nntsuzu/KFTT huggingface dataset:
English: Kururi somen (Chiba Prefecture): Used to be a major production area blessed with high-quality water and having a history of presenting its somen to the Edo bakufu.
Japanese: 久留里素麺（千葉県）…良質の水に恵まれ、江戸幕府にも献上された歴史を持つ一大産地であった。
English: Wajima somen (Ishikawa Prefecture): There is a saying that Okado somen was made by workmen who learned how to produce Wajima somen.
Japanese: 輪島素麺（石川県）…大門素麺は輪島素麺に勉強に行って発祥したと言い伝えがある。
English: Kawachi somen (Osaka Prefecture): Though flourished until the modern times, gradually declined according to the urbanization and the degradation of the environment.
Japanese: 河内素麺（大阪府）…近代に至るまで隆盛を極めたが、都市化や環境の劣化に伴って次第に衰退。
English: Developed around the Uozaki district, Nada gained a reputation as a leading production area in Kamigata during the Edo period.
Japanese: 魚崎地方を中心に発展し、江戸時代には上方の代表産地として名を馳せた。
English: Known as a celebratory foods are sea bream somen eaten around Oki no shima Island in Kyushu, grilled mackerel somen eaten in the Kohoku area (area north of Lake Biwa) around Nagahama City, Shiga Prefecture, and 'tai men' (literally meaning sea bream noodle) served in wedding banquettes in Hiroshima Prefecture.
Japanese: 祝食としては、壱岐島を中心とした九州で食べられる鯛素麺や滋賀県の長浜市を中心とした湖北地方で食べられる焼鯖素麺、広島県の婚礼に供される「鯛めん」が有名である。
English: Furthermore, there is a custom of eating somen called 'celebration noodles' for lunch in a celebration event in Temples of the Zen sect.
Japanese: 他に禅宗寺院では「祝麺」と呼んで祝い事の昼食に素麺を食べる習慣がある。
English: For taboo events, 'nyumen' is served in a wake meal or a religious ceremony in some areas.
Japanese: 忌み事としては、通夜ふるまいや法事の斎席で「にゅうめん」が出される地方が見られる。
English: The custom of offering somen on a tray used for serving as one of the Buddhist altar fittings in Urabon-e festival (a Festival of the Dead or Buddhist All Souls' Day, around the fifteenth of July or August, depending on local customs) and Ebisu ko (a fete in honor of Ebisu for the purpose of asking for good fortune) is observed nationwide.
Japanese: 盂蘭盆会の精霊膳やえびす講の供膳にそうめんを供する習慣は全国に見られる。
English: There is the custom of eating somen during Tanabata praying for exorcism and health of children in Sendai.
Japanese: 仙台などでは七夕に魔除けや子供の健康を願って素麺を食べる習慣がある。
English: This custom derives from a Chinese historical event when a child who died young became a ghost and spread diseases, people offered sakubei which the child loved before death, and then the disaster disappeared.
Japanese: これは、幼くして死んだ子供が幽鬼となって疫病を流行らせたので、生前好物だった索餅を供えて供養したところ災厄が治まったという中国の故事に由来している。
English: Fish somen which is fish paste and egg somen which is sweet made from egg are named because they have a shape similar to that of somen.
Japanese: 素麺に形が似ていることから名付けられている食品に、魚肉練り製品の魚素麺や卵を使った菓子の鶏卵素麺がある。
English: There are also squid somen or shredded raw squid and somen-like yam.
Japanese: 他に刺身のイカを千切りにしたイカソウメンやヤマノイモをソウメン風に仕立てたものなどもある。
English: Sometimes a bundle of somen includes a few colored noodles such as red and green, which is more popular in the case of cold noodles.
Japanese: 主にひやむぎの麺に入っているケースが多いが、赤や緑の彩色麺が素麺にも数本入っている場合もある。
English: This is because the noodle factory puts the colored noodles into the bundles of somen.
Japanese: これは、製麺所が素麺の麺束にこれらの彩色麺を混入しているためである。
English: This custom was common around Kanto area (Tokyo) until the late 1980's, but it became less popular in the 1990's and now a majority of somen is white only.
