Changes

The Chinese ''sanxian'' dates back to the [[Yuan dynasty]] ([[1279]]-[[1368]]), and is most commonly seen in two forms. In northern China, ''sanxian'' tend to have longer necks. The Okinawan sanshin, however, developed out of the shorter-necked ''sanxian'' common in folk traditions in southern China,<ref>i.e. played mainly by the common people, and ignored for the most part by the [[literati]], who revered the ''[[qin]]'' as their musical instrument of choice.</ref> especially [[Fujian]] province, the area which historically interacted much more directly with Ryûkyû. As such, it is believed the ''sanxian'' may have been first (or most significantly) introduced to Ryûkyû by the 36 Min families who traveled to Ryûkyû in [[1392]], and settled there, establishing the community of [[Kumemura]], and setting the basis for the future Ryukyuan scholar-bureaucrat aristocracy.

The Chinese ''sanxian'' dates back to the [[Yuan dynasty]] ([[1279]]-[[1368]]), and is most commonly seen in two forms. In northern China, ''sanxian'' tend to have longer necks. The Okinawan sanshin, however, developed out of the shorter-necked ''sanxian'' common in folk traditions in southern China,<ref>i.e. played mainly by the common people, and ignored for the most part by the [[literati]], who revered the ''[[qin]]'' as their musical instrument of choice.</ref> especially [[Fujian]] province, the area which historically interacted much more directly with Ryûkyû. As such, it is believed the ''sanxian'' may have been first (or most significantly) introduced to Ryûkyû by the 36 Min families who traveled to Ryûkyû in [[1392]], and settled there, establishing the community of [[Kumemura]], and setting the basis for the future Ryukyuan scholar-bureaucrat aristocracy.

As late as the early 17th century, some sources indicate that sanshin made in Okinawa were of inferior quality. One Chinese envoy, Xia Xiyang, who visited Ryûkyû in [[1616]], 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 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>