nntsuzu/KFTT huggingface dataset:
English: Tegotomono itself is thought to have emerged around the Genroku era and "Sarashi" by kengyo FUKAKUSA, "Rokudan Renbo" by Jirosan KISHINO, "San Dan Jishi" (triple lion) by kengyo SAYAMA and so on are known as the works of the early period.
Japanese: 手事物そのものは、元禄の頃に発生したと考えられ、深草検校の『さらし』、岸野二郎三の『六段恋慕』、佐山検校の『三段獅子』などがもっとも初期の作品として知られる。
English: However in those days, the genre 'tegotomono' was not yet established and included in 'choka' (long epic song).
Japanese: しかし当時はまだ「手事物」というジャンル分けはなく、これらは「長歌」に含まれていた。
English: In fact, tegotomono is thought to be divided into two kinds: the one which originated from kumiuta or choka in jiuta (short intermezzo developed) and the one which added the song parts to the works that were originally pieces of instrumental music.
Japanese: 実際、手事物は地歌において組歌や長歌から派生(短い合の手が発展)したものと、もともと器楽曲であったものに歌の部分を付加したものの二通りがあると考えられる。
English: Jiuta during the middle of the Edo period was mainly choka or hauta (short song) and especially enormous numbers of hauta were composed by kengyo FUJINAGA, koto (the title of the official ranks within the Todo-za (the traditional guild for the blind)) TSURUYAMA, kengyo MASASHIMA and so on and hauta was at its zenith.
Japanese: 江戸時代中期の地歌は長歌物、そして端歌物が中心で、ことに端歌は大阪の藤永検校、鶴山勾当、政島検校をはじめとする作曲家たちにより、厖大な数の曲が作られ、端歌物全盛時代であった。
English: Tegotomono is said to have been firstly established as a classifying genre in 'Shin utabukuro' (the New Collection of Koto Music in History) published in 1789.
Japanese: 手事物という分類項目が使われたのは寛政元年(1789年)に出版された「古今集成琴曲新歌袋」であるとされる。
English: Around that time the works of tegotomono increased, tegotomono was streamlined further by koyo MINEZAKI or koto MITSUHASHI and the works which emphasized tegoto rather than song increased.
Japanese: この頃になると手事物の曲も増え、大阪の峰崎勾当や三ツ橋勾当によって手事物はより整備され、歌よりも手事に作曲の比重を置いた曲が多くなる。
English: Famous works include "Azuma Jishi" (Lion of Azuma), "Echigojishi," "Zangetsu" (A Morning Moon) by MINEZAKI, "Shochikubai" (pine, bamboo and plum trees), "Nebiki no matsu" (Pine Seedlings) by MITSUHASHI and so on.
Japanese: 峰崎の『吾妻獅子』、『越後獅子』、『残月』、三ツ橋の『松竹梅』、『根曵の松』などが有名曲である。
English: Furthermore, these came down to musicians in Kyoto, refined by them and 'Kyoto-style tegotomono' (a form of Japanese chamber music) was spawned and the following numerous famous works were composed: "Uji meguri" (uji tour), "Shiki no Nagame" (Viewing the Four Seasons), "Sue-no-chigiri" and so on by kengyo MATSUURA and "Yaegoromo" (An Eight-Fold Garment), "Shin Aoyagi" (new green willow) and so on by koto ISHIKAWA and "Nagara-no-haru," "Iso Chidori" (beach plover), "Yugao" (Evening Face), "Cha ondo" (Tea Song) and so on by kengyo KIKUOKA and "Sakuragawa" (Sakura river), "Nanakomachi" (Seven Komachi) and so on by kengyo MITSUZAKI.
Japanese: さらにこれが京都の音楽家たちに受け継がれ、洗練されて「京流手事物」が生まれ、松浦検校の『宇治巡り』、『四季の眺』、『末の契』など、石川勾当の『八重衣』、『新青柳』など、菊岡検校の『長等の春』、『磯千鳥』、『夕顔』、『茶音頭』など、光崎検校の『桜川』、『七小町』など、数多くの名曲が作られた。
English: And kengyo YAEZAKI put the so (or koto) parts to these works or made kaede (accompanying melody) for shamisen and they were played in various ensembles such as danawase (type of ensemble method), jiawase (type of ensemble method), instrumental trio (shamisen (three-stringed Japanese guitar), so (thirteen-stringed Japanese zither), and shakuhachi (bamboo flute)) ensemble and so on and dramatically developed as ensemble music.
