Escolar Documentos
Profissional Documentos
Cultura Documentos
by
in
We accept t h i s t h e s i s as conforming
to the required standard
October, 1977
© 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
Department o f Music
October, 1977
ABSTRACT
Buddhism.
malevolence to Buddhist s a i n t l i n e s s .
Koten Honkyoku", the present study has found that the theore-
ble. Their inherent pitches are derived from the Japanese "In"
l a t i n g t h e i r progress.
Buddhism.
TABLE OP CONTENTS
PREFACE .. vi
CHAPTER
1. The Kinko-ryu 1
2. A H i s t o r y o f the Shakuhachi 36
CONCLUSION 164
NOTES 167
APPENDICES
A. Transcriptions 190
B. Senritsukei 223
BIBLIOGRAPHY 256
v
PREFACE
vi
vii
T r a d i t i o n a l l y ascribed t o Bodhidharma
CHAPTER 1
THE KINKO-RYU
1
2
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
tory back to Miyagi Ikkan who studied with Kinko I (Sato, 1966:
rare.
one piece and the ridges o f the inner nodes are retained.
slightly.
7
more o f a challenge.
>
h_
Vi
^ yC=z .
a
can be played, but only f i v e notes i n both the low (RO) and
a normal p l a y i n g p o s i t i o n .
a ^-v o a
7 pj o
LJ ai
V; a <J
c ? f I i
RO KAN
The other pitches are sounded by lowering the head by degrees
7_
(?
f
\
<
Stab I / I I I I I I I I
1. Kumoi C h o s h i (Chokan)
2. Honte C h o s h i
3. Akebono C h o s h i (Tankan)
1:3 The K i n k o - r y u R e p e r t o i r e
p r o x i m a t e l y 200 m e l o d i c c o m p o s i t i o n s ("kyoku") w h i c h a r e c a t e -
( e x t r i n s i c m e l o d i e s ) , o r "Shinkyoku" (contemporary m e l o d i e s ) .
Kinsan Kyorei
Uchikae Kyorei
Shimotsuke Kyorei
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
Kyushu Reibo
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 . 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
4
f l u t e could invoke "the sound of a dragon".
Koro Sugagaki
Sanya Sugagaki
Sayama Sugagaki
i t s composition.
Banshiki-cho
kyoku i n the r e p e r t o i r e .
Shizu no Kyoku
Yugure no Kyoku
Sagariha no Kyoku
6. Shishi: Sakae S h i s h i
Meguro S h i s h i
virility), 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
7. 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
nix", 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
mori (a v a r i a t i o n of 'Sokaku R e i b o ) . J
Tsuru no Sugomori
kuso m a t e r i a l .
A k i t a Sugagaki Sakae S h i s h i
sansun.
t w i c e as l o n g ("Nagai").
2 Koku Reibo
4 T a k i o c h i no W * u 7 Kyushu Re i b o
J
5 A k i t a Sugagaki 8 S h i z u no Kyoku
S h i n no Te:
10 Kinsan Kyorei 15 Igusa Reibo
Hikyoku:
35 Shika no Tone
u n t i l recently.
the 4 Akebono and 4 Kumoi choshi (or the 4 Juso) but i t does
following:
Pedagogical L i s t Omote-Ura L i s t
262): "The dragon sound came from the sea. To hear h i s voice
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
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
Period (1600-1868), the Choshi genre had come o f age with the
"Honkyoku" which may have sprung from the same source as the
Nohkwan Choshi.
Barrett, 1958:35-36
1:4:1 Zendo
Hakuin.
c i p l i n e i n a l l s o c i e t i e s that p r a c t i c e meditation.
1:4:2 Takedo
Read, 1967:19
Suzuki, 1959:14-15
transgression—mimicry.
1. G i — t e c h n i q u e
a handbreadth below the navel where the home o f our true being
2. Shin—mind
13
k i , 1955:199).
explanation:
36
Dynasty China (1368-1644) o r the "Indonesian" i s l a n d s , or i t
2:1 Ch'ih-pa
music s o u r c e s .
38
Ch'ih-pa.
1962:173,186,199).
defined as "pneuraatos".
ch'i) was " i n tune" with the environmental c h ' i they would
chung Kuan date from the Ch'in and Han Dynasties (221 B.C.-
40
220 A.D.) but for some unknown reason, only the length was
feet ( c h ' i h ) 3
and i t s volume equals 1 "Yo" (Dubs, 1938-44:
to two i n t e r p r e t a t i o n s .
but i t also suggests that Kuan were panpipes. There are many
1962:139).
the Chou Dynasty Kuan and Hsiao were small and large v e r t i c a l
"Yo and Kuan" and "Kuan- and Hsiao"). Both Kuan types were
1965:Table 1 ) . 6
aerophones.
f l u t e aerophone).
meaning of v e r t i c a l f l u t e :
Huang-chung;
flute.
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
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
f i r s t envoy sent from Japan some time between 581 and 600
at a l l .
tified.
of Horyu-ji.
