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The strings are named ''wuujiru'' 男弦 (lit. "male string"), ''nakajiru'' 中弦 (lit. "middle string"), and ''miijiru'' 女弦 (lit. "female string"), with the "male" string playing the lower notes, and the "female" string being the one which plays the highest notes. They are wrapped around a set of tuning pegs (''karakuri'' 範) within an open rectangular area at the top of the instrument known as the ''chirutamai'' 糸蔵 (J: ''itokura''). These three large tuning pegs are used to tighten or loosen the strings in order to tune the instrument. Though some modern variations on the instrument, known as "peg sanshin," use pegs which can be screwed in along a groove, like guitar pegs, traditionally, the ''karakuri'' are simply carefully carved so as to fit tightly into the holes in the head of the instrument, a section known as the ''tin'' 天, or "heaven".<ref>O: ''tin'' or ''chira'', J: ''ten'', lit. "heaven"</ref> The ''tin'' bends gracefully backward at the top, and is wider than the rest of the neck. The strings, attached to the ''karakuri'', run through a small board (called a "nut" in English) which guides them to run straight down the neck of the instrument. The ''tin'' then narrows as it meets the neck, creating a curved bulging section known as the ''miruku mimi'' 乳袋. The strings then run along the flat, front, side of the neck, an area known as ''tuui'' 野, while the back side of the neck is rounded, and is known as ''tii atai'' 野丸. The neck then curves again as it meets the body, creating a broad flat space on the front known as the ''sun'uri'' 野坂, and a thick, bulging part on the back known as ''utuchikara'' 鳩胸. This broad section of the neck, known as the ''utudamai'', contains within it a thinner section, the "heart" or ''chiiga tamuchi'' 心, which pierces through the body of the instrument, and pokes out the bottom end (the "earth" or ''chii'' 地 of the instrument, in contrast to the "heaven" at the top). The strings are secured at their bottom ends to a set of threads known as the ''itokake'' 糸掛, which is in turn secured to this "monkey tail" (''mijiati'', 猿尾), the bottom end of the spike which pierces through the instrument.

The strings are named ''wuujiru'' 男弦 (lit. "male string"), ''nakajiru'' 中弦 (lit. "middle string"), and ''miijiru'' 女弦 (lit. "female string"), with the "male" string playing the lower notes, and the "female" string being the one which plays the highest notes. They are wrapped around a set of tuning pegs (''karakuri'' 範) within an open rectangular area at the top of the instrument known as the ''chirutamai'' 糸蔵 (J: ''itokura''). These three large tuning pegs are used to tighten or loosen the strings in order to tune the instrument. Though some modern variations on the instrument, known as "peg sanshin," use pegs which can be screwed in along a groove, like guitar pegs, traditionally, the ''karakuri'' are simply carefully carved so as to fit tightly into the holes in the head of the instrument, a section known as the ''tin'' 天, or "heaven".<ref>O: ''tin'' or ''chira'', J: ''ten'', lit. "heaven"</ref> The ''tin'' bends gracefully backward at the top, and is wider than the rest of the neck. The strings, attached to the ''karakuri'', run through a small board (called a "nut" in English) which guides them to run straight down the neck of the instrument. The ''tin'' then narrows as it meets the neck, creating a curved bulging section known as the ''miruku mimi'' 乳袋. The strings then run along the flat, front, side of the neck, an area known as ''tuui'' 野, while the back side of the neck is rounded, and is known as ''tii atai'' 野丸. The neck then curves again as it meets the body, creating a broad flat space on the front known as the ''sun'uri'' 野坂, and a thick, bulging part on the back known as ''utuchikara'' 鳩胸. This broad section of the neck, known as the ''utudamai'', contains within it a thinner section, the "heart" or ''chiiga tamuchi'' 心, which pierces through the body of the instrument, and pokes out the bottom end (the "earth" or ''chii'' 地 of the instrument, in contrast to the "heaven" at the top). The strings are secured at their bottom ends to a set of threads known as the ''itokake'' 糸掛, which is in turn secured to this "monkey tail" (''mijiati'', 猿尾), the bottom end of the spike which pierces through the instrument.

