Curriculum Vitae

Ph.D. (2008) University of British Columbia, Ethnomusicology

Master of Music (1977) University of British Columbia, Ethnomusicology

Kinko ryū 琴古流 Menkyo-jō  免許状 Shakuhachi certificate of achievement, Kobe (1985) – honorific title: Yūshin 右心

Tanaka Motonobu Yūdō 田中基展 右童 , Kinko ryū 琴古流 school, Araki kei 荒木系 lineage, Domon kai 土門会 association

Kojima Toyoaki Issui 小島豊明 一吹,  Taizan ryū 泰山流 school, Meian ha 明暗派 society, Meian Kyōkai  明暗協会 temple association, Tōfuku-ji 東福寺 temple complex (Kyōto)

Dr. Shotaro Iida, Professor, Buddhologist, University of British Columbia

UBC Teaching and Academic Growth program, Instructional Skills Certificate (2000)

Doctoral Dissertation

Rough Music, Rough Dance, Rough Play: Morris Dancing in England, Chaired by Dr. Allan Thrasher and Dr. Michael Tenzer

Abstract (excerpts):  One of the most visible aspects of English culture is morris dance.  Like so many ethnic dance forms, it has become an icon of England’s (as opposed to Britain’s) newly emerging ethnicity, but its cultural meaning has become suspect, as evidenced in the media.  One of the origins of this negative interpretation can be traced to its revered turn-of-the-century reviver, Cecil Sharp, who alternately brought morris dancing to wide public attention at the very moment it was disappearing, while interpreting it in the light of a questionable fascination with pagan verisimilitude overlaid with nationalist sentiments. It is my contention that modern morris dance has evolved beyond its original symbolism to the point where it has lost contact with its cultural template.  And although modern attitudes may take an ironic or forgiving post-modern viewpoint, it can also be seen to be detrimental to the place of morris as a signifier of English culture.  With this in mind, the paper will conclude with a suggestion for a performance practices that may have a place alongside modern morris dancing practices, with the additional benefit of providing cultural continuity.

Master’s Thesis

The Kinko-ryu and its ‘San Koten Honkyoku, Professor Elliot Weisgarber, Chair

Abstract (excerpts):  The “San Koten Honkyoku” are three (“san”) traditional (“hon”) compositions (“kyoku”) which are distinguished and venerated for their archetypal  (“koten”) characteristics.  Of the many “schools” (“ryu”) of musicians who claim proprietorship or proprietary control of versions of these melodies, the Kinko-ryu has the strongest claim to historicity.  Their medium of performance is the “shakuhachi” – a bamboo, end-blown, vertical flute – and their aesthetic is founded on Zen Buddhism…Through a systematic analysis of the Kinko-ryu “San Koten Honkyoku,” the present study has found that the theoretical principles of these compositions are clearly demonstrable. The conclusion of this thesis draws together the sociology, history, melodic theory and melodic analyses of the Kinko-ryu shakuhachi and Honkyoku by outlining their respective contributions to a unique musical expression of Zen Buddhism.

Honours and Achievements

President of the Canadian Society for Traditional Music

Governor of the International Shakuhachi Society

Recipient of a Social Sciences and Humanities Research Council Fellowship

Recipient of a University of British Columbia Graduate Student Fellowship

Commissioner, Canadian Commission for UNESCO

Canada Council Grant for research trip to Japan

Artist-in-Residence, EXPO86

Honorary Captain, British Columbia Regiment Band

Music Instruction, Performance and Production

University of British Columbia, School of Music 1990-present

Vancouver Community College (Continuing Education), 1981-89

Columbia-Tezukayama College, 1978-79

Music Examiner: Royal Conservatory of Music (Toronto), senior national touring officer, 1980-present

Music Adjudicator: Saskatchewan Music Festival Association (Regina District Festival, May 2000-02, Provincial Finals, Saskatoon, June, 2003), Prince George and District Festival (2009)

Flute Clinician and Woodwind Ensemble Coach: “Con Brio” Whistler International Band Camp (2001-07), West Vancouver Youth Band Fall Retreat (2004-present)

Music Performer: Symphony Orchestra (VSO, CBC Radio Orchestra, Winnipeg Ballet Touring Orchestra), Chamber Music Ensembles, Recording Studios

Music Producer: Ethnic Music and Early Music Solo and Ensemble Productions

Band Director and Conductor: British Columbia Regiment Band

Professional Affiliations

Canadian Society for Traditional Music, President (2000-05) and member of the Board

International Shakuhachi Society, Governor, 1985-present

Commissioner, Canadian commission for UNESCO, 2003-09

English Folk Dance and Song Society, member

Society for Ethnomusicology, member

Publications

“Letter from Norman Stanfield (regarding the Japanese Flute Shakuhachi),” in Continuo, Vol. 3, No. 7, pp. 6-10 (April, 1980).

