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#1 2010-02-09 00:03:13

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Myoan Shinpo-ryu history etc..

Hi everyone,
I've been doing some research on the Myoan Shinpo-ryu out of curiosity.  I've found some interesting stuff about the school.
I sent all the info I found to be put on the www.komuso.com website. 
I'll put it on here too just to see if anyone has any other information to add. 
The following is my research info:

Myoan Shinpo Ryu
明暗眞法流

63 honkyoku transmitted to Katsura Shozan 勝浦正山

1. Choshi/Takane Takeshirabe 調子・ 高音竹調(京調子)Aka Kyochoshi
2. Shokomon 焼香文
3. Zangemon 懺悔文
4. Hachigaeshi 鉢返
5.Tehodoki Reibo 手解鈴法
6. Renbo no kyoku 鈴暮之曲(伊予恋慕と同じ)a.k.a. Iyo Renbo
7. Murasaki Reiho 紫鈴法
8. Sanya Kyoku 三谷曲
9. So Kyorei 艸虚霊
10. So Koku 艸虚空
11. So Mukaiji 艸霧海箎
12. Tsuru no Sugomori 鶴之巣籠
13. Renbo Nagashi 戀慕流
14. Takiochi no Kyoku 瀧落之曲
15. Shin Kyorei 眞虚霊
16. Shin Koku 眞虚空
17. Shin Mukaiji 眞霧海箎
18. Nanko Fushi Aibetsu no Kyoku 楠公父子愛別之曲
19. Shika noTone 鹿之遠音
20. Izu 伊豆
21. kansinji 感心じ
22. Ginryu Koku 吟龍虚空
23. Shinseki  眞跡
24. Tasogare Kyoku 黄昏曲
25. Hokkoku Reibo 北国鈴慕(突飛喜と同じ)a.k.a. Toppiki
26. Sagariha   降葉
27. Sankara Sugagaki 讃加羅菅垣
28. Shishi no Kyoku 獅子之曲
29. Yoshiya Renbo 吉野戀慕
30. Rinzetsu no Kyoku 林雪之曲
31. Nidan Sugagaki 二段菅垣
32. Sakai Jishi 堺獅子
33. Godan Renbo Nagasi五段戀慕流
34. Sandan Sugagaki 三段菅垣
35. Hime Matsuri 比女祭
36. Yumesei Sugagaki 夢正菅垣
37. Rokudan Jishi 六段獅子
38. Yoshiya Reibo 芳谷鈴法
39. Kocho no Kyoku 小蝶之曲
40. Kumoi Netori 雲井音取
41. Igusa no Kyoku 葦草之曲
42. Toyo no Akita 豊之秋田
43. Kaikoge Onritsu Kyoku 開口下音律曲
44. Niagari Netori 二揚音取
45. Gojyosensyuraku 五常千秋楽
46. Tsushimagaku 対馬楽
47. Nanbagaku 難波楽
48. Megumidengaku 恵伝楽
49. Taihei Manzai Raku 太平万才楽
50. Kangetsu Kyoku 観月曲
51. Dai Ni Kangetsu Kyoku 第二観月曲
52. Gyo Kyorei 行虚霊
53. Gyo Koku 行虚空
54. Gyo Mukaiji 行霧海箎
55. Shinseki Reibo 真蹟鈴法
56. Shinbutsu Kuyo no Kyoku 神仏供養之曲
57. Shinbutsukyokei no Kyoku 神仏恭敬之曲
58. Azuma no Kyoku吾妻の曲
59 Kyushu no Kyoku 旧州の曲
60. Shizu no Kyoku 志津の曲
61. Oboro Tsuki Yo 朧月夜
62. kiri kasumu tani    霧霞谷
63. Ousiki cyou  黄鐘調

Seemingly not transmitted from Shozan but I have seen them listed as Myoan Shinpo-ryu or they have other titles from the list above...
of course I could just be mistaken too..

