nntsuzu/KFTT huggingface dataset:
English: This is often seen in developing countries, and chewing gum, candy, and flavored peanuts are some examples of what is sold.
Japanese: -チューインガムや飴、味付けしたピーナッツなど様々であるが、発展途上国でよく見る事が出来る。
English: Among shopping areas those with arcades were perfect locations for rotensho, but in recent years these have tended to have been removed due to their image such as having a dark atmosphere and being old-fashioned, as well as with their high maintenance costs, and these conditions are among the causes of the decline in rotensho.
Japanese: 駅前や商店街などであり、商店街においてはアーケードを持つ商店街は露天商にとってうってつけの場所であったが、近年では薄暗い雰囲気や古臭いと言ったイメージ、メンテナンス費用の負担などから撤去される傾向がありこの様な事情も露天商の衰退の要因であろう。
English: In front of stations, those with vested rights since the time of disorder after the war continued to do business, but they are disappearing as they are removed during renovation when the buildings are rebuilt.
Japanese: 駅前に関しては戦後の混乱期などから既得権を持つものが恒常的に営業してきたが、再開発に伴う刷新などの契機に排斥され無くなりつつある。
English: In inner-cities, there were various areas in Japan where yatai-gai existed for hundreds of years, but because of vested rights, road-use, and road-occupancy issues, as well as issues regarding the Food Sanitation Act, electricity supply, the supply and drainage of water and street pollution, they were in fact eliminated in areas where expositions and world championships were held, using them as an impetus to have them removed.
Japanese: 都心では屋台街が古くから存在している地域が日本各地に見られたが、既得権と道路使用や道路占有の問題や食品衛生法や電力、給排水の供給や路上を汚すといった問題などから、万博や世界選手権大会などが開催される地域で、それを契機に排除してきた事実がある。
English: However, in some areas such as Hakata, they are beginning to be kept alive by public and private support, with the will of local residents and the belief of government that 'yatai are part of the culture of Japan,' and they bring various benefits regarding tourism and regional promotion.
Japanese: しかし博多のように「屋台は日本の文化である」といった地域住民や行政の意思により、官民一体となって存続される地域も出始めていて、観光誘致や地域振興として様々な恩恵を齎している。
English: Rotensho represented by tekiya were deeply connected to temples and shrines supported by local residents over a long period of time, but in recent years Japanese people have become less connected to temples and shrines, and do not actively participate in festivals as a danka (supporter of a Buddhist temple) or ujiko (shrine parishioner).
Japanese: 的屋に代表される露天商は寺社との繋がりが深く、古くから地域住民に支えられてきたが、近年では日本人自体が寺社との繋がりが薄く檀家や氏子として、祭りなどに積極的に参加しなくなっている。
English: Because of this and the diversification of values, hobbies, and the way people spend their weekends, few want to take the job due to the decline of festival culture, as well as the reduced profits of the tekiya.
Japanese: この様な事や価値観や趣味や休日の過ごし方の多様化などから、祭り文化の衰退と共に的屋自体の収入の低下などから成り手が無いと言った現状がある。
English: The poor of society have existed across the world and in any period in history, and the rotensho requires little initial investment and is low in risk and essential to society.
Japanese: 生活困窮者は世界中でいつの時代にも存在し、初期投資が少なくリスクが低く日銭の入る露天商は、社会において必要欠くべからざるものである。
English: In New York, rotensho such as hot dog sellers continue to trade, serving their social role, but in Japan, because of the reasons above and the change in attitudes with the end of the high-growth period, they cannot be easily recreated.
Japanese: ニューヨークでもホットドッグ売りなどの露天商はいまだに健在であり、その社会的役割を果たしているが、日本においては上記の理由や、高度成長を遂げた後の意識の変化などから、手軽に始められないのが現状である。
English: Although rotensho could be one solution for aging societies, societies where the gap between rich and poor is widening, and those with employment issues, there is no trend yet towards rethinking this as a society.
