nntsuzu/KFTT huggingface dataset:
English: This is a valuable record of Gagaku in the old days, in which Muneaki from a Raku family of Sho flute compiled the records of Gagaku, mainly about the Sho flute and Bugaku (gagaku piece with dance).
Japanese: 笙の楽家の統秋が、笙を中心とした雅楽、舞楽についての記録をまとめたもので、古い時代の雅楽についての貴重な記録である。
English: It is based on the ceremonial music introduced from China, the Korean Peninsula and South Asia prior to the tenth century.
Japanese: 10世紀以前に中国、朝鮮半島、南アジアから伝わった儀式用の音楽がもとになっている。
English: Togaku music, however, which is said to have been introduced from China and is presently played as Japanese Gagaku, is believed to be based on the music played in the Tang period at a party called the Engaku.
Japanese: しかしながら、現在日本の雅楽で演奏されている曲目のなかで中国から伝わったとされる唐楽は、唐の燕楽という宴会で演奏されていた音楽がもとになっているとされる。
English: Its relationship to the Vietnamese Gagaku (nhã nhạc), which assimilated Chinese traditional music as Japan did, as well as the national traditional music in South Korea, is equivalent to a brotherly relationship.
Japanese: 日本と同様に中国の伝統音楽をとりいれたベトナムの雅楽（nhãnhạc）や大韓民国に伝わる国楽とは兄弟関係にあたる。
English: As for the categories of numbers, international names including Togaku, Komagaku and Rinyugaku (music of Champa) have been brought over, and the elements of Japanese ancient music before the introduction of the music from the continent were included.
Japanese: 楽曲のカテゴリーとしても、唐楽、高麗楽、林邑楽（チャンパの音楽）等、国際色豊かな名前が伝わっており、大陸の音楽伝来以前からの日本古来の音楽の要素も含まれている。
English: Before the modern age, the Tennoji gakuso Theater in Shitenno-ji Temple (Osaka City) with the oldest style, the Ouchi gakuso Theater in the Imperial Court (Kyoto) and the Nanto gakuso Theater in Kasugataisha Shrine (Nara City) were called Sanpo gakuso theaters.
Japanese: 近代以前においては、最古の様式を伝える四天王寺の天王寺楽所（がくそ）（大阪市）、宮中の大内楽所（京都）、春日大社の南都楽所（奈良市）が三方楽所とされた。
English: These gakuso theater companies were called to Tokyo during the modern age and became the basis for the current Gakubu section of the Imperial Household Agency, but the tradition of each gakuso theater company has continued in each place.
Japanese: これらの楽所は近代になると東京に呼ばれ、現在の宮内庁の楽部の基礎となるが、それぞれの楽所の伝統はそれぞれの地で続いている。
English: Moreover, it has mutually affected Minyo and Shomyo, and the Japanese original style has been created.
Japanese: その他にも民謡や声明とも相互に影響がみられ、日本独自の様式が作られてきた。
English: Sahomai dance and Togaku music, from China, Tenjiku (India), Rinyu (South Vietnam)
Japanese: 左方舞・唐楽　………中国、天竺（インド）、林邑（南ベトナム）系のもの
English: Performance exclusively with instruments is called Kangen music, which is mainly performed indoors, and performance with dance is called Bugaku, which is mainly performed outdoors.
Japanese: 楽器のみの演奏を管絃と言い、主として屋内で演奏され、舞を伴う演奏を舞楽と言い、主として屋外で演奏される。
English: A piece of music has Jo, Ha and Kyu, and respectively they are equivalent to the first, second and third movements in Western music.
Japanese: 曲には序（じょ）・破（は）・急（きゅう）があり、西洋音楽で言う第一楽章、第二楽章、第三楽章を言う。
English: Ha has a slow rhythm, but the tempo is fixed and there are eight beats to a bar.
Japanese: 破はゆったりした流れだが、拍子が決められていて一小節を八拍として演奏する。
English: However, some numbers don't necessarily have a fast tempo in Kyu, so this means it is the third tempo of a piece of music.
Japanese: ただし、演目によっては必ずしも急が速いテンポとはならないので、あくまでも一組の曲の3番目ぐらいの意味である。
English: Although there used to be several kinds as tones of music, today there remain six kinds in Togaku music and three kinds in Komagaku music.
