--0-2114499129-1110581617=:77347
I rather like the fact that you need a teacher to learn shakuhachi. I also enjoy learning the strange varieties of the traditional notation in the traditional way. I don't think it is the most efficient way to transmit musical practice, though.
It seems likely to me that some day a scholar will invent a truly universal, standard notation that will work for all forms of shakuhachi music, and then produce editions of honkyoku, sankyoku, minyo, etc. in this notation. This has happened with Western medieval and renaissance music. However, I have sung medieval/renaissance music from the original part-books, and although I prefer modern notation, I think something of the experience does get lost in translation.
Also, there seem to be quite a lot of different versions of pieces depending on the performance lineage, so perhaps it would be a bad idea to standardize things too much.
I know that Riley Lee is an advocate of the Chikuho notation - I'll be interested to hear him talk about it at the shaku camp.
Nicholas Pierotti <eurydice@cruzio.com> wrote:
Well, obviously somebody once learned it on their own, without a
teacher, or the instrument wouldn't exist...
On Mar 11, 2005, at 4:09 PM, Stav Tapuch wrote:
> it is simply not the kind of instrument you can learn on your own.
> You need a teacher.
>
_____________________________________________
List subscription information is at:
http://communication.ucsd.edu/shaku/listsub.html
--0-2114499129-1110581617=:77347
<DIV>I rather like the fact that you need a teacher to learn shakuhachi. I also enjoy learning the strange varieties of the traditional notation in the traditional way. I don't think it is the most efficient way to transmit musical practice, though.</DIV>
List subscription information is at:
This archive was generated by hypermail 2b29
: Fri Jan 06 2006 - 10:00:44 PST
<DIV> </DIV>
<DIV>It seems likely to me that some day a scholar will invent a truly universal, standard notation that will work for all forms of shakuhachi music, and then produce editions of honkyoku, sankyoku, minyo, etc. in this notation. This has happened with Western medieval and renaissance music. However, I have sung medieval/renaissance music from the original part-books, and although I prefer modern notation, I think something of the experience does get lost in translation.</DIV>
<DIV> </DIV>
<DIV>Also, there seem to be quite a lot of different versions of pieces depending on the performance lineage, so perhaps it would be a bad idea to standardize things too much.</DIV>
<DIV> </DIV>
<DIV>I know that Riley Lee is an advocate of the Chikuho notation - I'll be interested to hear him talk about it at the shaku camp.</DIV>
<DIV> </DIV>
<DIV><BR><BR><B><I>Nicholas Pierotti <eurydice@cruzio.com></I></B> wrote:</DIV>
<BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Well, obviously somebody once learned it on their own, without a <BR>teacher, or the instrument wouldn't exist...<BR><BR><BR>On Mar 11, 2005, at 4:09 PM, Stav Tapuch wrote:<BR>> it is simply not the kind of instrument you can learn on your own. <BR>> You need a teacher. <BR>> <BR><BR>_____________________________________________<BR><BR>List subscription information is at:<BR>http://communication.ucsd.edu/shaku/listsub.html
--0-2114499129-1110581617=:77347--
_____________________________________________
http://communication.ucsd.edu/shaku/listsub.html