[vc_row][vc_column][vc_single_image image=”4267″ img_size=”73×100″ alignment=”center”][\/vc_column][vc_custom_heading text=”\u5c3a\u516b\u7528\u8a9e\u96c6” font_container=”tag:h3|text_align:center”][vc_custom_heading text=”\u3042\u306a\u305f\u304c\u77e5\u3089\u306a\u304b\u3063\u305f\u3001\u5c3a\u516b\u3068\u305d\u306e\u5c02\u9580\u7528\u8a9e” font_container=”tag:p|text_align:center|color:%238d93a0″ css=”.vc_custom_1518654771294{padding-bottom: 30px !important;}”][\/vc_row][vc_row width=”stretch_row” options=”centered” vsc_bg_color=”rgba(255,255,255,0.7)” css=”.vc_custom_1514648665265{margin-top: 0px !important;padding-top: 0px !important;padding-bottom: 50px !important;}”][vc_column width=”1\/12″][\/vc_column][vc_column el_align=”align-left” width=”5\/6″][vc_column_text]<\/p>\n
Ai-no-te (\u5408\u306e\u624b) <\/strong><\/em> \u2013 Music performed between vocal sections Benky\u014dkai (\u52c9\u5f37\u4f1a)<\/strong><\/em> \u2013 Study group meeting. In the context of traditional Japanese music, this refers to a day on which students gather to perform the pieces they have been working on for each other. Chikuzen inchiny\u014d (\u7af9\u7985\u4e00\u5982) <\/strong><\/em> \u2013 The bamboo and Zen are as one Dai shihan (\u5927\u5e2b\u7bc4)<\/strong><\/em> \u2013 Often translated as grand master, but the meaning is rather grand teacher, instructor or model. Fuke-sh\u016b (\u666e\u5316\u5b97)<\/strong><\/em> \u2013 The Fuke sect of Rinzai Zen. The sect in which the shakuhachi<\/em> playing komus\u014d<\/em> monks belonged. The founder is considered as being P\u01d4hu\u00e0 (\u666e\u5316, Jap. Fuke) (c.800\u201366) from China, but no writings remains about the sect in China. It is written in Kyotaku Denki Kokujikai that the Japanese branch of the Fuke sect was founded by Shinchi Kakushin (\u5fc3\u5730\u89ba\u5fc3)(1207\u201398), who brought it from China. The use of shakuhachi <\/em>as a tool for religious practice was implemented. Gagaku (\u96c5\u697d) <\/strong><\/em> \u2013 Court music played at the imperial court and Shinto temples. The music was introduced to Japan from China via Korea in the 7th century. Hachigaeshi (\u9262\u8fd4\u3057)<\/strong><\/em> Returning the bowl. Ichigetsuji (\u4e00\u6708\u5bfa)<\/strong><\/em> \u2013 Ichigetsu temple temple was one of the main Fuke sect temples in the Kanto region together with Reih\u014d temple. Ji (\u5730)<\/strong><\/em> \u2013 A paste made of urushi<\/em>, stone powder and water, which is used to build up the bore of the modern jinuri<\/em>\/jiari<\/em> shakuhachi<\/em>. Karakara (\u30ab\u30e9\u30ab\u30e9)<\/strong><\/em> \u2013 Shakuhachi <\/em>playing technique where a percussive effect is achieved by hitting hole 1 (bottom finger hole). Ma (\u9593)<\/strong><\/em> \u2013 Lit., in between, space or interval. In musical terms it describes the silence between sound events. This is often described as vacuum plenum, and is an important part of Japanese musical aesthetics. Ritsu (\u5f8b)<\/em><\/strong> is common in gagaku<\/em> music and some min\u2019y\u014d<\/em>.<\/p>\n Descending: D \u2013 e \u2013 G + A \u2013 b \u2013 D In (\u9670)<\/em><\/strong> (from Chinese yin of yin-yang) or miyakobushi \u90fd\u7bc0<\/strong><\/em> (urban melody\/mode) is common in music from the Edo period including shakuhachi<\/em> music.<\/p>\n Descending: D \u2013 eb \u2013 G + A \u2013 bb \u2013 D Y\u00f4 (\u967d) <\/strong><\/em>(yang of yin-yang) or inaka-bushi<\/em> \u7530\u820e\u7bc0 <\/strong><\/em> (countryside mode or folk song mode) is most common in miny\u014d <\/em> (folk song).<\/p>\n Descending: C – eb – F + G – bb – C Another mode in Japan is the Ry\u016bky\u016b<\/em> mode from the Okinawa islands (south of mainland Japan).<\/p>\n
\nAtari (\u5f53\u308a)<\/strong><\/em> \u2013 To strike a finger hole
\nAto-Uta (\u5f8c\u6b4c) <\/strong><\/em> \u2013 Ending vocal section
\n <\/p>\nB<\/h3>\n
\nBiwa (\u7435\u7436)<\/strong><\/em> \u2013 Japanese necked bowl lute with four or five strings played with a large plectrum.