(The other three are playing ryuteki, "sho" fmouth organ], and
rare that one can only assume that i t d i d not survive the c u l -
t u r a l metamorphoses.
anecdote and the actual event, and the fact that t h i s anecdote
suspicion.
"oddities", 1 2
the "Yaku" ("a six-hole f l u t e " ) , "Cho-teki"
1968:v.l,p.289,595).
hand, the " r y u t e k i " (also " o t e k i " and "yokobue") transverse
55
men, mainly from the Minamoto clan who pursued the technique
c l a s captured t h e i r a t t e n t i o n .
ted with s i x holes (sounding the Chinese Ryo mode i n the man-
present.
patron s a i n t .
undisturbed.
evangelism.
not seem to have lasted beyond 1600 (the beginning of the Edo
14
and that i t was re-introduced from China some time i n the 15th
century.
Edo Period (1600-1828) but the preceding 150 years have not
62
earlier.
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
In c o n t r a d i s t i n c t i o n t o t h e t h e o r y o f i m p o r t a t i o n i s an
(ibid.).
not.
classes.
66
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
century).
T a d a h i s a e s t a b l i s h e d the c l a n i n the s o u t h e r n p r o v i n c e o f S a t -
strument to e s t a b l i s h i t s e l f .
character. 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
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
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
(ibid.).
s o r s o f t h e Komo-so, t h e "Komu-so".
i n n a t i o n a l w a r f a r e which g e n e r a t e d a d i f f i c u l t s i t u a t i o n i n
komoso*.
Sasaki, 1966:199-203).
17
786).
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 -
72
o r i g i n s to t h i s source.
became the head temple of the Komuso with the statue of Kyo-
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
into t r i o s .
ration.
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;
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 hostels.
idealistic 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 Do
bamboo f l u t e (see 4 : 3 ) .
one's sensei and peers which became the foundation of the Ryu,
internecine despite t h e i r s e l f l e s s i d e a l s .
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 .
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
Schneider, 1973:591).
many.
l i n e a g e s which i s almost i m p o s s i b l e to s a t i s f a c t o r i l y o u t l i n e .
m o c r a t i z a t i o n o f t h e t r a d i t i o n and the f a s c i n a t i n g c r o s s -
esoteric.
3:1 Rudiments
83
84
learning Gaikyoku.
1. s y l l a b l e s which denote p i t c h ;
diacritical.
^ RA <) Rl 1W- RU RE Q RO
/ >^HA C HI ^? U 3 KO
4" CHI P
H
TSU
86
TSv U
In the context of a l l the Japanese music notation sys-
on h i s instrument.
mic apostrophes).
for r e c a l l i n g e s o t e r i c performance p r a c t i c e s , s p e c i a l f i n g e r -
Syllables;
higher p i t c h ;
(Note: 1) meri-komu
2) yuri-komu);
sion;
Daw;
89
Kanji;
(i.e., same as m e r i ) ;
g ro 1 2
— lower o c t a v e (c - d )j
ZJ otsu
— lower o c t a v e (c* - d ) ; 2
9 kan
— higher octave ( c - e^ ) ;
2 3
7^ d a i - k a n
— h i g h e s t notes (d - e^ );
3 3
Bff a k a r u i
2 3
— r a i s e the p i t c h o f c or c J
one h a l f tone
minna
(i.e.,#).
— perform c 2
" H A " b e f o r e " R O " w i t h one f u l l
|7 u ( t s u )
beat (byoshi)?
— ("press")Vmordent
z e n j i hayaku — sempre a c c e l e r a n d o
accelerando
ritardando)
90
and 2). These differences mainly stem from Sato Harebi's ab-
c
91
—— •- — — 1
—
r-
o —frr if-
_#s>
l"s
< -a-
<D o 7 *7
< o
J- f
—— i^. _ ^* -H- ^ — o
i o
<;
T S
s f c
HI ( i . e . , "opened" HI). If c 2
i s followed by a lower p i t c h
TS/SS
TS D E* 7
G A* C D
SS D F G A C D
next chapter (see 4:2). For now, i t can be stated that the TS
The notations i n the KAN octave are, for the most part,
TS / \ O /
^ ' x £ 7
/
SB
E9
93
\> a
9
TS
SS
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 pas-
1
sages. Although i t "sounds" g or g , i t s timbre i s markedly
1 2
d i f f e r e n t from the g or g p i t c h produced by f i n g e r i n g RE.
94
HI.
RU, RA, and RO, and the three symbols, k i r i , o d o r i j i , and naya-
Note that the f i n a l note always has the value of one 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 ,
SS TS Rhythm
1. h a l f - v a l u e :
2. quarter-value:
14-
1*
7
3. eighth-value:
98
Example 7. TS byoshi
l y the same i n both scores. White byoshi are equal t o one beat
SS as follows:
99
Example 8. SS byoshi
7 ^
been a mixed b l e s s i n g .
100
4:1:3 Articulation
rapidity.
KAN Octave
\ 2 3 «/ S* 4 7 ?•
101
RO O c t a v e
ft
• o
1 2 3 4 5" 6 7 S
K A N O c t a v e , p a t t e r n 1, i s i n b r a c k e t s b e c a u s e i t s e x e c u -
t i o n i s s o c e n t r a l t o H o n k y o k u t h a t i t i s t h e o n l y i n s t a n c e o f
a n o t a t e d a r t i c u l a t i o n , H A - R O ( s e e E x a m p l e 2).