Japanese: この風習は1980年代後半までは関東地方（東京）などを中心見られたが、1990年代には縮小していき大多数が白一色の素麺になってしまった。
English: Fushimen is a byproduct of somen, which is a wound part formed at the time of hanging on rods and then cut off later.
Japanese: 節麺（ふしめん）は素麺を作る際の副産物で、棒で延ばすときに棒にかかる曲線部分を切り分けたものをいう。
English: In Banshu district of Hyogo Prefecture, it is called 'bachi' because it looks like bachi (plectrum) of shamisen.
Japanese: 兵庫県播州地方では、その形が三味線のバチに似ている事から「バチ」と言う。
English: Although it is made from the same ingredients as somen, because it is wide and the wound part is three-dimensional with a shape similar to conchiglie, it cannot be classified as somen according to the JAS standard.
Japanese: 材料は素麺と同じであるが、幅があり、曲がりの部分はパスタのコンキリエに少し似たような立体をしているので、JAS規格の素麺には当たらない。
English: Due to the thickness and width, it is still salty after boiling and the texture varies, which has a flavor different from somen.
Japanese: 太さがあるので、ゆでても塩分が残り、食感も違うので、素麺とは違う風味がある。
English: Somen (described "線麺" in Fuzhou) has been present around Fuzhou, China since no later than the early Ming period.
Japanese: 中国の福州周辺において素麺（福州では「線麺」と表記する）は少なくとも明初期から存在していた。
English: It is also one of the most popular dried noodles in other areas, which is produced in factories all over China and sold.
Japanese: 他の地域でも一般的な乾麺の一つで、中国各地の工場で生産が行われ販売されている。
English: There are machine-made noodles called gongmian.
Japanese: 機械麺については「宮麺（コンミエン、gōngmiàn）」と呼ばれるものがある。
English: There is a custom of eating noodles as a feast of hare and ke (sacred-profane dichotomy) in some areas, and somen is sometimes served in or after a celebratory event such as a wedding ceremony.
Japanese: それに「ハレとケ」の食物として麺類が用いられる風習が一部にあり、結婚式等の祝い事の席やそれが終わった後に素麺が振舞われる事がある。
English: Korozen no goho is a word in the glossary of Japanese clothes meaning an upper garment which constitutes the traditional formal court dress worn by an emperor at a formal ceremony.
Japanese: 黄櫨染御袍（こうろぜんのごほう）とは、天皇が重要な儀式の際に着用する束帯装束の和服用語集のことである。
English: The name is derived from the color in which the fabric is dyed, and 'korozen' is yellow mixed with red, being close to ocher of today.
Japanese: この名前は染めてある色名からであり、「黄櫨染」とは黄色の中に赤を混ぜた色で今の黄土色に近い色のことである。
English: Incidentally, in the Sui Dynasty and after in China, yellow had been a noble color to be used for a military uniform (which was equivalent to the everyday clothes in the Tang Dynasty, and to the Japanese clothes 'chofuku' worn by officials when attending Court, forming the base for 'sokutai' which is the traditional formal Court dress) and in the Tang Dynasty, shaoho was designated as solely for an emperor's use.
Japanese: なお中国では隋以降、戎服（唐の常服。日本の朝服に相当するもの。束帯はこれが和様化したもの）では黄色が尊い色とされ、唐の時代になって、赭黄袍は皇帝専用となった。
English: Korozen was called 'absolutely forbidden color' - a color that no one but an emperor could use.
Japanese: 黄櫨染は、天皇以外決して使用することができない色で「絶対禁色」と呼ばれた。
English: This Korozen no goho garment has a hakogata-mon (rectangular-shaped pattern) of paulownia, bamboo, a phoenix and a kylin.
Japanese: この黄櫨染の袍には「キリ」「竹」「鳳凰」「麒麟」の4種類の文様が記されていて、長方形の筥形文となっている。
English: At the present time still, it is used in the occasions such as the Ceremony of the Seiden State Hall, which is the most important of the Enthronement Ceremonies and a festival of the Imperial Court called Shihohai (a Shinto ceremony held on New Year's Day in which the Emperor pays respect to the deities in all quarters).
