nntsuzu/KFTT huggingface dataset:
English: In Nagauta (ballads sung to shamisen accompaniment), there are certainly tunes whose titles include sankyoku, such as "Sankyoku Ito no Shirabe" (The Melody of Sankyoku Strings) and "Sankyoku Sho-chiku-bai" (literally, Sankyoku Made Up of Pine, Bamboo and Plum Blossom), but the sankyoku embedded in their titles indicates not sankyoku gasso but the three kinds of instruments themselves.
Japanese: 長唄曲に「三曲糸の調」や「三曲松竹梅」があるが、これは三曲を指し、つまり三種の楽器を詠んだもので、三曲合奏の意味ではない。
English: The Jiuta music 'Mitsu-renbo' (a tune expressing love for the instruments themselves, meaning the shamisen, koto and kokyu) has the same idea as the above-mentioned Nagauta, but since this tune is for Jiuta, it's performed in sankyoku gasso.
Japanese: 地歌曲の「三つ恋慕」も同様な趣向の曲であるが、こちらは地歌なので三曲合奏が行なわれる。
English: Of all the pieces of Sokyoku (koto music), both of Tsukushi-goto (the refined and elegant Sokyoku composed during the Azuchi-Momoyama period, which became the origin of Sokyoku in the early modern age) and the Yatsuhashi school of Sokyoku perform the music before sankyoku gasso, so they aren't to be played with other instruments.
Japanese: また三曲に属する箏曲の中でも、筑紫箏、及び八橋流箏曲は三曲合奏以前の音楽を伝えているので、まったく他楽器との合奏を行なわない。
English: In most Jiuta tunes, the parts for koto and kokyu were later added to the original shamisen part.
Japanese: 地歌曲の場合は、多くは元の三味線パートに後に箏や胡弓のパートが付けられた。
English: The common instrumental trio was sangen (shamisen), koto and kokyu, but occasionally it was koto, kokyu and shakuhachi.
Japanese: 楽器編成は古くは三弦、箏、胡弓の組み合わせが一般的であったが、箏、胡弓、尺八といった組み合わせの三曲合奏も行なわれた。
English: Later in the Edo period, shakuhachi began to participate in sankyoku gasso instead of kokyu, and from the first year of the Meiji period, when the governmental protection of "komuso" (a mendicant Zen priest of the Fuke sect) was ended, shakuhachi performers actively entered the world of sankyoku gasso, and therefore shakuhachi predominates over kokyu in sankyoku gasso today.
Japanese: 胡弓の代わりに尺八が加わることも江戸時代後半から行なわれていたが、明治初年に虚無僧制度が廃止されて以降、尺八が積極的に三曲合奏に進出し、今日では胡弓よりも尺八が加わる方が圧倒的に多くなった。
English: However, kokyu's participation in sankyoku gasso is still seen nationwide, such as the relatively active one in Nagoya, and sometimes the participation of the Fujiue school's kokyu music in the Yamada school's koto music is seen.
Japanese: ただし胡弓入りの三曲合奏がなくなったわけではなく、現在でも各地で行なわれ、特に名古屋では比較的盛んであるし、また山田流箏曲に藤植流の胡弓が加わり三曲合奏されることもある。
English: Sankyoku gasso is sometimes likened to a human body, such as the bone for shamisen, the flesh for koto, and the skin for kokyu and shakuhachi.
Japanese: 三曲合奏を人体になぞらえて、三味線は骨、箏は肉、胡弓、尺八は皮にたとえられることがある。
English: The trio of koto, kokyu and shakuhachi is also possible, though it isn't common.
Japanese: ただし、一般的ではないが箏、胡弓、尺八と言った組み合わせも可能である。
English: In some tunes, all instruments are performed nearly in unison; This is better in most cases, if the instruments accompany a song, and in other tunes the different melodies of the instruments are interwoven when the tune has an instrumental flavor, especially when the tune is an ensemble of shamisen and koto.