P a t t e r n s 4 a n d 7 a r e v a r i a n t s o f 3 a n d 6 r e s p e c t i v e l y .
P a t t e r n 4 o c c u r s a t t h e e n d o f p h r a s e s , w h i l e P a t t e r n 3 u s u a l -
l y o c c u r s i n i s o l a t e d p a s s a g e s . P a t t e r n 7 i s u s e d t o a r t i c u -
l a t e t h e n o t a t i o n R l . P a t t e r n 8 i s o n l y a p p l i e d t o H I .
E x a m p l e 10. A r t i c u l a t i o n s f o r C h r o m a t i c N o t e s
i n B o t h O c t a v e s
a l s o 8 v a
4-
^
9 so 11 \2
A l l t h e u p p e r c h a n g i n g n o t e s i n t h e s e p a t t e r n s a r e
f l a t t e r i n p i t c h t h a n t h e i r n o r m a l , " f i n g e r e d " s o u n d , b e c a u s e
t h e s e p a t t e r n s a r e p l a y e d i n m e r i p o s i t i o n . T h e a c t u a l p i t c h
o f t h e u p p e r n o t e s i s c o n s i d e r e d i m m a t e r i a l .
102
9-
s t i t u t e notated a r t i c u l a t i o n .
also 8va — — — — — — — — — — — — — — — — — —
common context.
sion. The following examples (in Example 14) are the most
T? Iff i 9
*S
- *
b
0
-*»
+ *L * ~ *
-a - » 0
m
v b \> ID Iv
m
0 m
* ^- —
& pT
en ii UA.VA<XUV» C a e c a I.)
j ft j5f - f a r — &
^ A—
317,321,326).
1frttr T £ —
^ muraiki / kan, ka (kan octave, k a r i pitch)
curs.
~TfUortTrVc<».l Actual ^ .
d
hu
1 0 7
compiled i n 1973.
3:2:1 Melodic I n f l e c t i o n
p i t c h i n a portamento manner. 3
Hence, another term f o r t h i s
derived genres such as Noh and Biwa-gaku. One may even en-
taking part i n h i s a u r a l / o r a l i n s t r u c t i o n .
f i c a t i o n ; on t h e i r l e f t i s drawn t h e i r representative SS d i a -
3:2:1:1 Meri In f l e c t i o n s
| 1 -T 1 J T 1 1 1 1 ; r
0 / 0. 3 H 5 o I * 3 S
110
2:2).
Ill
r> —^ ..
4s — L — u 1 1
1
V
1
._<? o11
3:2:1:2 Suri Inflections
1 1 1 s 1 1 • 1 r- 1 1 »
0 l Z * H 5 ° i 2- 3 v s
3
i r
I rA\—s « « 1 •
O I 6 -7 ?
As i n the description of Meri i n f l e c t i o n s , Graphs 1 and
tween two s y l l a b l e s .
T j , , 1 1 — i ; : ~ :
O i Z. 3 ¥ S ' o « * 3 *f ?J
i T i 1 i r
O 1 2 3 ¥ 5
113
nique which has the following upper changing tone drawn out
3:2:1:4 Summary
Sevw-Vhsukei
Cohne-ctiVes Eh.oLtlriqs
Pttctas Doujiaujairci
u
c c a 3
<t <TT> -C 3
ohVi) u d
a' a 2
b d
4 d t
I 2 u c
i' y < u 6 d
d d.
A- d •'"
1 1 4
by Malm:
3:2:3 Tactus
Zen sect.
3:3 Conclusion
sation",
CHAPTER 4
4;1 Introduction
(see Chapter 3 ) .
117
11.8
2
"senritsukei" ("melodic patterns"), phrases, and sentences.
ches that are c a l l e d for i n the written music of the SKH. (The
placement:
D E ^ F G A^ A B C
the Kinko-ryu Gaikyoku and Shinkyoku which share the same nota-
tion. The note C* (as D^) also appears i n the "Kumoi Choshi"
120
"In", u s u a l l y i l l u s t r a t e d as:
D E^ (F) G A B 1
' (C) D
-<S3 a O ° ° O o ~~
D E^ (F) G A b
B k
(C; D
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 :
Kyu-senpo S T T T S T T
Sho-senpo T T T S T T S
Kaku-senpo T S T T S T T
Chi-senpo S T T S T T T
U-senpo T S T T T S T
these two notes are the only pitches which receive constant
D E F G A B C D
S T T S T T T
s_ o
-k. 9 — & -
0
»
hara, 1966:282).
when the shakuhachi plays with the Koto and Sharaisen (Adriaansz,
HA-RE i s a c t u a l l y RO-RE, D t o G.
hinted a t .
choshi (tunings):
Akebono A B^ C D E^ F G A
Hon D E^ F G A b
B^ C D
Kumoi G A* ' C D b
E^ F G
126
D cho.