Japanese: 曲の調子には何種類か有ったが、現在は、唐楽に6種類、高麗楽に3種類が残る。
English: Em Rissen Hyojo tone (Fall) and Koma-ichikotsucho tone
Japanese: Em律旋平調（ひょうじょう）（秋）、高麗壱越調（こまいちこつちょう）
English: (The note of the Ti in Sojo, Ichikotsucho and Taishikicho tone is a semi-tone lower than the equivalent major scale of the Western system (being equivalent to the Mixolydian mode)).
Japanese: （双調、壱越調、太食調は対応する洋音階の長音階と比べてシに相当する音が半音低い（ミクソリディア旋法と同様））
English: (The note of La in the Oshikicho, Hyojo and Banshikicho tone is half a tone higher than the equivalent natural-minor scale of the Western musical scale (equivalent to the Dorian mode); the note of the Koma-hyojo tone is the same as the Western musical scale.)
Japanese: （黄鐘調、平調、盤渉調は対応する洋音階の自然短音階と比べてラに相当する音が半音高い（ドリア旋法と同様）、高麗平調は洋音階と同じ）
English: It is also possible to play Gagaku with another tone that differs from the familiar repertoire (being called 'Watashimono').
Japanese: 雅楽のレパートリーで親しまれている調子とは別の調子に乗っ取って演奏する事も可能である（「渡し物」と称する）。
English: In this case, being different from the transposition of Western music, the melody line varies slightly because it is played along with the musical scale that constitutes the tune.
Japanese: その場合は西洋音楽の移調とは異なり、その調子に含まれる音階に沿って演奏されるため、メロディラインが若干変化する。
English: For example, when comparing "Etenraku" in the Hyojo tone and Banshikicho tone, the Hyojo tone has 'D-EEBBABEEEDE,' which would become 'G-AAEEDEAAAGA' after transposing a perfect fifth below, based on the principle of Western music.
Japanese: 『越天楽』を平調と盤渉調で聴き比べて例に挙げると、平調では「D-EEBBABEEEDE」となるが、これを西洋音楽の論理に乗っ取って完全5度下に移調すると「G-AAEEDEAAAGA」となる。
English: Whereas, the Banshikicho tone has 'G-AAFFEFBBBAB,' which shows its transposition of a perfect fourth below, from the middle.
Japanese: それに対して盤渉調では「G-AAFFEFBBBAB」となり、途中から完全4度下の移調になっている事が判る。
English: This is partly because the instruments used today have Hyojo tone; particularly, the Hichiriki instrument playing the main theme has a narrow range, which has no choice but to play by changing partly when playing in another tone.
Japanese: これは、一つには現代使用されている楽器が平調のためのもので、特に、主旋律を奏する篳篥の音域が狭いため、他の調子を演奏するときに、部分的に変えて演奏せざるを得ないためである。
English: In such a part, the melody close to the original sound is played collaterally on the Ryuteki flute, and playing the part with the gap (called heterophony) creates a unique flavor.
Japanese: このような部分で龍笛が補足的に本来の音に近いメロディーを吹くことになり、その部分がヘテロフォニーと呼ばれる、ずれの現象を伴って演奏されることにより、独特の味わいがでることとなる。
English: It is in fact more complicated, and if one compares "Etenraku" of the Oshikicho tone or of the Banshikicho tone with that of the familiar Hyojo tone, it has a totally different atmosphere and no one could think it was the same number.
Japanese: 実際は、更に複雑で、黄鐘調や盤渉調の『越天楽』を、聞き慣れた平調と聞き比べると、同じ曲とは思えないほど、全く違う雰囲気になる。
English: Some numbers played with the Tada-byoshi beat (sextuple measure) in Kangen music are changed to the Yatara-byoshi beat (quintuple measure) in Bugaku music.
Japanese: 管弦では只拍子（6拍子）で演奏される曲が舞楽になると夜多羅拍子（5拍子）となって変わってしまうものがいくつかある。
English: Changing the tone row or the rhythm used in a number is a feature in common with Ragamalika (playing with changing ragas) and Talamalika (playing with changing rhythm) in Indian ancient music; particularly, the concept of Haku beat in Gagaku is close to that of the Tala in India, as noted by Fumio KOIZUMI.