Seiganmon 誓願文
Darani 陀羅尼
Yobibue Kotaebue 呼笛答笛
変生眞五乎
Shinsenkantoku 神仙感得
Hokyu Sanya 鳳叫三谷
Uta Renbo 歌戀慕
Yumechu Kyoku 夢中曲
Kongo 金剛
Shishi Odori 獅子踊

The following is from an e-mail correspondence with Maekawa Kogetsu
I translated it from Japanese the best I could ; )

About the Myoan Shinpo-ryu:

Master Yamaue Getsuzan, who was living in Kyushu, Saga Pref. Ureshino-cho , learned 33 of the 63 pieces from Master Katsuya Shozan.  This was the last transmission of the Myoan Shinpo-ryu.
As for Myoan-ryu shakuhachi players who studied from Getsuzan, there was only Takahashi Rochiku sensei from Tokyo.  Also from the Tozan-ryu Fujita Masaharu, and from the Kinko-ryu Nagasaki's Sato Reido studied with Shozan.  The Tozan-ryu and Kinko-ryu players studied the Shinpo-ryu honkyoku, however the Myoan way of playing is different they only played from the sheet music.
Takahashi Rochiku sensei as one would expect, thought that the Myoan Hitoyogiri was the purest way to play Myoan Shinpo-ryu.  Maekawa Kogetsu's teacher Master Okamoto Chikugai learned a number of Myoan Shinpo-ryu pieces from Sakaguchi Tesshin who learned from Takahashi Kuzan, who learned from Katsuya Shozan.  Chikugai also learned from Yamaue Getsuzan.  Takahashi Kuzan learned a number of pieces from Katsuya Shozan, but later became excommunicated from the group.
If you compare Takahashi Kuzan's transmission to Takahashi Rochiku's transmission, for sure it feels like Takahashi Rochiku's are the real thing.  There is a book of notation for the 63 pieces by Katsura Shozan, but it's just notation, not something you can really play from. 
Katsura Shozan's grandchild, Katsura Masatoshi listened to Master Takahashi Rochiku's performance and told him that he sounded very similar to Shozan.  Takahashi Rochiku sensei is near 80, nowadays can't really play shakuhachi much anymore.  Takahashi Rochiku sensei is one of the only remaining true Myoan-ryu and Nezasa-ha players.  Nowadays Maekawa Kogetsu is also studying the Myoan Shinpo-ryu's minute detailed techniques by listening to Takahashi Rochiku sensei.

I also made this small lineage chart which is probably not going to post correctly... it's not finished anyway.

Myoan Shinpo-Ryu short lineage chart
明暗眞法流
                                                                                                        波邊鸖山
                                                                                                              |
                                                                                                    尾崎眞龍 Ozaki Shinryu
                                                                                                              |
                                                                                                 勝浦正山 Katsura Shozan
                                                                                 _____________________
                                                                             |  |    |   |  |   |   |    |
                                                   Sakai Chikuho  酒井竹保 |  佐東界  | 源雲界 | 吉川正光  | 
                                                                                  津野田露月    山上月山  高橋空山     神如道  Jin Nyodo
                                                                                             Yamaue Getsuzan     Takahashi Kuzan     
  

Last edited by Bogert (2010-02-09 00:04:41)


理趣経百字の偈
菩薩勝慧者 乃至尽生死 恒作衆生利 而不趣涅槃 般若及方便 智度悉加持 諸法及諸有    一切皆清浄 欲等調世間 令得浄除故 
有頂及悪趣 調伏尽諸有 如蓮体本染 不為垢所染    諸欲性亦然 不染利群生 大欲得清浄 大安楽富饒 三界得自在 能作堅固利

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#2 2010-02-09 06:17:07

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3222
Website

Re: Myoan Shinpo-ryu history etc..

Someone needs to record versions of these and write out coherent notation before they disappear.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#3 2010-02-09 07:40:18

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Re: Myoan Shinpo-ryu history etc..

I have notation for about half or so of them that is fairly easy to read.  However recordings are hard to find...
I inquired about recordings, but there are seemingly few to be had. 
Tokuyama Takashi has a number of them in his repertoire, and a few in his recordings. 
Jin Nyodo has several. 
Of course the Chikuho-ryu has a number of them in its repertoire also.
As mentioned above Yamaue Getsuzan learned about half of the repertoire and there is a book of his notation which includes quite a few.
Also the above mentioned Tozan player Masaharu Fujita, who passed away not that long ago I believe.  He notated several of them, but it's a but hard to read.
There are possibly recordings. 
Also Watazumi seems to have recorded some of them too.
Of course they might not ring perfectly true to the originals, but we must take what remains.

Last edited by Bogert (2010-02-09 07:48:29)


理趣経百字の偈
菩薩勝慧者 乃至尽生死 恒作衆生利 而不趣涅槃 般若及方便 智度悉加持 諸法及諸有    一切皆清浄 欲等調世間 令得浄除故 
有頂及悪趣 調伏尽諸有 如蓮体本染 不為垢所染    諸欲性亦然 不染利群生 大欲得清浄 大安楽富饒 三界得自在 能作堅固利

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#4 2010-02-09 08:08:26

Justin
Shihan/Maker
From: Japan
Registered: 2006-08-12
Posts: 540
Website

Re: Myoan Shinpo-ryu history etc..

