The Air of the Temple: A Musical and Spiritual Symphony Through the Ages
Meguro Fudōson Ryūsen-ji, established in the year 808, is one of the three great Fudō Buddhist temples in Japan and the oldest in the Kantō region (Tokyo area). It was in this historic site that the meditative music album "dive into silence" was recorded ten years ago. The album was released under the Nippon Columbia label.
To mark this anniversary, the sheet music for the tracks from the album is now available for purchase. These scores include solo parts for marimba and ensembles of various percussion instruments.
To celebrate this occasion, Mr. Kodo Takiguchi, the head priest in charge of Meguro Fudōson Ryūsen-ji, and composer François Du Bois will discuss the creation of "dive into silence."
The album's composition is based on the ancient Chinese method "Liu Zi Jue" (the Six Secret Sounds). They will share insights into the genesis of the project, reveal anecdotes, and reflect on their thoughts ten years after its release. How do they view their collaboration today?
The unique chance that brought them together
Journalist (J): First, could you tell us how you met and why you decided to create the album “dive into silence”?
Kodo Takiguchi (K): Our first meeting dates back to when I was looking to practice Wudang Neijiaquan, a Chinese martial art, for health reasons. I was searching for a teacher online and discovered Mr. Du Bois’s martial arts activities. He became my instructor. We started with this relationship, initially unrelated to music, as a master-student relationship in the field of Chinese martial arts.
We practiced in the reception hall of the temple, and each time, I would take him to the Kannon-dō (the hall of the deity of mercy) next door. As the main statue of Kannon had just returned from restoration, the idea of playing and recording music in the hall gradually emerged from our many discussions.
François Du Bois (FDB): Another important element from the perspective of creation was that at the time, there was an abundance of so-called meditation music, but most of it used electronic sounds, which differed from natural vibrations, resonances, frequencies, and other harmonics.
Although this music might be perceived as pleasant by the human mind, it didn’t generate, in our view, the natural resonances that truly allowed one to enter into meditation. We both agreed on this, which led us to think that we needed to do something—a project that genuinely offered something new.
K: In other words, there was a lot of music soothing for the soul and for relaxation, but music specifically dedicated to meditation, and especially designed to facilitate it simply by listening, was something very rare.
FDB: What was abundant at the time was what I called "dentist waiting room music" or the kind of music you hear in Japanese hot springs (laughs).
Jikaku Daishi Ennin, the driving force behind the project
K: Additionally, the year also marked the 1150th anniversary of the death of the temple's founding master, the great master Jikaku Daishi Ennin (note 1). All these elements aligned to make this project possible.
Note 1: Jikaku Daishi Ennin (794-864): The third abbot of the Tendai school on Mount Hiei. He traveled to China as an imperial envoy and brought back important Buddhist texts. His detailed travel journal documenting his nine-year journey, "Nittō Guhō Junrei Kōki" (Record of a Pilgrimage to China in the 9th Century), is considered one of the three greatest travel accounts in the world.
FDB: When we mentioned the name Jikaku Daishi Ennin, I immediately sought out his book in French. I read it and found it incredibly detailed and truly fascinating.
K: Research on Jikaku Daishi is more advanced abroad, including in France. If you search for "Ennin" in Romanized letters, you'll find numerous documents.
His journal "Nittō Guhō Junrei Kōki" is a crucial source for understanding China and the Chinese people. It’s very well-documented and allows us to grasp what was happening at that time. When you read "Nittō Guhō Junrei Kōki," you realize that people lived almost the same way as today.
After the recording, while listening to the sounds produced, I had an inspiration; I realized that this conceptual album expressed the practices, journeys, and evolution of Ennin. Listened to in this way, the music forms a coherent story—a work on music and the Master's journey.
So, this music can be listened to as meditation music based on "Liu Zi Jue," or as a story recounting the life of Ennin. This is one way, one approach, to listening to this work.
The connection to the Six Healing Sounds (Liu Zi Jue)
J: You mentioned "Liu Zi Jue," can one of you tell us more about it?
FDB: It is an ancient Chinese meditation method, also known as Qigong in Chinese.