Japanese: 一つの曲に使用される音列が変わったり、リズムが変わったりするところはインドの古典音楽のラーガマーリカ（ラーガを変えながら演奏）やターラマーリカ（リズムを変えながら演奏）等と共通するものがあり、特に雅楽で言う拍の概念はインドのターラの概念に近いものがあることは、小泉文夫の指摘するところである。
English: The Bugaku introduced via Tang is called Sahomai dance (Samai dance), and its accompanying music is called Togaku music.
Japanese: 唐を経由して伝来したものを左方舞（左舞）と言い、伴奏音楽を唐楽と呼ぶ。
English: The Bugaku introduced via the Korean Peninsula (Goryeo) is called Uhomai dance (Umai dance), and its accompanying music is called Komagaku music.
Japanese: 朝鮮半島（高麗）を経由して伝来したものを右方舞（右舞）と言い、伴奏音楽を高麗楽と呼ぶ。
English: Hiramai dance is also called Bunnomai dance, which is a gentle dance that doesn't incorporate the arms.
Japanese: 平舞（ひらまい）は、文舞（ぶんのまい）ともよばれ、武器などを持たずに舞う、穏やかな感じの舞。
English: As exceptions, "Enbu" is performed by one dancer with a pike, "Seigaiha," "Karyobin" and "Kocho" are danced with Betsu-shozoku costume, and "Ama" and "Ninomai" are danced while wearing a mask and having Shaku and Bachi beaters.
Japanese: 例外として、『振鉾（えんぶ）』は鉾を持つ1人舞、『青海波』『迦陵頻』『胡蝶』は別装束、『安摩』『二ノ舞』は仮面を着け笏や桴を持つなど。
English: Hashirimai dance is a heroic dance with a valiant mask, Bachi beater and pike, and it has active movement compared to Hiramai dance.
Japanese: 走舞（はしりまい）は勇猛な仮面を付け、桴や鉾を持ち、平舞に比して活発な動きで舞う勇壮な舞。
English: Dobu (Warawamai) Dance is Bugaku performed by a boy who has not yet come of age.
Japanese: 童舞（どうぶ、わらわまい）とは、元服前の男子が舞う舞楽のことである。
English: The Dobu dance has value as a rarity, particularly in the Kanto region, due to its costume, mask and makeup.
Japanese: 装束、仮面、化粧から童舞は特に関東地方においては希少価値がきわめて高い。
English: "Karyobin" and "Kocho" are only for Dobu dance, and in addition many numbers, including "Ranryo-o (Gagaku)" and "Nasori" have the Dobu dance version.
Japanese: 『迦陵頻』と『胡蝶』は童舞専用の曲であり、その他にも『蘭陵王(雅楽)』や『納曽利』等、童舞のバージョンがある曲が多い。
English: Principally, dancers wear heavy white makeup but no masks, insteading having a natural face or light makeup.
Japanese: 仮面を付けずに白塗りの厚化粧をするのが原則であるが、素顔のままや薄化粧の場合もある。
English: Although this was interrupted at the end of the Heian period and existed only in documents, some groups brought it back in the 1970s.