Hi Bogert

Bogert wrote:

Hi everyone,
I've been doing some research on the Myoan Shinpo-ryu out of curiosity.

Great!

Bogert wrote:

The following is from an e-mail correspondence with Maekawa Kogetsu
I translated it from Japanese the best I could ; )

About the Myoan Shinpo-ryu:

Master Yamaue Getsuzan, who was living in Kyushu, Saga Pref. Ureshino-cho , learned 33 of the 63 pieces from Master Katsuya Shozan.  This was the last transmission of the Myoan Shinpo-ryu.

That should be Katsura Shozan (not Katsuya). You wrote it right in the other parts of your post but it seems every occasion from the email is wrong.

Bogert wrote:

Takahashi Rochiku sensei as one would expect, thought that the Myoan Hitoyogiri was the purest way to play Myoan Shinpo-ryu.   

I have never heard Takahashi Rochiku-sensei say this, and I would be very surprised if he would say that (I study Shimpo-ryu from Takahashi Rochiku). I am not aware of any direct connection of hitoyogiri and Shimpo-ryu. Shimpo-ryu is however connected to miyogiri (as indeed all Fuke-shakuhachi schools are), as the miyogiri was the predecessor of the Fuke-shakuhachi.

Although I may be wrong, my guess is that this story may be from not from Rochiku-sensei but a teacher called Sagara who said about hitoyogiri. He also plays Shimpo-ryu pieces and studied under Fujita Masaharu. He plays and makes hitoyogiri and may say that Shimpo-ryu is somehow connected to that.

Bogert wrote:

If you compare Takahashi Kuzan's transmission to Takahashi Rochiku's transmission, for sure it feels like Takahashi Rochiku's are the real thing.

Takahashi-sensei is a very careful man who pays great attention to detail, and Yamaue Getsuzan was the same. Many people in the shakuhachi world play everything in the same style, but these people are the kind of people who have tried very consciously to keep the unique styles as they are, and not mix them. Indeed yamaue Getsuzan even learned several versions of the same pieces from different teachers, for example several versions of Futaiken Reibo, and preserved the unique styles of each slightly different lineage. So I think his Shimpo-ryu should be very reliable. It's unfortunate that he only learned about 25 pieces (this is what Takahashi-sensei has told me, so I am not sure about the 33 figure which you mentioned). I am still always trying to research if anyone else has any Shimpo-ryu pieces, but I have not been able to hear of anyone else yet except for Chikuho-ryu (which as Riley explained in his thesis is a new style, and was deliberately changed in style so as to make a new "ryu", and indeed from the pieces I have heard is very different in style that Rochiku-sensei's or Yamaue Getsuzan sensei's Shimpo-ryu); and Takahashi Kuzan. Now, I think you are right to say that Rochiku-sensei's is authentic, but if saying Kuzan's is not authentic, I think it is important to know that he deliberately arranged some of the pieces, and he was open about that. Next month I will be performing Kuzan's arrangement of Shimpo-ryu Sanya, with Fujiyoshi Etsuzan in Tokyo. This piece though has been passed on openly as Kuzan's own arrangement of Shimpo-ryu sanya. I think Kuzan found this more interesting.

So what I mean to say is that Kuzan was not teaching his arrangements of Shimpo-ryu as if they were pure Shimpo-ryu, although he was also capable of teaching the original style. I had not heard the story about him being kicked out. Do you have any reference for this story? If it is true, I might guess that it may have been due to Kuzan making his own arrangements of the pieces. For example Tani Kyochiku was apparently kicked out of Miyagawa Nyozan's school for making his own arrangements of Nyozan's pieces, rather than playing them as he was taught.

The one other person I know of with old-style Shimpo-ryu is Sato Reido, as you mentioned above. He is too old to play now. I hope to write more about him later when I have time.

Bogert wrote:

There is a book of notation for the 63 pieces by Katsura Shozan, but it's just notation, not something you can really play from.

Yes. Rochiku-sensei's gakufu is clearer, but still there is no substitute from learning for a teacher.


Bogert wrote:

Katsura Shozan's grandchild, Katsura Masatoshi listened to Master Takahashi Rochiku's performance and told him that he sounded very similar to Shozan.

