> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
--B_3144322369_1661330
if we=B9re not careful, we=B9ll miss the forest for the trees.......
--=20
Tim Cassler
Toolbox Studios, Inc.
454 Soledad, Suite 100
San Antonio, TX 78205
210.225.8269 x111
fax.225.8200
> From: Herb Rodriguez <Herb.Rodriguez@Colorado.edu>
> Reply-To: Shakuhachi@communication.ucsd.edu
> Date: Thu, 21 Aug 2003 13:29:36 -0600
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: on vibrato
>=20
>=20
> At 08/20/2003 10:45 AM, you wrote:
>>> > "Do not seek to follow the footsteps of the masters. Seek what they
>>> sought."
>>=20
>> Great quote, Herb! Now, how does that translate into particulars, in our=
yuri
>> discussion, for example? That's always the hard part, isn't it?
>>=20
> Peter
>=20
> To yuri, or not to yuri, that is the question:
> Whether 'tis nobler in the mind to suffer
> The slings and arrows of outrageous censure ;
> Or to take bamboo against a sea of troubles,
> And by satori, end them:
>=20
> Peter,
>=20
> As always, everyone will come to their own understanding/interpretation o=
f a
> quote like this. Nelson gave his understanding of it and arrived at a
> conclusion I never would have thought of.
>=20
> The way I understood it was a little more mundane.
>=20
> 1- Are you deciding to do yuri or not do yuri simply because your teacher=
told
> you so and you are an unquestioning obedient student?
>=20
> 2- Are you a historian or archivist who wants to preserve how to play the
> piece *exactly* the was you were taught by your teacher, the way it was p=
assed
> on to him or her and therefore you want to pass it on exactly that same w=
ay as
> well?
>=20
> 3- Do you want to use the teacher's suggestions as a guide to get you sta=
rted,
> perfecting it yes, but as you practice you seek your own understanding of=
the
> *essence* of the piece? Do you want to find a deeper understanding, going
> deeper and deeper until the essence of the pieces expresses itself throug=
h you
> to the point where you understand from deep within when yuri (or any
> technique) is appropriate to use or not to use to express this essence? D=
o you
> want to go deep enough that you can express the essence of the piece in s=
uch a
> way that it will come out whether or not you use yuri, either way will st=
ill
> express the essence, albeit with different shadings?
>=20
> There is nothing wrong with the first two examples I give. They each have
> their own level of importance. They each have their own level of ease and
> difficulty.
>=20
> The third way is simply different, sometimes harder, maybe more lonely, m=
ore
> challenging, more boring. Maybe requiring more courage in the fact that y=
ou
> are exploring "the undiscovered country", or maybe going against the grai=
n of
> the "historians". Yet, isn't that what we look for in our brilliant music=
ians
> and spiritual teachers, ie, their unique expression of the *universal* fr=
om
> their own deep exploration that touches and resonates with us and reminds=
us
> of our connection with the universal? Isn't that what we admire and try t=
o
> emulate? Isn't that why we play shakuhachi (or any music) or meditate:
> "to seek what they sought" ; to find our connection with the universal or=
the
> divine?
>=20
> ---------
> If I may make a brief comment on what Nelson wrote:
>=20
> "But let me introduce a little different slant. Maybe what the master sou=
ght
> is of little interest to me, maybe it's beyond my particular capabilities=
, and
> why should I pattern my life on the master's needs anyway? So maybe I sho=
uld
> seek not what the master sought but, instead, what I need. I can emulate =
the
> master's perseverance and dedication without using the master's particula=
r
> goals. I don't have much idea what the master sought (why should I care?=
) but
> I have some sense of what I'm after."
> --------------
> Nelson,
>=20
> There is a school of thought that says ultimately, we all have the same n=
eeds,
> eg returning to our connection to the "divine", or "universal experience"=
, or
> "the experience of Universal unconditional Love", however you want to def=
ine
> it. On the surface, needs may seem different. But if you go deep enough,
> really deep, and ignore "labels", what the master "needs" and sought is
> essentially the same as what you think you "need" and seek. "A rose by an=
y
> other name..."
>=20
> So yes, "...emulate the master's perseverance and dedication..." for your=
own
> goals. Maybe you'll discover you reached the same place?
>=20
> Just a thought.