“Japanese Music Directory: Part 4 – Canada,” in Take no Michi: A Newsletter of Shakuhachi and Related Arts, Vol. 1, No. 4, pp. 3-7 (Spring, 1980).

Research assistant,  Kwakiutl: Indian Music of the Pacific Northwest: Record Notes, edited by Dr. Ida Halpern, Ethnic Folkways Records, 1981.

“The Seduction of Ethnic Music,” in Musick: The Journal of the Vancouver Early Music Society, Vol. 3, No. 2, pp. 13-15 (Fall, 1981).

“Shakuhachi Bibliography (Part 3),” inTake no Michi: A Newsletter of Shakuhachi and Related Arts, Vol. 3, No. 1, pp. 3-7 (Fall/Winter, 1981).

“Ornamentation in 18th Century Japanese and French Flute Music,” in Continuo, Vol. 7, No. 3, pp. 8-11 (December, 1983).

“The Way of the Shakuhachi,” in The British Shakuhachi Society, Vol. 1, No. 1, pp. 3-5 (March, 1983).

“A Biography of Tanaka Yudo,” in The British Shakuhachi Society, Vol. 1, No. 2, p. 7-8 (June 1983).

“Shakuhachi concert rarefied, absorbing (a review of a concert given by Masayuki Koga on 10 July 1983),” in Vancouver Mokuyokai News, Vol. 2, No. 7 (July/August, 1983).

“So You Want To Play the Shakuhachi,” in The British Shakuhachi Society, Vol. 1, No. 3, pp. 13-16 (September 1983),  and Vol. 2, No. 1, pp. 9-15 (March 1984).

“The Japanese Shakuhachi and Its ‘Schools’,” in The British Shakuhachi Society, Vol. 1, No. 4, pp. 8-14 (January 1984).

“ ‘Why Am I Not Enjoying Myself?’ The Dilemma of the Modern Day Music Recital,” in Peregrine, No. 16, pp. 28-30 (Fall/Winter 1984), reprinted in Continuo, Vol. 8, No. 7, pp. 8-11 (May-June, 1985), highlighted by the editor, p. 1.

“An Expo 86 Surprise or Two,” in Vancouver Mokuyokai News, Vol. 5, No. 3, p. 3 (March 1986).

“Shakuhachi: A Flute You May Have Never Heard Of,” in Flute Talk, Vol. 5, No. 8, pp.  28-29

The Japanese People: Music, Instruments, Arts, Crafts, co-authored with Sandra Davies et al., Vancouver: Pacific Educational Press, University of British Columbia, 1986.

The East Indian People: Music, Instruments, Arts, Crafts, co-authored with Sandra Davies et al., Vancouver: Pacific Educational Press, University of British Columbia, in preparation.

“Ethnomusicology and the entertainment industry: A personal case study,” in Ethnomusicology in Canada (CanMus Document No. 5), Toronto for Canadian Music, 1990, pp. 325-27.

“Two Perceptions of Music Compared: The Meian and Kinko Schools of Sacred Solo Shakuhachi,” in Annals of the International Shakuhachi Society, Volume 1, England: International Shakuhachi Society, 1985, pp. 187-88.

“Norman’s Nits to Pick” in Wassail! The Newsletter of the Vancouver Morris Men, May 1993, p. 2.

“Norman’s Nits to Pick, 2,” in Wassail! The Newsletter of the Vancouver Morris Men, June 1993, pp. 2-3.

“Our Ritual Year,” in Wassail! The Newsletter of the Vancouver Morris Men, August 1993, pp. 5-7.

“The Perfect Location,” in Wassail! The Newsletter of the Vancouver Morris Men, October 1993, pp. 4, 9-10.

“Mummering,” in Wassail! The Newsletter of the Vancouver Morris Men, November/December 1993, pp.4-5.

“Tradition Re-visited,” in Wassail! The Newsletter of the Vancouver Morris Men, February 1994, pp. 3-5.

Tradition Re-visited, 2,” in Wassail! The Newsletter of the Vancouver Morris Men, April/May 1994, pp. 1-

“Innovations in our Traditions,” in Wassail! The Newsletter of the Vancouver Morris Men, June/July 1994, pp. 6-8.

