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Two of the three judges who examined the objection, including presiding Judge Yoshiyasu Enoshita, were involved in the The role of shaman in the village social strata, that is, at the level of folk tradition has, in essence, been preserved for centuries Prostitutes Goshogawara has become primarily a personal service. In the Prostitutes Goshogawara at the Prostitutes Goshogawara however --that is, in higher social strata connected to urban and written tradition--the function of the shaman has been preserved so that the "artistic" profile of shamanistic activities, i.

For centuries now no irrational element Prostitutes Goshogawara employed in choosing a female shaman, still called miko to this day, to serve at the shrines. It has become a profession like that of the priest, its most important condition being talent for dance or music.

With the fading of shamanistic character, the women serving at Shinto shrines miko are priestesses, but they do not command the same Prostitutes Goshogawara and respect as do the head priests at larger shrines guji and the leaders of smaller shrines negi or the priests of lesser orders kannushi.

This is not the place to engage in a discussion on Shinto ceremonial order, however, mention should be made of the fact that in celebrations of national importance and in local celebrations as well the most important ceremonial acts such as purifying rites o-haraifood and drink offerings shinsendeclamation of ritual prayers to the gods norito and consumption of food offered to the gods naorai are carried out Prostitutes Goshogawara priests ordained for such tasks.

However, the operation of large and medium sized shrines would be practically unimaginable without female ministrants as anyone who has visited a Shinto shrine in Japan can attest. A separate building to the left or right of the entrance functions as the administration Prostitutes Goshogawara of the shrine and as a place to sell religious Prostitutes Goshogawara. Here, you will encounter for the first time the miko wearing loose fitting red culottes hakama and white shirt Prostitutes Goshogawara.

They carry out the "PR" of the shrines, not only Prostitutes Goshogawara selling religious items, but they also discuss organising Prostitutes Goshogawara carrying out of individual or smaller community ceremonies with the clients. It should be mentioned that the Shinto religion has maintained amongst the masses the ancient practices that in addition to community festivals certain ceremonies are carried out at the request of individuals, families or groups.

These special ceremonies include not only weddings or a child's first visit to the shrine but also any type of Prostitutes Goshogawara initiations such as the erection of a building, or influencing a business deal positively by asking the gods' opinion of and favour for these undertakings. However, the most important duty of the miko is ritual service: they perform dance and music at the ceremonies.

In this regard Shinto is nearly Prostitutes Goshogawara today among the world's religions and though dance has lost its cardinal function, which it had in the ninth to eleventh centuries, it Prostitutes Goshogawara plays an important role in Shinto shrine ceremonial order.

It should be emphasized that such ceremonies are not "accompanied" by music and dance, thus complementing the spectacle: rather, they are realized in music, song and dance. Since the overwhelming majority of the dance ceremonies are the responsibility of the shrine's Prostitutes Goshogawara, the opinion has taken root that miko are "temple dancers" and their services are comparable to the prostitute dancer devadasi at Hindu temples.

Another diametrically opposed interpretation is Prostitutes Goshogawara the dancers serving the Shinto shrines are comparable to the priestesses of Prostitutes Goshogawara, virginity being a condition of their service.

There is historical basis to both Prostitutes Goshogawara. In the late Heian Age--the so-called Fujiwara Prostitutes Goshogawara --a dance called shirabyoshi, that is "white rhythm," or "white dance" developed in the lighter, more entertaining Prostitutes Goshogawara of court music, in the imayo genre. The name of the dance later became synonymous with its performers and for centuries those who performed holy dances in the environment of the court or shrine were also known as shirabyoshi.

According to data from the end of the Heian Age the shirabyoshi, female musicians and dancers were taught in schools connected to the imperial court and their social standing was much higher than that of the common prostitute.

Numerous love stories in Japanese prose literature tell the tales of extraordinarily beautiful and talented shirabyoshi who took part in the deeds of heroes and military leaders too. Shizuka, the beloved of the nationally honoured hero Yoshitsune Minamoto was Prostitutes Goshogawara shirabyoshi. According to Eta Harich-Schneider female shirabyoshi practice completely disappeared in the Muromachi Age Her contention is contradicted by the fact that the term shirabyoshi Prostitutes Goshogawara be Prostitutes Goshogawara today in Shinto ceremonies; among others in the Kasuga Wakamiya On-Matsuri program at the annual grand winter festival Kasuga Taisha in Nara.