Japanese: 高齢化社会や格差社会、雇用問題などを含め露天商が一つの解決策であるにも拘らず、社会的にこれを見直すといった風潮はまだ無いと言えるだろう。
English: Fuji Musume is one of the subjects of Otsu-e, pictures by a painter called Matahei and a famous product of Otsu Domain of the Province of Omi.
Japanese: 藤娘は、近江国大津の名物で又平という絵師が作ったと言う戯れ絵、大津絵の画題の一つ。
English: Originally, it was a gohengebuyo (five-transformation variety of dance) in which a girl coming out of a picture dances, but since the time of Kikugoro ONOUE the sixth the stage effects were altered to that of a wisteria spirit dancing as a girl, and this style became common and is now a popular Kabuki Buyo (Kabuki Dance).
Japanese: もともとは絵から出て来た娘が踊ると言う趣向の五変化舞踊のひとつだったが、六代目尾上菊五郎が藤の精が娘姿で踊るという内容に変えて舞台演出を一新して以来、そのスタイルが一般的になり、現在では人気の歌舞伎舞踊の一つである。
English: It contained as one of the pieces from the last act, 'Kaesu Gaesu Nagori no Otsue,' in the Gidayu Kyogen (Kabuki adaptations of puppet plays), 'Keisei Hangonko.'
Japanese: 義太夫狂言「傾城反魂香（けいせいはんごんこう）」の大切「哥へす哥へす余波大津絵（かえすがえすなごりのおおつえ）」の一曲。
English: It was a gohengebuyo in which the spirits of pictures come out one after the other from an Otsu-e painting drawn by the painter Domomata (meaning Matahei, the stammerer), and the villain is chastened.
Japanese: 絵師吃又（どもまた。吃の又平の意味。）が描いた大津絵から絵の精たちが次々と抜け出て悪者を懲らしめるという五変化舞踊。
English: It was established by Kikugoro ONOUE the sixth in 1937 who separated Fuji Musume the gohengebuyo, and inserted 'fujiondo' (marching songs of the wisteria, by Onitaro OKA) between parts of the nagauta, transforming the stage effects.
Japanese: 1937年（昭和12年）に六代目尾上菊五郎が、五変化舞踊のひとつだった藤娘を独立させ、長唄の間に「藤音頭」（岡鬼太郎作）を挿入し、舞台演出を一新して上演したもの。
English: In the plot, a wisteria spirit with a wisteria branch in her hand dances in front of the large pine tree covered with wisteria, lamenting how men's feelings can be difficult to win over.
Japanese: 筋は、藤の絡んだ松の大木の前に藤の枝を手にした藤の精が、意のままにならない男心を切々と嘆きつつ踊る。
English: As she dances intoxicated and is getting carried away, the bell from a faraway temple rings telling it is nightfall, and the girl disappears into the night.
Japanese: やがて酒に酔い興にのって踊るうちに遠寺の鐘が鳴り夕暮れを告げると、娘も夕暮れとともに姿を消す、というもの。
English: Biwa (biwa, biba, pipa) is one of the stringed instruments of the lute family in East Asia.
Japanese: 琵琶（びわ、ビバ、ピーパー）は、東アジアの有棹（リュート属）弦楽器の一つ。
English: The latter is not used any more because its tradition has not been carried on, but the former developed later and had increased the number of its variety in China and Japan and many are still played even today.
Japanese: 後者は伝承が廃絶し使われなくなったが、前者は後に中国及び日本においていくつもの種類が生じて発展し、多くは現代も演奏されている。
English: It was introduced to the Korean Peninsula and divided into the Kyo biwa (five-stringed biwa) and the To biwa (four-stringed biwa) and became basic instruments of court musicians and had been used until the end of the Joseon Dynasty.
