nntsuzu/KFTT huggingface dataset:
English: However, as conflicts over the territory intensified, koso became a cause of conflicts between the lords of the lands where farmers lived and where the farmers worked, because the former intended to expand their territory by ruling unitarily over the inhabitants and the lands but the latter aimed to invite more farmers into their territory to work.
Japanese: しかし、堺相論などが盛んになると、それは領民と土地の一元支配を名目として支配地域拡大を図る居住地側領主と耕作者の取り込みを図る耕作地側領主による対立の一因となった。
English: In modern times, when more lands were reclaimed, more farmers living in villages went out to newly developed fields to plow, leaving their villages quite alone.
Japanese: 近世になると、新田開発によって本村に住む農民が居住地をそのままとして新田側に出作する例が多くなった。
English: His son Yohachiro was adopted by a leading waki-kata of the Kongo school named Yasusue KONGO (who later became the 10th generation head of the Kongo school), and began performances in the family's own style.
Japanese: 子の与八郎が金剛座の脇の仕手であった金剛康季（後に十世宗家となる）の養子に入って家芸を興した。
English: Subsequently, the first generation head named Shigemasa TAKAYASU (also known as Jukan TAKAYASU) married a daughter of Yuson (友尊) SHUNDO, who was a waki-kata of the Konparu school, and established the school.
Japanese: その後、初世高安重政（高安寿閑）が金春流のワキ方春藤友尊の女婿となって修行し、流儀を確立した。
English: One story has it that Yuson SHUNDO was also the origin of this school's performances and Jukan perfected their Shimogakari (a generic name given to the Konparu school, the Kongo school, and the Kita school) style performance, and afterward, they fully began the Noh activities as a waki-kata family.
Japanese: 一説には春藤友尊を芸祖ともし、寿閑によって下掛りの芸風が完成され、本格的なワキ方の家として活動を行うようになったらしい。
English: Among successive performers, Juryo (重良) (also known as Fukyu [不休]) TAKAYASU the second and Shigekata TAKAYASU the third, who had a nickname 'Shucho [首長],' are especially well known.
Japanese: 歴代のなかでは、二世高安重良（不休）、「首長」というあだ名があった三世高安重賢などが有名。
English: After the Meiji Restoration, Hikotaro the 11th passed away without a successor in 1870 and the head family became extinct, but Shigero (the 12th), a son of Kokei NISHIMURA, who was one of Hikotaro's leading followers, restored the family in 1929 backed up by Ukyo KONGO.
Japanese: 維新後、十一世彦太郎が後嗣を欠いたまま没し（1870年）、宗家が絶えたが、金剛右京らの斡旋により彦太郎の高弟であった西村弘敬の子滋郎（十二世）が1929年に再興。
English: His younger brother named Kinya (an adopted son) succeeded to the family as the 13th head, and since the current head, the family name 'Takayasu' has been restored.
Japanese: 弟（養子）の欽也が相続し十三世となり、現家元からは「高安」の姓に復する。
English: All members of the head family are active mainly in Nagoya, and additionally, the performance style of Nobuyasu OTOMO, who was a follower of the 11th head and who moved to Tokyo from Nagoya after the Meiji Restoration, is preserved in Tokyo, and the performance style of the family originated from Jirouemon OKA, who played waki-kata for the Nomura Kongo family, is maintained in Kyoto.
Japanese: 宗家一門が名古屋を地盤として活動するほか、十一世の弟子で維新後名古屋から上京した大友信安の芸系が東京に、野村金剛家のワキ方であった岡次郎右衛門家の芸系が京都に伝わる。
English: According to the "Yoza Yakusha Mokuroku" (Catalog of Actors of the Four Noh Troupes), Dozen was a tall handsome man who was a master nicknamed 'Ebisu TAKAYASU.'
Japanese: 『四座役者目録』によれば道善は大柄な美男子で「高安エビス」のあだ名のある名人であったという。
English: The school belonged to the Kongo school during the Edo period, and Tadanaga (忠栄), the 10th generation head, was a master who was allowed to use purple shirabeo (a set of ropes used for kotsuzumi [a small hand drum], otsuzumi [a large hand drum], or shime-daiko [a rope-tuned drum]).
