nntsuzu/KFTT huggingface dataset:
English: Although it is generally difficult to differentiate between 'danjiri' and the music 'danriji-bayashi,' 'danjiri-bayashi' in 'hetari' style (which refers to the performance without the drawing of danjiri) is also generally popular as a representative music at events such as the Tenjin Festival of Osaka Tenman-gu Shrine.
Japanese: 一般には「地車」と「地車囃子」という音楽とは分かちがたいものであるが、一方で、これも一般には大阪天満宮の天神祭等の代表的音楽として「地車囃子」は定着している。
English: The high-level accomplishment of danjiri-bayashi as a musical suite is the biggest difference between 'danjiri-bayashi' in 'hetari' style and the one which is played during the drawing of danjiri, the latter not yet capable of becoming a suite.
Japanese: 地車囃子の組曲としての完成度の高さこそが、曳行するだけで組曲にはなりえていない地車の音楽との、もっとも大きな違いなのである。
English: So, the danjiri-bayashi has been played at a promotion for the Olympics, which was wasteful spending of taxpayer's money, and the opening ceremony of a professional bowling tournament as well as weddings and funerals; moreover, there are some preservation societies and forums called Ko and Ren that carry out guerrilla concerts.
Japanese: こうして、祭礼のとき以外に、結婚式、葬式などはもちろん、血税の無駄遣いであったオリンピックの誘致活動、なかにはプロのボウリング・トーナメントの開会式などで演奏されることもあり、さらにはゲリラ・ライブを敢行する保存会や講・連もある。
English: Depending on the preservation societies, Ko and Ren, it is referred to as 'Danjiri-bayashi' (だんじり囃子), 'Danjiri-bayashi' (だんぢり囃子), 'Sesshu Danjiri-bayashi (摂州だんじり囃子), 'Sesshu danjiri-bayashi' (摂州地車囃子), 'Tenma bayashi' (天満囃子), 'Nagae bayashi' (長柄囃子), 'Kawachi Danjiri-bayashi' (河内地車囃子) or 'Osaka Danjiri-bayashi' (大阪地車囃子), etc.
Japanese: 「だんじり囃子」、「だんぢり囃子」、「摂州だんじり囃子」、「摂州地車囃子」、「天満囃子」、「長柄囃子」、「河内地車囃子」、「大阪地車囃子」等、保存会や講・連によって呼称が異なる。
English: For the performance, oyadaiko (a kind of large Japanese drum), 雄鉦 and 雌鉦 (a kind of gong) (also called nichogane) and kodaiko (small drum) (also called tokoten) are used.
Japanese: 演奏には、親太鼓（大太鼓）、雄鉦・雌鉦（鐘）（二丁鉦）、子太鼓（小太鼓）（トコテン）を用いる。
English: Also, fifes are played in hayashi (the festival music) in Izumi and 'hikiuta' (music for drawing) is inserted into the hayashi in Minamikawachi area.
Japanese: また、和泉の囃子には笛があり、南河内地域の囃子は「曳き唄」が挿入されている。
English: Also, according to "Settsu-meisho-zue" (a book introducing beauty spots in Settsu) (in 1798) which depicted a danjiri drawing at Ikasuri-jinja Shrine during the late Edo period, shamisen (a three-stringed Japanese banjo) was played for hayashi in the two storey danjiri.
Japanese: さらに、江戸後期の坐摩神社における車楽（＝地車）曳行を描いた『摂津名所図会』（1798年のもの）によると、２階建ての地車の床上で囃子に三味線も用いていたのがわかる。
English: However, as hayashi played in 'hetari' style was becoming established as music, fifes and shamisen were apparently used less and less because they were overcome by the heavy sound of the gongs.
Japanese: だが、「へたり」で囃子が音楽として確立されていくと、笛や三味線は鉦の大音響に負けるため、用いなくなったと言い伝えられている。
English: In addition, there is a piece of music called 'Danjiri' in yosebayashi (rakugo theater music) which is played with shamisen, oodo (flat drum) and shime-daiko drum (this debayashi [stage music at a traditional comic variety theater] was used in some rakugo records of Nikaku SHOFUKUTEI [the third]).
