Thesis (Ph. D.)--University of Sydney, 1994. / Title from title screen (viewed Oct. 8, 2009). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Music, Faculty of Arts. Degree awarded 1994; thesis submitted 1992. Vol. 2 chiefly consists of musical examples. Includes tables. The thesis consists of 2 vol. Includes bibliographical references. Also available in print form.

Thesis (Ph. D.)--University of Sydney, 1993. / Includes bibliographical references (leaves 651-683).

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T02:17:31Z (GMT). No. of bitstreams: 1 Fuchigami_RafaelHirochi_M.pdf: 4928207 bytes, checksum: a0ed12a80c12607b98a9de37140877a4 (MD5) Previous issue date: 2014 / Resumo: Este trabalho organiza informações sobre a introdução e difusão das tradições da flauta shakuhachi no Brasil, desde os primórdios do século XX até os dias atuais, levando em consideração os aspectos históricos e etnomusicológicos desse processo. Partimos dos estudos realizados por Olsen (1982, 1983, 2004) e Satomi (2004), tocando em assuntos relacionados com a difusão da música e cultura pelos imigrantes japoneses e seus descendentes. Entretanto, o objetivo central desta pesquisa é tratar da presença do shakuhachi em nosso país, independentemente da região ou grupo étnico no qual está inserido. Se, por um lado, restringimos o foco para um único instrumento da cultura japonesa, por outro, aprofundamos sua abordagem e ampliamos a pesquisa para todo o país, para além do estado de São Paulo. Discorremos sobre a trajetória da flauta a partir de um levantamento bibliográfico e acrescentamos novas informações que se revelaram durante o trabalho de campo. Abordamos a utilização atual do shakuhachi, visto que nos últimos anos estão ocorrendo mudanças significativas em seu panorama no país, como a introdução das obras e estilo difundidos por Katsuya Yokoyama (1934-2010), o aumento significativo de tocadores não-descendentes de japoneses, entre os quais alguns se tornaram líderes de grupos de música japonesa, e a utilização da internet como ferramenta de difusão das tradições do shakuhachi. Essas transformações evidenciaram o fato de que a cultura japonesa está se deslocando independentemente da população japonesa, um fenômeno recente no contexto do shakuhachi no Brasil / Abstract: The present work attempts to organize information gathered about the introduction and dissemination of the shakuhachi flute tradition in Brasil, from the earliest days of the twentieth-century to the present time, taking into consideration the historical and ethnomusicological aspects of this process. We began with the studies done by Olsen (1982, 1983, 2004) and Satomi (2004) touching on subjects related to the diffusion of music and culture of the immigrants and its descendants as it would be expected. However the focal point of this research is to call attention to the presence of the Shakuhachi flute in our country independently of the geographic region or ethnic group in which it is inserted. If on one hand one narrows the focus of the research to consider just one single instrument of the Japanese culture, on the other one furthers its approach thereby extending the study process to go beyond the borders of the State of São Paulo so to cover the entire country. We have examined the path of the flute¿s evolution begining with a bibliographical survey and adding new information that appeared in the course of our fieldwork. We approached current use of the Shakuhachi taking into consideration the fact that in recent years significant changes have occurred in this country as to the instrument¿s scenario such as the introducing of works and styles diffused by Katsuya Yokoyama (1934-2010), the significant increasing in numbers of non- Japanese descendent players, among which few have become group leaders of Japanese music, and the use of the internet as a tool to promote and divulge Shakuhachi tradition. These transformations make it evident the fact that Japanese culture is gradually being shifted independently from Japanese settlements, a new phenomenon in the environment context of the Shakuhachi in Brazil / Mestrado / Fundamentos Teoricos / Mestre em Música