Japanese: またこれらの曲に八重崎検校らが箏のパートを付け、あるいは三味線の替手が付けられたり、段合わせや地合わせ、三曲合奏など、さまざまな合奏形態で演奏され、合奏音楽としての発展も著しかった。
English: However at that time, "Samushiro" by koto ARIHARA, "Haru no akebono" by kengyo KIKUYAMA and so on were also composed in Osaka.
Japanese: ただしこの時期、大阪でも在原勾当の『さむしろ』、菊山検校の『春の曙』などが作られている。
English: From the end of the Edo period to Meiji period, jiuta by tegotomono such as "Hagi no tsuyu" (Dew on the Bush Clover) by kengyo IKUYAMA or "Harugasane" by Ryusai FURUKAWA and so on were continuously composed in Kyoto.
Japanese: 幕末から明治期にかけても京都では幾山検校の『萩の露』や古川龍斎の『春重ね』など、手事物の地歌曲は引き続き作られた。
English: On the other hand, across Japan in the end of Edo period, the works which applied the form of Kyoto-style tegotomono were composed, such as "Hana no enishi," "Natsugoromo" and so on by kengyo YOSHIZAWA in Nagoya, "Onoe no Matsu" (Pine Tree On Mountain) and "Ama obune" in Kyushu and "Hanagatami" in Hiroshima and so on.
Japanese: いっぽう幕末になると名古屋の吉沢検校の『花の縁』、『夏衣』などをはじめ九州の『尾上の松』、『海女小舟』、広島の『花形見』など、各地でも京流手事物の形式にのっとった曲が作られるようになった。
English: Furthermore after the end of the Edo period, when so (or koto) songs became independent from jiuta again, this form of so (or koto) works was actively composed, such as "Chidori no kyoku" (a song for plover), "Tokoyo no kyoku" (a song for eternity), "Shin Takasago song" (literally, "new version of "Takasago"), "Kaede no hana" (a maple flower), "Mikuni no homare" (the glory of the country), "Meiji shochikubai," "Hototogisu no kyoku" (a song for a little cuckoo), "Aki no koto no ha" (Words for autumn) and so on.
Japanese: 更に幕末以降、箏曲が地歌から再独立する際にも、『千鳥の曲』をはじめとして、『常世の曲』、『新高砂』、『楓の花』、『御国の誉』、『明治松竹梅』、『時鳥の曲』、『秋の言の葉』など、この形式の箏曲がさかんに作られた。
English: After that, the works "Haru no yoru" (a spring night), "Hira," "Mushi no Musashino" (Insects in Musashino) and so on by Michio MIYAGI were used in new Japanese music and often used also by modern composers.
Japanese: その後も宮城道雄の作品『春の夜』、『比良』、『虫の武蔵野』など新日本音楽でもよく使われ、また現代の作曲家によってもしばしば使われている。
English: On the other hand, YAMADA-style so (or koto) songs which were song-oriented have a few tegotomono works such as "Miyako no haru" (The spring in the city) or "The Eight Views of Omi" and so on.
Japanese: いっぽう歌本位の山田流箏曲にも、『都の春』、『近江八景』など少数ながら手事物と呼べる曲がある。
English: Influenced by jiuta, some chokas, which had almost the same structure as the tegoto of jiuta in terms of musical structure and had long 'aikata' (partner) songs, were composed in the end of the Edo period.
Japanese: なお長唄でも地歌の影響を受けて、江戸時代末期になると楽式的には地歌の手事物とほぼ同じ構造で、長い「合方」を聴かせる曲がいくつか作られた。
English: They include, for example, "Echigojishi," "The Eight Views of Azuma" and "Aki no irokusa" (the flowers of autumn).
Japanese: 『越後獅子』、『吾妻八景』、『秋色種(あきのいろくさ)』がその例である。
English: "Echigojishi" incorporated jiuta such as "Echigojishi" or "Sarashi" (bleached cloth) and "Aki no irokusa" also incorporated jiuta such as "Mushi no ne" (sound of insect) or so (or koto) song called "Midare" (disorder) to enhance the instrument parts.