Japanese: 平安末期には中絶し、文献上のみの存在となってたが、1970年代に一部の団体が復活させた。
English: Ichikotsucho tone: Shunnoden, Katen, Shukoshi, Butoraku, Shinraryo-o, Hokuteiraku, Showaraku, Karyobin*, Ranryo-o (Gagaku)*, Konju*, Bosatsu (Gagaku)*, Ama (Ninomai)*
Japanese: 壱越調　春鶯囀、賀殿、酒胡子、武徳楽、新羅陵王、北庭楽、承和楽、迦陵頻※、蘭陵王(雅楽)※、胡飲酒※、菩薩(雅楽)※、安摩（二ノ舞）※
English: Taishikicho tone: Bato* (having dance both in Saho and Uho), Sanju, Taiheiraku (Chokoshi, Bushoraku, Gakkaen), Keibaraku, Kao-on, Dakyuraku, Genjoraku (both in Saho and Uho), Soninsandai, Rinkokotatsu, Chogeishi
Japanese: 太食調　抜頭※（舞は左右双方にあり）、散手、太平楽（朝小子、武昌楽、合歓塩）、傾盃楽、賀王恩、打毬楽、還城楽（左右双方にあり）、庶人三台、輪鼓褌脱、長慶子
English: Hyojo tone: Manzairaku, Sandaien, Katoraku, Kanshu (Gagaku), Gojoraku, Etenraku, Yojo, Keitoku (Gagaku), Oshokun (Gagaku), Rokunshi, Koroji, Ojo, Yahanraku, Funan (Gagaku), Shunyoryu, Sofuren (Gagaku) (Soburen), Bairo* (Togaku music with dance in Uho)
Japanese: 平調　万歳楽、三台塩、裹頭楽、甘州(雅楽)、五常楽、越天楽、勇勝、慶徳(雅楽)、王昭君(雅楽)、老君子、小娘子、皇麞、夜半楽、扶南(雅楽)、春楊柳、想夫恋(雅楽)（相府蓮）、陪臚※（唐楽だが舞は右方）
English: Banshikicho tone: Soko (Gagaku), Manjuraku*, Shufuraku, Rindai, Seigaiha, Saisoro, Kenkikotatsu, Somakusha, Hakuchu, Senshuraku (Gagaku), Chikuringaku
Japanese: 盤渉調　蘇合香(雅楽)、万秋楽※、秋風楽、輪台、青海波、採桑老、剣気褌脱、蘇莫者、白柱、千秋楽(雅楽)、竹林楽
English: Koma-ichikotsucho tone: Shintoriso, Shinsotoku, Taisotoku, Nasori*, Kocho*, Choboraku, Engiraku, Soriko*, Ayakiri, Shinmaka, Shikite, Onnintei, Kitoku, Komaboko, Hassen (Gagaku), Ninnaraku, Kotokuraku, Hannari, Shinsoriko
Japanese: 高麗壱越調　新鳥蘇、古鳥蘇、進走禿（進宿徳）、退走禿（退宿徳）、納曽利※、胡蝶※、長保楽、延喜楽、蘇利古※、綾切、新靺鞨、敷手、皇仁庭、貴徳、狛鉾、八仙(雅楽)、仁和楽、胡徳楽、埴破、進蘇利古
English: Empu (Shingakuranjo (Togaku music) and Komaranjo (Komagaku music) are played simultaneously with dancers both in Saho and Uho), Ikko, Ikkyoku
Japanese: 振鉾（新楽乱声（唐楽）と高麗乱声（高麗楽）を同時に演奏、左方と右方の舞人が登場）、壹鼓、一曲
English: After the Heian period, a Togaku music number and a Komagaku music number were in many cases played in a set as a Tsugaimai dance.
Japanese: 平安以降、唐楽の曲目と高麗楽の曲目が番舞（つがいまい）としてセットで上演される場合が多くなった。
English: The major instruments of Kangen music played in concert generally consisted of eight kinds, including three winds, three drums and two strings.
Japanese: 管絃の合奏の中心となる楽器は、一般的に三管、三鼓、両絃の8種類といわれる。
English: Sho flute (Hosho), Hichiriki instrument, Ryuteki flute (Oteki) or Komabue flute or Kagurabue flute
Japanese: 笙（鳳笙）、篳篥（ひちりき）、龍笛（横笛、おうてき）または高麗笛（こまぶえ）または神楽笛
English: Gakudaiko drum or Wadaiko drum (Dadaiko), Shoko drum or Oshoko drum, Kakko drum or Santsuzumi drum
Japanese: 楽太鼓または和太鼓（鼉太鼓、だだいこ）、鉦鼓または大鉦鼓、羯鼓（鞨鼓）または三ノ鼓
English: These instruments are very expensive, but there are less expensive ones (made of plastic) available for practice.
Japanese: これらの楽器は大変高価であるが、練習用に、やや安価な楽器（プラスチック製）もある。
English: Because a Sho flute would be out of tune if the reed were to build up condensation, it is always warmed up between performances.
Japanese: 笙は簧（リード）に結露すると音程が狂うので、演奏の合間に必ず暖めておく。
English: A player starts to play as if searching from just below the original musical interval, which creates a unique atmosphere.