Japanese: 楽器間の関係は、曲によってほとんどユニゾンのものもあれば（歌がある場合はその方が良いことも多い）、器楽的要素が強い曲では各楽器が複雑にからみ合うよう作られているものが多い（特に三味線と箏）。
English: This sankyoku gasso can be called a very scrupulously made ensemble, and along with other music, such as the wind and string music of Gagaku (ancient Japanese court music), or Gamelan (Indonesian music), it's typical heterophony, being different from the polyphony of Western music.
Japanese: これはきわめて精緻に作られた合奏音楽と言え、雅楽の管絃やガムランなどと共に、西洋音楽のポリフォニー（多音性）とは異なるヘテロフォニー（異音性）の端的な例として挙げることができる。
English: Even when one and the same jiuta is sung, its accompaniment melody of koto, kokyu and shakuhachi often varies from school to school, and the performance style varies from school to school, ranging from a unison-like ensemble to polyphonic one.
Japanese: また例えば地歌のある曲でも、流派によって違う箏の手、胡弓の手、尺八の手がつけられていることが多く、それもユニゾンに近いものから多音的なものまで、流派によっても傾向が異なっている。
English: In the case of Western music, each part of a string quartet is linked tightly with another one in a polyphonic melody, so no single part is ever movable or dispensable.
Japanese: 西洋音楽で言えば弦楽四重奏の各パートは緊密な重層的構造を成していて、絶対的に固定され一パートでも欠かせない。
English: Contrastingly, in the case of sankyoku gasso some parts are added to a tune that is originally a solo, so the music is somewhat fluid, heterophonic and ornamental, and in its orchestration it's as flexible as baroque music.
Japanese: これと違い、三曲合奏は本来独奏曲に後から他のパートを付けたものであり、どちらかと言えば流動的、並列的、装飾的であって、その編成にはバロック音楽のように自由さがある。
English: Therefore, despite the number "three" being embedded in the name "sankyoku," various kinds of performances are possible, such as an ensemble of just shamisen and shakuhachi, an ensemble of just koto and kokyu, an ensemble of just shamisen and koto, an ensemble of just the leading shamisen and the second shamisen, a solo performance or even an ensemble of four instruments; however, these performances aren't called sankyoku gasso.
Japanese: それゆえ、三という数にこだわらず、たとえば三味線と尺八だけ、箏と胡弓だけ、三味線と箏、あるいは三味線の本手と替手だけといった編成での演奏も行なわれるし、独奏や四種の楽器での合奏すら可能である（ただしそれらのような場合は三曲合奏とは言わない）。
English: It's fairly common for sankyoku gasso to be joined by the second and third koto or by the second and third shamisen, which means the ensemble consists of at least four parts.
Japanese: あるいは三曲合奏の中に箏、または三味線の替手や地を加えたり（つまり4パート以上の編成）することも珍しくない。
English: Each ensemble has fun of its own, and each school of the music adds a different melody part to the original tune, so that one can enjoy various styles of ensembles for even a single tune.
Japanese: それぞれの編成に面白みがあり、また流派によって後で付けられたパートの旋律が違っていたりするので、同一曲でも様々な編成の演奏を楽しむことができる。
English: However, as the Edo period drew to a close, each part of a tune became closely linked with another, and this was particularly true when Mitsuzaki Kengyo, Ikuyama Kengyo and Yoshizawa Kengyo (being the highest rank of Todo-za) were active, because in most cases they would create two or three parts for their own pieces.
Japanese: ただ、幕末になるほど、特に光崎、幾山、吉沢の各検校らの作品の多くは2～3パートが一人で作られており、各パート間の関連が緊密になる傾向がある。
English: As the modern age approached, Michio MIYAGI completely fixed all the parts in his tunes, and into them he introduced the Western concept of polyphony.