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
shown to be a u x i l l i a r y to t h i s b a s i c configuration.
Example 6. Tetrachord A r t i c u l a t i o n
i — i 1
1
" I * » I„
of some 300 or so s e n r i t s u k e i .
in i t s s e r i e s .
Nos. 18-21) and the summary (3:2:1:4) shows that the meri and
3:1:2:1)).
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
i 1—i 1 1 '
G AT"
I 1—i 1 ' r
G &
9 i/7 ^ 9 -
9—kr
/ VP-?
4. 9- 9-
m 3:
132
s t i t u t e d which "sounds'* d 2
but with a s l i g h t l y d i f f e r e n t
fee
9-
/\-C7
The KORO figure i s almost as common as the meri TSU-RE
s o l u t i o n o f HA.
f
_ f
^—f
The deviant movement on the l e f t delays the r e s o l u t i o n
taming A .
<
IT
~1 1
i 1
G AH e O
j
8. 7*
rfc <2_
K-7 —>9
66).
1 3 4
9.
9-
9- ft
(5 by*
3-«5 f—"j?
9-
/\-0
This deviant melodic progression u s u a l l y follows another
lowing KORO r e s o l u t i o n :
135
/
4
f- nr \ s :
+ r
(<
7-
f S "V 0-
(/ r)
.-I
v.J 7i
of the "meri-skita-" i n f l e c t i o n .
vot tones".
137
or g 2
(e.g., Koku Reibo, 60,82,87).
(=M——Vif
/ • f L be*
L L$ *<* VA
L * to
l
l>
7 I i -TTI—\—i—i— i bJ i
* p —
1— 1
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., Mukaiji,
s i o n " and e x p e c t a t i o n .
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
Honkyoku.
i l l u s t r a t e d i n t h e i r basic form, b e r e f t of p i t c h r e p e t i t i o n s
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. Koku Reibo theme (see Koku Reibo, Appendix I, 1-21)
ID 16
B. ±
17 ID
I?
ses, a and b; the a*s are the same but B,b has one extra sen-
The two phrases i n C are codas, the second being more elaborate
theme i n general.
Koku Reibo.
141
S
V S C 7
+ „ I> +J I I f-
~ /*? — T /} JL— <Q
jn Of *
10 (2-
.0 *s9
13 w IS
-f-
T 0~
|6
-A-
a1
142
r e s o l u t i o n pattern.
Example 14. Shin Kyorei theme (see Shin Kyorei, Appendix I, 1-16)
3H
' A 1
h-_
1 S€
' I i
7 —
1 lo 12
0 +
14 IS
143
of a RI-U phrase.
p r a c t i c e i s extremely rare.
Z 3
JL -HL- 1 T£
3 *
1
In other words, sections I I and IV are interchangeable but the
both the TS and SS, part I I i s c a l l e d Zendan and part IV, Ko-
s i m i l a r i n melodic information.
following manner:
1
6
XL
ill XL
\TL ill
Mukaiji has no double l i n e s but i t does have numbered
ro
2. 3
TS.
The e s o t e r i c version i s :
and D) and two of which are "Fuku-awase" (B/E and C/F). The
147
-j6
6 0 0
ii. 53
/o6 IJ2
in
ft D
.1
The Zendan (II) and Kodan (IV) are not o n l y interchangeable
t o have t h e i r i n t e r n a l p a r t s i n t e r c h a n g e a b l e as w e l l .
Koku Reibo
AAA*
"T
6 71 1» ^itX (ol
(It H I
Mukaiji
• " T i
1? a« ?a Ho
—f
US
Mukaiji theme appears both times but the Koku Reibo t r i o does
1
A N
T t
ex.
b c T
double bar l i n 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
Honkyoku, i d e n t i f i e d by a c a p i t a l l e t t e r
150
and codas
Shin Kyorei
k
4 7-si
t
8
l5
iC i«|
1 5L 3
i = ,
a
1 9 «£||h ,*
0 A
1 .3.3.
17
If'l A *o
R
(JI
X7
t
LLK.
-3-
33. I 31
m
1 6 B
k ft) T df
44 13 f? [ H 1
BRIDGE
>
so
6
VI
k !K
CO
a 6 6?
\ I
W J ft) Td ! 1
k d a
E 6 7f 7!fj 77
152
L i n e 1.
unique i n t h e e n t i r e r e p e r t o i r e . In t h e f i n a l sentence,
Honkyoku w i t h c a d e n t i a l m a t e r i a l s i m i l a r t o m o t i f s from
L i n e 1.
Mukaiji
a c t s as a b r i d g e t o t h e next l i n e . T h i s e n t i r e l i n e has
r ;
v.
21
Ik
D
'nsjy
*3
T
3i| "(6
D w; o
1
1
"I
h s
CO
154
t w i c e i n 6. 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
m o t i f i n t h i s sentence, c r e a t i n g a h i g h l y d r a m a t i c moment.
v a r i a t i o n s on t h e m a t i c m a t e r i a l presented i n L i n e 2. The
e n t i r e Honkyoku.
RI-U s e n r i t s u k e i .
tion.