The tradition Prostitutes Goshogawara this grand festival, which runs continuously for two days, goes back to the twelfth century when the great Fujiwara family built for its own protective goddess Prostitutes Goshogawara the famous Kasuga Shrine and the nearby smaller Wakamiya Shrine Over the centuries the Wakamiya On-Matsuri took on nearly all of the important religious and cultural traditions of Japan: Shinto and Buddhist ceremonies kagura, azuma asobi, shomyocourt dances bugaku and theatrical performances dengaku, sarugaku, no.

One important event Prostitutes Goshogawara the festival is the kagura type ceremonial dance "Consecration of the Pine" matsu no iwahi first performed solo by a young miko, then by six or eight dancers together.

This dance is called in today's practice shirabyoshi no mai, or shirabyoshi refuting the notion that the genre has died out or that it is related to prostitutes. The ritual of rice planting Prostitutes Goshogawara by young Prostitutes Goshogawara girls leads back to the consecration of rice paddies, one of the most ancient Japanese ceremonies.

During spring agricultural festival time young girls imitate the phases of rice planting with slow, dignified movements in the shrine courts Otaue shinji. Their group is traditionally called saotome, wherein sa means "young" and otome is "virgin girl". The discrepancies apparent in judging miko can be explained, as a matter of fact.

The female shamans of the early periods and the priestesses who emerged from their ranks mikanko, sarume, asobi-be were not nuns but rather women with broad notions of sexuality.

Their libertine behaviour can be seen in the crucial scene in the Kojiki, where the dance of Ame-no-Uzume is full of indecent movements. Mediaeval Japanese society Prostitutes Goshogawara quite liberal regarding sexuality which can be seen in the utagaki kagahi singing competitions. According to numerous sources from the eighth and ninth centuries Prostitutes Goshogawara groups of men and women climbed up to the peak of a mountain once a year to hold singing competitions.

Then, when night fell, they had free sexual intercourse. On the other hand it is completely understandable that in the spring agricultural festival during the rice paddy consecration ceremony young girls Prostitutes Goshogawara the lead roles. They symbolized the beginning of spring and still unsewn fields.

While virginity was not an explicit Prostitutes Goshogawara, it Prostitutes Goshogawara implicitly inherent in the word otome. This Prostitutes Goshogawara indirectly that the miko, formerly in the role of shaman and now promoted to the rank of priestess, were not eligible for this task.

Shamanistic character is completely missing in today's miko activity, and the liberal sexuality closely tied to it no longer plays any role. Neither is virginity a condition and the beautiful young girls act as yaotome in Kasuga Taisha festivals come from good Kyoto and Nara families and take no vows whatsoever when they enlist in the service of the shrine.

They can carry out their duty thanks to their good schooling and after a few years of service at the shrine they continue on with life just as any of their peers do, and if they succeed they do marry. During larger festival Prostitutes Goshogawara shrines even hire on university students as part-time workers. Nevertheless among today's miko a certain differentiation can be observed.

While at well-attended larger shrines one will find young and attractive miko in the smaller or "provincial" shrines it is not uncommon to find older women in service as miko, some of them possessing the charismatic abilities of folk mediums, the itako.

This does not even remotely signalize the survival or revival of the shamanistic capabilities of the original miko but it is worth noticing Prostitutes Goshogawara tradition is passed on sometimes in a Prostitutes Goshogawara circumstantial manner, and the scholar is well advised to carefully choose words such as "extinct," "disappeared," or "destroyed.

One of the four large groups Prostitutes Goshogawara the Honda classification of kagura is the so-called miko Prostitutes Goshogawara, a ceremony with music and dance which is known Prostitutes Goshogawara often performed at nearly all shrines in Japan.

It is sometimes simply called miko mai, that is, miko dance, a name which is mostly used when it is integrated into some Prostitutes Goshogawara of composite cycle of ceremonies. Regardless of its size and its position within the ceremony it should be considered one of the most important traditional types in the kagura genre since it has best retained the ceremony's ancient form --expressed also in the myth--the act of the female shaman-priestess.

The basic type of miko kagura can be an independent dance or the introduction to a longer cycle of ceremonies. Its Prostitutes Goshogawara aim is the spiritual purification of the scene--a shrine's grounds--which is for all intents and Prostitutes Goshogawara an exorcism because purity means the liberation from the dark and demonic forces. One or two Prostitutes Goshogawara take part in it wearing the traditional dress mentioned previously.

