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・ Ryōhei Koiso
・ Ryōhei Shirasaki
・ Ryōhei Uchida
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・ Ryōichi Hattori
・ Ryōichi Kuroda
・ Ryukyu Village
・ Ryukyu wood pigeon
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・ Ryukyuan lacquerware
・ Ryukyuan languages
・ Ryukyuan missions to Edo
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Ryukyuan music
・ Ryukyuan people
・ Ryukyuan religion
・ Ryukyukoku Matsuri Daiko Hawaii
・ Ryukyukoku Matsuri Daiko North Carolina
・ Ryuma Kidokoro
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・ Ryumon Yasuda
・ Ryumyo Tsunawaki
・ Ryunosuke Haga
・ Ryunosuke Harada
・ Ryunosuke Kamiki
・ Ryunosuke Kingetsu
・ Ryunosuke Noda
・ Ryunosuke Okamoto


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Ryukyuan music : ウィキペディア英語版
Ryukyuan music

, sometimes called is an umbrella term that encompasses diverse musical traditions of the Amami, Okinawa, Miyako and Yaeyama Islands of southwestern Japan. The term of is preferred by scholars in this field. In Japanese, the notion of "Ryūkyū" is associated with the highly centralized Ryūkyū Kingdom based on Okinawa Island and its high culture practiced by the pechin class in its capital Shuri. By contrast, scholars who cover a much broader region lay emphasis on folk culture.
== Research history ==
Comprehensive studies on diverse musical traditions of the Southern Islands was done by Hokama Shuzen and his colleagues. Prior to that, the scopes of research were limited to each island group (Amami, Okinawa, Miyako or Yaeyama), or even narrower areas. These studies were done under the heavy influence of folklorists Yanagita Kunio and Orikuchi Shinobu, who searched for the origin of Japanese culture in the Southern Islands.
The research on Okinawa's musical traditions was started by Tajima Risaburō at the end of the 19th century. He was followed by Katō Sango and Majikina Ankō among others. Under Tajima's influence, Iha Fuyū, who is known as the father of Okinawaology, conducted extensive research on a wide range of music genres of Okinawa, primarily by analyzing texts. Although he paid attention to Miyako and Yaeyama, his studies on these subfields remained in a preliminary stage, partly due to the limited availability of documented sources. In Miyako and Yaeyana, pioneering work in collecting and documenting folk songs was done by Inamura Kenpu and Kishaba Eijun, respectively.
Hokama Shuzen, a successor to Iha Fuyū, worked on integrating separate subjects by comparative methods while he himself conducted field studies that covered the whole island chain. He stressed the importance of Amami, which was usually ignored or marginalized in Okinawan narratives. His lifelong research resulted in the ''Nantō koyō'' (1971), the ''Nantō kayō taisei'' (1978–80) and the ''Nantō bungaku-ron'' (1995).

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