nntsuzu/KFTT huggingface dataset:
English: In Japanese poetry, on the other hand, 'setsugetsuka' is sometimes used to describe scenery or an object which contains all three natural elements, snow, the moon, and flowers, at the same time.
Japanese: しかし「雪月花」は日本の詩和歌においては、これら三種を一度に取り合わせたものを指すものとしてしばしば用いられる。
English: Waka poems were composed under a playful setting where the object, consisting of the elements of snow and flowers, is presented under the moonlight.
Japanese: すなわち月の明るい折に、雪と花をあわせたものを提示するという遊戯的な設定を和歌の題材としたものである。
English: This combination was mentioned in a paragraph of "Makura no Soshi (The Pillow Book)" as an anecdote about Emperor Murakami; the combination was preferred by the aristocrats in Japan as an unusual combination, or as a word that is reminiscent of the phrase "I remember you especially."
Japanese: この取り合わせは『枕草子』の一節に村上天皇の挿話として見え、日本の宮廷文化においては、しばしば珍しい取り合わせとして、また「最君憶」（最も君を憶う）との連想において好まれた。
English: Together with the preceding line, 'Setsugetsuka no toki mottomo kimi o omou' is inluded in the Chapter of Friendship in "Wakan Roeishu" (Japanese and Chinese poems to sing); and the anecdote about Emperor Murakami mentioned above also was based on the association between 'setsugetsuka no toki' and 'mottomo kimi o omou.'
Japanese: 「雪月花時最憶君」は『和漢朗詠集』交友の部に前句とともに採られており、先に触れた村上天皇の挿話もこの連想を下敷きにしたものである。
English: Later on, "setsugetsuka" was recognized primarily as the combination of snow, the moon, and cherry blossoms; "setsugetsuka" referred to these three objects themselves, or further included the elegant stances themselves when enjoing these objects.
Japanese: 時代が下ると、雪月花は主に雪・月・桜の取り合わせとして理解され、この三種の景物、さらにはそうした景物をめでる風流な態度そのものを示す語句として理解されるようになった。
English: Today "setsugetsuka" is used in poems, popular songs, or Japanese cuisine restaurant names to add the feeling of traditional senses of Japanese beauty.
Japanese: 現代では伝統的な日本の美の感覚を連想させる語として、詩や流行歌、あるいは和風レストランの屋号などに用いられている。
English: Takarazuka Revue, that became renowned as one of the major entertaining groups since the establishment in 1914, has three groups: Flower, Moon, and Snow, which also derived from setsugetsuka.
Japanese: また1914年の創設以来、今日ではエンターテイメントの一角を担うまでに有名になった宝塚歌劇団の組の花・月・雪という組分けもここから来ている。
English: Print Club (generally called Pricla, or Pri) Kacho-fugetsu Series 'Setsugetsuka,' 'Setsugetsuka 2' and 'Setsugetsuka 3' are released from Bandai Namco Games, mostly limited-time offer; the series is very poplular vying with Hanafubuki Series (Hanafubuki, Hanafubuki 2, and Hanafubuki New) for the top sales.
Japanese: ・また、バンダイナムコゲームスから、プリント倶楽部（通称・プリクラ、プリ）花鳥風月シリーズ「雪月花」、「雪月花2」、「雪月花3」が発売されており、どれも期間限定ものが多く、花吹雪シリーズ（花吹雪、花吹雪2、花吹雪NEW）と、1、2を争う人気となっている。
English: Toro originates from a basket containing a light, as literally meant by the kanji (灯篭), more specifically, a lantern consisting of wooden frames and paper, etc. covering the frames to prevent the light from being blown out by the wind etc. which is assumed to have been used by Buddhist priests.
Japanese: 元は文字通り、灯（あかり）籠（かご）であり、あかりの火が風などで消えないように木枠と紙などで囲いをしたもので僧侶が用いたとされる。
English: Later, such a lantern came to be divided into three types: 'toro' (a lantern for outdoor use), 'andon' (a lantern for indoor use), and 'chochin' (a folding and portable lantern).
Japanese: その後室内で用いるものは行灯（あんどん）、折りたたみ式で携帯も可能なものは提灯と分化した。
English: Toro refers in many cases to such fixed lanterns for outdoor use as often seen in Buddhist temples and Shinto shrines.