"Liu Zi Jue" is a meditation designed to prevent diseases of the five main organs (heart, liver, spleen, lungs, kidneys) by working directly on them. It’s a very well-designed meditation.
K: There are other meditation CDs, but a CD like "dive into silence," based on the concept of "Liu Zi Jue," is unique. By adding the theme of Jikaku Daishi Ennin, it becomes a truly unique work in the world, without equivalent—pardon me for insisting (laughs).
FDB: It's surprising what you're saying; I would never have imagined that "dive into silence" could have been a sort of musical adaptation of Ennin's life. That’s interesting.
K: If one day a filmmaker decides to make a movie about the life of Jikaku Daishi Ennin, they could certainly use “dive into silence” to realize their project. It’s easy to imagine that this music would perfectly illustrate the various scenes of the film.
FDB: This music has truly inspired you, dear Kodo. That makes me very happy.
K: Let’s hope this interview inspires someone somewhere to make that movie. (laughs)
The Medita Music
J: I hope so too.
Mr. Du Bois, could you now tell us about the creation of the album, which is actually a double album, and what you call “Médita Music”?
FDB: With pleasure! When creating “dive into silence,” we were, of course, focused on the concept of "Liu Zi Jue." Initially, I intended to reach people who were already familiar with meditation and the influence it could have on them.
But I quickly realized that the music was perfectly suited for a much broader audience, even those with no knowledge of meditative practices.
There are already several types of music designed primarily for relaxation, but with this “dive into silence” project, Kodo and I wanted to go further.
We wanted the listener to effortlessly enter a kind of meditation simply by listening to the music. To achieve this, it became clear that the work needed to be done beforehand, meaning during the composition process.
That’s how the concept of “Médita Music” was born.
To develop this new category of music, I needed to focus not only on the composition itself but also on the vibrations, resonances, harmonics, and ultimately ensure that the performer was in a meditative state during the recording. I quickly realized that to achieve the desired effect, the pieces needed to be around 20 minutes long.
This summarizes the differences between standard relaxation music and “Médita Music”.
Why does a piece last 20 minutes?
J: I see, that’s a very interesting concept. You just mentioned that each piece lasts about 20 minutes. Why is that so important?
FDB: It’s simple. Take the example of songs that last between 3 and 5 minutes, with choruses and various elements that appeal to our emotions and, in a way, amplify them. This format has significantly influenced the way people listen to music since the last century and even before, especially in the Western world. However, with “dive into silence,” we didn’t go in that direction at all.
When we listen to a song, or even film music, the goal is usually to create emotions in the listener, aligning with the storyline, visuals, and the actors' performances. We immerse ourselves in this emotional universe—that’s the intended outcome!
With "Médita Music”, however, the goal is quite the opposite. We aim for the listener to move away from seeking these sensations. When listening to a piece from “dive into silence,” the listener might initially try to find these emotions, but as the piece progresses, they’ll gradually stop searching for them and eventually surrender to sensations that are closer to their "deep self," reaching a state of release. This is the essence of meditation.
To achieve this effect, the music needs to last at least 20 minutes, allowing the brain to gradually shift away from the familiar patterns it usually seeks.
K: From what I know, a 20-minute meditation is ideal for beginners. For a deeper experience, aiming for at least 40 minutes is recommended.
When people start meditating, they often face mental chaos, a kind of "modern affliction." Sitting in silence isn’t always enough to address this, which is why we propose immersing oneself in sound. With the "Liu Zi Jue" element, the meditation works on the body while the music calms the mind. Listening for 20 minutes, then remaining silent for another 20, allows for a "complete meditation."
A crossroads of rich cultural and historical contexts
FDB: Excellent explanation from Kodo!
I’d like to add a few details.
I’m French, of Western origin, and though many may not know, I’m a Taoist. On the other hand, Kodo is Japanese, of Asian origin, and a Buddhist. This combination is exceptional because it brings together philosophies and values much older than Catholicism, which is a cornerstone of Western society. Our life experiences and respective philosophies have converged here.
Kodo’s vast knowledge, as a descendant of a great lineage of monks, is impressive, and so is his open-mindedness. He even knows about "Liu Zi Jue," a Chinese Taoist practice. His curiosity goes beyond Buddhism—he’s interested in everything and seeks to learn more immediately. He’s a wonderful partner.
