nntsuzu/KFTT huggingface dataset:
English: It is a tradition to make small sounds when shifting the chasen from one hand to the other, putting it on the rim of the tea bowl, while moving it upward and downward repeatedly.
Japanese: 茶筅を茶碗の縁において持ち替えながら上下を繰り返すが、このとき軽く音を立てる習いになっている。
English: This custom is said to have originated from the Shingon Esoteric Buddhism's rite of water-pouring and to have the meaning of purification.
Japanese: これは真言密教の灑水（しゃすい）の礼に由来した浄めの意味があるとされる。
English: The chasen, among other tea utensils, cannot be replaced by anything, and making this artifact requires the best craftsmanship and all one's energy.
Japanese: 茶筅は数ある茶道具の中でも代替の効かないもので、技術の粋と精魂とを込めて作られる工芸品である。
English: It is, however, naturally an expendable item because of its usage, and might well be used once then disposed of.
Japanese: しかしその用途から必然的に消耗品であり、本来ならば1回使い捨てである。
English: Therefore, masters of tea ceremony customarily feed the used chasen to the flames to show their gratitude, and this service is called chasen kuyo in the same manner as hari kuyo (memorial service for dull and broken needles) and fude kuyo (memorial service for used brushes).
Japanese: そこで使い終えた茶筅を焚き上げて感謝の意を示すのが茶人の習いとなっており、針供養、筆供養などと同様に茶筅供養と呼ばれている。
English: Although the mound for used chasen, built for this service, is found throughout the country today, making the mound is thought to be a relatively new custom that became widespread from the Taisho to Showa periods.
Japanese: この目的で建立されるのが茶筅塚で、現在では全国各地に見られるが、これは大正から昭和にかけて広まった比較的新しい習慣らしい。
English: Chashaku (tea scoop) is one of the tea ceremony utensils used for brewing tea (particularly, maccha, or green powdered tea).
Japanese: 茶杓（ちゃしゃく、chashaku、teascoop）は、緑茶（特に抹茶）を点てるのに使用する茶道の道具のひとつ。
English: Usually, Chashaku is kept in a storage tube, on which a 'poetic name' (a unique name given to the storage tube) is inscribed.
Japanese: 普段は筒に収められており、この筒に「銘」（その茶杓に付けられた固有の名前）を記す。
English: In ancient times, every time when a tea ceremony or a tea party was convened, Chashaku were freshly made without being stored, so there is only a handful of preserved Chashaku from the ancient times.
Japanese: 古くは茶事・茶会のたびに作ることがなされており,そのため保存しておく習慣がなく、古い時代のものはあまり残されてはいない。
English: Around the time when the tea drinking custom was introduced to Japan for the first time, a medicine spoon was used, which was made of ivory or turtle shells.
Japanese: 喫茶がつたわった当初は、薬匙が使われていたため象牙や鼈甲を素材としたものが使われていた。
English: In general, nigatake bamboo (giant bamboo) species, particularly Sarashidake (bleached bamboo) (also referred to as Shirotake, or white bamboo), are widely used.
Japanese: 一般的には苦竹科の竹がおもに使われ、中でも晒竹(白竹ともいう）を利用することが多い。
English: Other materials include a soot-colored bamboo (susudake), which was a member of the ceiling of a fireplace or a roof-ceiling that had been smoked for a long time, and wood of different trees.
Japanese: ほかにも囲炉裏の天井部分や屋根の部材として長年燻された竹（煤竹）や、樹木が用いられることもある。
English: Jicchiku is an underground stem of bamboo that appears above the ground because it can no longer grow underground owing to obstacles such as bedrock, and characterized by its single trunk and a deep "hi" (Usually, "hi" refers to a pipe, but in tea ceremony, terminology "hi" refers to a deep groove in a bamboo trunk, where the depth increased thanks to bending, and vertical curvature).
Japanese: これは地下茎が岩盤などの障害によりそれ以上延びることができずに地上に現れるもので、枝が一本で樋（ひ）が深い（実際のひとはパイプであるが、茶道の場合のひは曲げにより増した溝深さと縦屈曲）のが特徴である。
English: The part used for spooning green powdered tea (called kaisaki, or a paddle tip or bowl) is oval in shape with the width of about 1 cm and the length of about 2 cm, and the edge of one side (the surface skin side, if bamboo is used) is bent upward.