Japanese: 灯籠と言った場合、神社寺や旧街道などに多く存在する屋外の固定式を指すことが多い。
English: However, there also exists toro which are used indoors as on a Buddhist altar, such as oki-doro (one variety of nonbasic-type ishi-doro, which has no sao and therefore whose chudai is directly mounted on a natural stone serving as a base, note: the term "nonbasic" means that any of the basic parts of ishi-doro, that is, hoju, kasa, hibukuro, chudai, sao and kiso, is missing) and tsuri-doro (hanging toro), as well as being a portable toro for use in a festival (such as one used in Nebuta Festival, which is held in Aomori Prefecture, and Yamaga-doro used in Kumamoto Prefecture).
Japanese: また仏具としての室内用の灯籠（置灯籠・釣灯籠）や祭礼用などで移動可能なものもある（青森県のねぷた祭り、熊本県の山鹿灯籠など）。
English: There also exists decorative toro that are not practical, such as ishi-doro (stone-made toro) in a Japanese-style garden.
Japanese: 日本庭園における石灯籠のように実用ではなく装飾目的になっているものもある。
English: Initially, many toro were called 'kento' (referring to a votive lantern at a temple or shrine) and were placed at a Buddhist temple (Shinto shrine or Buddhist temple); however, the development of the culture associated with a Japanese-style garden resulted in toro coming to be placed in a garden, in order to be appreciated.
Japanese: 初期はその多くが｢献灯｣と呼ばれ、仏閣（社寺）に設置されていたが庭園文化の発達と共に園内に鑑賞目的で設置されるようになった。
English: In some cases, polygonal-shaped kasa have a line extending from the bottom of hoju toward a corner of the kasa with warabite (a bracken sprout-shaped decoration) placed at the tip of the corner.
Japanese: 多角形の場合は宝珠の下部分から角部分に向かって線が伸び、突端にわらび手という装飾が施されることもある。
English: Hibukuro of toro for decoration purposes is not lit; however, for toro for practical use are lit by the using fire, electricity, etc.
Japanese: 装飾目的の場合は火をともすことは無いが、実用性が求められる場合には火や電気等により明りがともされる。
English: This is used mainly for lighting the surface of the water; therefore, it has large kasa and is often placed at the waterside.
Japanese: 主に水面を照らすために用いられるので笠の部分が大きく水際に設置することが多い。
English: This type was contrived by Shigenari/Shigeteru FURUTA, an expert in tea ceremony during the Edo period, and is used to light tsukubai (a stone washbasin).
Japanese: 江戸時代の茶人・古田重然が考案した灯籠で、つくばいの鉢明りとして使用する。
English: From the Heian to the Kamakura Period, wars took place where shooting bows while mounted on a horse was the common method of fighting and a superior mounted samurai wore large armor.
Japanese: 馬上で弓を射る騎射戦が主流であった平安-鎌倉時代、それに対応すべく騎乗の上級武士が着用した。
English: Concerning the exact time and the process of change from continent's style of armor to Japan's peculiar style of large armor, historical items left behind are scarce and not clear.
Japanese: 大陸風の挂甲から日本独特の大鎧形式への変化の過程やその正確な時期については、遺品が乏しく明らかでない。
English: This type of armor were mainly spread among the superior warriors on horses from the Heian to Kamakura Period.
Japanese: 馬上で弓矢を撃ち合う合戦形式が中心であった平安-鎌倉時代に主に騎乗の上級武将が着用する鎧として普及した。
English: Around the period of the Northern and Southern Courts (Japan), when the wars became intensified with group and the close attacks of walking troops, armor around the torso and belly bands became commonly used, and the large armor disappeared from the actual combat.
Japanese: 南北朝時代(日本)頃に集団戦・接近徒歩戦が盛んになると胴丸・腹巻が多く用いられるようになり大鎧は実戦から姿を消す。
English: In the Edo Period when there was no more war, large armor was symbolically used as a retro armor in the daimyo (feudal lord) family, etc.
Japanese: 戦乱のなくなった江戸時代には復古調の鎧として大名家などで象徴的に用いられた。
English: Therefore, large armor was important in defending from arrow strikes, and the components, such as the large sleeve (Osode), the chest plates (Kyubi-no-ita), and the sandalwood plates (Sendan-no-ita) were attachments.
