Predecessors (pre-Tokugawa/Edo)
Gagaku shakuhachi (Nara/Heian era; no longer used in gagaku)
Origins: ancient Chinese panpipes used for sacred tuning practices.
 Pipes used for Chinese theory of “blown fifths.”
Name based on Chinese measurement: 1 shaku and 8 sun (56 cm).
Tempuku (Muromachi era; defunct): flute for light classics by Satsuma school
Hitoyogiri (Muromachi era; defunct): replaced gagaku shakuhachi
Small 5-hole flute with oblique-cut mouthpiece
 Played by itinerant beggar-priests called komoso (“straw mat monks”)
 Hitoyogiri replaced by larger modern shakuhachi with fuller sound.

Development of modern shakuhachi (Tokugawa/Edo period to present)
Komuso (“monks of emptiness”): itinerant samurai beggar-priests
Ronin: unemployed samurai at the end of the warring period
 (samurai at top of social hierarchy over farmers, artisans, merchants)
Fuke sect formed in Kyoto (by govt. permission):
Komuso became government spies in disguise; freedom of movement.
 Shakuhachi doubled as a weapon (long swords banned in this era).
Headquarters moved to Edo (Tokyo), spying in the pleasure quarters.
Sect was abolished with Meiji Restoration (1868).
Kyoto komuso sect became Myoan school; Tokyo group became Kinko school.
Less exclusive Tozan school formed in late 19th century.

Jiuta chamber ensemble (late Edo era): shakuhachi accompanies koto and shamisen.

Shakuhachi important in experiments with Western music in 20s and 30s.

Common characteristics of the shakuhachi
oblique-cut blowing edge with ivory insert;
four holes on top, one in back;
slightly curving instrument with knobby, natural looking bell at root end.
Variations: length (and thus the pitch) may vary as well as number of holes;
 experiments with keyed instruments during 1920s never became popular.
Standard shakuhachi (55-56 cm.): five holes sound D, F, G, A, C
Merikari: additional pitches played by half-holing, changes in embouchure.
3 degrees of lowness (meri), 3 degrees of highness (kari).
 

Three categories of shakuhachi music

Honkyoku: original pieces, performed solo
 Music developed out of meditation practice called suizen (“blowing zen”)
 Free meter, natural breathing rhythm.
 Phrases: begin soft, swell to loud, return to soft with final grace note;
  Use of ma between phrases.
 Variety of timbre effects: vibrato, explosive breath, flutter tonguing.
Programmatic imagery (e.g., nesting cranes, calling deer, wind, insects)
 Scale: in scale (emphasize leading tones: ½ step upper, whole step lower)
Music in rondo form: A B A C A etc.
alternation of melodic theme with new sections;
returns to main theme are not exactly the same;
tendency to begin in low register, move higher and return to low.

Gaikyoku: pieces borrowed from, or played with koto/shamisen.
Shamisen solos from famous pieces adapted for shakuhachi.
Jiuta music: shakuhachi plays melismatic version of shamisen line.

Shinkyoku: new music in the modern era
Large shakuhachi ensembles
Shakuhachi accompaniment to religious services
Shakuhachi music used as aids to meditation