Japanese: 現代においても即位の礼の中での最重要の儀式「正殿の儀」や宮中祭祀の四方拝等で着用されている。
English: Enka, or 演歌, is one of the categories of Japanese popular music, which is considered to represent entertaining songs based on feeling and pathos that are unique to Japanese people.
Japanese: 演歌（えんか）とは、日本の大衆音楽のジャンルのひとつであり、日本人独特の感覚や情念にもとづく娯楽的な歌曲の分類であるとされている。
English: Because of different singing styles of each singer and the tendency of lyrics, enka is also written as '艶歌' or '怨歌,' which are pronounced the same as 演歌.
Japanese: 歌手独自の歌唱法や歌詞の性向から、同じ音韻である「艶歌」や「怨歌」の字を当てることもある。
English: Enka songs usually use the pentatonic scale that has been played in traditional Japanese folk songs.
Japanese: 演歌が用いる音階の多くは日本古来の民謡等で歌われてきた五音音階（ペンタトニック・スケール）が用いられることが多い。
English: The scale is also called "yona nuki" scale, meaning the scale omitting yon (meaning four in Japanese) and nana (meaning seven in Japanese), because the pentatonic scale uses five notes by removing fourth and seventh notes from the Western scale of seven notes and using the fifth and sixth notes of the Western scale as the fourth and fifth notes respectively.
Japanese: すなわち、西洋音楽の7音階から第4音と第7音を外し、第5音と第6音をそれぞれ第4音と第5音にする五音音階を使用することから、4と7を抜くヨナ抜き音階と呼ばれる音階法である。
English: Masao KOGA (古賀正男, but later renamed 古賀政男) established this scale in "Koga Melodies," and since then the scale has been peculiar to the enka music.
Japanese: この音階法は古賀正男、後の古賀政男による古賀メロディとして定着した、以降演歌独特の音階となる。
English: At first, the Koga Melodies became very popular, sung with a technique called crooning based on the strict interpretation of the vocal technique of Ichiro FUJIYAMA (vocalist Takeo MASUNAGA), an orthodox classical singer who graduated from the Tokyo University of the Arts.
Japanese: 古賀メロディーについては、初期、クラシックの正統派・東京芸大出身の藤山一郎（声楽家増永丈夫）の声楽技術を正統に解釈したクルーン唱法で一世を風靡した。
English: Later on, however, the Melodies increasingly became the expression of techniques of Japanese music, and appearance of Hibari MISORA in the 1960s elevated Koga to a position of enka master.
Japanese: しかし、やがてそのメロディーは邦楽的技巧表現の傾向を強め、1960年代に美空ひばりを得ることによって演歌の巨匠としてその地位を確立した。
English: Enka singers sang the Koga Melodies in their own ways with vibrato, exerting their individuality.
Japanese: 小節を利かしながら、それぞれの個性で崩しながら演歌歌手たちが古賀メロディーを個性的に歌った。
English: One of the characteristics of enka vocal style is that a distinctive technique called 'kobushi' (a warble) is heavily used.
Japanese: 歌唱法の特徴としては、「小節（こぶし）」と呼ばれる独特の歌唱法が多用される。
English: In addition, enka songs are almost never sung without deep and skillful 'vibrato' employed (e.g., in the case of the sound lasting for over two bars, vibrato is started at the second bar).
Japanese: 又、必ずと言ってよいほど、「ビブラート」を深く、巧妙に入れる（例えば2小節以上伸ばす所では2小節目から入れる、等）。
English: These two characteristics can be said to be indispensable for the enka music, but they are often confused with each other, although they are essentially different techniques.
Japanese: この2つは演歌には不可欠といって良いが、本来別のものにもかかわらず、混同される場合も多い。
English: Enka singers (especially female singers) usually wear Japanese kimonos when singing, placing importance on keeping the Japanese look and feel.
Japanese: 演歌歌手（とくに女性）は、日本的なイメージを大切にするため、歌唱時に和服を着用することが多い。
English: Many of the lyrics describe heartbreaking love and tragic love between a man and a woman, centering on the often-used phrases such as 'sea, sake, tears, women, rain, north country, snow, and parting.'