Japanese: 茶を掬う部分（櫂先という）は幅1cm、長さ2cmほどの楕円形で、一方の辺（竹の場合は表皮側）を曲げた形状をしている。
English: Each part of Chashaku has its own name (it is called midokoro), with the top end section being called tsuyu (when the curved part is considered top), followed by kaisaki, magejiku, chadomari, fushi-ue, fushi, ottori, and kiridome at the bottom.
Japanese: それぞれ茶杓には名称（これを見所という）があり、枉げてある部分を上部とした場合、先端部分が露、下に向かって櫂先、枉げ軸、茶溜まり、節上、節、おっとり、切り止めと呼ばれる。
English: The location of fushi varies with the three styles: fushi-nashi, which does not have any knots, for the Shin style; tome-bushi, which has a knot at the bottommost part, for the Gyo style; and naka-bushi, which has a knot at the middle point of Chashaku or sometimes at an upper or lower location than the middle point, for the So style.
Japanese: それぞれ無節(節なしと読む)、止め節(節が切り止め部分にある)、中節(節が茶杓の中間に位置するものや、それより上にあるもの、下にくるものがある）と節の位置が変わる。
English: As for the shape of kaisaki, a different rule is adopted by each school of tea ceremony, with shapes being roughly divided into the following categories: oval, straight line, a shape like the edge of a Japanese sword, a shape like tokin (a hood), hiramaru (flat round), leaf-shaped, and a bulb.
Japanese: 櫂先にも茶道各流派により形状の決まり事があるが、おおまかに丸形、一文字形、剣先形、兜巾形、平丸形、葉形、宝珠形と分類される。
English: "Ryugi" represents groups of people in Japanese performing arts and martial arts, each formed based on differences from other groups in techniques, approaches, purposes of expression, interpretation of arts to be expressed and so forth in one field of the arts.
Japanese: 日本の芸能や武術などにおいて、ひとつの分野について他との技術、手法、心構え、表現の目的、表現にあたっての解釈などの差異を理由として形成された集団。
English: Basically, since ryugi is established in the iemoto system in arts (the system of licensing the teaching of a traditional Japanese art), refer to the articles relevant to the iemoto system for information about fields of arts which include ryugi.
Japanese: 基本的に、流儀は芸道における家元制度によって形成されるものであるので、それが存在する分野などについてはこれらの項目を参照されたい。
English: To put it simply, ryugi is not one person's techniques for doing a certain thing (such as how to fight against enemies and how to perform a play) which last only in his lifetime, but fellowship in which a group of people traditionally share techniques based on a certain art theory.
Japanese: 流儀とは、一言でいえば、あるものをどう行うか（敵とどう戦うか、ある戯曲をどう演じるか）ということについて個人の一代の技能でなく、ある一定の技術論に基づく技術が、集団的、伝統的に共有されている技能共同体を指す。
English: For example, in case of Noh, schools have differences in music, songs used in dramas, interpretation of dramas, tones and ideas for dances, selection of costumes, and so on.
Japanese: たとえば能であれば、所縁曲の相違、使用する謡曲の相違、戯曲に対する解釈の相違、舞の調子や工夫の相違、装束の選びかたの相違などがあげられる。
English: As understood from this, in the case of Noh, all of the Noh schools share the art of Noh while they differ in techniques for performing Noh dramas, from which each ryugi can be said to originate.
Japanese: これからもわかるように、能ならば能という対象はどの流儀にも共通するのに対して、それにいかに演ずるかの技術が異なるところに流儀というものの源流があるといってよい。
English: Such a trend can be observed in all fields of art and techniques in all countries.
Japanese: その点については芸術や技術的なすべての分野について洋の東西を問わず、こうした現象は見られるものである。
English: Ryugi is unique in that the differences from other schools are fixed to some degree and handed down as traditions within the group, while, for example, in western classical music of modern age and thereafter, differences in interpretation of music are considered to be only "personal".
