate the abuses of the previous regime, the M e i j i government disbanded and outlawed a l l
i t i n e r a n t music guilds including the Komuso.
This p r o h i b i t i o n ,
On
contingent
In
1883,
lay organization
This democratization
the many clandestine shakuhachi organizations and t h e i r independant teachers to come out of h i d i n g .
One of the c e n t r a l figures i n the metamorphosis of the
Komuso t r a d i t i o n was Araki Kodo II (nee Hanzaburo, then Chikuo),
1823-1908).
In an e f f o r t to keep the t r a d i t i o n a l i v e , he
insti(see
81
1:3)
which
into
certifi-
o n l y a l l o w e d t o study them a f t e r g a i n i n g h i s t e c h n i c a l
background
p l a y i n g Gaikyoku
and h i s r e q u i s i t e r e s p e c t o f the
s e n s e i by e s t a b l i s h i n g a r a p p o r t .
The shakuhachi had a l r e a d y been used i n p o p u l a r music
f o r some time b u t A r a k i Kodo I I o f f e r r e d two
draw a t t e n t i o n t o h i s own
repertoire.
First,
incentives to
he was
more
s y s t e m a t i c i n h i s approach t o t h e i r m u s i c a l arrangements.
In
an arrangement
which was
h i g h l y s u c c e s s f u l as e v i d e n c e d by
Second,
he d e v i s e d a rudimentary n o t a t i o n
system
(see 4:1:2).
(1870-1959)
a s s u r e d the
Uehara Kyodo d e v i s e d a
s i g n s f o r Kodo I I ' s n o t a t i o n
e n t i t l e d Zokugaku S e n r i t s u
Ko
Kawase
Junsuke
8 2
(Harich-
1973:591).
H i s son and s u c c e s s o r ,
he a p p o i n t e d
Motonobu).
a National Living
Treasure
Notomi Haruhiko, h a v i n g
Ikeda Kodo h i s s u c c e s s o r .
tended t o the f i n a l
was Notomi
died,
and c u r r e n t s u c c e s s o r ,
This p a r t i c u l a r l i n e of succession
i s o n l y one o f
many.
The p r o l i f e r a t i o n o f the Kinko s c h o o l , and a l l t h e o t h e r s
as w e l l , has r e s u l t e d i n a t a n g l e d web o f r e l a t i o n s h i p s and
l i n e a g e s which i s almost i m p o s s i b l e
Rather than b e i n g d i s c o u r a g i n g ,
to s a t i s f a c t o r i l y o u t l i n e .
i t o n l y p o i n t s t o f u r t h e r de-
i t should
produce.
CHAPTER 3
KINKO-RYU MELODIC THEORY
The t r a d i t i o n a l music theory of Honkyoku consists o f r u diments and performance
information concerning the notation and fingerings, while performance p r a c t i c e s are a more advanced stage o f knowledge concerning the techniques and ethos ("Shin") o f performing Honkyoku.
practices s h a l l be described as
esoteric.
3:1
Rudiments
Beginner students are e x c l u s i v e l y concerned with
impro-
ving, t h e i r understanding of rudiments by p r a c t i c i n g progress i v e l y more d i f f i c u l t compositions from the Sankyoku l i t e r a ture.
84
A f t e r a t t a i n i n g a prescribed l e v e l of rapport and t e c h n i c a l
p r o f i c i e n c y (far above what i s required for Honkyoku), the
student graduates to Honkyoku.
3:1:1
Contemporary Sources
For the purposes of t h i s paper, three sources of r u d i -
i n s t r u c t i o n manual for
learning Gaikyoku.
Second, the Honkyoku music per se i s a v i a b l e source f o r
the ethnomusicologist who
them i n meaningful groups.
organize
A f t e r s u c c e s s f u l l y completing
the
tradi-
The
85
Material
3:1:2
from
Honkyoku Notation
The
notation of Honkyoku i s e s s e n t i a l l y a
tablature
The
notation vocabulary
1.
s y l l a b l e s which denote p i t c h ;
2.
s y l l a b l e s and
indicate pitch
3.
may
signs,
"kanji"
repetition;
diacritical.
The
of the
In the
syllabaries
following com-
RA
>^HA
are
(see 3:1:2:2).
<)
Rl
1W-
RU
HI
^?
4"
CHI
TSU
RE
RO
KO
86
The s y l l a b l e s are printed or handwritten i n a semicursive s t y l e .
TSv
Rl and U.
In the context of a l l the Japanese music notation systems, shakuhachi solmization must be l i s t e d i n the tablature
solmizations rather than "shoka" solmizations. The
former
Sho-
be-
The
systems.
87
shakuhachi notation i s dated Ansei 4 (1858) and o r i g i n a t e s
from Meian-ji.
t i o n which was
the M e i j i Restoration
(1861).
Kodo II (1832-1908) i s c r e d i -
A com-
(note that RO
should
the
(rhyth-
apostrophes).
The e a r l i e s t extant notation for v e r t i c a l f l u t e i s the
(Harich-Schneider,
For example, p i t c h o s c i l l a t i o n
("yuri") i s par-
88
The following l i s t has a l l the d i a c r i t i c a l marks f o r
Honkyoku categorized according to t h e i r s y l l a b i c and k a n j i
2
symbols.
The d i a c r i t i c a l numbers
("suji")
that represent
flattened p i t c h (i.e.,]? )
(Note:
77. k a ( r i )
normal p i t c h
su(ri)
(i.e.,4p;
higher p i t c h ;
ko(mu)
Z*j y u r i
1)
2)
meri-komu
yuri-komu);
p i t c h o s c i l l a t i o n s i n logarithmic succession;
shakuri
<
3 komi
(Because
hushed, excited interruptions of a tone produced by shaking the shakuhachi against the
Daw;
89
^
muraiki
sforzando breath a r t i c u l a t i o n .
f l a t t e n e d p i t c h by one h a l f tone
Kanji;
tj?
chu(meri)
(i.e.,
^
dai(meri)
ro
ZJ
otsu
kan
7^ d a i - k a n
Bff a k a r u i
same as m e r i ) ;
(i.e.,bl?);
lower o c t a v e
(c
lower o c t a v e
(c* - d ) ;
higher octave
( c - e^ ) ;
h i g h e s t notes
(d - e^ );
- d )j
2
(i.e.,[?)
r a i s e the p i t c h o f c
or c
(i.e.,X);
chu a k a r u i
minna
r a i s e the p i t c h o f c
-s
or c
one h a l f
tone
(i.e.,#).
|7 u ( t s u )
perform c
beat
o(su)
(byoshi)?
("tap") i n v e r t e d
mordent
( a l s o seen as
"utsu meru");
("press")Vmordent
z e n j i hayaku
sempre a c c e l e r a n d o
dandan hayaku
progressively
more
accelerando
hajime hayaku
"begin f a s t "
ritardando)
(then
90
3:1:2:1
Therefore, music
Example 5).
Because of the many s i g n i f i c a n t differences, the notations i n both the SS and TS w i l l be outlined
and 2).
(see Examples 1
91
Example 1.
r-
l"s
<
<
<D
J-
_#s>
if-
o 7 *7
o
-a-
o frr
^*
i^. _
-H- ^
<;
T S
s
The U
depending
When the c
p i t c h i s i n an ascending melodic
In p r a c t i c a l l y a l l cases, i t c u l -
minates i n d
HI ( i . e . ,
( a l l fingers o f f ) ,
"opened" HI).
If c
i s followed by a lower p i t c h
The c
p i t c h i s also found i n
mu-
92
sic.
2
In t h i s case, c i s notated HA (see Example 2 ) .
The reader may have noticed a curious discrepancy i n the
( i . e . , n o n - d i a c r i t i c a l l y marked)
In a s i m p l i f i e d form (and
discounting the U s y l l a b l e because i t i s a variant o f A^ common to both notation systems), the scale and s y l l a b l e s f o r both
systems appear as follows:
TS/SS
TS
E*
SS
A*
C
C
D
D
the same as those i n the RO octave, except for the s y l l a b i c notations outlined i n Example 2.
Example 2.
TS / \
'
/
x
E9
SB
93
\> a
TS
SS
The top l i n e i n Example 2 shows three forms o f the HA-RO
pattern which i s e s s e n t i a l l y a cadence pattern.
use of arrows i n the patterns shown.)
(Hence, the
pitch.
and d
sounds
which have the same impact as the " f a l s e " cadence i n Western
music.
Another " f a l s e " p i t c h i s produced by U i n descending pas1
sages.
94
The alternate fingering f o r B!? shown on the r i g h t o f
2
I t i s also considered
3:1:2:2
o d o r i j i , and naya-
The s y l l a b l e RU, preceded by a lower grace note, may f o l low TSU, CHI, or U, and i s performed i n a hushed manner with a
s p e c i a l fingering (see Weisgarber, 1968:324).
