It is the intention of this article to review the ryukyu scale, about which various theories have been proposed to date, and to make some propositions that may serve as the basis for future research on the subject.
The first point at issue is the structure of the ryukyu scale. Koizumi Fumio has interpreted the ryukyu scale (do mi fa sol si do) as being formed from two disjunct tetrachords, each of which is, in his terminology, comprised of two nuclear tones at the interval of a fourth with one infixed tone. In this interpretation, the nuclear tones are do, fa, sol and do.
On the other hand, Kakinoki Goro has proposed another interpretation, according to which the melodic movement of Okinawan folksong is ruled by a tertial nucleic structure. In his interpretation, the nuclear tones are do, mi, sol, and si.
The second point at issue is the question of which of the ryukyu and ritsu scales is the older. Kojima Tomiko has concluded that the ritsu scale (including the ryo scale as a variant of the ritsu) is the older because it is seen in old-fashioned myth songs in certain remote villages in the Ryukyu region. On the other hand, Koizumi insisted that the ryukyu scale was far older than the ritsu.
In the present author's view, there seem to be two different kinds of ryukyu scale in Okinawan music: one is a scale based on a tetrachordal nucleic structure (do mi fa sol si do), in which the nuclear notes locate at do, fa, sol and do; and the other is a scale based on a pentachordal nucleic structure (mi fa sol si do mi), in which the nuclear notes locate at mi, sol and si.
The present author has undertaken an investigation of the finalis of all pieces in the repertoire of Okinawan classical songs accompanied by the sanshin (long-necked plucked lute), whose melodies are notated in kunkunshii notation in four volumes. Within the 195 pieces investigated, there are 83 pieces (43%) whose finalis is located at the fourth, while there are 42 pieces (22%) whose finalis is located at the third, fifth, or seventh. The former are based on the tetrachordal nucleic ryukyu scale. However, in the latter the fourth is not stable enough to be thought of as a nuclear note. The present author proposes a pentachordal nucleic ryukyu scale which has its tonic at the third, because through investigation it is possible to recognize that the third, fifth, and seventh function as nuclear notes, and among these the third is most frequently the finalis.
It is possible to suppose that the ryo scale (do re mi sol la do) and the pentachordal nucleic ryukyu scale (mi fa sol si do mi) are parallel with each other. In both cases the scale consists of the following intervals: narrow, narrow, wide, narrow, wide, in ascending order. The pentachordal nucleic ryukyu scale, however, displays a little more contrast in terms of the width of its intervals.
In the case of certain folksongs of Yaeyama, some of which are dealt with in this article, the pitch of notes in the melody as performed is subtly heightened or lowered, so that it is difficult to identify the scale as being ryo or pentachordal nucleic ryukyu. Therefore, the relationship between these two scales, which appear to be opposites, is, in fact, not dualistic but monistic in nature.
Such a relationship is analogous to that of slendro and pelog in Javanese music. This is worthy of note for the purposes of future comparative research.
The conclusions of the present author are as follows. In Okinawan music there are five scales: min' yo and ritsu, both based on a tetrachordal nucleic structure, are dominant in the Amami and Okinawa Islands; while ryo and pentachordal nucleic ryukyu, both based on a pentachordal nucleic structure, are dominant in the Yaeyama, Miyako and Okinawa Islands. A complex of these scales is