Japanese: 『越後獅子』は地歌の『越後獅子』や『さらし』を取り入れ、『秋色種』もやはり地歌の『虫の音』や箏曲の『みだれ』を取り入れて器楽性を高めている。
English: Or, like 'oimawashi no aikata' (partner as an odd-job man) in "Kyo Kanokomusume Dojoji" (The maiden at Dojo Temple), the existing works were revised and improved to have the aikata's parts later.
Japanese: あるいは『京鹿子娘道成寺』の「追回しの合方」のように、既存の曲に後世合方を補作したものもある。
English: Aikatas are almost the same as tegoto in jiuta and the unique aikata such as 'Tsukuda' or 'Taki nagashi' (Falling down a waterfall) is one enchantment of choka, but they are rather devoted to description and in some points they characteristically differ from the tegoto of jiuta which musically developed far more variously as most of them are for theater music.
Japanese: 合方は地歌で言う手事とほぼ同じであり、「佃」「滝流し」など独自の合方もあり長唄の魅力の一つとなっているが、どちらかといえば描写に徹しており、また大方が劇場音楽であるだけに、はるかに多様な音楽的展開を見せた地歌の手事とは性格を異にする部分もある。
English: This is because audiences could enjoy both vocal parts and instrumental parts in one work and the works could be easily changed.
Japanese: これは、一曲の中で声楽と器楽の両方を楽しむことができ、また曲に変化を持たせやすいからでもあるだろう。
English: And it refers to a period between the day and the beginning of the following sekki called shokan (the lesser cold season) (at ecliptic longitude 270 - 285 degrees).
Japanese: および、この日から次の節気の小寒までの期間（黄経270-285°）。
English: It is the shortest day and longest night of the year, with the lowest culmination altitude of the sun, in the northern hemisphere.
Japanese: 北半球では太陽の南中高度が最も低く、一年の間で昼が最も短く夜が最も長くなる日。
English: "Koyomi Binran" (the Handbook of Japanese Calendar) explains 'it is because the sun reaches the most southern point and the daytime is the shortest.'
Japanese: 『暦便覧』では「日南の限りを行て、日の短きの至りなれば也」と説明している。
English: It is said in Japan that taking yuzu-yu (a yuzu citron bath) and eating Toji-gayu (winter solstice rice gruel), which is azuki-gayu (rice gruel with red beans), and pumpkins on the day prevent catching cold.
Japanese: 日本では、この日に柚子湯に入り、冬至粥（小豆粥）やカボチャを食べると風邪をひかないと言われている。
English: There is a tradition of eating jiao-zi (Chinese dumplings containing ground meat and/or vegetables) in Northern China and tan-en (boiled dango (dumplings) with an (sweet bean paste) inside) in Southern China.
Japanese: 中国北方では餃子を、南方では湯圓（餡の入った団子をゆでたもの）を食べる習慣がある。
English: The sun rises from the slightly southerly direction from the due east and sets in the slightly southerly direction from the due west in the northern hemisphere during the period between the autumnal and vernal equinoxes.
Japanese: 秋分から春分までの間、北半球では太陽は真東からやや南寄りの方角から上り、真西からやや南寄りの方角に沈む。
English: An observer on the Tropic of Capricorn would see the sun pass through the zenith at noon on the day of Toji.
Japanese: また南回帰線上の観測者から見ると、冬至の日の太陽は正午に天頂を通過する。
English: The polar night occurs in the whole Arctic Circle to the north of the northern latitude of 66.6 degrees, and the night of the midnight sun in the entire Antarctic Circle to the south of the southern latitude of 66.6 degrees, on the day of Toji.
Japanese: 冬至の日には北緯66.6度以北の北極圏全域で極夜となり、南緯66.6度以南の南極圏全域で白夜となる。
English: Incidentally, the latest sunrise or earliest sunset of the year is not experienced on the day of Toji.
Japanese: なお、1年で日の出の時刻が最も遅い日・日の入りの時刻が最も早い日と、冬至の日とは一致しない。
English: In Japan, the latest sunrise occurs about half a month after Toji, and the earliest sunset about half a month before it.
Japanese: 日本では、日の出が最も遅い日は冬至の半月後頃であり、日の入りが最も早い日は冬至の半月前頃である。
English: Apart from the astronomical Toji, however, 'the day with the shortest daytime and longest nighttime' is also called Toji sometimes by tradition.
Japanese: また、天文学的な冬至とは別に、慣習的に「一年中で一番昼が短く夜が長い日」のことを冬至と呼ぶことがある。
English: According to the lunisolar calendar that was being adopted in China and Japan, November (in old lunar calendar) is defined as the month of Toji.