Japanese: 例えば近代以降のクラシック音楽ならば「個人的な解釈の違い」となるべきところを、集団で、伝統としてある程度、固定化して引継いでゆくところに流儀というものの特異性があるといっていい。
English: One is uniformity in the art style of each ryugi and the other is existence of the group of people who actually preserve and carry on the style.
Japanese: 一はその芸系の同一性であり、一はこれを実質的に保存し受継いでゆくための集団としての存在である。
English: Iemoto (the head family of a school) exists as an authority which should monitor both the former, the artistic aspect, and the latter, the institutional aspect, in order to ensure that both may last long.
Japanese: そして、前者の技芸的側面と、後者の制度的側面をともに管理し、その永続を保障するべき機関として家元というものが存在する。
English: Therefore, iemoto or an entity equivalent thereto (such as organizations like shokubunkai (gathering of a school's occupational branch family)) is indispensable for the ryugi system.
Japanese: ゆえに流儀という制度には家元もしくはそれに類する存在（たとえば職分会等の機関）が絶対に必要である。
English: Anyone that invents novel and remarkable techniques in a field can establish a ryugi in which he or she is iemoto.
Japanese: ある分野について傑出した新しい技術をあみ出したものは、だれでも自分が家元となって流儀を創設することができる。
English: In some fields, however, such an action is not easy in reality, while in other fields it is relatively easy.
Japanese: 実際にはこうした行動が比較的容易である分野とそうではない分野がある。
English: For example, when Umewaka-ryu was established as a ryugi of shite-kata (main roles) in Noh, waki-kata (supporting actors) and hayashi-kata (players for musical accompaniment), sympathizing with the five conventional styles of shite-kata, refused to costar or play with Umewaka-ryu, forcing the new ryugi to give up performing any Noh play, and thus Umewaka-ryu's attempt to establish a new branch school ended in failure.
Japanese: たとえば能のシテ方に梅若流が設立されたときには、ワキ方や囃子方が旧来のシテ方五流に同調して共演を拒否し、実質上演能不能の状態に陥ったために、最終的に梅若流の分派行動は失敗におわった。
English: In some fields where the absolute number of lay disciples who support the economic foundation of the iemoto system is small, attempts to establish new branch schools are often stymied for financial reasons.
Japanese: また流儀制度の経済的根幹である素人弟子の絶対数が少ない分野では、分派行動を起こしても経済的に立ちゆかないことが多い。
English: Conversely, in fields where no cooperation with other fields is necessary and the number of lay disciples is large, a new branch is easy to establish and in fact, it is safe to say that the fields of buyo (dance) and kado (flower arrangement) include a myriad of ryugi schools.
Japanese: 逆に言えば、ほかの分野との共演が必要でなく、素人弟子の数が多い分野では新流創設が容易であり、実際に日本舞踊や華道においてはほぼ無数に流儀があると言っても過言ではない。
English: When one ryugi is further divided into small groups by differences in techniques, each of such small groups is called "ha" (faction).
Japanese: なお流儀内に、さらに芸の相違によって小グループができる場合にはこれを「派」と呼ぶ。
English: It can be said that what status (for example, authorized to issue a license) each ha can occupy varies widely depending on the field to which it belongs.
Japanese: 派がどの程度の位置を占めるか（たとえば免状の発行権を持つか否か）はそれぞれの分野によって千差万別であるといっていい。
English: The first three days of the New Year refer to January 1, or New Year's Day, and January 2 and 3 of every year.
Japanese: 正月三が日（しょうがつさんがにち）とは、毎年元日である1月1日、1月2日、1月3日の3日間の総称である。
English: Those who perform Noh plays as a profession are called the Noh actors or Noh performers.
Japanese: 能楽師（のうがくし）は職業的に能楽を演じる人を指し、能役者ともいう。
English: Noh actors are divided into shite-kata (main actors), waki-kata (supporting actors), kyogen-kata (farce actors) and hayashi-kata (musicians; further divided into fue-kata [flute players], kotsuzumi-kata [small hand drum players], otsuzumi-kata [large hand drum players] and taiko-kata [drum players]) according to their roles, the last three of which are collectively called the sanyaku (three roles).
