kudu

Kudu/kutu
The Okinawan Koto was of the Zokuso type (Yatsuhashi School, Ikuta School and Yamada School) and officially made from mother-of-pearl or ivory, but recently the original type is most often used. Seijun Inamine introduced Ryukyuan Koto songs to Okinawa when he learned and brought back the method for playing Yatsuhashi School Koto music from Masazane and Masahiro Hattori Kiyozaemon during his official visit to Satsuma in 1702. It is assumed that the Koto was established as an accompanying instrument for classical music in the 19th century.
The 10 pieces are "Tachiutushi Sugagachi," "Ji Sugagachi," "Edo Sugagachi," "Hyoshi Sugagachi," "Sanya Sugagachi," "Rokudan Sugagachi," "Nanadan Sugagachi," "Sendo Bushi," "Tsushima Bushi" and "Genji Bushi.
This 13 string horizontal zither called kutu was introduced to Okinawa by the Japanese during the 18th century. During the Nara period, which dates back to the 8th century, China introduced this ancient instrument to Japan. The kutu or koto in Japanese is often times compared to the mystical dragon that appears in Oriental art and folklore. Certain parts of this instrument are named after parts of the dragon, for instance, ryuzetsu meaning dragon's tongue, ryuko, the dragon's back, and ryubi, the dragon's tail (Andagi 99).



The Kiri and Paulownia are types of wood commonly used for all kutu. There are two types of standard 13-string kutu used today. "They are named for the school from which they evolved, the Ikuta and Yamada." There are a few characteristics that set them apart from one another. The Ikuta is generally longer, and it has a keyhole shaped sound-hole while the Yamada has a round opening. The Yamada has a rounded "tail" of the instrument, while the Ikuta is flat. The bridges or kotoji that brace the strings on the surface also differ in that the Yamada is larger and heavier, although, the kotoji or bridges can be made in a variety of woods, ivory, or plastic for either instrument (Andagi 99).



One of the major differences is the sound quality. No two instruments will sound the same. The quality of sound will depend on the cut, the location of the cut, the aging process, and lastly the joining, wood filling or patching process. Craftsmen consider the side of the tree that has been exposed the most to the sun, and seasonal changes, "to be the strongest and best part of the tree." Due to imperfections, holes and fissures must be filled, if not corrected the sound quality may be poor. Beauty is added to the instrument using precious woods, gold, silver, bronze, and inlays of ivory, mother of pearl or gold leaf. No matter which instrument, they are surely works of art (Andagi 99).

sanchin

sanchin
It is supposed that the origin of the sanshin (sangen) goes all the way back to Egypt 3,000 years ago, where those introduced to the west became string instruments played with bows, like the violin, and those introduced to the east became Sangens, which are played with plectrums. Okinawa's Sanshin was introduced from China and settled into its present style after many improvements, although it became the "Shamisen" after it was introduced to mainland Japan.

* Parts of the Okinawan SanshinBody - python skin imported from Southeast Asia is used.
* Neck - ebony (Yaeyama ebony is supposed to be especially good)
* Strings - silk thread, nylon thread
* Plectrum - cow horn, buffalo horn, ivory
The body of the Sanshin uses python skin imported from Southeast Asia and ebony is used for the neck.
Silk or nylon thread was used for strings, and cow horn, buffalo horn or ivory was used for the plectrum

kokyu

kokyu(kucho)
One of the stringed instruments played with a bow. It is called "Kucho" in the Okinawan dialect. Although it was supposedly introduced to Okinawa from China along with the sanshin, its material, shape and sound are peculiar to Okinawa. It is 70 cm tall, with a neck made of ebony and body made of snakeskin wrapped on hollowed coconut or Stylax japonica trees. It has three strings and is played upright, with the horsetail-strung bow rubbing against the strings. Since Shinei Matayoshi, a Kokyu and Sanshin musician and Sanshin producer, made and spread the four-stringed Kokyu in order to expand the range, many are used today.

sampan

This is the same type of instrument as the Chinese "Paiban," used as a musical instrument for "Uzagaku." In recent years, it has become popular as a musical instrument that can be easily played and established its status as a percussion instrument along with the prosperity of folk songs after the war. The Japan Sampan Association was established in 2001 to popularize it.

introduction of musical instruments

In any case, Uta Sanshin is the center of classic music. The term "Uta Sanshin" is used solely for classical music where Sanshin and song are performed as one. However, in addition to the Sanshin, other musical instruments such as the Koto, Fue, Kokyu and Taiko also serve important roles. The beauty of the Koto is demonstrated when it accompanies a vocal solo. It modestly accompanies the Sanshin with its tender sound, leaving it up to the Sanshin to assist the song. While demonstrating its originality, the carefree flute and ardent Kokyu each give a sound with color and luster, the Taiko keeping the time through its beat, heightening the attractiveness through the harmony of each instrument. Good examples of instruments fulfilling roles can be seen in the singing, dance and sound in Kumiodori. In the Kumiodori "Shushinkaneiri," the use of Fue and Taiko to express the growing intense emotion of the scene is another example.