Japanese: 中国や日本で採用されていた太陰太陽暦では、冬至を含む月を11月(旧暦)と定義している。
English: Every 19 years the day of Toji falls on November 1 (in old lunar calendar).
Japanese: しかし、19年に1度、冬至の日が11月1日(旧暦)となることがある。
English: In the lunisolar calendar, a cycle of 7 leap months in 19 years was called 'Sho' (a chapter) and the year, in which an old chapter was replaced by a new one, was named 'Shoshu,' meaning the first year of the new chapter.
Japanese: 太陰太陽暦では、19年7閏の周期を「章」と称し、古い章から新しい章への切替となる年を新しい章の最初の年という意味で「章首」と呼んだ。
English: In the year of Shoshu, the seventh leap month concluded the preceding chapter, and the Toji following it marked the beginning of a new chapter.
Japanese: 章首の年にはまず前の章の締めくくりにあたる7番目の閏月を迎え、その後に到来するその年の冬至をもって新しい章の開始とされた。
English: A general rule was to develop rekiho (a calendar-making method) in such a way that Toji is always Sakutan Toji in Shoshu.
Japanese: そして、その章首における冬至の日は必ず朔旦冬至となるように暦法が作られるのが原則とされていた。
English: This indicates the correct application of the calendar based on the principle of 7 leap months in 19 years.
Japanese: このことは、19年7閏原則に基づく暦が正確に運用されているということである。
English: And kentoshi (a Japanese envoy to Tang Dynasty in China) was allowed to attend the ceremony in 659 when it was staying by coincidence in the capital of Tang Dynasty, Rakuyo.
Japanese: そして、659年に偶々遣唐使が唐の都・洛陽に滞在中で儀式への参加が許されている。
English: In Japan, such a ceremony was held for the first time in 784 by the Emperor Kanmu, who had been actively adopting Chinese-style ceremonies.
Japanese: 日本では唐風儀式の取り入れに積極的であった桓武天皇の784年に初めて儀式が行われた。
English: It became a very big event, since Goryaku no so (an annual ceremony, in which a calendar for the next year was submitted to an emperor) had also been originally held on November 1.
Japanese: なお、11月1日は元々翌年の暦を天皇に奏進する御暦奏も行われていた事から、非常に盛大な行事となった。
English: The calendar using a chapter-breaking method, however, did not always respect the rule of 7 leap months in 19 years.
Japanese: ただし、破章法を採用している暦では19年7閏が守られない場合があった。
English: And Sakutan Toji was brought on or avoided by the artificial manipulation of the calendar (which is a practice called 'kaireki' [calendar revision]).
Japanese: そして、暦を人為的に操作して朔旦冬至を到来させたり回避させる事（「改暦」）が行われた。
English: The last ceremony of Sakutan Toji was held in 1768 at the time of the Emperor Kokaku.
Japanese: なお、1768年の光格天皇の時に朔旦冬至の儀式が行われたのが最後だ。
English: When the next Sakutan Toji arrived in 1870, the Meiji Government decided against organizing such a ceremony in the future, regarding it as an old convention.
Japanese: 次の1870年の朔旦冬至の際に明治政府は古い因習として、以後こうした儀式は行わない事とした。
English: The last Sakutan Toji took place in 1995, and the next one will occur in 2014.
Japanese: これまでで最後の朔旦冬至は1995年、次の朔旦冬至は2014年である。
English: With a good flavor of soup stock as well as less vinegar and milder taste, tosazu is used for aemono (sliced fish, shellfish and/or vegetables mixed with a sauce such as miso or vinegar) with bland seafood.
Japanese: 三杯酢より酢の味やクセが弱く、また出汁のうまみが加わるため、淡白な魚介類などの和え物に用いられる。
English: A cup of nihaizu (vinegar and soy sauce mixed in roughly equal proportions) or sanbaizu together with 5 to 10 grams of sliced dried bonito will produce three-fourths cup of tosazu.
Japanese: 二杯酢または三杯酢　1カップ、はなかつお　5-10gから、4分の3カップの土佐酢が出来る。
English: Joeki NAKAGAWA is a name that has been succeeded for generations by the head of the Nakagawa family, one of the Senke jissoku (the 10 artisans of the Sen family) specialized in the hardware craftwork.