Japanese: なお、三味線・「おおど（＝平太鼓）」・締太鼓で奏でられる寄席囃子には、『地車』という曲がある（笑福亭仁鶴(3代目)の落語のレコードには、この出囃子が用いられたものもある）。
English: The danjiri-bayashi which are performed at danjiri festivals at Izumi, such as the Kishiwada Danjiri Matsuri Festival, feature young people in their late teens and early 20's in leading roles.
Japanese: 岸和田だんじり祭を中心とした和泉のだんじり祭の地車囃子は、10代後半〜20代前半の若者が担当する点を特徴とする。
English: However, it is not unique to Senshu region that hayashi takes an important role in organizing the movements of danjiri, such as winding, running, stopping and turning, as well as the movement of the major attraction Yarimawashi (the performance to make a danjiri float turn at right angles).
Japanese: ただし、その最大の見せ場である遣り回し（やりまわし）をはじめ、練る・走る・止まる・曲がるといった地車の動きを統御する重要な役目を囃子が果たしている点は、泉州地域独自のものではない。
English: Setting yarimawashi aside, musical performance that express the movements of danjiri can be seen in Kawachi region too, and even at Settsu (within Osaka City) which possesses no danjiri.
Japanese: 遣り回しはともかく、地車の動きを表現する演奏は河内地域でも見受けられ、また地車のない摂津（大阪市内）でさえも存在する。
English: Many people believe that the origin of danjiri-bayashi was a 'theme song' during the construction of Osaka-jo Castle at the end of 16th century.
Japanese: 16世紀末の、大坂城築城の際の「テーマソング」であったことを、地車囃子の起源とする説が有力である。
English: It is thought that this theory is probably true; it was mentioned in the popular TV program "Rekishi Kaido" (The main road of history) by Osaka-Asahi Broadcasting too.
Japanese: 大阪朝日放送の『歴史街道』でも語られていたので、ほぼ間違いはないと考えられている。
English: In the meantime, a raccoon dog called Kichibei DANJIRI is enshrined in a corner of the grounds of Enoki-jinja Shrine (Horikawa Ebisu-jinja Shrine: also called Horikawa no Ebisu) in the Kita Ward, Osaka City (hence it is also called Danjiri-inari Shrine).
Japanese: ところで、大阪市北区(大阪市)の榎神社（堀川戎神社）（堀川のえびす）境内の片隅に、地車吉兵衛という狸が祀られている（地車稲荷）。
English: In olden times, this raccoon dog called Kichibei-san apparently tricked neighborhood residents by mimicking the sounds of danjiri-bayashi.
Japanese: 大昔、この吉兵衛さんという狸は、地車囃子を真似て近隣住民を驚かせたという。
English: Some people say that this folklore is an evidence for the claim that the music called danjiri-bayashi was known amongst the general public prior to the modern age.
Japanese: この伝承を、近代以前より地車囃子という音楽が庶民に浸透していた証拠であるという説もある。
English: Even though danjiri did not draw at the Tenjin Festival from the end of the Edo period to the Showa period, the music called danjiri-bayashi was inherited as a symbol of the festivals in Osaka.
Japanese: 天神祭では幕末～昭和にかけて地車の曳行があまりなかったにもかかわらず、それでも地車囃子という音楽が大阪の祭のシンボルとして継承されていた。
English: This is thought to be because danjiri-bayashi attracted people not only to the festival at Osaka Tenman-gu Shrine, but also to each local Hayashi Hono (devotional music performed in festivals) held in the surrounding areas to where their portable shrines used to return, and even in the north, south, east and west areas in relation to the Shrine: Imafuku and Gamo, Fukushima, Hirano and Nagae.
