On the journey of learning and practising the shakuhachi, there are different ways how one might approach this unique instrument. What I noticed is a gradation and intermingling of three intentions: musicality, meditation, and amusement. Certainly there are other possible ways of categorising so this is just a personal perspective.
Musicality
Musicality is perhaps exemplified in present times by Fujiwara Dozan, the prince of shakuhachi. He produces pieces that appeal to a wide audience. The music has to sound "right", which means being in pitch, having a rhythmic structure, being melodious, and nuanced.
Learning and playing with this in mind means adhering to "natural" musical ideas. I do not construe that as trying to create "pop music". Without resorting to formal music theories, which I'm not equipped with, perhaps one can say that there is a deliberate performance for an audience. One has to ensure the music connects with the listeners and moves them in some way.
There are expectations placed on the performer that adds a little stress, but there is also an exchange taking place: pleasing an audience brings pleasure to the performer as well. The "stress" requires the performer to stay in form which is achieved through regular long hours of practice.
Meditation
On the other hand, there is also music that is aimed at the self for various purposes: calmness, concentration, and contemplation. Shakuhachi has a colourful history of this during ancient Japan, when Komuso (虛無僧) monastics used it as a hoki (法器) for their daily ritual practice. Thus there is supposedly no audience and no performance involved, since the music was not meant to engage the external world.
Musicality would not have been a priority and thus the precise reproduction of a piece of music would not be emphasised as much. This can be deduced from existing Honkyoku (本曲) pieces, especially those passed down from the Kinko-ryu and earlier traditions; the written scores were only meant as personal memos to aid in recalling the skeletal structure of a piece. Using the metaphor of a tree, these scores were like the tree trunk. The student would need direct guidance from a teacher in order to "see" the branches and leaves, and thus capture the complete piece in their memory. Oral and experiential transmission ensured the pieces could be preserved across generations.
There is a tension in this imperfect mode of handing down a piece: each individual adds their unique flavour, and yet how does one know it reflects the original music. This openness also brings in a risk, such as when some decide to misuse this freedom and become sloppy, e.g., not playing within reasonable pitch, disregarding the implicit meter of the piece.
Even though Honkyoku originated from spiritual practice, it can be surmised that they had some musical appeal that supported their preservation. One can also reasonably assume that there were many other pieces that got lost in time.
Amusement
The shakuhachi is a challenging instrument to perform with, which also means it is excellent as a play thing: to fiddle around, make mistakes, sound funny, or pretend to be someone else. Being involved with the culture and community surrounding this instrument also adds novelty to life, and expands one's social circles.
Enthusiasts and hobbyists may not wish to invest too much effort to learn or practise the instrument in a disciplined manner, which often occurs for those leaning towards musicality and meditation.
What then?
We may want to reflect on our intentions and see where they'll bring us towards in our shakuhachi learning journey. In brief, my interpretations are:
- Musicality - extends music beyond the self, benefitting others
- Meditation - music that nurtures personal growth and provides healing
- Amusement - nurturing curiosity, creativity, socialising
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