The body of the instrument, the ''chiiga'' 胴, is a rounded square wooden box, made of four sections of wood, and pierced through by the ''sou'', which extends a half-inch or so beyond the bottom of the instrument. A decorative cloth known as ''tiigaa'' 手掛 is wrapped around the body and secured with a number of tightly-knotted ropes. There are a number of different woods which are typically used for the body of the instrument, including ''inumaki'' (''Podocarpus macrophyllus''), mulberry, camphor (''kusunoki''), and ''iju'' (''Schima wallichii'').<ref name=museum/>

The body of the instrument, the ''chiiga'' 胴, is a rounded square wooden box, made of four sections of wood, and pierced through by the ''sou'', which extends a half-inch or so beyond the bottom of the instrument. A decorative cloth known as ''tiigaa'' 手掛 is wrapped around the body and secured with a number of tightly-knotted ropes. There are a number of different woods which are typically used for the body of the instrument, including ''chaagi'' (J: ''inumaki'', ''Podocarpus macrophyllus''), mulberry, camphor (''kusunoki''), and ''iju'' (''Schima wallichii'').<ref name=museum/>

Python skin is used for the skin of the body of the instrument, in contrast to the cat or dogskin used traditionally on Japanese [[shamisen]]. Though Okinawa is famous for the venomous ''[[habu]]'' snake, the ''habu'' is in fact too small for its skin to be used to make sanshin, and it is believed that the snakeskin for sanshin has always been imported from Southeast Asia. Though the pythons used to make sanshin skins today are not an endangered species, the difficulty of distinguishing one snakeskin from another makes transporting real-skin (J: ''hongawa'' 本皮) sanshin internationally somewhat risky. However, cheaper sanshin with plastic skins are quite common today as well. A small wooden or bamboo bridge, known as ''nma'' 駒, sits atop the skin.

Python skin is used for the skin of the body of the instrument, in contrast to the cat or dogskin used traditionally on Japanese [[shamisen]]. Though Okinawa is famous for the venomous ''[[habu]]'' snake, the ''habu'' is in fact too small for its skin to be used to make sanshin, and it is believed that the snakeskin for sanshin has always been imported from Southeast Asia. Though the pythons used to make sanshin skins today are not an endangered species, the difficulty of distinguishing one snakeskin from another makes transporting real-skin (J: ''hongawa'' 本皮) sanshin internationally somewhat risky. However, cheaper sanshin with plastic skins are quite common today as well. A small wooden or bamboo bridge, known as ''nma'' 駒, sits atop the skin.

The use of a ''chimi'', a claw-shaped plectrum, though quite standard today, is believed to be a relatively recent development. Eighteenth and early 19th century paintings of people playing sanshin do not seem to depict the use of a plectrum.

The use of a ''chimi'', a claw-shaped plectrum, though quite standard today, is believed to be a relatively recent development. Eighteenth and early 19th century paintings of people playing sanshin do not seem to depict the use of a plectrum.

Following the abolition of the Ryûkyû Kingdom in the 1870s and the absorption of its lands and people into the Empire of Japan, many elements of Ryukyuan arts, including performing arts, which were previously exclusive to the aristocracy became more widely, popularly, available. Proficient aristocratic performers began to perform for more general audiences, and to teach students from non-aristocratic backgrounds, while sanshin-makers likewise began selling instruments to the general market. Though Okinawa experienced some considerable processes of Westernization during the [[Meiji period]], it also saw considerable popularization of its musical and other performing traditions, forming the foundations of strong popular folk traditions.

Following the abolition of the Ryûkyû Kingdom in the 1870s and the absorption of its lands and people into the Empire of Japan, many elements of Ryukyuan arts, including performing arts, which were previously exclusive to the aristocracy became more widely, popularly, available. Proficient aristocratic performers began to perform for more general audiences, and to teach students from non-aristocratic backgrounds, while sanshin-makers likewise began selling instruments to the general market. It was also at this time that the ''sanshin'', and Okinawan musical traditions, were first popularized in more distant portions of the archipelago; on [[Yonaguni Island]] and in many other parts of [[Sakishima Islands|Sakishima]], string instruments were up until then not a part of the musical tradition.<ref>Yuan Yu Kuan, "Militarization, Marketing, and Musicking: The Soundscape of Yonaguni Island, Okinawa," presentation at Association for Asian Studies annual conference, Washington DC, 23 March 2018.</ref> Though Okinawa experienced some considerable processes of Westernization during the [[Meiji period]], it also saw considerable popularization of its musical and other performing traditions, forming the foundations of strong popular folk traditions.