Japanese: これは、大阪天満宮だけでなく、かつては宮入りしていたその周辺地域、さらに東西南北にあたる今福・蒲生、福島、平野、長柄等における、それぞれの地元での囃子奉納によって、親しまれていたからと考えられている。
English: It is thought to be after the Second World War that Danjiri-bayashi spread amongst the general public widely as a form of music independent of 'danjiri.'
Japanese: 地車囃子が「地車」から独立した音楽として一般に広く浸透したのは、戦後のことであると考えられている。
English: It might have been to compete with the drawing danjiri in areas such as Senshu, (according to the old people who had gotten involved with Hayashi) that they were developing the uniqueness of hayashi (music), but 'once we danced flamboyantly, it attracted attention'; the mass media, such as newspapers and magazines first, then soon TV, played up the dance of danjiri-bayashi.
Japanese: 泉州等の曳行に対抗するためか、お囃子の独自性だけでなく、（囃子にかかわっていた複数の古老によると）「派手に踊ってみたところ、そこにも光があたった」、すなわち当初は新聞・雑誌、すぐのちにテレビなどのマスメディアが地車囃子の踊りを取り上げたのである。
English: In a novel "Doro no kawa" (Muddy River) (written by Teru MIYAMOTO) set in Osaka in 1956, the performance of danjiri-bayashi in 'hetari' style at Fukushima-tenmangu Shrine is depicted.
Japanese: 昭和31年（1956年）を題材とした大阪の小説『泥の河』（宮本輝）に、福島天満宮における「へたり」での地車囃子の演奏が描かれている。
English: There is a scene featuring danjiri-bayashi in 'hetari' style in the movie based on that novel, directed by Kohei OGURI, which was edited to focus on the dance.
Japanese: 小栗康平監督の同作品の映画においても「へたり」での地車囃子の場面があり、踊りがメインの映像であった。
English: Also at the Tenjin Festival of Osaka Tenman-gu Shrine, which is often hyped by the media, it was dedicated in the form of 'hetari' - setting 'danjiri' with three roofs on the stage, that used to be immobile and was just a decoration until the early 1990s - and the main performance of the danjiri-bayashi was the dance, which is still the same as now.
Japanese: メディアへの露出が高い大阪天満宮の天神祭においても、1990年代前半まで動かずに飾り物でしかなかった三つ屋根「地車」を舞台に組み込んだ「へたり」での奉納であり、現在もそうであるが、地車囃子のメインが踊りになっていた。
English: Thus, as the dance was played up by the visual media, the music of danjiri-bayashi was apparently gaining in popularity at the same time.
Japanese: このように、映像メディアが踊りを取り上げたことで、地車囃子という音楽が広く親しまれるようになったと考えられている。
English: At any rate, preservation societies, Ko and Ren that perform danjiri-bayashi only in the form of 'hetari' were on the increase for various reasons, such as that they sometimes didn't have enough money to repair their danjiri in the high economic growth.
Japanese: いずれにせよ、高度経済成長の途上では地車を修理する予算がない場合もあり、それだけではないせよ、「へたり」のみで演奏をおこなう保存会や講・連が増えていった。
English: For example, Ohatsu-tenjin Shrine (Tsuyunoten-jinja Shrine), Hattori-tenjingu Shrine, Nagae-hachimangu Shrine and Minami Nagae-hachimangu Shrine are those cases.
Japanese: たとえば、お初天神（露天神社）、服部天神宮、長柄八幡宮、南長柄八幡宮等がそれに該当しよう。
English: And in regions which don't have 'danjiri' and value the style of devotion that consists of festival music and dance only, one of the key moments was apparently when the danjiri-bayashi Hono on the eve of festival of the Osaka Expo in 1970 was broadcast by Osaka Mainichi Broadcasting.
Japanese: そして、このような囃子と踊りの奉納を重視する「地車」の存在しない地区による地車囃子が公認される一つの契機となったのは、1970年の大阪万博の前夜祭における地車囃子奉納が、大阪毎日放送の電波に乗ったときのことであると考えられている。
English: In March 1979, Sesshu danjiri-bayashi of Nagae-hachimangu Shrine was dedicated, in addition to the dedication of Kishiwada Danjiri Matsuri Festival at an event at Osaka-jo Castle which was hosted by the shrine agency of Osaka Prefecture.