Japanese: 能楽師には、シテ方、ワキ方、狂言方、囃子方（笛方・小鼓方・大鼓方・太鼓方）の職掌があり、特にワキ方・狂言方・囃子方を総称して三役ともいう。
English: The term 'kyogen actor,' which is sometimes used in parallel with 'noh actor,' should be properly called 'noh actor of kyogen-kata' since the kyogen is originally one of the categories of noh plays.
Japanese: また、「狂言師」という呼称が「能楽師」と並列して使われることもあるが、元来、狂言は能楽のジャンルのひとつであり、正式には「狂言方の能楽師」である。
English: Qualifications for professional noh actors differ from school to school, but all the schools of each noh role now agree to make those professional actors they approved, register for the Nohgaku Performers' Association.
Japanese: 職業として能楽を行う者としての玄人の資格は各流儀によってまちまちであるが、現代においては各方各流儀とも玄人として承認した者は社団法人能楽協会に登録するという申し合わせがある。
English: Thus, noh actors are actually recognized as professionals with the membership to the Nohgaku Performers' Association.
Japanese: そのために、実質的には能楽協会会員をもって能楽師ということができる。
English: There is also the Association for Japanese Noh Plays, which organized by the members of the Nohgaku Performers' Association who are acknowledged to have a certain level of ability.
Japanese: また、能楽協会会員のうち一定の技量を認められた者で構成される、社団法人日本能楽会がある。
English: The Association for Japanese Noh Plays is generally authorized as the Important Intangible Cultural Property 'Noh,' and noh actors admitted to the Association for Japanese Noh Plays are considered to be the general holder of the Important Intangible Cultural Property.
Japanese: 日本能楽会は重要無形文化財「能楽」の総合認定を受けているため、日本能楽会への入会を認められた能楽師は、重要無形文化財総合認定保持者となる。
English: In addition, some people who give lessons on noh songs to amateurs and so on receive certain qualifications from schools, such as the honorary master (shite-kata of Kanze school) or the commissioned instructor (shite-kata of Hosho school), but these qualifications are nothing more than for nonprofessionals and do not allow the holders to be recognized as the professionals (noh actors) in the world of noh.
Japanese: それ以外にも素人への謡曲教授などを行い、名誉師範（シテ方観世流）や教授嘱託（シテ方宝生流）など、流儀から一定の資格を得ている人々もいるが、あくまで素人としての称号であって、能楽界においては玄人（能楽師）として認識されない。
English: The slices, with further cuts sometimes made through the skin, are eaten with soy sauce, as are sashimi (sliced raw fish) or tataki (seared outside fish).
Japanese: 切り身はさらに切り込みを入れる場合もあり、刺身やたたきと同様醤油をかけ食べる。
English: The most common way to make the kizushi is, to cut the head off, clean and fillet the fish, which is pickled in salt for about one night and then rinsed in vinegar.
Japanese: 一般的な作り方は頭を落とし内臓を取って三枚下ろしにした魚を塩に一晩程度浸け、そのあと酢で洗う。
English: The kizushi is said to have originally been a preserved food and originated in that, the mackerel caught in the Japan Sea was cured in order to take it to the imperial capital.
Japanese: 元々は保存食であり、日本海でとれた鯖を都に運ぶために塩漬けにしたのが始まりとされる。
English: The shinobue is a transverse flute with a simple structure, and it is made from shinodake (small bamboo); Simon bamboo (Pleioblastus simonii), whose inner side is coated either in lacquer or synthetic resin, having two openings for Utaguchi (the mouthpiece of the shakuhachi) and tone holes.
Japanese: 篠竹（雌竹）に歌口と音孔（手孔）を開け、漆ないしは合成樹脂を管の内面に塗った簡素な構造の横笛である。
English: It is categorized as a reed instrument such as the shakuhachi (Japanese end-blown flute) or the flute.
Japanese: 尺八やフルートと同じく「リード(楽器)エアリード楽器」に分類される。
English: In this article, the names of musical notes in western music are described using the British/American method (German H written as B, German B written as Bb).
Japanese: なお本稿で西洋音楽での音名に言及する場合は英米式（ドイツのHをB、ドイツのBをBb）で表記する。
English: The shinobue has a simple form which resembles a piece of bamboo and do not usually have any decoration aside from being wrapped in to (Japanese wisteria) and coated in lacquer to prevent bamboo from cracking.