Japanese: 演奏者は、本来の音程より少し下から探るように演奏を始めるため、その独特な雰囲気が醸しだされる。
English: The use of this feature facilitates a decorative style of play, such as the tremolo called 'Enbai.'
Japanese: また、その特徴を生かして、「塩梅」といわれる、いわゆるこぶしのような装飾的な演奏法が行われる。
English: A Sho flute has the role of spicing up the tune with its uniquely divine sound, and it has the role of showing the timing of breathing or deciding the tempo for the players of the Hichiriki instrument and Ryuteki flute.
Japanese: 笙は独特の神々しい音色で楽曲を引き締める役割もあるが、篳篥や龍笛の演奏者にとっては、息継ぎのタイミングを示したり、テンポを決めたりといった役割もある。
English: A Sho flute is an instrument used to create harmony, which is unusual for Japanese music.
Japanese: 笙は日本の音楽の中ではめずらしく和声（ハーモニー）を醸成する楽器である。
English: Basically, it is composed of six sounds (using the left thumb, index finger, middle finger, ring finger and the right thumb and index finger), which is complicated by the mixture of the fourth and fifth intervals used in Western music since the twentieth century, but it sounds clear as opposed to consonant or dissonant because the musical tuning is not equal temperament.
Japanese: 基本的には6つの音（左手の親指、人差し指、中指、薬指と右手の親指と人差し指を使用）から構成され、4度と5度音程を組み合わせた20世紀以降の西欧音楽に使用されるような複雑なものであるが、調律法が平均律ではないので協和音と不協和音というより、むしろ澄んだ音色に聞こえる。
English: The 'Three Drums' refers to the Kakko drum (or Santsuzumi drum), Shoko drum and Wadaiko drum; the player of the Kakko drum takes a role equivalent to a conductor in Western music, deciding the overall tempo.
Japanese: 「三鼓」とは、羯鼓（又は三ノ鼓）、鉦鼓、和太鼓であるが、羯鼓の演奏者が洋楽の指揮者の役割を担い、全体のテンポを決めている。
English: Shaku byoshi drum, Wagon koto, Hichiriki instrument, Kagurabue flute (Wabu, Kagura), Komabue flute (Azuma-asobi), Ryuteki flute (Gosechi-no-mai Dance)
Japanese: 笏拍子、和琴、篳篥、神楽笛（倭舞、神楽）、高麗笛（東遊）、龍笛（五節舞）
English: Shaku byoshi drum or Gakudaiko drum (general Wadaiko drum is also ok), Wagon koto or Gakuso koto (the So instrument of Ikutaryu or other schools is ok), Hichiriki instrument, Kagurabue flute
Japanese: 笏拍子、又は楽太鼓（一般の和太鼓もok）、和琴、又は楽箏（生田流等の箏もok）、篳篥、神楽笛
English: Although the official costume of a player is principally Ikan (costume worn by court nobles and officers when they are on duty at the Imperial Palace) or Kariginu (informal clothes worn by court nobles and officers), shrines and temples, as well as private tradition groups mostly use Hitatare (a kind of traditional Japanese clothes), in keeping with the Gakubu section assigned to Hitatare after the Meiji period.
Japanese: 楽人の正式な装束は衣冠、又は狩衣が原則であるが、明治以降に楽部が直垂を制定して以降は神社仏閣や民間の伝承団体でも直垂を着用する場合が多い。
English: As for Hitatare, a beautiful fabric called Miruiro is used, which changes its colors when seen from different angles.
Japanese: 直垂の場合、生地は海松色（みるいろ）と呼ばれる、見る角度によって色彩が変わる美しいものが使われる場合が多い。
English: On informal occasions, relatively reasonable Byakue and Sashiko (equivalent to the ordinary clothes of a Shinto priest) are used, but in rare cases unified Yukata (Japanese summer kimono, following Zokugaku's run-through in Yukata) are used in the summer.
Japanese: 略式では比較的安価な白衣に差袴（神職の普段着と同様）、稀に夏には統一の浴衣（俗楽の浴衣ざらいに倣う）となる。
English: When not unifying the costumes, a clerical robe may be used for priesthood, and a woman's Shinto priest costume, mediumistic costume or general kimono may be used for a woman.
