発祥:

霊慕 (布袋軒) は下記のアルバムに収録されています

	アルバム	アーティスト
	Castles In the Sky	尺八 : Allen Nyoshin Steir
	Heart of Bamboo, The	尺八 : Ronnie Nyogetsu Reishin Seldin
	Ichion Jobutsu	尺八 : 松本虚山
	IN THE MOMENT
	Jin Nyodo No Shakuhachi 03	尺八 : 神 如道
	Jin Nyodo No Shakuhachi 03	尺八 : 神 如道
Futai-ken: REIBO 2-shaku 3-sun 12 min. 14 sec. 1. About the title: First, please consult the section on Reibo in "Commonly Used Titles." Then, please see the separate article "Different Pieces with the Same Title; Identical Pieces with Different Titles." This piece is a seikyoku ("true piece") which is the one Futai-ken melody according to the principle of "one temple: one melody." It is famous and representative of Reibo compositions to the extent that if someone refers to Reibo one is likely to think of this piece. Jin Nyodo received and passed on this piece from Konashi Kinsui 'who is said to have surpassed all others at playing Reibo. 2. Structure of the piece It is in the classical format of the Tohoku-style honkyoku: [Takeshirabe - Honte - Hachigaeshi - Musubi]. It has an extremely tight, compact form with clear jo-ha-kyu development. Takeshirabe - The mood of the piece shares much in common with the San'ya of the same Futai-ken tradition in that it is played as if gushing forth from the depths of the earth, out of a profound stillness. In particular the three breaths of the initial maebuki and the melodic shape of the following two breaths are the same in both pieces. The takeshirabe of this piece and the ki section which forms: the first half of the takeshirabe of San'ya, as well as the general flow of the pieces are also quite similar, but this piece has a more profound sentiment. Moreover, whereas the takeshirabe of San'ya combines elements of both shirabe and honte, in this piece there is a separate honte, and the takeshirabe functions as a complete shirabe section. Honte - At first the KO-no-ro tone is played quite strongly. Continuing the profound mood of the piece already demonstrated in the takeshirabe, the composure and dignity of the entire piece then make another strong impression in the first melody of this honte. It is the first developmental section and proceeds from the shirabe to develop in two dan. A characteristic melody of this piece appears in the second dan where the KO-no-hi tone is again played strongly to form a truly sad and lonely melody. Beginning with this honte, the technique called shiori is used. In this technique, the chin is pulled back in the middle of a prolonged note so that the tone is slightly lowered; then, it returns to the higher tone. This is not used in San'ya. This shiori and the technique of yoko-yuri are coupled together to strengthen the rather ghostly and dark mood. Takane - This section begins with an extreme sense of lamenting grief. After the lonely melody that was pointed out in the honte continues some, the second characteristic melody appears. In this piece it is not repeated, but after the insertion of a connecting melody, it moves immediately into the hachigaeshi. Even though this piece is extremely emotional it does not fall into a mood of excessive sentiment, but rather maintains a tense, compact structure. Hachigaeshi - After a modulating opening melody, the second characteristic melody introduced in the takane is repeated, all the while strengthening #he sorrowful mood. Musubi - A finale section, that while being quite dignified, also floats with a feeling of distant longing. After the lead-in melody, the first characteristic melodic form is briefly repeated and the piece ends in a mood of dark mystery. 3. Special features of the piece: Technically it is similar to San'ya except that the use of soko-yuri is quite distinctive.
	Koten Shakuhachi Gaku Zen Shū - 4	尺八 : 竹内 史光
	Mukaiji - Komuso Shakuhachi	尺八 : 善養寺 恵介
The most popular Reibo among the ones with the same name. This piece has a typical Ohshu-style structure where it begins with Takeshirabe and leads to Honte (Takiotoshi), Takane, Hachigaeshi and Musubi. The lingering and breathing are very refined and typical for Ohshu-style. Sokoyuri, vibrato by breathing, dynamic Tsutsune, breath narrowing technique Shiori, Takeshirabe played with only Otsu notes so as not to wake up a sleeping baby, Takane with high tone representing the excitement, and Hachigaeshi on a changed key - This is truly a masterpiece representing Ohshu style where strong and weak, hard and soft modes are intermixed organically. Futai-ken was located in Natori-shi, south part of Sendai and an important komuso temple in Ohshu. There have been many Shakuhachi players from the temple even after the Meiji period, but they did not have written notation. From bamboo to bamboo, from era to ear, the pieces have been transmitted. Jin Nyodoh (1891-1966) learned this piece and Sanya from a virtuoso Konashi Kinsui (1867 - 1931) in Sendai.
