Английская Википедия:Hotchiku
Шаблон:Short description Шаблон:More citations needed Шаблон:Italic title
The Шаблон:Nihongo3, sometimes romanized as Шаблон:Transliteration or Шаблон:Transliteration, is a Japanese aerophone, an end-blown bamboo flute, crafted from root sections of bamboo.[1] The bamboo root is cleaned and sanded, resulting in a surface patterned with many small, circular knots where the roots formerly joined the stalk. The same part of the bamboo plant is also used to produce the Шаблон:Transliteration but, unlike the Шаблон:Transliteration, the Шаблон:Transliteration's inside (bore) and outside surfaces are left unlacquered, and an inlay is not used in the mouthpiece. The membranes at the nodes inside a Шаблон:Transliteration bore are generally left more intact than those of a Шаблон:Transliteration, though older Шаблон:Transliteration also share this trait. Together, these characteristics make for a visibly and audibly raw and organic instrument. Шаблон:Transliteration are sometimes referred to as Шаблон:Transliteration, meaning "without Шаблон:Transliteration [a paste made of clay and lacquer, used to smooth the bore on modern Шаблон:Transliteration], one-piece"; Шаблон:Transliteration are not cut in two pieces for crafting or storage, unlike modern Шаблон:Transliteration that are used as musical instruments.
Шаблон:Transliteration have four holes down the front for fingers and one hole on the back for the thumb of the upper hand. The instrument is capable of a range of at least two octaves, and more if the instrument is well-crafted and in the hands of an experienced player; they can be fashioned to any length, suitable bamboo permitting, with longer instruments having their frequency range shifted proportionally lower. Шаблон:Transliteration are typically longer than other variations of the Шаблон:Transliteration, and almost always thicker and heavier.
The techniques for playing the Шаблон:Transliteration are similar to Шаблон:Transliteration techniques, although the sound resulting from Шаблон:Transliteration is more fragile and possibly less well tuned to musical scales than are modern, refined (Шаблон:Transliteration, or tuned Шаблон:Transliteration) Шаблон:Transliteration. The angle of the Шаблон:Nihongo3, or blowing edge, of a Шаблон:Transliteration is closer to perpendicular to the bore axis than that of a modern Шаблон:Transliteration, but this is mostly a choice of the maker depending upon the size of the bamboo. Older Шаблон:Transliteration and Шаблон:Transliteration also share this trait, though unlike Шаблон:Transliteration they usually have an inlaid blowing edge. This property, along with the unlacquered bore, results in a rough and breathy timbre.
Because of its extremely natural construction, the Шаблон:Transliteration is commonly used for Шаблон:Nihongo (blowing Zen meditation). Playing traditional Шаблон:Transliteration is generally only attempted by highly skilled Шаблон:Transliteration musicians, since the blowing and fingering techniques required for Шаблон:Transliteration have to be altered considerably. Since Шаблон:Transliteration are not generally tuned to a standard musical scale, they do not commonly accompany other instruments.
Distinctions between Шаблон:Transliteration and traditional Шаблон:Transliteration
The term Шаблон:Transliteration was popularized by Watzumi Doso.Шаблон:Who Traditional Шаблон:Transliteration were quite similar, with three primary differences. First, modern Шаблон:Transliteration performers such as DosoШаблон:Who and OkudaШаблон:Who often prefer exceptionally long Шаблон:Transliteration, while Шаблон:Transliteration rarely exceeded 2.1 Шаблон:Transliteration. Second, Шаблон:Transliteration had an inlaid mouthpiece, which protects the blowing edge from taking on excess moisture and rotting out. Thirdly, though Шаблон:Transliteration is not used, the inside is painted with Шаблон:Transliteration, a natural lacquer made from the sap of the urushi tree, used in Japan from antiquity. Like the mouthpiece inlay, this protects the bore from taking on excess moisture and contributes to the flute's longevity.
Lacking Шаблон:Transliteration and a mouthpiece inlay, Шаблон:Transliteration gradually take on moisture as they are played, making the tone less stable. Though Шаблон:Transliteration were not tuned to a precise scale either, they could generally be played together. As their hole positions were either calculated or copied from another Шаблон:Transliteration, a particular Шаблон:Transliteration piece could be played roughly the same way on any Шаблон:Transliteration. Шаблон:Transliteration take even more freedom; some of Watazumi Doso's instruments were literally a piece of bamboo cut down with some holes seemingly randomly bored into it.
Distinguishing Шаблон:Transliteration from Шаблон:Transliteration in general can be difficult, as there are many types of Шаблон:Transliteration. In addition to Шаблон:Transliteration, there are also modern Шаблон:Transliteration, such as those made by John Kaizan Neptune,Шаблон:Who which are tuned to be played with modern (Western) musical instruments. Again, since the abolition of the Fuke sect in 1871, modern Шаблон:Transliteration have been made in two halves in order to tune them more precisely, but Шаблон:Transliteration used for Zen practice have been primarily Шаблон:Transliteration since the beginning. The term Шаблон:Transliteration encompasses all of these, including Шаблон:Transliteration, and should not be understood as referring only to the modern, more musical iteration of the instrument.
Famous Шаблон:Transliteration players
References
External links
- Close up of Hotchiku, by Kinya Sogawa
- Article detailing differences between hotchiku and shakuhachi, by Tom Deaver
- One of several messages in a thread on shakumail, describing the history of the term and concept of hotchiku, contrasted with shakuhachi
Шаблон:Flutes Шаблон:Traditional Japanese musical instruments Шаблон:Authority control