As for me, to help your readers better understand my background and collaboration with Kodo, I’m a music composer from rural Burgundy and pursued higher education in Paris. During my studies, I went to Africa to continue my musical training. Currently, although I live in Tokyo, I often travel to the sacred Taoist mountains in China to practice.
J: It seems your spirit of exploration has always guided your path?
FDB: Yes, it’s something like that!
We combined our experiences to create something unique. We share a passion for truly understanding what’s happening and seeking the truth. This encounter allowed us to create a work that resonates with the life of Ennin, who also spent his life searching for answers. Our shared commitment to this spiritual quest gave birth to "dive into silence."
It’s not just silence, but a silence full of richness.
Let me explain: Kodo and I share the same understanding of the concept of "Kū" (空) (emptiness), which often appears in meditation. For us, emptiness (空) is filled with many things, while for many people, emptiness means being devoid of everything, synonymous with complete renunciation. But that’s not the case. This is why we were able to create something truly magical, at least in our eyes, and it’s wonderful.
A meditation method recommended since 1,400 years ago
J: Thank you for these detailed explanations; it helps us better understand the genesis of the project! Just one more question: Why did you choose the "Liu Zi Jue" among all the existing meditation methods?
FDB: The "Liu Zi Jue" was chosen as the central concept because Kodo and I both agreed on its value. It’s simple to understand and integrate.
Kodo, a question for you! Is there something similar in Buddhism to the "Liu Zi Jue" that targets the different organs of the body?
K: I’m not sure if it’s specifically Buddhist, but the Tendai Master Zhiyi (天台智顗), a great Chinese Buddhist master, wrote a work titled "Móhē zhǐguān" (摩訶止観), which means "Great Concentration and Insight." In this book, he recommends practicing the "Liu Zi Jue" for those who find it difficult to enter directly into meditation. This shows that the "Liu Zi Jue" was already known in China during the Sui Dynasty (581-618). Since Jikaku Daishi (Ennin) lived during the Tang Dynasty (618-907), it’s likely that he was familiar with the "Liu Zi Jue." This creates a connection between different periods and practices.
※3 Tendai Master (538-597) was known as the “Shakyamuni” of China and is recognized as the founder of the Tendai school, a major school of Chinese Buddhism.
FDB: In Taoist practice, meditation is fundamental, and the "Liu Zi Jue" is particularly effective for beginners. Many people think meditation is difficult, and it’s true that some Buddhist forms, like those of Sōtō Zen, are very demanding. Sitting silently to meditate is an advanced method and isn’t accessible to everyone. I’ve spoken with young Sōtō monks, and they often encounter significant difficulties. For some, hours can pass without them truly reaching a meditative state.
The misconceptions about "meditation" and "emptiness"
K: Those who can’t achieve it are probably seeking an absolute silence, but what they call a state of “no-mind” or “no-self” isn’t the silence as we understand it. It’s not complete silence or emptiness, but something richer, like the bottom of the sea. That’s why we chose the term “dive”.
Take the ocean as an example: it is rich and varied, with fish, seaweed, bright and dark areas, shallow waters, and deep abysses. We dive into this rich environment. It’s not total silence or nothingness, but a calm and simultaneously moving place. Death is often perceived as a total cessation, but in reality, it is also rich.
We don’t train to cease living. Hence, the title “dive into silence” has a profound meaning.
Choosing a natural path for oneself
FDB: That’s very true, Kodo. And speaking of training, it’s important to note that there is no perfect universal method. Choosing a method that doesn’t suit your path can be a mistake.
For example, my Tendai mentor, the great master Nishi, was able to conduct very rigorous training, which suited his nature and led him to become an outstanding figure in his tradition. However, that doesn’t mean this method is right for all Tendai monks.
Choosing a method that doesn’t help you progress is a mistake. It’s crucial to choose one that allows you to make tangible progress, rather than basing your choice on superficial criteria. This is what’s called following the true Tao (or Dao).
