Changes

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. 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 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. 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 ueekata]] ([[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.

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>

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.

===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. 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. 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''' (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. 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'', ''Aha bushi'', and ''Wudui kuwadisa''.