nntsuzu/KFTT huggingface dataset:
English: The Tsukushi goto was classic and elegant, put emphasis on manner and spiritualness rather than on entertainment, and used the 'ritsuonkai' scale which was close to that used in gagaku.
Japanese: ただし筑紫箏の音楽は、高尚で雅びであるが娯楽性は少なく、礼や精神性を重んじ、また調弦も雅楽に近い「律音階」に由っていた。
English: Kengyo (the highest title of the official ranks within the Todo-za) YATSUHASHI was a blind musician who belonged to the Todo-za school and studied from Hosui who himself had been a student of Kenjun.
Japanese: 賢順の弟子の法水に師事したのが当道座に属した盲目の音楽家、八橋検校であった。
English: He was a famous shamisen and kokyu (a Chinese fiddle) musician, but the new 'miyakobushi scale' (characteristic Japanese hemitonic pentatonic scale: mi, fa, la, ti, do) was already popularly used for shamisen music.
Japanese: 彼は三味線や胡弓の名手でもあったが、三味線の音楽などではすでに民間の新しい音階である「都節音階」が使われ、普及していた。
English: YATSUHASHI applied this scale to the koto and moved away from tuning based on the conventional ritsuonkai scale towards new tuning methods based on the miyakobushi scale, namely the hirajoshi (literally tranquil tuning) and kumoijoshi (tuning based on hirajoshi tuning) methods.
Japanese: 八橋はこれを箏に応用し、これまでの律音階による調弦から、都節音階による新たな調弦法である平調子（ひらぢょうし）、雲井調子（くもいぢょうし）に改めた。
English: Thereafter, the hirajoshi method has remained as the standard tuning method for the koto.
Japanese: 以後現在に至るまで、この平調子は箏のもっとも基本の調弦法とされている。
English: More temporal and up-to-date than Tsukushi goto music, the pieces were highly artistic and became popular at that time.
Japanese: これらは筑紫箏よりもより世俗的、当世風でかつ芸術性も高く、当時の世に広く受け入れられることになった。
English: Kengyo YATSUHASHI produced two types of work, i.e. 'So-kumiuta' (songs accompanied by koto) and 'Danmono' (solo instrumental music for koto), both featuring well-organized musical structures.
Japanese: 八橋検校の箏作品には「箏組歌」（箏伴奏付き歌曲）と「段物」（器楽曲）の二種があり、いずれも整然とした楽式構造を持つのが特徴である。
English: Well-known kumiuta composed by YATSUHASHI include titles such as 'Fuki' and 'Kumoi no kyoku,' while well-known Danmono by him include 'Rokudan no shirabe' (music of six steps) (however, there is some controversy over who actually composed 'Rokudan no shirabe').
Japanese: 組歌としては「菜蕗」（ふき）、「雲井の曲」など、段物としては「六段の調」などが知られている（「六段の調」の作曲者について異説もある）。
English: In the era of YATSUHASHI, however, sokyoku and shamisen music were seen as being different types of music and, generally speaking, were not played together.
Japanese: なお八橋検校の時代には、箏曲、三味線音楽はそれぞれ別の音楽として成立しており、基本的に合奏されることはなかった。
English: The direct flow of the Yatsuhashi school style from teacher to pupil continued over time, and continues as a trickle to this day.
Japanese: 八橋検校の直接の伝承はその後も長く受け継がれ、現在でも細々と伝えられている。
English: In the Genroku era, after Kengyo YATSUHASHI and Kengyo KITAJIMA, sokyoku was reformed and organized by Kengyo IKUTA in Kyoto.
Japanese: 八橋検校ののち、北島検校を経て、元禄の頃に京都の生田検校によって箏曲は改変、整理されたとされる。
English: Another theory says that actually IKUTA just made public the sokyoku which the master KITAJIMA had already reformed secretly.
Japanese: これは実際には師の北島がすでに密かに行なっていたのを生田が受け継ぎ、公にしたとも言われる。
English: The shape of the koto pick was then changed substantially to accommodate shamisen techniques.
Japanese: そして三味線の技巧に対応させるため、箏の爪の形状が大きく変えられることとなる。
English: It should be noted, however, that there was a similar movement in the Tsuguyama school, led by Kengyo TSUGUYAMA in Osaka, and the changes were not necessarily made by Kengyo IKUTA alone.