Japanese: さらに下って宮城道雄の作品においては、各パートは完全に固定され、西洋音楽のポリフォニーの概念も導入されている。
English: In this way, of all kinds of traditional Japanese music, sankyoku gasso came to occupy an important position as ensemble music, and it was able to catch up with Western music in and after the Meiji period sooner than any other music in Japan.
Japanese: こうして、三曲合奏は日本の伝統音楽の中でも合奏音楽として重要な位置を占めており、明治以降、西洋音楽にももっとも早くから対応することにもなった。
English: Sankyoku gasso developed in such a polyphonic way probably because there was much development in instrumental works, such as Jiuta's "tegotomono" (pieces with long instrumental interludes called "tegoto"), koto music's "danmono" (leveled pieces) and kokyu music's "honkyoku" (pieces composed in the early days).
Japanese: このように三曲合奏が多音的な展開を見せたのも、地歌の手事もの、箏曲の段もの、胡弓本曲など器楽的な発展が著しかったからであろう。
English: However, in the Yamada school of koto music, which is completely based on vocal music, all the instruments of sankyoku gasso are performed nearly in unison.
Japanese: ただしあくまでも声楽を基本とする山田流箏曲では、基本的にほとんどすべてユニゾンで三曲合奏が行なわれる。
English: Ensembles of three types of instruments (shamisen, koto and kokyu) began to be played, because all these instruments were originally played by the blind musicians who belonged to Todo-za, the traditional guild for the blind.
Japanese: 三種の楽器（地歌三味線、箏、胡弓）が合奏される由来は、もともとこれらがすべて当道座に属する盲人音楽家が扱う楽器であったからである。
English: However, each instrument established and kept music of its own, Jiuta for shamisen, Sokyoku for koto, and Kokyu-gaku for kokyu, although their performers overlapped with one another.
Japanese: しかし演奏者は同じでも本来、三味線は地歌、箏は箏曲、胡弓は胡弓楽という、それぞれ別個の音楽として成立、存在していた。
English: Therefore, in the early Edo period ensembles of the different kinds of instruments were rarely conducted in the world of art music.
Japanese: それゆえ、江戸時代初期の芸術音楽の範囲において、異種の楽器が合奏されることはほとんどなかった。
English: Even today, the tunes composed in the early days, called "honkyoku" or "honte-gumi," are generally played solo.
Japanese: 実際に現在でも、初期に作られた楽曲（本曲、または本手組ともいう）は、他の楽器を加えないことがほとんどである。
English: Of these tunes, however, the 'Danmono' (leveled pieces) of Sokyoku (koto music) began to be played in sankyoku gasso in later years.
Japanese: ただしそれらの中で箏曲の「段もの」は後世三曲合奏が行なわれるようになった。
English: Of the music of sankyoku (instrumental trio), Sokyoku became stagnant in Kamigata (the area of Kyoto and Osaka) in the middle of the Edo period, so they simply performed tunes composed earlier and rarely performed new ones.
Japanese: 上方における三曲の音楽の中では、江戸時代中期になると箏曲が停滞し、旧作の演奏のみで新作は非常に少なくなる。
English: Meanwhile, shamisen music continued to develop and new styles were introduced one after another, so it took the lead among Japanese musical instruments until the later Edo period.
Japanese: その一方で、三味線はその音楽がますます発展し、次々と新しい形式が生み出され、後期にかけて日本音楽の主導権を握る楽器となった。
English: In this way, from the middle of the Edo period, large numbers of Jiuta accompanied by shamisen were composed, one after another.
Japanese: こうして江戸時代中期以降、厖大な数の地歌三味線の新曲が次々と作られる。
English: Occasionally, kokyu music, which was influenced mainly by the music of the shakuhachi and other Japanese flutes, further influenced the music of the shamisen (Jiuta), but from the later Edo period kokyu music also had a tendency to participate in Jiuta.