Japanese: 「篠笛」は、竹の割れ止めに藤を巻いて漆を塗る以外ほとんど装飾することなく、竹そのものといった簡素な姿をしている。
English: This is probably the major reason why the shinobue was favored among the common people.
Japanese: これは「篠笛」が庶民階級の間で愛好されてきたことが大きな理由であろう。
English: The ryuteki flute and nohkan flute, which were used by the upper classes such as court nobles and samurai, differ greatly from the shinobue in that they are adorned with decoration requiring time and care such as wrapping and paintings.
Japanese: 貴族や武家など上流階級が用いた「龍笛」「能管」では、巻き・塗りなど手間のかかる装飾が施されていることが「篠笛」との大きな違いである。
English: Since the shinobue is an instrument of the common people, there are numerous variations in appearance (presence of wrapping, the extent of wrapping, materials, the extent of painting, and color), the number of finger holes (six or seven), length, and tuning type (variation).
Japanese: 「篠笛」は庶民の楽器であるため、外見（巻きの有無・多少・素材、塗りの程度・色）、指孔の数（「六孔」「七孔」）、長さ、調律の種類（バリエーション）が数多い。
English: As an instrument, the shinobue is a type of yokobue (transverse flute), and is very similar to the Western flute family.
Japanese: 楽器として見た「篠笛」は横笛の一種であり、洋楽器のフルート属とよく似ている。
English: Although there are differences with regard to scale and fingering, the shinobue can, in principle, be considered an instrument which uses bamboo in place of the tube of the flute, with the flute structures removed, with the same number of tone holes as the number of fingers on the human hand, and made in a length that makes it easy to handle.
Japanese: 音階や運指などに違いはあるが、原理的には「フルート」の管を竹にして「フルート楽器の構造」を取り去り、音孔の数を人間の指の数に合わせ、押さえやすい長さにしたものと考えてよい。
English: [Photo 2] From above, concert flute (C), shakuhachi bamboo flute (isshaku hassun (the full name for the standard length of shakuhachi) (D), woodwind seven- hole), seven-hole flute for songs (from above, sanbon-joshi scale (G), roppon-joshi scale (Bb), happon-joshi scale (C), six-hole flute for musical accompaniment (played on traditional Japanese instruments) (roppon-joshi scale), soprano recorder (C), piccolo (D).
Japanese: 【写真２】上からコンサートフルート（C）、尺八（一尺八寸、D、木管７孔）、七孔・唄用篠笛（上から三本調子G、六本調子Bb、八本調子C）、六孔・囃子用篠笛（六本調子）、ソプラノリコーダー（C）、ピッコロ（D）。
English: Western flutes originally had a simple form like the shinobue, but underwent modern improvements so that current western flutes include a gold tube and key equipment.
Japanese: 元来、西洋のフルートも篠笛のような素朴な姿ををしていたが、近代的改良を経て現在の金管・キー装置を備えた形態になっている。
English: As shown in the photograph, the shinobue is between the concert flute and the piccolo in terms of length.
Japanese: 写真のとおり、篠笛はコンサートフルートとピッコロの中間の長さである。
English: The range of the shinobue is usually between that of the concert flute and the piccolo.
Japanese: 篠笛音域もコンサートフルートとピッコロの間に位置するものが大半である。
English: The length from the mouthpiece to the first hole of the shinobue for happon-joshi scale songs which have a reference tone is C is almost equal to the length from the edge of the sound generator to the end of C tube recorder (28-29 cm).
Japanese: Cを基準音とする八本調子唄用篠笛の歌口から第一孔までの長さと、C管リコーダーの発音部エッジから管端までの長さがほぼ等しい(28-29cm)。
English: Both instruments produce the same pitch because the method of adjusting the tone pitch of woodwind instruments is the same for both instruments.
Japanese: （「木管楽器音の高さを変える方法」が等しいので、同じ高さの音が鳴る。）
English: Because the length of the shinobue is about half the length from the mouthpiece to the beginning of the leg joint of a concert flute (its fundamental tone is an octave lower) (around 60 cm), it produces a sound that is an octave higher than that of the concert flute.