Japanese: ただしこの時代、生田のみならず、大阪の継山検校の継山流などでも同様の流れがあり、実際には必ずしも生田検校一人が行なったことではないと言われる。
English: Shin-yatsuhashi school (New Yatsuhashi school) and Fujiike school also were established in Kamigata (Kyoto and Osaka area), but the styles taught in these schools were very similar and gradually integrated into what should be called the 'Ikuta School Style.'
Japanese: この他にも上方では新八橋流、藤池流なども生まれたが、それら各流間の差異は大同小異であり、次第に「生田流系」とでも呼ぶべき一つの流れに収束して行った。
English: Also this Ikuta school again divided itself into several groups, spreading out and from its base in Kyoto and Osaka and eventually reaching Nagoya, Chugoku and Kyushu.
Japanese: この生田流系はまた多くの派に分かれつつ、幕末までに京、大阪を中心にして、名古屋から中国、九州まで広く行なわれるようになった。
English: Although koto music had been popular from an early stage in Kamigata, there were not many koto musicians in Edo (present-day Tokyo) until the middle period for its less popularity.
Japanese: 上方で箏曲が早くから隆盛していたのに比べ、中期まで江戸ではあまり人気がなかったのか、演奏する人が少なかった。
English: Then, Kengyo (the highest title of the official ranks within the Todo-za) YASUMURA who was the sokengyo (president of the Todo-za) (he became kengyo in 1732) attempted to increase his influence in Edo by sending his pupil Kengyo HASETOMI to Edo to spread Ikuta school style sokyoku.
Japanese: そこで総検校の安村検校（1732年検校登官）は、江戸への勢力拡大を図り、弟子の長谷富検校を江戸へ下らせ、生田流系箏曲を広めさせたと言われる。
English: He created new music influenced by joruri (ballad drama) which was popular in Edo, and started the Yamada school of sokyoku.
Japanese: 彼は江戸っ子好みの浄瑠璃を取り入れた新作を作り、山田流箏曲を創始した。
English: It is said that YAMADA had a very beautiful voice and would show off his technique and songs by singing in public baths.
Japanese: 山田は大変な美声の持ち主で、銭湯で歌ってはその技と曲を知らしめたと言う。
English: The koto made as a result of such enhancement is known as the Yamada koto, and enjoys great popularity today among the groups of the Ikuta school.
Japanese: これを山田箏と呼び、現在では生田流諸派においても広く山田箏が愛用されている。
English: The Yamada school style fitted the tastes of people in Edo, and thereafter spread through eastern Japan from Edo, eventually becoming a movement akin to the Ikuta school.
Japanese: こうして山田流箏曲は江戸人の嗜好に合い、以後江戸を中心に東日本に普及して、生田流と肩を並べる大流派となった。
English: While the original style of sokyoku went into gradual decline towards the end of the Edo period, sokyoku of the Ikuta school style prospered as a result of its contributing the koto parts for an enormous number of jiuta songs.
Japanese: その後、生田流系の箏曲は箏曲独自の作曲が次第に下火になり、幕末に至るまで、厖大な数の地歌曲にパートとして合奏、参加することで発展していく。
English: Many jiuta songs were now made with a koto part and for an ensemble, and jiuta thus became a genre of sokyoku.
Japanese: つまり多くの地歌曲は、箏のパートが作られ合奏されるようになって、箏曲のジャンルともなったことになる。
English: Also, kokyu came to be added to the ensemble, and then performing concerts using these three instruments became common.
Japanese: また、さらに胡弓が合奏に加わるようになり、これら三種の楽器による合奏がよく行なわれるようになった。
English: Later the shakuhachi was added to the ensemble and in modern times the vast majority of trio ensembles are composed of a shamisen, a koto, and a shakuhachi.
Japanese: 後に尺八が加わり、現代では三弦、箏、尺八による三曲合奏が圧倒的に多くなった。
English: The mid Edo period and onward saw the completion, by Koto MINEZAKI and Koto MITSUHASHI, of a jiuta musical style called 'tegotomono' in which importance was placed on the instrumental part between songs.
Japanese: 江戸時代中期以降、大阪の峰崎勾当、三ツ橋勾当らにより器楽部分である手事を重要視した地歌の楽曲形式「手事物」が完成される。
English: Using this style, Kengyo MATSUUA, Koto ISHIKAWA and Kengyo KIKUOKA composed a large number of Kyoto jiuta for which Kengyo YAEZAKI and others wrote the koto parts.