Whereas "TSU-RU"
95
and "U-RU" seem to be natural combinations (see Garfias,
68), "CHI-U" i s awkward and i s considered "deviant".
may
1965:
Odoriji
For example,
Goro Yamaguchi precedes o d o r i j i by upper grace notes while Tanaka Yudo adds "changing tones" before o d o r i j i .
s p e c i a l form of RU that follows akarui HI.
t r i l l pattern that u s u a l l y i s found on d
Kiri is a
KO(RO) i s a rapid
pitch.
When i t i s
follow RE
cadence.
Nayashi Cadences
also ?v<x.
96
nayashi
which
sound
that
ment)
and
is
accelerate
then
"komi"
the
o r i g i n a l
not
involve
shi
in
reverse;
(as
in
the
the
right
subjected
(breath
(kari)
tsuki,
can
hand
diminuendo
into
to
(shaking
" t s u k i "
spasms),
pitch,
f i n a l
i t
and
also
and
then
Yuri-koam
ends
in
komi
be
or
nayashi.
followed by.an
i l l u s t r a t i o n ) .
Example
5.
Nayashi
Variants
a" c o n t i n u o u s
of
calm
meri
the
inst.ru
nayashi
to
meri
Hiku
and
is
inverted
.does
a
naya-
Hiku
97
3:1:2:3
Rhythm Notation
vertical
(senritsukei).
Although the TS
complete
"beat", g i v i n g each s e n r i t s u k e i a d i s t i n c t i v e a r s i s - t h e s i s ,
rhythmic cadence.
Its fluc-
Line Patterns
SS
TS
1. h a l f - v a l u e :
2. quarter-value:
141*
3. eighth-value:
Rhythm
98
The word "byoshi" i s also used to describe d i a c r i t i c a l
marks that e s t a b l i s h meter within the rhythmic groups d e l i n e ated by the l i n e s
TS byoshi
99
Example 8.
SS byoshi
7 ^
For example,
The TS
been a mixed b l e s s i n g .
100
4:1:3
Articulation
In Western music, a r t i c u l a t i o n i n wind instruments i s
The
A r t i c u l a t i o n s f o r Natural Notes
KAN Octave
S*
101
RO
O c t a v e
ft
K A N
t i o n
i s
O c t a v e ,
s o
n o t a t e d
l y
t h e
a n d
o c c u r s
o c c u r s
l a t e
t o
i n
a t
n o t a t i o n
E x a m p l e
R l .
10.
a r e
i n
b r a c k e t s
t h a t
( s e e
o f
B o t h
i s
o f
p h r a s e s ,
p a s s a g e s .
P a t t e r n
b e c a u s e
t h e
E x a m p l e
v a r i a n t s
e n d
5"
A r t i c u l a t i o n s
i n
a l s o
i s
H A - R O
t h e
i s o l a t e d
1,
H o n k y o k u
a r t i c u l a t i o n ,
p a t t e r n
c e n t r a l
P a t t e r n s
P a t t e r n
e x e c u -
i n s t a n c e
o f
2).
a n d
w h i l e
r e s p e c t i v e l y .
P a t t e r n
i s
a p p l i e d
f o r
i t s
o n l y
P a t t e r n
o n l y
i s
u s e d
C h r o m a t i c
t o
t o
u s u a l -
a r t i c u -
H I .
N o t e s
O c t a v e s
8 v a
4-
^
9
A l l
f l a t t e r
t h e s e
o f
t h e
i n
so
t h e
u p p e r
p i t c h
p a t t e r n s
u p p e r
c h a n g i n g
t h a n
a r e
n o t e s
t h e i r
p l a y e d
i s
\2
11
i n
n o t e s
i n
n o r m a l ,
m e r i
c o n s i d e r e d
t h e s e
p a t t e r n s
" f i n g e r e d "
p o s i t i o n .
i m m a t e r i a l .
s o u n d ,
T h e
a r e
b e c a u s e
a c t u a l
p i t c h
102
Example 11.
Dai-KAN Octave A r t i c u l a t i o n s
9-
in-between.
cending step-wise motions i s sometimes interrupted with "pregnant" , split-second silences (kiai) j u s t a f t e r each changing
tone has sounded.
103
Example 12. Step-wise Melodic A r t i c u l a t i o n s
i n Both Octaves
also
8va
"Osu" may denote upper or lower grace notes but "utsu" i s a l ways a lower grace note pattern.
RA and k i r i .
common context.
Example 13. Special Inner-phrase A r t i c u l a t i o n s
common.
The "u(tsu)-meru"
T?
Special Inner-phrase A r t i c u l a t i o n s
Iff i
en ii
3C_
*S
- *
+ *L * ~ *
-a
- 0
m
* ^-
& pT
v b \> ID Iv
UA.VA<XUV C a e c a I.)
0
-*
I 1
f *
ft
j5f
&
^ A
One other s p e c i a l e f f e c t , muraiki, can be l i s t e d with
the preceding group because o f i t s s i m i l a r nature.
It i s a
105
1968;
317,321,326).
Example 15.
"Muraiki"
1frttr T
^
muraiki / kan, ka
The technique of
"Suri"
1^4.
The number o f variants that are part o f the o r a l / a u r a l
t r a d i t i o n i s i n c a l c u l a b l e because o f t h e i r v a r i e t y and number.
The following examples are common to the San Koten Honkyoku.
Example 17.
~TfUortTrVc<.l
hu
1 0 7
3:2
Performance Practices
The multitudinous techniques of performing Honkyoku
performances
techniques.
The p r a c t i c e s o u t l i n e d i n
3:2:1
Melodic I n f l e c t i o n
The Japanese term for tonal i n f l e c t i o n i s utaguchi,
108
paced forms.
ornamentations
niques (Harich-Schneider, 1973:224), as do a l l the Shomyoderived genres such as Noh and Biwa-gaku.
One may
even en-
em-
1966:
That i s , the
performer i s free to use them or not, depending on h i s aest h e t i c i n c l i n a t i o n s at the very moment he i s performing.
Like the SS byoshi, the SS notated melodic i n f l e c t i o n s tend
to m i l i t a t e against t h i s spontaneous musical behavior.
In the following pages, the melodic i n f l e c t i o n s (in
i d e a l i z e d form) w i l l be presented i n three groups according
to t h e i r b a s i c d i r e c t i o n :
(suri);
109
cede the explanations i n each group are s p e c i a l staves with
each l i n e representing a h a l f step, except the bottom l i n e ,
which represents approximate time marked, i n
quarter-seconds.
vary accor-
For example,
3:2:1:1
Meri In f l e c t i o n s
Example 18.
|
0
1
/
-T
0. 3
Meri
Inflections
1
I
110
This i n f l e c t i o n i s so b a s i c to shakuhachi
that
p r a c t i c e i n the
pitches.
Ill
Example 19.
Meri-komu Variations
r>
4s L u
V
._<?
3:2:1:2
Suri Inflections
Example 20.
s
*
1
H
i
rA\s
-7
..
o11
1
1
Suri I n f l e c t i o n s
1
5
3
1
i
r2-
1
3
1
v
112
tween two s y l l a b l e s .
Graph 2 i l l u s t r a t e s a v a r i a t i o n of " s u r i - k a r i " i n which
the k a r i i s replaced by a caesura of silence c a l l e d " k i a i " .
"The pause i s never a lessening
trary, the projection
space o f the pause"
1973:435).
3:2:1:3
pitch.
Meri-Suri Combinations
Example 21.
i
O
,
3
Z.
i
2
Meri-Suri Combinations
1
3
'
r
5
i
o
:
*
*f
?J
113
Graphs 1 and 2 are inner-phrase i n f l e c t i o n s , while
Graph 3 i s a phrase ending.
tech-
nique which has the following upper changing tone drawn out
and emphasized.
3:2:1:4
The
Summary
following chart summarizes micro-tonal i n f l e c t i o n s
Certain i n f l e c t i o n s connect
Cohne-ctiVes
Doujiaujairci
Pttctas
u
c c
a
a'
<t
<TT>
-C
ohVi)
d
d
I 2
i' y
A-
b
4
u
< u
t
c
d
d d.
d
'"
1 1 4
3:2:2
t h i s with a highly sophisticated technique o f adjusting the f o cus o f h i s a i r stream with h i s embouchure.
Despite the extreme v a r i e t y o f amplitude and timbre, a
few generalizations can be made.
Melodic movements u s u a l l y
115
echoes.
3:2:3
Tactus
The tempo of a l l Honkyoku i s determined by "byoshi" (as
116
In the SS, caesura and minor "in-tempo" breaths are i n d i cated by short, h o r i z o n t a l dashes on the l e f t and r i g h t side,
respectively, of a column of s y l l a b l e s .
3:3
Conclusion
The s k i l f u l performer of Honkyoku b a s i c a l l y s t r i v e s f o r
"organic melody".
This ba-
Within the l i m i -
practices,
the performer i s at l i b e r t y to modify any moment of the Honkyoku he i s performing to s u i t the immediate requirements of h i s
aesthetic judgment about i t s "becoming-ness".