Japanese: 朝鮮半島にも伝えられ、郷琵琶（五絃琵琶）と唐琵琶（四絃）で分けられて宮廷楽士の基本楽器になって李氏朝鮮の末期まで用いられた。
English: (It was played in the 1930s, too.) The four-stringed biwa with more than a dozen frets that was introduced to the Ming Dynasty had been handed down in Vietnam and it is written biwa but pronounced as 'tipa.'
Japanese: （1930年代にも演奏）ベトナムにはおそらく明代に伝播した四弦十数柱のものが伝承され、琵琶と書いて「ティパ」と発音する。
English: In a broad sense, stringed instruments of the lute family such as genkan (ruanxian) (four or five-stringed Chinese lute) and gekkin (moon harp) are sometimes included in the biwa group.
Japanese: なお、広義には阮咸（げんかん）や月琴などのリュート属弦楽器も琵琶に含めることもある。
English: The four-stringed type of biwa (Kyokukei) has a common origin with the oud (lute-like instrument of Arabic Origin) in West Asia and the lute in Europe and a similar shape to those.
Japanese: 四弦系（曲頚）琵琶は、西アジアのウード、ヨーロッパのリュートと共通の起源を持ち、形もよく似ている。
English: It has a sound box shaped like an egg cut in half lengthwise and a neck with a pegbox (the part which the tuning pegs are inserted into) bent roughly 90 degrees backwards.
Japanese: すなわち卵を縦に半分に割ったような形の共鳴胴に棹を付け、糸倉（ヘッド）がほぼ直角に後ろに曲がった形である。
English: The five-stringed type of biwa with a straight neck (Chokukei) is said to have its origin in India and its pegbox is not bent but straight.
Japanese: 五弦系(直頚)琵琶はインド起源とされ、糸倉は曲がらず真っすぐに伸びている。
English: The only existing actual biwa, 'Raden shitan Gogen no Biwa' has been preserved in the Shoso-in Treasure Repository (see figure).
Japanese: 正倉院に唯一の現物である「螺鈿紫檀五絃琵琶」（らでんしたんごげんのびわ、図参照）が保存されている。
English: Instruments similar to biwa are often found in relief carving decorations of artifacts excavated from remains of Sessanian Persia, though the actual ones do not exist any more.
Japanese: 実物は現存しないが、サーサーン朝ペルシア遺跡から出土する工芸品の浮彫り装飾などに、琵琶様の楽器がしばしば見られる。
English: Their pegboxes were bent backward and many were played with a plectrum and these instruments called barbat (an old Persian instrument) are said to be an ancestor of the four-stringed type of biwa, oud, or lute.
Japanese: 糸倉が後ろに曲がり、多くは撥をもって弾奏されており、この「バルバット」と呼ばれる楽器が四弦系琵琶やウード、リュートの祖先とされる。
English: It was around the Former Han (dynasty of China) when these instruments were introduced to China and at first they were called 'huqin' (any Chinese string instrument played with a bow) which meant a 'Western harp' (stringed instruments) (These instruments are totally different from the ones called huquin from the age of the Sung dynasty to today).
Japanese: これが中国に伝播したのは前漢の頃で、当初は「西方の琴（弦楽器）」を意味する「胡琴」の名称で呼ばれた（宋(王朝)代以降現在までに胡琴と呼称される楽器はまったく別のもの）。
English: Later, 'biwa' transliterated into a word of Chinese origin from barbat in the Uighur language became popular as their name.
Japanese: やがてウイグル語のバルバットが漢語に音訳された「琵琶」が呼称として定着した。
English: It is seemed that several biwas preserved in the Shoso-in Treasure Repository are the oldest four-stringed type of biwas in existence presently.
Japanese: 現存する世界最古の四弦琵琶は、今のところ正倉院に保存されている数面の琵琶であると思われる。
English: Biwas in the Tang period had almost the same shape as those of present Japanese Gakubiwa Instruments, and musical theory was developed, many tuning systems were defined, musical notation was also established, and the instrument was played in various concerts, ensembles, solo, accompaniment for singing and became very popular from court music to folk music.