Japanese: それに引き続き京都の松浦検校、石川勾当、菊岡検校らが京都地歌の曲を多数作曲し、それらの曲に八重崎検校らが箏のパートを作曲した。
English: The music created in Kyoto is called 'Kyo mono' or 'Kyoryu tegoto mono,' and was passed down to Kengyo MITSUZAKI, Kengyo YOSHIZAWA and Kengyo IKUYAMA.
Japanese: これら京都で作られた曲群を「京もの」「京流手事もの」と呼び、更に光崎検校、吉沢検校、幾山検校らに引き継がれて行く。
English: Sokyoku was further developed by Kengyo MITSUZAKI and Kengyo YOSHIZAWA at the end of the Edo period.
Japanese: さらに江戸時代後期には、光崎検校、吉沢検校らによって箏曲は一段と発展する。
English: Jiuta had represented the cutting edge, but were now seen to have reached a level which could not be surpassed, and this led musicians look for new ways to develop koto and kokyu music.
Japanese: これまでリードを続けてきた地歌は、すでにこれ以上進みようがないほど音楽的に頂点に達し、音楽家たちは新たな展開を箏や胡弓に求めることとなった。
English: After looking over the old sokyoku, Kengyo MITSUZAKI composed 'Akikaze no kyoku' (Song of the Autumn Wind) which combined kumiuta, danmono, and 'Godanginuda,' a kind of koto duet music that makes use of high and low-pitched sounds to produce a sophisticated and delicate melody.
Japanese: 光崎検校は古い箏曲を見直し、組歌と段物を組み合わせた「秋風の曲」や、複雑精緻な高低二重奏曲である「五段砧」を作曲した。
English: Getting the idea from Banshikicho of gagaku, Kengyo YOSHIZAWA invented a tuning method called 'kokinchoshi' (ancient tuning method).
Japanese: また吉沢検校は、雅楽の盤渉調からヒントを得て古今調子と呼ばれる調弦法を考案した。
English: Based on this method, he composed 'Chidori no kyoku' (song of the plover), 'Haru no kyoku' (song of the spring), 'Natsu no kyoku' (song of the summer), 'Aki no kyoku' (song of the Autumn), and 'Fuyu no kyoku' (song of the Winter).
Japanese: この調弦法による「千鳥の曲」、「春の曲」、「夏の曲」、「秋の曲」、「冬の曲」を作曲した。
English: From this point onwards, sokyoku developed independently from shamisen music.
Japanese: このころから、箏曲は三弦音楽から独立して新たに独自の発展を遂げていくことになる。
English: Note that the innovative tuning method developed by Kengyo YOSHIZAWA and compositions based on it aimed at going back to the beginnings of koto music, and the lyrics to the music were often used from the waka of Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry), and so this music is sometimes seen as being reactionary.
Japanese: なお、吉沢検校による革新的な古今調子の考案や、それに基づく作曲は、箏本来の曲を目指したこと、曲の歌詞などに古今和歌集の和歌を多用したことなどから、復古主義と呼ばれることもある。
English: In the Meiji period, sokyoku became increasingly independent from jiuta, and many pieces of so-called 'New Meiji music' were composed solely for the koto, one of these being 'Shin Takasago' (literally, "new version of Takasago") by Hanano TERASHIMA.
Japanese: 明治時代に入り、箏曲の地歌からの独立は進み、寺島花野の「新高砂」など、「明治新曲」と呼ばれる、箏のみの曲が多く作られていく。
English: However, this music largely adhered to the traditions of tegotomono in jiuta, and the music for shamisen and koto continued to be composed in this period.
Japanese: ただし楽曲形式的にはほとんど地歌の手事物の踏襲であり、またこの時代でも、三味線と箏のための曲も引き続き作られてはいる。
English: In the Taisho and Showa periods Michio MIYAGI released many new pieces which had their roots in traditional music but also drew from Western music.
Japanese: さらに、大正・昭和の時代になって宮城道雄が伝統に根ざし、西洋音楽などの影響も受けた新たな曲を多数発表した。
English: MIYAGI also developed a seventeen-stringed koto which has low tone like a cello and an eighty-stringed koto (a normal koto has 13 strings).
Japanese: また宮城は、チェロ並みの低音域を持つ十七絃（通常の箏は十三弦）や八十弦箏を開発した。
English: The seventeen-stringed koto is still used today in ensembles for Japanese music to provide low notes and has had solos composed specifically for it.