Japanese: そのため大鎧は矢の攻撃に対する防御を重視した構造となっており大袖（おおそで）・鳩尾板（きゅうびのいた）・栴檀板（せんだんのいた）等の部品が付属している。
English: The armor main body was composed of many pieces of kozane (small plates made of iron and leather), while the trunk was composed of a big flat plate.
Japanese: 鎧本体は小札（こざね、後述）により形成され、胴部の構造は平面的で広げると一枚の板になる。
English: As seen from a wearer, the front, the left side, and the back are connected as one piece and the missing right side is covered with another piece called the arm shield (waidate).
Japanese: （着用者から見て）正面～左側面～背面までの3面が一続きとなり、空いた右面は脇楯（わいだて）と呼ばれる別部品により覆われる。
English: Moreover, a wooden plate (sakaita) is hung on the back and a shoji plate is mounted vertically on the shoulder part of armor.
Japanese: また背面には逆板（さかいた）をつるし、肩に掛ける肩上（わたがみ）の上には障子の板（しょうじのいた）を垂直に立てる。
English: The main part of the large armor is composed of strips (made of iron or leather) called kozane.
Japanese: 大鎧の主体部は小札と呼ばれる鉄製または皮革製の短冊状の小さな板で構成されている。
English: Two rows or three rows of small holes of are made along the kozane and Japanese lacquer is painted on the surface.
Japanese: 小札には縦に2列または3列の小穴が開けられ、表面には漆が塗られている。
English: While these pile up horizontally little by little and connect together, the connected strips are then tied up and joined sideways to form a piece of the armor.
Japanese: これを横方向へ少しずつ重ねながら連結した板状のものを、縦方向へ幾段にも繋ぎ合わせる（威す・おどす）ことにより鎧が形成されている。
English: In order to reduce the weight, while small leather scales are used as the main body, vital parts are protected by properly mixing in small iron scales.
Japanese: なお、重量軽減のため、革小札を主体として、要所に適宜鉄小札を混じえる例が多い。
English: The above-mentioned small scales are connected vertically with string and leather in a process called 'odosu (interlacing),' while the resulting piece is called 'odoshi.'
Japanese: 上述の小札を、色糸やなめし革の紐を用いて縦方向に連結することを「威す」といい（「緒通す」がその語源とされている）、連結したものを縅と言う。
English: According to the color, pattern design, material quality, the string is called "Konito-odoshi (lace with navy blue string)," "Nioi-odoshi (lace with odor)," and "Kozakura Kawa Kigaeshi Odoshi Yoroi (yellow lace with Kozakura leather)."
Japanese: 威の色・模様・材質等により紺絲威（こんいとおどし）、匂威（においおどし）、小桜韋黄返威（こざくらがわきがえしおどし）等と呼ばれる。
English: To prevent the bowstring getting caught to the armor in front of the trunk, a piece of bow leather is put there.
Japanese: 胴前面には弓の弦が鎧に引っかかるのを防ぐ為に弦走韋（つるばしりのかわ）が張られる。
English: The left sleeve is called "Imuke-no-Sode" (sleeve of shooting direction) while the right sleeve is called "Mete-no-sode" (sleeve of horse controlling hand), the left sleeve, which is facing the enemy, is made stronger.
Japanese: 左の袖を射向の袖（いむけのそで）、右の袖を馬手の袖（めてのそで）と呼び、敵対する左の袖の方をより堅牢に作ってある。
English: The sandalwood plate on the right is composed of small scales to ease bending and stretching when pulling a bow, while the he chest plate on the left is often made with one more iron plate because it is close to a vital spot.
Japanese: 右の栴檀板は、弓を引く際に屈伸可能なように小札で構成され、急所に近い鳩尾板は1枚の鉄板とする例が多い。
English: Anyway, attached to the iron-plated hem of the helmet is 'Shikoro' (neck guard).
Japanese: いずれも鉄板を張り合わせた兜鉢の裾に、小札で構成した「しころ」（漢字は「革」扁に「毎」）を付ける。
English: The helmet attached to large armor has 2 big flips of fukikaeshi to protect both sides of the face from arrows.
Japanese: 大鎧に付属する兜は、顔面の両側を防御する吹返（ふきかえし）が大きく張り出しており、矢に対する防御が図られている。
English: Since it may be cumbersome on horseback, the bottom part of the kusazuri in the front and in the back are divided into right and left.
