The music I practice and understand as a student of the shakuhachi comes from many sources. At its core is honkyoku, the body of (mostly) solo shakuhachi pieces often associated with the komusō of Edo period Japan. This repertoire, derived from Buddhist chant (shōmyō) and nature sounds, was collected, codified, and expanded from the 18th century onward, resulting in many schools and styles of playing. Through study with Michael Chikuzen Gould, I’ve learned koten honkyoku (“classical” pieces of unknown authorship), modern honkyoku (written in the early 20th century or later), children’s songs, folk songs (min’yō), and a variety of ensemble pieces, with special attention to compositions by Randō Fukuda. Much of this music was passed to him from Katsuya Yokoyama and Yoshinobu Taniguchi, and the basic teachings run parallel to those of the KSK/Chikushinkai. Filtered through Kinko, Meian, and western classical traditions, the style of this lineage, which emphasizes self expression, isn’t tied to a specific ryū but is sometimes called dōkyoku, a term used for a time by Yokoyama and associated with the flare of his teacher, Watazumi.