SHAKUHACHI GLOSSARY 尺八词汇
整理：周文壕 本文内容引用自 http://shakuhachisociety.eu/resources/glossary/
Ai-no-te (合の手) – Music performed between vocal sections 声部之间演奏的音乐 Atari (当り) – To strike a finger hole 打一个手指孔 Ato-Uta (后歌) – Ending vocal section声部结尾
Benkyōkai (勉强会) – Study group meeting. In the context of traditional Japanese music, this refers to a day on which students gather to perform the pieces they have been working on for each other. 研究组会议。 在传统日本音乐的背景下，这是指学生聚集在一起表演自己一直在努力的作品的日子。 Biwa (琵琶) – Japanese necked bowl lute with four or five strings played with a large plectrum. 日本曲颈琵琶，有四到五根弦，弹奏著很大的拨子。 Bokoboko (ボコボコ) – Shakuhachi tremolo technique. 尺八颤音技术。 Boroboro (ボロボロ) – Beggar-monks or ascetics preceding komusō monks of the Fuke sect. They are mentioned in the book Tsurezuregusa from circa 1300. 普化宗的 komusō 僧侣之前的乞-和修行者。 在大约 1300 年的 Tsurezuregusa 一书中提到了它们。 Chikuzen inchinyō (竹禅一如) – The bamboo and Zen are as one 竹与禅合一 Chirashi – Climax of section 高潮部分
Dai shihan (大师范) – Often translated as grand master, but the meaning is rather grand teacher, instructor or model. 通常翻译为大师，但意思是相当的老师，讲师或榜样。 Danmono (段物) – A piece scored in Dans (sections) without vocals 一段没有人声的 Dans（部分）得分 Dōjikyoku (童子曲) – Children’s song. Most often called “dōkyoku” 孩子们的歌。 最常被称为“dōkyoku” Dōjō (道场) – Hall used for martial arts training or a place of Buddhist practice or meditation. Used also in the sense of a place where shakuhachi is being taught. 大厅用于武术训练或佛教徒练习或冥想的地方。 也用于教授尺八的地方。 Dōkyoku (童曲) – Children’s song 孩子们的歌
Fuke-shū (普化宗) – The Fuke sect of Rinzai Zen. The sect in which the shakuhachi playing komusō monks belonged. The founder is considered as being Pǔhuà (普化, Jap. Fuke) (c.800–66) from China, but no writings remains about the sect in China. It is written in Kyotaku Denki Kokujikai that the Japanese branch of the Fuke sect was founded by Shinchi Kakushin (心地觉心)(1207–98), who brought it from China. The use of shakuhachi as a tool for religious practice was implemented. 佛教临济禅宗。 演奏 komusō 和尚的尺八所属的教派。 创始人被认为是来自中国的普化（日本佛教） （c.800-66），但是关于中国该教派的著作尚无。 在《 Kyotaku Denki Kokujikai》中写道，佛教的日本
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分支是由心地觉心（Shinchi Kakushin，1207–98 年）从中国带来的。 实施了使用尺八作为宗教实践的 工具。 Fumen 谱面 – Music score 谱子 Furi 振り – A rapid meri/kari head dip.快速地俯仰点头一下 Furi otoshi 振落 – Ending a phrase with a quick dip into meri以快速沉音在语气结尾点头一下
Gagaku (雅楽) – Court music played at the imperial court and Shinto temples. The music was introduced to Japan from China via Korea in the 7th century. 在皇宫和神道圣殿中演奏宫廷音乐。 该音乐在 7 世纪从中国经由韩国传入日本。 Gaikyoku (外曲) – Lit: outside pieces. Pieces that are not honkyoku, thus therefore outside the repertoire of the komusō monks. This includes sankyoku, min’yō and shinkyoku. Today it refers mostly to sankyoku. 注：外部作品。 并非本国乐曲的作品，因此不在 komusō 僧侣的曲目范围之内。 其中包括 sankyoku， 民谣和 shinkyoku。 今天，它主要指的是 Sankyoku。 Gakki (楽器) – Musical instrument. 乐器。 