Joseph Perkins
BMus
Part 2: 2012/2013
Music Traditions of the Far East (MU2112/3112) Dr Steve Stanton
Project
Second Copy
The Zen Aesthetics of the Shakuhachi.
2703 words
1
The moon floats above the pines And the ancient veranda is cold As the ancient clear sounds come to your fingertips. The old melody usually makes the listeners weep But Zen music is without sentiment Do not play again until the great sound of Lao Tzu accompanies you.1
Few musical instruments have had a more colourful past than the shakuhachi. It has been used as an instrument for meditation, a weapon in the form of a bludgeon, and as a purely musical instrument.2
In this project I am going to talk about the Zen aesthetics of the Shakuhachi, and the art of suizen.
The word ‘sui’ means to play or create a sound on a musical instrument and is an alternative contemplation to the usual ‘zazen’ – a seated meditation which aims at emptiness and enlightenment. As a spiritual device of Zen Buddhism, the Shakuhachi’s importance is primarily considered to be this sound or suizen (‘blowing Zen’), which is not thought of as music or performance. Indeed, the aim is not to think ‘musically’ whilst playing. Instead, its use is intended as Zen practice, similar to the contemplation of ‘the sound of one hand clapping’ in the Zen kōan of
Hakuin Ekaku.3 In Zen philosophy, meditation is very difficult to define and meditation through suizen is notoriously difficult to achieve. Significantly, the above poem is directed at the player of the Shakuachi, not an audience, indicating that the main aim is individual spiritual contemplation.
As such, there is a continuing debate over whether the Shakuachi should be classified as a musical instrument (gakki), or a spiritual device (hōki). The majority of performers approach the
Shakuhachi as either strictly musical or spiritual in practice. Indeed, it is thought that to play
‘beautifully’ is at best unimportant, and at worst offensive, because beauty is considered as temporary and subjective. Zen practice is central to notions of ‘Japanese authenticity’, and so when
1 Hsueh-Tou (980-1052) Zen Master, http://www.stanrichardson.com/article_2.html Accessed 20th May 2013 2 Berger, Donald Paul, Review of Blasdel, Christopher Yohmei, The Shakuhachi, A Manual for Learning: Learning to Play: History and Development, Asian Music, Vol. 21 No. 1(Autumn, 1989- winter, 1990) pp.177-179 3 Hakuin Ekaku (1686 -1768) influential character in Japanese Zen Buddhism. A kōan is a Buddhist story or problem designed to provoke what is termed as the ‘great doubt’ in Buddhist practitioners in order to test their belief. 2 ‘westerners’ play Shakuhachi, it is argued that many foundational aesthetics are lost. However, it may be difficult to defend and retain these arbitrary national and cultural boundaries in a rapidly increasing global community. I am also going to talk about what defines the practice of Zen in itself and how this relates to the instrument. Western attachment to material things, the association of sentiment and emotion with music is long established and ingrained in our psyche, but Buddhism teaches that physical and material attachment to the world is the source of human misery, ‘the old melody usually makes the listeners weep.’ As a spiritual device, the Shakuhachi is traditionally used to remove this attachment through sound meditation described as ‘Ichi-on Jobutsu’ or
‘enlightenment in one tone’,4 this is employed in order to achieve ‘Ma’ the Japanese concept of enlightenment: space and emptiness.5 The concept of Ma is not dissimilar to the appreciation of silence in śākyamuni6 and, significantly, Zen aesthetics and philosophy do not differentiate distinct boundaries between ‘life’ and ‘music’ or ‘art’.
Shakuhachi music can be divided into three main categories. The first of which are the honkyoku, meaning original pieces. There are three compositions in particular that are thought to be the foundation of all Shakuhachi music; Kyorei, Mukaiji and Kokūreibo. Today they are performed with the same melodic style and scales as established in the Edo period (the in and yō scales). These are considered the classical repertoire of the shakuhachi. The instrument is notoriously difficult to play, the principal of ‘performance’, or more accurately suizen, mirrors that of an organ pipe, as structurally it is no more than a hollow tube with a slight cut at the end called utaguchi.
Edo-period sources commonly use the term komusō shakuhachi to describe the instrument. They were used exclusively by the komusō priests (members of the fuke sect of Zen). They were not drawn primarily from the “seekers of Buddha’s paradise; rather they were filled with rōnin,
4 Shakuachi Glossary, http://www.japanshakuhachi.com/glossary.html Accessed 20/5/2013 5 Ibid. 6 Zen philosophy of emptiness named after one of the titles of the Buddha, and translated from the Sanskrit as ‘hermit of the Sãkhya tribe,. http://www.thefreedictionary.com/Sakyamuni Accessed 20/5/2013 3 masterless samurai who had lost their original rank and privileges during the violent clan struggles that marked the late sixteenth century. These men sought satisfaction more in earthly revenge than in heavenly rewards.”7 The komusō traditionally wear a tengai, a basket hat that’s purpose is to hide the identity and remain in one’s own spiritual world of meditation. Meditation in shakuhachi practice also plays a part in the West. According to Keister, “Although most of the 58 respondents claimed their first interest in the shakuhachi was due to the quality of the ‘sound’ or ‘tone colour’
(neiro), the majority of Western respondents made a direct connection between the shakuhachi and meditation, while the majority of Japanese respondents rejected any such connections.”8 There was an abolition of the fuke sect, named after it’s presumed Chinese founder, Puhua in 1871, this led to changes in both the musical and spiritual attitude the instrument in. It had no doctrines and it’s way to obtain Zen meditation was through ‘Blowing Zen’.