The miko garb is topped off during the ceremony with a crown-like head piece. In their hands is the inevitable torimono, that is, the objects representing the presence of the gods: gohei, sakaki branch, sword or suzu sistrum. Examples 5 and 6 show two versions of the music that can be said to be a classical miko kagura. The differences between the two recordings made at nearly a twenty year interval are surprisingly small which suggest that either the same persons or their disciples performed them.

Prostitutes Goshogawara difference in pitch is negligible since it depends on the tuning of the flute. Real discrepancy can only be noticed Prostitutes Goshogawara the drum, but I would venture to say that is also negligible because the patterns are identical. Prostitutes Goshogawara identical size of the introductory bars preceding the entry of the flute indicates strong preservation of tradition.

As can be seen from the transcription, the instrumental group is composed of a flute fue or kagura bue Prostitutes Goshogawara a large drum odaiko. The third instrument, a sistrum suzu is handled by the Prostitutes Goshogawara. The musical unit made Prostitutes Goshogawara of two plus eight bars is repeated twice during the dance and the last repetition is followed by a closing bar.

The melody itself covers a section of the miyakobushi scale framed by the diminished fifth. It consists of four very simple gradually widening phrases: the first rests on the axial note, the second steps upwards by a half-note, the third moves down a major third, and finally the fourth closes on the lower fourth Examples This type of dance comprised of slow, subdued movements is known mainly from the court genres, the opening pieces of the bugaku repertoire or even the entire mikagura repertoire.

However, today's miko mai have nothing in common with the court genres, a statement born out amongst others by the Prostitutes Goshogawara that the melody line of the miyakobushi is unknown there. The drum part Prostitutes Goshogawara with emphases and dynamic differences--together with the slow tempo--provides the dance with a unique tension. I would like to cite a similar example of miko kagura from near Osaka, where the Kasai family preserve the miko dance tradition in Prostitutes Goshogawara Kawano Shrine.

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Here too the instrumental group consists of a single flute and a Prostitutes Goshogawara drum, and naturally the rattling of the suzu is "composed into it," either with single strokes or with longer tremolos, as shown in the previous examples. The melody moves within the frame of the miyakobushi, but it fills Prostitutes Goshogawara entire octave and is ornamentally enriched.

The next example of miko mai is Prostitutes Goshogawara my own recording which was made in the Futaarasan Shrine, Nikko on October 25, Two miko danced it, with sword in hand as torimono. This dance, albeit not as slow and deliberate as examplesit nonetheless consists of slower and more dignified movements than the rhythm of the music--a flute and drum duet--would suggest.

With the miko dancers, hand movement is in the fore and movement of the Prostitutes Goshogawara is limited to steps and turns. In the case of ceremonial dances it is quite common that the movement of the dance does not follow the movement of the Prostitutes Goshogawara. The transcription shows only the opening bars of the relatively long dance Example 8.

Regarding the present Prostitutes Goshogawara, two structural facts should be mentioned. One is the dotted rhythm which gives the music a tense, hard, almost martial character, meeting the symbolism of the sword.

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It usually occurs in songs accompanied by the shamisen as the rhythmic pattern of the plucking of the instrument persists throughout the entire song. Its closely related parallel appears in the "suzu no mai" dance of the Prostitutes Goshogawara dai kagura where both the flute and the drum move in a dotted rhythm Prostitutes Goshogawara as in the example above Example 9.

The other noteworthy structural factor is the articulation of the musical forms. While in examplesthe music accompanied the dance Prostitutes Goshogawara with the same character throughout, the quick, Prostitutes Goshogawara music defining the underlying character of the dance, in the Futaarasan Jinja dance the basic fast dotted rhythm pattern is preceded by an introduction consisting of long held notes, then after an interlude of similar character there follows a middle section clearly different in rhythm and tempo.

The subsequent "recapitulation" Prostitutes Goshogawara not follow the "exposition" note for note but the identity of its melodic models is easily recognizable. As for its modal structure the Futaarasan miko mai shows some interesting aspects as well.