Japanese: 唐時代の琵琶は現在の日本の楽琵琶とほぼ同じ形をしており、音楽理論が整備される中で、調弦法も多数定められ、様々な合奏にも用いられ、記譜法も確立し、宮廷音楽から民間音楽まで、合奏、独奏、歌唱の伴奏と広く愛好された。
English: It is said that the poem 'Biwako' (a biwa song) by Haku Kyoi (Bai Juyi) was very popular and Yang Guifei often played the biwa, too.
Japanese: 白居易の詩「琵琶行」は有名であり、楊貴妃もよく琵琶を演奏したと言われる。
English: Biwa used in the Qing Dynasty were different from those used until the Tang Dynasty and had a shape slightly similar to Japanese moso-biwa (blind priests' biwa), having the same number of stings but more frets as many as fourteen.
Japanese: 清代に使用された琵琶は唐代までのものとは異なり、日本の盲僧琵琶にやや近い形をしており、弦数は変わらないがフレットはずっと増えて14個を備えていた。
English: They were introduced to Japan around the Bunsei era in the Edo period along with gekkin and huqin and had been popular as Ming and Xing-era Chinese music (as popularized in Japan before the First Sino-Japanese war) until around the first year of the Meiji period.
Japanese: 江戸時代の文政頃、月琴や胡琴等と共に日本に伝来、明治初年頃まで明清楽として流行した。
English: In China, this type of biwa had been used and mainly played as accompaniment for folk songs but, in the 20th century, solo music started to be composed by Tianhua LIU (erhu (two-stringed Chinese instrument played with a bow) and biwa player, composer, 1895 - 1932) and others.
Japanese: 以後も中国ではこの形のものを使用しており、民間歌謡の伴奏を主にしていたが、20世紀に入り、劉天華（二胡、琵琶演奏家、作曲家・1895年〜1932年）らにより独奏曲が作られ始めた。
English: In the 1950s, this type of biwa was remodeled and the present day biwa (pipa) was made.
Japanese: 更に1950年代にこの琵琶（ビバ）を改良して現在の琵琶（ピーパー）が作られた。
English: The guitar-playing style was incorporated and it is played with all fingers of the right hand and produces sounds with nails or artificial nails.
Japanese: ギターの奏法が取り入れられ、弾奏には右手の全部の指を使用し、爪か義爪によって音を出す。
English: They are characterized by plucking strings with a plectrum similar to a partly open fan or a ginkgo biloba.
Japanese: 半開の扇もしくはイチョウの葉の形に似た撥で弦（絃）を弾奏するのが特徴。
English: There are many types of biwa namely Gogenbiwa Instrument, Gakubiwa Instrument, Heike biwa (a biwa with four strings and five frets used to play Heike Monogatari), moso-biwa, To biwa, Satsuma biwa (Satsuma lute), or Chikuzen biwa (Chikuzen lute).
Japanese: 五弦琵琶、楽琵琶、平家琵琶、盲僧琵琶、唐琵琶、薩摩琵琶、筑前琵琶などの種類がある。
English: Each instrument has its unique music and in their music world, it is simply called biwa.
Japanese: それぞれの楽器は特有の音楽を持ち、その世界の中では単に「琵琶」と称される。
English: The Gogenbiwa Instrument came down from China in the Nara period, but the Yongenbiwa instrument (four-stringed) was considered to have its origin in Persia.
Japanese: 五弦琵琶は奈良時代より中国から伝来したが、ペルシア起源の四弦琵琶とは起源を異にし、インドで発生した楽器とされる。
English: Until the early Heian period, this instrument was played by some musicians but extinguished later, though scores from those times are still preserved even today.
Japanese: 平安時代前期頃までは演奏する人もいたようで、当時の楽譜も現存しているが、その後断絶した。
English: The standard type of this biwa is the biggest among Japanese biwas and the shape of the Tang Dynasty biwa introduced in the Nara period has been handed down to the present day with little modification.
