TABLE OF CONTENTS

Page
LIST OF CHARTS viii
 
LIST OF FIGURES viii
 
LIST OF ILLUSTRATIONS xi
 
LIST OF TABLES xi
 
INTRODUCTION 1
 
1. THE INSIDERS / OUTSIDERS PARADIGM 14
1.1 Concepts and problems with insider/outsider paradigms 14
1.2 Insiders and outsiders to the shakuhachi tradition 15
1.3 Definitions of insiders and outsiders to the shakuhachi tradition 17
1.3.1 Layers of insiders within the shakuhachi tradition 19
1.3.2 Location of author within the shakuhachi tradition 21
2. SURVEY OF THE LITERATURE 25
2.0 Four types of literature 25
2.1 First type of literature: authored and read by insiders 27
2.1.1 Musical scores in shakuhachi notation 27
2.1.2 Other written historical documents, including the Kyotaku denki kokuji kai 36
2.1.3 Limited edition publications 41
2.1.4 Non-scholarly periodicals and articles 42
2.2 Second literature type: Authored by insiders for outsiders 44
2.2.1 Historical documents 44
2.2.2 Books and other publications 45
2.2.3 Scholarly publications 46
2.2.4 Non-scholarly periodicals and articles 51
2.2.5 Beginner manuals 53
2.2.6 Descriptive notes included in commercial recordings 54
2.2.7 Concert programme notes 55
2.3 Third type of literature: authored by outsiders for insiders 56
2.3.1 Modern compositions 56
2.3.2 Government documents 57
2.4 Fourth literature type; by outsiders for outsiders 58
2.4.1 Historical sources 58
2.4.2 Scholarly publications 59
3. HISTORICAL BACKGROUND OF SHAKUHACHI AND HONKYOKU 60
3.1 The Shakuhachi of the Nara (646-794) and Heian (794-1185) Periods 62
3.1.1 Shakuhachi of the Shôsôin and Hôryûji 63
3.1.2 Pictorial and Written Evidence of the Nara and Heian Shakuhachi 66
3.2 The Shakuhachi of the Middle Ages (1185-1600) 73
3.2.1 Literary References to the Shakuhachi in the Middle Ages 77
3.2.2 The Shakuhachi and Buddhism in the Middle Ages 79
3.2.3 Classification of shakuhachi of the Middle Ages 86
3.3 Types of Shakuhachi in the Edo Period. 90
3.3.1 The Hitoyogiri 91
3.3.2 Tempuku 98
3.4. From Komosô (薦僧) to Komusô (虚無僧) 102
3.5 The Fuke sect 110
3.5.1 The early Fuke sect 110
3.5.2 The Keichô no Okitegaki and the Ordinance of 1677 115
3.5.3 The San'in sangu 122
3.5.4 The Organization and Activities of the Fuke sect 128
3.5.5 The Decline and demise of the Fuke sect 135
3.6 The shakuhachi as a secular musical instrument 139
3.7 Suizen after the abolition of the Fuke sect 149
3.8 Transmission of honkyoku from the Meiji era to the present 153
4. TRANSMITTING "THE BELL"; A CASE STUDY OF THE PIECE "REIBO" 165
4.1 The Word "Reibo" and related terms 165
4.2 Classification of "Reibo" titles 170
4.3 The Ôshû family of the "Reibo" piece 173
4.3.1 "Shôganken reibo" lineage 178
4.3.2 "Futaiken reibo" lineage 183
4.3.3 A Third Lineage of Transmission of the Ôshû family of the "Reibo" piece 189
4.4 Lineage chart of the Transmission of "Ôshû kei 'Reibo'" 191
5. ONTOLOGY OF TRANSMISSION; THE NATURE OF THE REALITY OF HONKYOKU TRANSMISSION 197
5.1 Concepts of subjectivity, objectivity, and sound 198
5.2 Orality, Zen and the Shakuhachi Honkyoku 210
5.2.1 Orality and Music 218
5.2.2 Orality and the Transmission of Shakuhachi Honkyoku 224
5.2.3 Dreams 230
5.3 Documents and Performance 237
5.4 Three formal elements of transmission in the honkyoku tradition: lineage, lessons, and notation 249
5.5 The fourth formal element of transmission: performance 260
5.5.1 The aspect of timbre 261
5.5.2 The aspect of pitch 271
5.5.3 The aspect of rhythm 282
5.6 Ideologies of transmission 287
5.6.1 The ideology of honkyoku as sacred object 288
5.6.2 The ideology of honkyoku as music 292
5.6.3 The ideology of honkyoku as transcending 'object' and 'music' 295
6. AN ANALYSIS OF SHAKUHACHI HONKYOKU 305
6.1 Musicological approaches to honkyoku analysis 306
6.1.1 Transcribing honkyoku 310
6.1.2 Existing musicological analyses that use transmission 316
6.1.3 Analyses of honkyoku scores 326
6.2 Tradition-based approaches to honkyoku analyses within the shakuhachi tradition 331
6.2.1 Informal oral analyses 342
6.3 Methodology of transcription and analsis 346
6.3.1 The recordings 348
6.3.2 Transcription method 353
6.3.3 The orthographically simplified transcription 358
6.3.4 Lining up the orthographically simplified transcriptions 359
6.4 Comparative analysis of "Reibo" 369
6.4.1 Establishing a common identity for the ten pieces using data from the transcriptions 371
6.4.2 Comparison of the two groups, Futaiken reibo" and "Shôganken reibo" 376
6.4.3 Comparisons within a single lineage within one group 384
6.4.3.1 Jin-Sakai lineage 385
6.4.3.2 Uramoto-Watazumi-Yokoyama-Iwamoto lineage 387
6.4.3.3 Watazumi-Yokoyama-Iwamoto lineage 389
6.4.4 Comparison between the transcriptions of Uramoto and Jin 397
6.4.5 Analysis of the Uramoto-Watazumi lineage 403
7. CONCLUSION 417
 
FIGURES 429
 
TABLES 503
 
APPENDIX 1. Transcriptions 509
APPENDIX 2. Orthographically simplified transcriptions 569
APPENDIX 3. Lining up of the orthographically simplified transcriptions 595
APPENDIX 4. Okamoto's analysis of the first six phrases of "Reibo" in the original Japanese 636
APPENDIX 5. Scores of the "Reibo" pieces in traditional shakuhachi notation 638
 
BIBLIOGRAPHY 651
 
APPENDIX 6. List of pieces on cassette tapes 684