Just a comment on the Tozan/Kinko discussion.
I've been studying under Tsurugi Kodo, son of Tsurugi Kyomudo and deshi if
Kawase Junsuke III, here in Kumamoto, Japan for the past 18 years
(Kinko-ryu). Due mostely to the fact that within most local concerts both
schools are represented and the situation sometimes arises where members of
both schools play ensemble, the need to read Tozan ryu tableture presented
itself as a necessity. Tsurugi sensei wisely taught me to read and play
both styles. Some of the more interesting situations have been where Tozan
players were playing the Tozan style of a piece while Kinko players were
playing their respective style of the same piece in unison. Though
differences exist, they generally proved to be complimentary. It really
drove home the idea that while the styles had historic and transient
differences, neither lacked in validity and definitely hold a complimentary
and synergistic place in the broader scope of things.
I absolutely agree that to understand anything well, you must immerse
yourself in it. That goes for shakuhachi styles.
jeff cairns
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