\nBokoboko (\u30dc\u30b3\u30dc\u30b3)<\/strong><\/em> \u2013 Shakuhachi<\/em> tremolo technique.
\nBoroboro (\u30dc\u30ed\u30dc\u30ed)<\/strong><\/em> \u2013 Beggar-monks or ascetics preceding komus\u014d<\/em> monks of the Fuke sect. They are mentioned in the book Tsurezuregusa from circa 1300.
\n <\/p>\nC<\/h3>\n
\nChirashi <\/strong><\/em> \u2013 Climax of section
\n <\/p>\nD<\/h3>\n
\nDanmono (\u6bb5\u7269)<\/strong><\/em> \u2013 A piece scored in Dans (sections) without vocals
\nD\u014djikyoku (\u7ae5\u5b50\u66f2)<\/strong><\/em> \u2013 Children’s song. Most often called “d\u014dkyoku<\/em>”
\nD\u014dj\u014d (\u9053\u5834)<\/strong><\/em> \u2013 Hall used for martial arts training or a place of Buddhist practice or meditation. Used also in the sense of a place where shakuhachi<\/em> is being taught.
\nD\u014dkyoku (\u7ae5\u66f2)<\/strong><\/em> \u2013 Children\u2019s song
\n <\/p>\nF<\/h3>\n
\nFumen \u8b5c\u9762<\/strong><\/em> \u2013 Music score
\nFuri \u632f\u308a<\/strong><\/em> \u2013 A rapid meri\/kari <\/em>head dip.
\nFuri otoshi \u632f\u843d<\/strong><\/em> \u2013 Ending a phrase with a quick dip into meri<\/em>
\n <\/p>\nG<\/h3>\n
\nGaikyoku (\u5916\u66f2)<\/strong><\/em> \u2013 Lit: outside pieces. Pieces that are not honkyoku<\/em>, thus therefore outside the repertoire of the komus\u014d<\/em> monks. This includes sankyoku<\/em>, min\u2019y\u014d <\/em>and shinkyoku<\/em>. Today it refers mostly to sankyoku<\/em>.
\nGakki (\u697d\u5668) <\/strong><\/em> \u2013 Musical instrument.
\nGakufu (\u697d\u8b5c)<\/strong><\/em> \u2013 Musical notation
\nGendai h\u014dgaku (\u73fe\u4ee3\u90a6\u697d)<\/strong><\/em> \u2013 Contemporary Japanese music. In 1947 NHK radio broadcasting began using the term gendai h\u014dgaku<\/em> for music influenced by avant-garde music in the Western classical tradition.
\nGendai nihon ongaku (\u73fe\u4ee3\u65e5\u672c\u97f3\u697d)<\/strong><\/em> \u2013 Contemporary Japanese music. See also gendai h\u014dgaku<\/em><\/strong>
\n <\/p>\nH<\/h3>\n
\nHa (\u6d3e)<\/strong><\/em> \u2013 Faction. Used for example in My\u014dan Taizan-ha. Thus the Taizan Faction of the My\u014dan group of shakuhachi<\/em>.
\nHate <\/strong><\/em> \u2013 A light kind of honkyoku<\/em>. Played in the afternoon when free from strict discipline of religion.
\nHitoyogiri (\u4e00\u7bc0\u5207)<\/strong><\/em> \u2013 An one node shakuhachi<\/em> considered the missing link between the gagaku shakuhachi<\/em> and Fuke shakuhachi<\/em>. It became popular between 14th and 18th century. The length varies but most often around 1 shaku<\/em> 1 sun<\/em> (circa 33.3 cm).
\nH\u014dgaku (\u90a6\u697d)<\/strong><\/em> \u2013 A term used today for all traditional Japanese musical. The term came to existence during the late Meiji era to differentiate between on one hand, Western music and on the other hand, Japanese music. The term was coined in 1907 by the creation of H\u014dgaku Inquiry Department (\u90a6\u697d\u8abf\u67fb\u639b) at Tokyo Institute of Music (\u6771\u4eac\u97f3\u697d\u5b66\u6821).