Japanese: 標準的なものとしては日本の琵琶の中で最も大きく、奈良時代に伝えられた唐代琵琶の形をほとんどそのまま現代に伝えている。
English: Today, the instrument plays a role playing arpeggio and supports the rhythm in concerts.
Japanese: 現在は合奏の中で分散和音を奏しながらリズム的に支える役目をしている。
English: There also once existed solo music and 'Yoshinso,' 'Takuboku,' or 'Ryusen' were known as masterpieces but they have not handed down to the present.
Japanese: かつては独奏曲もあり、「楊真操」、「啄木」、「流泉」などが名曲として知られたが、現在に伝えられていない。
English: There were many masters or accomplished players such as KIBI no Makibi, Semimaru, or TAIRA no Tsunemasa, and many great instruments have been handed down.
Japanese: 吉備真備、蝉丸、平経正など名人、名手といわれた人も多く、また多くの名器が伝えられている。
English: It has easygoing yet rich tones, and there are big differences from many types of biwa in later ages, namely it is played with other instruments, it has different tuning system for each tune, it has no mechanism for a string instrument, it has no playing system to press strings with the left-hand fingers between frets to control the tension to make different tunes, or it is played using even the pinky finger.
Japanese: おおらかで豊かな音色を持ち、後世の諸琵琶との大きな違いは、他の楽器との合奏に用いられること、調ごとに調弦法が変わること、「弦楽器」の機構がないこと、左手の押弦が、柱（フレット）の間で絃を押さえる張力を変化させて音程を変える奏法がないこと、また小指まで使用すること、などである。
English: The Heike biwa came from the Gakubiwa and the structure of this instrument is almost the same as the Gakubiwa though smaller ones are preferred.
Japanese: 平家琵琶は楽琵琶から派生したもので、楽器は楽琵琶とほぼ同じつくりだが、小型の物が好まれる。
English: The narrative music of Heike Monogatari accompanied by a Heike biwa is called 'Heikyoku' (the music played on the Heike biwa as accompaniment for the recitation of Heike monogatari) (There are also many songs based on Heike Monogatari for the Satsuma biwa and the Chikuzen biwa but they were composed after the early-modern times and are musically quite different from Heikyoku).
Japanese: 平家琵琶を用いた平家物語の語り物音楽を「平曲」と呼ぶ（薩摩琵琶、筑前琵琶にも平家物語を題材とする曲が多数あるが、これらは近世以降に作られたものであり、音楽的には平曲とはまったく違うものである）。
English: According to traditions, it was started by a blind musician called Shobutsu at around the beginning of the Kamakura period and we can see the strong influence of Shomyo (chanting of Buddhist hymns) in its tunes.
Japanese: 伝承によれば、鎌倉時代のはじめ頃に生仏（しょうぶつ）という盲人音楽家がはじめたとされ、曲節には仏教音楽である声明（しょうみょう）の影響がみられる。
English: Later, it was modified and organized by a blind musician, Nyoichi, and his apprentice, Kengyo AKASHI (an another name of Kakuichi AKASHI) (1299 - 1371), in the period of the Northern and Southern Courts (Japan) and they established the Ichikata-ryu.
Japanese: のち、南北朝時代(日本)の盲人音楽家如一とその弟子明石検校明石覚一（1299年-1371年）が改変、整理し、一方（いちかた）流を創始した。
English: These became very popular along with nogaku (the art of Noh) in the Muromachi period and called classics of medieval Japan.
Japanese: 室町時代には能楽と並び広く愛好され、中世日本音楽の代表的存在として並び称される。
English: In the early Edo period, the Maeda-ryu and the Hatano-ryu were established by Kengyo MAEDA and Kengyo HATANO respectively and the former developed around Edo and the latter in Kyoto.
