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).