Japanese: 装束を統一しない場合、僧職は法衣、女性は女性神職装束や巫女装束、一般的な和服の場合がある。
English: Generally, makeup is not applied (women may have light makeup, but no lipstick in the case of the Three Winds), but heavy makeup may be applied in the event there will be dancing or certain festivities.
Japanese: 通常、化粧しない（女性は薄化粧の場合有り、三管の場合は口紅を塗らない）が、舞人と兼任の場合や、祭り等によっては厚化粧の場合もある。
English: The costumes of dancers are mostly white for Kuniburi-no-utamai and Utaimono, red for Togaku music, and green, brown and brownish-yellow for Komagaku music.
Japanese: 舞人の装束は国風歌舞や謡物では白系、唐楽では赤系、高麗楽では緑、茶、黄褐色系が多い。
English: Respectively, there are costumes only for a certain number (Betsu-shozoku costumes) and those commonly used for more than one number (Tsune-shozoku costumes, etc.).
Japanese: それぞれに、特定の曲目専用の装束（常装束）と、複数の曲目で共通に使う装束（常装束、等）がある。
English: In the case of numbers without masks, or numbers with masks assigned and played by a woman, or a boy or girl, they may be performed with a natural, unmasked face or with makeup (the same stage makeup as for Kabuki Buyo dance, depending on the group).
Japanese: 仮面を付けない曲の場合や、仮面が指定された曲を女性や少年少女が舞う場合は仮面を付けずに素顔のままか、化粧（団体によっては歌舞伎舞踊と同様の舞台化粧）をする場合がある。
English: In fact, these official costumes and masks (especially Betsu-shozoku costumes, and costumes for Dobu Dance above all) are very expensive, so the shrines, temples and groups that can afford to buy them are limited to large temples and shrines, or to groups that are financially prosperous.
Japanese: 尚、これらの正式な装束、仮面（特に別装束、とりわけ、童舞の装束）は大変高価であるため、これらを購入できる神社仏閣、団体は大規模な神社、寺院や財政に余裕がある団体に限定される。
English: Currently, as one of the projects of the National Theater, there are attempts to restore the instruments and numbers that had been eliminated.
Japanese: 現在、国立劇場の企画の一環として、廃絶された楽器や楽曲を復元する試みが行われている。
English: Generically, this is called 'Reigaku' or 'Engaku.'
Japanese: これを総称して、「伶楽」（れいがく）ないし「遠楽」（えんがく）と呼ぶ。
English: The Kugo instrument, Gogenbiwa instrument, Genkan instrument, Haisho flute, Shakuhachi flute (different from Shakuhachi in modern time Japanese music), Sho flute, Hokyo percussion, etc.
Japanese: 箜篌、五弦琵琶、阮咸、排簫、尺八（近世邦楽の尺八と異なる）、竽、方響など
English: In the Meiji period, Kugo instruments and Gogenbiwa instruments were also restored, with reference to the remaining pieces kept in Shosoin.
Japanese: 明治時代にも正倉院にのこる残欠を参考に箜篌や五弦琵琶などを復元したことがある。
English: Although they were sophisticated as craftworks thanks to the techniques of lacquer craftworks and mother-of-pearl works successively handed down from the Edo period, the tension of the strings cannot withstand performance, and the restoration of instruments for performance was done after the Showa period.
Japanese: 江戸時代からとだえることなくつたわる漆工芸や螺鈿の技術等により工芸品としては高度なものであるが、弦の張力は演奏に耐えるものではなく、演奏のための楽器としての復元は昭和になってからである。
English: Kagura made after the modern age, including 'Urayasu-no-mai Dance,' 'Yukyu-no-mai Dance,' 'Toyosaka-no-mai Dance' and 'Asahimai Dance' (Kagura made after the modern age)
Japanese: 「浦安の舞」「悠久の舞」「豊栄の舞」「朝日舞」など近代に作られた神楽（s近代に作られた神楽）
English: Kibigaku,' born in Okayama Prefecture (Kurozumikyo sect and Konkokyo sect), with the elements of Gagaku, and Nogaku and Zokugaku mixed
Japanese: 岡山県（黒住教、金光教）発祥の、雅楽と能楽・俗楽の要素が合わさった「吉備楽」
English: The National Theater requests new works from domestic and foreign composers of the day for the organization of Gagaku, and performs them.