Japanese: 特に尺八や笛から影響を受けた曲が生まれ、それが更に三味線(地歌)に取り入れられたりすることもあったが、江戸時代後期に入るとやはり地歌に便乗する面が強くなったといえる。
English: Incidentally, shakuhachi music also prospered in the middle of the Edo period, but neither the shamisen nor the koto participated in shakuhachi music because the shakuhachi wasn't an instrument performed by those in the Todo-za.
Japanese: なお尺八も中期に興隆したが、これは当道座の外の楽器であり、その音楽に三味線や箏が直接合奏することはなかった。
English: Some pictures and other historical materials show us that various ensembles of popular tunes were performed in the early Edo period, but few have been handed down to the present day.
Japanese: ただし江戸時代初期には、大衆的な曲では色々な合奏が行なわれていたことが絵画などで知られるが、そのような曲は現在ほとんど伝えられていない。
English: A theory asserts that the genuine ensemble of koto and shamisen in the world of art music was started by Ikuta Kengyo in the Genroku era, though some disagree with that theory, when he began to add the part of koto music to shamisen music (Jiuta).
Japanese: 芸術曲における箏と三味線の本格的な合奏は、元禄期の生田検校により始められたと言われ（異説もあり）、三味線の曲（地歌）に箏のパートを作り合わせるようになった。
English: At that time, both these instruments were simply performed in unison-like style, but in or around the Bunka era, Ichiura Kengyo, a resident of Osaka, started to add the melody part of the koto, which was different from that of the shamisen, and this enhanced the effect of the ensemble.
Japanese: 当時は両パートをほとんどユニゾンに合わせるだけであったが、文化(元号)頃に至って大阪の市浦検校により、元の三味線パートに対して異なった旋律を持つ箏のパートが作られるようになり、合奏効果が高まった。
English: This was called 'kaedeshiki' (the accompaniment style), and Yaezaki Kengyo, who lived in Kyoto, further refined the style.
Japanese: これを「替手式」と呼び、京都の八重崎検校らによりいっそう洗練された。
English: It was Mitsuzaki Kengyo (Yaezaki Kengyo's pupil) who began to compose both the shamisen melody part and the koto part.
Japanese: 三味線と箏の両パートを一人の作曲家が作るようになったのは八重崎の弟子の光崎検校からである。
English: Meanwhile, in Edo, Yamada Kengyo founded his new Yamada school of Sokyoku in 1777.
Japanese: いっぽう江戸では、1777年に山田検校が新しい箏曲山田流を創始する。
English: He introduced not the music style of Jiuta but that of Icchu-bushi or Kato-bushi in "Joruri" (a dramatic narrative chanted to shamisen accompaniment), in which the koto and shamisen played a tune together from the start.
Japanese: これは地歌ではなく一中節、河東節など浄瑠璃の音楽スタイルを取り入れたもので、はじめから箏と三味線を合奏させていた。
English: The kokyu, having its own music "kokyu honkyoku" (pieces for kokyu composed in the early days), would often participate in the ensemble of Jiuta or Sokyoku from the middle of the Edo period, and this improvised performance also seems to have been in a unison-like style.
Japanese: 胡弓も独自の楽曲である胡弓本曲を持つ一方、江戸中期からしばしば地歌や箏曲の合奏に加わっていたが、やはり即興的にユニゾンに近い状態で合わせられていたらしい。
English: Occasionally, shamisen or koto would join in kokyu honkyoku, but both of them did so merely as an accompaniment and the ensemble was usually a duet instead of a trio.
Japanese: 胡弓本曲に三味線または箏を合わせることはあったが、これは主に「地」で伴奏する形であり、普通二重奏までで三曲合奏にはしない。
English: However, it was important that Jiuta should acquire the instrumental facet of kokyu pieces, such as 'Tsuru no sugomori' (The Cranes Nesting) and 'Yachiyojishi' (Lion of Eight Thousand Generations, from the 16th century), because this became a basic factor in Jiuta's instrumental development.
