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    Figure 1: Jinashi Shakuhachi Made by Sakurai Muteki (1893-1964)

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    CarlosChacon
    The document discusses the differences between two types of Japanese bamboo flutes: the jinashi shakuhachi and the jinuri shakuhachi. The jinashi is constructed from a single piece of bamboo, with tuning done by filing nodes to create chambers within the bore. The jinuri uses a filler added to the bore during construction, dividing it into two halves joined by a middle section. This allows the bore shape and dimensions to be more carefully controlled, producing a more standardized sound. However, each jinashi still has a unique timbre due to its natural chambers.

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    Figure 1: Jinashi Shakuhachi Made by Sakurai Muteki (1893-1964)

    Uploaded by

    CarlosChacon
    96 views1 page
    The document discusses the differences between two types of Japanese bamboo flutes: the jinashi shakuhachi and the jinuri shakuhachi. The jinashi is constructed from a single piece of bamboo, with tuning done by filing nodes to create chambers within the bore. The jinuri uses a filler added to the bore during construction, dividing it into two halves joined by a middle section. This allows the bore shape and dimensions to be more carefully controlled, producing a more standardized sound. However, each jinashi still has a unique timbre due to its natural chambers.

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    Original Title

    Changes_in_the_Construction_of_the_Jinas_2

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    The document discusses the differences between two types of Japanese bamboo flutes: the jinashi shakuhachi and the jinuri shakuhachi. The jinashi is constructed from a single piece of bamboo, with tuning done by filing nodes to create chambers within the bore. The jinuri uses a filler added to the bore during construction, dividing it into two halves joined by a middle section. This allows the bore shape and dimensions to be more carefully controlled, producing a more standardized sound. However, each jinashi still has a unique timbre due to its natural chambers.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    96 views1 page

    Figure 1: Jinashi Shakuhachi Made by Sakurai Muteki (1893-1964)

    Uploaded by

    CarlosChacon
    The document discusses the differences between two types of Japanese bamboo flutes: the jinashi shakuhachi and the jinuri shakuhachi. The jinashi is constructed from a single piece of bamboo, with tuning done by filing nodes to create chambers within the bore. The jinuri uses a filler added to the bore during construction, dividing it into two halves joined by a middle section. This allows the bore shape and dimensions to be more carefully controlled, producing a more standardized sound. However, each jinashi still has a unique timbre due to its natural chambers.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 1

    the world of the kyotaku to be an entirely different world from that of the (jinuri) shakuhachi

    (Nishimura 2007, 13-4).

    Figure 1: Jinashi shakuhachi made by Sakurai Muteki (1893–1964).

    Figure 2: X-ray of jinashi shakuhachi with some repair seen in the upper end to the right. Made by Murai Eigorō.

    The jinashi shakuhachi is constructed out of a single, unsplit piece of bamboo, using the
    'subtraction method,’ which means that tuning is done by filing down nodes or rough places and that
    no ji – a filler made from a mixture of ground stone, urushi and water – is added to the bore. The
    nodes, which may not be completely filed away, create what could be called chambers inside the
    bore. The classical number of nodes is seven, which usually gives rise to three main chambers plus
    a chamber at the bottom, which is narrower than the portion of the bore above. This gives the
    shakuhachi its reverse conical bore shape, which is narrowest at the bottom of the flute (Andō 1966,
    51-3 and Koyama 1958, 31). There may or may not be an inlay to the mouthpiece.

    ! The jinuri shakuhachi is also known as jiari shakuhachi, the name reflecting the application of ji
    (filler) to the bore of the bamboo shaft. This instrument was developed from its jinashi counterpart
    just before and during the Meiji (1868–1912) and Taishō (1912–1926) periods, when shakuhachi
    makers experimented with modifications to the instrument in order to meet new requirements such
    as playing in ensembles and on stage. According to Maru Sadakichi, the use of ji became popular
    during the years 1897–1903, inspired by the experiments of the maker Kodō (Maru 1923, 53).
    These new instruments rapidly became the choice of the majority of players, so much so that the
    jinashi shakuhachi became relegated to the position of the instrument of traditionalist amateurs. In
    order to play in ensembles, a standardisation hitherto unseen in shakuhachi construction was
    required. According to Richard Emmert, the demands that ensemble and unison playing made for a
    standardised instrument created the jinuri shakuhachi which was divided into two sections with a
    joint in the middle (Emmert 1976, 121).

    During the construction process, the jinuri shakuhachi is cut into two attachable halves and the
    bore is coated with ji. As Seyama points out, this regulates the shape of the air column inside the
    bore of the modern instrument (Seyama 1998, 76). The application of ji to the bore means that the
    bore's shape can be carefully calculated and reconstructed, and thereby controlled, by the maker, in
    contrast to that of the jinashi shakuhachi, which consists of only the natural bamboo and at times a
    thin layer of lacquer applied for protection. The manner in which the jinuri instrument is made
    produces a more standardised instrument with a more reproducible timbre and loudness on the one
    hand, while on the other hand each individual specimen of the jinashi shakuhachi, in which the
    natural unevenness and nodes of the bore are not smoothed away, possesses a unique timbre,
    different from that of all its sister instruments. It should be noted, however, that the attempt to
    standardise the output of jinuri shakuhachi to the degree to which that of the Western flute has been
    standardised has so far proved unsuccessful (Andō 1986, 59). Figure 3 shows X-ray photos of
    portions of a jinashi (top) and jinuri shakuhachi (bottom). Note the chambers created by the natural

    63

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