Koku Reibo
(as 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
8 C 0 '
SECTION $
Koku Reibo.
4:4:2:4 Summary
a maze o f m e l o d i c d e t a i l , w i t h no i n h e r e n t r e l a t i o n s h i p s t o
the development".
perience.
4:5 Conclusion
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
velopment.
meditative r o l e .
164
165
c o n t i n u i t y of the e s s e n t i a l s p i r i t of t h e i r performance i s i n -
s t r i c t i o n s of a notation.
of Kensho, i r r e s p e c t i v e o f a t e c h n i c a l l y flawed or p e r f e c t
CHAPTER 1
i n the powers o f the crane even extends to the use o f the word
167
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 ?
Mi" b u t an o c t a v e h i g h e r ( i . e . , d , 2
g ,
2
d ).
3
figurations .
1974:23-24).
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
and Mukai-ji.
the Japanese and Chinese Preludes and the other Asian Preludes
"Take".
171
172
the color of the "chung" when i t was newly cast (Kuttner, 1965:
24).
nium B.C.) .
support t h i s view.
ted i n t o Greece i n the 1st millennium B.C., the same time period
that saw the movement o f the Yo from the Middle East i n t o China.
l i g h t of the Kuan r e - d e f i n i t i o n .
tioned i n t h i s paper are "1.8" (Liu Hsu), "3.8" (Tu Yu) and
tury) from the ancient Chinese province o f "Wu" (also "Kure" and
hanazakari m. <)
fuku-tomo dare ka < •4-
itofu-beki •h-
kaze n i wa aranu
R * < t
S * iff- is
komo no shakuhachi St Is
the h i t o y o g i r i are:
be, 1960:160);
Sand and Stone, 1279) that Kakua was such a recluse that h i s
nomiya, Japan).
CHAPTER 3
me(ri) (
) shaku(ri) ; ]f| )
C
ka(ri) IJjjT L
) tsu(ki) Jjj£. £
su(ri) fg )
l
yu(ri) f§ ')
ko(mi) Z2L 3I
bols :
Na(i)yashi Odoriji
179
CHAPTER 4
das Tonsystem und die Musik der Japaner", (1903), and found i n
r i t s u k e i as:
"Bombai", 1930:106).
180
181
Jiten, 1965-66:1,369).
"Bombai", 1930:103-104).
syllables:
Degree No.: 1 2 3 4 5 6 7
Degree No.,: 1 2 3 4 5 6 7
1960:129). . . - .__ .
non).
Ritsu Choshi
oshiki-cho
£ 3
hyo j o
banshiki-cho
taishiki-cho te*
(•) f
T-t1 1
184
Ryo Choshi
sojo
i 1 1 '
ichikotsu-cho fnt—
/-• — fJt—.—
——- (») ,» rr r
suicho f ?
-f—1 1
— L
taishiki-cho
v ,. t r TJ 1 1 1 1
Schneider, 1973:128-129).
The reader should not confuse these scales with Western music
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).
i t be a scale or a composition.
Akebono — dawn
Nakazora — mid-day
•j f=^r —
/
[t ^ n ~
\ 1J S> <s
C7
c o n s i d e r e d t o be t h e dominant p i t c h ( D ) " .
garber, 1968:331.
217).
them.
the i n t e r j e c t i o n o f RA.
188
0 — — N
—J ' Jin — * y—±
/
(l
v(..J 11 1
r
mediacy which dpes not judge one performance better than ano-
192
194
195
197
SIC
u &A
o •n-
u
; JJ__
it
15:
SIC"
JJ
fin
iJ
to.
\
so
ID
I
41^
198
199
0- _
TP
IB .
0* •
4L
V-5 \
m
©0
a-
r>'.
t
II-
1
201
202
1
Koku Reibo
203
204
205
207
208
209
210
211
Shin Kyorei
217
218
219
220
221
222
i
APPENDIX B
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 frequency o f o c c u r -
223
224
225
CHI
+
tr.
T
< t
<
m e r i CHI
f i i f f f
*1 4 «p ^ ^ > ? f f f 1
f
>> V #
t Y +f ? 7
7/ j 2
226
U RE
5> '*?
i- ? f
RI
1 1
?
V ?i
?
id.
227
HI
2 2 7 1 1 1 1 1
d d d d d c -3.
'i
f1 f t t0 ^f t
*>
f
V f
15 8
&* < * i\ It
> d c?i t5fl d
m e r i HI
t_ d
^ *r i ^4 i £ ^
V d *
">
228
HA
"7 S
3l-
A Ai u
6 /.ft s
/a\
8/ \
o
8/ \
Dai-KAN HA / V
/ \
22.
3x ?
3L. '
KORO
1 4 1 1
? 3
o 6 6 6 6 9 6
? T ? ? ? ?
