nntsuzu/KFTT huggingface dataset:
English: Shiki Sanban requires the total of eight or nine actors who play the role of Okina (Shite-kata, which means the protagonist) which is performed by Tayu (the head of each school of Noh), the role of Senzai (Shite-kata in Kamigakari composed of the Kanze and Hosho schools of Noh sharing the same roots in Kyoto and Kyogen-kata, or Kyogen-shi, in Shimogakari comprising the Konparu, Kongo, and Kita schools of Noh sharing the same roots in Nara), the role of Sanbaso (Kyogen-kata), the role of Menbako-mochi (who makes an appearance as Kyogen-kata only in Kamigakari to play opposite in the dialogue of the Sanbaso section), Fue-kata (a flute player), three Kotsuzumi-kata (small hand-drum players), and Otsuzumi-kata (a large hand-drum player).
Japanese: 式三番に要する役者は、翁役の大夫（シテ方）、千歳役（上掛りではシテ方、下掛りでは狂言方）、三番叟役（狂言方）、面箱持役（上掛りに限って出る。狂言方。三番叟の段で問答の相手役を勤める）、笛方、小鼓方3名、大鼓方の計8ないし9名。
English: Although there is a variation across ryugi (schools), some restrictions apply to performances by both amateur and professional Noh actresses (including a denial to give performance permission to women and the establishment of age limits).
Japanese: 流儀によってそれぞれに異なるが、素人・玄人ともに、女性による上演には一定の制限が加えられている（女性には許しを出さない、年齢制限を設ける等）。
English: Actors engage in Monoimi (purification through fasting and abstention) called Bekka (literally, "separate fire," during which they cook with sacred fire, avoiding unclean fire used by others, particularly women) for a period of time.
Japanese: 役者は一定の期間別火（べっか）という物忌みを行う（特に女性と同じ火を使うことを忌む）。
English: On the day of the performance, an altar is set up in Kagami no ma (literally, the "mirror room" behind Agemaku, or the curtain separating it and the stage, in which the fully-dressed performers don their masks and gaze into a large mirror to concentrate on their roles while they wait to enter the stage), and each actor purifies himself through Sakazuki-goto (the drinking of Omiki, or sacred sake) and with Kiribi (sacred sparks produced by rubbing together two pieces of wood, generally Hinoki, which is chamaecyparis obtusa, or by striking a flint against iron) before going on the stage.
Japanese: 当日は鏡の間に祭壇をしつらえ、舞台に上がる前に各役が盃事と切火で身を清める。
English: Incidentally, Zenchiku KONPARU's book on the theory of Nohgaku, "Meishuku-shu" which was discovered in 1964, includes some discussions of Okina.
Japanese: ちなみに1964年（昭和39年）に発見された金春禅竹による能楽理論書『明宿集』の中に、翁を論じた箇所が見える。
English: It is the existence that has the appearance of Roya (an old man) and whose figure can be seen through human eyes only in the state of unconsciousness.
Japanese: 老爺の容姿をしており、人間の目では無意識の状態でのみ姿を見ることが出来る存在。
English: The same book also states that Okina is 'Shukujin' (a guardian god of arts), in other words, like Shoryo (the spirit of a dead person) connecting Konoyo (this life) and Anoyo (afterlife).
Japanese: また同書では、翁とは「宿神」つまり、この世とあの世を繋ぐ精霊のようなものと記されている。
English: Today, the most commonly performed Shiki Sanban has the performance configuration as below.
Japanese: 現在、もっとも一般的に上演される式三番は以下のような形態をとっている。
English: Various Kogaki were created to prevent the audience from being bored of Shiki Sanban, which was played first every day in the Gobandate Shiki Noh performance lasting several days in the Edo Period.
Japanese: 江戸時代の式能において、数日間にわたって五番立の演能が行われる場合、初番の式三番は毎日同じもので飽きがくるために、各種の小書がつくられた。
English: There are slight differences in Shisho (lyrics), and the contents do not vary much.
Japanese: いずれも詞章に多少の違いがあるだけで、内容が大きく異るわけではない。
English: However, it is also said that essentially this was the legitimate version and the followers created the others to complement it.
Japanese: ただし、本来これが正規のものであったのを、後人が補って他の型を作ったものだろうとも言われる。
English: These Kogaki are unique programs that are performed together by the Tayu of different schools (Jiutai is mixed.)
Japanese: この小書にかぎって異流の太夫どうしで演じる特殊な演目である（地謡は混成）。
English: Furthermore, Yumiya no Tachiai is a Noh song with a long and honorable history that was certainly played in the Utaizome-shiki (a New Year's ceremony for the first Noh singing of the year in the home of a shogun) of the Bakufu (the Japanese feudal government headed by a shogun) during the Edo Period.