In the immediate aftermath of the devastation of World War II, many Okinawans worked to create sanshin from whatever materials were available, as part of efforts to create some levity and enjoyment in their difficult lives. Matayoshi Shin'ei (1916-1985), said to have been one of the greatest sanshin makers of the 20th century, is credited with the creation of the ''kankara'' sanshin, a sanshin made primarily from an empty tin can, parachute fabric (in place of the snakeskin), parachute strings, and whatever scraps of wood could be found. Of course, both within and outside of the refugee camps, people made improvised sanshin from a wide range of different materials; however, Matayoshi's ''kankara'' sanshin has become iconic, and mass-produced ''kankara'' sanshin are widely sold today as a relatively inexpensive alternative to investing in a more traditional-style instrument.<ref>Tokugawa Yoshinobu, 314-315.</ref>

In the immediate aftermath of the devastation of World War II, many Okinawans worked to create sanshin from whatever materials were available, as part of efforts to create some levity and enjoyment in their difficult lives. Matayoshi Shin'ei (1916-1985), said to have been one of the greatest sanshin makers of the 20th century, is credited with the creation of the ''kankara'' sanshin, a sanshin made primarily from an empty tin can, parachute fabric (in place of the snakeskin), parachute strings, and whatever scraps of wood could be found. Of course, both within and outside of the refugee camps, people made improvised sanshin from a wide range of different materials; however, Matayoshi's ''kankara'' sanshin has become iconic, and mass-produced ''kankara'' sanshin are widely sold today as a relatively inexpensive alternative to investing in a more traditional-style instrument.<ref>Tokugawa Yoshinobu, 314-315.</ref>

===Musical Genres===

===Musical Genres===

Okinawan music is generally divided into three genres:

Okinawan music is generally divided into three genres:

*'''Classical''' (J: ''koten ongaku'') - This category mostly consists of songs associated with the royal court of the [[Ryukyu Kingdom|Ryûkyû Kingdom]], including pieces played to entertain Chinese dignitaries, for certain ritual or ceremonial purposes, in conjunction with [[Okinawan dance]] or ''[[kumi udui]]'' theatre, or in other formal court contexts. Many of these songs are quite slow, and played quite precisely, according to traditional styles of playing. A very distinctive vocal style is also employed, in which the mouth is held only narrowly open, and an idea of tightness or tautness, pressing down on the ''hara'' (stomach) is central to the technique, producing a distinctive vocal sound. Classical pieces tend, for the most part, to be heterophonic, meaning that the notes sung do not line up with the notes played on the sanshin; the Japanese term ''tsukazu hanarezu'' is often applied in traditional Japanese music to describe the way that instrument and voice follow largely the same melody line, but a half-beat or more off from one another.<ref>Alison McQueen Tokita, "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. p236.</ref>

*'''Classical''' (J: ''koten ongaku'') - This category mostly consists of songs associated with the royal court of the [[Ryukyu Kingdom|Ryûkyû Kingdom]], including pieces played alone, or in conjunction with [[Okinawan dance]] or ''[[kumi udui]]'' theatre, in court entertainments. These included formal receptions for visiting Chinese or Japanese dignitaries, as well as receptions, banquets, and other such events within the court. Many of these songs are quite slow, and played quite precisely, according to traditional styles of playing. A very distinctive vocal style is also employed, in which the mouth is held only narrowly open, and an idea of tightness or tautness, pressing down on the ''hara'' (stomach) is central to the technique, producing a distinctive vocal sound. Classical pieces tend, for the most part, to be heterophonic, meaning that the notes sung do not line up with the notes played on the sanshin; the Japanese term ''tsukazu hanarezu'' is often applied in traditional Japanese music to describe the way that instrument and voice follow largely the same melody line, but a half-beat or more off from one another.<ref>Alison McQueen Tokita, "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. p236.</ref>

