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RESEARCH QUESTION How has the traditional music styles of various…

- - - - Modern Shakuhachi design has 5 finger holes, 4 in the front and 1 at the back for the thumb. This has remained relatively unchanged since its introduction (via China) in the eighth century - however the original Chinese instrument had an extra finger hole.
        The natural scale (when finger are uncovered consecutively) is a minor pentatonic scale when notated via traditional western notation. However, by employing meri-kari techniques a performer is able to bend notes to achieve pitches inbetween the natural sounding scale.
        Through the use of various blowing and fingering techniques, a variety of timbral changes are possible (see list).
        (Kelley, 2008)
        
        Muraiki (moo-lye-ee-kee) – a sound which is part wind and part tone, created by a very explosive
        charge of air blown into the shakuhachi. “This is one of the most characteristic and appealing shakuhachi
        techniques and requires a delicate balance of control and chaos.”
        
        Kasaiki (ka-sye-ee-kee) – similar to muraiki, but not quite as explosive and the breathy sound is sustained.
        
        Solane (so-la-na) – a light, airy tone; one which contains more breath than a normal tone.
        
        Korokoro (kō-lo-kō-lo) – produced by fingering D5 and opening and closing the bottom two holes of
        the shakuhachi very rapidly. The pitch heard alternating with the D5 in this type of tremolo is C#5.
        
        Karakara (kala-kala) – a very light, delicate patter effect, closely related to a finger tremolo but without a
        great degree of variation in the pitch. It is produced by rapidly tapping only the bottom hole on the shakuhachi.
        
        Tamane (tom-a-na) – an effect whereby the tongue is allowed to flutter; much like the flutter-tonguing technique
        used by western instruments.
        
        Sutebyoshi (sue-tay-bee-yo-she) – the repetition of a single tone in a rhythmic fashion by use of the finger
        tapping technique previously mentioned under karakara and korokoro. However, sutebyoshi begins slowly
        and is accelerated to a very rapid speed, as is demonstrated in Example 1 below. The tapping ends abruptly
        with a single strong tap on the main tone which is then sustained.
        
        Nayashi (nay-ya-she) – a kind of portamento produced by changing the blowing angle of the shakuhachi.
        The tone begins in the meri position and changes to the kari position; on the shakuhachi, no change in
        fingering is involved. The change in the blowing angle results in raising the pitch gradually by a half-step.
        Example 2 demonstrates with traditional notation what this technique would look and sound like. The line inserted
        between the note heads shows the portamento effect.
    - - Throughout its European history, the transverse flute has evolved and undergone many changes to accomodate technical demands as well as technological advancements.
        Originally made of wood/one in 1 piece, with 6 fingerholes, and a cylindrical bore.
        Over time the instruments construction went from 1, to 2, then finally 3 pieces, usually wood, to adapt for diferent pitch needs.
        A seventh hole and a key were added by innovational flute makers/performers, and a transition from cylindrical to conical bore was made which helped with tuning stability and closer proximity of finger holes.
        1800s Boehm revolutionised the flute adding extra holes controlled by multiple keys, which evolved into the modern flute played today.
        (Reisenweaver, 2011)