LIST OF CHARTS

Genealogy chart 1.	179
Genealogy chart 2.	179
Genealogy chart 3.	184
Genealogy chart 4.	188
Genealogy chart 5.	190
Genealogy chart 6.	192
Genealogy chart 7.	356

LIST OF FIGURES

Figure 1.	Example of handwritten score of Yamaue Getsuzan	429
Figure 2.	Example of Furuya score	430
Figure 3.	Araki score of "Shika no tône"	431-432
Figure 4.	Comparisons of scores of "Shôganken reibo"	433
Figure 5.	Excerpts from published score of "Kyûshû reibo"	434
Figure 6.	Treitler's examples of recurring melodic patterns in Gregorian chant	435
Figure 7.	Example of dai furi in "Yamato Chôshi"	436
Figure 8.	Spectral evolution of a tone played on a traverse flute	437
Figure 9.	Spectral evolution of two tones played on a shakuhachi	437
Figure 10.	Example of a meri kari pair within one phrase	438
Figure 11.	Example of meri kari pair over two phrases	438
Figure 12.	Yin and yang in honkyoku tone cells	438
Figure 13.	Honkyoku scores with minimal duration markings	439
Figure 14.	Example of Kinko honkyoku score with duration markings	439
Figure 15.	Example of Chikuho honkyoku score with duration markings	439
Figure 16.	Transnotation of "Kyorei"	440
Figure 17.	Examples from Weisgarber's analysis	441
Figure 18.	Example of graphic notation	442
Figure 19.	Some problems with staff notation regarding sharps and flats	443
Figure 20.	Transcription using colours to denote meri/kari technique	443
Figure 21.	Changes to orthographically simplified transcriptions	444
Figure 22.	Transcriptions of formal divisions in "Shôganken reibo" as per traditional scores	445
Figure 23.	Transcriptions of formal divisions in "Futaiken reibo" as per traditional scores	446
Figure 24.	Example of correlation of core notes	447
Figure 25.	Two examples of reibo no te melodic pattern	448
Figure 26.	Example of notes of long duration shared by transcriptions	449
Figure 27.	Division between shirabe and honte section	450
Figure 28.	Division between honte and takane section in "Shôganken reibo"	451
Figure 29.	Division between honte and takane section in "Futaiken reibo"	452
Figure 30.	Division marking beginning of hachigaeshi section	453
Figure 31.	Division between hachigaeshi and musubi section in "Shôganken reibo"	454
Figure 32.	Beginning of FR musubi section	455
Figure 33.	Beginning of SR musubi section	456
Figure 34.	Ending of "Sho^ganken reibo"	457
Figure 35.	Ending of "Futaiken reibo"	457
Figure 36.	First occurrence of cadential formulae 1 and 2	458
Figure 37.	Second and third occurrence of cadential formula 2	459
Figure 38.	Fourth occurrence of cadential formula 2	460
Figure 39.	Fifth and sixth occurrence of cadential formula 2	461
Figure 40.	Cadential formula ending SR takane section	462
Figure 41.	Cadential formula ending FR takane and SR takane gaeshi sections	463
Figure 42.	Cadential formula ending FR hachigaeshi section	464
Figure 43.	Cadential formula ending SR hachigaeshi section	465
Figure 44.	Comparision of formulae 1 & 2 and their location	466
Figure 45.	Example 1 of material not shared by two groups	467
Figure 46.	Example 2 of material not shared by two groups	468
Figure 47.	Example 3 of material not shared by two groups	469
Figure 48.	Example 4 of material not shared by two groups	470
Figure 49.	Example 5 of material not shared by two groups	471
Figure 50.	Example 6 of material not shared by two groups	472
Figure 51.	Example 7 of material not shared by two groups	473
Figure 52.	Example 8 of material not shared by two groups	474
Figure 53.	Example 9 of material not shared by two groups	475
Figure 54.	Example 10 of material not shared by two groups	476
Figure 55.	Comparison 1 of Jin/Sakai material	477
Figure 56.	Comparison 2 of Jin/Sakai material	478
Figure 57.	Comparison 3 of Jin/Sakai material	479
Figure 58.	Comparison 4 of Jin/Sakai material	480
Figure 59.	Comparison 5 of Jin/Sakai material	481
Figure 60.	Comparison 6 of Jin/Sakai material	482
Figure 61.	Comparison 1 of Uramoto/Watazumi/Yokoyama material	483
Figure 62.	Reibo no te used for detailed analysis	484
Figure 63.	Comparison 1 of Watazumi/Yokoyama/Iwamoto material	485
Figure 64.	Comparison 2 of Watazumi/Yokoyama/Iwamoto material	486
Figure 65.	Comparison 3 of Watazumi/Yokoyama/Iwamoto material	487
Figure 66.	Comparison 4 of Watazumi/Yokoyama/Iwamoto material	488
Figure 67.	Comparison 1 of Uramoto/Jin material	489
Figure 68.	Comparison 2 of Uramoto/Jin material	490
Figure 69.	Material unique to Uramoto	491
Figure 70.	Comparison 1 of Uramoto/Watazumi material	492
Figure 71.	Comparison 2 of Uramoto/Watazumi material	493
Figure 72.	Comparison 3 of Uramoto/Watazumi material	493
Figure 73.	Comparison 4 of Uramoto/Watazumi material	494
Figure 74.	Comparison 5 of Uramoto/Watazumi material	494
Figure 75.	Comparison 6 of Uramoto/Watazumi material	495
Figure 76.	Comparison 7 of Uramoto/Watazumi material	495a
Figure 77.	Comparison 1 of Uramoto/Watazumi reibo no te	496
Figure 78.	Comparison 2 of Uramoto/Watazumi reibo no te	497
Figure 79.	Comparison 3 of Uramoto/Watazumi reibo no te	497
Figure 80.	Details of reibo no te #1	498
Figure 81.	Details of reibo no te #2	499
Figure 82.	Details of reibo no te #3	500
Figure 83.	Details of reibo no te #4	501
Figure 84.	Comparison of reibo no te in ten performances	502

LIST OF ILLUSTRATIONS

Illustration 1.	Blowing edges for shakuhachi, hitoyogiri, tempuku, dongxiao, and tanteki	61
Illustration 2.	Pictorial evidence from Nara-Heian periods	68
Illustration 3.	Drawing of five hole shakuhachi in Taigensho	76
Illustration 4.	Biwa hoshi with shakuhachi	76
Illustration 5.	"Picture or Rôan Playing the Flute"	82
Illustration 6.	Komosô in Sanjûniban shokunin awase uta	82
Illustration 7.	Hitoyogiri performance and practice session	95
Illustration 8.	Komosô (straw mat priest)	95
Illustration 9.	Drawings of tempuku performances	99
Illustration 10.	Diagram of shakuhachi holes and symbolic names	126
Illustration 11.	Six examples of Edo period drawings of komusô	134
Illustration 12.	Komusô 'dandies'	134
Illustration 13.	Edo period sankyoku performance	141
Illustration 14.	Edo period min'yô performance	141

LIST OF TABLES

Table 1.	Combinations of fingerings and meri/kari techniques to produce the pitch g'	503
Table 2.	Comparison of formal sections in "Reibo" family of pieces	504
Table 3.	Formal divisions of "Futaiken reibo" and "Shôganken reibo"	505
Table 4.	Reibo no te locations within the formal divisions	506
Table 5.	Three methods of performing g" in reibo no te	507
Table 6.	Musical events found in phrases F:U8-10	508