Japanese: 江戸時代は金剛流の座付きとなり、十世忠栄は紫の調緒を許された名人であった。
English: After the Meiji Restoration, this school was still extremely influential and produced some excellent performers such as the 14th head Hidekatsu (also known as Kiso [喜叟]) and his follower Nenchi SHIMIZU (Issai ISHII, Mataki TSUMURA, and he were referred to as three greatest drum masters).
Japanese: また維新後にも十四世英勝（喜叟）、弟子の清水然知（石井一斎・津村又喜とともに大鼓方の三名人と呼ばれた）など優れた役者が輩出し、流勢はきわめて盛んであった。
English: After Kiso, the school was handed down to the 15th head named Eisan (英粲), followed by the 16th head Doki, but Doki's son did not succeeded to the head of the family, and consequently the head family became extinct, even though Nenchi's son Seitoku SHIMIZU and some other members supported the school.
Japanese: 喜叟の後、十五世英粲、十六世道喜と相続し、然知の子清水正徳らが流儀を支えたが、道喜の子は家芸を継がず、宗家が絶えた。
English: They played exclusively for the Kanze school, and they had been proud of their status as a 'leading waki-kata school' since the middle of the Edo period.
Japanese: 観世流の座付として活動し、江戸時代中期以降は「ワキ方筆頭」としての格式を誇った。
English: The first generation head was Kyuemon Tadatsugu SHINDO (1552 - 1635), who had learned from Sokatsu HORIIKE (a follower of Motoyori KANZE), a great waki (supporting actor) performer of te-sarugaku (amateur Noh), before the establishment of this school.
Japanese: 初世進藤久右衛門忠次（1552年～1635年）が、手猿楽のワキとして活躍していた堀池宗活（観世元頼の弟子）に学んで一流を興した。
English: In 1603, Kokusetsu KANZE added this school to a group of waki schools which belonged to the Kanze school, and in the Kanei era, the Shindo school took over the position of the head waki-kata of the Kanze school when the Fukuo school, which had been the head waki-kata until then, became extinct.
Japanese: 1603年、観世黒雪によって観世座のワキに加えられ、寛永年間に同座の本ワキであった福王流が中絶とするとこれに代わった。
English: Since they were the main waki-kata of the Kanze school, which was said to be ranked at the top among the major four Noh schools (the Kanze, the Hosho, the Konparu, and the Kongo schools), they were ranked at the top among waki-kata schools throughout the Edo period.
Japanese: 四座の筆頭とされた観世流の本ワキであったため、江戸時代を通じてワキ方筆頭の地位にあった。
English: Although Kokusetsu later had his nephew named Soha HATTORI restore the Fukuo school, the Shindo school remained at a higher position than the Fukuo school until the end of the Edo period.
Japanese: 後に黒雪が甥服部宗巴に福王流を再興させて後も、進藤家のほうが上席のまま幕末に至った。
English: They were also influential in the area of su-utai (chanting a Noh text without musical accompaniment) especially in their earlier times; Tadatsugu's son, Isan SHINDO did not succeed to the head of the family but made his living by teaching su-utai in Kyoto.
Japanese: 素謡においても特に前期には勢力がつよく、忠次の子進藤以三は宗家を嗣がず京都で素謡教授をして生計を立てたほどであった。
English: After the Meiji Restoration, since the 10th generation head Nobuhiro (信啓) SHINDO ruined the family, many performers including his successors stopped performances in this school style, and the school eventually became extinct in 1868.
Japanese: 維新後、十世宗家進藤信啓が零落し、後嗣を含めた多くの役者が家芸を廃したため、明治初年に流儀が絶えた。
English: Researches conducted by a group including Satoshi TSUKITAKU, a performer of the fue-kata (flute players) Morita school, recently revealed su-utai from the Shindo school had been handed down in the Matsue region.
Japanese: なお、近年森田流笛方槻宅聡らの調査によって、松江地方に同流の素謡が伝承されていることが明らかになった。
English: It seems that some influence of the Shindo school had been kept in some regions even after the head family became extinct, and it is said that a libretto of a Noh drama of this school was issued in the Izumo region between the end of the 19th century and the beginning of the 20th century.
Japanese: 宗家廃絶後も地方によっては一定の勢力を保持していたらしく、出雲地方では明治三十年代に同流の謡本も刊行されていたと言う。
English: Also, this school was well known for the fact that Shigemasa TAKAYASU, the first head of the waki-kata Takayasu school, learned Noh play from this school, and additionally, Shimogakari waki-kata schools were derived from the Shundo school.