Japanese: コンサートフルート（オクターブ下のCが基本音）の歌口から脚部管先端までの長さ(60cm前後)の約半分なので、コンサートフルートの１オクターブ上の音が鳴るのである。
English: For reference, the resonance tube of the piccolo (D) is about 26.5 cm in length, almost half the length of the resonance tube of the shakuhachi bamboo flute (isshaku hassun (the full name for the standard length of shakuhachi), D) (about 54 cm).
Japanese: 参考までに、ピッコロ（D）の共鳴管の長さは約26.5cmであり、尺八（一尺八寸、D）の共鳴管の長さ（約54cm）の半分に近い。
English: Since the shakuhachi bamboo flute is an end-blown flute, the length of its resonance tube is considered to be from the upper part (precisely, the part of Shakuhachi bamboo flute) to the lower part of the tube (the end of tube).
Japanese: なお、尺八は縦笛であるから、共鳴管の長さは管の上端（正確には尺八）から下端（管尻）までと考える。
English: The shinobue is not thought to have been created in Japan but is rather thought to have developed from the ryuteki flute imported from China as a yokobue (transverse flute) for gagaku (ancient Japanese court dance and music) and simplified as it spread throughout the common people.
Japanese: 「篠笛」は日本で独自に考案されたものではなく、雅楽の横笛として中国大陸から伝わった「龍笛」が庶民の間にも広まって簡素化したものであろうと考えられている。
English: Further back in history, it is said that transverse flutes around the world originated in the ancient India.
Japanese: さらに歴史をさかのぼると、世界中の横笛の元祖は古代インドであると言われている。
English: The shinobue that are widely used today have six or seven finger holes.
Japanese: 現在多く用いられている篠笛の指孔の数は「六孔」「七孔」の2種類である。
English: The ryuteki flute, which is said to be the predecessor of the shinobue is a seven-hole flute but the seven-hole shinobue and the ryuteki flute differ in their basic scale and internal structure.
Japanese: 先祖といわれる「龍笛」は「七孔」であるが、「7穴の篠笛」と「龍笛」の基本音階・内部構造は異なっている。
English: Historical artifacts that have been studied include a transverse flute kept at Shosoin, Nara Prefecture; a transverse flute which was excavated at the Shimizu Ruins in Natori City, Miyagi Prefecture (circa 9th century, Heian period), a transverse flute which was excavated at the Edaira Ruins in Tamagawa-mura Village, Fukushima Prefecture (circa 9th century, Nara period).
Japanese: 歴史学資料としては奈良・正倉院に伝わっている横笛や、宮城県名取市「清水遺跡」（9世紀ごろ、平安時代）、福島県玉川村「江平遺跡」（8世紀ごろ、奈良時代）から発掘された横笛についても研究されている。
English: However, they differ slightly in scale and structure, and therefore, perspectives on the history of Japanese transverse flutes have not yet been unified.
Japanese: しかし、音階・構造はそれぞれ少しずつ異なっており、日本の横笛の歴史について統一した見解は得られていない。
English: The shino-bue, which will be described later, was developed from the Taisho period to the early Showa period by Hyakunosuke FUKUHARA V and VI.
Japanese: 後述する唄用篠笛は五代目及び六代目の福原百之助が大正から昭和の初期にかけて開発したものである。
English: In some regions, the ryuteki flute, nohkan flute, kagurabue flute and other unique flutes are used during festivals.
Japanese: (地域によっては「龍笛」「能管」「神楽笛」その他独自の笛を用いる場合もある。)
English: These flutes are combined with percussion instruments such as a Japanese drums or bells, and are used to play the melody in 'matsuri-bayashi' (Japanese music), 'kagura' (sacred music and dancing performed at shrines), and 'shishimai' (lion dance).
Japanese: 和太鼓や鉦などの打楽器と共に用いられ、「祭囃子」「神楽」「獅子舞」の「主旋律」(メロディー)を担当する。
English: The shino-bue that is played for matsuri-bayashi (Japanese music for festivals) has finger holes that are equally spaced, making it easier to make as well as to play; however, the musical scale of the shino-bue does not conform to that of Japanese or Western music.