To t h i s end, the
The w r i t t e n music
practices
(i.e.,
The words
CHAPTER 4
SAN KOTEN HONKYOKU MELODIC ANALYSIS
4;1
Introduction
The hypothesis o f the following analysis i s that the
Further, i f
caesura
l i s t e n e r expectations"
and stimulate.af-
The preceding
princi-
11.8
"senritsukei"
("melodic patterns"),
phrases, and
sentences.
to
utilized
first
("choshi").
Then
describing
stituents) .
and
Generations of performers
In the
to any of the
fol-
SKH
119
4:2
Hood, 1971:324), i s simply derived by cataloguing a l l the p i t ches that are c a l l e d for i n the written music of the SKH.
TS and SS are equal i n t h i s regard.)
(The
The following l i s t i n -
(%)
E ^ F
80
186
9.5
22.2
A^
(14)
192
142
24
27
1.7
22.9
16.9
2.9
3.2
.2
127
+ (44)
171
20.5
3:1:2:2).
The A^ sum
includes
"nayashi" cadence
a l l pitches indicated by
C^
tion.
120
which w i l l be discussed i n the next few pages.
A l l authors are agreed that the "scale" of Honkyoku i s
4
"In",
u s u a l l y i l l u s t r a t e d as:
D
E^
(F)
(C)
'
Comparing t h i s
u
and
SKH.
require d i a c r i t i c a l information.
121
When A^f (and F) i s c a l l e d for i n the TS notation, as i n
the following example o f the "natural" s c a l e ^ of the shakuhachi
Example 2.
-<S3
...
o*"?
TS Notation,
"Natural"
Scale
~~
')\^2 h_
r t
The A^ i s so i n t r i n s i c to descending passages (see Example 1) i n both the TS and SS notation systems that i t rates
i t s own unique notation, U, (which i s never subject t o " k a r i "
alteration).
Therefore,
attention to A
The preceding
scale
E^
(F)
(C;
Considering
that hennon
1973:31), the
122
following d e s c r i p t i o n can be e s t a b l i s h e d :
Brpn
Kyu-senpo
Sho-senpo
Kaku-senpo
Chi-senpo
U-senpo
"semi-tone".
The
For example,
these two notes are the only pitches which receive constant
cadential emphasis with the use o f "nayashi", "hiku" (see 3:
1:2:2), and "meri-shita" (see 3:2:1:1).
I f G i s the fundamental tone, the SKH mode w i l l be Kyusenpo and appear as follows:
G
A
B '
S
T
T
b
D
T
E*
S
E
S
F
T
G
T
A
S
B
T
D
T
123
presence.
Gy the nayashi cadence which signals a major c a d e n t i a l resol u t i o n occurs more often on D than G (44/13) and the major
meri-komu i n f l e c t i o n s , hiku and raeri-sh-ifca, only occur a f t e r
D.
tone
A cursory study
s_
-k. 9 & 0
124
The SKH scale with D fundamental tone f i t s the d e s c r i p t i o n o f the most popular In mode, Chi-senpo, according to K U DO* s study.
(Kita-
1966:282).
ichikotsu-
cho) Honkyoku which also explores the tensions created by s i multaneously r e i t e r a t i n g the two "leading tones", c
and f .
125
Honkyoku t h a t end on a P5 i n v e r s i o n o f t h e t y p i c a l G-D (RERO) P4 cadence.
I n o t h e r words,
t h e i r f i n a l cadence, HA-RO,
HA-RE i s a c t u a l l y RO-RE, D t o G.
Chi-senpo has e x a c t l y t h e same c o n f i g u r a t i o n as t h e
"gamme p l a g a l e " o u t l i n e d by P ^ r i (1934:61).
Several
authors
(1973:594) i m p l i e d an Iwato s c a l e
i n h e r diagrams o f t h e In-senpS*.
structure
Weisgarber (1968:331)
t i f i e d t h e Iwato mode i n c o n n e c t i o n
w i t h one s p e c i f i c Honkyo-
Japanese r e f e r e n c e ,
Ongaku J i t e n . d e f i n e s
a genre o f f o l k music, b u t no s p e c i f i c i n f o r m a t i o n
Obviously,
iden-
The
Iwato as
i s given.
reveal
been
hinted a t .
The Honkyoku Chi-senpo i s m a n i f e s t i n t h r e e d i f f e r e n t
choshi
(tunings):
Akebono
B^
E^
Hon
E^
B^
Kumoi
A*
E^
'
126
The Chi-senpo A cho and G cho are found i n the Honkyoku t r i o
l i t e r a t u r e , and Sanya Sugagaki i s obviously composed i n Kumoi
choshi,although i t i s not s p e c i f i e d i n the t i t l e .
A l l other
am-
I t s s p e c i a l treatment i s i l l u s t r a t e d
can be interpreted as a
senpo creates a juxtaposed tetrachord and pentachord (see Example 5) which w i l l prove to be pertinent to the following
discussion of p i t c h hierarchy.
Example 5.
Tetra-Pentachord A r t i c u l a t i o n
127
A l l other pitches
shown to be a u x i l l i a r y to t h i s b a s i c configuration.
The elaborate emphasis given to c
and c
(i.e.,
three
configuration
Tetrachord A r t i c u l a t i o n
i i
4:3
SKH Melodic
"
Constituents
manifestation,
4:3:1
SKH Senritsukei
Because the "various melodic germs ( i . e . ,
senritsukei)
128
them.
i n h i s possession a catalogue
of some 300 or so s e n r i t s u k e i .
On f i r s t hearing, Honkyoku s e n r i t s u k e i appear to be
simi-
l a r to the stereotyped and modular s e n r i t s u k e i which are represented by shoka (see 3:1:2).
r e s u l t i n g i n a l i m i t e d number of s y l l a b l e s i n
each Honkyoku s e n r i t s u k e i .
The
of the
and
pitches.
3:
i n f l e c t i o n s (see 3:2:1).
r i t s u k e i i n the SKH
solve to D or G:
80 s e n r i t s u k e i end on G; 105
No SKH
end on D;
and
s e n r i t s u k e i begin with D,
and
D.
129
A c l o s e r study o f D and G shows that they are complemented by "leading tones" from below (C t o D, and F t o G) and
even from above (E ^ t o D, and A^ t o G).
However, t h e i r
(see 3:2:1).
Nos. 18-21) and the summary (3:2:1:4) shows that the meri and
s u r i i n f l e c t i o n s are " a n t i c i p a t i o n s " o f the lower tone r e s o l u t i o n which normally follows.
and C ( s p e c i f i c a l l y on RI,
Note that
The RI notation i s
C i n the low octave and E^ i n the high (KAN) octave (see 3:1:
2:1, Example 2 ) .
1 3 0
Example 7.
Tonal P r o c l i v i t i e s
1i
G
I
'
'
AT"
1i
&
When melodic movement within or between s e n r i t s u k e i r e solves the tension o f a note by moving according t o i t s proc l i v i t y , such movement may be c a l l e d "normative".
When the
The f o l -
131
Normative Movement
i/7
This deviant melodic movement (also found i n the RO octave) i s the most common i n Honkyoku.
Note the e s o t e r i c
Bl).
f
/
VP-?
4.
9m
9-
3:
132
In t h i s case, the deviance i s not i n the melodic progression as such, but i n the f i n a l sound o f D.
Instead o f a
but with a s l i g h t l y d i f f e r e n t
fee
9-
/\-C7
s o l u t i o n o f HA.
f
_
^f
I t s most
(Example 8 ) .
133
<
Honkyoku Tetrachords
IT
~1
AH
27-29,
45-47,
8.
53-55
and
103-105.
rfc
7*
<2_
K-7 >9
This deviant movement i s quite rare (see Koku Reibo, 6 5 66).
1 3 4
9.
9-
i n the deviant r e s o l u t i o n i s
i n the
(5
3-5
also
5-
Normative Movement
vo
9-
ft
by*
f"j?
9-
/\-0
This deviant melodic progression u s u a l l y follows another
deviant progression, HA-(RO), i n quick succession.
In
lowing KORO r e s o l u t i o n :
fol-
135
f-
/
(<
nr
7-
(/ r)
v.J
"V
7i
.-I
0-
I t i s not
136
Most o f these v a r i a t i o n s take the form of rhythmic delays o f
resolution brought about by p i t c h r e p e t i t i o n and rhythmic
pauses
A perusal o f Appendix B
4:3:2
SKH Phrases
Even though a l l s e n r i t s u k e i are cadential, the s e n r i t s u -
k e i that end on D or G seem to have a greater sense o f "completeness" or resolution than other s e n r i t s u k e i .
This i s par-
figures
r i t s u k e i which consist of cadential figures comprised o f subs i d i a r y tones and progressing through a sequence o f normative
and deviant p i t c h p r o c l i v i t i e s u n t i l they come t o rest on D or
G, may be c a l l e d a "phrase" (a word used f o r the:purposes of,
t h i s thesis, but unknown to the Kinko-ryu).
137
P r a c t i c a l l y a l l phrases begin with one of four
or t h e i r v a r i a n t s .
"incipits
the KAN octave, Hl-meri CHI, i s an i n c i p i t which i s a normat i v e melodic movement but which does not contain a p i v o t tone.