As for me, I was raised in a Catholic culture, but I never found values that were entirely suited to me. It was only when I discovered Laozi’s writings at twenty that I had a revelation. For a Taoist, the foundation and the master are nature itself. Everything we seek in our spiritual quest comes from nature itself.
Taoist martial arts, for example, are inspired by everything that exists in nature.
The essence of the human body is often compared to trees. We cultivate a sensation of deep roots; our trunk is like that of a tree, and our arms resemble branches swaying in the wind. Leaves fall in autumn and regrow in spring. We, humans, live and train inspired by this natural cycle.
There’s a line from the animated film “Kung Fu Panda” that I really like. The great master says, “A peach tree only gives peaches when the season is right.” Everything follows the rhythm of nature.
In all schools, those who undergo rigorous training often end up meeting each other. For instance, when I was training in the Wudang mountains, monks from the Shaolin Temple, who practice Chán Buddhism (associated with Zen), would regularly visit. Their training is quite similar to Taoist training. The best way to determine if a method suits you is to try it yourself.
FDB: Music works similarly. If you like jazz, feel comfortable with that style, and love improvisation, then jazz will be your music, and you will identify as a jazz musician. Everyone has a style that suits them.
K: To choose the path that helps you grow, the natural way is always the best option.
FDB: Exactly. Even though we have followed different paths, we meet here at the end.
An unfathomable power behind the music
J: Thank you both, your words are very inspiring. Could you now tell us about the tracks on the album?
FDB: First, we need to understand how the "Liu Zi Jue" works. This technique defines the concept of the five organs and six viscera, which also exists in Japan. According to Taoism, the proper functioning of the organs is essential for maintaining good health and extending life.
The ultimate goal for staying healthy is to continue learning and exploring until the end of one’s life. As we age, pain and illness can make learning difficult, so being healthy allows us to retain the energy needed for this quest.
The "Liu Zi Jue" is a meditation technique that helps balance and nourish the internal organs. It focuses on five main organs: the heart, liver, spleen or stomach, lungs, and kidneys. The sixth element, called "San Jiao," regulates the circulation of Qi and fluids in the body, similar to the idea of homeostasis in Western medicine.
Each organ has a specific role and an associated sound. For example, the heart is related to the sound "Ke/Hu," and the liver to the sound "Xu." These sounds help strengthen and balance the functions of the organs.
During "Liu Zi Jue" meditation, specific sounds are pronounced to create vibrations in the organs. In the album "dive into silence," the tracks are designed to create these same vibrations in the organs.
We chose to name the tracks after the colors associated with the organs, as using only names would have lacked aesthetics (laughs).
The tracks are named: Red (for the heart), Green (for the liver), Yellow (for the spleen or pancreas), White (for the lungs), Blue (for the kidneys), and Rainbow (for the entire body).
DISC 1
1. Rouge [ Heart ]
2. Vert [ Liver ]
3. Jaune [ Spleen ]
DISC 2
1. Blanc [ Lungs ]
2. Bleu [ Kidneys ]
3. Arc en ciel [ San Jiao ]
The idea was to make traditional Chinese medicine and "Liu Zi Jue" accessible in a simple, uncomplicated way. There was no need for deep thinking; just listening was enough. This was the agreement we had with Kodo to keep it simple.
A “perfect” realization
J: Today, the demand for meditation is very high, but ten years ago in Japan, it wasn't as common or perceived as naturally. Was your music ahead of its time at that moment? How do you perceive the impact of this music today, ten years later?
K: Allow me to answer first so that the composer can elaborate afterward. At that time, as you mentioned, we were ahead of our time, maybe even a little too much. But looking back, it was both avant-garde and perfectly suited to the time, paradoxically, in a way. What I mean is that we couldn’t have done more or less; we were fully engaged in the creation of the work at that moment. It was truly extraordinary. As I mentioned earlier, this album could inspire a film due to its richness in elements.
FDB: Kodo, you’ve summed it up very well. I don’t think there’s much more to say (laughs). At that specific time, we simply expressed what we had inside us, so I think the phrase “fully engaged in creation” fits well.
We also collaborated with others, like your father Kodo, who was the great abbot at the time, and your brother who participated in the recordings.