Japanese: 国立劇場では、雅楽の編成のための新しい作品を現代の国内外の作曲家に委嘱し、演奏している。
English: Particularly, 'Shuteiga-ichigu' (1973-1979), by Toru TAKEMITSU, is frequently played due to its excellent interpretation, and this is an essential number for modern Gagaku.
Japanese: 特に武満徹の「秋庭歌一具」（1973年-1979年）は優秀な解釈により頻繁に演奏され、現代雅楽の欠かせないレパートリーとなっている。
English: In the field of pops, Hideki TOGI, a Hichiriki player, plays arranged and original popular music using the Hichiriki sound and frequently comes out in the media; he has renewed the image of Gagaku and introduced it to the public.
Japanese: ポップスの分野では篳篥の東儀秀樹が、篳篥の音色を生かしたポピュラー音楽の編曲および自作を演奏し、メディアにも頻繁に出演するなど、雅楽のイメージを一新し一般に紹介している。
English: Other than TOGI, there is also a performance group that uses Gagaku instruments and an art group that creates modern Gagaku music with a focus on the analysis and study of music theory, etc.
Japanese: また東儀の他に、雅楽器も用いた演奏集団、音楽理論の分析・研究に重点を置き現代的雅楽曲を創作する、芸術団体などがある。
English: From the state of changing the intervals slowly and carefully, it is used to mean a state of doing things with checking the degree of completion.
Japanese: ゆっくりと慎重に音程を変更するところから、具合を測りつつ物事を進めるさまを表す。
English: It is written as 矢鱈 in Chinese characters today, which is a phonetic equivalent Soseki NATSUME made, but this originally indicates a beat of Gagaku.
Japanese: 現在は矢鱈と書くがこれは明治時代に夏目漱石によって作られた当て字で、本来は雅楽の拍子を指す。
English: It stems from the final rehearsal with percussion, after the practice of wind instruments.
Japanese: 管楽器同士で練習をした後、打楽器を交えて、最終的なリハーサルをしたことから。
English: Ninomai' is a Tsugaimai dance performed together with 'Ama,'; exceptionally, both of them belong to Saho but only for costumes, while Uho costumes are used in Ninomai.
Japanese: 「二ノ舞」は「安摩」とセットの番舞一覧、ただし例外的にどちらも左方に属し、装束のみ二ノ舞は右方の装束。
English: The situation is, after Ama is performed well, Ninomai dancers try to imitate the performance, but they cannot perform well and make funny movements.
Japanese: 安摩が上手に舞った後、二ノ舞は真似て舞おうとするが、上手に出来ずに滑稽な動きになるという設定。
English: Ryo and Ritsu are large classifications of musical tones in Gagaku (See "Tone of Music" as described above), Roretsu means the tone of music in a broad sense.
Japanese: 呂と律は雅楽における曲調の大分類であり（上述の曲の調子を参照）、呂律は広い意味での曲の調子を意味する。
English: The expression 'Roretsu-ga-mawaranai' has been used when trying to perform a number made for Ryosenpo with Rissenpo; the tone becomes strange and the notes become off-key (accordingly, when words cannot be continuously pronounced well in the context of a speech or a chant).
Japanese: 呂旋法を前提に作られた曲を律旋法で詠おうとすると調子がおかしくなることから、音の調子が合わない（転じて詠唱や講演でうまく言葉が続けて発音できない）ことを「呂律が回らない」と表現するようになった。
English: It stems from the difficulty of singing when moving from the first phrase to the second in Roei, when suddenly the notes become high.
Japanese: 朗詠で、一の句から二の句に移る時、急に高音となるため歌うのが難しいことから。
English: Gagaku performed at shrines or other places and allowing recording or shooting. * has the Dobu dance (with a boy or girl in heavy makeup).
Japanese: 神社等で行われ、録音、撮影可能なもの　※は童舞（厚化粧の少年、又は少女）が登場
English: The image that the modern Japanese generally associate with 'Oni' is a big man with horns and curly hair on the head and fangs in the mouth, sharp claws on the fingers, wearing a tiger-skin Fundoshi around the hips and carrying an iron bat with a spiny surface.