That's reassuring to know! Rochiku-sensei is an extremely humble man (and probably one of the two most knowledgeable shakuhachi people alive!) so I never heard that story before.

One story I did hear from Rochiku-sensei which came from Katsura Shozan's grandchild was that only one person learned all of the Shimpo-ryu honkyoku from Katsura Shozan (I would have to check my notes to find his name), but that person I think had no deshi.


Bogert wrote:

Takahashi Rochiku sensei is near 80, nowadays can't really play shakuhachi much anymore.  Takahashi Rochiku sensei is one of the only remaining true Myoan-ryu and Nezasa-ha players.

I don't think Rochiku-sensei plays Nezasa-ha at all. He does play Myoan Taizan-ryu and as you say is one of the most senior players. He also plays Oshu-kei.
Hope my few additions are of some use. Keep up the good work!

Last edited by Justin (2010-02-09 08:24:50)

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#5 2010-02-09 10:35:48

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Re: Myoan Shinpo-ryu history etc..

Excellent, thank you for the corrections and help.  Any new info is great, and sounds like you know quite a bit about the Shinpo-ryu.

I'll keep poking around to see if I can find anything else out.


理趣経百字の偈
菩薩勝慧者 乃至尽生死 恒作衆生利 而不趣涅槃 般若及方便 智度悉加持 諸法及諸有    一切皆清浄 欲等調世間 令得浄除故 
有頂及悪趣 調伏尽諸有 如蓮体本染 不為垢所染    諸欲性亦然 不染利群生 大欲得清浄 大安楽富饒 三界得自在 能作堅固利

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#6 2010-02-11 08:41:53

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Re: Myoan Shinpo-ryu history etc..

The stories above were all related to me in an e-mail conversation, so I don't really have much to back them up with except the person I was talking to knows his shakuhachi stuff very well.  I'm sure he just mistyped on a few of those points you corrected.  He also studies with Rochiku sensei sometimes.


理趣経百字の偈
菩薩勝慧者 乃至尽生死 恒作衆生利 而不趣涅槃 般若及方便 智度悉加持 諸法及諸有    一切皆清浄 欲等調世間 令得浄除故 
有頂及悪趣 調伏尽諸有 如蓮体本染 不為垢所染    諸欲性亦然 不染利群生 大欲得清浄 大安楽富饒 三界得自在 能作堅固利

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#7 2010-02-11 14:56:21

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3222
Website

Re: Myoan Shinpo-ryu history etc..

Justin are you in a position to get Rochiku-sensei to record the tunes?


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#8 2010-02-13 04:12:46

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Re: Myoan Shinpo-ryu history etc..

Or if you've learned the pieces well enough, record them your self if Rochiku sensei doesn't want to. 
The recordings don't have to be awesome quality or anything, just to show the correct way to play them to preserve them.

I like a lot of the Shinpo-ryu honkyoku (that I've been able to hear).


理趣経百字の偈
菩薩勝慧者 乃至尽生死 恒作衆生利 而不趣涅槃 般若及方便 智度悉加持 諸法及諸有    一切皆清浄 欲等調世間 令得浄除故 
有頂及悪趣 調伏尽諸有 如蓮体本染 不為垢所染    諸欲性亦然 不染利群生 大欲得清浄 大安楽富饒 三界得自在 能作堅固利

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#9 2010-02-18 03:59:35

Justin
Shihan/Maker
From: Japan
Registered: 2006-08-12
Posts: 540
Website

Re: Myoan Shinpo-ryu history etc..

There is another thread which has been exiting simultaneously with this one. I am responding here to posts from that thread since the topic is Shimpo-ryu. The original post are from this thread:
http://www.shakuhachiforum.com/viewtopi … 495#p29495

Bogert wrote:

Or if you've learned the pieces well enough, record them your self if Rochiku sensei doesn't want to. 
The recordings don't have to be awesome quality or anything, just to show the correct way to play them to preserve them.

I like a lot of the Shinpo-ryu honkyoku (that I've been able to hear).

Hi Bogert
The important point about passing on the way to play the pieces is the teacher-student relationship. So this has to be the priority in terms of "preservation", for able students to learn from able teachers. There are no commercial-quality recordings that I know of though a few have been made for teaching purposes, which are only for direct students.

Matt Lyon wrote:

TCB wrote:

Tairaku wrote:

How do they expect to survive if they don't record or perform and only teach a few people roll?

Forgive me if I am wrong, but sometimes I think that carrying on a tradition is not the main priority for some.

For some that is true. But for those who are the heads of their tradition that is (or should be) a large concern. If not then the torch got passed on to the wrong person.