Gakufu (楽谱) – Musical notation 音乐符号 Gendai hōgaku (现代邦楽) – Contemporary Japanese music. In 1947 NHK radio broadcasting began using the term gendai hōgaku for music influenced by avant-garde music in the Western classical tradition. Gendai nihon ongaku (现代日本音楽) – Contemporary Japanese music. See also gendai hōgaku 当代日本音乐。 1947 年，NHK 广播开始使用 gendaihōgaku 一词来表达受西方古典传统中前卫音乐影 响的音乐。 Gendai nihon ongaku（现代日本音楽）–当代日本音乐。 另见 gendaihōgaku Hachigaeshi (钵返し) Returning the bowl. 归还碗（钵）。 Ha (派) – Faction. Used for example in Myōan Taizan-ha. Thus the Taizan Faction of the Myōan group of shakuhachi. 流派。 例如在明暗对山派中使用。 因此称作尺八明暗的对山派。 Hate – A light kind of honkyoku. Played in the afternoon when free from strict discipline of religion. 一种轻便的本曲。 下午在没有严格的宗教纪律的情况下演奏。 Hitoyogiri (一节切) – An one node shakuhachi considered the missing link between the gagaku shakuhachi and Fuke shakuhachi. It became popular between 14th and 18th century. The length varies but most often around 1 shaku 1 sun (circa 33.3 cm). Hōgaku (邦楽) – A term used today for all traditional Japanese musical. The term came to existence during the late Meiji era to differentiate between on one hand, Western music and on the other hand, Japanese music. The term was coined in 1907 by the creation of Hōgaku Inquiry Department (邦楽调查挂) at Tokyo Institute of Music (东京音楽学校). Hōki (法器) – Sacred tool. The shakuhachi was regarded a hōki and not gakki (musical instrument) before secularisation in 1871. It was considered a tool for spiritual training for the komusō monks. Honkyoku (本曲) – The traditional pieces in the repertoire of the komusō monks of the Fuke sect; lit Honte (本手) – The main body of a piece. A melodic development in higher register. 乐曲的主体。 高音声部的旋律发展。 Hotchiku (法竹) – A term used by Watazumi Dōso Rōshi (海童道祖老师) to describe his unlined shakuhachi. Watazumi was highly conscious about the difference in philosophy between these two types of shakuhachi
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and used therefore another term to describe his instruments.
Ichigetsuji (一月寺) – Ichigetsu temple temple was one of the main Fuke sect temples in the Kanto region together with Reihō temple. Ichi Ji Ichi Ritsu (一时一律) – One temple, one piece (tune?) Ichion Jobutsu 一音成仏 – One sound reaching enlightenment 一种声音启蒙 Iemoto (家元) – Family foundation. Term used to refer to the founder or current head master of a certain school of traditional Japanese art, including music. The iemoto system is characterized by a hierarchical structure and often the iemoto has supreme authority. 家庭基础。 该术语是指某种日本传统艺术学派（包括音乐）的创始人或现任宗主。 家元系统的特征 在于层次结构，并且宗家通常具有最高权限。 Iki-nayashi (息ナヤシ) – Short glissandi as an ornament before or in the middle of a note produced by change the direction of the breath. 在所产生的音符之前或之中改变呼吸方向，以短的气息摩擦作为装饰音。
