Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-23T07:24:34.919Z Has data issue: false hasContentIssue false
  • English
  • Français

A Comparison of Tozanryu and Kinkoryu Shakuhachi Arrangements for Sankyoku Gasso Made from Identical Originals

Published online by Cambridge University Press:  07 March 2019

Ingrid Fritsch
Get access Rights & Permissions [Opens in a new window]

Extract

The shakuhachi was originally a religious instrument, only allowed to be used by Zen Buddhists of the Fuke sect and forbidden as a chamber music instrument. This situation changed after the downfall of the Shogunate government (1868) when, in 1871, the Fukeshû was suppressed and the shakuhachi achieved the status of a normal secular instrument. Since then a distinction has been made between original compositions (honkyoku) and arrangements (gaikyoku), the latter generally being arrangements of koto or shamisen compositions in the form known as sankyoku gassô for the ensemble of koto, shamisen and shakuhachi.

Abstract

Abstract

Type
Articles
Information
Yearbook for Traditional Music , Volume 15 , 1983 , pp. 14 - 30
Copyright
Copyright © 1983 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adriaansz, Willem 1973 The Kumiuta and Danmono traditions of Japanese Koto music. Berkeley, Calif.: University of California Press.Google Scholar
Feltz, William E. 1970 Kyômono: A Traditional Japanese Music. Master's thesis, University of Hawaii.Google Scholar
Meguro, Sansaku et al. (eds.) 1968 Ongaku Jiten. Tôkyô: Ongaku no TomoshaGoogle Scholar
Kamisangô, Yûkô 1973 “Sankyoku-gassô ni okeru shakuhachi no yakuwari”. commemorative volume for Eishi Kikkawa. in Koizumi, Hoshi, Yamaguchi, (ed.), Nihon ongaku to sono shûhen. Tôkyô: Ongaku no tomoshaGoogle Scholar
Kamisangô, Yûkô 1976 “Sankyoku-gassô no hikaku”. in K. Hirano, ed., Kokyû—Nihon no satsugen gakki. Philips PH 8514–18.Google Scholar
Kikkawa, Eishi 1961 Hôgaku Kanshô Nyûmon. Osaka: SôgenshaGoogle Scholar
Kikkawa, Eishi 1968 “Sankyoku no rekishi”. Gendai Hôgaku Meikan, Sankyoku-hen. Tôkyô: Hôgaku to buyôsha.Google Scholar
Nakao, Rinzô 1932 Tozanryû-shi. Tôkyô: Tozanryû-sôke. Distributers; Tôkyô: Jûjiya-gakki & Osaka: Maekawa Gômeigaisha.Google Scholar
Hirano, Kenji 1978 Nihon ongaku no miryoku o saguru (In search of the beauty of Japanese music) I. “Rokudan” TH 60054-55Google Scholar
Hirano, Kenji 1979 IV. “Midare Rinzetsu” TH 60121-22 Tôkyô: TôshibaGoogle Scholar
Hirano, Kenji & Kamisangô, Yûkô (eds.) 1978 Nihon Kayô Kenkyû Shiryô Shûsei vol. 3 Tôkyô: Benseisha pp. 3–130 Shichiku ShoshinshûGoogle Scholar
pp. 131–198 Shichiku TaizenGoogle Scholar
Shimonaka, Yasaburô (ed.) 1954–58 Ongaku Jiten 12 vols. Tôkyô: HeibonshaGoogle Scholar
Read, Cathleen B. 1975 A study of Yamadaryû sôkyoku and its repertoire. Doctoral dissertation, Wesleyan University, Middletown, Conn.Google Scholar
Tanabe, Hisao 1968 “Sankyoku no seiritsu”. Gendai Hôgaku meikan, Sankyoku-hen. Tôkyô: Hôgaku to KuyôshaGoogle Scholar
Tanaka, Inzan s.d. (ca. 1964) Shakuhachi no ayumi to sono rekishi. Tôkyô: Teichiku SL 146–147Google Scholar
Wade, Bonnie C. 1967 A selective study of Honte kaete Tegotomono in 19th Century koto music. Master's thesis. University of California, Los Angeles, Calif.Google Scholar

A correction has been issued for this article:

Corrigenda for Yearbook 15