Japanese: ただ、胡弓楽から「巣籠」や「獅子」といった器楽的要素が地歌に取り入れられ、地歌の器楽的発展のひとつの要素となった点は重要である。
English: It was Yoshizawa Kengyo (Mitsuzaki Kengyo's junior), a resident of Nagoya, who made the kokyu melody distinctive in the Jiuta (or Sokyoku) ensemble.
Japanese: 地歌や箏曲での合奏の中で、胡弓に独自の旋律を持たせたのは光崎の後輩にあたる名古屋の吉沢検校である。
English: It was also Yoshizawa Kengyo who composed all three parts of a tune, including the part for kokyu, all by himself for the first time in history, and thereafter many musicians came to compose two or three parts by themselves.
Japanese: また同一曲において胡弓のパートも含め三パートすべてが一人の作曲家により作られるようになったのも吉沢からであり、以後二パート、三パートを一人で作曲することが多くなった。
English: In Edo, the Fujiue school of kokyu music was founded by Fujiue Kengyo around the middle of the 18th century, and when the Yamada school of koto music was founded by Yamada Kengyo, Fujiue's kokyu music participated in Yamada's koto music and they began to play tunes together.
Japanese: 江戸では、18世紀中頃に藤植検校により藤植流胡弓が成立していたが、山田検校により山田流箏曲が興ると、それに加わり合奏されるようになった。
English: Also, the Shoo school of kokyu music, which was introduced from Owari Province, has been handed down to us in an exclusively specialized form of the ensemble with the Yamada school of koto music.
Japanese: また尾張から松翁流胡弓が伝えられ、山田流箏曲との合奏専用に特化して伝えられている。
English: Originally, the shakuhachi was exclusively owned by "komuso" (a mendicant Zen priest of the Fuke sect), and its performance was deemed part of religious activities instead of entertainment, but in the middle of the Edo period Kinko KUROSAWA changed it from an instrument for religious music to one for secular music.
Japanese: 尺八は本来虚無僧の占有楽器であり、娯楽よりは宗教行為のひとつとして演奏されてきたが、江戸時代中期に黒沢琴古が出て、宗教音楽から世俗音楽への道が開かれた。
English: Though it seemed the ensemble of shakuhachi and other instruments was officially prohibited by law, a picture in those days shows us that in fact the shakuhachi was already participating in sankyoku gasso at the end of the 18th century.
Japanese: しかし他の楽器との演奏は法令により表向き禁止されていたらしいが、実際にはすでに18世紀末に尺八が加わった三曲合奏図が見られる。
English: This kind of participation was particularly accelerated when shakuhachi performers actively entered the sankyoku world for their workplace after losing their occupations as komuso, owing to the government's abolition of the Fuke sect in the Meiji period.
Japanese: 特に明治になって、普化宗廃止により虚無僧という生業を断たれた尺八奏者たちが、新たな仕事の場として積極的に進出したのが大きなきっかけである。
English: The shakuhachi parts of some tunes, having been added by a school descendent of Kinko KUROSAWA, still exist today, and the part was arranged by the school musicians, including Iccho YOSHIDA and Kodo ARAKI, in the very early Meiji period.
Japanese: 今日伝えられている琴古流系尺八のパートは、明治のごく初期に吉田一調、荒木古童らによって手付けされた。
English: After that, Tozan NAKAO, the founder of the Tozan school of shakuhachi music, added a more elaborate arrangement to the shakuhachi melody, and other schools of shakuhachi, such as the Chikuho school, Ueda school and Seien school, added arrangements of their own.
Japanese: その後都山流の創始者である初代中尾都山がより手の込んだ手付を行ない、ほかにも竹保流、上田流、西園流など各流が独自の手付を行なっている。
English: It was Michio MIYAGI who composed not only the koto part but also the shakuhachi part of a tune for the first time in history, and he introduced the ensemble method of Western music into his tunes.