The Shakuhachi is a relatively, and significantly, modest construction of thick Bamboo, lacquered only on the inside., yet it’s traditional repertoire or ‘honkyoku’ has been described as ‘one of the great treasure troves of classical music in the world.’ 9 The Shakuachi is approximately 20 to 20.5 inches long, and the internal diameter of the instrument measures 1 inch at the top and 1.5 inches at the base, the external diameter is 1.5 at the top and 2 inches at the base (although outer diameter often changes), which is cut to include the natural root-swell of the reed. It has four upper holes, and a thumbhole underneath. By half opening the finger holes the full Chinese chromatic scale can be produced. A skillful performer can span three octaves, although traditional pieces don’t exceed two octaves and a fourth.10
The Shakuachi is almost exclusively a solo instrument, with the exception of sometimes
7 Traditional Japanese music and musical instruments. Pp.168. 8 Keister, Jay. "The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in the West. Pp.123 9 ‘The Shakuachi Path, A Walk in the Garden’ , http://www.japanshakuhachi.com/theartofhonkyoku.html Accessed 20/5/2013 10 "Shakuhachi." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 23 May. 2013. http://www.oxfordmusiconline.com.wam.city.ac.uk/subscriber/article/grove/music/25572>. 4 accompanying the Samisen (a three stringed Japanese lute). It is thought that the original Chinese instrument may have evolved from pitch pipes used to tune the court orchestra. The instrument came to Japan as part of the tōgaku ensemble of gagaku11 and has been adapted various times since.
The hitoyogiri, a distinctively shorter instrument, was prevalent in the late sixteenth to seventeenth centuries, but became less used. The tenpuku is a narrower version of the shakuhachi. The fuke or komusō shakuhachi was developed specifically for religious use of hoki. There have also been modern alterations such as in the 1920’s and 30’s with seven holes (although this had been devised long before in China), which features a similar key system as the western flute. However the most predominantly used today is the fuke shakuhachi.
It is thought that the Shakuhachi was initially introduced to Japan from China and established there as long ago as 1335. The Shakuhachi’s initial evolution from China, it’s importance in relation to
Zen and Buddhism generally, has possibly been the major cause of its global attraction.
Westerners still seek to find spiritual meaning in the ancient East and its religions, and Buddhism has increasingly become a chosen spiritual conviction across the globe. It is significant that the quotation at the beginning of this essay is from the Chinese Zen Master Hseuh-Tou (980-1052), and is currently cited on the web page of the Texas Branch of the Mujuan Dojo. It is thought that to learn the shakuhachi practice is the closest way to articulate Zen understanding and, as a consequence, the ‘music’ and ‘repertoire’ are still to a certain extent being produced, although obviously the aesthetics are similarly evolving. The shakuhachi is thought to encompass the more individualistic traits of Zen, and therefore acts as an accurate aid in “cross-cultural appropriation”.
11 ‘Traditional court and religious music of Japan. It first appeared in Japan as an import from Korea in the 5th century AD and had become established at court by the 8th century. Though little notation from before the 12th century survives, a mostly later body of music continues to be performed at Shinto ceremonies. Gagaku employs transverse flute (ryuteki), double-reed pipe (hichiriki), mouth organ (sho), gong (shoko), drums, and stringed instruments including the biwa (see pipa) and koto. It may accompany dance (bugaku) or be played independently (kangen); it is further classified either as togaku, the so-called music of the left (which included Chinese and Indian materials), or as komagaku, the music of the right (including Korean examples). (The terms left and right were derived from the Confucian-based administration system of the capital during the Heian period.)’ http://www.merriam- webster.com/dictionary/gagaku Accessed 20/5/2013 5 12 Despite this, shakuhachi music in Japan still holds tradition as the most important factor. As a result, it is still considered that there is less importance in personal expression and more on faithful reproduction of the traditional canon of work. This could be seen as a conscious move away from
Zen and in particular hōki. It is being used more in a ‘musical’ sense, or gakki. The foundation of spiritual shakuhachi, gakki, is found only in the solo repertoire honkyoku. It was first established by the komusō monks, which I will explain later on. The opposite of the traditional pieces honkyoku are the gaikyoku (outside pieces).
Kominato Akihisa is a modern performer of the shakuhachi, and performs mainly gaikyoku. “The
Shakuhachi definitely has a spiritual force. If you close your eyes when you are playing, you feel as if you are entering into dialogue with yourself and becoming at one with the universe.”13 Despite playing the ‘outside pieces’, he is describing a Zen experience with the music. For Akihisa, making the shakuhachi ‘sing’ is the secret of its ‘universe of possibilities’. Akihisa, along with various other modern players such as Atsuya Okuda (who is heavily Jazz influenced) and James Nyoraku Schlefer
(a contemporary virtuoso), have continued to keep the shakuhachi practice a popular/contemporary tradition. These performers are also renowned ‘composers’ of modern shakuhachi music and arrangements.