Japanese: 騎乗の際に邪魔になるので前部の前の草摺（まえのくさずり）と後部の引敷の草摺（ひっしきのくさずり）の最下部は左右2つに分かれている。
English: The left one is called 'Yunde no Kusazuri' (lower body armor for the shooting arm), 'Tachikake no Kusazuri' (lower body armor for sword-hanging) or 'Imuke no Kusazuri' (lower body armor for shooting), while the right one is called 'Waidate no Kusazuri' (lower body armor for shoulder shield).
Japanese: 左部のものを弓手の草摺（ゆんでのくさずり、「太刀懸の草摺」・「射向の草摺」とも）、右部のものを脇楯の草摺（わいだてのくさずり）と呼ぶ。
English: With incorporation of the natural scenery such as trees, mountains, or bamboo forests outside the garden as the background for the scenery inside the garden, it is a technique to form a dynamic spectacle which integrates the garden as the foreground and the borrowed landscape as background.
Japanese: 庭園外の山や樹木、竹林などの自然物等を庭園内の風景に背景として取り込むことで、前景の庭園と背景となる借景とを一体化させてダイナミックな景観を形成する手法。
English: However in recent years, there are changes because of urban development and construction of skyscrapers in the mountains, which are borrowed landscapes, this has caused disputes in respect of destruction of the borrowed landscapes.
Japanese: 近年の都市開発に際して借景とする山そのものの開発やビルなどの高層建築の建設による景観の変化などについて、借景の破壊という面で紛争が生じることがある。
English: Japanese drums are used in festivals, kabuki Noh plays, and ceremonies in temples or shrines; a leather skin is mounted on a hollowed out wooden trunk and is made to vibrate to emit sound.
Japanese: 祭、歌舞伎、能、寺社における儀式等に用いられ、木でできた胴に皮を張り、それを振動させて音を出すものである。
English: A drum beaten with a drumstick is called "taiko" (Japanese drum) and a drum beaten by the hands is called "tsuzumi" (a hand drum).
Japanese: 撥（バチ）で叩くものを太鼓と呼び、手で叩くものは鼓（つづみ）と呼ばれる。
English: As for its structural characteristics, a skin is mounted on either sides or one side of a cylindrical trunk or a wooden bucket assembled by boards.
Japanese: 構造上の特徴をあげると、円筒状の胴、もしくは桶のように板を組んで作られた胴の両面もしくは片面に皮が張られている。
English: This general phenomenon, however, has proved in history by (the Japanese drum in performing arts and in music) centralizing the Japanese drum as the main constituent.
Japanese: 歴史上、このことは太鼓を主体化するという革新的事実（芸能、音楽としての太鼓）に貢献している。
English: It is said that the Japanese drum had already been used as a means of the information transmission during the Jomon Period, and the history of the drum in Japan is very old and can even be traced back to a scene in the Japanese myth "ama-no-iwato" (the door of the rock room in heaven) in which a tub was placed bottom upward to make a sound.
Japanese: 和太鼓は、縄文時代には既に、情報伝達の手段として利用されていたといわれており、日本における太鼓の歴史は非常に古く、日本神話の天岩戸の場面でも桶を伏せて音を鳴らしたと伝えられている。
English: From the remains of Togariishi in Chino City in Nagano Prefecture, earthenware mounted with skin, presumed to be used as a drum, has been excavated.
Japanese: 長野県茅野市にある尖石遺跡では、皮を張って太鼓として使用されていたのではないかと推定される土器も出土している。
English: During the Sengoku Period (Period of Warring States), daimyos (warring lords) used drums called jin-daiko (a battle drum) to lead their armies to battle.
Japanese: 戦国時代になると、戦国大名達が、自軍の統率をとるために太鼓を利用した、陣太鼓が興る。
English: Because the beats of the Japanese drum synchronize with the pulses of the heart, which is the beginning of human life, there is even a theory that the Japanese drum has the nature to encourage one's will, according to this theory, the use of drums in war provides an effective practical use.
Japanese: 人間の生命の根元である心臓の鼓動に太鼓の鼓動がシンクロすることによって、自らを鼓舞する性質があるという説もあり、戦における太鼓の使用はこの説に従えば有効な活用法であったと言える。
English: Today, Japanese drums are performed as the leading role of Bon Festival Dance and other festivals or as a means to conveying god's intention, and are put in Shinto shrines and Buddhist temples as tools to bring fortunes or avoid curses.