Japanese: はじめて同一曲内において尺八のパートまで作曲したのは宮城道雄であり、西洋音楽の合奏法を取り入れて作曲されている。
English: The architectural style using a set of three pieces of lumber, or steel, is also called sangen.
Japanese: また、三本の木や鋼材など使った建築物なども三弦の構造形式といわれる。
English: For example, the term sangen is used in some titles, such as "Sangen shijuso kyoku" (A sangen quartet), composed by Seiho KINEYA for shamisen as performed in Nagauta (ballads sung to shamisen accompaniment), Jiuta, Tokiwazu (dramatic narrative chants accompanied by shamisen) and Gidayu (a style of chanting with shamisen), and "Sonata for two types of sangen," composed by Bondai FUJII for shamisen performed in Jiuta and Nagauta).
Japanese: （例『三絃四重奏曲』（杵屋正邦作曲・長唄、地歌、常磐津、義太夫の各三味線のための曲）、『二種の三絃のためのソナタ』（藤井凡大作曲・地歌および長唄三味線のための曲）
English: Sanxian literally means three strings, and this is a traditional, lute-like Chinese stringed instrument with a long neck.
Japanese: 三弦（サンシェン）(あるいは三絃、意味は文字通り「三つの弦」)は、中国の伝統楽器で、ロングネックリュートタイプの撥弦楽器である。
English: The full length of the sanxian ranges from 90 cm to 120 cm, but generally that of the southern one is about 95 cm while that of the northern one is about 120 cm.
Japanese: 全長は90cmから120cm程度で、一般的に、南方のものは小さく95cm程度、北方のものは大きく120cm程度の大きさである。
English: The Sanxian has a rounded body (resonator) covered with snakeskin, and it has a long, fretless neck.
Japanese: 丸みを帯びた形の胴体（共鳴箱）に蛇の皮を張り、フレットの無い長い棹を持つ。
English: Many musicians put silica gel in the instrument case to absorb humidity.
Japanese: 多くの演奏家が、ケース内の湿気を取り除くためケースにシリカゲルを入れる。
English: The sanxian and Chinese lute have many performance skills in common, so the tunes traditionally composed for the Chinese lute are occasionally performed with the sanxian.
Japanese: またしばしば中国琵琶とテクニックを共有し、中国琵琶のために伝統的に書かれた曲を演奏することがある。
English: If a tune is performed on the sanxian with tremolo picking, its original tune is in many cases composed for the Chinese lute.
Japanese: 三弦がトレモロ演奏を行っている場合、元の曲は中国琵琶のために書かれた曲であったりする。
English: Generally, the sanxian is used in classical Chinese music, but it has also been used by He Yong, a rock musician of today's China.
Japanese: 一般的に古典的な中国の音楽にて使用されるが、現代中国のロックミュージシャン何勇(HeYong)が使用したこともある。
English: The sanxian is played with a pick on the performer's forefinger, while the shamisen is play with an ivory pick; however, plastic picks are now popular for use with the sanxian.
Japanese: 象牙のバチではなく、人差し指の指先につけたピックで演奏する（現代ではプラスチック製のピックが主流）。
English: The sanxian employs various tunings, and in most cases it adopts a method similar to niagari (raising the second string, originally a tuning method of the shamisen) or another method similar to hon-choshi (the main tuning, originally for the shamisen).
Japanese: 調弦法にはいろいろあるが、三味線でいう二上り、三味線の本調子に取ることがよくある。
English: This sanxian, introduced in Okinawa, was changed into the sanshin, and the sanxian introduced in Sakai, Izumi Province, Osaka in the sixteenth century was the origin of today's shamisen.
Japanese: この三弦が沖縄に伝来し三線に、そしてまた16世紀に大阪泉州の堺へと伝わり現在の三味線の原型となった。
English: In some regions, this term specifically refers to Gidayu-bushi (musical narrative of the puppet theater), a representative school of Joruri.