These senritsukei, and t h e i r many variants (e.g., Shin Kyorei,
40,43,50,63,73), s i g n a l the beginning of a downward melodic
progression to a G p i v o t tone.
fourth i n c i p i t , akarui HI.
Although i t i s a normative s e n r i -
tsukei, i t s usual context i s between a phrase which has completed i t s e l f and melodic progressions which move down t o g*
or g
138
Example 10.
Mukaiji,
29-32
Example 11. S h i n K y o r e i ,
/
f L be*
L L$ *<* VA
L * to
l>
(=MVif
7 I i
-TTI\ii
l
i
*
25-26
bJ i
p
s e e Example 23, l i n e 2 ) .
Occasionally,
HA and TSU
o c c u r i n i s o l a t i o n w i t h no r e s o l u t i o n a t a l l (e.g.,
16-17,50-51).
The t o n a l a f f e c t
(e.g.,
Mukaiji,
4:3:3
SKH Sentences
t h e t o n i c o f Honkyoku m o d a l i t y .
This
relation-
s h i p i s b o r n o u t by t h e e a r l i e r d i s c u s s i o n o f Honkyoku m o d a l i t y
139
(4:2)
sur-
tonic.
To counter-balance
repertoire, c o n s i s t i n g of 22 s e n r i t s u k e i .
140
Example 12.
1+, JSL
3.-
-r
I, 1-21)
ID
B.
16
17
I?
ID
3
Sentence A i s almost exactly the same as Sentence B, with
one minor exception.
ses, a and b; the a*s are the same but B,b has one extra senr i t s u k e i which adds a z e n i t h a l climax to the second sentence.
The two phrases i n C are codas, the second being more elaborate
than the f i r s t , which f i n a l i z e Sentence B and the e n t i r e nametheme i n general.
The complete theme r e f l e c t s a
141
The theme f o r Mukaiji i s one long sentence followed by
three cadential phrases.
+
I>
~ /*?
10
(2-
.0 *s9
13
IS
T 0~
a1
-A-
|6
-f-
+J
T /}
S C
I I
JL
7
f-
jn
<Q
Of *
142
Shin: Kyorei's theme resembles Mukaiji i n that i t i s a l s o
a complex v a r i a t i o n o f a simple normative s e n r i t s u k e i , HARO.
However, i t i s placed within the context o f a normative resol u t i o n o f KORO.
by d i s t i n c t i v e TSU-RE-RO, normative s e n r i t s u k e i .
The KORO f i g -
3H
'
lo
1
0
h-_
'
12
14
IS
143
Like the theme i n Mukaiji, the Shin Kyorei theme appears
a second time but i n the context of the normative r e s o l u t i o n
of a RI-U phrase.
4:4
There
4:4:1
bracket
Out of a
144
so the performer has the option of playing the Honkyoku seq u e n t i a l l y i f he wishes t o perform the e s o t e r i c v e r s i o n .
This
p r a c t i c e i s extremely rare.
Koku Reibo i s a r t i c u l a t e d with four double bar l i n e s and
eight numbers forming f i v e sections.
sec-
exactly.
JL
-HL-
1
In other words, sections I I and IV are interchangeable but the
d i v i s i o n s o u t l i n e d by double bar l i n e s are not disturbed.
In
both the TS and SS, part I I i s c a l l e d Zendan and part IV, Kodan,
145
tively.
In
sequence
following manner:
Example 16.
Shin Kyorei
Sections
1
6
XL
ill
XL
\TL
ill
146
Example 17.
Mukaiji Sections
ro
2.
3
TS.
The e s o t e r i c version i s :
4:4:2
SKH
Formal Analyses
4:4:2:1
several conclu-
(A
The
147
G s e c t i o n o n l y c o n s i s t s o f one
senritsukei.
The
entire seiso
(Note t h a t the
numbers
first
section
a*
6 0
-j6
(i.e.,
gem
53
ii.
i t i s possible to further c l a r i f y
s t r u c t u r e o f Koku Reibo as o u t l i n e d
Example 19.
54-59).
Sections
/o6
Using t h i s information
sen-
Example 18.
'
segments o f
the r e p e a t o f t h e
the t h i r d double b a r
OA
Two
IJ2
the
earlier.
Koku Reibo, S e c t i o n s
Clarified
in
ft
.1
The
but
apparently
t o have t h e i r i n t e r n a l p a r t s
The
trio
interchangeable
complementary enough
i n t e r c h a n g e a b l e as w e l l .
(juso) v e r s i o n s
Mukaiji
do
148
not f a l l i n t o neat d i v i s i o n s .
T r i o Sections
Koku Reibo
AAA*
"T
71
^itX
(ol
(It
H I
Mukaiji
1?
" T i
?a
f
US
Ho
Mukaiji theme appears both times but the Koku Reibo t r i o does
not even contain the dokuso theme.
B a s i c a l l y the t r i o s are
constructed of perfunctory fragments which are mostly highl i g h t s , of t h e i r respective solo Honkyoku.
4:4:2:2
SKH A r c h i t e c t o n i c Analysis
illus-
149
t r a t i n g t h e i r " a r c h i t e c t o n i c structure"
( i . e . , form).
In the
T
ex.
a, e
a-b
b-c ^phrases (defined by " i n c i p i t " and f i n a l note)
c-d
d-e
I n c i p i t s : T meri TSU-RE s e n r i t s u k e i
t meri TSU (unresolved by RO)
K KO-RO s e n r i t s u k e i
R RI-U s e n r i t s u k e i
(R) v a r i a t i o n of RI-U s e n r i t s u k e i
H akarui HI
h HA (unresolved by RO)
a-d
sentence
a-b
b-c
150
c-d
a-e
Shin Kyorei
1.
The e n t i r e l i n e i s the
A f t e r a TSU-RE i n c i p i t
ma-
What
Bridge.
Example 22.
Shin
Kyorei
4
1
5L
i
a
9
||h
17
If'l
7-si
l5
iC
i|
,*
.3.3.
A *o
R
(JI
X7
LLK.
-3-
33.
31
44
ft)
13
f? [
df
H 1
BRIDGE
so
J
E
ft)
Td !
7!fj
7f
1
77
k !K
6
CO
I
>
6?
152
L i n e 1.
5 and 6.
These two i n t e r c h a n g e a b l e
l i n e s c o n t a i n s i m i l a r ma-
Between
In t h e f i n a l
sentence,
climax a t
("oko mu").
Bracket
2 i s an
from
L i n e 1.
Mukaiji
1.
f o l l o w e d by an u n r e s o l v e d
a c t s as a b r i d g e t o t h e next l i n e .
a l r e a d y been d i s c u s s e d a t l e n g t h
2.
"HA* s e n r i t s u k e i which
T h i s e n t i r e l i n e has
(see 4:4:2:2).
Their c e n t r a l motif
(C) i s
(t...),
found i n L i n e 1.
l i n k s L i n e 2 t o t h e next
Example 23.
MukaiJi
r ;
v.
21
Ik
D
"I
'nsjy
*3
T
"(6
3i|
w;
CO
154
sentence.
Note the i r r e g u l a r o c c u r r e n c e
of a s p e c i f i c
dramatic
in 5
and
T h i s f i g u r e a c t s as a m o t i f t h a t c o n s t a n t l y
re-appears i n new
The
twice
contexts,
"muraiki"
c r e a t i n g a sense o f u n i t y .
s e n r i t s u k e i t h a t r e c e i v e d such
The
theme i s r e - i n t r o d u c e d and
t e x t o f RI-U.
one
4.
but
i n the
l i n e c o n t a i n i n g two
v a r i a t i o n s on t h e m a t i c
1.
sentences which a r e b o t h
m a t e r i a l presented
i n L i n e 2.
con-
A simple
repeated,
moment.
This i s simply
a RI-U
The
first,
is
(A).
T h i s l i n e i s comprised o f new
v a r i a t i o n s on RI-U
6.
material
(E) which
contains
s e n r i t s u k e i t h a t seem t o complete
the
Line
e n t i r e Honkyoku.
6.
The
5,
" I r e k o no Te",
falling
155
RI-U s e n r i t s u k e i .
7.
Koku Reibo
Because Koku Reibo f a l l s so neatly i n t o t r a d i t i o n a l and
comparative parameters, the following resume w i l l be presented
according t o the sections o u t l i n e d i n 4:4:2:1.
Letters i n d i -
B.
i n the theme.
The curious suspension i n Line 5, 30-32 re-appears i n r e solved form i n Line 13.
E x a m p l e 24.
Koku
Reibo
157
tripartite
E.
Mirroring section C i n o u t l i n e , section F i s a complex denouement with unique KORO figures which c l o s e l y
the
g.
resemble
t r i l l i n European a r t music.
formation.
How-
a function o f t e s s i t u r a ) i l l u s t r a t e s t h i s f a c t .
1 5 8
Example 25.
0 '
SECTION $
Although there are many repeated phrases, they are constantly
presented i n new contexts, discouraging the l i s t e n e r from apprehending large u n i t s i n symmetrical r e p e t i t i o n s .