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It completely confirms to Fumio Koizumi's statement that there is no tonal centre or closing cadence which could be considered as a tonic note in the majority of Japanese folk songs, on the contrary, melodies are built on the framework of two or three so-called kakuon "core" or axis notes. The introductory notes of the flute trace precisely this framework of fourths which then is filled out by the scale of the first part, consisting of two conjunct ritsu tetrachords. In the middle section a modulation occurs, in so much as C[sharp] is replaced by D, which means that the ritsu tetrachords get transposed Prostitutes Goshogawara fifth downwards.

It is noteworthy that the final note--that is, the stronger kakuon--in both cases Prostitutes Goshogawara E being first the centre then the lowest note Prostitutes Goshogawara the gamut Example A characteristic feature of the melody is that the C[sharp] of the scale is often replaced by Prostitutes Goshogawara, which theoretically means modulation into the miyakobushi mode. An alternative use of one degree or other of the scale is characteristic in Japanese music and its appearance Prostitutes Goshogawara signifies modulation.

In this case however, it is not the tonic note that changes but rather the modal structure Example A similar phenomenon can be discovered in the Ise dai Kagura already mentioned as an analogy because of its dotted rhythm. The Prostitutes Goshogawara beginning in the ritsu mode turns Prostitutes Goshogawara a certain point into miyakobushi, a modulation which does not require more than the modification of two degrees Example A vocal form of miko kagura is also still alive and forms a distinct genre defined by its ceremonial function, performing ensemble, and melodic style.

Mention has already Prostitutes Goshogawara made that the Nara Kasuga Taisha and the adjacent park on the slopes of Mount Mikasa serves as the site of the important festival, the Kasuga Wakamiya On-Matsuri. This is the frame for the miko mai Matsu no Iwai "Consecration of the Pine". It is worth noting that this dance is but one of a series Prostitutes Goshogawara of several units, danced by the miko to the accompaniment of male singers and a small instrumental group.

As for the mode of performing and the material presented, such multipart series follow the practices of a given shrine. But just as common melodic and rhythmic Prostitutes Goshogawara could be observed in the purely instrumental miko dances presented above, points of contiguity can also be discovered between the various local traditions of the vocal form of miko kagura.

By comparing two local traditions we can draw a very minutely detailed picture of this Prostitutes Goshogawara of miko dances. Both shrines are important centres of Japanese religious and artistic traditions. Kasuga Taisha is the Prostitutes Goshogawara of numerous religious festivals culminating in the annual Wakamiya On-Matsuri on December 17 and the Kasuga no Matsuri on March During the winter festival only a single dance to consecrate pine trees is performed while in the spring festival an entire cycle, entitled Shinji uta, that is "divine service songs" is performed.

According to legend, Emperor Tsuai's widow, Kogo, established the Sumiyoshi Shrine on the island of Prostitutes Goshogawara, as a memorial to the successful campaign against Korea. Emperor Nintoku relocated it to its present site near Osaka in the fourth century. Throughout history it has of course been rebuilt numerous times retaining the original structure.

The shrine was operated by the powerful Tsumori family Prostitutes Goshogawara on more than one occasion provided haven for imperial persons e. Go-Murakami, fifteenth century or defeated military leaders e. Yoshihiro Shimazu, Prostitutes Goshogawara the Sumiyoshi Prostitutes Goshogawara Shrine festivals we find the shirabyoshi dance saluting the consecration of the pine tree performed on January 4 and a more complete series performed on April 3.

The common element of the two kagura-traditions is first of all the performing ensemble: a solo dancer and female dancers participate in both, and the music is provided by a small instrumental group and one or two male singers. The most significant difference shows in the usage of the musical instruments: in Kasuga Taisha the ensemble consists of a flute fuea zither wagonProstitutes Goshogawara drum kotsuzumiclappers shakubyoshi and a small cymbal kane whereas in Sumiyoshi Taisha a solo flute accompanies the singer.

In Kasuga Taisha the vocal parts are sung by the musicians who play the cymbal and the clappers, respectively. The sistrum suzuused by the dancers themselves add to the acoustic atmosphere during the ceremony. It is also necessary to Prostitutes Goshogawara that the musicians wear the plain white or light green patterned garb of Prostitutes Goshogawara priests; one of them --who probably really fulfils a priestly function--acts as conductor, directing the ceremony with clappers.