Japanese: このうち十七弦箏は、邦楽合奏における低音楽器として現在でも広く使われ、独奏曲も生まれている。
English: The movement of making new music was grew strong from the end of Taisho period to around 1935-1944, and a huge amount of new music with new styles, arrangements and composition methods was created by MIYAGI and others such as Genchi HISAMOTO, Soyo NAKAMURA, Kasei MACHIDA, Kinichi NAKANOSHIMA and Takayama TAKAMORI.
Japanese: ことに大正末から昭和10年代にかけ、新しい作曲運動が大きな盛り上がりを見せ、宮城の他にも久本玄智、中村双葉、町田嘉声、中能島欣一、高森高山らにより、新しい形式、編成、作曲法による新曲がおびただしく作られた。
English: After the war, not only composers of traditional Japanese music but also composers of classical music who were unfamiliar with traditional Japanese music started to collaborate in the creation of music.
Japanese: 戦後になると、邦楽系の作曲家に加え、これまで邦楽には疎かったクラシック系の作曲家も創作に参入するようになってきた。
English: Gradually the distinction between what was viewed as classical and what was viewed as modern music blurred, and 'modern Japanese music' came to mean all music composed in this way (rather than just new sokyoku).
Japanese: 現代音楽音楽の観点からは次第にクラシック音楽との違いが希薄になり、箏曲に限らずこうして創作される邦楽系の曲群を「現代邦楽」と呼んでいる。
English: The composition of new music influenced by a wide range of music including western and popular music continues to this day, and such music is known as 'modern music' in the worlds of sankyoku and sokyoku.
Japanese: 現代でも西洋音楽やポピュラー音楽など、幅広い分野の影響を受けて、新しい曲が作曲されており、それらは三曲、箏曲の世界において「現代曲」と呼ばれている。
English: Recently more music pieces which are comparatively similar to pop music or have strong Asian feel are being composed.
Japanese: 最近の傾向としては比較的ポピュラーに近いもの、またアジア的要素の強い曲が増えている。
English: A lot of sokyoku music pieces have lyrics since the most formal style of sokyoku as early-modern traditional Japanese music is 'kumiuta,' which is composition style of songs with vocals only, and sokyoku have been developed along with jiuta.
Japanese: 近世邦楽としての箏曲は本来「組歌」という歌のみの楽曲形式による曲を最も正式なジャンルとし、またその後も地歌とともに発展したため、歌のついている曲が多い。
English: The only purely instrumental music from the Edo period is 'Danmono' and 'Kinumono.'
Japanese: 純粋な器楽曲は江戸時代を通じ、「段もの」と「砧もの」の数曲のみである。
English: However, the late Edo period saw great developments in 'Tegotomono,' a style of jiuta in which instrumental parts of music were regarded important, and this led to innovations of the instruments.
Japanese: しかし江戸時代後期には器楽部分を重要視する地歌の形式である「手事もの」が非常に発展したので、それに合わせて器楽的展開が見られた。
English: Since the Yamada school sokyoku, meanwhile, took in elements of joruri such as icchubushi, the music from this school all includes songs with the exceptions of 'Danmono' and 'Yodanginuda koto music.'
Japanese: 一方、山田流箏曲は一中節など浄瑠璃の音楽要素を取り入れて作曲されているため、「段もの」及び「四段砧」を除きほとんど全ての曲が歌付きである。
English: When the koto came to be played together with the shamisen, however, the shape of the pick was changed substantially to enable the musician to play the shamisen as well.
Japanese: ただ三味線と合奏することになってから、三味線の奏法に対応するため、爪の形に大幅な変革が行われた。
English: At the initial stage of merging with jiuta, there were many pieces with melodies that were almost the same as those for the shamisen part in jiuta.
Japanese: 地歌合流期の初期段階では、地歌の三弦の旋律とほぼ同様の旋律を演奏する曲が多かった。
English: There were also compositions with parts (called "kakeai") which are interchangeable between the koto and shamisen.
Japanese: また、器楽部分では掛け合いと呼ばれる類似の旋律を三弦と交互に演奏するような作曲もみられる。
English: Later, more compositions called "kaede" appeared with sophisticated melodies provided to make the melody of the shamisen stand out within the jiuta.