Japanese: 歌詞の内容は“海・酒・涙・女・雨・北国・雪・別れ”がよく取り上げられ、これらのフレーズを中心に男女間の切ない愛や悲恋などを歌ったものが多い。
English: The examples include 'Kanashii Sake' (Sorrowful Sake) by Hibari MISORA, 'Osaka Shigure' (Autumn Shower in Osaka) by Harumi MIYAKO, 'Sazanka no Yado' (Inn of Camellia Sasanqua) by Eisaku OKAWA, and 'Yuki Guni' (Snow Country) by Ikuzo YOSHI.
Japanese: 美空ひばり「悲しい酒」、都はるみ「大阪しぐれ」、大川栄策「さざんかの宿」、吉幾三「雪國」など。
English: Typical enka songs having those features are sometimes called 'doenka' (quintessential enka).
Japanese: 上記のような特徴を兼ね備えた、いかにも演歌らしい演歌に対して、「ド演歌」（ど演歌）といった呼称が使われることがある。
English: There is also a genre named 'mood songs' that is specific to affection between a man and a woman and has more urban atmosphere than enka.
Japanese: また、男女の情愛に特化されたジャンルで、演歌よりも都会的なムード歌謡というものがある。
English: Even with the characteristics described above, however, it is difficult to clearly distinguish the enka from other genres (such as kayo kyoku - Japanese popular songs with ballads).
Japanese: とはいえ上記の特徴をもってしても、演歌とそれ以外のジャンル（歌謡曲など）を明確に分類することは難しい。
English: For example, Yosuke YAMASHITA, a jazz pianist, is said to have said "enka and idol songs sound just the same," meaning "the two genres cannot be distinguished in terms of music theory."
Japanese: たとえばジャズピアニストの山下洋輔は、“音楽理論的に両者を分類することができない”の意で「演歌もアイドル歌謡も同じにしか聞こえない」と述べていたといわれる。
English: Stories of happy married couples: 'Meoto Shunju' (Married Couple in Spring and Autumn) by Hideo MURATA, 'Meoto Bune' (The Boat of Husband and Wife) by Yuko MIKASA, 'Nirinso' (Soft Windflower) by Miyuki KAWANAKA, etc.
Japanese: 幸せ夫婦物…村田英雄「夫婦春秋」、三笠優子「夫婦舟」、川中美幸「二輪草」など。
English: Stories of mothers: 'Ganpeki no Haha Ryukoka' (A Hit Song about Mother at the Pier) by Akiko KIKUCHI and Yuriko FUTABA, 'Hanamachi no Haha' (Flower Town [Geisha Quarters] Mother) by Tatsue KANEDA, etc.
Japanese: 母物…菊池章子・二葉百合子「岸壁の母流行歌」、金田たつえ「花街の母」など。
English: Stories of families other than the above: 'Kyodai Bune' (Brothers' Ship) by Ichiro TOBA, 'Musume Yo (single)' (My Daughter) by Gannosuke ASHIYA, 'Mago (composed by Itsuro OIZUMI)' (Grandchild) by Itsuro OIZUMI, etc.
Japanese: その他家族物…鳥羽一郎「兄弟船」、芦屋雁之助「娘よ(シングル)」、大泉逸郎「孫(大泉逸郎の曲)」など。
English: Stories of life and spirit: 'Jinsei Gekijo' (Life as a Theater) and 'Hana to Ryu' (Flowers and Dragons) by Hideo MURATA, 'Yama' (Mountain) and 'Kawa' (River) by Saburo KITAJIMA, 'Kawachi Otoko Bushi' (Kawachi Men's Song) by Mitsuko NAKAMURA, etc.
Japanese: 人生物、心意気物…村田英雄「人生劇場」、「花と竜」、北島三郎「山」、「川」、中村美律子「河内おとこ節」など。
English: Stories of wandering gamblers: 'Tabi Sugata Sannin Otoko' (Three Men on Their Journey) by Dick MINE, 'Itako Gasa' (Conical Straw Hat in Itako Area) by Yukio HASHI, 'Hakone Hachiri no Hanjiro' (Hanjiro on the steep Hakone Road) by Kiyoshi HIKAWA, etc.