Japanese: また地方によってはこの語を特に代表的な流派である義太夫節を指して用いることがある。
English: As for the origin of Ningyo Joruri (traditional Japanese puppet theater), refer to the items 'Origin' and 'Completion of Gidayu-bushi' mentioned below, and for the details of its performance refer to the item Bunraku.
Japanese: 人形浄瑠璃の発祥については、本稿の「起源」-「義太夫節の完成」の項目を、その上演についての詳細は、文楽を参照のこと。
English: Because a verse isn't merely a song but also includes the words, gestures and actions of the characters in a play, the dayu's narration sounds strong, something like the objective description of events.
Japanese: 詞章が、単なる歌ではなく、劇中人物の台詞やその仕草、演技の描写をも含むものであるために、語り口が叙事的な力強さを持つ。
English: Therefore, the term 'narration,' instead of 'singing,' is used for Joruri performance, and Joruri songs are commonly collectively called 'katarimono' (narratives).
Japanese: このため浄瑠璃の口演は「歌う」ではなく「語る」という用語を以てし、浄瑠璃系統の音曲をまとめて「語り物」と呼ぶのが一般的である。
English: The well-known schools of Joruri are Gidayu-bushi, Tokiwazu-bushi and Kiyomoto-bushi (all of which are described below).
Japanese: 代表的な流派に、義太夫節・常磐津節・清元節など（各派の説明は後述）。
English: Although Joruri is often identified with Gidayu-bushi, such an interpretation is incorrect.
Japanese: なお、浄瑠璃は義太夫節のことであるという説明が往々にして見られるが、これは誤りである。
English: Joruri's origin is generally believed to be an artist who preached the blessing of deities and Buddha by narrating "Joruri Junidan Soshi" ("Joruri Monogatari," which is the combination of a love story between Joruri-gozen and Ushiwakamaru and the tale of the miraculous efficacy of Amida-nyorai), a kind of Otogi Zoshi (a collection of fair tales) compiled at the end of the medieval age.
Japanese: その起源は、中世末期ごろの御伽草子の一種『浄瑠璃十二段草子』（『浄瑠璃物語』。浄瑠璃御前と牛若丸の情話に薬師如来など霊験譚をまじえたもの）を語って神仏の功徳を説いた芸能者にあるとするのが通説である。
English: It is believed that its content was completed during the Kyoroku era (1528 - 1532).
Japanese: その内容はだいたいにおいて享禄年間（1528－32年）には完成していたと考えられる。
English: It seems to have originally been performed to Ogi-byoshi (fan rhythm) accompaniment after the examples of Heikyoku (the music played on the Heike biwa as accompaniment to recitation of the Tale of Heike), Yokyoku (Noh song) and/or Sekkyo-bushi (sermon ballads).
Japanese: 最初期は平曲、謡曲、説経節などの節付けに学んで扇拍子を伴奏にしたようである。
English: With the introduction of the sanshin (a traditional Okinawan three-string instrument) in the Eiroku era (1558 - 1570) and its ensuing development into shamisen, Joruri made rapid progress.
Japanese: 永禄年間（1558－70年）に琉球から三線が渡来し、これが三味線へと発達するにしたがって飛躍的な成熟を遂げることになる。
English: Although the shamisen was initially used by the blind in the Kamigata region (Kyoto and Osaka), it became the accompaniment instrument of Kairaishi/Kugutsushi (entertainment groups of puppet players) in the Bunroku era (1593 - 1596).
Japanese: 三味線をいち早く音曲に取入れたのは上方の盲人であったが（地歌）、文禄年間（1593－96年）にいたってこれが傀儡子（くぐつしもしくはかいらいし）の伴奏として用いられるようになる。
English: Joruri reached its current state of completion when the shamisen was combined with Joruri-bushi.
Japanese: さらにこれと浄瑠璃節が合体することによって、現在にまでいたる浄瑠璃音曲が完成してゆく。
English: It was in the Edo period that Joruri became an art form of high artistic quality.
