MURYOKO
'Infinite Light'
Journal of Shin Buddhism
MUSIC
Music Inspired by the Buddha Dharma
Graham Ranft
© National Gallery of Australia, Canberra
Graham Ranft
- started out in music playing jazz double bass
- studied flute and recorder and now learning Shakuhachi with Daishihan Riley Lee
- came to Buddhism later in life.
The Three Pure Land Pieces
The first three pieces have been created using a computer program called Musicnum. I have tried to capture the essence of Pure Land Buddhism - tranquillity, peace and with a feeling of spaciousness.
The fourth piece, 'Invocation of the Name is played on the shakuhachi.
- PL1 was my first attempt.
[Duration: 10:00] - PL2 is a musical representation of the 'Pureland'.
[Duration: 10:00] - PL3 is a further refinement of PL1 spare melody with a sense of simplicity, space and serenity. [Duration: 10:00]
- Invocation of the Name. This piece comes from the heart ...yearning for escape and enlightenment, only to realise we have to accept ourselves as we are and in doing so comes serenity and the beginning of real practice.
- Shikantaza, or 'just sitting,' is alert nonselective attention which neither
pursues nor suppresses thoughts, sensations, etc., but, rather, gives alert
detached attention to whatever arises in and vanishes from consciousness. [Duration: 04:07]
- Koku is a much venerated piece. It is played by all schools of shakuhachi playing
and its common title is 'Empty Sky' this refers to the concept of Sunyata. Daishihan
Riley Lee writes ...'It refers to a concept that is in the realm of the Absolute and
therefore cannot be explained or understood with words. Words, and indeed our
thoughts, are of the world of the relative. For example, the word "empty" has no
meaning apart from the word "full". The work "ko", on the other hand, does not mean
merely "empty", because it is not the opposite of "full"; it is "that" which has nothing to
do with "fullness".'
The player aims to attain the ulitimate state of enlightenment whilst playing this piece. [Duration: 05:27]
- Towa no wakare no aika .
This literally translates as follows: towa = eternal; wakare = separation; aika = elegy or lament, sad song, etc. The expression towa no wakare is a euphemism for death, and the implication, is that the person who is now 'eternally separated' was a loved one or very close friend. Title translation courtesy Daishihan Riley Lee - Hachi gaeshi (Returning the Bowl) is performed after the monk received alms, usually a bowl of uncooked rice. The monk would then return the bowl and perform 'Returning the Bowl' in an expression of gratitude, for the food which gives him life, and on the part of the donor for the opportunity to give.
The temple of Echigomeianji is located in Niigata Prefecture. - Kyorei is the oldest known shakuhachi piece, a slow quiet piece
that is both simple and very challenging to play. It is regarded as one
of the most venerated of pieces. Here it is played with 'Kyosui' - empty breath without affectation or tecnical artifice This simple playing style is the essence of Zen.
- Ekoh This piece was transmitted from Ichigetsuji, a temple in the
Kanto region of Japan. Ekoh's meaning may be found in
Buddhist concepts such as kusho, tamuke
(hands folded together in gassho) , fuse (alms giving - Skt. dana) - and kishi.
All of these ideas pertain to chanting sutras in commemoration of those who have passed from this world (shujo ekoh) as well as for one's own personal benefit (bodai ekoh). One should play this piece with an appropriate attitude and purity of intention. Played on a Shugetsu Yamaguchi 2.85/F# jinashi shakuhachi.
- Hifumi shirabe - Hifumi means simply "1- 2- 3"
This is one of many 'searching' pieces in the classical shakuhachi repertoire.
The meaning of the first three characters in this context is unknown, though they may refer to the 'three jewels' of Buddhism.
This short piece can played as a 'way' to search for an awareness of one's present situation.
Played 'Kyotaku' style on a 2.85 shakuhachi. - Yamato choshi
This version of Choshi is believed to have originated in the Yamato district of old Japan, what is now the Nara region, the site of the first capital of Japan, 13 centuries ago.
The Zen tradition of shakuhachi holds that the shakuhachi plays you as much as you play the shakuhachi.
This is a renewing of this relationship between the bamboo and the person.
Played in the 'Kyotaku' way on 2.85 shakuhachi.
- Honte Choshi (calligraphy, right), 'Original Searching' - a short prelude style of piece.
It serves to help establish the pitch of the instrument and to center the musician. The musician warms up and then settles the mind for spiritual practice through the playing of such a piece. Often refered to as 'Suizen' - Blowing Zen. A high degree of 'one pointedness' or concentration of the mind can be obtained by playing the shakuhachi. - Banshiki
This piece when played on a 1.9 shakuhachi plays the exact tones of 'banshiki' scale or mode.
The piece is associated with autumn and has a sense of space and sadness - wabi sabi. It is a restrained piece and here played with Kyosui - empty breath. It is is a very Buddhist piece; concerned with this life journey with its attachments and feelings towards the release of death.
Here its played on a 2.4 instrument. - Chikugo Sashi
comes from the Fuke temple Rinsei-ken, located in Kurume City, Fukuoka Prefecture, in the southern island of Kyushu.
This is one of many Sashi honkyoku which are dedicated to the Bodhisattva Kannon, the Buddha of mercy and compassion, who remains in the world of suffering to help those in need. - Clouds & Mountains
Inspired by the last trip I made to the southwest of Tasmania , staying amongst the rain-soaked, misty mountains and swirling fogs of this wilderness area. - Takane Sashi
Takane means 'high sound'. It may have originated from Icchohken, Hakata Prefecture, Kyushu.
Played on a 1.8 shakuhachi. - NEW: Tehodoki Reiho
Tehodoki Reiho / Initiation into the Dharma of the Bell refers to the bell of Fuke. The word tehodoki literally means 'leading one by the hand', that is, guiding a novice down the path - Daishihan Riley Lee.
Played on a 1.8 shakuhachi. [Duration: 3' 25"]
I would like here to acknowledge my deep gratitude to my teacher, Daishihan [Grand Master] Riley Lee and Sensei Tilo Burdach.