Japanese: 現代の日本人が、「鬼」と言われて一般的に連想する姿は、頭に角と巻き毛の頭髪を具え、口に牙を有し、指に鋭い爪が生え、虎の毛皮の褌を腰に纏い、表面に突起のある金棒を持った大男である。
English: This stems from the fact that the direction between Ushi (ox) and Tora (tiger), which is northeast (Ushitora), is called Kimon (ogre gate), and an oni was supposed to have the horns and body of an ox, have the fangs and claws of a tiger and wear a tiger skin.
Japanese: これは、丑の方と寅の方の間の方角（艮うしとら）を鬼門と呼ぶことによるもので、牛の角と体、虎の牙と爪を持ち、虎の皮を身に付けているとされた。
English: Incidentally, when the direction of Ushitora is assigned to Kimon, the counter directions of monkey (Saru), pheasant (Tori) and dog (Inu) are assigned as guards, which sought to kill Oni in the story of Momotaro (Peach Boy), it seems to have some kind of meaning.
Japanese: 余談だが、丑寅の方角を鬼門とする時、その対にあたる方角、猿（申）.雉（酉）．犬（戌）に守護の役を与え、鬼退治に向かう桃太郎もある種の意味を持つと推測できる。
English: Shuten-Doji is supposed to have red hair and horns, with his beard, hair and eyebrows all connected, and to have hands and feet like the paws of a bear.
Japanese: 酒呑童子は赤毛で角があり、髭も髪も眉毛もつながっており、手足は熊の手のようであるとされている。
English: Oni didn't originally have such a specific figure, and it was sometimes invisible as per its origin word 'Onu,' as described below.
Japanese: 鬼は元々はこのような定まった姿は持っておらず、後述する語源の「おぬ（隠）」の通り姿の見えないこともあった。
English: Because Oni appears in folk tales most often with gold or light brown hair and red skin, it is said that Japanese people who had never seen foreigners mistook pirates from Russia or other countries for monsters (as lightly pigmented skin turns red due to sunburn).
Japanese: 民話に登場する鬼は、金または栗色の髪で赤い肌である事が多い為、ロシア方面などからの海賊を、外国人を知らない民衆が見て怪物だと思い込んだのではないかとも言われている（色素の少ない肌は日焼けすると赤くなる）。
English: The word 'Oni' derives from Onu, which originally meant invisibility and unworldly things.
Japanese: 「おに」の語はおぬ（隠）が転じたもので、元来は姿の見えないもの、この世ならざるものであることを意味した。
English: By extension, it meant things transcending people's power; subsequently, the image of a humanoid bringing harm to people became well established in legend.
Japanese: そこから人の力を超えたものの意となり、後に、人に災いをもたらす伝説上のヒューマノイドのイメージが定着した。
English: Furthermore, it is integrated with the Yin-Yan and Pure Land philosophies, and it has been regarded as the Gokusotsu ogre working under the ogre Enma in hell.
Japanese: さらに、陰陽思想や浄土思想と習合し、地獄における閻魔配下の獄卒であるとされた。
English: Hyakkiyako is a monster parade that has been said to march through the capital during the Heian period.
Japanese: 百鬼夜行とは、平安時代に都の中を歩いてゆくとされた化け物行列のことである。
English: "Uji-shui monogatari (Tales from the Uji Collection)" introduces a story in which an ascetic monk met Hyakkiyako at Ryusen-ji Temple in Chapter 17 of Volume 1.
Japanese: 『宇治拾遺物語』巻一の十七で修行僧が龍泉寺という寺で、百鬼夜行に遭った話が伝わっている。
English: "Konjaku monogatarishu (Tales of Times Now Past)," in Volume 14, also introduces a story that a young man met Hyakkiyako.
Japanese: また、『今昔物語集』にも巻第十四に若者が百鬼夜行に遭ったという話が伝わっている。
English: At the time, people were afraid that they would die or become sick if they saw a Hyakkiyako, but in both of these stories faith saved the protagonists.
Japanese: 当時、百鬼夜行を目撃すると死んだり病気になるなどと恐れられていたが、この二つの話はどちらも信仰が身を助けたという話になっている。