Japanese: 中川浄益（なかがわじょうえき）は千家十職の一つ、金物師（かなものし）の中川家当主が代々襲名する名称。
English: The Nakagawa family initially were body armor craftspeople in Echigo Province but the first Yojuro NAKAGAWA who made tea utensils for the first time in the family history assumed the name of Shoeki which was passed down to subsequent generations of men that headed the Nakagawa family as Joeki.
Japanese: 元々は越後国で甲冑・鎧を作っていたが、茶道具を初めて手掛けた初代・中川與十郎が紹益を名乗り、二代目浄益以降の当主は浄益という名を継いでいる。
English: Joeki XI was born the eldest son of Joeki X and is the graduate of the Metal Fabrication and Machining Program at Kyoto City Fushimi Second Technical High School (presently Kyoto City Fushimi Technical High School).
Japanese: 十代の長男として生まれ、京都市立第二工業高校（現在の京都市立伏見工業高等学校）金属工芸科卒業。
English: Also referred to as kazarishi (the fine metal fabrication crafts worker) specialized in sophisticated metal tea utensils, the Nakagawa family has been passing their superb art in metal fabrication down for generations.
Japanese: 中川家は錺師（かざりし）とも言われ、金工の精巧な茶道具を得意とし、優れた金工の技術を継承してきた。
English: Their main works include hammered metal made by forging steel and cast metal made by casting steel into mold.
Japanese: その作品は鉄を鍛造して制作する槌物（うちもの）と鋳造による鋳物（いもの）が主である。
English: Shoeki originally made armor as did his ancestors, but it is said that his turning point came when SEN no Rikyu commissioned and instructed him to make a tea kettle whereby Shoeki started tea utensil making which has become the Nakagawa family's business.
Japanese: 元は先祖と同じく武具を製作するが、千利休の依頼・指導により薬鑵（やかん）を作ったのを契機に、現在の家業である茶道具作りを始めたとされる。
English: Since the name Shoeki was confused with the name of a business tycoon Shoeki SANO, he was instructed by the fourth head of the Omote-senke Sosa SEN to change his name to Joeki and, thereafter, the subsequent generations of head of the Nakagawa family have referred to themselves as 'Joeki'.
Japanese: 表千家四代千宗左より、豪商佐野紹益と名前が紛らわしいことから浄益に改めるよう申しつけがあり、これ以降は代々「浄益」を名乗る。
English: Joeki found a formula for making an alloy of copper, tin and lead which was technically very difficult, and among the successive heads of the Nakagawa family, he was recognized as the master of cast metal who left numerous fine works.
Japanese: 技術的に困難であった砂張（さはり：銅・錫・鉛の合金）の製法を発見して多くの名品を残しており、歴代の中でも鋳物の名人として知られる。
English: Having offended Sottakusai, he was barred from Omotesenke at one point and subsequently worked exclusively for Urasenke (the house of Urasen) (details surrounding this circumstance remain unknown.)
Japanese: 啐斎の機嫌を損ね、一時表千家出入りを禁じられ、その後は裏千家のみの御用を務める（詳しい理由は不明）。
English: Joeki was referred as the 'Master of hammered alloy of copper, tin and lead' and 'Igami Joeki' (the Crooked Joeki because of his slightly crooked handwriting inscribed on his works) and is said to be the person responsible for revitalizing the Nakagawa family which had been on shaky grounds due to the various circumstances after the Great Fire of Tenmei.
Japanese: 「砂張打物の名人」「いがみ浄益」といわれ、天明の大火以後様々な事情でふるわなかった中川家の中興の人物といわれる。
English: He also established 'Joeki-sha' to introduce the Japanese arts to foreign countries but was ousted due to the various circumstances.
Japanese: また「浄益社」を設立、海外への日本美術の紹介を行うなどするが、様々な事情により失脚。
English: Joeki received support from various people including the Mitsui family with whom he had connections through his father but failed to rebuild the family business, which led him to develop alcohol dependency.
Japanese: 父方の縁により三井家などから援助を受けるが、家業の建て直しがうまくいかず、逆境の中アルコール依存症となる。
English: Joeki was a first-class artisan but since he worked during times when traditional arts and crafts were not appreciated, he received no public recognition.
Japanese: 職人としては一流であったが、伝統工芸に理解のない時代だったため世間からは認められなかった。
English: Taking advantage of the war boom that occurred when World War I broke out, Joeki cleared off his debts laying the foundation for rebuilding the Nakagawa family.
