Socrates: One cannot learn the to play honkyoku without a teacher.
Pupil: But surely with the notation and recording one can learn to play a
piece exactly like the master.
Socrates: This is not playing a piece it is copying a performance. It is
empty and without meaning.
Pupil: But I thought that in traditional Japanese shakuhachi study, the
student was supposed to play exactly the way the teacher does.
Socrates: Yes this is true.
Pupil: I am confused.
Socrates: The transmission of shakuhahci honkyoku focuses on the learning
and playing of music, but it is the relationship between the student and the
teacher that is of importance. This is a unique relationship and one which
must be cherished. It is a relationship built on trust and love of the
music. The pupil submits to the teacher's demand that he play the music
exactly as he does. In doing so the student must let go of his ego and is
therefore free to experience the shakuhachi in a pure way. The student
trusts the teacher to guide him well on the path. The teacher submits to the
student's understanding of himeslf and trusts the student to be the best he
can be in aspiring to this process. What results is an understanding of the
music that is deep with love and passion. The same relationship cannot be
achieved with a tape recorder and music paper.
Pupil: In other words there is an intangible aspect to the learning of this
music.
Socrates: I believe you are beginning to understand.
<The dialogue continues>
Pupil: I see, but something else confuses me. Might I ask, who was Jin
Nyodo-sensei's honkyoku teacher?
Socrates: That was the great master Nondakanda IV.
Pupil: And from whom did the great master Nondakanda IV learn to blow?
Socrates: Of course, you must have heard of the grand master Nondakanda III.
Pupil: And who did grand master Nondakanda III learn from?
Socrates: Naturally, from his father. the esteemed & illustrious grand
master Nondakanda III.
Pupil: And Nondakana III? Who was his teacher?
Socrates: That was the revered Living National Treasure Nandakana II. He is
famous through history and every child knows his name.
Pupil: What about Nandakanda the II? How did he learn to play shakuhachi?
Socrates: Hmm . . . I don't know. Our lineage does not go back that far.
Pupil: Who taught the first teacher? Where did he (or she) learn to play
shakuhachi?
Socrates: Oh! Wasn't that the bell. Looks like class is over. Perhaps we
can pick up this discussion another time.
Pupil: Yes, and I have to get back to the demonstration. Did you hear, the
students just took over the university administration building and are
demanding a voice in determining the future of this great institution of
learning? By the way, I recently heard some enlightened teachers of
shakuhachi remind us that "the notation is not the music, and certainly is
not the honkyoku." "The best place to master shakuhachi is from nature;
both external and from the depths of your being." And, a young but wise
student with true beginner's mind, admonish us "not mistake the finger
pointing at the moon for the moon." What the heck are these people talking
about? Gosh, Socrates, this is all so confusing. My brain is boiling. Think
I'll blow some shakuhachi to clear my mind.
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