The combination of the instruments resembles in some respects that of the court kagura ensemble, for there the trio of flute, zither, and clappers plays an important role as well. However, the shoulder held drum kotsuzumi is a foreign element in court kagura, which is Prostitutes Goshogawara primarily by no theatre music groups, and the little cymbal, which is Prostitutes Goshogawara favoured instrument of folk kagura.

Though certain dances can be performed separately depending on a given ceremony, the complete Prostitutes Goshogawara consists of the following Prostitutes Goshogawara, identified by their first line or denomination. As in all types of kagura, both versions of the Prostitutes Goshogawara begin with the invocation of the gods kami Prostitutes Goshogawara.

In the third place yamato mai, i. The sixth and fifth places are occupied by the shirabyoshi dance. This attests that the formal structure of both series is identical. Uniformity is shown in numerous other respects as well, above all, in the melodic structure. The summoning of the Kami is sung by a male soloist accompanied by clappers.

The melody consists Prostitutes Goshogawara note repetition on two levels. This speech-like character is justified Prostitutes Goshogawara the function of invocation: the deity must first be addressed in a raised, far off sounding manner.

Surprisingly, despite the similarities in Prostitutes Goshogawara the texts of the two versions differ. Example 13 first shows a slightly richer version of the Kasuga praxis, followed by the Sumiyoshi version. The latter has the unique characteristic that it is framed by a short flute solo called--borrowing a term from court music--netori, i.

Examples present two versions of the yamato dance also from the Kasuga and Sumiyoshi Taisha repertoires. Their melodic structure shows many similarities to that of court kagura songs built on melodic models and performed by male singers.

It is easy to discover the calm, simple lines, moving in half notes and crotchets; melodic leaps occur only as octave changes. At the cadences a pattern appears for which there is perfect Prostitutes Goshogawara in the assembly of patterns of the kagura songs: a dotted rhythm combined with either a lower or upper changing note.

The priestly function of the singers and the composition Prostitutes Goshogawara the instrumental groups allow the assumption that the music of miko kagura used at large shrines was developed under the influence of court kagura style: namely, court kagura Prostitutes Goshogawara have been performed during major festivals in large shrines.

Kasuga Prostitutes Goshogawara also has its own gagaku group, for certain days of the year they also hold bugaku and kangen performances there. Thus, the vocal branch of miko kagura can be considered a "convergence," a simpler folk version of court kagura-uta. The example shows that the framework of the two melodies is nearly identical, differences only occur in the style of the performance: the melodic line of the Sumiyoshi version is much more richly ornamented than that of Kasuga.

The presence of the ornaments is also explained by technical reasons: while the Kasuga Taisha melody--following a short prelude--is sung by a duo, not always in perfect unison, it is clearly audible to the listener that the Sumiyoshi Prostitutes Goshogawara singer is better versed and as a soloist can risk more embellishments than if he were to sing with someone else Examples Finally, I shall present two versions of the melody of the pine tree consecration dance shirabyoshi, in order to facilitate comparison, in parallel notation.

Not only can one observe the differences in the performing style, but also the alternating modality so widespread in Japanese music.

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Hemitonic and anhemitonic pentatony determine the modality of a given song in a molecular way, out of their combination results Prostitutes Goshogawara multi-facetted character of Japanese folk songs, allowing for the alternation of and modulation between the different systems Example Prostitutes Goshogawara Both melodies begin with the melodic type of miyakobushi built around the central note D, but while the Sumiyoshi version maintains this type throughout, in the Kasuga version E[??

On the other hand, the Sumiyoshi version, in which the melodic structure consequently maintains its E[?? The main performers of the shirabyoshi dance are naturally the miko. They wear their Prostitutes Goshogawara skirts hakamalong white shirts kariginu and blue floral headdress. The ceremony is started by Prostitutes Goshogawara solo dancer with a fan in hand. The movements are simple, slow and august.

Then enter in single file the "eight maidens" Prostitutes Goshogawara stopping before Prostitutes Goshogawara eight tables prepared for them upon each of which is a single suzu. The dances consist of only steps, turns and hand movements. At a given point they take the suzu in Prostitutes Goshogawara which serve as torimono, and chime them. Their ringing sound becomes an integral part of the musical process.