Japanese: 浄瑠璃が本格的な芸術性を備えるようになるのは江戸期に入ってからである。
English: Joruri, which was brought in from Kyoto to Edo by Sugiyama Tango no jo and Joun SATSUMA, split into many schools and became popular among the people.
Japanese: 杉山丹後掾と薩摩浄雲によって京から江戸へともたらされた浄瑠璃は、彼らの門下によって多くの流派にわかれ、世人に大いに受入れられるようになった。
English: Given the successive appearance of Handayu EDO (Handayu-bushi) and Kato MASUMI (Kato-bushi), who were disciples of Tango SUGIYAMA, Satsuma Geki Dayu (Geki-bushi) and Shuzen Osatsuma Dayu (Osatsuma-bushi), who were in turn disciples of Joun SATSUMA, Miyakodayu Icchu (Icchu-bushi) and Takemoto Chikugo no jo (Gidayu-bushi), this era was epochal in the history of Joruri (Hadayu-bushi and Geki-bushi continued their existence after being integrated into Kato-bushi, and Osatsuma-bushi continued its existence after being integrated into Nagauta (long epic song with shamisen accompaniment).
Japanese: 杉山丹後の門下からは江戸半太夫（半太夫節）、十寸見河東（河東節）が、薩摩浄雲の門下からは薩摩外記太夫（外記節）、大薩摩主膳太夫（大薩摩節）、都太夫一中（一中節）、竹本筑後掾（義太夫節）などが輩出し、浄瑠璃の歴史の上で一時期を画することとなった（半太夫節と外記節は河東節に、大薩摩節は長唄に吸収されて残っている）。
English: Because the verses/stories in this era were underdeveloped, one cannot give them high marks.
Japanese: この時期の詞章・戯曲は未発達なものが多く、かならずしも高い評価を与えることはできない。
English: However, works called 'Konpira Joruri,' which developed mainly in Edo, later had a significant influence on the aragoto (a style of play featuring exaggerated posture, makeup and costume) of Kabuki.
Japanese: ただし、江戸を中心にして発達した「金平浄瑠璃」と呼ばれる一連の作品は、後に歌舞伎の荒事に大きな影響を与えることになった。
English: A new era emerged in the history of Joruri when Gidayu TAKEMOTO (Chikugo no jo), in 1684, established the Takemotoza theater at Dotonbori and founded Gidayu-bushi.
Japanese: 貞享元年（1684年）ごろ、竹本義太夫（後に筑後掾）が道頓堀に竹本座を開設して義太夫節を樹ててよりのちは、浄瑠璃に新たな時代が訪れる。
English: Thanks to the cooperation of the distinguished writer Monzaemon CHIKAMATSU, the stories were upgraded from the literary standpoint and verses were refined.
Japanese: 名作者近松門左衛門と結ぶことによって、戯曲の文学的な成熟と詞章の洗練が行われた。
English: Consequently, Gidayu-bushi and Ningyo Joruri became worthy of admiration as art.
Japanese: その結果、義太夫節と人形浄瑠璃は充分に芸術としての鑑賞に耐えうるものとなった。
English: This new pattern won the enthusiastic support of the people in the Kamigata region, and Gidayu-bushi overwhelmed the old Joruri.
Japanese: この新しい様式は上方の人士から熱狂的な支持を受け、義太夫節はそれ以前の古浄瑠璃を圧倒することになる。
English: As is clear from the fact that they were referred to with the names of individuals attached to the days of old Joruri, various schools of Joruri were synonymous with the masterly performances of individuals instead of the ones to be inherited as patterns.
Japanese: 古浄瑠璃時代にはその人の名を付して何某節と呼ばれていたように、浄瑠璃の流派は多分に個性的な名人芸の代名詞として行われ、決してそれがひとつの様式として後代に受け継がれる性格のものではなかった。