The "San Koten Honkyoku" are three ("san") traditional ("hon") compositions ("kyoku") which are distinguished and venerated for their archetypical ("koten") characteristics. Of the many "schools" ("ryu") of musicians who claim proprietorship or proprietary control of versions of these melodies, the Kinko-ryu has the strongest claim to historicity. Their medium of performance is the "shakuhachi"—a bamboo, end-blown, vertical flute—and their aesthetics is founded on Zen Buddhism. The progenitor of the shakuhachi most likely originates from the Mesopotamian civilizations of the fourth millennium B.C. After diffusion to China, the vertical flute acquired a seminal role as the aural manifestation of the Chinese fundamental pitch, "huang-chung". Some time later it became a melody instrument in the court orchestras, suffering several recondite changes in nomenclature and popularity. When it arrived in Japan as the Imperial "ch'ih pa" (Jp. shakuhachi) it was in rapid decline, but during the 16th century it re-emerged as an ignoble instrument played by Japanese mendicant Buddhists called "Komo-s5". The period between the decline of the Imperial Court's shakuhachi and the rise of the Komo-so's vertical flute is a void for historians of the instrument, but it is suggested in this thesis that an earlier group of mendicant Buddhist priests/musicians, the "Mo-s5" biwa players, may have been the source of this renaissance. By the time of the Edo Period (1600-1868), the vertical flute had passed from the hands of the Komo-so, through the merchant class who called it the "Hitoyogiri" and a samurai clan who knew it as the "Tenpuku", to a newly-emerged group comprised of "ronin" or masterless samurai who adopted the then-defunct Komo-so's way of life in a manner that suited their aristocratic background. They called themselves "Komu-so", and their colorful history ranges from clandestine malevolence to Buddhist saintliness. In the 18th century, Kurosawa Kinko and his son (Kinko II, 1741-1811) and grandson (Kinko III, 1772-1816) advanced the positive aspects of the Komu-so's activity by assembling a unified repertoire and organizing an association of lay flutists devoted to the pursuit of "Takedd"—the "Way" of the bamboo flute—a process of self-enlightenment fashioned after Zen Buddhist precepts. Today, the music theory of the Kinko-ryu Honkyoku is comprised of a basic system of rudiments tempered by complex performance practices which are only accessible through the oral/aural instruction of a sensei. His pedagogy is designed to bring the student to a unified understanding of the many aspects of melodic detail by emphasizing their role in animating the simple melodies outlined by the skeletal notation. Through a systematic analysis of the Kinko-ryu "San Koten Honkyoku", the present study has found that the theoretical principles of these compositions are clearly demonstrable. Their inherent pitches are derived from the Japanese "In" scale and exist in a hierarchy made manifest in tonal proclivities which are naturally or deceptively resolved. The hierarchies also determine the structures of the melodies by articulating their progress. The conclusion of this thesis draws together the sociology, history, melodic theory and melodic analyses of the Kinko-ryu shakuhachi and its Honkyoku by outlining their respective contributions to a unique musical expression of Zen Buddhism. / Arts, Faculty of / Music, School of / Graduate

Thesis--Cologne. / Vita. Summary in English and Japanese. Includes indexes. Bibliography: p. [193]-196.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Aug. 12, 2008). PDF text: xii, 86 p. : ill., music ; 2 Mb. UMI publication number: AAT 3297806. Includes bibliographical references. Also available in microfilm and microfiche formats.

No description available.

The shakuhachi, a Japanese flute, is a rather small instrument with a simple geometry. Still, it appears to have a complicated spatial sound radiation characteristic. This effect results from interference of sound emanating from finger holes and the blowing hole as well as diffraction around and acoustic shadow behind the instrumentalist. Even in absence of room reflections, the pure direct sound of musical instruments already creates the impression of a certain extent of the source. This perceived extent is especially large for listeners close to the instrument and decreases with distance. This effect is investigated in more detail on the shakuhachi. The sound of a shakuhachi is recorded in an anechoic chamber by a circular microphone array consisting of 128 microphones. Amplitude and phase per frequency and angle around the instrument are measured. Interaural phase- and amplitude differences as well as the correlation of the signals arriving at the two ears are calculated for several listening positions at various angles and distances. These parameters are compared between different playing techniques. It is discussed how far the parameters are suitable to explain the perception of the spatial source extent.

No description available.

The main goal of this thesis was to develop tools and methods for creating new music for the Japanese bamboo flute shakuhachi. Shakuhachi is an end-blown bamboo flute, which has existed in Japan since the seventh century. The oldest shakuhachi solo repertoire, honkyoku, can be considered as “tone-color melodies”, where the expression is primarily happening through microtonal alterations of pitch and timbre, while the melody is secondary. An early fascination with timbre led the author to the shakuhachi and its sound aesthetics, and towards exploring new methods for making music. The main method described is composing through improvisation, using nonlinearity to focus on the present with the sound and timbre of shakuhachi. To learn about unconscious factors during music making, a micro-phenomenological interview method is used, aiming to reach a deeper understanding of the decision-making and the pre-reflective experience during improvisation. The history, learning methods, aesthetics, and concepts of Japanese traditional shakuhachi music are explored to give inspiration and context for the work, in the search for a personal musical expression within the tradition. Analysis of timbral gestures is conducted to further research the timbral aspect of Japanese traditional music, as well as to analyze the musical connection between Japanese traditional shakuhachi music and the music composed in the project.