In the course of my fieldwork, I made sound recordings and photos in Shinta shrines and kagura stages of Takya, Kyata, Nara, Takachiha, Nikka, Higashidarimura. InI compiled a CD Prostitutes Goshogawara my recordings of The results of the entire research program have been summed up in my book Tanc a mennyei barlang elatt. Zene es mitosz a japan ritualis hagyomanyban A kagura Prostitutes Goshogawara in front of the heavenly rock cave: Music and myth in the Japanese ritual tradition The Kagura ] published Prostitutes Goshogawara in Budapest, illustrated with music examples transcribed from my recordings, as well as my own photos.

In the present paper, I will publish two further chapters of Prostitutes Goshogawara book. I express my special thanks to Dr. Judit Vihar, professor of Japanese language at the Karoli Gaspar University of the Reformed Church Budapest, for having reviewed my book and revised the present study. Some scholars believe Prostitutes Goshogawara the Ainu group living on Hokkaida has to be taken into consideration as well. William P. Tuttle, Ryo-no-Shuge, vol. Charles Haguenauer, "La danse rituelle dans la ceremonie du Chinkonsai," Journal Asiatique, here Referred to by William P.

Fujo is another reading of miko. The Pillow Book of Sei Shanagon, trans. A specialized group from Hirosaki University dedicated an entire volume to the study of Prostitutes Goshogawara practice cultivated in the Tsugaru area, describing in detail the activities, tools, and locales of the Prostitutes Goshogawara, and the process of their education and Prostitutes Goshogawara as well as the texts and tunes recited and sung by six excellent itako: Tsugura-no-miko-no-shuzu, Aomori ken [Miko practice in the Tsugaru area, Aomori Province].

Minzoku shiryo senshu [Ethnographic Collection] 15 Takya, One of the authors and editors of the volume: Prostitutes Goshogawara.

Takefusa Sasamori, professor Prostitutes Goshogawara the Hirosaki University organized a field trip for me, to Prostitutes Goshogawara home of the 84 year old female shaman Kiyo Kasai, in Goshogarwa in October, She performed a ceremonial "summoning of spirits" at my request, of which I was allowed to make audio recordings.

Kojiki, trans. Donald L. Philippi Takya: University of Takya Press, This is the "key myth" of kagura dances, according to Kojiki: Amaterasu was afraid on account of her aggressive brother, Susanoo, and shut herself inside the heavenly rock-cave.

In order to get out from this maleficent situation, another deity, Ama-no-Uzume came and overturning a bucket before the heavenly rock-cave door, stamped resoundingly upon it and became divinely possessed.

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Then Amaterasu, thinking Prostitutes Goshogawara increasingly strange, came out of the door, through which the Heaven and the Central Land of the Reed Plains became light again. Otto Karow, "Utagaki-kagahi. V, Stanley Sadie London: Macmillan,vol. The Shinta ritual instrument pool of the Goshogawara itako I visited consisted Prostitutes Goshogawara one adaiko. During my visit Miss Kiyo Kasai got stuck at one point in the Oshira saimon, Professor Sasamori helped her in reciting the text since he was following the ceremony from the text he Prostitutes Goshogawara noted down on a previous occasion.

The basic modes of Japanese folk music are the scales in which identic tetrachords are joined as follows: Prostitutes Goshogawara. Iki kuchi [to summon a living person's spirit], notated by Takefusa Sasamori in: Tsugaru-no-miko-no-shuzuko, Minyoku shirya senshu [Interviews with Tsugaru miko, Selected data of Folk Arts] Takya, Note: Kiyo Kasai born and Sana Kasai born are not related, their family names are written with different Kanji characters.

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Another name employed for the group is rooted in the number of group members; that is why they are also called yaotome Prostitutes Goshogawara young girls. A musical Anthology of the Orient. The liner notes of the record series depict a young miko. Use this Prostitutes Goshogawara to get back to this page. Music of female shamans in Japan. Author: Janos Karpati. Date: Sept. From: Studia Musicologica Vol. Publisher: Prostitutes Goshogawara Kiado. Document Type: Essay. Length: 10, words.

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Gungrave - tale of unrequited romance and mafia "friendship" The most significant difference shows in the usage of the musical instruments: in Kasuga Taisha the ensemble consists of a flute fue , a zither wagon , a drum kotsuzumi , clappers shakubyoshi and a small cymbal kane whereas in Sumiyoshi Taisha a solo flute accompanies the singer. Example 13 first shows a slightly richer version of the Kasuga praxis, followed by the Sumiyoshi version.

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