6
7 f
APPENDIX C
FINGERING CHART
closed.
klofc to 5c«tk
229
230
bo fro v
^
kari ft ft ft
ft 0 9
ft ft ft
ft ft 0
•_ 0 0_
ft 0
meri ft ft
(chu-meri) ft ft
ft 6
e o
_ _
dai-meri 9 ft
9 ft
• e
b^L ^ 'jo g
) • • 0
ft ft 0 0
0 0 0 0
0 ft 0 0
0 ft ft ft
ft ft 9
ft 9 e
" e e 0
ft 0 0
8 (9) 0 9
9 0
e o
0 9
0 0
9 9
231
Kari F i n g e r Articulations
also 8va
& & 8
3:
ti
fc
also 8va
, 4 4 4,
fl
J.L
1/ [
fl
(fc—T 1
pJ
-r-f3
v
bo p* y
u —
\iinir
"tr—r — 1
•_0-i •-0-i
ft
< © ©
ft-0-ft
1 0 0
0
< t-0-9 0
0 0
t> 0 0
0
/ \5
232
A? ^
9- 5*= 0 - JSZ
0 0
9 0
0
0
0 0 e
_9_ o
0 0-9-0 (repeated
• 0-0-9 J
Notated Finger A r t i c u l a t i o n s
fcl * >.
- — m s -p i 1_ H
fl
4 - 4 1 — -^ g
4
9 +0-9-0
} t 9 0
9 9' 0
kavt 0 i 0
9 9 0
0 9
0 0 9
_9_ >-0-< * e-9-e
0 0 0
9 9 9
9
Vvxtrt
US 9-9-9
CHARACTER INDEX
1. Names
I C S 3£ X gfP
Chang Po F u j i w a r a no T o k i h a r a
m . <e I I ,8| f
Chang Ts'an
Fuyo, Hisamatsu Masagoro
5f #
Chikan Z e n j i
Godaigo
m n- m
Ch'iu chung
JX ff Gokomatsu
^ 'h *&
Dogen Gor5 Yamaguchi
ii TE id Lb •
Eisai Goshirakawa
^ a /°J
En no Gyoja (Shokaku) Gosukoin
'<kft% 'h ft it ^
233
234
Goyozei Kakua
& B§ /& n M
Hakuin
Kakushin
Hideyoshi, Toyotomi
Kawase Junsuke
- .JE & s BB W * M yR ^ A
H o t t o Ernmyo K o k u s h i Kinko II, K u r o s a w a Koemon
m m w m m w * m yR m -m n
Hotto Zenji Kinko I I I , Kurosawa Masajiro
m m n m W * m yR ft >x m
Hsilto (Kyotaku) K i n k o IV, Kurosawa Otojiro
w * m yR & )k m
Huang-ti Kodo I , Toyoda Katsugoro
m. m B3 m s. m
Hui-neng *Kodo I I , A r a k i Hanzaburo
* m j£ * ^ = m
I k k a n , M i y a g i «, uemon Kodo I I I , A r a k i Shinnosue
— m ^ ±fe ^ ; ;& ftf PI * ft: IfL * M 2. Bb
Ikki, Ikeda Sensuke Kodo, Ikeda
— BB <0J grj l I yfi a
K & m. #
235
m m & &
no Motomasa
x n m
Lin-chi
Omori Sokun
x m m m
Ling Lun
i§ m Oto no Kiyogami
Liu Hsu X F ># ±
fi| * Pan Ku
Lvi t s ' a i m m
a
Ma-tsu Tao-i Pao Fu
-I 1 it -
Mimashi
P'u-hua
3t Roan /
-ft
Roan
Minamoto no Daiken
M m m (a ^
Minamoto no Hakuga Sadayasu Shinno
M n m ^ i* a i
Minamoto no S h i t a g a u Sei jo
;
M m ># ±
Muju Ichien Seiwa
M a — SS ># m
Murasaki Shikibu
Shimadzu T a d a h i s a
' W ^
Nakamura Sosan
Shimadzu Tadayoshi
^ ^ E.
) ^ u& ^S:
236
Takakura
Tengai Myoan
^ ?h #
Tokugawa l e y a s u
12§ Jl| ^ it
Tosa Mitsunobu
± ft ft
Tozan, Nakao Rinzo
m LJJ ^ Jm 51* H
Tu Y u
tt ^
Tuan An-chieh
i£ 3? m
Wu-men H u i - k ' a i
M: H is M
Yamamoto M o r i h i d e
i_U * ft
237
2. M u s i c T i t l e s , Terms a n d P l a c e Names
Mo-so), o r t o c l a r i f y t h e i r meaning.