Japanese: 江戸時代初期には前田検校により前田流が、波多野検校により波多野流が生まれ、前者は江戸を中心に、後者は京都を中心に行なわれた。
English: Performances were exclusively given by blind musicians belonging to Todo-za (the traditional guild for the blind) but in the Edo period, some sighted players also gave performances.
Japanese: 演奏は当道座に属する盲人音楽家により占有されていたが、江戸時代には晴眼の奏者もあらわれた。
English: However, they had gradually cooled down as Shamisen music and sokyoku (koto music) such as Jiuta (a genre of traditional songs with samisen accompaniment) and Joruri (dramatic narrative chanted to a samisen accompaniment) developed, and the Hatano-ryu was put to an end while the Maeda-ryu was restored by Kengyo OGINO in Nagoya in the middle of the Edo period, and only this school has been handed down to the present in Nagoya and Sendai.
Japanese: しかし地歌や浄瑠璃などの三味線音楽や箏曲の発展と共に次第に下火となり、波多野流は断絶、前田流は江戸時代中期に名古屋の荻野検校によって中興し、この流派のみがこんにちまで名古屋と仙台に伝えられている。
English: The number of players is very small but we sometimes have an opportunity to enjoy the performances of 'Susuki,' 'Chikubushima mode,' and 'Nasu no Yoichi.'
Japanese: 演奏者は非常に少ないが、稀に「鱸」「竹生島詣」「那須与一」などを聴く機会がある。
English: Gagaku and Heikyoku are music with absolute pitch so the Gakubiwa and the Heike biwa are instruments with perfect pitch, and they are different from the Biwagaku, music with relative pitch, after the early-modern times.
Japanese: 雅楽と平曲は絶対音高の音楽であるため、楽琵琶と平家琵琶は絶対音の楽器であり、相対音高の音楽である近世以降の琵琶楽と異なる。
English: When the original shamisen (a three-stringed Japanese banjo) came down to Japan, it was players of the Heike biwa who first handled it and improved it to make it similar to the present instrument.
Japanese: 三味線の祖型が日本に伝来したとき、これを初めて扱い現在に近い楽器に改良したのが平家琵琶の演奏家たちであった。
English: As shamisen came down with only an instrument without scores, many new songs were composed one after another by the Heike biwa players and various musical elements of the Heikyoku were reflected.
Japanese: また三味線は楽器のみが伝わり楽曲は伴わなかったため、彼らにより新曲が次々に作り出されたが、その際にも平曲の音楽的要素が色々反映されている。
English: The moso-biwa was used for Buddhist rituals and it is said that blind priests used to chant sutras to an accompaniment of it, but there were some pieces of entertainment-type music, too.
Japanese: 盲僧琵琶は仏教儀式に用いられたもので、盲人の僧侶がこの琵琶の伴奏で経文を唱えていたとされるが、娯楽的な音楽もある。
English: The Satsuma biwa was created from the Satsuma moso-biwa from the middle of the Muromachi period to the Edo period and the Chikuzen biwa was created from the Chikuzen moso-biwa under the influence of the Satsuma biwa and shamisen music in the 1880s.
Japanese: 室町時代中期から江戸時代にかけて薩摩盲僧琵琶から薩摩琵琶が派生し、また薩摩琵琶および三味線音楽の影響のもと明治20年代に筑前盲僧琵琶から筑前琵琶が派生した。
English: The moso-biwa has no definite shape and has various shapes and it is slightly different from the Gakubiwa type and many are similar to biwas in modern China.
Japanese: 盲僧琵琶には一定した制がなく、色々なかたちがみられるが、楽琵琶の系統とはやや異なり、近世中国の琵琶に似ているものが多い。
English: These blind priests belonged to their own guild and had a conflict with Todo-za, an organization of blind musicians of Heikyoku, from the Muromachi period to the Edo period.