Japanese: 1979年3月、大阪城での大阪府神社庁主催のイベントにおいて、岸和田だんじり祭の奉納とともに、長柄八幡宮の摂州だんじり囃子が奉納された。
English: This was the moment that the shrine agency of Osaka Prefecture accepted danjiri-bayashi as an independent form of music.
Japanese: 大阪府神社庁が地車囃子を独立した音楽として認めた、その瞬間であった。
English: It was a landmark dedication for danjiri-bayashi; based on this, preservation societies and forums called Ko and Ren emerged which changed the performance styles of hayashi (the typical example is Hirano Danjiri-bayashi hozonkai [Preservation Association of music performed in festivals of Hirano] which dedicates their hayashi in the style of 'hetari' at Kumata-jinja Shrine in Hirano Ward, Osaka City).
Japanese: それを機に、囃子演奏スタイルが変わった保存会、講・連（大阪市平野区の杭全神社で「へたり」での奉納をする平野地車囃子保存会が典型例）があらわれるなど、画期的な地車囃子の奉納であった。
English: And in late 1980, a training session of danjiri-bayashi was held, organized by Youth Groups committee of Osaka City.
Japanese: そして、1980年代後半、大阪市の青年団体協議会が主宰で、地車囃子の講習会が開かれた。
English: However, it was the showy drumstick-work of oyadaiko that fascinated many young people who participated in the training session above.
Japanese: ところが、上記の講習会に参加した者たちの多くが魅せられたのは親太鼓の派手なバチ(撥)さばきにであった。
English: The performance of oyadaiko was a feature because it is the element of danjiri-bayashi most open to improvisation.
Japanese: 地車囃子という音楽において、もっとも即興性が許されるゆえに親太鼓の演奏は花形でもあった。
English: Also, in the early 1990s, as camcorders started to spread amongst families, there was an increase in preservation societies, Ko and Ren, recording the showy performance of the oyadaiko played by Nagae-hachimangu Shrine, Minami Nagae-hachimangu Shrine and Hirano Danjiri-bayashi hozonkai which took in the splendor of the performance of 'Kita' (a part of the Kita Ward in Osaka City).
Japanese: また、1990年代前半ころ、ビデオカメラ（カムコーダ）が各家庭に普及し始め、そのカムコーダを用いて長柄八幡宮・南長柄八幡宮、そして「キタ」の華麗さを取り入れた平野地車囃子保存会による、派手な親太鼓の演奏を録画して真似る保存会、講・連が増えていった。
English: Many preservation societies, Ko and Ren, which took in showy performances afresh, do possess 'danjiri,' and some older people deplore such adoptions, saying 'it spoils the overall harmony to include performances from areas which don't possess danjiri.'
Japanese: 派手な演奏を新たにとり入れた保存会、講・連は「地車」を保持する地域が少なくなく、そのような摂取を「地車のない地域のものをとり入れるのは全体的な調和が崩される」などと嘆く古老もある。
English: Also in areas which don't possess danjiri and perform danijri-bayashi without them, some older people complain 'the performance with the sho (a kind of gong) and kodaiko and the dance are neglected.'
Japanese: また、地車のない地車囃子のみの地域でも、「鉦・子太鼓、踊りがなおざり」などと嘆く古老もある。
English: In fact, someone who films danjiri-bayashi for broadcast and who watches it perceive the dance as the main attraction of danjiri-bayashi; on the other hand, the people who perform it think that the showy drumstick-work is the feature of danjiri-bayashi.
Japanese: 結局、映像で伝える側も観る側も踊りを地車囃子のメインとしてとらえ、一方、演奏する側は親太鼓の派手なバチさばきを地車囃子のメインとしてとらえた。
English: Although the name of each piece of music differs depending on the preservation society, Ko and Ren, the words and terms below are based on the brochure which was produced in about 1990 at the training session of danjiri-bayashi hosted by Youth Groups committee in Osaka City.