Japanese: その後、一般的に替手（かえで）と呼ばれる、地歌の三弦の旋律を引き立て、装飾するような複雑な旋律の作曲が多くなってゆく。
English: Then, as more music pieces composed independent of jiuta appeared, music came to be written that has melodies making full use of the unique technique of koto playing method.
Japanese: さらに、地歌から独立した作曲が多くなってゆくと、箏独特の奏法を駆使した旋律による曲が作曲されるようになっていった。
English: Nagauta is a type of musical genre that first appeared in the Edo period, and it's formal name is therefore Edo Nagauta.
Japanese: 長唄（ながうた）は、江戸の音曲の一つであり、正式名称は江戸長唄（えどながうた）という。
English: In addition, there is a separate type of music called Kaminagauta, which is a type of Jiuta.
Japanese: またこれとは別に、地歌の一分類として上方長歌（かみがたながうた）がある。
English: Edo Nagauta differ from genre in which spoken word is a core element, such as Gidayubushi and the like, in that the compositions are centered on singing.
Japanese: 江戸長唄は義太夫節など語りを中心とした「語り物」とは異なり、唄を中心とした「うたもの」である。
English: Performances are basically comprised of multiple persons singing accompanied by the shamisen (a type of string instrument); however, depending on the composition, there are pieces that include accompaniment by various sizes of drums, flutes, and the like.
Japanese: 演奏は基本的に複数人の唄と三味線で成り立っているが、曲目によっては小鼓、大鼓、太鼓、笛などで構成される「長唄囃子」が付くこともある。
English: Furthermore, in addition to the usual shamisen accompaniment, there are also compositions that have an additional shamisen part, called the 'Uwajoshi.
Japanese: また、通常の三味線パートのほかに「上調子」と呼ばれる三味線パートを持つ曲も存在する。
English: Representative composures of lyrics and music include Sansho KANAI, Kichiji FUJITA the 1st, Kichiji FUJITA the 2nd, Jisuke SAKURADA the 1st, Shojiro KINEYA the 1st, Shojiro KINEYA the 3rd, Rokuzaemon KINEYA the 9th, Rokuzaemon KINEYA the 10th, Kangoro KINEYA the 3rd, Rokusaburo KINEYA the 4th, Katsusaburo KINEYA the 2nd, Jokan KINEYA the 2nd, Kosaburo YOSHIZUMI the 4th, and so on.
Japanese: 代表的な作詞者・作曲者には、金井三笑、冨士田吉次初代、冨士田吉次2代目、櫻田治助初代、杵屋正次郎初代、杵屋正次郎3代目、杵屋六左衛門9代目、杵屋六左衛門10代目、杵屋勘五郎3代目、杵屋六三郎4代、杵屋勝三郎2代目、稀音家浄観2代目、吉住小三郎(4代目)などが挙げられる。
English: Kojuro notation was a form that evolved based on the methodology developed by Kojuro YOSHIZUMI, a disciple of Kosaburo YOSHIZUMI the 4th, in the Taisho era.
Japanese: 大正年間に四代目吉住小三郎の弟子、吉住小十郎によって開発された記譜法により編纂される。
English: The scale corresponds to the first through seventh intervals of the Western scale, and is primarily notated in two-four time.
Japanese: 1～7の数字を西洋音階のド～シに当てはめ、基本的に四分の二拍子で表記される。
English: Octaves jumps in are indicated in the notation with a point mark to the right of a number for an octave higher, and to the left of the number for an octave lower (the lowest number octave is 7).
Japanese: オクターブは数字の右（1オクターブ上）と左（1オクターブ下）に付く「・」で表す（最低音は・7）。
English: Compared to Hauta, Kouta and the like, the Nagauta genre developed as a lengthened form of the shamisen accompanied song performed in the areas of Kyoto and Osaka in the early Edo period.
Japanese: 端唄や小唄などに対して、江戸時代初期に上方で行われた長編の三味線歌曲。
English: It originated in the Genroku era, being first composed by Edo Kengyo (blind musicians), and was primarily developed as a type of household music or party music.
Japanese: もともと元禄の頃に江戸の検校、検校らによって作られ始め、主に家庭音楽・宴席音楽として発達した。
English: Wagakki is a term used to refer to traditional musical instruments that have been used in Japan from ancient times.
Japanese: 和楽器（わがっき）とは、日本で、古来から使われてきた伝統的な楽器のことである。
English: With the exception of instruments such as the Wagon (a six-stringed flat zither that was invented in the Yayoi period) and the Kokyu (a three- or four-stringed bowed instrument whose origins are unknown), most Wagakki are originally from the Asian continent.
