This article describes a practice research project investigating how the practice of meditation may be integrated into the playing of shakuhachi, an instrument utilised during the Edo period (1603–1867) as a tool for spiritual practice by monks of the Fuke sect and later becoming part of the hōgaku (Japanese traditional music) world as a stage instrument. Although we cannot know how the monks were trained to use the shakuhachi in meditation, I have combined my own shakuhachi and meditation experiences, in order to investigate how a shakuhachi player today may approach the incorporation of meditation in their musical practice. In transforming my experience into words, I here employ auto-elicitation, a micro-phenomenological interview technique developed by Claire Petitmengin to describe the subtle and fine-grained experiences of meditation while playing. The project here is regarded as a practice research within the field of ethnomusicology and challenges the narrow kind of scholarship in academia, which overshadows the practice research—the research of the act of playing music.
目次
Abstract 143 Introduction: why doing research on shakuhachi and meditation? 143 The shakuhachi: history and background 145 Methodology 145 Meditation 147 Shakuhachi transmission 148 Meditation and shakuhachi I 149 Distinguishing between 'flow' and meditation 150 Meditation and shakuhachi II 150 Working towards the goal 153 Reflection 155 Notes 156 Disclosure statement 157 Note on contributor 157 References 157