Japanese: これらの盲僧たちはそれぞれの組織を持ち、室町時代から江戸時代にかけ、平曲の盲人演奏家の組織である当道座と対立した。
English: It is said that the Satsuma biwa was made by Ryoko FUCHIWAKI, a blind priest in Satsuma, who worked actively in the 16th century, when he was called by Tadayoshi SHIMAZU, a feudal lord at that time, and was ordered to compose Biwa uta (Biwa song) with educational poems and modify the instrument to inspire morals of samurai.
Japanese: 薩摩琵琶は16世紀に活躍した薩摩の盲僧、淵脇了公が時の領主、島津忠良に召され、命を受けて、武士の士気向上のため、新たに教育的な歌詞の琵琶歌を作曲し、楽器を改良したのが始まりと言われる。
English: He remodeled old moso-biwas and changed their structures to make them suitable for a valiant and dynamic performance singing about samurai's morals, war chronicles, and battles.
Japanese: これまでの盲僧琵琶を改造し、武士の倫理や戦記・合戦物を歌い上げる勇猛豪壮な演奏に向いた構造にしたものである。
English: He changed the wood for the body of moso-biwa from a soft wood back to a hard mulberry wood and made the instrument able to be played by striking it with a plectrum like the playing style of percussion instruments.
Japanese: 盲僧琵琶では柔らかな材を使うことが多かった胴を硬い桑製に戻し、撥で叩き付ける打楽器的奏法を可能にした。
English: With this, players could hold the instrument horizontally and flick their plectrums sideways.
Japanese: これにより、楽器を立てて抱え、横に払う形で撥を扱うことができるようになった。
English: These biwas gradually became popular in the Edo period as songs derived from fights such as 'Kizakigahara gassen' were composed, and they spread through not only samurai but also townspeople.
Japanese: 江戸時代には「木崎ヶ原合戦」などの合戦を叙した曲が作られて次第に盛んになり、やがて武士だけでなく町民にも広まった。
English: So, there established two schools of biwa: shifu biwa (samurai style biwa) and chonin biwa (townsman's biwa).
Japanese: こうして剛健な「士風琵琶」と優美な「町人琵琶」の2つの流れが成立する。
English: At the end of the Edo period, Jinbee IKEDA brought together the beauty of both schools and established his own school and this has came down to the present time as the Satsuma biwa.
Japanese: 江戸時代末期に池田甚兵衛が両派の美点を一つに合わせ、一流を成し、以降、これが薩摩琵琶として現在まで続いている。
English: They spread across the country combined with the policy of increasing wealth and military power in the Meiji period when people from Satsuma possessed power, and many super players appeared one after another such as Gakujo YOSHIMURA, Seigo TSUJI, Kokichi NISHI, and Kino YOSHIMIZU.
Japanese: 薩摩出身者が力を持っていた明治時代には富国強兵政策とも相まって各地に広まり、吉村岳城、辻靖剛、西幸吉、吉水錦翁などの名手が輩出した。
English: Emperor Meiji also loved this instrument throughout his life and society's valuation of the instrument became even higher when Kokichi NISHI gave a performance in front of the Imperial family at the residence of Tadayoshi SHIMAZU, the former lord of Satsuma Domain, in May, 1881 and "Biwa-bushi" of the head family became a performance only for the Imperial household along with the Chikuzen biwa.
Japanese: また明治天皇が終生愛好し、明治14年5月に、元薩摩藩主・島津忠義邸にて西幸吉が御前演奏をしたことから、社会的な評価がさらにあがり、やがて「筑前琵琶」とともに「宗家の琵琶節」は皇室向けにしか演奏しない「御止め芸」となった。
English: Kinshin NAGATA also appeared and established the Kinshin-ryu that was characterized by a sophisticated, townish, and glamorous playing style and this created a sensation and penetrated the nation.
