発祥 (神 如道):

蓬莱 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
	Hi Kyoku	尺八 : 徳山 隆
This song comes from rinzai Zen temple, Kokutaiji, located in Toyama Prefecture. The title Horai itself comes from Mt. Horai, a mythical Chinese peak where one does not experience old age. Horai is composed in a minor key, and uses the Miyakobushi scale. This melodic mode will be familiar to most admirers of Japanese music. The shakuhachi itself has only five holes that alone produce a pentatonic scale. Quarter tones are made by partially covering the holes and adjusting the angle of one's neck while playing. These flattened tones create a somber mood within the piece. One will notice many repetitious phrases within Horai, which is reminiscent of the standard sankyoku piece Rokudan.
	Jin Nyodo No Shakuhachi 06	尺八 : 神 如道
Kokutai-ji: HORAI 1-shaku 9-sun 9 min. 53 sec. 1. About the title: The title probably derives from Mount Horai, the mountain of the spirits in the Eastern sea, which according to Chinese myth is a land where holy people live, free from old age and death. It is a keikyoku ("auspicious piece") and was traditionally played on the anniversary of the death of the founder of the sect. Kokutai-ji is a temple of the Rinzai sect, located on the outskirts of Takaoka City in Toyama Prefecture. Originally it was not a komuso temple, but at some point it became a base for komuso priests. After the abolishment of the Fuke sect, a group called the Myoon ("beautiful sound") Kyokai was formed at this temple (after the war the name was shortened to Myoon-kai) which continued to play classical shakuhachi honkyoku. Besides this piece there are also versions of San'ya and Reibo. Jin Nyodo learned this piece from Tahara Myogen and Takagi Myogai. 2. Structure of the piece The whole piece proceeds with a melody that rises and falls, falls and rises seemingly without end. Built out of this infinite melody, its tempo is light and relaxed: there are several dan-like divisions but throughout the piece there is practically no change in rhythm. 3. Special features of the piece: The piece is filled with a feeling of lonely remoteness. The smoothly flowing mood of the piece is quite appropriate for it to be played on occasions of liturgical ceremony.