BETWEEN LOCAL AND GLOBAL

Ideologies, practices and protagonists of the SHAKUHACHI in Japan and European countries.

                                (M.A. in Ethnomusicology of Asia)

 

 

 

PREFACE

 

INTRODUCTION

Japanese traditional music 

 

1 Hōgaku: a brief view 

2 Methods of transmission: iemoto seido e ryū-ha

3 Traditional methods of learning

 

PART I 

The shakuhachi: a general description 

 

I.1 Typologies

     I.1.1 Origin

     I.1.2 The ancient shakuhachi: gagaku shakuhachi

     I.1.3 The shakuhachi of Middle Ages: hitoyogiri e tenpuku

     I.1.4 The modern shakuhachi: fuke shakuhachi

     I.1.5 The shakuhachi of the Twentieth century: takō                                       shakuhachi and ōkurauro

I.2 Making and pratical tecniques

     I.2.1 Description of the instrument 

     I.2.2 How to play the shakuhachi: basic tecniques

I.3 Repertory and notation

     I.3.1 Shakuhachi 'music' 

     I.3.2 Oral mnemotechniques and semiography 

 

PART II 

From religious instrument to musical instrument

 

II.1 Komusō and Fuke shū

     II.1.1 Institution of Fuke sect 

     II.1.2 Secularization of fuke shakuhachi and decline of the sect 

II.2 The main schools 

     II.2.1 The schools linked with suizen tradition and Chikuho-ryū

     II.2.2 Kinko-ryū and some of its sub-groups

     II.2.3 Tozan-ryū and Ueda-ryū

II.3 Developments of the Twentieth century 

     II.3.1 Shin Nihon ongaku, Shin hōgaku and Gendai hōgaku movements 

     II.3.2 New compositions: Chikurai goshō and Taiwa godai

     II.3.3 The role of NKH and Tōkyō geijutsu daigaku in musical                            education

 

PART III

The shakuhachi in contemporary Japan

 

III.1 New approachs to tradition

     III.1.1 The internationalization of shakuhachi

     III.1.2 New generations, new bias

     III.1.3 Some protagonists of the present scene

III.2 The shakuhachi on-line: presentation and analysis of some websites

     III.2.1 Tozan-ryū

     III.2.2 Chikuho-ryū

     III.2.3 Ueda-ryū

     III.2.4 Chikumei-sha

     III.2.5 Chikuyū-sha

     III.2.6 Kokusai shakuhachi keshū-kan

 

PART IV 

An European shakuhachi 'identity'?

 

IV.1 Musical globalization

     IV.1.1 From world music to appropriation of shakuhachi 

     IV.1.2 A trasmission without borders

IV.2 The diffusion of shakuhachi in Europe

     IV.2.1 The coming in the Old World

     IV.2.2 Players groups and European activities

     IV.2.3 Websites of some organizations 

IV.3 Ethnography

     IV.3.1 The shakuhachi in the shadow of TAV

     IV.3.2 Prague European shakuhachi festival

 

CONCLUSION

 

BIBLIOGRAPHY