>=20
> Herb=20
>=20
--B_3144322369_1661330
<HTML>
<HEAD>
<TITLE>Re: on vibrato</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Verdana">if we’re not careful, we’ll miss the fores=
t for the trees.......<BR>
<BR>
-- <BR>
<BR>
Tim Cassler<BR>
Toolbox Studios, Inc.<BR>
454 Soledad, Suite 100<BR>
San Antonio, TX 78205<BR>
<BR>
210.225.8269 x111<BR>
fax.225.8200<BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Verdana"><BR>
<B>From: </B>Herb Rodriguez <Herb.Rodriguez@Colorado.edu><BR>
<B>Reply-To: </B>Shakuhachi@communication.ucsd.edu<BR>
<B>Date: </B>Thu, 21 Aug 2003 13:29:36 -0600<BR>
<B>To: </B>Shakuhachi@communication.ucsd.edu<BR>
<B>Subject: </B>Re: on vibrato<BR>
<BR>
</FONT></BLOCKQUOTE><FONT FACE=3D"Verdana"><BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Verdana">At 08/20/2003 10:45 AM, you wrote:<=
BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Verdana">> "Do not seek to follow th=
e footsteps of the masters. Seek what they sought."<BR>
<BR>
Great quote, Herb! Now, how does that translate into particulars, in our yu=
ri discussion, for example? That's always the hard part, isn't it?<BR>
<BR>
</FONT></BLOCKQUOTE><FONT FACE=3D"Verdana">Peter<BR>
<BR>
To yuri, or not to yuri, that is the question:<BR>
Whether 'tis nobler in the mind to suffer<BR>
The slings and arrows of outrageous censure ;<BR>
Or to take bamboo against a sea of troubles,<BR>
And by satori, end them: <BR>
<BR>
Peter,<BR>
<BR>
As always, everyone will come to their own understanding/interpretation of =
a quote like this. Nelson gave his understanding of it and arrived at a conc=
lusion I never would have thought of.<BR>
<BR>
The way I understood it was a little more mundane. <BR>
<BR>
1- Are you deciding to do yuri or not do yuri simply because your teacher t=
old you so and you are an unquestioning obedient student?<BR>
<BR>
2- Are you a historian or archivist who wants to preserve how to play the p=
iece *exactly* the was you were taught by your teacher, the way it was passe=
d on to him or her and therefore you want to pass it on exactly that same wa=
y as well?<BR>
<BR>
3- Do you want to use the teacher's suggestions as a guide to get you start=
ed, perfecting it yes, but as you practice you seek your own understanding o=
f the *essence* of the piece? Do you want to find a deeper understanding, go=
ing deeper and deeper until the essence of the pieces expresses itself throu=
gh you to the point where you understand from deep within when yuri (or any =
technique) is appropriate to use or not to use to express this essence? Do y=
ou want to go deep enough that you can express the essence of the piece in s=
uch a way that it will come out whether or not you use yuri, either way will=
still express the essence, albeit with different shadings?<BR>
<BR>
There is nothing wrong with the first two examples I give. They each have t=
heir own level of importance. They each have their own level of ease and dif=
ficulty.<BR>
<BR>
The third way is simply different, sometimes harder, maybe more lonely, mor=
e challenging, more boring. Maybe requiring more courage in the fact that yo=
u are exploring "the undiscovered country", or maybe going against=
the grain of the "historians". Yet, isn't that what we look for i=
n our brilliant musicians and spiritual teachers, ie, their unique expressio=
n of the *universal* from their own deep exploration that touches and resona=
tes with us and reminds us of our connection with the universal? Isn't that =
what we admire and try to emulate? Isn't that why we play shakuhachi (or any=
music) or meditate: <BR>
"to seek what they sought" ; to find our connection with the univ=
ersal or the divine?<BR>
<BR>
---------<BR>
If I may make a brief comment on what Nelson wrote:<BR>
<BR>
"But let me introduce a little different slant. Maybe what the master =
sought is of little interest to me, maybe it's beyond my particular capabili=
ties, and why should I pattern my life on the master's needs anyway? So mayb=
e I should seek not what the master sought but, instead, what I need. I can =
emulate the master's perseverance and dedication without using the master's =
particular goals. I don't have much idea what the master sought (why s=
hould I care?) but I have some sense of what I'm after."<BR>
--------------<BR>
Nelson,<BR>
<BR>
There is a school of thought that says ultimately, we all have the same nee=
ds, eg returning to our connection to the "divine", or "unive=
rsal experience", or "the experience of Universal unconditional Lo=
ve", however you want to define it. On the surface, needs may seem diff=
erent. But if you go deep enough, really deep, and ignore "labels"=
, what the master "needs" and sought is essentially the same as wh=
at you think you "need" and seek. "A rose by any other name..=
."<BR>
<BR>
So yes, "...emulate the master's perseverance and dedication..." =
for your own goals. Maybe you'll discover you reached the same place? <BR>
<BR>
Just a thought.<BR>
<BR>
Herb <BR>
</FONT></BLOCKQUOTE><FONT FACE=3D"Verdana"><BR>
</FONT>
</BODY>
</HTML>
--B_3144322369_1661330--
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