Japanese: 弥生時代から続く和琴(わごん)や起源不明の胡弓など一部を除き、大陸に由来するものがほとんどである。
English: While many Wagakki, such as the "Gagaku Biwa" (a Japanese lute traditionally used for ceremonial court music), have retained their original forms (and these forms can no longer be found in mainland Asian), other instruments, such as the Shamisen (a three-stringed musical instrument), the Shakuhachi (a five-holed traverse bamboo flute), the Nohkan (a traverse flute used in Noh), and the Ko-tsuzumi and O-tsuzumi (small and large drums, respectively, that are used in Noh), have developed in a unique fashion in Japan.
Japanese: 「雅楽の琵琶」(楽琵琶)のように、大陸では失われてしまった古い姿を残している楽器も多いが、「三味線」「尺八」「能囃子」「能囃子・能囃子」のように独特な進化を遂げたものもある。
English: Musical instruments for Ainu music, such as the Mukkuri and Tonkori, and musical instruments for Okinawan music, such as the Sanshin, are also described in this section.
Japanese: アイヌ音楽の楽器であるムックリやトンコリ、沖縄音楽の楽器三線もこの項の解説に含む。
English: Particularly, for the Jiuta-shamisens one player carries several bridges and selects the most appropriate one depending on the weather, the condition of the instrument, the nature of the music to be played, etc.
Japanese: 中でも地歌三味線では、一人の奏者が何個もの駒を持ち、その日の天候、楽器のコンディション、曲の雰囲気などに合わせて使い分ける。
English: Furthermore, it can also be said that while Western musical instruments have developed and diversified through the pursuit of better manipulation features, larger tessitura and higher levels of specialization, Wagakki have developed and diversified through the pursuit of more beautiful tones.
Japanese: また洋楽器が操作機能や音域拡大、分担化の追求により分化、発展したのに比べ、和楽器は音色の追求により分化、発展したといえる。
English: As a typical example, in the case of the Shamisen, slightly different instrument bodies, plectrums, bridges (components of stringed musical instruments) and strings (for musical instruments) are provided for each category of Shamisen music.
Japanese: 三味線音楽の種目ごとに楽器各部や撥、駒(弦楽器)、弦(楽器)(糸)に微妙な違いがあるのがその好例である。
English: The bow for the Kokyu (musical instrument) has also been improved by chasing more beautiful tones, while bows for violins have been improved in terms of functionality.
Japanese: 胡弓の弓(楽器)も、ヴァイオリンの弓が機能的に改良されたのとは違って、音色の追求により改良され現在の形になった。
English: Silk strings are still used in most stringed Wagakki (although, for the So, polyester strings are becoming common for economic reasons), and this is because beautiful tones, which can be generated only by silk strings, are highly appreciated.
Japanese: 弦楽器は現在でも絹糸の弦にこだわるが（箏は経済的な事情でポリエステルが多くなった）、これも絹糸でしか出せない音色を尊重するからである。
English: Additionally, the techniques for generating various tones have advanced a great deal in most Wagakki, and in particular, while Western music has recently started to introduce noise elements, Wagakki are characterized in that the beauty of noises has been recognized since ancient times, and noise elements have been introduced in various ways.
Japanese: また、多くの楽器で音色技法が発達していおり、特に西洋音楽では現代になってやっと雑音的(噪音)要素を取り入れるようになったのに比べ、和楽器では早くから雑音の美が認められ、雑音的な要素までもが様々に取り入れられていることは大きな特徴である。
English: Musical instruments for Western music (Western musical instruments) had a tendency to eliminate sounds other than harmonic tones from the sounds used for harmonic music.
Japanese: 西洋音楽の楽器（洋楽器）では、和声音楽に用いる音から倍音以外を排除しようという方向性を持っていた。
English: This difference is conspicuous, and in the case of Wagakki the percentage of instruments that generate sounds, including a large number of noises (or sounds other than harmonic tones), is high, even by comparison to the music of neighboring countries such as China and Korea.
Japanese: この違いは顕著で、また近隣の中国や朝鮮の音楽と比べても、和楽器には噪音（倍音以外の音）を多く含む音を出す楽器の比率が高い。
English: A Sawari mechanism, or a mechanism for adding noises, for the Shamisen and various Biwas (except the Gaku-biwa) is a typical example.