Japanese: またワキ方高安流の初世高安重政が師事したことでも知られ、下掛り系統のワキの源流となった流儀である。
English: Although opinions about who was the first generation head of the school vary depending on materials, Rokuro Jiro Nagayoshi SHUNDO, who served the Hatakeyama family, is placed at the first generation on a family tree.
Japanese: 資料により誰を初世とするかに所説があるが、家譜では畠山家に仕えていた春藤六郎次郎長慶を初世に当てる。
English: According to "Rinchu Kenmonshu" (The Collection of Noh Anecdotes), a son of a Konparu school performer Torakiku tayu (an actor qualified to play the protagonist in a Noh play) married a daughter of Nagayoshi, and then he called himself Yuson (遊巽) SHUNDO.
Japanese: 後に金春座の虎菊大夫の子が長慶の女婿となって春藤遊巽と名乗った（『隣忠見聞集』）。
English: Afterward, since the family of Genshichiro KONPARU, from which the Shundo family learned, became extinct, the Shundo family became the main waki-kata family of the Konparu school.
Japanese: さらに師家金春源七郎家が廃絶したために、同家は金春流の本ワキとなった。
English: The third generation head named Dokaku was a waki master, who was nicknamed 'Hige Shundo' (literally, "beard Shundo") because he had a bushy beard.
Japanese: 三世道覚は名人であったが、大髭をたくわえていたところから「髭春藤」のあだ名があった。
English: During the time of the fourth generation head named Suboku (寿朴), his younger brother named Gonshichi (also known as Yugen) branched from this school and established the Shimogakari Hosho school by order of Tsunayoshi TOKUGAWA, and this school contributed to the Hosho school.
Japanese: 四世寿朴の代に至って、徳川綱吉の命により弟権七（祐玄）が別家して下掛宝生流を興し、宝生流の座付となった。
English: After the Meiji Restoration, when the 12th generation head Takaaki SHUNDO passed away without any successors in 1893, his follower Toshitane KABURAKI (鏑木祚胤), who was a Shinto priest at Torikoe-jinja Shrine in Asakusa, took charge of documents and inherited things in order to maintain the family's performance style.
Japanese: 維新後、十二世春藤高明が1893年に後嗣を欠いたまま没すると、門弟の浅草鳥越神社神職鏑木祚胤が伝書・伝来品などを預かって芸系を守った。
English: Since the family finally became unable to take part in Noh plays due to a shortage of performers, they joined in the Shimogakari Hosho school during the time of Mineo, a son of Takeo, and this school eventually became extinct.
Japanese: 遂に手不足から役を勤めることが不可能となっため、子の岑男の代からは下掛宝生流に転じ、同流はここに廃絶した。
English: The school used to call themselves Chino school or Genteki school as well.
Japanese: かつては千野流（ちの-りゅう）、玄笛流（げんてき-りゅう）などとも称した。
English: Their performances originated from a flute master named Hikobei FUE (also known as Hikobei HIGAIMOTO), and his style was handed down to Yoichizaemon CHINO and Genteki USHIO.
Japanese: 名人笛彦兵衛（檜垣本彦兵衛）を芸祖とし、千野与一左衛門、牛尾玄笛と相伝した。
English: Afterward, Shobe Mitsuyoshi MORITA (1597 - 1632) finally established the head family and they were retained by Ieyasu TOKUGAWA.
Japanese: 流祖森田庄兵衛光吉（1597年～1632年）が一家を成し、徳川家康に抱えられた。
English: They had played exclusively for the Kanze school during the Edo period, but the head family became extinct after Hatsutaro MORITA passed away in 1906.
Japanese: 江戸時代には観世流の座付として活動するが、明治39年に森田初太郎が没して後は宗家が絶えた。
English: Since they belonged to the Kanze school, which was the biggest school among yoza (literally, 'four schools,' representing major four Noh schools: the Kanze school, the Hosho school, the Kongo school, and the Konparu school), the bakufu (Japanese feudal government headed by a shogun) and various domains including the Kishu Domain had performers from the Morita school.