Japanese: 第一次世界大戦勃発による軍需景気にのり負債を完済、中川家再建の基盤を作る。
English: The representative works included 'Aokinjuro' and '2 Hotei-zo' (2 statues of Hotei (the god of good fortune)) (stored at the Mitsui household) in addition to 'Gion Festival Iwatoyama post hardware (for 2 posts).'
Japanese: 代表作「青金寿老」「布袋像2体」（以上三井家蔵）「祇園祭岩戸山柱金具（2柱分）」。
English: Tegoto is a long part of instrumental music sandwiched between vocal music in a piece by an instrumental trio, which is a collective term for jiuta (a genre of traditional songs with accompaniment by shamisen (three-stringed lute)), sokyoku (koto (thirteen-stringed Japanese zither) music), and kokyugaku (Chinese fiddle music).
Japanese: 手事（てごと）は、三曲の音楽である地歌、箏曲、胡弓楽において、歌と歌の間に挟まれた長い器楽部分。
English: The word "tegoto" is derived from the 'act' ('koto' in Japanese) of performing using only 'hands' ('te' in Japanese), which originally referred to a manner of performance, technique, or part by an instrument in traditional Japanese music.
Japanese: 語源は、もともと邦楽において楽器の奏法、技法、パートなどを「手」と呼び、「歌」に対し、「手」のみで演じられる「事」から来ている。
English: The traditional Japanese music of the early-modern times centered around vocal music; however, instrumental music developed significantly in the instrumental trio.
Japanese: 近世邦楽は声楽中心の音楽であったが、三曲の音楽においては大きな器楽的展開が見られた。
English: Originally, tegoto developed from jiuta and kokyugaku and can be divided into two types; one which was shaped into tegotomono as a style of composition by sandwiching a solo with vocal parts, and one in which a short interlude in a vocal music piece gradually developed and became a long interlude.
Japanese: 本来地歌および胡弓楽において発生したもので、もともと独奏曲であったものの前後に声楽部分を付属させ、楽曲形式として手事物の体裁を整えたものと、声楽曲の中の短い間奏部分が次第に発達して長大となったものの二種類があると考えられる。
English: The former type is relatively few in number and includes pieces such as 'Yachiyojishi,' 'Godanginuta,' and many pieces of Kokyu Honkyoku (music for the Kokyu).
Japanese: 前者では「八千代獅子」や「五段砧」、胡弓本曲の多くの曲がそうであり、比較的数は少ない。
English: At any rate, in most cases tegoto focuses on instrumental techniques and on melodic appeal.
Japanese: いずれにしても多くの場合、手事は楽器の技巧や旋律の面白さを聴かせることに主眼がおかれている。
English: Another part of instrumental music in a piece other than tegoto is 'ainote;' ainote refers to a part which is not as long as tegoto and which is the same as the interlude often found in various vocal music pieces.
Japanese: 曲中の器楽部としては、手事の他に「合の手」（あいのて）があり、これは手事ほどの長さを有しない短いものを指し、様々な声楽曲に見られる間奏と同じものである。
English: There is a type of tegoto which is representative of the scenes depicted by words in a piece, as well as a type which is created as absolute music regardless of the words.
Japanese: 手事には、歌詞の情景を描写するものと、歌とは関係なく絶対音楽的に作られているものがある。
English: The former type can further be divided into one in which instruments play a leading role and words play an auxiliary role, and a type in which the roles are reverse.
Japanese: 前者には更に、楽器が主導的で歌が補助的なものと、その逆のものがある。
English: However, many pieces have a mixture of these factors and thus consist of a wide variety of parts (for example, some parts are descriptive and some parts are absolute music), which is also a feature that makes these pieces attractive.
Japanese: しかし多くの曲ではこれらの要素が入り交じり、また部分的に描写的であったり、絶対音楽的であったりして変化が大きく、それが魅力ともなっている。
English: In the beginning, tegoto was a rather simple form of music; gradually it became longer and more complex, and it took a complete form around the eighteenth century as the result of enhancement by people like Koto (the third title of the official ranks within the Todo-za (the traditional guild for the blind)) MINEZAKI in Osaka.