Aichi bakufu
* m
aikido Banshiki
Akebono B a n s h i k i no S h i r a b e (Cho)
Akebono Shirabe be
ashibue boroboro
m m S: 510
Azuma A s o b i bu
Sc m n
238
"hue ( f u e ) Chikuo-ryu
m • 1T « *
bugaku Chikuzen-biwa
I i I I
bushi ch' i n
M ±
Bushido C h i u T'ang Shu
ft ± it m m *
Bushu cho
a 'Ji'l
byo Chochiku-fu
P ft n it
chokan
byoshi (hyoshi) ft 1=
chonin
Cha no Yu BT A
choshi
Chado m ^y-
^ i i
ch» i Cho-teki
SI ft ®
Chi chu
ch'ih-pa chukuan
R A
C h ' i e n Han S h u chung
239
daigijo ex-on
in-
* m. ti B
Da j o k a n p u ei-sho
X & t ft
daimyo ei-u
Dan feng
Danawase Feng-su-t'ung
a ^ it
dangaeshi
S I L "Fu-Ho-U u
Darikyu
Fue-ondo
.§£ ^
danmono 'A
' l£ *&> Fuke
Dazaifu Fuke-an
* 3? m SOL It
s
Do ( c h . Tao) Fuke-shu
it ^ it m
Dokuso
Fuku-awase
n m
dosho
Fukuoka
Doshokyoku Funi
M H ffl
240
Gagaku-ryo giri
Gaikyoku Go
^ n * ffl
Ha (association)
gaki
)Jf<
& (±1) Ha ( a s i n J o Ha Kyu)
Gakkaroku m
^ ^ «! hachi
Gakunin
2£ A H a c h i k a e s h i no S h i r a b e
H I © p ^
Gakusei
Gakuso Hakata
n z
Ge Haniwa
T
m m
hayashi
»
Gigaku
haya-uta
Gigaku Bosatsu ^ IK
^ # Ri
Ginryu Heike-biwa
\T7 5=> 53= S=E
Q$ m -r Et e
241
Heike*\-monogatari Hon
W. Wo II ^
hen-chi Honji-Suijaku
m M 4t * ±fe g &
hen-kyu Honjoshi
"a" * PI ^
hennon Honkyoku
Heng-ti Honshu
It © ' ' * 'j'H
Hi F u M i , H a c h i k a e s h i no S h i r a b e Honte
— ~ H i£ }S O P * ^
Hi Fu M i Kyoku Horyu-ji
— - E. a s i #
hichiriki hsiao
hijiri Hu-kuo-ssu
Hikyoku Huang
Hira-joshi huang-chung
*F . m + n m •
Hitoyogiri Huang-ti
— m w m &
Ho S h o S u hyojo
mw m ¥ P
Hogaku hyoshi
Hoko Ichigetsu-ji
242
ichikotsu Izu
13 3.
ichi-shaku, hachi-sun Izu Reibo
( i s s h a k u -h a s s un) S #t 3S '
R A ^
Igusa Jaku
1' f f I
Ikkwan ji (temple)
- m
Ikkan-ryu J i n r i n Kimmo Z u i
A m su m E
Ji-uta
In
ife WK
Jo (prelude)
Inaka-bushi
B3 # ^ ± -
Jo (Noh terra)
Inga-Ichinyo ±
s m — ta Jo-buki
i r e k o no te ff qfc
A- v ^ ^
Jo-choshi
Ise
ff P
Jo-hiku
Isshaku-sansun
ff 3$
- R E. ^ judo
ishibue
it
Juso
Ittchoshi
s i f
Kabuki
Iwato
m m 1*
Kayokyoku
az£ fi]
Keicho Okitegaki
:* * |
Kemraotsucho
it* *&>
ken
Kendo
m. m.
Kensho
Ji, 14
Kiai
Kinko-ryu
^ * 55SE
Kinpu-ryu
*s a ^
Kinsan Kyorei
— is IS
Kinsen
Kinuta Sugomori
k i - o toru
ko
koan
244
m ±i
Kogaku
koten
. * 9 WL 5* gl=l ^
Kojiki K o t o j i no Shirabe
W tt <£> P ^
Kokoku-ji ko-tsuzumi
. PI m #
Koku-ji ku (anguish)
^ ./ft
Koku Reibo ku (no-thingness)
Kokuzo-do kuan
M
kokyu kuchi-shamisen
. ^ ' • '=
Koma-bue
kuden
r=j B5 &
•• e
komoso Kumoi
« <1 m' #
komuso kun-yomi
3£ Ii aJi| ETD
kondo Kure
,Q
D a n a ^ ft
245
Kuroda Lu
M ffl S
ft : Lu Kuan
Kyokunsho
Liing-ti
m. m &
m m
kyokusetsu madaradake
mm m n
Meian Kyokai
Kyu (as i n Jo Ha Kyu) a,
3
B§ t&
Mikanko
Kyuko-an
°R >i m Miyako-bushi
Kyushu m ST5
Mu-i. Natori
£ IX 0
3ft ^ W S i s -,IT
Mu j o Netori
3ft ^
Mukai-j i Nezasa-ha
.£E >Jf<
Mukaiji Reibo Nihombashi
B *
mu-shin no shin Nishaku-sansun
3ft -fr co >t> ~ R H TT"
Musashi Nishimi-ryu
ft jg ffi H 'A
Nagai Shirabe Noh
Nagasaki Nohgaku
Nagauta Nohkwan
Nakazora O-daiko
* * S£
Namima R e i b o odake
>J£ i t is m rr
Nan-Kuan Oden
. m m
Nanchiku-fu o-hichiriki
A-A-
Nara oko mu
a * 3m
247
Ome Rei
it
Omote Reibo
it
m c it IS 3£ L
onkai Reiho-ji
W Ft it .yi #
On-yomi Reitatsu
Osaka Rembo
A US
Oshiki R e n r i t s u no Mai
St fit
Jg$ 525 (7) ^
Oshiki-giri Rinyu-gaku
ft Hi tD • # s^
O-shirabe Rinzai-shu
A P 8™ 7^ ^
Oshokun ritsu
as m
,oteki ritsukan
>£. A
P' u-hua-tsung roshi
^ it ^
248
Ryo Sandai J i t s u r o k u
. S H ft H ^
ryu san-fen sun-i f a
/VIL
H # ?i & m
I ^ = £1 ^ i t
Ryukyu San Koten Honkyoku
m m = * A * ffl
Ryumeisho Sanjuniban Shokunin Uta-awase
si m t>
ryuteki Sankyoku
ti m
H ft
Sanmi I t t a i
Sabi
EL 1±L —
Sanya Sugagaki
Saemon
£ ffi n
Sagariha no Kyoku Sarugaku
T 0 m <75 &
Saiho-ji Satsuma
ffi 77 # .
