Changes

Though originally based on Ming music, by the 1660s members of the royal court began to worry that over the centuries the tradition passed down within Ryûkyû may have deviated from the "true" "correct" forms of Chinese music. Members of the [[1663]] Qing investiture embassy to Ryûkyû, including an official named [[Chen Yi]], were thus invited to teach Qing music to members of the court, thus "correcting" or updating their style and repertoire. Qing music thus came to be incorporated into the ''uzagaku'' style and canon. The first performance of Qing-style music by Ryukyuan musicians for a formal court occasion then came in [[1670]], at a celebration for the accession of [[Sho Tei|Shô Tei]] to the throne.<ref>Liao Zhenpei 廖真珮, "Ryûkyû kyûtei ni okeru Chûgoku kei ongaku no ensô to denshô" 琉球宮廷における中国系音楽の演奏と伝承, in ''Uzagaku no fukugen ni mukete'' 御座楽の復元に向けて, Naha, Okinawa: Uzagaku fukugen ensô kenkyûkai 御座楽復元演奏研究会 (2007), 109-110, citing ''Naha shishi'' 那覇市史, vol 7, Naha City Office (1980), pp552-553.</ref>

Though originally based on Ming music, by the 1660s members of the royal court began to worry that over the centuries the tradition passed down within Ryûkyû may have deviated from the "true" "correct" forms of Chinese music. Members of the [[1663]] Qing investiture embassy to Ryûkyû, including an official named [[Chen Yi]], were thus invited to teach Qing music to members of the court, thus "correcting" or updating their style and repertoire. Qing music thus came to be incorporated into the ''uzagaku'' style and canon. The first performance of Qing-style music by Ryukyuan musicians for a formal court occasion then came in [[1670]], at a celebration for the accession of [[Sho Tei|Shô Tei]] to the throne.<ref>Liao Zhenpei 廖真珮, "Ryûkyû kyûtei ni okeru Chûgoku kei ongaku no ensô to denshô" 琉球宮廷における中国系音楽の演奏と伝承, in ''Uzagaku no fukugen ni mukete'' 御座楽の復元に向けて, Naha, Okinawa: Uzagaku fukugen ensô kenkyûkai 御座楽復元演奏研究会 (2007), 109-110, citing ''Naha shishi'' 那覇市史, vol 7, Naha City Office (1980), pp552-553.</ref>

''Uzagaku'' was also performed by Ryukyuan officials on [[nentoshi|embassies to Kagoshima]] and [[Ryukyuan embassies to Edo|to Edo]], chiefly at [[Kagoshima castle]], [[Shimazu clan]] mansions in various cities, and [[Edo castle]], but also occasionally at other castles (such as [[Nagoya castle]]) or at the [[Edo]] [[daimyo yashiki|mansions]] of other ''[[daimyo]]''. Due to fires in [[Kagoshima]] and elsewhere, the 1945 Battle of Okinawa, and other circumstances and developments, no sets of ''uzagaku'' instruments in Ryukyuan or [[Satsuma han|Kagoshima]] collections are known to have survived down to the present day. However, a set of musical instruments gifted to the [[Owari Tokugawa clan]] lords of Nagoya in [[1796]] remains today in the [[Tokugawa Art Museum]], and another set gifted by a Ryukyuan Edo embassy at some point to the lords of [[Tsuwano han]] similarly survived and has since been donated to the Okinawa Prefectural Museum by the inheritors of the Tsuwano collections.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>

''Uzagaku'' was also performed by Ryukyuan officials on [[nentoshi|embassies to Kagoshima]] and [[Ryukyuan embassies to Edo|to Edo]], chiefly at [[Kagoshima castle]], [[Shimazu clan]] mansions in various cities, and [[Edo castle]], but also occasionally at other castles (such as [[Nagoya castle]]) or at the [[Edo]] [[daimyo yashiki|mansions]] of other ''[[daimyo]]''. Due to fires in [[Kagoshima]] and elsewhere, the 1945 Battle of Okinawa, and other circumstances and developments, no sets of ''uzagaku'' instruments in Ryukyuan or [[Satsuma han|Kagoshima]] collections are known to have survived down to the present day.<ref>Some number of instruments, costumes and other accoutrements, and textual records of lyrics and musical notation (tablature), are believed to have survived within Shuri castle, [[Nakagusuku udun]], or nearby storehouses until 1945; however, these were all lost in the Battle of Okinawa. Yeh, 38.</ref> However, a set of musical instruments gifted to the [[Owari Tokugawa clan]] lords of Nagoya in [[1796]] remains today in the [[Tokugawa Art Museum]], and another set gifted by a Ryukyuan Edo embassy at some point to the lords of [[Tsuwano han]] similarly survived and has since been donated to the Okinawa Prefectural Museum by the inheritors of the Tsuwano collections.<ref>''Sanshin no chikara'', Okinawa Prefectural Museum & Art Museum (2013), 75.</ref>

Within the Shuri court, the youngest ''uzagaku'' performers were pages known as ''[[koakukabe]]''; they were taught and directed by older officials with titles such as ''gaku keiko bugyô'' ("music practice magistrate") and ''zagaku shihan bugyô'' ("chamber music instruction magistrate").<ref>Liao, 122.</ref> When traveling on embassies to Edo, ''uzagaku'' performers included teenage boys known as ''[[gakudoji|gakudôji]]'' and master musicians known as ''gakushi'', overseen by a single ''gakusei'', the leader of the entire ensemble. When playing together, ''gakushi'' typically played only ''[[suona|suǒnà]]'' (a reed instrument), while ''gakudôji'' played all other instruments.

Within the Shuri court, the youngest ''uzagaku'' performers were pages known as ''[[koakukabe]]''; they were taught and directed by older officials with titles such as ''gaku keiko bugyô'' ("music practice magistrate") and ''zagaku shihan bugyô'' ("chamber music instruction magistrate").<ref>Liao, 122.</ref> When traveling on embassies to Edo, ''uzagaku'' performers included teenage boys known as ''[[gakudoji|gakudôji]]'' and master musicians known as ''gakushi'', overseen by a single ''gakusei'', the leader of the entire ensemble. When playing together, ''gakushi'' typically played only ''[[suona|suǒnà]]'' (a reed instrument), while ''gakudôji'' played all other instruments.