P\u0159edn\u00ed \u010desk\u00fd hr\u00e1\u010d na shakuhachi, skladatel a muzikolog a spoluzakladatel International Shakuhachi Festival Prague<\/p>\n
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Doc. Vlastislav Matou\u0161ek Ph.D. vystudoval na hudebn\u00ed fakult\u011b AMU kompozici a postgradu\u00e1ln\u00ed kurz hudebn\u00ed teorie. V roce 1996 studoval jako stipendista Japan Foundation hru na shakuhachi u Kifu Mitsuhashiho v Tokiu a japonskou tradi\u010dn\u00ed hudbu u Osamu Yamaguchiho na University of Letters v Osace. Na hudebn\u00ed fakult\u011b AMU obh\u00e1jil disertaci\u00a0Kinetika v etnick\u00e9 hudb\u011b\u00a0(2001) a z\u00edskal doktor\u00e1t v oboru hudebn\u00ed teorie \u2013 teorie skladby.\u00a0V roce 2004 byl jmenov\u00e1n docentem. Od roku 1991 p\u0159edn\u00e1\u0161\u00ed etnomuzikologii na kated\u0159e Teorie a d\u011bjin hudby hudebn\u00ed fakulty AMU v Praze, od roku 1999 tak\u00e9 na \u00dastavu pro hudebn\u00ed v\u011bdu FF UK. Jako teoretik se zab\u00fdv\u00e1 hudbou mimoevropsk\u00fdch kultur, hudebn\u00ed kinetikou a organologi\u00ed (Rytmus a \u010das v etnick\u00e9 hudb\u011b, 2003). Spolupracuje jako hudebn\u00ed publicista s \u010cesk\u00fdm rozhlasem.\u00a0Je autorem mnohdy zna\u010dn\u011b excentrick\u00fdch skladeb, \u010dasto s \u00fa\u010dast\u00ed exotick\u00fdch n\u00e1stroj\u016f a elektroniky. S oblibou uplat\u0148uje netradi\u010dn\u00ed vyjad\u0159ovac\u00ed prost\u0159edky a postupy.\u00a0www.shakuhachi.cz<\/p>\n
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ISFP 2025 ABSTRACT:<\/strong><\/p>\n Choshi – Objective Formal Structure<\/strong><\/p>\n Motto: Choshi exists in many versions, often differing in minor details. A comparison of the most commonly used notations of this piece has revealed a number of interesting facts.<\/p>\n Taizan Higuchi (1856-1914) after the abolition of the Fuke sect became the 35th Kansu – the main instructor of shakuhachi playing of the renewed Myoanji tradition in Kyoto. I have been studying his notations for many years. Given his position, the importance of his notes and at least 150 years of their existence, I consider them a key source for understanding the authentic form of Fuke Honkyoku of the late 19th century.<\/p>\n At different stages of his life, he wrote down the shakuhachi Honkyoku (Taizan ryu) pieces 3 times, some only 2 times. To my surprise, I found that, unlike most later writings, he always consistently distinguishes HaRo from Ro and TsuRe from Re !<\/p>\n Choshi is written twice in the manuscript. The original writings – phrases (always consistently in one breath) are usually separated by a space. They are written in columns, from right to left, one after the other, usually without division according to the boundaries of blocks (partial formal structures).<\/p>\n After editing according to the divisions of the sub-structures, the result is a notation from which the musical form of the composition Choshi is clearly visible at first glance .<\/p>\n Understanding the actual formal structure makes it much easier to remember and perform a composition.<\/p>\n Choshi Choshi <\/p>\n","protected":false},"excerpt":{"rendered":" P\u0159edn\u00ed \u010desk\u00fd hr\u00e1\u010d na shakuhachi, skladatel a muzikolog a spoluzakladatel International Shakuhachi Festival Prague<\/p>\n","protected":false},"author":2,"featured_media":404,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_wp_rev_ctl_limit":""},"categories":[24,23,25,39,21],"tags":[],"_links":{"self":[{"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/posts\/534"}],"collection":[{"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/comments?post=534"}],"version-history":[{"count":3,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/posts\/534\/revisions"}],"predecessor-version":[{"id":2116,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/posts\/534\/revisions\/2116"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/media\/404"}],"wp:attachment":[{"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/media?parent=534"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/categories?post=534"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/isfp.cz\/2025\/cs\/wp-json\/wp\/v2\/tags?post=534"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\u201cChoshi is a piece that every shakuhachi player must be able to play safely and correctly from memory, even if they have just been awakened from the deepest sleep.\u201d
\n(Mitsuhashi Kifu 7.8.1996)<\/p>\n
\nForm: Variation A1 A2 A3 and (code)
\n„Tonality“: Ro
\nAll 4 parts start with TsuRe! They all end with RoRo!!! Which is not very obvious from the original notation.<\/p>\n
\nTonality: Ro
\nFormal structure: Variations – A1 (6 breaths=phrases) A2 (5 b) A3 (5 b) a4 (2 b) as a coda.
\n18 Phrases = 18 Breaths (Phrase as a Sui Dan)
\nAll 4 parts A1 A2 A3 a4 – begin TsuRe! All Parts ends RoRo.<\/p>\n