The last head of Shimpo-ryu was Katsura Shozan. Only one of his students learned all the pieces, and that student did not teach anyone. There was no head of Shimpo-ryu after Katsura so far as I understand. So the ryu actually finished there, as an organisation. But some of the pieces continued. It seems that Yamaue Getsuzan's lineage contains the most pure Shimpo-ryu pieces. But in regard to the discussion quoted above, one should remember that Yamaue was not "Shimpo-ryu". That is, it was not exactly his responsibility as a ryu member or head to pass the pieces on to keep the tradition alive. Though that doesn't mean that he did not want to pass them on. This relates to what Josh was saying:

Josh wrote:

Justin, I've read the interesting post and understand what you are saying. I applaud your efforts to learn the tradition and hope more players like yourself emerge. But I guess what I'm getting at is that if the school has any desire to change it's common image, player's of Takahashi Rochiku-sensei's Shimpo-ryu should make more effort to promote their music via performances, lectures, workshops etc.  I think Riley, Shimura and Sakai are great examples of people both in Japan and internationally who have made many successful efforts to keep the Chikuho tradition alive. I hope Shimpo ryu will make these kind of efforts as well.

I'm not sure what you mean by the school's "common image". By that do you mean about Shimura Satoshi mistakenly thinking that all current Shimpo-ryu pieces being played are reconstructed pieces? In my experience the most common image of Shimpo-ryu is "What's that? Never heard of it!" And after that I think the Shimpo-ryu that almost anyone would be likely to hear are indeed the reconstructed versions. However, people like Takahashi Rochiku are not really into "promotion". Some people promote a school for political reasons, or wanting fame or students and so on. Some people promote a school because they sincerely love it. Well there are all sorts of reasons. But in this case, firstly it is not a school (anymore) but a collection of pieces. (Yamaue Getsuzan had many other pieces in his repertoire. He was a master of Taizan-ryu, Kimpu-ryu and various other smaller lineages such as that of Futaiken etc). That might be part of a reason why there would be less reason to promote it. No-one can really say "I am from Shimpo-ryu", because the school does not exist anymore.

But another part of this is that some people just are not into promoting their music in the first place, and I think Takahashi Rochiku is one of these people. I think Yamaue Getsuzan may have also been like that. He lived way out in the countryside. So you had to be quite serious even to get there! This kind of teacher, in my experience, loves to teach keen students. But may not make special efforts to build up a big school. There is also the important point of distinction between shakuhachi professionals such as the people you mentioned above, who are thus more inclined or likely to perform etc, and those who have other professions but also play and teach shakuhachi. I think many of the "komuso" type (if we can say that) shakuhachi teachers are from the latter category, and I think even Shimura himself mentioned about this "komuso" world having little exposure or connection to the public world such as shakuhachi festivals etc. They are not komuso of course, but I think what Shimura meant or what I am meaning is those people who more associate themselves with the komuso style of honkyoku, as opposed for example to modern styles or schools based more on performance. In reality these worlds are blurred, but, the very fact of having a non-shakuhachi job limits ones possibilities for performance, travel, teaching etc.

As for playing in public Josh, I think it would be nice for this to happen. I would enjoy to play some Shimpo-ryu in public and look forward to doing so.

Chris Moran wrote:

The more interesting part of this for me is: if and when the lineage was (noticeably) influenced by Western music.

I have not come across any indication of any influence of Western music on the Shimpo-ryu transmitted by Yamaue Getsuzan. Some pieces derived from Shimpo-ryu or Shimpo-ryu notation, in other lineages, may have such influences, such as Chikuho-ryu perhaps as Sakai Chikuho also played many modern pieces and his style did seem quite modern. Similarly Takahashi Kuzan's arrangements of some of his Shimpo-ryu pieces may have had some Western influences.

I would like to write more about Shimpo-ryu in future.

Last edited by Justin (2010-02-18 04:22:57)

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#10 2010-02-27 10:30:31

Bogert
Member
From: Amagasaki-shi, Hyogo-ken
Registered: 2005-12-05
Posts: 203

Re: Myoan Shinpo-ryu history etc..

