John Cage and the Shakuhachi

CageAs a fan of John Cage’s music, I found it very interesting to hear Brian Tairaku Ritchies recording of his piece Ryoanji. I feel that the shakuhachi is ideal for this work.

I went in search of links between Cage and the shakuhachi and have so far found two mentions of the instrument. The first was in a letter written around 1948 to his friend Peter Yates, where he mentions the instrument. The backstory to this is that Kitaro Nyoko Tamada, a friend of Henry Cowell, ran a fruit stand in the area of Los Angeles where Cowell lived. When Cowell found out that Tamada played the instrument, he decided to take it up and ended up comparing The Universal Flute (recorded here by Ralph Samuelson). Cowell organized a concert by some local Japanese-American performers, and Cage later organized a concert for Tamada at Cowell’s home on April 13, 1035.

For many reasons, I would prefer to offer again this year the Sonatas and Interludes, and without other music on the program. In the first place I find “programs” no longer useful, because they stand in the way of the proper use of music which is to quiet and concentrate the mind, and not to giddify it with entertainment, no matter how intellectual. In relation to the shakuhachi music, which is so marvelous, there must be no other music. It is against proper being, unnatural. The same is true of these pieces of mine, and I say it in no spirit of self-praise, but simply in simple thought about what music is and does. I am not interested in success but simply in music. I am fairly certain however that there are a number of people in Los Angeles who have not heard the Sonatas, but heard of them, who would like to hear them. I intend to resist recording these pieces and yet I want to offer them to be heard and used. Having heard them once is a very good beginning for hearing them again. I myself have heard them countless times, and I find them more and more useful, rather than less and less so.

Cage also mentions the shakuhachi in For the Birds (page 200), which is a book of interviews with Daniel Charles. In it he says the following. While it’s not clear that the music he describes is indeed shakuhachi music, it certainly sounds like it:

Just a few weeks ago, I had a very odd experience in a Japanese restaurant in New York. In this restaurant, there was a tape recorder playing Japanese music. Usually, rhythm is stressed, and I don’t particularly like it. I prefer Korean music. In terms of Japanese music, I prefer shakuhachi music, the flute suits me better than the koto. We were conversing while the music was playing. Little by little, during the gaps in our conversation, I realized that the silence is included in the music was extremely long, and that the sounds that occurred were very different from each other. I was surprised by my discovery, because the extent of the tape was absolutely unusual, it was very long. And I had never run across that in traditional Japanese music. This piece wasn’t destined uniquely for Japanese listeners, but for the entire universe, exactly in the manner of the music that [Christian] Wolff writes and plays. In fact, it wasn’t very much different from a work by Wolff. There were sounds, which floated in an immense space, a space of time — and doubtless also in space in general — coming from all parts of space at once, so it seemed to me. Wolff’s pieces certainly convey that explicitly. But here there was only one tape recorder. Everything was coming from it. And it was very, very beautiful. I was unable to recognize any tempo, any periodicity at all. All I was able to identify was the arrival of a few sounds from time to time. I was transported to natural experiences, to my daily life, when I am not listening to music, when sounds simply happen. There is nothing more delicious!

In Silence (page 162), Cage says:

And it seems to me I could listen forever to Japanese shakuhachi music or the Navajo Yeibitchai or I could stand near Richard Lippold’s “Full Moon” any length of time.

In M: Writings ’67-’72 (page 144), Cage says:

And I was attracted by the
natural noises of
breathing in Japanese Shakuhachi
playing. However, instead
of studying with
an oriental master, I chose to study
with Arnold
Schoenberg.

2 Replies to “John Cage and the Shakuhachi”

  1. Excellent research – thank you. I had not seen that quote about the restaurant before. It does sound like he is talking about shakuhachi.

    I was lead to shakuhachi by my love of silence in music, and having had investigated Cage in my own music compositions. After having studied shakuhachi fro some time, I had thought that the “silence” in shakuhachi was different than what I was looking at before entering the discipline. In my mind there was an objective nature to silence in terms of “western” music… where time is a solid vector into which events are occurring (maybe thinking more rationalistic or from a classical perspective), and where shakuhachi silence is, from a performance perspective, “ma”, which includes a relative sense of space/silence. After reading Cage’s words above, and his impression of the silence that is inherent in honkyoku (if he is indeed talking about it), I am struck that from his perspective, it does not matter the intent or underpinnings- which seems very much like him. He just enjoyed the experience of sound and silence’s interplay. Cage is so refreshing.

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