Japanese: 今日では、盆踊りや祭の主役として演奏されたり、神と意思を伝達する手段、呪具として神社や寺院に置かれている。
English: In the wide-sense, the drum is something with a mounted skin struck in some ways to emit sound, thus, it includes all the drums ranging from the uchiwa-daiko (a round fan drum) recognized by the aborigines in Asia, the Native people in Asia, the drum struck in the Nichiren sect, to the hand drums used for the Noh music.
Japanese: 何らかの仕方で張った皮を打って音を出すという広義の理解ではアジアの先住民に認められる団扇太鼓（日蓮宗の打つ太鼓）から能楽に使用する鼓類までを含んでしまう。
English: However in general, when called a Japanese drum, it is understood in the narrow sense to be a bowl-shaped or cylindrical, truck mounted with a skin.
Japanese: しかし通常和太鼓と呼ばれる場合は、筒あるいは椀型のものに皮を張った狭義の理解をする。
English: One stroke of the Japanese drum sounds whenever the scene is ended, so it is an important element that leads the entire music.
Japanese: 楽節の終わりごとに太鼓の一撃が入り、楽曲全体を統率する重要な要素である。
English: Moreover, as to appearance, it includes lacquer paint, and the main body as well, are colorfully decorated; extremely beautiful.
Japanese: また見た目も支柱の漆塗りをはじめ本体にも色とりどりの装飾が施されており、大変美しい。
English: In Buddhism, the Japanese drum is not so often seen to be used except for the round fan drum in the Hokke and Nichiren Sects; as far as percussion instruments are concerned, the mokugyo (a fish-shaped small wooden gong) and the bell are exclusively used (the Hokke and Nichiren sects, however, use mokusho (a round small wooden gong) instead of mokugyo), nevertheless for a large-scale event, the Japanese drum is used with the metallic gongs and metallic drums.
Japanese: 仏教では、法華宗・日蓮宗の団扇太鼓以外では太鼓を使うことはあまり見られず打楽器としてはもっぱら木魚（法華宗・日蓮宗では木柾）と鈴が使われるが、大規模な行事には銅鑼や鉦鼓などと一緒に太鼓が用いられる。
English: Besides this, as a farm village belief with the vague boundary between Buddhism and Shintoism, the Japanese drum is also often used in ritual field music (dengaku) and in mouth spiritualism (communication with the spirit) via a Shrine maiden.
Japanese: このほか仏教と神道の境界が曖昧である農村信仰として、田楽やイタコの口寄せ（交霊）にも太鼓が使われることが多い。
English: During the Edo Period, when kabuki was popular, it was used in theatre music and incorporated as a sound effect.
Japanese: 江戸時代、歌舞伎が隆盛すると、下座音楽に使われ、効果音として取り入れられた。
English: The use of the Japanese drum in the theatre music is highly systematized in accordance with the way of striking to express different scenes.
Japanese: 下座音楽における太鼓の使用方法は、打ち方によって表現する情景が高度に体系化されている。
English: Here are some examples: when the Japanese drum is struck successively with narrow drumsticks, it represents the sound of raindrops; when it is struck softly and weakly emitting low sound with drumsticks wrapped with a cloth, it represents the sound of the snow; when between those intervals it is struck horizontally with drumsticks picking up the tremble on the drum surface giving out cracking clamors, it represents the sound of thunder or avalanche.
Japanese: 例えば細めの撥で細かく叩くと雨の音、布を巻いた撥で弱く柔らかい音を低く響かせると雪の音、それらの合間に別の撥を水平に宛て、鼓面の震えを拾ってビリビリという音をたてると雷や雪崩の音を表現するといった具合である。
English: Moreover, it is used in scenes when a ghost appears or to abstractly express an original impossible sound.
Japanese: また幽霊の出現など、本来ありえない音響を抽象的に表現する場合にも用いられる。
English: Although the Japanese drum did not develop into music with itself being the main constituent until the start of Showa Period, drum player Daihachi OGUCHI made use of the fact that the sound differs in accordance with the length of the trunk, the diameter of the skin surface and the combination of both, to tailor the Japanese drum in order to perform a piece of music.
Japanese: 昭和になるまで和太鼓はそれを主体とする音楽に発展することはなかったが、太鼓奏者の小口大八は、胴の長さや直径等の違いで音が違ってくることを利用し、これを組み合わせることによって太鼓をひとつの音楽に仕立て上げた。
English: This so-called multiple drum and multiple beat technique (performing style), is the origin of the united Japanese drums in which a number of people are playing in concert with a variety of Japanese drums.