4:4:2:3
The
(One exception t o
between SKH as w e l l .
Example 26.
SKH C o n t o u r A n a l y s i s
160
o f s i m i l a r i t y between t h e t h r e e Honkyoku.
In p a r t i c u l a r ,
note
4:4:2:4
Summary
(1968:324) t a c i t l y s u p p o r t e d h i s
which o c c u r between p i t c h e s .
What l a r g e a r c h i t e c t o n i c
struc-
their
b u t through a number o f
development".
The " t o n e - l e v e l s " i n Honkyoku a r e s e n t e n c e s governed by
t o n i c tones
1 2
3
(d , d , d ) and p h r a s e s governed b y p i v o t t o n e s .
161
The fundamental tones just i l l u s t r a t e d i n the above analyses
are not a l l equally fundamental; d
d
and d
has an a t t r a c t i o n to d .
has a melodic p r o c l i v i t y to
1
In e f f e c t , d
2
i s a "home
Akarui HI (d and d
seem to func-
This p r i n c i p l e of a f f e c t i v e tension r e l a t i v e
Conclusion
The melodies of the San Koten Honkyoku are "composed" i n
Although
162
"d" i s the fundamental tone ( cho") of the mode, d* i s the
M
(a^, b*j) which comprise the r e s t of the Honkyoku tonal mater i a l , "gravitate" according to t h e i r respective p r o c l i v i t i e s .
Tonal p r o c l i v i t y functions on three d i f f e r e n t l e v e l s .
At the most immediate l e v e l , senritsukei, each tone has a proc l i v i t y to another s p e c i f i c tone^
because
supplemented
Because o f
163
r e p e t i t i o n s t h a t appear almost i n an a l e a t o r i c manner, r a t h e r
than as p o i n t s o f m a c r o - s t r u c t u r a l
reference.
CONCLUSION
The Kinko-ryu i s a f r a t e r n i t y of musicians who
share a
165
T r a d i t i o n a l Honkyoku melodic theory i s divided i n t o two
b a s i c areas.
information.
ap-
In t h i s way,
the h i s t o r i c a l
representative
to Zen Buddhism.
antithetical
(Meyer, 1967:167).
However,
to
166
e f f e c t oneness, a c e n t r a l concern o f the phenomenologists
(e.g., Pike, 1970) and e x i s t e n t i a l i s t s i n the West, and the
meditative philosophies i n the East.
The quasi-improvisatory s t y l e o f Honkyoku performance
p r a c t i c e s coalesce with another key Zen Buddhist c o n c e p t
"mu-shin no shin" (the mind o f no-mind).
Ornamentation, am-
p l i t u d e , timbre, and rhythmic i d i o s y n c r a c i e s which are o b l i gatory i n lessons become o p t i o n a l and v a r i a b l e i n performances a f t e r the student has acquired t h i s Zen Buddhist perspect i v e with the guidance of a Sensei.
It i s
c l a t t e r o f a broken t i l e "
NOTES
CHAPTER 1
1.
2.
(1969:459-
I t i s i n t e r e s t i n g to compare the
This f a s c i n a t i o n
i n the powers o f the crane even extends to the use o f the word
" t i b i a e " i n Renaissance music (see Arbeau, 1967:39).
This word
r e f e r s to the shin bone and legs o f the crane, and small, v e r t i c a l f l u t e s (as i n "pipe and tabors"). " T i b i a " i s the L a t i n
II
II
equivalent f o r Aulos.
4.
shimomu).
168
s c r i b e ' s e r r o r becoming s a c r o s a n c t t r a d i t i o n ?
5.
(kuan
).
r t
i s comprised o f
and " v e r t i c a l
flute-
techni-
o f p i p e s i n pan-pipes (sho)
(sho).
7.
Garfias
g ,
2
d ).
3
(1975:143) w r i t e s t h a t " B a n s h i k i - c h o i s p e r -
l i f e brought f o r t h i n the S p r i n g i s
senti-
Compositions i n t h i s c h o s h i a r e s e l e c t e d f o r performance
L a t e r he says t h a t "much o f
hichiriki
embellishment."
"One
o f the o l d e s t d a t a b l e m o t i f s i n A s i a n
mythology
169
i s that o f the l i s t e n i n g deer.
"A T i b e t a n monk s a i d he b e l i e v e d T i b e t a n h u n t e r s
than
M u s i c a l deer hunting
In e v e r y case
(reported i n
(Ellingson-Waugh,
1974:23-24).
9.
differ-
A s u p e r f i c i a l examination o f t h e Meian-ha v e r s i o n
readi-
l y uncovers t h e f a c t t h a t i t i s m e l o d i c a l l y s i m i l a r t o t h e
K i n k o - r y u Banshiki-ch5 Honkyoku, b u t i n a s i m p l i f i e d
10.
the names s t i l l
and
form.
u t i l i z e d by the Meian-ha, a r e K y o r e i , K o k u - j i
Mukai-ji.
11.
Japan i s n o t t h e o n l y A s i a n c o u n t r y t o have f u n c -
(Liang, 1975).
Significant
Indonesian
independent
( N e t t l , 1972; Z o n i s , 1973), t h e
(Touma, 1971),
and t h e Chinese
170
the Japanese and Chinese Preludes and the other Asian Preludes
i s that the former have a s k e l e t a l notation.
12.
"Chikudo"
However, "Take"
A most i n t e r e s t i n g
t r a n s l i t e r a t i o n of "Shikan" i s "themeless"
( i . e . , non-struc-
i n h i s o u t l i n e of koto performance
practices.
I t should be
noted that some o f the techniques required f o r performing J3onkyoku, p a r t i c u l a r l y the movement of the head during "merik a r i " tonal i n f l e c t i o n s , m i l i t a t e against a p e r f e c t l y
q u i l " composure.
"tran-
these techniques f o r
de-
CHAPTER 2
1.
On e i t h e r side
172
the color of the "chung" when i t was newly cast (Kuttner, 1965:
24).
3.
The e a r l i e s t Yo
1950:
the v e r t i c a l reed f l u t e
(Farmer,
both of
173
which are dependent on Alexander the Great's eastern conquests
i n the 4th century B.C.
then accompanied
(2nd m i l l e n -
nium B.C.) .
Another perspective o f the Chinese character f o r Yo suggests a d i f f e r e n t d e f i n i t i o n .
can be interpreted as "three mouths" ( ooo) i n one ( coo), blowing over three pipes (
However, Morohashi
/Vs
*), i.e.,
174
i n t h e i r other hand, the Wen Wu dancers c a r r i e d a pheasant
feather, T i (see Schafer,
5.
1963:111).
1965:9-11).
However,
the Wen Wu dance and symbolic Yo disappeared from the A-ak r e p e r t o i r e some time a f t e r the 8th century (Chang, 1969:291,318).
6.
information that surrounds the Greek "Aulos", supposedly imported i n t o Greece i n the 1st millennium B.C.,
that saw the movement o f the Yo from the Middle East i n t o China.
Although the f i n a l consensus was that the Aulos was a doublereed wind instrument, I wonder i f the o r i g i n a l , "mistaken" d e f i n i t i o n of Aulos as "fJLutes" might be re-investigated i n the
l i g h t of the Kuan r e - d e f i n i t i o n .
7.
175
of the mouthpiece.
pa i s cut outward.
The former i s cut inward while the Ch'ihI t has been my experience that the d i r e c -
there-
from
Some o f the
lengths o f Huang-chung equivalents suggested by authors mentioned i n t h i s paper are "1.8" (Liu Hsu),
"2.4"
(Ying Shao).
10.
Sato Harebi
companied dance-pantomimes, was imported by Mimashi (c. 7th century) from the ancient Chinese province o f "Wu"
"Go"
i n Japanese).
176
the
133) translates the passage as "A large h i c h i r i k i and a sakuhachi (sic) (two kinds of f l u t e ) . . . " .
14.
shakuhachi." (my t r a n s l a t i o n ) .
m. <)
hanazakari
<
fuku-tomo dare ka
4h-
itofu-beki
kaze n i wa aranu
komo no shakuhachi
15.
* < t
S
is
iff-
St
Is
initiative
177
was one of the daimyo concerned, n e c e s s i t a t i n g the question,
"Did the Tenpuku o r i g i n a t e i n China?".
the h i t o y o g i r i are:
1. Doshokyoku (1657), anon.;
2. Shichiku Taizen: Ikanobori (1687), anon, (see K i s h i be, 1960:160);
3. Shichiku Shoshinshu
18.
(1965:
peror Takakura
Em-
178
heard from again.
20.
Weisgarber
21.
a shakuhachi i n The Music and Musical Instruments o f Japan (Piggot, 1893:43) i s very curious.
22.
( e s p e c i a l l y the meri-kari
I have y e t to be
Mr. Weisgarber,
(Nishi-
CHAPTER 3
1.
pretentious homilies depicted by Malm (1959:170-77) t o the sublime and yet pragmatic "mondo" related by Suzuki (1959:13-15).