Japanese: 四座筆頭の観世流座付であるところから、江戸時代には幕府、紀州藩をはじめとして諸藩に森田流の役者が抱えられていた。
English: This movement produced some branches in the early stages of this school and each branch family had its own scores and fingering, but this in fact helped the school survive in those trying times after the Meiji Restoration.
Japanese: このため芸系が早くに分かれ、家ごとに独自の譜や指遣いを持つなどしたことが、かえって維新後の多難な時期にあっては幸いした。
English: Some performers such as Toki (登喜) MORIMOTO, Mitsukaze MORITA, Ichitaro SUGI, and Masakazu TERAI gave great performances after the head family became extinct.
Japanese: 宗家絶家後に活躍した役者としては、森本登喜、森田光風、杉市太郎、寺井政数などがいる。
English: Their performance style roughly consists of the Edo type and the Kamigata (Kyoto-Osaka area) type, and Kamigata type performers tend to use many grace notes with supporting fingers.
Japanese: 芸系は大きく江戸系と上方系に分類できるが、上方系では添え指による装飾音を多様する傾向がある。
English: Shichirozaemon NAKAMURA, who was a follower of a flute master named Hikobei FUE, established this family, and the name of the school originated from his son named Matasaburo because he called himself Jisai ISSO.
Japanese: 名人笛彦兵衛の弟子中村七郎左衛門が一家を立て、子の又三郎が一噌似斎とも称したところから流儀の名が興った。
English: The third generation head named Hachirouemon began to use Isso as their family name, and the school flourished as the exclusive performers for the Hosho school during the Edo period.
Japanese: 三世八郎右衛門以降は一噌を姓とし、江戸時代は宝生流の座付きとして活躍した。
English: The school had some great performers including the 12th generation head named Matarokuro ISSO, Mikuma SHIMADA (he temporarily acted as a deputy head of the family), Shonosuke ISSO, and Daigoro FUJITA (he was a Living National Treasure) during the early-modern times.
Japanese: 近代の名人に十二世宗家一噌又六郎、島田巳久馬（一時宗家代理）、一噌正之助、藤田大五郎（人間国宝）などがいる。
English: After the Meiji Restoration, followers of Matarokuro ISSO and Mikuma SHIMADA standardized the performance styles within the school, and consequently, there is little difference in performance style between performers or regions.
Japanese: 維新後、一噌又六郎、島田巳久馬の師弟によって流儀の統一がはかられたこともあって、役者・地域ごとの芸風の差は少ない。
English: The remarkable features of this school are shrill blasts, modest grace notes, and simple and powerful expression, and the structure of their music scores is totally different from those of other schools.
Japanese: 吹き込みを鋭く、装飾音を控え、簡素で力強い表現を目指すのが特色で、譜の構造は他流と大きく違う。
English: Seibei FUJITA, a follower of Tansai SHIMOKAWA, established this school; Tansai was a nephew of Yorimoto MABUCHI, who was a follower of a flute master Hikobei FUE (also known as Hikobei HIGAIMOTO).
Japanese: 名人笛彦兵衛（檜垣本彦兵衛）の門人であった馬淵頼元の甥、下川丹斎の弟子藤田清兵衛なる者が一流を立てた。
English: It is said that performers of this school were originally te-sarugaku (amateur Noh) performers who served at the Imperial Court, and then they served at the Owari Domain, where they had been active during the Edo period.
Japanese: 元来は禁裏に出仕した手猿楽の役者であったと思われるが、後に尾張藩に仕え、江戸時代は長らく同地で活躍した。
English: Their music scores and their timing that they start musical accompaniment are different from those of other schools, and main features of their performance style are strong blows on flutes and showy grace notes like trills.
Japanese: 譜やアシライを吹きはじめる箇所が他流と異なり、芸風は笛に強い息を分厚く吹き込み、派手なトリル風の装飾音を用いるなどの特色を持つ。
English: Four performers from this school are registered with the Nohgaku Performers' Association, and all the performers including the current head Rokurobyoe FUJITA the 11th live in Nagoya.
Japanese: 能楽協会に登録された役者は4名で、現宗家十一世藤田六郎兵衛を含む全員が名古屋在。
English: Ichiemon Motomichi (元道) ASAZAWA, who was a follower of a flute master named Hikobei FUE, established the head family, and his son named Ichiemon Kagemichi began to use the family name Shunnichi.