“Our Ritual Year, Second Time Around,” in Wassail! The Newsletter of the Vancouver Morris Men, November/December, 1994, pp. 3, 6-7.

“New Year’s Nits,” in Wassail! The Newsletter of the Vancouver Morris Men, February/March 1995, pp. 1-4.

“Morris Mumblings…,” in Wassail! The Newsletter of the Vancouver Morris Men, April, 1985, pp. 3-6.

“Personal Snapshots of the 1994 Trip to England,” in Wassail! The Newsletter of the Vancouver Morris Men, June/July 1995, pp. 1-4.

“Molly, Molly Everywhere, and All the Men Did Shrink,” in Wassail! The Newsletter of the Vancouver Morris Men, November/December 1995, pp. 3-7.

“Morris and Calusari Dancers Meet in Vancouver, Canada: Cut From The Same Cloth?”, 1997, Internet: http://www.infomine.com/vmm/calusari.html

“Music of British Columbia,” in The Garland Encyclopedia of World Music, volume 3 ‘The United States and Canada”, 2001, pp. 1254-59

“He Shoots, He Scores,” in Canadian Folk Music, volume 36, number 1, Spring 2002, pp. 40-41.

“May Day in New Westminster, British Columbia, in Canadian Folk Music, volume 39, number 4, Winter 2005-06, pp. 1-6.

“The Past President Looks at the Past,” in Canadian Folk Music, volume 40, number 2, Summer 2006, pp. 23-27.

Book Reviews: “Electric Folk: The Changing Face of English Traditional Music, by Britta Swears (2005), and The British Folk Revival, 1944-2002, by Michael Brocken (2003), in Ethnomusicology Forum, volume 15, number 1 (2006), pp. 170-72.

“The Tambourine and the Salvation Army: Rebellion in the Service of Authority,” in Canadian Folk Music, volume 41, 2007, pp. 4-7

Book Review: ‘Acadian Mi-Carême: Masks and Merrymaking’ by Georges Arsenault, translated by Sally Ross (Charlottetown, Prince Edward Island: Acorn Press, 2009) in Master Mummers’s Website (2009)

“Review Essay: The Imagined Village, by Georgina Boyes (Second, Illustrated Edition, 2010),” in Canadian Folk Music / Musique folklorique canadienne, Volume 43, Number 3 (Fall 2009), pp. 14-17

“Review: Byron McKim: Dancing With Spirit DVD,” in Canadian Folk Music / Musique folklorique canadienne, Volume 43, Number 3 (Fall 2009), pp. 33-36

“Powwow Music and its Polymetric Construction,” in MUSICultures: journal of the Canadian Society for Traditional Music, Volume 37 (2010)

Presentations and Conference Papers

“La Barre”, (traverso, theorbo, and cello performing baroque music) Performance Showcase, Pacific Contact and ArtsCan, Vancouver, 1983; ArtsCan.

“Two Perceptions of Music Compared: The Meian and Kinko Schools of Sacred Solo Shakuhachi,” Thirtieth Annual General Meeting of the Society for Ethnomusicology, Vancouver BC, November 8, 1985.

“From Komuso to Kemp,”(solo performance of Japanese flute and English pipe and tabor) Performance Showcase, ArtsCan, Vancouver, 1985; Pacific Contact, Vancouver, BC 1986; Ontario Contact, 1987.

“Ethnic Music in the Schools: ‘from Komuso to Kemp’”, Annual General Meeting of the Society for Ethnomusicology: Northwest Chapter, University of British Columbia, Vancouver, BC, February 20, 1988.

“Issues Facing Ethnomusicologists who Perform Non-Western Music Professionally,” First Conference on Ethnomusicology in Canada, University of Toronto, ON, May 15, 1988

“Ethnic Music Enters the Mainstream,” 16th Biennial Conference of the Canadian Music Educators’ Association, University of British Columbia, Vancouver, BC, May 9, 1991

“The Mixed Messages of Morris,” the Annual General Meeting of the Canadian Society for Traditional Music, Toronto, Ontario, November, 2000, and the Society for Ethnomusicology: Northwest Chapter, Seattle, WA, March 3, 2001

“The Pipe and Tabor in a sample of English literary sources,” Annual General Meeting of the Canadian Society for Traditional Music, University of British Columbia, Vancouver, BC, October 27, 2001

“Christmas Music in Transition: Examples from England,” Graduate Colloquium, School of Music, University of British Columbia, November, 2001

“Zen Buddhism and its Flute Music,” Graduate Colloquium, School of Music, University of British Columbia, Vancouver, BC, April 4, 2003