A small update to the list of honkyoku in the Shinpo-ryu

Myoan Shinpo Ryu
明暗眞法流

1. Choshi/Takane Takeshirabe 調子・ 高音竹調(京調子)Aka Kyochoshi
2. Shokomon 焼香文
3. Zangemon 懺悔文
4. Hachigaeshi 鉢返
5.Tehodoki Reibo 手解鈴法
6. Renbo no kyoku 鈴暮之曲(伊予恋慕と同じ)a.k.a. Iyo Renbo, also called Uta Renbo 歌戀慕 (although the Jin Nyodo Iyo Renbo seems to be quite different)
7. Murasaki Reiho 紫鈴法
8. Sanya Kyoku 三谷曲 also called Darani 陀羅尼
9. So Kyorei 艸虚霊
10. So Koku 艸虚空
11. So Mukaiji 艸霧海箎
12. Tsuru no Sugomori 鶴之巣籠
13. Renbo Nagashi 戀慕流
14. Takiochi no Kyoku 瀧落之曲
15. Shin Kyorei 眞虚霊
16. Shin Koku 眞虚空
17. Shin Mukaiji 眞霧海箎
18. Nanko Fushi Aibetsu no Kyoku 楠公父子愛別之曲
19. Shika noTone 鹿之遠音
20. Izu 伊豆
21. kansinji 感心じ
22. Ginryu Koku 吟龍虚空
23. Shinseki  眞跡
24. Tasogare Kyoku 黄昏曲
25. Hokkoku Reibo 北国鈴慕(突飛喜と同じ)a.k.a. Toppiki
26. Sagariha   降葉
27. Sankara Sugagaki 讃加羅菅垣
28. Shishi no Kyoku 獅子之曲
29. Yoshiya Renbo 吉野戀慕
30. Rinzetsu no Kyoku 林雪之曲
31. Nidan Sugagaki 二段菅垣
32. Sakai Jishi 堺獅子
33. Godan Renbo Nagasi五段戀慕流
34. Sandan Sugagaki 三段菅垣
35. Hime Matsuri 比女祭
36. Yumesei Sugagaki 夢正菅垣
37. Rokudan Jishi 六段獅子
38. Yoshiya Reibo 芳谷鈴法
39. Kocho no Kyoku 小蝶之曲
40. Kumoi Netori 雲井音取
41. Igusa no Kyoku 葦草之曲
42. Toyo no Akita 豊之秋田
43. Kaikoge Onritsu Kyoku 開口下音律曲
44. Niagari Netori 二揚音取
45. Gojyosensyuraku 五常千秋楽
46. Tsushimagaku 対馬楽
47. Nanbagaku 難波楽
48. Megumidengaku 恵伝楽
49. Taihei Manzai Raku 太平万才楽
50. Kangetsu Kyoku 観月曲
51. Dai Ni Kangetsu Kyoku 第二観月曲
52. Gyo Kyorei 行虚霊
53. Gyo Koku 行虚空
54. Gyo Mukaiji 行霧海箎
55. Shinseki Reibo 真蹟鈴法
56. Shinbutsu Kuyo no Kyoku 神仏供養之曲
57. Shinbutsukyokei no Kyoku 神仏恭敬之曲
58. Azuma no Kyoku吾妻の曲
59 Kyushu no Kyoku 旧州の曲
60. Shizu no Kyoku 志津の曲
61. Oboro Tsuki Yo 朧月夜
62. kiri kasumu tani    霧霞谷
63. Ousiki cyou  黄鐘調  also called Akebono kyoku

It seems likely now that the below honkyoku are alternate titles for some of the above.  I've found that is true for a number that were previously below and are now up there.
Although some are probably not.... I'll keep looking for any new info.

Seiganmon 誓願文
Yobibue Kotaebue 呼笛答笛
変生眞五乎
Shinsenkantoku 神仙感得
Hokyu Sanya 鳳叫三谷
Yumechu Kyoku 夢中曲
Kongo 金剛
Shishi Odori 獅子踊


That's all
Chris

Last edited by Bogert (2010-02-27 10:31:48)


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#11 2010-07-26 08:53:40

Justin
Shihan/Maker
From: Japan
Registered: 2006-08-12
Posts: 540
Website

Re: Myoan Shinpo-ryu history etc..

There's been recent mention of the lineage charts on my website so in case anyone is looking at them closely I wanted to announce a mistake. I had been told by someone I had assumed to be a reliable source, that Higuchi Taizan had studied from Ozaki Shinryou (as well as from his other teachers from Seien-ryu and Kinko-ryu). So I included that in one of my lineage charts (that of Takahashi Kuzan's lineage). However, researching this issue further, I have found no evidence for this whatsoever and it appears to be untrue. When I get the time I will of course change the chart, but in the meantime please bear this in mind, and for anyone to whom this has caused confusion I apologise.

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