Japanese: 旋律といっても、祭囃子用の篠笛は演奏と作成の容易さを優先して指孔が等間隔に開けられているものが多く、邦楽の音階にも洋楽の音階にも当てはまらない。
English: To enhance performances, instruments such as the shinobue, shakuhachi bamboo flute, kokyu (Japanese string instrument played using a bow) and percussion instruments are often used.
Japanese: さらに華やかにするために篠笛・尺八・胡弓・打楽器等を加えて演奏されることも多い。
English: Since priority is given to the ease of songs, the reference tone of shamisen, shinobue, or shakuhachi bamboo flutes is usually adjusted to match the singer's range.
Japanese: 歌いやすさを優先し、三味線・篠笛・尺八は、歌い手の声域に合わせて基準音を変えることが一般に行われる。
English: The tones of shamisen and kokyu are changed by adjusting the tension of the strings, while the tones of shinobue and shakuhachi bamboo flutes cannot be adjusted on the instrument itself.
Japanese: 三味線・胡弓の場合は弦の張力を調節すれば良いが、篠笛・尺八の場合は楽器自体では調節できない。
English: It was common that popular music like joruri (dramatic narrative chanted to a shamisen accompaniment), which contained narration or songs with a distinct melody played by shamisen, composed of up-tempo tunes and slow-tempo tunes, was used for traditional performing arts that became popular during the Edo period such as kabuki (traditional drama performed by male actors), bunraku (Japanese puppet theater), and classical Japanese dance, especially for performances for the common people in a theater or on an outdoor stage.
Japanese: 歌舞伎・文楽・日本舞踊等、江戸時代に盛んになった伝統芸能、特に庶民階級を対象にして劇場や屋外の舞台で演じられたものには、「浄瑠璃」（じょうるり）のような「語り」あるいは「唄」と三味線によって、旋律と緩急がはっきりした大衆的な音楽をつけることが一般的であった。
English: In full-fledged performances in theaters or on stage, fue (Nohkan flutes, shinobue), kotsuzumi (shoulder drums), otsuzumi (hip drums) and shime-daiko drums are often played in addition to shamisen.
Japanese: 本格的な劇場・舞台では、それに「笛(能管・篠笛)」「小鼓」「大鼓」「締太鼓」を加えることが多い。
English: As is the case in minyo (traditional folk song), it is common to tune shamisen to match the voice range of the narrator or singer.
Japanese: 民謡と同じく、語り手・歌い手の声域にあわせて三味線の調弦を変えるのが一般的である。
English: Therefore, several types of shinobue are prepared and replaced during the performance when the tune of the song changes.
Japanese: 従って、篠笛は長さが異なるものを何種類も用意しておき、転調の際には曲の途中で持ち替えることもある。
English: Many pieces of 'Shamisen music' are such stage music (some Shamisen music like jiuta (a genre of traditional songs with samisen accompaniment) are not directly related to a stage).
Japanese: 「三味線音楽」の多くの種目はこういった舞台音楽である(地歌など舞台に直接関係しない三味線音楽もある)。
English: It's not a mere accompaniment (background music), but is characteristic in that it has dialogue and explanations
Japanese: 単なる伴奏(バックグラウンドミュージック)ではなく、台詞と解説を含む点が特徴的である。
English: In many plays and songs, dialogues are assigned to a narrator (tayu) and singer, while actors and dancers don't speak at all.
Japanese: 台詞は語り手（「太夫」たゆう）・唄い手に任されて役者や踊り手は一言も発しないという演目・曲も多い。
English: Gidayu-bushi (musical narrative of puppet theatre), tokiwazu-bushi (theatrical music), and kiyomoto-bushi (theatrical music) are the examples that represent narration-like performance (joruri).
Japanese: 「語りもの」（浄瑠璃）の代表例としては「義太夫節」「常磐津節」「清元節」等がある。
English: There is no clear distinction between narration-like performance and song-like performance, and kiyomoto bushi (theatrical music) similar to song-like performance and nagauta similar to narration-like performance are also created.
Japanese: （「語りもの」と「唄もの」の区別は明確でなく、「唄もの的な清元節」や「語りもの的な長唄」も作られている。）
English: In kabuki, the music for stage effects called 'geza ongaku' (music for plays) developed.
Japanese: 特に歌舞伎においては、さらに「下座音楽」（げざおんがく）と呼ばれる演出音楽が発達した。