Changes

As late as the early 17th century, some sources indicate that sanshin made in Okinawa were of inferior quality. One Chinese envoy, [[Xia Ziyang]], who visited Ryûkyû in [[1606]], remarked as much, and had members of his entourage instruct local makers in better techniques. However, a now-famous sanshin maker by the name of Feebaru appeared later that same century, and in [[1710]], King [[Sho Eki|Shô Eki]] established an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin. It is believed that it was right around that time as well that the Okinawa ''sanshin'' settled into what remains its standard size today, at 2 ''[[Japanese Measurements|shaku]]'', 5 or 6 ''sun'' in length.<ref>Miyagi Eishô, ''Ryûkyû shisha no Edo nobori'', Tokyo: Daiichi shobô (1982), 130.</ref> By the end of the 17th century, or within a few decades afterwards, the sanshin being produced in Okinawa are believed to have been of much higher quality, both aesthetically, and in terms of their sound.

As late as the early 17th century, some sources indicate that sanshin made in Okinawa were of inferior quality. One Chinese envoy, [[Xia Ziyang]], who visited Ryûkyû in [[1606]], remarked as much, and had members of his entourage instruct local makers in better techniques. However, a now-famous sanshin maker by the name of Feebaru appeared later that same century, and in [[1710]], King [[Sho Eki|Shô Eki]] established an office known as the ''[[sanshin-uchi]]'', a post responsible for overseeing the production of high quality sanshin. It is believed that it was right around that time as well that the Okinawa ''sanshin'' settled into what remains its standard size today, at 2 ''[[Japanese Measurements|shaku]]'', 5 or 6 ''sun'' in length.<ref>Miyagi Eishô, ''Ryûkyû shisha no Edo nobori'', Tokyo: Daiichi shobô (1982), 130.</ref> By the end of the 17th century, or within a few decades afterwards, the sanshin being produced in Okinawa are believed to have been of much higher quality, both aesthetically, and in terms of their sound.

Initially, a sort of Chinese-style music, known in Ryûkyû as ''[[uzagaku]]'', dominated Ryukyuan court music played at formal occasions, for a time. ''Uzagaku'' continued to be played at least as late as [[1798]], when it is known to have been performed for the lord of [[Nagoya castle]] in Japan. The incredible strength of Chinese-style music in Okinawa can be attributed to, among other factors, the absence of any instrumental tradition in Okinawa prior to the introduction of Chinese instruments. It is unclear precisely when the sanshin came to be so prominently used in Ryukyuan music, and no longer chiefly as a part of a larger, more complex, Chinese-style ensemble. However, it is clear that by the late 17th century, a more natively Ryukyuan repertoire had begun to coalesce, centered on ''uta-sanshin'' (song and sanshin); many core pieces of the classical repertoire were composed around that time by [[Tansui Kenchu|Tansui ueekata Kenchû]] ([[1623]]-[[1683]]), founder of the oldest extant school (style) of Okinawan classical music. It remains unclear, however, whether any of the pieces currently in the repertoire predate Tansui, or for most pieces, when they were first composed, performed, or entered the repertoire. The earliest compilation of notated music is attributed to [[Yakabi Choki|Yakabi Chôki]] ([[1716]]-[[1775]]); it contains the lyrics and ''sanshin'' tabs for 117 songs.<ref>Ashgate. p310.</ref>

Initially, a sort of Chinese-style music, known in Ryûkyû as ''[[uzagaku]]'', dominated Ryukyuan court music played at formal occasions, for a time. ''Uzagaku'' continued to be played at least as late as [[1798]], when it is known to have been performed for the lord of [[Nagoya castle]] in Japan. The set of musical instruments played at that time, having been given as gifts to the [[Owari Tokugawa clan|Owari Tokugawa]] lord of Nagoya by Ryukyuan envoys to Edo in [[1796]], remain today in the collection of the [[Tokugawa Art Museum]], and include what are believed to be the oldest extant examples of Okinawan ''sanshin''.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>

 

The incredible strength of Chinese-style music in Okinawa can be attributed to, among other factors, the absence of any instrumental tradition in Okinawa prior to the introduction of Chinese instruments. It is unclear precisely when the sanshin came to be so prominently used in Ryukyuan music, and no longer chiefly as a part of a larger, more complex, Chinese-style ensemble. However, it is clear that by the late 17th century, a more natively Ryukyuan repertoire had begun to coalesce, centered on ''uta-sanshin'' (song and sanshin); many core pieces of the classical repertoire were composed around that time by [[Tansui Kenchu|Tansui ueekata Kenchû]] ([[1623]]-[[1683]]), founder of the oldest extant school (style) of Okinawan classical music. It remains unclear, however, whether any of the pieces currently in the repertoire predate Tansui, or for most pieces, when they were first composed, performed, or entered the repertoire. The earliest compilation of notated music is attributed to [[Yakabi Choki|Yakabi Chôki]] ([[1716]]-[[1775]]); it contains the lyrics and ''sanshin'' tabs for 117 songs.<ref>Ashgate. p310.</ref>

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.