Ji (地) – A paste made of urushi, stone powder and water, which is used to build up the bore of the modern jinuri/jiari shakuhachi. 由生漆、砥石粉和水制成的糊状材料，用于建造现代 jinuri / jiari尺八的孔内径。 Jimori shakuhachi (地盛り尺八) – Shakuhachi where the tuning methods has been using ji in strategic places in the bore and not all over the bore as in jinuri shakuhachi. Jimori shakuhachi is also sometimes called spot-tuned shakuhachi. 尺八的调音方法已在钻孔的重要位置使用漆，而不是像 jinuri 尺八那样在整个钻孔中使用漆。 Jimori 尺八有时也被称为调音尺八。 Jinashi shakuhachi (地なし尺八) – Shakuhachi tuned without the use of ji, where only the natural bamboo remains. This was the traditional method of making shakuhachi during the Edo period. 尺八在不使用漆的情况下进行调音，其中仅保留天然竹子。 这是江户时代制作尺八的传统方法。 Jiari shakuhachi (地有り尺八) – See jinuri shakuhachi. Jinuri shakuhachi (地涂り尺八) – A shakuhachi with a mid-joint where the bore is built up with ji. This method of tuning and instrument making became the mainstream after the Fuke sect was abolished. 一个中继的尺八，其中用漆构筑了内径。 在普化宗虚无僧被废止之后，这种调音和乐器制作方法成 为主流。 Jiuta (地歌) – Music originally composed for shamisen最初为三味线创作的音乐 Jiuta sōkyoku (地歌筝曲) – Music composed for shamisen and koto为三味线和古筝创作的音乐 Jun shihan (准师范) – Often translated as teacher’s license. 通常翻译为教师执照。 Karakara (カラカラ) – Shakuhachi playing technique where a percussive effect is achieved by hitting hole 1 (bottom finger hole). 尺八演奏技术，可通过击打孔 1（底部指孔）来达到敲击效果。 Kaede (替手) – Secondary arrangement of a piece乐曲第二声部 Kan (甲) – Upper register甲音（提高八度） Keiko (稽古) – Practice, study. 练习，学习。 Keikoba 稽古场 – Space in which one practice. This may be the room where one receives lessons.
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练习的空间。 这可能是一个可以上课的房间。 Ki (気) – Spirit or mood. In this thesis as with martial arts and Japanese arts in general ki refers to a spiritual energy. 精神或情绪。 在这篇论文中，与武术和日本艺术一样，气是一种精神能量。 Kari (カリ) – One of the two main head positions in shakuhachi playing with raised chin. To be played on the open holed ro tsu re chi ri etc. 尺八演奏抬高下巴的吹法（两个主要位置之一）。 可以在每个音孔演奏。 Kokyū (胡弓) – Three-string bowed spike fiddle. The only bowed fiddle in Japan.二胡 Komi Buki (コミ吹き) – Big breath. Vibrato created by diaphragm. Representative for the repertoire of the Nezasaha. 大呼吸形成振动产生的颤音。根笹派曲目的代表手法。 Komusō (虚无僧) – Shakuhachi playing monks of the Fuke sect of Rinzai Zen. The komusō monks were wandering mendicant monks playing the shakuhachi for alms. 尺八饰演临济禅宗普化宗的僧侣。 Komusō 僧侣在游走为演奏布袋尺八的乞食僧侣。 Korokoro (コロコロ) – Shakuhachi playing technique. A tremolo is created by alternatively opening and closing holes one and two. 尺八演奏技术。 通过交替打开和关闭孔一和二来创建颤音。 Kota (枯淡) – Refined simplicity. 精致简洁。 Koto (筝) – Japanese 13-string zither. 日本 13 弦古筝。 Kumiuta (组歌) – Pieces for Koto license Kyotaku (虚铎) – Lit., hollow bell or bell without substance (often translated as empty bell). Name for shakuhachi used in the historical document Kyotaku Denki Kokujikai from 1795. Today a group of players formerly led by Nishimura Kokū (1915–2002) calls their instruments for kyotaku. Kyotaku Denki Kokujikai – [The legend of the empty bell translated to Japanese] from 1795 written by Yamamoto Morihide (山本守秀). It is claimed to be an annotation in Japanese of a 13th century Chinese book entitled Kyotaku Denki (虚铎伝记). Nakatsuka Chikusen (1887–1944) was the first person to question its authenticity. The legend remains, however, the single most important work in the literature defining the identity of many shakuhachi honkyoku players.