\nH\u014dki (\u6cd5\u5668)<\/strong><\/em> \u2013 Sacred tool. The shakuhachi<\/em> was regarded a h\u014dki<\/em> and not gakki<\/em> (musical instrument) before secularisation in 1871. It was considered a tool for spiritual training for the komus\u014d <\/em>monks.
\nHonkyoku (\u672c\u66f2) <\/strong><\/em> \u2013 The traditional pieces in the repertoire of the komus\u014d<\/em> monks of the Fuke sect; lit., original pieces.
\nHonte (\u672c\u624b)<\/strong><\/em> \u2013 The main body of a piece. A melodic development in higher register.
\nHotchiku (\u6cd5\u7af9)<\/strong><\/em> \u2013 A term used by Watazumi D\u014dso R\u014dshi (\u6d77\u7ae5\u9053\u7956\u8001\u5e2b) to describe his unlined shakuhachi<\/em>. Watazumi was highly conscious about the difference in philosophy between these two types of shakuhachi<\/em> and used therefore another term to describe his instruments.
\n <\/p>\nI<\/h3>\n
\nIchi Ji Ichi Ritsu (\u4e00\u6642\u4e00\u5f8b)<\/strong><\/em> \u2013 One temple, one piece (tune?)
\nIchion Jobutsu \u4e00\u97f3\u6210\u4ecf<\/strong><\/em> \u2013 One sound reaching enlightenment
\nIemoto (\u5bb6\u5143)<\/strong><\/em> \u2013 Family foundation. Term used to refer to the founder or current head master of a certain school of traditional Japanese art, including music. The iemoto<\/em> system is characterized by a hierarchical structure and often the iemoto<\/em> has supreme authority.
\nIki-nayashi (\u606f\u30ca\u30e4\u30b7)<\/strong><\/em> \u2013 Short glissandi as an ornament before or in the middle of a note produced by change the direction of the breath.
\nIkuta-ry\u016b (\u751f\u7530)<\/em><\/strong> \u2013 Ikuta-ry\u016b style of koto<\/em> and shamisen was founded by IKUTA Kengyo (1656-1715) who was a pupil of YATSUHASHI Kengyo, a pioneer of early koto<\/em> music in the Kansai region, and for the first time combined the koto with the jiuta shamisen<\/em> which placed a strong emphasis on the instrumental \u2018tegoto<\/em>\u2019 sections of pieces rather than on the song. With the addition of the kokyu<\/em>, which was later superseded by the shakuhachi<\/em>, this style formed the basis of the sankyoku<\/em> (music of the three instruments) ensemble and led to the koto<\/em> being played even more widely than before.
\n <\/p>\nJ<\/h3>\n
\nJimori shakuhachi (\u5730\u76db\u308a\u5c3a\u516b)<\/strong><\/em> \u2013 Shakuhachi<\/em> where the tuning methods has been using ji in strategic places in the bore and not all over the bore as in jinuri shakuhachi<\/em>. Jimori shakuhachi is also sometimes called spot-tuned shakuhachi<\/em>.
\nJinashi shakuhachi (\u5730\u306a\u3057\u5c3a\u516b)<\/strong><\/em> \u2013 Shakuhachi<\/em> tuned without the use of ji, where only the natural bamboo remains. This was the traditional method of making shakuhachi<\/em> during the Edo period.
\nJiari shakuhachi (\u5730\u6709\u308a\u5c3a\u516b)<\/strong><\/em> \u2013 See jinuri shakuhachi<\/em>.
\nJinuri shakuhachi (\u5730\u5857\u308a\u5c3a\u516b)<\/strong><\/em> \u2013 A shakuhachi<\/em> with a mid-joint where the bore is built up with ji<\/em>. This method of tuning and instrument making became the mainstream after the Fuke sect was abolished.
\nJiuta (\u5730\u6b4c)<\/strong><\/em> \u2013 Music originally composed for shamisen<\/em>
\nJiuta s\u014dkyoku (\u5730\u6b4c\u7b8f\u66f2)<\/strong><\/em> \u2013 Music composed for shamisen<\/em> and koto<\/em>
\nJun shihan (\u6e96\u5e2b\u7bc4)<\/strong><\/em> \u2013 Often translated as teacher\u2019s license.
\n <\/p>\nK<\/h3>\n
\nKaede (\u66ff\u624b)<\/strong><\/em> \u2013 Secondary arrangement of a piece
\nKan (\u7532)<\/strong><\/em> \u2013 Upper register
\nKeiko (\u7a3d\u53e4)<\/strong><\/em> \u2013 Practice, study.
\nKeikoba \u7a3d\u53e4\u5834 <\/strong><\/em> \u2013 Space in which one practice. This may be the room where one receives lessons.