Form and structure are also significant in precisely understanding Shakuhachi practice. The term for this is kata. It dictates the way in which certain pieces should be ‘performed’, including the behavior of musicians. The importance is in “precision and grace”14, and other aspects that are not specifically ‘musical’. Bowing and respectful language from a student (deshi) to a teacher (sensei) is as important as the music. When shakuhachi is taught by the sensei there is extremely rarely any spoken expression. Shakuhachi practice is predominantly taught through precise imitation until they are learnt. The ‘physical transformation’ is called the iemoto. The iemoto is regarded the height
12 Keister, Jay. "The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in the West."Pp.100 13 http://www.youtube.com/watch?v=f395yfoZGGw 14 Keister, Jay. "The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in the West."Pp.101 6 of artistic standard, and once achieved, allows the proficiency to become a sensei and perform.
Despite this, the lifelong practice of self-development is infinite; this is reflective of Zen aesthetics.
This process is identical to all instruments of the hōgaku, where deshi study a specific school and establish honorary positions. The positions are known as the geimei, which are achieved by years of training and performances/recitals known as osaraikai.
Aesthetics in Japan have undoubtedly changed through the centuries, nor were they unaffected by social class and education. It is impossible to make wholly accurate generalities when talking about
Japanese aesthetics, however there are identifying features that make them distinctively Japanese.
Many Japanese Aesthetics stem from Zen Buddhism, and more generally Zen. Today, a wide variety of music is played often regardless of Zen meditative practice.
According to Zen Buddhism, wherever there is life, art and philosophy, Zen exists. “There is nothing hidden in Zen: all is manifest, and only the dim-eyed ones are barred from seeing it.”15 There are many ways of communicating Zen, and silence is one of them. Human silence is different to silence of others such as animals, and is seen as an eloquent form of communication. A common misconception is that Zen can be described as a system of philosophy, although it is thought to be more than this. Achieving enlightenment through the experience of Śākyamuni, or ‘emptiness’.
‘Emptiness’ is not at all a pejorative term, but what makes the existence of everything possible.
Therefore, Zen is to be experienced and not conceptualized, documented or notated.
Time is an important aspect of Zen, and consequently Shakuhachi practice. Zen considers ‘time’ and
‘eternity’ as the same, which is important to achieve a state of ‘emptiness’. Space is another important concept, in all aspects of Zen. According to Daisetz Teitaro Suzuki, “A free Zen-man has no such abode anywhere; he lives in a circle whose circumference has no limits.”16 Suzuki
15 The philosophy of Zen pp. 3 16 The philosophy of Zen pp. 9 7 continuous that this is perhaps why ‘Zen sometimes has associations with solitariness and a certain detachment from the ‘masses’, to the extent that you stay local to your community. I do not fully agree with this statement, as a person with supposedly ‘no limits’ does not necessarily have a detachment from the ‘masses’. However it is true that the importance of ‘space’ is reflected not only in state of mind, but through shakuhachi practice. The concept of ma in particular supports this.
The Japanese aesthetic known as ma can be roughly translated to the “space between two structural parts.” This is of course referring to the music, or more accurately, shakuhachi practice.
Purity plays an important role in the Zen aesthetic, “The use of a single natural rock for the bridge over a tiny pond or for a water basin suggests the love of the texture of the stone untampered with by human skill”.17 There are perhaps a couple of problems with this quote, in particular the idea of human skill as an uninvolved factor. However it complies with the idea of the Zen appreciation of organic attributes in life and the Arts. This is reflective of the Japanese Shakuhachi, as a spiritual tool as well as an instrument.
There is a great importance of self-transformation through art, is not expressed verbally, but behaviorally through the practice of playing the instrument. The process of self-development is important for learning the instruments of hōgaku, such as the koto, shamisen and shakuhachi.
However it is the honkyoku tradition and it’s Zen Buddhist philosophical background that sets the shakuhachi apart from other Japanese instruments. The foundation of spirituality with the
Shakuhachi, stems from the honkyoku repertoire. Honkyoku translates to ‘original’ or ‘main music’, and is a solo repertoire first developed by the kumusō monks of the Fuke sect during Japan’s Edo era (1601-1868). The importance is grounded in producing a sound, valuing the process of
‘blowing Zen’ rather than what is actually heard. This is why the shakuhachi is traditionally played for the pleasure of the individual and not an audience.
17 Philosophy East and West. pp.301 8 To truly appreciate shakuhachi practice, understanding it’s holistic aesthetic is undoubtedly important for an informed analysis. It would be incorrect to think of the music as merely a succession of phrases and techniques, although for an analysis from a western perspective it is unavoidable. However, the shakuhachi is thought to be one of the most aesthetically pleasing ways for westerners to appreciate the spiritual values of Zen. On the other hand, Buddhism is thought more adaptable to the West, which can provide musicians interested in understanding Japanese aesthetics.
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