Japanese: 各保存会、講・連によって、それぞれの曲の呼称は異なるであろうが、大阪市青協の地車囃子の講習会で1990年ごろに配られていた小冊子に基づいて、以下の用語を記すことを断っておく。
English: If it is divided into parts like western music, danjiri-bayashi consist of three movements of Hana, Naka and Dame.
Japanese: 西洋音楽のような分け方をするならば、ハナ・ナカ・ダメの三楽章で構成されている。
English: The performance lasts for nearly 20 minutes if it is occurs in three movements; however, the great majority of performances are cut down into two movements.
Japanese: しかし、三部構成の演奏となると、20分近い長時間となるので、圧倒的多数の演奏が二楽章に省略されている。
English: Noriko ASANO, who is a full-time lecturer at Osaka Chiyoda Junior College, distinguishes between music which is played 'consciously' and music which can be played 'unconsciously' at "Tenjinsai Naniwa no Hibiki" (Tenjin Festival - the sound of Naniwa), Tokyo Sogensha Co., Ltd.; the conscious music is the part of 'Uta' (song).
Japanese: 創元社『天神祭　なにわの響き』において大阪千代田短期大学の専任講師・朝野典子氏は、「意識」的な曲、「無意識」でも演奏できる曲というような区別をしているが、その意識的な曲が「うた」の部分である。
English: Before the 'Uta' part, there are parts called 'Ichiriki' and 'Niriki' which can be played unconsciously.
Japanese: 「うた」の前の部分には、「一力(りき)」、「二力(りき)」という無意識でも演奏できうる曲がある。
English: After the Uta, there is a kind of song part called 'Shangiri' where can be also played unconsciously.
Japanese: 後の部分には、「しゃんぎり」というこれも無意識で演奏できる曲がある。
English: However, such performances, in which only 'Hana' is played, are nothing special and there is little chance of them being performed in 'hetari.'
Japanese: ところが、このような「ハナ」だけの演奏は地味であるために、「へたり」で演奏されることは少ない。
English: The first and second movement is combined with 'Magarito' and 'Shin Abura' (sometimes Abura).
Japanese: 第一楽章と第二楽章は、「まがりと」や「新油（※油もある）」でつながれる。
English: There are many preservation societies, Ko and Ren, that consider a drummer of danjiri-bayashi as fully-fledged if he/she masters this 'magarito' part.
Japanese: なお、この「まがりと」をマスターすれば、地車囃子の打ち手（叩き手）として一人前扱いされる保存会、講・連が少なくない。
English: It is 'Ichiriki' if you hear a sound like "chiki chin chiki chin chiki chikkon kon" and "jiki jin jiki jin jiki jikkon kon."
Japanese: "チキチンチキチンチキチッコンコン"や"ジキジンジキジンジキジッコンコン"と聴こえてくるのが「一力」である。
English: Oyadaiko players start off by hitting only the drum skin, and then hit the drum skin and the wood frame at the same time from the middle.
Japanese: 出だしの親太鼓は皮の中ばかりを打ち（叩き）、途中から皮と木のフチを同時に打つ（叩く）。
English: It is 'Niriki' if you hear the sound like "kon kon kon chiki chikkon kon, kon kon chiki chiki chikkon kon" and "kon kon kon jiki jikkon kon, kon kon jiki jiki jikkon kon."
Japanese: "コンコンコンチキチッコンコン、コンコンチキチキチッコンコン""コンコンコンジキジッコンコン、コンコンジキジキジッコンコン"と聴こえてくるのが「二力」である。
English: In danjiri-bayashi, music called 'Uta' is inserted once every movement (between the Niriki and the Shangiri).
Japanese: 地車囃子には、一楽章ごとに、「うた」と呼ばれる曲が入る（二力としゃんぎりの間）。
English: In the 'Higashi' area, there are some Uta called Tenman, Itachi (Japanese mink), Sakura, Jikijin, Mikasa, Nagae kamenobori, Gamokame (tortoise), Imafuku no kame (tortoise of Imafuku), etc.