Japanese: 手事は、はじめのうちは音楽的にはわりと単純なものであったが、次第に長大、複雑なものとなり、18世紀後期、大阪の峰崎勾当らにより高められ、手事物が完成された。
English: Furthermore in the nineteenth century, blind musicians in Kyoto created many masterpieces of tegotomono.
Japanese: 更に19世紀には京都の盲人音楽家達により多数の手事物の名曲が作り出される。
English: At the same time, ensemble methods developed, and not only solos but also various types of ensemble methods such as danawase, jiawase, uchiawase, honte kaede gasso, and sankyoku gasso were created; gradually tegoto developed as a core part of these methods.
Japanese: 同時に合奏法が発達して、独奏だけでなく段合わせ、地合わせ、打ち合わせ、本手替手合奏、三曲合奏など、様々な合奏法が編み出され、手事は次第にその中心的部分として発展した。
English: Originally tegoto referred to instrumental parts in jiuta and kokyugaku pieces; however, since around the middle of the Edo period, tegoto began to be performed in concert with koto (a Japanese harp), and it came to be played also as sokyoku.
Japanese: 手事はもともと地歌曲、胡弓楽曲の楽式部分であるが、江戸時代中期になると地歌に箏が合奏されるようになり、箏曲としても手事が演奏されるようになった。
English: Eventually in the end of the Edo period, koto became independent from jiuta once again, but the form of tegotomono was directly inherited by sokyoku; thus many sokyoku, including tegoto, were created since the Meiji period.
Japanese: やがて幕末には箏が地歌から再独立して行くが、この際にも手事物形式はそのまま箏曲に受け継がれ、明治以降にも手事を持つ箏曲が多数作られている。
English: Later, there were attempts to extract tegoto and make music from tegoto alone as a type of instrumental music; 'Tegoto' by Michio MIYAGI is a well-known example of such cases.
Japanese: 後世、この手事を単独に器楽曲様式として抽出、作曲する試みもあり、宮城道雄作曲の「手事(宮城道雄)」などが有名である。
English: The tegoto in 'Rokudan Renbo' (by Jirosa KISHINO), which is tegotomono of the early phase, consists of six stages, whereas three stages are found in 'San Dan Jishi' (by Kengyo (the highest title of the official ranks within the Todo-za) SAYAMA).
Japanese: 初期の手事物である「六段恋慕」（岸野二郎三作曲）の手事は六つの段、「三段獅子」（佐山検校作曲）では三つの段に分かれている。
English: Also, in pieces such as 'Yachiyojishi' and 'Naniwajishi' (by Kengyo TSUGUHASHI), the stages have the same length and consist of almost the same melodies or variations.
Japanese: また「八千代獅子」「難波獅子」（継橋検校作曲）などでは、各段が同じ長さを持ち、ほとんど同じ旋律または変奏になっているものがある。
English: This method of performance continued into later years, with many variations added thereto, and some pieces were created to enable players to perform alternately (uchiawase method).
Japanese: この手法はその後も受け継がれ、より変奏に工夫が凝らされ、互いに合奏ができる（段合わせ）よう作られている曲もある。
English: Separately from these stages, tegoto is usually accompanied by 'chirashi' (a coda) at the end.
Japanese: これら段とは別に、手事の終わりにたいていコーダ的な「チラシ」が付属する。
English: Furthermore, some pieces are divided into 'mae-chirashi' (the first coda), 'naka-chirashi' (the middle coda), 'hon-chirashi' (the main coda), and 'ato-chirashi' (the latter coda).
Japanese: 更に「前チラシ」「中チラシ」「本チラシ」「後チラシ」などに分かれている曲もある。
English: In tegoto of Kyoto-style tegotomono, many have preludes called 'jo' or 'makura' in the beginning, which serve as introductory parts in relation to maeuta (the former song).
Japanese: 京流手事物曲の手事では、手事の最初に前唄からの導入部的な部分である「序」または「マクラ」を持つものが多い。
English: Also especially in tegoto of Kyoto-style tegotomono pieces, a method called 'kakeai' (alternate performance), wherein shamisen and koto exchange figures, is often used.
Japanese: またとくに京流手事物曲の手事には、三味線と箏が交互に音型を受け渡しする「掛け合い」が多い。
English: During tegoto, keys are often changed in places, and in some cases tuning may be changed at a turn of stages, causing a significant changing of keys.
Japanese: 手事中ではしばしば部分的に転調が行なわれ、場合によっては段の変わり目で調弦を変えて大きな転調を行なう曲もある。