Japanese: 名人笛彦兵衛の弟子浅沢市右衛門元道が一家を立て、子の市右衛門景道の代から春日を姓とした。
English: They had a great influence as leading fue-kata for the Kanze school during the Edo period, but they became extinct after World War II.
Japanese: 江戸時代は観世流の笛方筆頭として勢力を誇ったが、第二次大戦後に廃絶した。
English: It is thought that their performance style and music scores were quite similar to those of the Morita school, and additionally, they also had some features that the Fujita school also had; for example, they gave 'okuri' (literally, "send-off") and 'shirase' (literally, "announcement") blows before and after an intermission.
Japanese: 芸風・譜ともに森田流にきわめて近かったと見られているが、中入りに「送り」と「知らせ」を両方吹くなど藤田流に共通する特色もあった。
English: It is said that Kanshichi Chikayoshi HIRAIWA established this school after entering a school of Buzen no kami (the Governor of Buzen Province) Ushio by order of Masamune DATE.
Japanese: 流祖平岩勘七親好が伊達政宗の命によって牛尾豊前守に入門して一流を立てたとされる。
English: During the Edo period, the Sendai Domain, the Owari Domain, and the Kaga Domain had supported the Hiraiwa head family, the family originated from Kanshichi's younger brother named Kahei, and the Yamamoto family who was a follower family of the Hiraiwa family respectively, although these three families stayed in Kyoto.
Japanese: 江戸時代には、宗家平岩家が仙台藩に、勘七の弟加兵衛の家系が尾張藩に、弟子家の山本家が加賀藩に、それぞれ京都在住のまま抱えられ、これらの地でもっぱら行われた。
English: The Kahei family began to claim to be the head family of the school at around the end of the Edo period, but this family eventually became extinct when Kahei HIRAIWA the eighth passed away in 1892.
Japanese: 江戸末期ごろには加兵衛家が宗家を名乗るようになったが、1892年に八世平岩加兵衛が没して廃絶した。
English: "Rinchu Kenmonshu" (The Collection of Noh Anecdotes), which was issued in the middle of the 18th century, lists some performer names such as 'Jinzaemon, Genshiro, Genzaburo, and the current Jinzaemon,' and it also insists that the school was named after their brilliant drumbeats made along with the passage 'the itoku (virtue and influence) of Mii-dera Temple is satisfactory' in the Noh play titled "Mii-dera Temple."
Japanese: 18世紀中期の『隣忠見聞集』に「甚左衛門、源四郎、源三郎、今の甚左衛門」といった役者名が挙がり、『三井寺』の「三井寺の威徳ぞめでたかりける」のくだりで打った頭が見事であったため流儀の名としたと伝える。
English: Although it is said they played exclusively for the Hosho school during the Edo period, Gozaemon ITOKU, who was the head of this school of the early Edo period, lost his father when he was still young and he learned drum play from a kotsuzumi (small hand drum) player of the Hosho school named Gorohisayoshi KO.
Japanese: 江戸時代には宝生座の座付とされたらしいが、江戸初期の家元威徳五左衛門は父が早く亡くなったため、同座の小鼓方幸五郎久能に指導を仰いだ。
English: (Until the middle of early-modern times, it had been not unusual that kotsuzumi players taught otsuzumi players how to play drums.)
Japanese: （近世中期ごろまで、小鼓方が大鼓方を指導するのはごく一般的なことであった）
English: It is believed that this made this school lose their own characteristics, and subsequently, they had been just playing ashirai tsuzumi (accompanying hand drum) for the Ko school.
Japanese: このため流儀の特色を失い、以後は幸流のアシライ鼓として終始したらしい。
English: In the early Meiji period, Raifu HIBINO (originator of the Shinto school) organized the conventional dancing styles into the current ones by introducing some styles of swordplay.
Japanese: 明治初期に日比野雷風（神刀流開祖）が剣術の形（型）を取り入れて現在の形に整理した。
English: The number of performers varies; sometimes one singer and one dancer, but often one singer and two or more dancers.
Japanese: 人数は決まっておらず、吟者と舞者が一対一の場合もあれば、吟者一人に対して複数人で舞う場合も多い。
English: There are no specific costumes for singers, but dancers wear a hakama (divided skirt for men), shiro-tasuki (white sash for holding up tucked sleeves), and shiro-hachimaki (white headband) to express the emotion of the poem.