Ma (间) – Lit., in between, space or interval. In musical terms it describes the silence between sound events. This is often described as vacuum plenum, and is an important part of Japanese musical aesthetics. 注：在间隔或间隔之间。 用音乐术语描述声音事件之间的沉默。 这通常被称为真空气室，是日本音 乐美学的重要组成部分。 Madake (真竹) – A common type of bamboo in Japan, from which the shakuhachi is made. Latin: phyllostachys bambusoides 日本制作尺八常见的一种普通竹子。 拉丁语：phyllostachys bambusoides Mae-Uta (前歌) – Opening vocal section开幕曲 Mekura hôshi (目闇法师) – blind monks. 盲僧。 Meri (メリ) – Blow by putting the chin down, to lower the tone Shakuhachi playing technique describing the head positioning. In meri, the head is lowered and the lips are closer to the mouthpiece (utaguchi). This technique produces a sound, which has less volume and is considered having a ‘darker’ character. 下巴降低来吹气，以降低音高位置的尺八演奏技巧。 在 meri，头部降低，嘴唇靠近歌口（utaguchi）。 这种技术产生的声音音量较小，被认为具有“较暗”的特征。 Min’yō (民谣) – Folk song. The shakuhachi is widely used as accompaniment to min’yō.
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Miyogiri (三节切) – A three-node shakuhachi. Considered being the link between the gagaku shakuhachi and Fuke shakuhachi alongside the hitoyogiri. Muraiki (ムライキ) – Lit., uneven breath. Shakuhachi playing technique producing a characteristic breathy sound. 注：呼吸不均匀。 尺八演奏技术产生独特的呼吸声。 Modes – Most Japanese traditional music use one of 3 pentatonic scale types: 模式-大多数日本传统音乐使用三种五音阶类型之一： Ritsu (律) is common in gagaku music and some min’yō.
Descending: D – e – G + A – b – D When ascending it may change to: D – f – G + A – c – D
In (阴) (from Chinese yin of yin-yang) or miyakobushi 都节 (urban melody/mode) is common in music from the Edo period including shakuhachi music.
Descending: D – eb – G + A – bb – D Ascending (some times): D – f – G + A – c – D
Yô (阳) (yang of yin-yang) or inaka-bushi 田舎节 (countryside mode or folk song mode) is most common in minyō (folk song).
Descending: C – eb – F + G – bb – C Ascending: D – f – G + A – c – D
Another mode in Japan is the Ryūkyū mode from the Okinawa islands (south of mainland Japan).
Ryūkyū (琉球) C – e – F + G – b – C
Muraiki (ムライキ 斑息) – Lit., uneven breath. Shakuhachi playing technique producing a characteristic breathy sound. Musubi (结) – Tying up, concluding. Final section of a piece. 总结，结尾。 最后一段。 Myōanji (明暗寺) – Myōan temple, established within the compound of the Tōfukuji temple in Kyoto. Myōanji was founded by Kyochiku Zenji and was throughout the Edo period a prominent and influential centre of shakuhachi musicianship especially in the Kansai region. Myōanji remained the centre for the Fuke style shakuhachi playing in which spirituality continued to have great importance in shakuhachi playing.
Nagashi (流し) – Playing in the street Naka-uta (中呗) – Middle vocal section中段 Nara period (奈良时代) – 710–94. Nakatsugi (中継ぎ) – The attachable mid-joint on jinuri shakuhachi. jinuri 尺八上的可连接中段关节。
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Nayashi (ナヤシ) – To begin pitch meri and rise to standard pitch Shakuhachi playing technique. A short bend in the beginning of a note, middle of a note most frequently produced by head movements. This can vary depending on the school. 开始 meri 音高和上升到标准音尺八演奏技巧。 音符开始音符的短弯，音符的中部最常见的是头部移 动。 这可能因流派而异。 Neaji (音味) – Lit: Taste of sound describing tone colour. 注：描述音色的声音味道。 Neiro (音色) – Tone colour. Nobekan (延べ管) – Shakuhachi made in one piece rather than in two attachable pieces, as is the norm today. There is thus no mid-joint. 尺八是一件式的，而不是两件式的，这是今天的标准。 因此，没有中继。 Okitegaki Jūkikajō (掟书十基个条) – Edict on the ten basic articles. Decree supposedly enacted by Tokugawa Ieyasu. Otsu (乙) – the low register on the shakuhachi 尺八的低八度
Ryū (流) – Refers to an artistic lineage and its accompanying style in an art form. In the case of shakuhachi, kinko ryū is the Kinko style of shakuhachi playing. 以艺术形式指代艺术世系及其伴随的风格。 在尺八的情况下，琴古流是尺八演奏的琴古流风格。 Ryūha (流派) – Refers to a school within a ryū.