Japanese: 三味線や楽琵琶を除く各種琵琶の雑音付加機構「さわり」はその代表例である。
English: Such changes and innovations occurred in the process of adaptation in Japan after their introduction from the Asian continent.
Japanese: 大陸から日本に伝来し、日本に定着する過程で、そのような変化、工夫が加わっていったものである。
English: Because Western music, particularly since the emergence of orchestral music, has been played in large spaces such as concert halls, the musical instruments were required to provide higher sound levels.
Japanese: 古典派音楽以降の西洋音楽ではコンサートホールのような広い空間で演奏するために大音量を要求された。
English: Consequently, some musical instruments (violins and flutes, for example) have been improved to provide higher sound levels at the cost of other features such as delicacy of tone, ease of playing, a pleasant touch, etc., and the other instruments (viols, lutes, recorders, etc.) that weren't suitable for this adaptation have disappeared.
Japanese: そのために、音色の繊細さや演奏の容易さ、楽器自体の手触りなどの要素を犠牲にしても大きな音が出るような改良がなされ（ヴァイオリン、フルートなど）、それに向かなかった楽器（ヴィオール属、リュート、リコーダーなど）が淘汰された。
English: In the case of Wagakki, the sophistication of tones rather than higher sound levels has been pursued so that delicate changes in tones could be enjoyed in a quiet room.
Japanese: 和楽器ではむしろ室内で耳をこらしてデリケートな音色の変化を賞玩するために、音量よりも音色の洗練、追求に力が注がれた。
English: However, it is to be noted that some attempts to increase sound levels were also made (such as in the improvement of the So made by the blind koto master YAMADA).
Japanese: ただし音量の増大を目的とした改良も行なわれている（山田検校の箏改良など）。
English: On the other hand, the Wagakki used in the field of music played outdoors at festivals (festival music, Shinto music, etc.) can provide sufficiently high sound levels.
Japanese: 一方、祭礼（祭囃子、神楽など）のために屋外で演奏される分野の楽器は、音量が大きい。
English: Additionally, the Shamisen used to accompany Joruri or Nagauta have also developed to increase their sound volume levels so that their sounds could be heard clearly even in large concert halls, because they have also been used for traditional performing arts such as Kabuki, Bunraku and Nihon-buyo (traditional Japanese dance).
Japanese: また、浄瑠璃や長唄の三味線は歌舞伎・文楽・日本舞踊といった伝統芸能と共に用いられてきたため、広い劇場でもよく聞こえるよう、音量を増す方向に進化した。
English: Many Wagakki are made of natural materials such as wood, bamboo, leather, etc., and are simpler in structure than musical instruments such as pianos or Boehm flutes, which have a complicated structure required for Western music of the early modern and modern eras.
Japanese: 木・竹・皮など天然素材を生かしたものが多く、近代・現代西洋音楽の複雑な機構を備えたピアノやベーム式フルートなどの楽器と比較すると、構造は簡潔である。
English: As Western music advanced from the stage at which it was based on musical modes to the stage at which it was based more on tonality, the theory of equal temperament, which was suitable for modulation, was introduced and superceded pure temperament.
Japanese: 西洋音楽は、その発達の段階で旋法から調性音楽に基づくようになり、純正律に代えて転調に有利な平均律を導入してきた。
English: Traditional Japanese music seldom required such complicated mechanisms for these purposes, and even if there was such a need the player could satisfy it sufficiently by making full use of his playing techniques, such as through a change of tuning or a change in which the instrument was held.
Japanese: 日本の音楽ではこれらのことを実現するための複雑な機構を求めるケースは少なく、あっても調弦変えや持ち替えなど、演奏者の奏法上の工夫で十分対応できた。
English: Particularly, for early modern Japanese music delicate changes in tones, musical intervals and pauses, which could be expressed only through direct manipulation by the players, were positively utilized and pursued.
Japanese: 近世邦楽では特に、演奏家の直接的な操作でしか表現できない微妙な音色、音程、余韻の変化などを積極的に利用、追求して来た。
English: Such a way of thinking, which places emphasis on delicate matters, is still highly respected in modern Japan, and most Wagakki have still basically maintained their original appearance of the Edo period.
Japanese: このような微妙なものに重きを置く考えは非常に根強いもので、現代でもほとんどの和楽器が基本的に江戸時代の姿を変えていない。