Japanese: これが、複式複打法（演奏形態）とよばれる、大人数によって様々な種類の太鼓が合奏のように演奏されるようになる組太鼓のはじまりである。
English: With the accomplishment of multiple drums and multiple beat techniques, the Japanese drum, which had been until this was devised mostly playing a supporting role in other performing arts, established its position in music with itself being the main constituent.
Japanese: これが編み出されるまで、他の芸能の脇役を務めることが多かった和太鼓は、複式複打法の確立により、和太鼓を主体とした音楽の地位を確立する。
English: The former type includes the imperial drum and the tub drum, and is characterized by loud volume and low pitched sound.
Japanese: 前者は宮太鼓、桶胴太鼓などで、音量が大きく低音がよく響くのが特徴である。
English: Because the main material, zelkova wood, has been insufficient from domestic production in recent years, shioji wood (Fraxinus platypoda) mainly, or sometimes quince (leguminous), and oak from overseas are used, with using these hard woods, a swollen hollow cylindrical trunk is made by hollowing out a timber or by assembling the boards together.
Japanese: ケヤキが主であったが国産は近年不足しているためシオジ・ハリギリが主流、また海外からはカリン(マメ科)・ナラなどの堅い木材をくり抜いたふくらみのある円筒形の胴、もしくは板を寄せて円筒を作り桶のようにしたものを用いる。
English: A piece of cow hide (the female hide is liken to silk while the male hide or Holstein is likened to cotton) is mounted with tacks, strings, turnbuckles, and metal fittings onto the rim of the trunk.
Japanese: 牛の皮（メスは絹、オスまたはホルスタインは木綿に例える）を鋲や紐、ターンバックルや金具等で張りとめてつくられる。
English: Basically, the hide of a female cow which has given birth several times is considered to be the best, however, for a big drum, a bull's skin might be used.
Japanese: 皮には基本的に数回の出産を経た雌牛が最良とされるが、大きなものでは、雄牛の皮が利用されることもある。
English: (It is to the right side of the Japanese drum surface that can be seen in the background of the photograph in the upper part of the page.)
Japanese: （ページ上部の写真の奥の鼓面が見えている太鼓の右側がこれにあたる。)
English: This is a drum on which the skin is mounted onto the trunk with strings, bolts, nuts (parts) and turnbuckles.
Japanese: 紐やボルト(部品)ナット、ターンバックルで皮と胴を接着させ、張っているもの。
English: It is often used for kabuki, traditional folk songs, samisen (three-stringed Japanese banjo) and so on for keeping rhythm.
Japanese: 歌舞伎、民謡、三味線等に用いられたり、リズムを取るために利用されることが多い。
English: Fragile materials such as lauan, pine, white birch (a silver birch) and materials that split readily, give resin easily, or ruin the skin, are unsuitable for making drumsticks.
Japanese: ラワン、マツ、シラカンバ等、もろいもの、ささくれるもの、ヤニがでて皮を痛めるものは、撥には適さない。
English: The performance style of the Japanese drum is often classified according to the type of drum and the number of drummers.
Japanese: 太鼓の演奏形態は、太鼓の種類による分類と打ち手の人数による分類を合わせたものが最もよく用いられる。
English: The former is classified into 'multiple drums' (performed with various drums) and 'single drum' (performed with only one types of drums), while the latter is classified into 'multiple drummers' (performed by at least two drummers) and 'single drummer' (performed by only one drummer).
Japanese: 前者を「複式」（多種多様の太鼓によって演奏されるもの）と「単式」（一種の太鼓によるもの）と分類し、後者を「複打」（二人以上で演奏されるもの）と「単打」（一人で演奏されるもの）に分類する。
English: multiple drums, multiple drummers technique - various types of drums are struck by many drummers, commonly called "Kumidaiko" (united Japanese drums).
Japanese: 複式複打法・・・多種の太鼓を多人数で演奏（俗に「組太鼓」とも呼ばれる）
English: Nowadays, the multiple drums, multiple drummers technique (united Japanese drums) designed and established by the Osuwa Japanese Drum originator Daihachi OGUCHI is the main stream performance.
