Empty blowing should not be without musical value. The surface
musical qualities of this approach are severity, and modesty; but it
is also possible for a player to express mystery, depth, reverence,
devotion, and other qualities, within the limits of the style. When
I took a single lesson from Kurahashi at Gelb's place in Oakland, he
focused on Kyorei, in exactly this kind of way. But he spoke very
admiringly of the piece itself, of it's musical mystery and depth,
and by playing this piece in the way he taught me I've come to
appreciate and embrace this work, although at the time I was
disappointed to be unable to work on more advanced techniques used in
flashier pieces.
Of course, one is less inclined to program such music for a large
concert where there will be people who would not understand such a
severe and modest approach to music, and who might become bored, but
it is not without musical value. And in some small intimate concerts
such a work might have a very special function and place.
Some of John Cage's best music from his "late period" has this
quality. Utterly impersonal, severe, modest, unconcerned with
impressing anything or anyone, devoted entirely to the careful sonic
exploration of the particular moment and the timeless aspect of each
and every sound.
It's not for everyone.
And it's probably not for anyone all the time...
But, it's not unmusical.
all my best,
joel
>Our local shakuhachi circle has been
>working on "Kokuu" recently including Kurahashi's version, which carries
>the instruction "kyosui" (Kyo = empty, sui = blowing). Correct me if I'm
>wrong, but the practical result of both kyosui or suizen is a non-musical
>sound more appropriate to mediation than a concert hall performance.
>
>Karl
-- Joel Taylor _____________________________________________List subscription information is at: http://communication.ucsd.edu/shaku/listsub.html
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