Japanese: 「ヒガシ」には、天満、いたち、桜、じきじん、みかさ、長柄かめのぼり、蒲生亀、今福の亀などがある。
English: In the 'Kita' area, there are some Uta called Tenman (the same as the one of 'Higashi'), Higashi, Hangane mawashi (spinning; the same as Itachi of 'Higashi), Yoshino, Ura, Kita, Shin bayashi (new music performed in festivals), Kuriage (literally, upward move), etc.
Japanese: 「キタ」には、天満（「ヒガシ」の天満と同じ）、東、はんがね回し（「ヒガシ」のいたちと同じ）、吉野、うら、北、新囃子、繰上げなどがある。
English: The music styles of 'Kita' tend to be traditional ones, but the groups in 'Higashi' often perform music which is relatively newly composed.
Japanese: どちらかというと、「キタ」は古くから伝わる曲、「ヒガシ」はそれにとどまらずに比較的新しく作られた曲も演奏していることが多い。
English: It is 'Shangiri' if you hear a sound like "chiki chin chiki chin chiki chin chiki chin ~" and "jiki jin jiki jin jiki jin jiki jin ~."
Japanese: "チキチンチキチンチキチンチキチン～""ジキジンジキジンジキジンジキジン～"と聴こえてくるのが「しゃんぎり」である。
English: Although the name origin is not clear yet, there are types of ohayashi (festival music) called 'Shangiri' in many parts of the nation.
Japanese: 呼称の由来は不明ではあるが、全国各地に「しゃぎり」というお囃子がある。
English: Also, at yose (vaudeville theater) and theaters, it is 'Shagiri (niban daiko [literally, the second drum])' too that is played when the waiting time and break time are over.
Japanese: また、寄席や芝居において、待ち時間や休憩時間が終わる際に演奏されるものも「しゃぎり（＝二番太鼓）」である。
English: Some older people take the view that 'Shangiri' comes from the corrupted form of 'Shagiri.'
Japanese: 古老のなかには、後者が訛って「しゃんぎり」になったという説を採用する人もいる。
English: Incidentally, the performance at the drawing danjiri in Senshu region consists only of this Shangiri (actual name is different).
Japanese: なお、泉州地域の地車曳行の際の演奏は、このしゃんぎり（そのような名称ではない）のみである。
English: The rhythm known as Ji shows that danjiri-bayashi used to be integrated with a festival car (float) called 'danjiri,' and it is played as if the danjiri was drawn together, with the tempo of the performance lifting and dropping.
Japanese: これは、地車囃子が「地車」という山車と一体化していた証拠となるもので、演奏のテンポを下げたり上げたりして、まるで地車を曳行しているかのような演奏がなされる。
English: Although 'Ichiriki' is mainly played for it, a type of music called 'Hashi' (bridge) is often inserted in the middle.
Japanese: 基本的に「一力」中心であるが、途中に「橋」という曲が挿入されることも多い。
English: The stick to hit the kodaiko is a little bit smaller than the one for oyadaiko, and some schools use sticks with flatly shaved bamboo.
Japanese: 子太鼓を叩くバチは、親太鼓のものの少し小さいものであるが、竹を平たく削ったバチを用いる流派もある。
English: Many schools play kodaiko in the same rhythms as beating the gongs but some schools play kodaiko in the same rhythms as beating the frame of gongs.
Japanese: 鉦と同じリズムの子太鼓演奏をする流派が多いが、鉦のフチ打ちと同じ演奏をする流派もある。
English: Oyadaiko have the most freedom (of musical expression) of these instruments.
Japanese: これらのなかで、もっとも自由な演奏（音楽表現）ができるのは親太鼓である。
English: This is because oyadaiko can create various sounds by hitting the skin, the wooden frame and the tacks, and also through a combination of these.
Japanese: 皮、木のフチ、そして鋲、さらにこれらを組み合わせると、さまざまな音となる。
English: The big drum is called 'oya' (parent) because the oyadaiko player is the center of this four-person group and has to play the role of conductor.