Japanese: 股旅物…ディック・ミネ「旅姿三人男」、橋幸夫「潮来笠」、氷川きよし「箱根八里の半次郎」など。
English: Stories of chivalrous men: 'Kyodai Jingi' (Duty of Brotherhood) by Saburo KITAJIMA, 'Karajishi Botan' (Lion and Peony) by Ken TAKAKURA, etc. (Songs about chivalrous men are similar to those about wandering gamblers, but the former usually have heavy melodies, while the latter are lighter.)
Japanese: 任侠物…北島三郎「兄弟仁義」、高倉健「唐獅子牡丹」など（股旅物に近いが、股旅物は軽快、任侠物は重厚な曲調が多い）。
English: Theatrical and dramatic stories: 'Yamauchi Kazutoyo to Tsuma Chiyo' (Kazutoyo YAMAUCHI and his wife Chiyo), 'Shiko no Osho' (Supreme King), and 'Byakkotai' (Byakkotai Suicide Corps) by Rumi YAMAGUCHI, etc.
Japanese: 劇場型ドラマチック物…山口瑠美「山内一豊と妻千代」、「至高の王将」、「白虎隊」など。
English: Stories about nostalgia: 'Kaerokana' (Should I Go Home?) by Saburo KITAJIMA, 'Kitaguni no Haru' (Spring in the North Country) and 'Bokyo Sakaba' (Nostalgic Bar) by Masao SEN, etc.
Japanese: ：望郷物…北島三郎「帰ろかな」、千昌夫「北国の春」、「望郷酒場」など。
English: This song describes the "north bar alley" in the eyes of the lyricist in a detached way without any enka-specific scenes, making a novel impression and winning the Japan Record Award.
Japanese: 作詞家が見た“北の酒場通”の様子がポンと描かれただけで、演歌特有の情景が全く入っていないのが新鮮に受け取られレコード大賞を受賞した。
English: It is sometimes said 'Enka is the heart of Japanese people,' but it should be noted that the yona nuki scale mentioned above did not originate from traditional Japanese music.
Japanese: しばしば「演歌は日本人の心である」といったような言及がなされることがあるが、前述のヨナ抜き音階は本来の日本の伝統音楽にみられる音階ではないことに注意を要する。
English: Masao KOGA who played a critical role in the development of this genre produced works reflecting the influence of ethnic music around the world, including music in Korea where he spent his boyhood, Roma music and western music.
Japanese: またこのジャンルの発展に決定的な役割を果たした古賀政男は、少年時代を過ごした朝鮮をはじめロマなど世界各地の民族音楽や西洋音楽からの影響も作品に盛り込んでいる。
English: Enka has been accepted by the Japanese public and formed a trend of music, but it is also true that many people are disgusted by its musical expression.
Japanese: 演歌は日本の大衆に受け容れられ、流行音楽の一つの潮流を作り出してきたが、一方でその独自の音楽表現に嫌悪を示す者も少なくないのもまた事実である。
English: Noriko AWAYA, a singer who has made a huge impact on the world of Japanese popular music, professed her dislike of enka music, so much so that she even advocated 'anti-enka campaign.'
Japanese: 日本の歌謡界に大きな影響力のあった歌手の淡谷のり子は演歌嫌いを公言し、「演歌撲滅運動」なるものまで提唱したほどだった。
English: Koichi SUGIYAMA, a composer, also writes in his book that it 'brought about the dark age in Japanese music culture.'
Japanese: 作曲家のすぎやまこういちも「日本の音楽文化に暗黒時代を築いた」と自著に記している。
English: Enka was originally the abbreviation of 'enzetsuka' (speech songs), and songs referred to as 'enka' were the products of movement for liberty and people's rights.
Japanese: もともと「演歌」と称される歌は、演説歌の略語であり、自由民権運動の産物だった。
English: In other words, enka songs were political satire, and the name 'enka' is said to have begun to be used at the end of the 19th century when the crackdown on speech was intensified and people began to sing songs instead of making speeches.