Japanese: 吟者の格好は決まっていないが、舞者は袴に白襷、白鉢巻の支度で舞い、詩の情緒を表現する。
English: Dancing to shigin with a fan only is called Senbu (literally, "fan dance") or Shimai (literally, "poetry dance").
Japanese: また、詩吟に合わせて扇子のみを持って舞うことは扇舞（せんぶ）または詩舞（しまい）という。
English: Kensenbu refers to dancing holding a sword or a fan, or both of them.
Japanese: 剣扇舞（けんせんぶ）とは、刀剣または扇子、もしくはその両方を持って舞うこと。
English: Programs are categorized into ones that are mainly accompanied by Kenbu, ones that are mainly accompanied by Senbu, and ones that can be accompanied by either of them, based on the content of the poem.
Japanese: 詩吟の漢詩の内容によって、主に剣舞を伴う演目、主に扇舞を伴う演目、どちらでも舞うことのできる演目に分けられる。
English: According to the story handed down to the Ko family, the family served Emperor Gohanazono as Hokumen no bushi (the Imperial Palace Guards for the north side), and later Masatada KO became a tsure (an associate actor) in the Konparu school of Noh under the name of 'Uji Ko dayu,' but in fact, it is said that an actor of Sarugaku (a form of theater) troupe in Uji joined the Konparu troupe as a tsure and hayashikata (people who play hayashi, or the musical accompaniment) after he lost his influence.
Japanese: 家伝によれば、幸家はもと北面の武士として後花園天皇に仕え、後に幸正忠が「宇治幸大夫」と名のって金春流のツレとなったと伝えるが、本来は宇治市猿楽の大夫であった者が、後に勢力を失って金春座にツレ・囃子方などとして参加したものであるらしい。
English: There were four Sarugaku troupes in Uji - Ko, Fujiwaka, Umematsu (梅松) and Shugiku (守菊) - but they were abolished between 1532 and 1554, and Masatada's son, Shirojiro Tadayoshi studied under Chikakata MIYAMASU, who was a master of kotsuzumi, learned Noh from Zenpo KONPARU, and then played an active part in the Konparu troupe.
Japanese: 宇治の猿楽座はもと幸・藤若・梅松・守菊の四座であったが、早くも天文年間には廃絶し、正忠の子四郎次郎忠能は小鼓の名人宮増親賢に師事し、また金春禅鳳に能を学ぶなどして、金春座で活躍した。
English: After Miyamasu died with no successor, Tadayoshi became the originator of the Ko school of kotsuzumi-kata, separately from his senior pupil, Toyotsugu KANZE (the originator of the kotsuzumi-kata Kanze school).
Japanese: 宮増が後嗣を欠いたまま没すると、忠能は兄弟子の観世豊次（小鼓方観世流の祖）と座を分って世襲し、小鼓方幸流の祖となった。
English: His son, the second head of the school, Gorojiro Masayoshi was a well known master of kotsuzumi and he wrote "Ko Masayoshi Kudensho" (a book on his skill).
Japanese: 子の二世五郎次郎正能は名人として知られ、『幸正能口伝書』を残している。
English: After Masayoshi, since his grandson, Seijiro Satoyoshi (清次郎了能) was too young to succeed, his second son, Kozaemon Kazumune (小左衛門一宗) assumed the third headship of the Ko school, and later Satoyoshi started the Ko Seijiro family (Kosei school) separately.
Japanese: 正能の後は嫡孫清次郎了能が幼少であったため、二男小左衛門一宗が三世を襲い、後に了能は幸清次郎家（幸清流）を興して別家した。
English: In the Edo period, the head family of the school belonged exclusively to the Konparu school, and furthermore, the Ko Seigoro family, which Kazumune's second son started, also flourished by performing exclusively for the Hosho school.
Japanese: 江戸時代には宗家が金春流の座付となったほか、一宗の二男が興した幸清五郎家も宝生流の座付として活躍した。
English: Once the Itoku school of otsuzumi-kata became part of the Ko school by performing as ashirai tsuzumi (accompanying hand drum), which was also called Ko school.