Japanese: 大太鼓を「親」と呼ぶのは、この４人一組の中心で、かつ指揮者の役割も果たさねばならないからである。
English: The danjiri-bayashi of Gamo and Imafuku areas and that of Nagae region used to perform competitively against one another at the Tenjin Festival; the former played at the precincts of the shrine, the same as the present day, and the latter played at the north side of the main shrine building.
Japanese: 天神祭において、現在と同じ境内で蒲生・今福地区の地車囃子が、本殿北側のあたりで長柄地区の地車囃子とが競演していた。
English: Sometime after the World War Ⅱ, Gamo and Imafuku areas came to have charge of the danjiri-bayashi hosted by Tenma ichiba (market) and Nagae region came to take charge of danjiri-bayashi organized by Osaka Municipal Central Wholesale Market.
Japanese: それが、戦後しばらくしてから、天満市場主宰の地車囃子を蒲生・今福地区が、大阪中央卸売市場主宰の地車囃子を長柄地区とがそれぞれ受け持つこととなった。
English: The former still performed at the same precincts of Osaka Tenman-gu Shrine but the latter came to dedicate their danjiri-bayashi on a sea bream ship for funatogyo (ritual to place divine spirits on the boat to cross the river; abandoned after about 1972).
Japanese: 前者が大阪天満宮境内にて、後者が船渡御の鯛船（※1972年ごろ一度廃止）にて地車囃子を奉納するようになった。
English: Even so, danjiri-bayashi of the Nagae region were sometimes dedicated at the precincts of Osaka Tenman-gu Shrine as a 'guest' by around the 40th year of the Showa Period.
Japanese: それでも、昭和40年代までは、境内において「ゲスト扱い」で長柄の地車囃子が奉納されることもあった。
English: There are differences between the two, such as the dance, drumstick-work, tempo and the sign at the turn of the music.
Japanese: 両者には、踊り、バチさばき、テンポ、曲の変わり目の合図（サイン）等に差異がある。
English: Generally, the Tenma-style which comes from 'Higashi' is the majority and Nagae-style from 'Kita' is the minority group.
Japanese: 一般に、「ヒガシ」の天満流が多数派で、「キタ」の長柄流が少数派とされている。
English: In the 'Nishi' region, however, there is a danjiri-bayashi whose style can't be seen in either 'Higashi' or 'Kita.'
Japanese: ところが、「ニシ」の地域には、「ヒガシ」にも「キタ」にもない地車囃子を演奏する流派がある。
English: And this 'Nishi' style has been passed down to not only the region in the west side of Tenman-gu Shrine, but the preservation societies, Ko and Ren in Kitakawachi District and a part of Nakakawachi District have acceded to the style.
Japanese: そしてこの「ニシ」の流派は、天満宮の西側の地域だけでなく、そのやり方を北河内でも継承している保存会、講・連があり、中河内の一部にも伝わっていた。
English: It is a type of music called 'Shikoro-bayashi,' and the parts where the players need to drum 'consciously' are longer than those of 'Higashi' and 'Kita.'
Japanese: 「しころ囃子」と呼ばれる曲で、「ヒガシ」「キタ」に比べて、意識的に打つ(叩く)必要のある部分が長い構成になっている。
English: As each style keeps up the traditions, including some groups that added newness into it, it is impossible to decide which is better.
Japanese: いずれの流派も伝統を守り、なかには新しさを加味したところもあり、優劣をつけることはできまい。
English: The overwhelming majority of danjiri-byahashi in Osaka City have inherited this 'Higashi' style.
Japanese: 大阪市内の地車囃子の圧倒的多数が、この「ヒガシ」の流儀を継承している。
English: This is apparently related to the dramatic decrease in numbers for 'Nagae-style,' no longer played up by the media since the dedication ritual on the sea bream ship was abandoned in 1972.
Japanese: これは、1972年以降、鯛船の廃止で「長柄流」がマスコミに取り上げられる回数が激減したことと無関係ではなかろう。
English: Higashi' features the performance which is played considerably uptempo from the beginning.