“The Classification and Taxonomy of the Japanese Shakuhachi flute literature,” First Vancouver International Shakuhachi Festival, November 15, 2003

‘The Timbrel Brigade in the Salvation Army: Women and the Tambourine,” Annual General Meeting of the Canadian Society for Traditional Music, University of Alberta at Athabasca, AB, November 2, 2003

‘The Costume of the flute-playing Komuso Buddhist Warrior-monks,” First Vancouver International Shakuhachi Festival, University of British Columbia, November 15, 2003

“Meditation Procedures for a Zazen experience,” First Vancouver International Shakuhachi Festival, University of British Columbia, November 16, 2003

“Zen Buddhism and the Japanese Flute,” Annual General Meeting of the Canadian University Music Society, University of Lethbridge, AB, May 14, 2004

“Authenticity and Representation in a Canadian Military Band,” Annual General Meeting of the Canadian Society for Traditional Music, York University, Metro Toronto, ON, October 30, 2004

“Can a music instrument be used to meditate? Lecture/Demonstration by Norman Stanfield,” Faculty of Music, University of Toronto, ON, November 15, 2004

“May Day in New Westminster,” Annual General Meeting of the Canadian Society for Traditional Music, Douglas College, New Westminster, BC, November 5, 2005

“Zen Buddhism and its Flute Music,” Annual General Meeting of the Canadian Society for Traditional Music, University of Alberta, Edmonton, AB, November 3, 2007

“Pow Wow Music and its Polymetric Construction,” Annual General Meeting of the Canadian Society for Traditional Music, Université de Montreal, QC, October 30, 2009

“Wang Leehom and his ‘chinked out’ fans in Canada: an anomaly or a boon,” Annual General Meeting of the Canadian Society for Traditional Music, University of Saskatchewan, Regina, SK, June 3, 2010

“Morris Dance as a Parody of Country Dance,” Conference on English Country Dancing: Rooted in the Past, Dancing into the Future, York University, Metro Toronto ON, June 18, 2010

Music Productions

“Chamber Players” (1973-74), classical music sextet (piano, string quartet, flute), produced cooperatively

“The Towne Waytes” (1975-79), renaissance music sextet playing historical wind instruments, produced in cooperation with David Skulski.

“Flute Preludes” (1981-82), solo music for recorders, flutes, and the Japanese flute “shakuhachi” from around the world, produced by Norman Stanfield

“La Barre” (1982-85), baroque and renaissance music duo for recorders, flutes, lutes, and guitars, produced by Norman Stanfield

“Komuso” (1985-91), solo Japanese flute “shakuhachi” music, produced by Norman Stanfield

“Kemp” (1986-93), solo English renaissance music for pipe-and-tabor (ie, flute and drum), produced by Norman Stanfield

“Komuso to Kemp” (1985-92), solo performances of the above, mixed in a theatrical presentation for schools and family formats, produced by Norman Stanfield

“Mumble Music” (1987-90), classical music trio for flutes, recorders, guitar, cello, produced by Norman Stanfield

English Ritual High Days (1991-2007), seasonal folk dance and drama from England, within the Vancouver Morris Men society, produced by Norman Stanfield. The high days included Easter’s Eve, May Day, Boxing Day Mummers Tour, and Plough Monday, mostly at Granville Island in cooperation with CMHC/Granville Island Administration and Granville Market

Recordings 

“ ‘May I have the pleasure?’  The Towne Waytes play Renaissance Dances and Chansons,” (1977) KVP Records, 703G

Platoon (1986) – film score excerpts for shakuhachi (flute) and Di-tzu (flute) and orchestra composed by Georges Delerue (Chapter 12 “Bunker Complex” and Chapter 21 “Elias is Out There”)

“On Earth, Peace,” (1987) Revelation Records, C-187

“Magic of Christmas,” (1991) Ancient Echoes Music, Horizon/Pacific AE 107 CD

“Celtic Secrets,” (1993) Ancient Echoes Music, Horizon/Pacific AE 104 CD.

“Celtic Secrets, II,” (1996) Ancient Echoes Music, Horizon/Pacific AE 112 CD.

“Jiggery Pokery ‘in Glorious Colour’: Songs and Ceilidh Dance Tunes from England,” (1996) JP2

“Celtic Enchantment,” (1999) Ancient Echoes Music, Horizon/Pacific AE 116 CD.

“Celtic Passion,” (2000) Horizon West Music, Horizon/Pacific AE118 CD

“Winds of Change,” (2002) Horizon West Music, Horizon/Pacific AE119 CD

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