The two most prominent schools of classical ''uta-sanshin'' are [[Nomura-ryu|Nomura-ryû]], which employs fairly strict adherence to written notation, and Afusô-ryû, which focuses more heavily on oral transmission, i.e. playing in emulation of one's teacher. A third school, [[Tansui-ryu|Tansui-ryû]], is considered the oldest, and is still active today. As one can imagine, the former tradition tends towards a high degree of consistency or similarity from place to place and teacher to teacher, while the latter tradition tends towards the development of lineages of sub-styles, as each group of students learns to play like their teacher, in a manner somewhat different perhaps from the students of another teacher.

The two most prominent schools of classical ''uta-sanshin'' are [[Nomura-ryu|Nomura-ryû]], which employs fairly strict adherence to written notation, and Afusô-ryû, which focuses more heavily on oral transmission, i.e. playing in emulation of one's teacher. A third school, [[Tansui-ryu|Tansui-ryû]], is considered the oldest, and is still active today. As one can imagine, the former tradition tends towards a high degree of consistency or similarity from place to place and teacher to teacher, while the latter tradition tends towards the development of lineages of sub-styles, as each group of students learns to play like their teacher, in a manner somewhat different perhaps from the students of another teacher.

Classical songs include ''Nubui kuduchi'', ''Kajadifu bushi'', ''Aha bushi'', and ''Wudui kuwadisa''.

Classical songs include ''[[Nubui kuduchi]]'', ''[[Kajadifu-bushi|Kajadifû bushi]]'', ''[[Aha bushi]]'', and ''[[Wudui kuwadisa]]'', among many others. The most formal, most elevated, set of classical songs are known as the ''gozenfû itsufushi'' (O: ''gujinfû ichifushi''), and include ''kajadifû bushi'', ''[[unna bushi]]'', ''[[nakagusuku hantamee bushi]]'', ''[[naga iheya bushi]]'', and ''[[kuti bushi]]''.<ref>Kaneshiro, 53-54.</ref>

*'''Folk''' (J: ''min'yô'', also known as ''shima uta'') - Folk music includes a wide range of types of songs, not only from [[Okinawa Island]], but from all of the Ryûkyû Islands. Some of the oldest folk songs derive from the [[Miyako Islands]].<ref>Ashgate. p305.</ref> Many folk songs derive from traditional festival music, agricultural work songs known as ''yunta'' or ''jiraba'', or courting songs known as ''utagaki'', while others are of newer composition, but have become so widely known, and so standard, that they have come to be regarded as "folk music." Some folk songs employ the distinctive vocal techniques of classical singing, while others use a more standard/Western/modern open style. The heterophony heard in classical songs is lessened in folk and popular music, with the pitches played and sung more regularly lining up with one another. The lyrics are often in Okinawan, or another [[Ryukyuan languages|Ryukyuan language]], but are sometimes in standard Japanese. The playing style on the sanshin is somewhat freer than in classical playing, as various techniques are used to help one play more quickly or more smoothly, though such moves might not strictly be tolerated in one of the classical playing styles.

*'''Folk''' (J: ''min'yô'', also known as ''shima uta'') - Folk music includes a wide range of types of songs, not only from [[Okinawa Island]], but from all of the Ryûkyû Islands. Some of the oldest folk songs derive from the [[Miyako Islands]].<ref>Ashgate. p305.</ref> Many folk songs derive from traditional festival music, agricultural work songs known as ''yunta'' or ''jiraba'', or courting songs known as ''utagaki'', while others are of newer composition, but have become so widely known, and so standard, that they have come to be regarded as "folk music." Some folk songs employ the distinctive vocal techniques of classical singing, while others use a more standard/Western/modern open style. The heterophony heard in classical songs is lessened in folk and popular music, with the pitches played and sung more regularly lining up with one another. The lyrics are often in Okinawan, or another [[Ryukyuan languages|Ryukyuan language]], but are sometimes in standard Japanese. The playing style on the sanshin is somewhat freer than in classical playing, as various techniques are used to help one play more quickly or more smoothly, though such moves might not strictly be tolerated in one of the classical playing styles.