Japanese: また、一時大鼓方威徳流が幸流のアシライ鼓となって幸流と呼ばれたことがある。
English: During the last days of the Edo period, the 12th head Masakazu had a dispute over succession with his brother-in-law, Seifu (正孚), and together with the decline of Nohgaku after the Meiji Restoration, it became one of the causes of the decline of the authority of the head family of the school, but the tradition of the school was preserved by senior pupils, Shuzaburo IKOMA, Kingo MISU (general director of entertainment for a while) and others.
Japanese: 幕末期には十二世正員の代に義兄の正孚とのあいだで宗家継承の争いがおこり、維新後の能楽衰退と相まって宗家の権威が衰える一因となったが、高弟生駒秀三郎、三須錦吾（一時芸事総取締）らによって流儀の伝統は守られた。
English: In the head family, as the 15th did not have a successor, Misu's grandson, Goro was adopted and succeeded to lead the school.
Japanese: 宗家は十五世に後嗣を欠いたため、三須の孫悟朗が養子となって相続した。
English: The school is characterized by the differentiation of five different sounds, which are called "po," "pu," "ta," "chi," and "tsu" and also by fewer complicated playing methods.
Japanese: ポ・プ・タ・チ・ツの五種類の音を打ち分け、装飾的な手組みの少ないのが特徴。
English: The Kosei school, or Ko Seijiro school, is one of the schools of kotsuzumi-kata (small hand drum players) in Nohgaku (the art of Noh).
Japanese: 幸清流（こうせい-りゅう）または幸清次郎流（こう-せいじろう・りゅう）は能楽小鼓方の一流派。
English: After the second head of the Ko school Gorojiro Masayoshi died, his second son Kozaemon Kazumune (小左衛門一宗) succeeded to the third head of the family because Masayoshi's legitimate grandson Seijiro Satoyoshi (清次郎了能) was too young; later Satoyoshi became independent and founded the school.
Japanese: 二世五郎次郎正能の後、嫡孫清次郎了能が幼少であったため、二男小左衛門一宗が三世を襲い、後に了能が別家して流儀を興した。
English: Therefore, its manner and music score are very similar to those of Ko school, but its characteristic is using varieties of decorative tegumi (a rhythm pattern).
Japanese: このため作法や譜は幸流にきわめて近いが、装飾的な替えの手組みを多く持つところに特色がある。
English: Its main bases of activity are Tokyo and Nagoya, and ten players are registered with the Nohgaku Performers' Association (as of June 30, 2008).
Japanese: 東京・名古屋が主要な地盤で、能楽協会には10名の役者が登録されている（2008年6月30日現在）。
English: Its founder is believed to be Gonuemon Michioki (権右衛門道意) OKURA, but it is thought that a person who actually established the basis of school was the second head, Choemon Nobuyasu, the adopted son of the third head of otsuzumi-kata, Toraie (Michitomo) NISUKE (二助虎家 [道知]).
Japanese: 大蔵権右衛門道意が家祖とされるが、実質的に流儀の基礎を築いたのは大鼓方三世二助虎家（道知）の養子となった二世長右衛門宣安と思われる。
English: Nobuyasu, who turned from otsuzumi-kata and established his own school, was a master who actively performed in the Noh competitions called Tachiai Noh of the time.
Japanese: 宣安は大鼓方から出て、一流を築き、当時の立会能で活躍した名人であった。
English: The school actively performed as the accompanist of Konparu school in the Edo period, and it used otsuzumi-kata of Okura school as ashirai tsuzumi (accompanying hand drum).
Japanese: 江戸時代には金春流の座付きとして活躍し、大鼓方大倉流をアシライ鼓とした。
English: As it uses loose shirabeo (a set of ropes used for Kotsuzumi [a small hand drum], Otsuzumi [a large hand drum] and Shime-daiko [a rope-tuned drum]) and its tone quality is soft, it is difficult to distinguish the tone of "po" from the tone of "pu."
Japanese: 調緒のかけかたがゆるく、やわらかい音を特色とするため、ポ・プの音は聞きわけにくい。
English: After Doka (道加) OKURA, the third son of Zenchiku KONPARU, established a branch family, his son, the second generation head Kuro Yoshiuji established the school under the guidance of Nobumitsu KANZE.
Japanese: 金春禅竹の三男大蔵道加が分家し、子の二世九郎能氏が観世信光に師事して一流を興した。