They a l l stem from the p r o t o t y p i c a l r e l a t i o n s h i p o f the Zen
Master to h i s d i s c i p l e s i n which h i s "medium i s the message".
2.
shaku(ri) ; ]f|
tsu(ki)
Jjj.
yu(ri)
$J
mura-iki
ka(ri)
IJjjT
su(ri)
fg
ko(mu) ]7l
')
ko(mi) Z2L 3I
Also, k a n j i equivalents e x i s t f o r the two abstract symbols :
Na(i)yashi
3.
Odoriji
CHAPTER 4
1.
studies,
r i t s u k e i as:
"melodic germs" (Malm, 1959:162);
"melodic patterns" (Malm, 1963:64);
"melodic c e l l s "
(Weisgarber,
"stereotyped i n t e r v a l u n i t s "
"stereotyped motives"
1968:319);
(Kishibe, 1969:53);
(Harich-Schneider, 1973:333);
"Bombai", 1930:106).
3.
In the following
181
s c h o l a r s t o t r a n s l a t e t h e Western music term, " s c a l e "
Jiten,
(Ongaku
1965-66:1,369).
The f o u r b a s i c s c a l e s o f Japanese music, R i t s u ,
Ryo, In
("circular
1965-66:111,1626).
Kitahara,
lies
permuted
(e.g.,
"Bombai", 1930:103-104).
The modal " s o l f e g g i o " t h a t i s used t o i d e n t i f y note p o s i t i o n s i n any g i v e n mode i s adopted from Chinese nomenclature.
I t c o n s i s t s o f two v a r i a n t systems which a r e adapted t o i n d i v i d u a l s c a l e systems.
syllables:
Degree No.:
Degree Name:
Kyu
2
Sho
Kaku
hen-Chi
Chi U
7
hen-Kyu
Degree Name:
Kyu
Sho
ei-Sho
Kaku
Chi U ei-U
("pien"); b u t t h e i r f u n c t i o n seems t o d i f f e r
and o t h e r A s i a n
Current
(1969:677),
182
who defined pien notes as secondary notes (see Yasser, 1932),
to Tran Van Khe (1967:225), who
were exchange tones ("metaboles") which signaled a modal modul a t i o n he c a l l e d metabolation (also see Reese,
1940:160-61).
. .
.__
183
author o f the e n t r y
not
for "choshi"
i n Ongaku J i t e n
s u p p l y the customary E n g l i s h
(111,1876) d i d
t r a n s l a t i o n because o f
obtuse u n d e r s t a n d i n g o f t h i s term.
Harich-Schneider
as "mode".
t o the
f a c t s are
Adriaansz
(some by
inference)
and
glossa-
(1968:325),
(1973:631) i n c o r r e c t l y t r a n s l a t e d
Translations
the
which a r e
"choshi"
closer
Masumoto
("tonality";
1969:325).
The
of "choshi"
are
"tonal transpositions"
c l e a r l y evident
following chart
transpositions)
senpo and
i n the
(brackets
non).
Ritsu
Choshi
oshiki-cho
hyo j o
banshiki-cho
taishiki-cho
te*
() f
T-t1 1
of
Ryo-
indicate
hen-
184
Ryo Choshi
sojo
i
ichikotsu-cho
fnt
/-
'
fJt.
- () , rr r
f
suicho
-f1
taishiki-cho
,.
TJ
1973:128-129).
Each o f these scales i s i d e n t i f i e d by the name o f i t s fundamental tone ("cho" or "jo") which, i n Western music, i s c a l l e d
the t o n i c .
the "re" mode of G Major Mode (see Apel, 1969:753 under "Scale,
III") but rather the Kyu mode ( i . e . , "do" mode) o f A Ritsu Mode
( i . e . , oshiki-cho,
Ritsu-senpo).
185
i . e . , tonic = D), whereas the l a t t e r ( l i t e r a l l y t r a n s l a t e d as
"key off-spring") r e f e r s to the e n t i r e musical e n t i t y , whether
i t be a scale or a composition.
It i s i n t e r e s t i n g to note the t r a n s l i t e r a t i o n o f the k a n j i
for the Zokugaku (Edo Period popular music) choshi nomenclature
h i n t s at extra-musical
associations.
Hira
common, standard
Akebono
dawn
Nakazora
mid-day
Kumoi
The common
choshi.are:
extra-musical
choshi.
f o r "melody".
("music theory").
genous to urban Japan at about the same time ( i . e . , 16th century, see Adriaansz, 1965:9,33).
In scale, u n l i k e
186
Gagaku scale, Ritsu-senpo.
/
[t
\ 1J
6.
f=^r
C7
S> <s
(i.e.,
187
correctly,
I t might prove e n l i g h t e n i n g t o
1932:50; P e r i ,
Picken, 1957:146; Malm, 1963:84; Tran Van Khe, 1967:43; Weisgarber, 1968:331.
8.
I n Nohgaku, t h e t h r e e
( A k i r a Tamba, 1968:
217).
By comparing t h e m e l o d i c t h e o r i e s o f t h e above
w i t h Honkyoku, a more d i r e c t l i n k may be uncovered
genres
between
them.
9.
Both i n c l u d e
188
'
11
(l
v(..J
10.
Jin
* y
(i.e.,
K\)
the
the
The AS never r e -
e x i s t i n Honkyoku.
Like
Second,
189
posed because they have an "unchanging melodic structure"
(Malm, 1959:182), i . e . , they do not modulate.
In the Honkyoku
Neither of these
APPENDIX A
SAN KOTEN HONKYOKU TRANSCRIPTIONS
The decision to transcribe these compositions i n the
following manner was a r r i v e d at through consideration of the
nature of the music.
Individual performances
are subject to
countless variables tempered by the Zen Buddhist sense of immediacy which dpes not judge one performance
ther.
Melodic ornamentation
Melodic i n f l e c t i o n s have
'
'
190
(Note that
191
the unusual
key
s i g n a t u r e i s comprised i n a c o n f i g u r a t i o n t h a t
a v o i d s the s u g g e s t i o n o f E
The
short, v e r t i c a l
L
v
Major.)
lines
placed at regular i n t e r v a l s
a progression of
30 b e a t s p e r minute.
Tonal
i n the top l i n e
The
numbers
found
f e r e n c e purposes; the v e r t i c a l
major b r e a t h marks.
Trills
are marked w i t h a
"+**.
are
Mukaiji Reibo
192
194
195
197
SIC
&A
n-
u
; JJ__
it
15:
SIC"
JJ
iJ
fin
to.
\
so
ID
41^
198
199
0-
TP
IB .
0
0*
4L
V-5
0
ar>'.
t
II1
201
202
Koku Reibo
203
204
205
207
208
209
210
211
Shin Kyorei
217
218
219
220
221
222
APPENDIX
The f o l l o w i n g s e n r i t s u k e i
grouped a c c o r d i n g t o t h e i r
first
a t t h e t o p o f each s e n r i t s u k e i i n d i c a t e s
rence.
The number
frequency o f o c c u r -
forms.
i n order t o i l l u s t r a t e
F o r example, a TSU-RE
senritsukei
F o r t h e sake o f conve-
223
224
225
CHI
+
<
<
tr.
m e r i CHI
f
i
i
f
f
f
f
f
f
1
*1 4 p ^ ^ > ?
f
#
t Y +f
7/ j 2
>> V
? 7
226
RE
5> '*?
i- ?
f
RI
')
?
9
?*
<)
V
^ "
T
?i
?
id.
227
HI
d d d d d
f1 f t t0 ^f
V
15
?<*!
&*
-3.
'i
t
*>
f
f
d ,tl d d
?
?Bfi
8i)
d tp* t>"
#7
< * i\
> d
i f '
It
c?i t5fl d
m e r i HI
t_ d
V
*r
i ^4 i ^
*
"
>
228
HA
Ai
/.ft
/a\
8/ \
8/ \
/ V
Dai-KAN HA
22.
3x ?
3L.
'
KORO
APPENDIX
FINGERING CHART
The holes i n the shakuhachi are numbered one to f i v e
from bottom to top.
D i a c r i t i c a l numbers (suji) u s u a l l y i n -
klofc to 5ctk
230
bo
kari
fro
ft
ft
ft
ft ft ft
ft
_
ft
0
0
0_
ft
ft
meri
(chu-meri)
ft
_
" e
ft
(9)
'jo
)
ft
0
0
0
ft
ft
ft
ft
b^L
ft
dai-meri
0
ft
ft
ft
0
0
0
ft
ft
0
ft
ft
0
0
0
0
ft
ft
e
0
0
9
9
e
0
0
9
0
e
0
0
9
9
0
9
231
Kari F i n g e r
also
Articulations
8va
&
3:
t_o-t
Meri Finger
also
1/
0-
0
9
-o-
o
ti
0-f
&
fc
0-0-i
C-O-t
9-0-t
0
o
--0
o
0
o
t-0-
9-0-0
c-o-o
o-o-o
0--0
0
0
0
o-f-0
Articulations
8va
, 4
(fcT
"trr
<
1
<
pJ
-r-f3
t-0-9
t>
bo
ft
ft-0-ft
0
0
0
fl
p* y
u
_0-i
4,
J.L
fl
\iinir
-0-i
0
0
0
0
0
0
/ \5
232
Special Fingering Sequences
A?