	Perspectives of New Music	尺八 : Ronnie Nyogetsu Reishin Seldin
The shakuhachi is an end-blown Japanese bamboo flute. The standard instrument, known as a 1.8, is one shaku, eight (hachi) sun long (about 54.5 cm). Longer instruments, such as the 2.4 used on this recording, produce sounds lower in pitch and are considered to be especially suitable for playing Zen music. During the Edo period, solitary shakuhachi-playing monks walked the length and breadth of Japan in search of the one perfect sound which would bring enlightenment. These monks were known as komuso (priests of emptiness and nothingness). Priests in the Fuke sect of Rinzai Zen Buddhism used the shakuhachi as a tool for meditation, the practice being called sui-zen (blowing zen). These earliest, meditative compositions are known as honkyoku. Honkyoku are not intended fur public performance, but rather to awaken the mind of the performer to a higher state of consciousness. (Futaiken) Reibo is one of the classical honkyoku assembled by the komuso and teacher of komuso, Kinko Kurosawa (1710-1771). There are many versions of Reibo; this particular piece is associated with a Futaiken, a temple in the northern area of Japan known as Sendai. -Hilary Tann See also Hilary Tann's article "Coming to Terms: (Futaiken) Reibo," Perspectives of New Music 27, no.2 (Summer 1989).
	Phoenix Crying - Yearning for the Bell Volume 6	尺八 : 皇保
The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
	Phoenix Crying - Yearning for the Bell Volume 6	尺八 : 皇保
The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
	Phoenix Crying - Yearning for the Bell Volume 6	尺八 : 皇保
The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
	Phoenix Crying - Yearning for the Bell Volume 6	尺八 : 皇保
The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
	Reibo	尺八 : 初世 酒井 竹保 尺八 : 二世 酒井 竹保
	Reibo - In memory of the bell	尺八 : Ronnie Nyogetsu Reishin Seldin
These is legend to the effect that Fuke Zenji, the founder of the Fuke sect of Zen Buddhism during the Tang Dynasty in China, used to ring a bell in his hand as he walked. "Reibo" is said to be composed in his memory, and the music to represent the sound of that ringing bell. It is a honkyoku which is often played at funerals, and though it has a melancholy quality, the piece also expresses gratitude and a wish for the safe passage of the soul from this world. There are many versions of "Reibo", such as the famous "Koku Reibo" ("Bell Ringing from an Empty Sky"), but this particular one comes from Futaiken, a temple in a northern area of Japan known as Sendai.
	Sui Zen - Blowing Meditation on the Shakuhachi - 01	尺八 : Ronnie Nyogetsu Reishin Seldin
Futaiken Reibo, which, like all reibo style pieces, means "memory of the bell," or "yearning for the bell," was the seikyoku, or primary piece of the Futaiken temple, and was played daily by its priests. It is so famous and representative of reibo style compositions that, when someone refers to "reibo," one thinks of this piece. Jin Nyodo received this piece from Konashi Kinsui, in Sendai, who is said to have been the ultimate master of reibo. This piece has the classical format of the Tohoku-style honkyoku. These pieces begin with a takeshirabe that has a characteristic Futaiken Temple sound, a honte that employs a shiori, a technique of raising and lowering the head that produces a sense of unreleased potential energy not seen in sanya, a hachikaeshi and an ending musubi. It has an extremely tight, compact form with a clear Jo Ha Kyu arc development. This piece has a rather dark, mysterious, deeply emotional, yet restrained quality, with a sense of unreleased tension within the flow of energy. It is played here on a very long 2.4 flute.
	Take o Fuku	尺八 : 酒井 松道