* P ^ .. ft llj f S
Sakkyoku Se
ft H
"sakuhachi no t e k i " Seiso
$ < ,. Ii *> oo ®
samurai S ekkyo-bu sh i
249
Shika no Tone
Sendai
m. <n i i %
Shikan-taza
SenpS
R mn &
m Shimabara
Senritsukei
m wm &m
Shimadzu
Senritsupo
S3
shimomu
sensei
T 3&
ft ± ' '
Shimotsuke Kyorei
shakuhachi
T If I 1
R A
shin
Shakuhachi-shi
R A m
Shin K y o r e i
sharnisen
E. tin t& M m. s
Shaseki-shu Shin no Te
A CO ^
>'> ^ M
Shinkyoku
Sheng
Iff ft
shinobue
Shibui
Shingon-shu
Shichiku Shoshinshu
-s- -=-
& ft w >t> m
Shichiku Taizan: Ikanobori Shinhoshi
a >4
* ft * & mM
Shinto
Shih Chi
it
• £ 15.
Shinzei Kogaku Zu
Shih Ching
m m * mm
250
Shishi shonin
m *
i§i A
Shosoin
IE ^
Shizen no Ne
Shusa-ryu
Shizu no Kyoku /JiL
m m z ft
Shushigaku
Shizuoka So
Shoden So-shidai
m >x m
shodo Soto-shu
IF 5^
I fi it M
shofu
Shogun Suga
¥
Sugagaki
shoka
Suichikumei
shokunin
f!r .
m A
251
7K P 1S tat
suji' tatebue
1: m
Suijaku
tegoto
T a i H e i Raku
teki
x ¥ . n
m
Taigensho Tendai-shu
• 7T\
0
taiko Tengai
taishiki Tennin
X K A
take
Tenpuku
Takedo
Thung
1t it m
T a k i o c h i no Kyoku Ti (feather)
takuhatsu Todai-ji
ft ft u C A #
Tanden Tofuku-ji
ft B3 • He *I #
Togaku
tankan
Togakushi
Tan-teki
* 5$; gp
252
Tohoku Uchidome
JSC it nm it
Tokaido
Uchihajime
Tozan-ryu
m UJ m
Uchikae K y o r e i
Ts'ao-tung fr ^ J35
Ueda
T s u k i no Kyoku Uji
R <r> ffi
Tsukushi Ukiyo
Tsukushi-goto Ura
xa
ts'un Uta-awase
Tsurezuregusa utaguchi
m ^
IX •
T s u r u no Sugomori Wa Myo R u i j u S h o
ti <7> m « IP
T unq Tien
1
waka
U Wakayama
Ubasoku-zenj i Wei Yo
Uchi-awase Wen Wu
253
Wu (province) Yokobue
Wu (shaman) Yoshino-Shui
^- ' i f it
Wu-men K u a n (Mumonkan) Yoshiya Reibo
3ft n m Yu
f g ^ I
Ya Yiieh
A ^ ft m
Yaku Yueh-fu Tsa-lii
H~t t "j m m m m
Yamabushi
Yiieh Shu
ill t£
Yamato K o s a k u E i s h o * * JZ ffl
Yuimagyo
x. *o m ^ #
Yamoto-bue Zazen
A *Q si-
Yang Zen
Ft
Yig Zendan
fiti is
Yo (flute) Zendo
'agio' I i t
Yo (scale) Zenkoku D a i k a i
X 3X
Zokugaku
Zokugaku Senritsu Ko
m m m w' #
Zoku-Kyokunsho
^ i£ SH t>
Zokuso
255
3. Japanese H i s t o r i c a l Periods
Yamato (300-710)
Asuka (552-646)
Hakuho (646-710)
Nara (710-794)
L a t e r Heian / F u j i w a r a (897-1185)
¥ $ m m m m)
Kamakura (1185-1333)
m a
Muromachi (1333-1573)
Bummei (1469-1486)
Momoyama (1573-1600)
m UJ
Edo / Tokugawa (1600-1867)
>r F
Genroku (1688-1703)
•ft ife
Meiji (1868-1912)
m te
BIBLIOGRAPHY
256
257
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