\nKi (\u6c17)<\/strong><\/em> \u2013 Spirit or mood. In this thesis as with martial arts and Japanese arts in general ki refers to a spiritual energy.
\nKari (\u30ab\u30ea)<\/strong><\/em> \u2013 One of the two main head positions in shakuhachi<\/em> playing with raised chin. To be played on the open holed ro tsu re chi ri<\/em> etc.
\nKoky\u016b (\u80e1\u5f13)<\/strong><\/em> \u2013 Three-string bowed spike fiddle. The only bowed fiddle in Japan.
\nKomi Buki (\u30b3\u30df\u5439\u304d)<\/strong><\/em> \u2013 Big breath. Vibrato created by diaphragm. Representative for the repertoire of the Nezasaha.
\nKomus\u014d (\u865a\u7121\u50e7)<\/strong><\/em> \u2013 Shakuhachi<\/em> playing monks of the Fuke sect of Rinzai Zen. The komus\u014d monks were wandering mendicant monks playing the shakuhachi<\/em> for alms.
\nKorokoro (\u30b3\u30ed\u30b3\u30ed)<\/strong><\/em> \u2013 Shakuhachi<\/em> playing technique. A tremolo is created by alternatively opening and closing holes one and two.
\nKota (\u67af\u6de1)<\/strong><\/em> \u2013 Refined simplicity.
\nKoto (\u7b8f)<\/strong><\/em> \u2013 Japanese 13-string zither.
\nKumiuta (\u7d44\u6b4c)<\/strong><\/em> \u2013 Pieces for koto<\/em> license
\nKyotaku (\u865a\u9438)<\/strong><\/em> \u2013 Lit., hollow bell or bell without substance (often translated as empty bell). Name for shakuhachi<\/em> used in the historical document Kyotaku Denki Kokujikai from 1795. Today a group of players formerly led by Nishimura Kok\u016b (1915\u20132002) calls their instruments for kyotaku.
\nKyotaku Denki Kokujikai <\/strong><\/em> \u2013 [The legend of the empty bell translated to Japanese] from 1795 written by Yamamoto Morihide (\u5c71\u672c\u5b88\u79c0). It is claimed to be an annotation in Japanese of a 13th century Chinese book entitled Kyotaku Denki (\u865a\u9438\u4f1d\u8a18). Nakatsuka Chikusen (1887\u20131944) was the first person to question its authenticity. The legend remains, however, the single most important work in the literature defining the identity of many shakuhachi honkyoku<\/em> players.
\n <\/p>\nM<\/h3>\n
\nMadake (\u771f\u7af9)<\/strong><\/em> \u2013 A common type of bamboo in Japan, from which the shakuhachi<\/em> is made. Latin: phyllostachys bambusoides<\/em>
\nMae-Uta (\u524d\u6b4c)<\/strong><\/em> \u2013 Opening vocal section
\nMekura h\u00f4shi (\u76ee\u95c7\u6cd5\u5e2b) <\/strong><\/em> \u2013 blind monks.
\nMeri (\u30e1\u30ea)<\/strong><\/em> \u2013 Blow by putting the chin down, to lower the tone. Shakuhachi<\/em> playing technique describing the head positioning. In meri<\/em>, the head is lowered and the lips are closer to the mouthpiece (utaguchi<\/em>). This technique produces a sound, which has less volume and is considered having a \u2018darker\u2019 character.
\nMin\u2019y\u014d (\u6c11\u8b21)<\/strong><\/em> \u2013 Folk song. The shakuhachi<\/em> is widely used as accompaniment to min\u2019y\u014d<\/em>.
\nMiyogiri (\u4e09\u7bc0\u5207)<\/strong><\/em> \u2013 A three-node shakuhachi<\/em>. Considered being the link between the gagaku shakuhachi and Fuke shakuhachi<\/em> alongside the hitoyogiri<\/em>.
\nMuraiki (\u30e0\u30e9\u30a4\u30ad)<\/strong><\/em> \u2013 Lit., uneven breath. Shakuhachi<\/em> playing technique producing a characteristic breathy sound.
\nModes<\/strong><\/em> \u2013 Most Japanese traditional music use one of 3 pentatonic scale types:
\n <\/p>\n
\nWhen ascending it may change to: D \u2013 f \u2013 G + A \u2013 c \u2013 D<\/p>\n
\nAscending (some times): D \u2013 f \u2013 G + A \u2013 c \u2013 D<\/p>\n
\nAscending: D \u2013 f \u2013 G + A \u2013 c \u2013 D<\/p>\n