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  東京音楽学校本科（現在の東京藝術大学音楽学部）において体系的な作曲教育が開始されたのは、1931（昭和６）年のことである。時勢に鑑みて、文部省令により「作曲部」が設置された。東京音楽学校の作曲教育は、日本における創作領域の人材育成に大きく寄与してきたにもかかわらず、これまで本格的な研究がなされてこなかった。本論文は、この本科作曲部の最初期の様相解明を目的としている。
  1932年より本科作曲部の入学者が募集され、設置当初は毎年２～３人の作曲専攻の学生が入学した。信時潔、片山頴太郎、下總皖一、呉泰次郎の他、外国での研鑽を終えたばかりの細川碧や橋本國彦、ドイツ音楽を体得していたK. プリングスハイムも指導にあたった。ドイツやウィーンの音楽理論の教授が根幹にあったが、和歌への作曲や律旋法・陽旋法など日本の伝統的音階に基づく作曲も実施されていた。教員たちが自ら翻訳したテクストを用いるなど独自の音楽理論を展開していたことも明らかとなった。
  本研究では、学校資料に基づいてカリキュラムや試験問題を提示するとともに、1930年代に在学していた学生たちの手稿資料を活用して授業内容を検証した。とりわけ自筆譜、日記、書簡からは、ソナタの作曲に苦悶しながら、朝夕問わず日々習作を書いて作曲修得に励んでいた学生たちの様子が浮き彫りとなった。S. ヤーダスゾーンの『和声学教科書』が受験勉強に用いられていたこと、作曲部の授業でS. クレールやH. リーマンの和声論が教授されていたことも判明し、そこから昭和初期の和声教育の一端が見出された。
  研究対象とした1930年代は、社会状況が激しく変化した時期である。作曲部の学生たちも軍事訓練への参加や戒厳令下での合唱練習を経験していた。ただし戦争の影響はまだ大きくなく、設置当初の作曲部では充実した授業が実施されていた。初期卒業生の記述からは、新体制の中で豊かな作曲教育を享受していたことがわかる。

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This article is a part translation of the Master's thesis (Okinawan Classical Music: Analysis of Vocal Performance) deposited in the Graduate School of the University of Hawaii in August 22, 1976. The study is focused on contemporary vocal performance in Okinawan classical music, of which repertory is believed to have been derived from regional folksongs and developed into the court tradition of the Ryukyu Kingdom (1429-1879). The study is based primarily on materials collected through field research conducted in the summer of 1974. Tsikuten Bushi and Hai-tsikuten Bushi were selected as representative of the repertory of Okinawan classical music. Performances of eight musicians were chosen for their musical reliability and as the best representation of the three existing schools (Nomura-, Ahuso-, and Tansui-ryu) of modern Okinawa. The eight vocal performances are, transcribed with a rather high level of specificity in Western staff notation and parsed against each other and against a sanshin (an Okinawan threestringed plucked lute) transnotation.
Tsikuten Bushi and Hai-tsikuten Bushi are examined by a detailed ana- lysis, based on a comparative method, in each musical aspect of 1) general form, 2) tempo both in metric and chronometric density, 3) rhythm, 4) meter, 5) tonality and modality, 6) melodic contour, 7) melodic range and tessitura, 8) vocal ornaments, and 9) heterophony. Some of the significant musical characteristics exemplified in the two corpus compositions are: 1) irregularity in both compositional length and text setting; 2) melisrnatic text treatment, especially in a long and slow composition; 3) stepwise (within the pentatonic mode of Ryukyu Senp (5) melodic contour; 4) heterophony, caused by a variable rhythmic lag between voice and sanshin resulting in a variety of dissonances. In performance practice, considerable freedom in tempo and personalized vocal style are characteristic. As in conclusion, the writer considers that at least four points of interest are contributed by this study. First, Okinawan singers are very much concerned with articulation of melodic tones. This highly articulated singing has its own aesthetic.
Secondly, frequent pitch slides characterize the style of Okinawan vocal performance. The continuous movement across one pitch to another is definitely intentional and should not be misunderstood as inaccurateness in pitch.
Thirdly, flexibility in pitch of melodic tones is observed in addition to the continuous pitch slide. The considerable pitch varionce of the tone f (as transcribed) is especially significant. The variance ranges from lower than f-natural to higher than f-sharp, and it centers around f-neutral. Fourthly, the musical tradition of Okinawa has produced a variety of vocal techniques prescribed in relation to the body movement of sanshin playing. In this study the vocal part is notated with a limited number of ornament types. It may be due to the writers limited perception, but to a certain extent, the writer suspects that the prescribed vocal techniques are process oriented so the effect of each is not necessarily always different from all the others in sound product.

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