9-
5*=
JSZ
0 -
0
9
0
0
0
0
0
_9_
0
e
o
0-9-0
0-0-9
(repeated
J
Notated Finger A r t i c u l a t i o n s
>.
fcl *
-
kavt
0
_9_
0
9
-p
1_
fl
4 - 4 1
9
9'
9
9
+0-9-0
0
0
0
0
9
0
>-0-<
0
9
* e-9-e
0
9
9
Vvxtrt
US 9-9-9
-^
*3
APPENDIX D
CHARACTER INDEX
1.
Names
Throughout t h i s l i s t ,
a l l p r o f e s s i o n a l names
("Natori")
surname, p e r s o n a l name).
name,
F o r example,
Hisa-
Ennin
Chang Hsiung
(Jikaku Daishi)
I C
gfP
F u j i w a r a no T o k i h a r a
Chang Po
. <e
3 X
,8|
Chang Ts'an
Fuyo, Hisamatsu Masagoro
5f
Chikan Z e n j i
Godaigo
m n- m
Ch'iu
chung
ff
JX
Gokomatsu
^
'h *&
Gor5 Yamaguchi
Dogen
ii
id
TE
'<kft%
Goshirakawa
Eisai
En no Gyoja
Lb
^ a /J
Gosukoin
(Shokaku)
it
'h ft
233
234
Kakua
Goyozei
&
B /&
Hakuin
Kakushin
Hideyoshi,
Toyotomi
Kawase
Hitofu,
Kojima
Toyoaki
.JE & s
m m w m m
m
m
W *
w *
*Kodo I I , A r a k i
Hui-neng
*
I k k a n , M i y a g i , uemon
fe ^ ; ;&
Ikeda
ftf PI
Sensuke
BB <0J grj
Itcho, Yoshida
m
$0
fi
Judo,
ft
j *
Kodo I I I , A r a k i
*
Kodo,
IfL *
ft:
&
yfi
Kozo
BB m
Yamada B e n z o
Lij S
Notomi
Jf =
Koma n o
TS: B
T 1%
Kujo
Michitaka
& m. #
Shinnosue
M 2. Bb
Chikazane
Soetsu
)k m
Asakuzu
Kondo
Otojiro
Hanzaburo
fe i M
>x m
m s. m
Ikeda
Masajiro
Katsugoro
fe m M
Jodo,
Koma n o
Ingyo
it,
yR
m B3
m.
Ikki,
yR
Kodo I , Toyoda
Huang-ti
m -m n
K i n k o IV, Kurosawa
(Kyotaku)
yR
I I I , Kurosawa
Kinko
m m n m
Hsilto
K u r o s a w a Koemon
w *
Zenji
Kohachi
^ A
yR
Kinko II,
H o t t o Ernmyo K o k u s h i
Hotto
r o s amw a
Im
, K u im
K)\\
inko
W
BB
Junsuke
235
Kyoan,
m.
Fukumoto K a n s a i
*i *
Kyochiku
N o b u n a g a , Oda
Notomi
Zenji
Kyodo, Uehara
i g
m.
no
Rokushiro
A
Haruhiko
&
5ga no
x
Koresue
it m
Oga
no
Lin-chi
&
Motomasa
m
Omori Sokun
Ling
Lun
Oto no
Liu
Hsu
fi|
Pan
Lvi t s ' a i
Kiyogami
>#
Ku
m
Ma-tsu
-I
Tao-i
it
Pao
Mimashi
P'u-hua
3t
-ft
Minamoto no
Daiken
Hakuga
Muju
SS
Murasaki
' W
Shinno
Sei jo
>#
Shikibu
Shimadzu T a d a h i s a
Nakamura
^
Seiwa
Ichien
(a
^ i* a i
>#
Roan
Sadayasu
Minamoto no S h i t a g a u
;
Roan /
Minamoto no
Fu
Sosan
^
E.
Shimadzu
) ^
u&
Tadayoshi
^S:
236
Ying
Shinji
Shuji
Yoritake
(Chii H s i )
If
ffi M
S u g a w a r a no M i c h i z a n e
JI 1
Sui
-ti"
Ryoen
HI
Ssu-rna C h i e h
H]
Shao
6/7
s s
Wen-ti
Pf
*Kodo I I was a l s o
as "Chikuo".
T'ai-tsung
Takakura
Tengai
Myoan
?h
Tokugawa l e y a s u
12 Jl| ^
Tosa
Mitsunobu
ft
Tozan,
m
it
LJJ
ft
Nakao
^
Jm
Rinzo
51*
Tu Y u
tt
Tuan
An-chieh
i 3?
Wu-men H u i - k ' a i
M: H
is
Yamamoto M o r i h i d e
i_U
ft
known
237
2.
M u s i c T i t l e s , Terms a n d P l a c e Names
A number o f J a p a n e s e w o r d s i n t h i s
their
list
do n o t match
seperating syllables
( e . g . , Komuso, K o m u - s o ) .
The d a s h e s
of cer-
( e . g . , Komu-so, Komo-so,
meaning.
bakufu
Aichi
aikido
Banshiki
Akebono
B a n s h i k i no S h i r a b e
Akebono
Shirabe
be
Akebono
Sugagaki
biwa
^i s
BB
Akita
*X
e.
Biwagaku
Akita
fX
-fc
Sugagaki
BB
bombai
A s h i no S h i r a b e
Bon-odori
ashibue
boroboro
S: 510
Azuma A s o b i
Sc
bu
(Cho)
238
"hue ( f u e )
m
Chikuo-ryu
1T
Chikuzen-biwa
bugaku
C h i u T'ang Shu
Bushido
ft it
cho
Bushu
a 'Ji'l
Chochiku-fu
byo
ft
chokan
byoshi
(hyoshi)
ft
1=
chonin
Cha no Yu
BT
choshi
Chado
^y-
^ i i
ch i
Cho-teki
ft
SI
chu
Chi
ch'ih
(flute)
Chu
ch'ih
(foot)
Chuden
ch'ih-pa
R
ch' i n
bushi
chukuan
C h ' i e n Han S h u
chung
it
239
Daibutsu Kaigon-e
x
\k
25
daigijo
*
XL
(jf
inB
ti
Da j o k a n p u
&
ei-sho
ft
daimyo
ei-u
D a i Togaku
^
(Tokyo)
ex-on
m.
Edo
Chugaku
*
embai
Dan
feng
Danawase
Feng-su-t'ung
it
dangaeshi
S
"Fu-Ho-U
Darikyu
.
Fue-ondo
'A
danmono
' l
Fuke
*&>
Dazaifu
*
Do
3?
Fuke-an
m
( c h . Tao)
it
dosho
Doshokyoku
M H ffl
It
Fuke-shu
^
Dokuso
n
SOL
it
Fuku-awase
Fukuoka
Funi
M)
240
G i n r y u Koku
Gagaku
m
Dt
Gagaku-ryo
giri
Gaikyoku
Go
Gaiten
Gyoso no
Honkyoku
Ha
gaki
& (1)
(f
I)
Te
(association)
)Jf<
Ha
( a s i n J o Ha
Gakkaroku
^
* ffl
(Reibo)
Kyu)
hachi
Gakunin
H a c h i k a e s h i no S h i r a b e
Gakusei
Hakata
Gakuso
Ge
Haniwa
T
Genji
:
M o n o g a t ^ r i "Suetsuma Hana"
&
wi
TE
Hannya H a r a m i t t a
t s s i
hasamiguchi
Gi
hayashi
Gigaku
haya-uta
Gigaku
Bosatsu
Ginryu
Q$
Ri
^ IK
Heike-biwa
\T7
-r
5=>
53=
Et
S=E
241
Heike*\-monogatari
W.
Wo
hen-chi
m M
Hon
II
^
Honji-Suijaku
4t
hen-kyu
fe g
&
Honjoshi
*
"a"
PI
hennon
Honkyoku
Heng-ti
Honshu
It
Hi
'
F u M i , H a c h i k a e s h i no S h i r a b e
Hi
'
i }S O
Fu M i Kyoku
E. a
'j'H
Honte
Horyu-ji
s i
hichiriki
hsiao
hijiri
Hu-kuo-ssu
Hikyoku
Huang
Hira-joshi
huang-chung
*F . m
Hitoyogiri
Huang-ti
m w
m &
Ho S h o S u
hyojo
mw
Hogaku
hyoshi
Hoko
Ichigetsu-ji
242
Izu
ichikotsu
3.