Japanese: 現在は、御諏訪太鼓宗家・小口大八によって考案・確立された複式複打法（組太鼓）が演奏の主流となっている。
English: Katugiyama-gata (the style of carrying on a pedestal): Murotsu taiko-mikoshi (Murotsu Japanese Drum Portable Shrine, Hyogo Prefecture), Tokuyama taiko-mikoshi (Tokuyama Japanese Drum Portable Shrine, Yamaguchi Prefecture), Aso ondaue-matsuri (Aso Crop Planting Festival, Kumamoto Prefecture)
Japanese: 舁山形　室津太鼓御輿（兵庫県）、徳山太鼓御輿（山口県）、阿蘇御田植祭（熊本県）
English: Katugiyama-gata (the style of carrying on a pedestal): Tsugai-danjiri (Hyogo Prefecture), Tenjin-sai Festival Moyoshi-daiko (Osaka Prefecture), Furukawa-matsuri Festival (Gifu Prefecture)
Japanese: 舁山形　つがいだんじり（兵庫県）、天神祭催太鼓（大阪府）、古川祭（岐阜県）
English: Hikiyama-gata (the style of shouldering and carrying a Japanese drum): Tsugaru Joppari-daiko (Aomori Prefecture), Omihachiman odaiko (Shiga Prefecture), Nakanojo Torioi-daiko (Gunma Prefecture)
Japanese: 曳山形　津軽情っ張太鼓（青森県）、近江八幡大太鼓（滋賀県）、中之条鳥追太鼓（群馬県）
English: In general, a drummer wears hantako (trunks) with a bellyband (a band of bleached cloth) and a hanten (a short coat originally for craftsmen worn over a kimono) or a happi coat (a workman's livery coat), however, in a creative Japanese drum performance, the costumes may be a white kimono, with a hakama (a long pleated skirt worn over a kimono) of color such as red, or dark blue, depending on the groups, and there are also groups of men (sometimes boys in extremely rare cases) dressed in loincloths, depending on the play.
Japanese: 半タコ（トランクス）、腹巻き（さらし1反）に半天（半纏、袢纏、法被）というのが一般的だが、創作和太鼓においては、集団によっては、白い着物に赤、紫、紺、等の袴、又、一部の集団に於いては男性（ごく稀に少年）は曲目によってはふんどし一丁、という所もある。
English: For women or girls, there are cases when they put on heavy make-up such as eye shadow or thick lipstick.
Japanese: 女性、少女の場合はアイシャドーや口紅を濃く入れる、等、厚化粧する場合が多い。
English: Since many creative Japanese drum groups are derived from the Japanese drum of some festival, it's natural that they wear common costumes and make-up resembling those in the festival.
Japanese: 創作和太鼓集団の多くは祭りの太鼓からの派生なので、ほとんどの場合、祭りと共通する服装・化粧となる。
English: Among them, there are also some minority groups who perform in loincloths that make them quite popular.
Japanese: 中でも、ふんどし一丁で上演する集団は比較的少数派であることもあって、かなり人気が高い。
English: Events where taking pictures is allowed are highly popular, especially the groups wearing loincloths are highly popular among amateur photographers.
Japanese: 特に、撮影可能な行事は人気が高く、とりわけ、ふんどし一丁の集団の人気はアマチュアカメラマンの間では高い人気となっている。
English: There are enormous numbers of Japanese boys drum groups, but among them, a group performs in only a loincloth, and in their last play, they take off the hantako leaving only the loincloth and bring about a large applause.
Japanese: 中でも、ある少年和太鼓集団は、少年の和太鼓集団自体は非常に多い中で珍しく、ふんどし一丁で行い、最後の曲で半天、半タコを脱いで、ふんどし一丁になると多大な拍手喝采が起こるらしい。
English: As for the music for a Japanese drum performance, while some are based upon ancient music, there is also newly composed music in recent years.
Japanese: 和太鼓の楽曲は、古くからの楽曲を元に復元したものや、近現代に新たに作曲されたものがある。
English: Akira NISHIMURA: "Seishin-kagura," for an ensemble of Japanese percussion instruments played by eight musicians (1992)
Japanese: 西村朗：『星辰神楽』8人の日本打楽器アンサンブルのための（1992年）
English: Percussion Group 72, the percussion group usually playing western drums, played the score for the first time because they are on friendly terms with the composer.
Japanese: 普段は西洋打楽器を演奏する作曲者と縁の深い「パーカッショングループ72」が初演した。