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To Kyorei or Shin-no-Kyorei lovers everywhere:
I understand Takashi Tokuyama is the founder of the Tokuyama Honkyoku =
Kai in Tokyo, and has traveled throughout Japan, researching and =
transcribing honkyoku, some of which are rare and known only to a few =
surviving players.
According to Monty Levenson, at =
http://www.shakuhachi.com/SM-Tokuyama-Michi.html, Monty sells a CD, =
entitled Takashi Tokuyama, Volume IV - MICHI, which contains "#4. =
SHIN-NO-KYOREI (13'29")." And, he sells the notation for =
SHIN-NO-KYOREI, under his catalog #R-1. And - NOW PAY CLOSE ATTENTION =
HERE FOLKS - Monty describes this "SHIN-NO-KYOREI" as follows: This =
piece was preserved by the older (Shinpo-ryu school) the temple of =
Meianji in Kyoto. The original Kyorei is extremely simple in =
arrangement, with an ancient and holy sentiment. Shin-no-kyorei is =
played in a minor scale and evokes feelings of nostalgia (especially by =
the use of the flatted second and sixth within the scale). When this =
music is played slowly, it suggests a certain sacred quality. =
Shin-no-kyorei is one of three basic honkyoku pieces which each have a =
"Shin", "Gyo", and "so" version, which are very similar and are =
essentially different in name only.
BUT, CONTRARIWISE, the International Shakuhachi Society, at =
http://www.komuso.com/pieces/Shin_Kyorei.html - in describing "KYOREI" - =
NOT "SHIN-NO-KYOREI", BUT "KYOREI" - uses precisely the exact words =
Monty Levenson uses in describing "SHIN-NO-KYOREI", to wit: This piece =
was preserved by the older (Shinpo-ryu school) the temple of Meianji in =
Kyoto. The original Kyorei is extremely simple in arrangement, with an =
ancient and holy sentiment. Shin-no-kyorei is played in a minor scale =
and evokes feelings of nostalgia (especially by the use of the flatted =
second and sixth within the scale). When this music is played slowly, it =
suggests a certain sacred quality. Shin-no-kyorei is one of three basic =
honkyoku pieces which each have a "Shin", "Gyo", and "so" version, which =
are very similar and are essentially different in name only.=20
Now, in addition, Monty Levenson also sells, under his catalog #S-T3b, a =
CD entitled "TAKASHI TOKUYAMA, VOLUME II - KYOREI", which contains a =
piece Tokuyama entitles "1. KYOREI (11'40")." And, under his catalog =
#R-3 Monty sells the notation for this "KYOREI". He describes it as =
follows: This piece is the oldest and closest in spirit to suizen =
(blowing Zen). Very straightforward in character, it is nevertheless a =
special piece and most respected of the honkyoku repertoire. The monk, =
Chohaku, had been fascinated by the sound of the wooden bell and sought =
to interpret that spirit of the bell to the shakuhachi. He subsequently =
taught this piece to Hotto, a fellow Zen monk, who founded Kokoku =
temple. =20
And whatever it is I hear Jin Nyodo playing, it definitely is NOT "very =
straightforward in character." Au contraire, it precisely fits Monty's =
description of "SHIN-NO-KYOREI," played in a minor scale and evokes =
feelings of nostalgia (especially by the use of the flatted second and =
sixth within the scale).
So . . . .
We do have a piece entitled KYOREI.
And a piece called SHIN-NO-KYOREI.
But the International Shakuhachi Society describes KYOREI in the exact =
identical words which Monty uses to describe his SHIN-NO-KYOREI. =
Hmmmmmmm. . . .
No wonder someone as dumb as I am remains confused.