An important point to mention is that before recording "dive into silence," I had set music aside for several years. At that time, I was focusing on my training and studies in the Wudang Mountains in China and continuing the shift I had undertaken in the mid-2000s, namely, to focus on career management training. I had started this kind of work when I was teaching at Keio University.
I wrote many books on the subject and gave numerous seminars in companies. It was precisely during this period that Kodo brought me back to music, and I want to thank him once again for that.
K: I don’t think I relied on any well-elaborated reasoning or had any intention to bring you back to the musical world; it wasn’t intentional.
It just happened like that. If the other part, François Du Bois, hadn't had the awareness to turn back to music, he probably wouldn't have seized the opportunity. So, in this sense, he received the message well and at the right time, thus activating the switch himself.
FDB: That’s very beautifully said, Kodo, thank you. Another important point to highlight is that the Tendai Buddhist tradition to which Kodo belongs is one of the most conservative in Japan. It's somewhat like in Catholicism, where some still say Mass in Latin! It’s quite closed. And yet, it was in this environment that the project succeeded. It's truly incredible.
A miraculous story that will never happen again
J: It's true, it seems like a combination of miraculous elements.
K: Yes, that’s right. Normally, in society, people plan and advance their affairs, as they say. But for this project, it was already, somehow, predetermined, it seemed tinted with spiritual elements. It’s sincerely my feeling as a monk, there was a sort of cosmic will, like a pre-planned flow.
By chance, the circumstances and events aligned in the material world and allowed the realization of the project.
That's how we were able to get the temple's help, record specifically in the Kannon hall, bring our equipment, use the temple’s tools, etc. The elements thus connected to make "dive into silence" possible.
This shows me that it is something that cannot be planned by humans. It's miraculous.
If someone other than François Du Bois or myself had attempted to realize this project, I think it probably would never have worked or come to fruition. As for any future musical recording by other people, for example, it certainly won’t happen in this temple again.
The Meguro Fudo temple is over 1000 years old, one might always imagine that in distant times it could happen, but I don't believe it, because for me, there is nothing more to be done.
To go into more detail, I realized that at the time when I wanted to learn Chinese martial arts, I was actually in a sort of antechamber, a prelude to the creation of this album, more so than to actually learn martial arts. It was so well orchestrated!
Even now, there are always stories to uncover around this album.
The Bible is a book that has existed for thousands of years, first transmitted by priests, and then made accessible to everyone in the form of a book. Yet, discoveries and revelations continue to emerge from it. Similarly, this project fits into the idea of discovery, like a kind of 'sacred text.' I am not saying this just because I participated, but because I genuinely feel it is on that level; that is my feeling as a believer.
A little advice for your readers: If you feel an unusual atmosphere at home or elsewhere, where things seem disordered, playing this album can help harmonize the atmosphere!
FDB: I think exactly the same. Moreover, “dive into silence” was released as a double album by a major label: Nippon Columbia. It was truly a pleasant surprise.
A grace called “l’éclaircie”
K: That’s right, and after the release of the double album "dive into silence", the single “l’éclaircie” was released. I have always paid special attention to this title. “L’éclaircie” is the child of “dive into silence”, it is grace itself. These two entities are connected; they complement each other.
FDB: I should clarify that this music was also recorded in the temple.
“L’éclaircie” symbolizes the awakening of the soul in a fundamental and stripped-down form.
K: Yes, absolutely! Listening to “l’éclaircie” will make you want to discover “dive into silence”. These two works complement each other, and that’s something we, the creators, wanted to highlight.
FDB: Exactly!
J: Listening to your stories allows us to understand once again why “dive into silence” is a universal and unique work of art. It was a very interesting conversation.
FDB: I would just like to add regarding the release of the scores for “dive into silence” and “l’éclaircie,” that they are perfectly faithful to the recording down to the smallest detail. They consist of a solo marimba and percussion ensembles, where gongs and other resonant instruments are very present. On the track “Blanc”, there is a vocal part, which is actually a mantra to be recited by several people.
J: Thank you very much, Mr. Takiguchi and Mr. Du Bois, for revealing the secrets of “dive into silence” and for explaining in detail the reasons behind this creation.
END
"dive into silence" Scores
