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Thanks to Jeff Cairns for the very thoughtful and informative reply to =
my questions about improvisation in honkyoku music. My question was =
originally about improvisation within the honkyoku traditions. Does it =
really exist as a recognized aspect of the music, or, as you suggest, =
was it just a form of interpretation and reinterpretation? But I want =
to say something about improvisation in general. Your concluding =
question goes to the heart of the matter:
" Is improvisation acceptable in honkyoku? It depends on intent. =
Entertainment (read: =3D
titillation) is entertainment, but sacred (read: beyond ego) is sacred. =
=3D
My question is: can and do the two meet in a higher awareness?" =20
They certainly can and do. If sacredness is "going beyond ego" then =
improvisation can be just as sacred as any other form of musical =
expression. To get to that point, the practice of improvisation is just =
as challenging as other kinds of spiritual practice. To me, =
improvisation is the ultimate Zen art (depending on the player's intent, =
of course). It requires absolute concentration within a field of =
absolute freedom. It is an invitation to express one's ultimate =
concerns within a field of impermanence and emptiness (when it's over, =
it's gone forever). And, especially when improvising with others, =
improvised music is an interdependent, mutually created reality. =20
The greatest challenge is in working with the ego. The music is both a =
vehicle toward, and an expression of, =93going beyond". Gate, gate, =
paragate, parasamgate... I think improvisation can be a great Mahayana =
practice. Perhaps it was so for the Komuso?=20
Mark Miller
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