13
ichi-shaku, hachi-sun
( i s s h a k u -h a s s un)
Izu
Reibo
S
#t
3S '
^
Jaku
Igusa
Igusa
Reibo
1' f
ji
(flute)
ji
(temple)
Ikkwan
- m
J i n r i n Kimmo Z u i
Ikkan-ryu
su
Ji-uta
In
WK
ife
Jo
(prelude)
Jo
(Noh
Inaka-bushi
B3
Inga-Ichinyo
s
i r e k o no
A-
ta
Jo-buki
ff
te
^
terra)
qfc
Jo-choshi
Ise
ff
Jo-hiku
Isshaku-sansun
E.
ff
3$
judo
ishibue
it
Juso
Ittchoshi
s
Kabuki
Iwato
m
1*
Kayokyoku
az
fi]
Keicho Okitegaki
:* *
Kemraotsucho
it*
*&>
ken
Kendo
m.
m.
Kensho
Ji,
14
Kiai
Kinko-ryu
^
55SE
Kinpu-ryu
*s
Kinsan Kyorei
is
IS
Kinsen
Kinuta Sugomori
k i - o toru
ko
koan
244
Koro
Kodan
Sugagaki
i
Kogaku
koten
"koi
ft
teki
chokkan"
a
&
Kotobuki
Kojidan
.
koto
5*
WL
gl=l
K o t o j i no
Kojiki
<>
tt
Shirabe
P
ko-tsuzumi
Kokoku-ji
. PI
Shirabe
Koku-ji
ku
(anguish)
ku
(no-thingness)
^ ./ft
Koku
Reibo
kuan
Kokuzo-do
M
kuchi-shamisen
kokyu
.
'
Koma-bue
r=j
B5
kuden
&
komoso
Kumoi
<1
m'
kun-yomi
komuso
3
'=
aJi| ETD
Ii
kondo
Kure
,Q
"ko-ro,
D
ko-ro"
n
Kuretake
^
ft
245
Lu
Kuroda
M ffl
Lu Kuan
ft :
Kyokunsho
m.
Liing-ti
&
kyokusetsu
madaradake
mm
Kyoreizan
SS.
Meian-ji
8
LL1
S.
is n
Mae-biki
3f
Bf
"Kyotaku Denki"
^
?l t
Kokujikai
Mappo
=?= a?
Kyoto
Meguro S h i s h i
Kyo(to) Reibo
^
* 3BP
Meian-ha
'
Bf
Meian-ji
Bf
IT
Meian Kyokai
Kyu
(as i n Jo Ha Kyu)
a,
3
t&
Mikanko
Kyuko-an
>i
Miyako-bushi
Kyushu
Kyushu Reibo
A.
mondo
'J'H St IS
ST5
K,
m.
m.
5*
(also
X I*)
246
Natori
Mu-i.
IX
Mujin
Engi
3ft
Nedake
i s -,IT
Netori
Mu j o
3ft
Nezasa-ha
Mukai-j i
.E >Jf<
Mukaiji
Reibo
Nihombashi
B
mu-shin
3ft
-fr
no
co
shin
Nishaku-sansun
>t>
ffi H
jg
'A
Nagai Shirabe
Noh
Nagasaki
Nohgaku
Nagauta
Nohkwan
Nakazora
O-daiko
*
Namima R e i b o
>J
i t
Nan-Kuan
.
TT"
Nishimi-ryu
Musashi
ft
is
odake
m rr
Oden
Nanchiku-fu
o-hichiriki
A-A-
Nara
oko
a
mu
*
3m
247
Rei
Ome
it
Reibo
Omote
it
Reibo
Onin
it
IS 3
it
Ft
.yi
On-yomi
Reitatsu
Osaka
Rembo
US
Oshiki
St
R e n r i t s u no
fit
Jg$
Oshiki-giri
ft
Hi
tD
# s^
7^
ritsu
Oshokun
as
(7)
Rinyu-gaku
,oteki
525
Rinzai-shu
O-shirabe
ritsukan
P'ai Hsiao
ritsusho
n m
pien
"Ro-Tsu-Re"
f\ y
Pi-li
ronin
>. A
P' u-hua-tsung
^
Reiho-ji
onkai
W
Nagashi
it
roshi
Mai
^
248
Sandai J i t s u r o k u
Ryo
. S
ft H
^
san-fen sun-i f a
ryu
/VIL
t>
Sankyoku
ryuteki
EL 1L
Sanya Sugagaki
Saemon
ffi n
Sarugaku
Sagariha no Kyoku
Saidai-ji
<75
&
Shizaicho
ffi 77
satori
'IS.
I a
Satsuma
Saiho-ji
#
Sakae S h i s h i
* P ^
Sakkyoku
ft
"sakuhachi no t e k i "
ft
Sanmi I t t a i
Sabi
* ffl
Ryumeisho
ti
1 ^ i t
= * A
si
&
Ryukyu
m
?i
Sanqo Yoroku
ryugin
I
Sayama Sugagaki
.. ft llj
Se
H
Seiso
< ,. Ii *> oo
samurai
S ekkyo-bu sh i
249
Shika no Tone
Sendai
<n i i %
m.
Shikan-taza
SenpS
R mn &
Shimabara
Senritsukei
&m
m wm
Shimadzu
Senritsupo
S3
shimomu
T 3&
sensei
ft ' '
Shimotsuke Kyorei
shakuhachi
R
Shakuhachi-shi
R
If
shin
Shin K y o r e i
sharnisen
M m.
E. tin t&
Shin no Te
Shaseki-shu
>'> ^ M
Sheng
CO
Shinkyoku
Iff ft
shinobue
Shibui
Shichiku Shoshinshu
& ft w >t> m
Shichiku Taizan: Ikanobori
* ft
Shih Chi
15.
Shih Ching
& mM
Shingon-shu
-s- -=Shinhoshi
>4
Shinto
it
Shinzei Kogaku Zu
m m * mm
250
Shirabe
fl)
shomyo
Shirabe-mono
m
*<
%t>
shonin
Shishi
m
L t
ii
Shosoin
IE
Shizen no Ne
Shusa-ryu
Shizu no Kyoku
m
ft
/JiL
Shushigaku
Shizuoka
So
so jo
sho (pan-pipe)
Sokaku Reibo
I
Sornakusha
m
it
shofu
Shogun
shoka
shokunin
>x
Soto-shu
shodo
So-shidai
Shoden
I fi
It
IF
5^
Suga
Sugagaki
Suichikumei
f!r
^ *
251
Tanteki
suicho
7K
1S tat
tatebue
suji'
1:
Suijaku
tegoto
T a i H e i Raku
x
Hidenfu
. n
teki
m
Tendai-shu
Taigensho
taiko
Tengai
taishiki
Tennin
7T\
take
Tenpuku
Takedo
1t
Thung
it
T a k i o c h i no Kyoku
>^
j&
ffle
Ti
(feather)
taku
Ti
takuhatsu
Todai-ji
ft
ft u
C A #
Tofuku-ji
Tanden
ft
(flute)
B3
He *I
Togaku
tankan
Togakushi
Tan-teki
5$;
gp
252
Uchidome
Tohoku
JSC
nm
it
it
Tokaido
Uchihajime
Tozan-ryu
UJ
Uchikae K y o r e i
fr ^
Ts'ao-tung
Ueda
T s u k i no Kyoku
J35
Uji
<r> ffi
Tsukushi
Ukiyo
Tsukushi-goto
Ura
xa
ts'un
Uta-awase
Tsurezuregusa
utaguchi
T s u r u no Sugomori
ti
Tung
m
<7>
IX
Hsiao
Wa Myo R u i j u S h o
IP
Wagon
T unq Tien
waka
Wakayama
Ubasoku-zenj i
Wei Yo
Uchi-awase
Wen
Wu
253
Wu
(province)
Yokobue
Wu
(shaman)
Yoshino-Shui
it
^- ' i f
Wu-men K u a n
(Mumonkan)
n m
3ft
Yoshiya
f
Ya Yiieh
Yu
Yachiyo Sugomori
Yueh
ft
Reibo
^
Yueh-fu
Yaku
H~t t "j
Tsa-lii
Yamabushi
ill
Yiieh
Yamashina Kyogen
LU'
Shu
kyorikki
a
is,
Yugen
Yamato
Y u g u r e no K y o k u
X %Q
Yamato K o s a k u E i s h o
*o
x.
Yamoto-bue
A
JZ ffl
Yuimagyo
Zazen
*Q si-
Yang
Zen
Ft
Yig
Zendan
fiti is
Yo
(flute)
'agio'
Yo
(scale)
Zendo
I i t
Zenkoku D a i k a i
3X
Zokugaku
Zokugaku Senritsu Ko
m
w'
Zoku-Kyokunsho
^
Zokuso
i SH t>
255
3.
Japanese H i s t o r i c a l
Periods
Yamato
(300-710)
Asuka
(552-646)
Hakuho
Nara
(646-710)
(710-794)
E a r l y Heian / Konin
&
ft!
(794-897)
5L. iZ
L a t e r Heian / F u j i w a r a
Kamakura
(897-1185)
m)
(1185-1333)
m a
Muromachi
Bummei
(1333-1573)
(1469-1486)
Momoyama (1573-1600)
UJ
Edo / Tokugawa
>r F
Genroku
ft
Meiji
m
(1600-1867)
(1688-1703)
ife
(1868-1912)
te
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