Japanese: つまり、政治を風刺する歌で、演説に関する取締りが厳しくなった19世紀末に、演説の代わりに歌を歌うようになったのが「演歌」という名称のはじまりといわれる。
English: Around that time, 'Oppekepe-bushi' (Oppekepe Song) was the most popular, followed by 'Yattsukero-bushi' (Defeat Them Song), 'Genkotsu-bushi' (Clenched Fist Song), and others.
Japanese: この頃流行ったのが「オッペケペー節」を筆頭に「ヤッツケロー節」「ゲンコツ節」等である。
English: There were other political satire songs, but thereafter, the name 'enka' became common.
Japanese: 他にも政治を風刺する歌はあったが、これ以後、「演歌」という名称が定着する。
English: As enka singers also began to sing social satire songs on sentiment after the late Meiji period, enka songs gradually went beyond the substitute for speech to enter the music sector.
Japanese: 明治後半から、心情を主題にした社会風刺的な歌が演歌師によって歌われるようにもなり、次第に演説代用から音楽分野へとシフトするようになった。
English: This type of song, however, is not usually included in 'enka,' but is called 'hayari uta' (rage song).
Japanese: ただしこのような歌は「はやり唄」と呼ばれ、通常「演歌」には入れない。
English: A new age dawned in the Showa period when foreign record companies established production companies in Japan and a new recording system called electric recording was introduced.
Japanese: 昭和に入ると、外資系レコード会社が日本に製造会社を作り、電気吹込みという新録音システムも導入され新しい時代を迎えた。
English: Appearance of Chiyako SATO and Teiichi FUTAMURA in 1928 and Ichiro FUJIYAMA in 1931, however, made a big genre called 'hit songs' dominate virtually the entire popular music world and removed 'enka' from the music industry for a while.
Japanese: しかし、昭和3（1928）年の佐藤千夜子や二村定一、昭和6年の藤山一郎の登場により「流行歌」と呼ばれる一大分野が大衆音楽の世界をほぼ独占し、しばらく「演歌」は音楽界から退場することになる。
English: Although popular music around that time is sometimes categorized as 'enka,' it intrinsically has unique musical characteristics harmoniously combining all of musical elements of enka, kayo kyoku, and vocal music, so it cannot be identical with enka music.
Japanese: なおこの時期の大衆音楽をも「演歌」扱いすることがあるが、本来的には演歌・歌謡曲・声楽曲全ての音楽性が渾然一体となった独特の音楽性を持っており、同一視出来ない。
English: However, 'Kira no Nikichi' composed by the aforementioned Masao KOGA and Bin UEHARA, a popular singer featuring a vocal style that uses 'kobushi,' were influenced by rokyoku performers such as Torazo HIROSAWA.
Japanese: ただし上述した古賀政男の作品「吉良の仁吉」、あるいは「こぶし」を利かせた唱法を使った人気歌手上原敏などは、広沢虎造ら浪曲師の影響を受けている。
English: Because some authors and singers surely belong to both genres as shown by these examples and today's 'enka' music is based on musical characteristics and techniques developed in this 'hit songs' era, the period is indispensable for describing enka music.
Japanese: これらの例からも、作者や歌手が一部重複しているのは事実であり、この「流行歌」時代に育まれた音楽性や技巧を基にして現在の「演歌」が生まれているので、演歌を語る上で無視は出来ない時代である。
English: Although 'hit songs' continued to lead the Japanese popular music after the war, because of the rise of a new generation and the retirement of Ichiro FUJIYAMA in 1953, their musical characteristics began to crumble and songs similar to the current enka gradually began to appear.
Japanese: 戦後も日本の大衆音楽は「流行歌」によっていたが、新世代の台頭と1953年の藤山一郎の引退により音楽性が揺らぎ始め、次第に今の演歌に近い曲が出現し始めた。
English: Around that time, Hibari MISORA, who had already debuted with boogie-woogie as a hit song singer, changed her musical characteristics, nostalgia singer Hachiro KASUGA and Michiya MIHASHI debuted with King Records, Koji TSURUTA presenting himself as a chivalrous star debuted with Victor Records, Haruo MINAMI, the former rokyoku performer, and Yujiro ISHIHARA, the postwar superstar debuted with Teichiku Records, and Hideo MURATA debuted with Columbia Records, moving out of the world of rokyoku as Minami.