Gene
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<META content=3D"MSHTML 6.00.2800.1276" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>To Kyorei or Shin-no-Kyorei lovers everywhere:</DIV>
<DIV> </DIV>
<DIV>I understand Takashi Tokuyama is the founder of the Tokuyama =
Honkyoku Kai=20
in Tokyo, and has traveled throughout Japan, researching and =
transcribing=20
honkyoku, some of which are rare and known only to a few surviving=20
players.</DIV>
<DIV> </DIV>
<DIV>According to Monty Levenson, at <A=20
href=3D"http://www.shakuhachi.com/SM-Tokuyama-Michi.html">http://www.shak=
uhachi.com/SM-Tokuyama-Michi.html</A>,=20
Monty sells a CD, entitled Takashi Tokuyama, Volume IV - MICHI, =
which=20
contains "#4. SHIN-NO-KYOREI (13'29")." And, he sells the =
notation=20
for SHIN-NO-KYOREI, under his catalog #R-1. And - NOW PAY =
CLOSE=20
ATTENTION HERE FOLKS - Monty describes this "SHIN-NO-KYOREI" =
as=20
follows: <EM>This piece was preserved by the older (Shinpo-ryu =
school) the=20
temple of Meianji in Kyoto. The original Kyorei is extremely simple in=20
arrangement, with an ancient and holy sentiment. Shin-no-kyorei is =
played in a=20
minor scale and evokes feelings of nostalgia (especially by the use of =
the=20
flatted second and sixth within the scale). When this music is played =
slowly, it=20
suggests a certain sacred quality. Shin-no-kyorei is one of three basic =
honkyoku=20
pieces which each have a "Shin", "Gyo", and "so" version, which are very =
similar=20
and are essentially different in name only</EM>.</DIV>
<DIV><FONT face=3DHelvetica></FONT> </DIV>
<DIV>BUT, CONTRARIWISE, the International Shakuhachi Society, at <A=20
href=3D"http://www.komuso.com/pieces/Shin_Kyorei.html">http://www.komuso.=
com/pieces/Shin_Kyorei.html</A>=20
- in describing "KYOREI" - <EM>NOT "SHIN-NO-KYOREI", BUT =
"KYOREI"</EM> -=20
uses precisely the exact words Monty Levenson uses in describing=20
"SHIN-NO-KYOREI", to wit: <EM>This piece was preserved by the older =
(Shinpo-ryu school) the temple of Meianji in Kyoto. The original Kyorei =
is=20
extremely simple in arrangement, with an ancient and holy sentiment.=20
Shin-no-kyorei is played in a minor scale and evokes feelings of =
nostalgia=20
(especially by the use of the flatted second and sixth within the =
scale). When=20
this music is played slowly, it suggests a certain sacred =
quality</EM>.<EM>=20
Shin-no-kyorei is one of three basic honkyoku pieces which each have a =
"Shin",=20
"Gyo", and "so" version, which are very similar and are essentially =
different in=20
name only.</EM> </DIV>
<DIV><FONT face=3DHelvetica></FONT> </DIV>
<DIV>Now, in addition, Monty Levenson also sells, under his catalog =
#S-T3b, a CD=20
entitled "TAKASHI TOKUYAMA, VOLUME II - KYOREI", which contains a piece =
Tokuyama=20
entitles "1. KYOREI (11'40")." And, under his catalog #R-3 =
Monty=20
sells the notation for this "KYOREI". He describes it as =
follows: =20
<EM>This piece is the oldest and closest in spirit to suizen (blowing =
Zen). Very=20
straightforward in character, it is nevertheless a special piece and =
most=20
respected of the honkyoku repertoire. The monk, Chohaku, had been =
fascinated by=20
the sound of the wooden bell and sought to interpret that spirit of the =
bell to=20
the shakuhachi. He subsequently taught this piece to Hotto, a fellow Zen =
monk,=20
who founded Kokoku temple. </EM></DIV>
<DIV><EM></EM> </DIV>
<DIV>And whatever it is I hear Jin Nyodo playing, it definitely is NOT =
"<EM>very=20
straightforward in character.</EM>" Au contraire, it precisely =
fits=20
Monty's description of "SHIN-NO-KYOREI," <EM>played in a minor scale and =
evokes=20
feelings of nostalgia (especially by the use of the flatted second and =
sixth=20
within the scale).</EM></DIV>
<DIV><EM></EM> </DIV>
<DIV>So . . . .</DIV>
<DIV> </DIV>
<DIV>We do have a piece entitled KYOREI.</DIV>
<DIV> </DIV>
<DIV>And a piece called SHIN-NO-KYOREI.</DIV>
<DIV> </DIV>
<DIV>But the International Shakuhachi Society describes KYOREI in the =
exact=20
identical words which Monty uses to describe his SHIN-NO-KYOREI. =
Hmmmmmmm.=20
. . .</DIV>
<DIV> </DIV>
<DIV>No wonder someone as dumb as I am remains confused.</DIV>
<DIV> </DIV>
<DIV>Gene</DIV></BODY></HTML>
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