Sankyoku (三曲) – lit. three pieces. Chamber music of Japan from the Edo period. The instrumentation is: koto (13-stringed zither), shamisen (three-stringed long-necked lute) and shakuhachi. The shakuhachi replaced the kokyû around the turn of the 20th century. Sarugaku (猿楽) – Early nō theatre popular during the 11th to 14th centuries. Shaku (尺) – Japanese measurement. 1 shaku = 30.30 cm Shakuhachi Sanbonkai (尺八三本会) – Three Shakuhachi Group. A shakuhachi group founded in 1964 across different ryūha by top players, Aoki Reibo II (b. 1935), Yamamoto Hōzan (1937 – 2014) and Yokoyama Katsuya (1934 – 2010). Shamisen (三味线) – Japanese three-stringed long-necked lute. Shihan (师范) – Often translated as a master licence. Shin hōgaku (新邦楽) – New Japanese Music. A term that arose in the late 1920s, which included genres such as Miyagi Michio’s music for Japanese instruments influenced by Western music Shinkyoku (新曲) – New pieces. This refers to 20th century pieces, thus neither honkyoku nor sankyoku. Shin nihon ongaku (新日本音楽) – New Japanese Music. A term used interchangeably with shin hōgaku. Shirabe 调 – To check the sounds and move into the proper frame of mind before performing Honkyoku. Exploring / Investigating. Can also just be a piece or the beginning of a piece. Shō (笙) – A Japanese mouth organ. Part of the gagaku ensemble. Shugyō (修行) – Training, self-cultivation, ascetic practice or pursuit of knowledge. Suizen (吹禅) – Lit: Blowing Zen. The act of playing the shakuhachi as an act of meditation. Although widely used, this word is, according to Tsukitani Tsuneko (conversation, 2007), a post-Edo period creation. Suizen-kai (吹禅会) – Lit: meeting of the Suizen [blowing Zen] group. Myōan temple gatherings where each
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shakuhachi player play a piece in front of the altar. Sokyoku 筝曲 – Music originally composed for Koto. Sun (寸) – Japanese measurement. 1/10th of a shaku = 3.03 cm Suri (スリ) – Slide. Shakuhachi playing technique. A passing note with a short portamento to an intermediate pitch. 滑音。 尺八演奏技术。 具有短滑音的中间音符的通过音符 Suriage (スリ上) – A slide upwards 向上滑音 Suri sage (スリ下) – A slide downwards 向下滑音
Takane (高音) – Section of a honkyoku piece usually played in the upper octave, often containing the climax of the piece. Takuhatsu (托钵) – Pieces played by Komuso when begging. Tamane (玉音) – Flutter tongue technique 颤动的舌头技巧（花舌、喉舌） Tegoto (手事) – Musical Interlude 音乐插曲 Tegotomono (手事物) – Musical form with Tegoto
Utaguchi (歌口) – The sharp blowing edge of the shakuhachi
Yuri (ユリ) – Vibrato created by head movements头部运动产生的颤音 Tateyuri (立ユリ) – vibrato created by vertical head movements 头部垂直运动产生的颤音 Yokoyuri (横ユリ) – vibrato created by horizontal head movements 水平头部运动产生的颤音 Mawashiyuri (回ユリ) – vibrato created by circular head movements 头部圆周运动产生的颤音 Takeyuri (竹ユリ) – vibrato created by moving the shakuhachi towards the chin 将尺八移至下巴产生的颤音 Kaeshiyuri (返ユリ) – vibrato created by moving from mawashiyuri to yokoyuri 从 mawashiyuri 到 yokoyuri 创造的颤音