Japanese: この時期既にブギウギで流行歌歌手としてデビューしていた美空ひばりも音楽性をシフトさせ、キングレコードから望郷歌謡の春日八郎、三橋美智也、ビクターレコードから任侠路線のスター鶴田浩二、テイチクレコードから浪曲出身の三波春夫、戦後の大スター石原裕次郎、コロムビアレコードからは三波と同じく浪曲界より村田英雄がデビュー。
English: Songs with a style which is very different in character from that of earlier 'hit songs' and similar to today's enka were developed based on traditional folk songs and rokyoku.
Japanese: 民謡や浪曲などをベースにし、それまでの「流行歌」とはかなり質の異なる現在の演歌に近い作風となった。
English: Otomi-san,' 'Wakare no Ippon Sugi' (Farewell One Cedar), 'Aishu Ressha' (Sorrowful Train), 'Onna Sendo Uta' (Female Waterman Song), 'Kojo' (Old Castle), 'Chanchiki Okesa' (Okesa [a folk song of Niigata] with Chanchiki [gong]), 'Funakata San Yo' (Hey Sailor), 'Karatachi Nikki' (Trifoliate Orange Diary), 'Jinsei Gekijo,' etc. became hits around that time.
Japanese: この時期のヒット曲に「お富さん」「別れの一本杉」「哀愁列車」「おんな船頭歌」「古城」「チャンチキおけさ」「船方さんよ」「からたち日記」「人生劇場」など。
English: The independence of Nippon Crown Co., Ltd. as a record company that specializes in enka music in 1963 and arrival of various genre of music helped establish many music genres, leading the 'hit songs' to disappear.
Japanese: 1963年、演歌専門のレコード会社・日本クラウンの独立とさまざまな音楽の流入により「流行歌」が消滅し、多数の音楽分野が成立した。
English: Among such genres, songs based on yona nuki scale and kobushi came to be called 'enka.'
Japanese: その中で、ヨナ抜き音階や小節を用いたものが「演歌」と呼称されるようになったのである。
English: Nominally this marked the revival of 'enka' as a genre which had been discontinued in the Showa prewar period, but the enka songs completely lacked social satirical elements as conventional enka songs originated in enzetsuka had been passed on to the folk songs.
Japanese: 昭和戦前に途絶した「演歌」分野の再来であるが、演説歌を起源とする旧来の演歌は、フォークソングに引き継がれ、社会風刺的要素は全くなく、名称だけの復活となる。
English: (It is also thought that kayo kyoku songs using yona nuki scale and kobushi were given the name 'enka' after enzetsuka came to be called 'folk' instead of enka.)
Japanese: （演説歌が「フォーク」と呼称されるようになり、演歌と呼ばれなくなったことで、ヨナ抜き音階や小節を用いた歌謡曲が「演歌」と呼称されるようになったとの見方もある。）
English: Movie star Ken TAKAKURA debuted as a singer around that time, and Saburo KITAJIMA, Yukio HASHI, Harumi MIYAKO, Mina AOE, Kiyoko SUIZENJI, Masao SEN, Shinichi MORI, Keiko FUJI, Sachiko KOBAYASHI (debuted when she was only 10 years old), and comic band-turned groups including Shiro MIYA and Pinkara Trio and Tonosama Kings also emerged.
Japanese: この時期映画スターの高倉健も歌手デビュー、北島三郎、橋幸夫、都はるみ、青江三奈、水前寺清子、千昌夫、森進一、藤圭子、小林幸子（わずか10歳でデビュー）コミックバンド派生の宮史郎とぴんからトリオ、殿さまキングスなどが登場した。
English: Composers, such as Masao KOGA who switched from hit songs, Tadashi YOSHIDA, Kosho INOMATA, Toru FUNAMURA, Shosuke ICHIKAWA, Minoru ENDO who had been a strolling singer, and Masaaki HIRAO converting from rockabilly, and lyricists, such as Rei NAKANISHI, Tetsuro HOSHINO, Tokiko IWATANI, Yoko YAMAGUCHI, and Kohan KAWAUCHI, also appeared.