Japanese: また、永田錦心が出て、洗練された都会的で艶麗な芸風を特徴とする錦心流を打ち立て、これが評判となり全国に普及した。
English: In the Showa period, Kinjo SUITO incorporated the music elements of the Chikuzen biwa and started the Nishiki biwa.
Japanese: さらに昭和に入ると水藤錦穣が筑前琵琶の音楽要素を取り入れた「錦琵琶」を創始した。
English: After that, Kinshi TSURUTA who also came from the Kinshin-ryu, same as Kinjo SUITO, added refinements to the five-string five-fret biwa and made a leap forward into a new musical field.
Japanese: その後、水藤錦穣と同じく錦心流から出た鶴田錦史が五弦五柱をさらに改良すると共に、音楽的にも新しい分野へ飛躍させた。
English: He took in the instrumental elements into biwa that had been used as accompaniment to narration and made fresh approaches such as biwa performances without narration, ensemble with Western musical instruments and other traditional Japanese musical instruments that had never been played with, or refinement of the Biwa uta based on the Kinshin-ryu.
Japanese: それまで語りの伴奏として用いられてきた琵琶に器楽的要素を大きく取り入れ、語りを伴わない琵琶演奏、西洋楽器やこれまで協奏することの無かった他の和楽器との合奏、また錦心流を基礎とした琵琶歌の改良、など斬新なアプローチを行った。
English: The school that followed Kinshi TSURUTA is called the Tsuruta-ryu or Tsuruta-school and is expanding its activities.
Japanese: 鶴田錦史の流れを汲む一派を「鶴田流」あるいは「鶴田派」と呼び、近年発展している。
English: The To biwa was a biwa that became popular among people in the Qing Dynasty and was introduced into Japan around the Bunsei era along with its music, Qing-era Chinese music (popularized in Japan during the early 19th century), and gekkin and other many instruments.
Japanese: 唐琵琶は、清代に民間で流行した琵琶で、その楽曲（清楽）や月琴等多数の楽器と共に文政年間頃日本に伝わったものである。
English: We have to keep in mind that the To biwa was a Japanese name and different from the biwa in the period of the Tang Dynasty.
Japanese: 唐琵琶とは日本での呼び名で、唐代の琵琶とは大きく異なるので注意が必要である。
English: It was a slender type of biwa whose body was made by inserting the 'Omote-Ita,' a table, into the back board materials that were projected to the surface to make the frame.
Japanese: 細身で胴は槽の材が表面にまで出て枠となり、そこに表板をはめ込む形をとっている。
English: It has four strings and fourteen frets and is played with a spatular pick instead of a plectrum.
Japanese: 弦は四本、フレットは14個あり、撥ではなくへら状の義甲を用いて弾奏する。
English: The Qing-era Chinese music was considered the combination of Ming and Xing-era Chinese music combined with the Ming-era Chinese music (popularized in Japan during the early 17th century) that had been introduced before and became popular from the end of the Edo period to the early Meiji period, but it died down around the Japanese-Sino War and it has slightly been carried on only in Nagasaki.
Japanese: 清楽は以前に伝わっていた明楽と合わせて明清楽と呼ばれ、幕末から明治初期にかけて流行したが、日清戦争の頃急速に下火となり、現在ではわずかに長崎に伝えられている。
English: Chijo TACHIBANA, a moso-biwa player in Chikuzen, remodeled the Chikuzen moso-biwa after he studied the Satsuma biwa in Satsuma and created new biwa music in the middle of the Meiji period.
Japanese: 筑前琵琶は明治時代中期に筑前盲僧琵琶奏者の橘智定（たちばなちじょう）が薩摩で薩摩琵琶を研究して帰り、筑前盲僧琵琶を改良、新しい琵琶音楽を作り出した。
English: Biwa players such as Kenjo TSURUSAKI and Takeko YOSHIDA helped promote this biwa music.
Japanese: 琵琶奏者の鶴崎賢定（つるさきけんじょう）や吉田竹子がこの新しい琵琶音楽を広めるのに一役買った。