Japanese: 「ヒガシ」の特徴としては、最初からかなりのアップテンポで演奏される点が挙げられる。
English: When it comes to the last movement Shangiri, it is played at quite a speed, but the last "chiki chiki chin, kon" is played at a slow tempo.
Japanese: 最終楽章のしゃんぎりになると、相当な速度で打たれるが、最後の"チキチキチン、コン"はスローテンポとなる。
English: You can find the newness of 'Tenma-style' in the dance, such as mimicking dancers' fingers dragon's nails, and there are great numbers of preservation societies, Ko and Ren of danjiri-bayashi that mimic it.
Japanese: 指を龍の爪に模すなど、ここにも「天満流」の新しさがあるのだが、これを真似る地車囃子の保存会、講・連も圧倒的多数である。
English: Some preservation societies, Ko and Ren provide the highlight that two pairs of dancers dance in close and then distant formation.
Japanese: 二対の踊り手が離れたり近づいたりするところを見せ場としている保存会、講・連もある。
English: Even though there was opposition from Tenma ichiba ("Osaka Shunju" vol. 49), it can be said that it was an innovation for women to dance.
Japanese: さらに、天満市場からの反発はあった（『大阪春秋』49号）ものの、女性が踊る点においても革新的といえよう。
English: In addition, the uptempo performance of 'Higashi' is thought to be a typical example of the music of danjiri-bayashi becoming free from the restrictions of drawing danjiri.
Japanese: なお、「ヒガシ」のアップテンポな演奏こそが、曳行する地車の制約から解放された音楽の典型例とも考えられる。
English: This made it possible for festival music to be played in dashing-mode.
Japanese: 曳行のない祭囃子ゆえ、爆走モードの演奏もできるようになったのである。
English: The Ichiriki part starts at relatively slow tempo with the prospect of 'drawing speed' at the time danjiri had been drawn.
Japanese: 一力は、曳行時代の「走行速度」を念頭に置いているため、比較的ゆっくりとしたテンポで始まる。
English: Although the speed is still not changed at the Niriki part, the tempo goes up at Shangiri part; the last part of the Shangiri speeds up even more and the very last part "jiki jiki jikkon" stays uptempo as well.
Japanese: 二力でも変わらないが、しゃんぎりでテンポはアップし、最終楽章のしゃんぎりではさらにテンポを上げ、最後の"ジキジキジッコン"はアップテンポのままである。
English: The dance is called as danjiri odori (sometimes called 'tanuki odori [raccoon dog dance]' and 'Kitsune odori [fox dance]' too).
Japanese: 踊りは、地車踊りという（※「タヌキ踊り」「キツネ踊り」と呼ばれることもある）。
English: In the performance with oyadaiko, some players make acrobatic movements such as spinning around the sticks.
Japanese: 親太鼓の演奏では、バチを回転させるなどアクロバティックな動きをさせる人もいる。
English: Many preservation societies, Ko and Ren take the showy drumming ways (of Higashi-style) into their performances.
Japanese: この派手な叩き方をとり入れている（「ヒガシ」流の）保存会、講・連は少なくない。
English: Also, drumming kodaiko with flat bamboo sticks (or sticks that changed the shape of drum sticks) is quite characteristic of this style.
Japanese: また、子太鼓が竹製の細く平たいバチ（もしくはdrumスティックを変形させたバチ）で叩かれるのも、大きな特徴である。
English: Nishi' differs widely with 'Higashi' and 'Kita' in that "chiki chiki chin" is inserted between the 'Niriki' and 'Uta' part.
Japanese: 「ヒガシ」や「キタ」と大幅に異なるのは、「二力」と「ウタ」とのあいだに、"チキチキチン"が入るところである。
English: It can be checked on the homepage of the danjiri-bayashi of Sumiyoshi-jinja Shrine in Konohana Ward.
Japanese: これは、此花区の住吉神社の地車囃子ホームページで確認することができる。