Japanese: 作曲家は流行歌から転身した古賀政男にくわえ、吉田正、猪俣公章、船村徹、市川昭介、流しから転身した遠藤実、ロカビリーから転身した平尾昌晃が登場、作詞家ではなかにし礼、星野哲郎、岩谷時子、山口洋子、川内康範らが登場。
English: Osho (music)' (King), 'Mina no Shu' (Everyone), 'Itako Gasa,' '365 Ho no March' (The March of 365 Steps), 'Hokkiko' (Return to the North), 'Minatomachi Blues' (Harbourtown Blues), 'Ikebukuro no Yoru' (One Night at Ikebukuro), 'Yawara (music)' (Judo), 'Kanashii Sake,' 'Hakodate no Onna' (Lady of Hakodate), 'Kyodai Jingi,' 'Kaerokana,' 'Yanagase Blues,' 'Isezakicho Blues,' 'Hoshikage no Waltz' (Waltz of Starry Night), and other songs became hits, and enka music, supported by young and old, reached an unprecedented peak.
Japanese: 「王将(楽曲)」「皆の衆」「潮来笠」「三百六十五歩のマーチ」「北帰行」「港町ブルース」「池袋の夜」「柔(楽曲)」「悲しい酒」「函館の女」「兄弟仁義」「帰ろかな」「柳ヶ瀬ブルース」「伊勢佐木町ブルース」「星影のワルツ」などがヒットし、老若男女から支持され演歌は空前の全盛期を迎える。
English: The popularity was split between enka and western music-oriented kayo kyoku (typically sung by singers in Watanabe Entertainment Co., Ltd.).
Japanese: （ワタナベエンターテインメント所属の歌手に代表される）洋楽指向の歌謡曲と人気を二分した。
English: There is no clear line between enka and kayo kyoku, and some say the difference depends on whether a singer (and record company, etc.) says 'I am an enka singer.'
Japanese: ただし演歌と歌謡曲との間に明確な分岐ラインが存在するわけではなく、むしろ歌手（およびレコード会社など）が「自分は演歌歌手」と称するかどうかが分かれ目と見る向きもある。
English: For example, although Munetaka INOUE and his Sharp Five sang a doenka-bushi song titled Tabigarasu Rock (Wanderer's Rock) at a time of group sounds, they are often thought not to be enka singers.
Japanese: 例えばグループサウンズ時代、ど演歌節の旅がらすロックを歌った井上宗孝とシャープファイブは演歌歌手には含まれないと見る向きが多い｡
English: In the 1970s, Hiroshi ITSUKI, Aki YASHIRO, Masako MORI, Sayuri ISHIKAWA, and Takashi HOSOKAWA appeared.
Japanese: 1970年代に入ると五木ひろし、八代亜紀、森昌子、石川さゆり、細川たかしなどが登場。
English: Meanwhile collaboration between enka and other genres began, including Shinichi MORI's receiving the Japan Record Award in 1974 for 'Erimo Misaki (Shinichi MORI)' (Cape Erimo) composed by a folk singer Takuro YOSHIDA.
Japanese: 一方で1974年には森進一がフォーク歌手の吉田拓郎作の「襟裳岬(森進一)」でレコード大賞を受賞するなど演歌と他のジャンルとのコラボレーションがはじまった。
English: Since then, songs which are difficult to divide into enka and other music genres have appeared.
Japanese: 以後演歌かその他の音楽ジャンルか分別の難しい曲も登場することとなる。
English: As a karaoke boom started among middle-aged and elderly people from the late 1970s to the 1980s, enka singers who were conscious of easy songs to sing in karaoke, such as Takashi HOSOKAWA, gained popularity.
Japanese: 1970年代後半から80年代にかけて中高年の間でカラオケブームが起こり、細川たかしのようにカラオケの歌いやすさを意識した演歌歌手が台頭した。
English: Since the mid-1980s, there has been a growing divergence in the musical tastes of young people those of middle-aged and elderly people.
Japanese: 1980年代半ば以降、若者と中高年の聞く歌がさらに乖離していく傾向が強まっていった。