Japanese: なお、弓矢立合は江戸時代に幕府の謡初式でかならず演じられた由緒ある曲である。
English: On rare occasions, Noh such as 'Takasago' (the dune), 'Yoro' (the care of the aged), 'Tsuru Kame' (the crane and the tortoise), and 'Oimatsu' (the old pine tree) are performed by the same set of Noh actors after 'Okina.'
Japanese: 稀に、「翁」に続けて連続で「高砂」や「養老」、「鶴亀」、「老松」などの能が同じ演者たちによって上演されることがある。
English: Yet, they are also physically the most demanding ones, because some performers, such as Hayashi-kata (instrumental performers), have to be on the stage for about three hours.
Japanese: ただし囃子方などは3時間前後、舞台に上がりっぱなしとなる為、体力的にも最も高いものを要求される。
English: Some Sarugaku actors were assimilated and incorporated into Yamato Sarugaku (Sarugaku in Yamato Province) and became the bearers of the Shikigaku (the ceremonial art) of the Samurai, or warrior, society in the Edo Period.
Japanese: 大和猿楽に吸収・統合されて江戸期の武家社会の式楽の担い手となっていった猿楽の役者たちがいた。
English: There were also many others who inherited Shiki Sanban as an indigenous form of entertainment across Japan.
Japanese: それ以外にも、日本各地には土着の芸能として式三番を継承していった者たちが少なくなかった。
English: Examples include Ozawa Shiki Sanban of Ozawa-kyo, Hinohara-mura, which is designated as a Tokyo intangible folk cultural asset, as well as Sasano Shiki Sanban of Sasano-kyo and Furumi Shiki Sanban, which has been handed down from generation to generation in the Hakusan-jinja Shrine of Hiraizumi-cho, Iwate Prefecture.
Japanese: 例えば東京都無形民俗文化財に指定されている檜原村小沢郷の小沢式三番や笹野郷の笹野式三番、岩手県平泉町の白山神社で伝承される古実式三番などがある。
English: At present, the Nohgaku Performers' Association has some 20 registered members who work mainly in Tokyo, Nagoya City, and Kanazawa City.
Japanese: 現在、能楽協会に二十名あまりが登録し、東京都、名古屋市、金沢市などを基盤として活動する。
English: As differences between the families and schools are large, it is hard to generalize the features of this school as a whole.
Japanese: 家・派ごとの差違が大きく、芸の特徴を総体的に流儀としてまとめることはむずかしい。
English: However, this school is said to have more refined and more sophisticated expressions than the Okura school, with soft and light-hearted atmosphere.
Japanese: が、全体に大蔵流に比べ洒脱で洗練された表現が多く、あかるくやわらかみがあるといわれる。
English: The school can be separated into three different ha (school) depending on performances: IZUMI YAMAWAKI ha (Soke (the head family) ha), Matasaburo NOMURA ha, and Tokuro MIYAKE ha.
Japanese: 流内は、芸系によって山脇和泉派（宗家派）、野村又三郎派、三宅藤九郎派に三分できる。
English: The founder of the school is said to be Gakurakuken SASAKI, who lived in Sakamoto, the Province of Omi (Otsu City) in the mid-Muromachi period, but this is not very convincing.
Japanese: 流祖は室町時代中期に近江国坂本(大津市)に住まった佐々木岳楽軒とされるがにわかには信じがたい。
English: The actual founder is said to be 鳥飼元光, who belonged to Torikai za (a troupe of Sarugaku (form of theater popular in Japan during the 11th to 14th centuries)) of Settsu Province sarugaku, was later active as a tesarugaku (amateur noh) actor, and was granted a shuryogo as Izuminokami Guard.
Japanese: 実質的な祖は鳥飼元光で、摂津国猿楽の鳥飼座に属したのち京都に出て手猿楽の役者として活躍し、和泉守の守領号を下賜されたといわれる。
English: Its performance is thought to belong to the line of Mangoro HIYOSHI, who made a great contribution to early Kyogen, the same source as the Sagi school and the Okura school.
Japanese: その芸系は初期狂言に大きな足跡を残した日吉万五郎の系譜に属するものと思われ、鷺流、大蔵流と同源に発している。
English: Motoyoshi YAMAWAKIIZUMI, a son of Izuminokami Guard 鳥飼元光, was employed by the Owari Tokugawa family in 1614, gaining a footing in Nagoya.
Japanese: 鳥飼和泉守元光の子、山脇和泉元宜は慶長19年（1614年）に尾張徳川家に召抱えられ、名古屋に地盤を伸ばすと
English: While inviting two tesarugaku actors from Kyoto, Matasaburo NOMURA and Tokuro MIYAKE, he also established the Izumi school with its base in Kyoto and played an active role in Kinri (the Imperial Palace) Noh.
Japanese: ともに、京都の手猿楽役者であった野村又三郎と三宅藤九郎を客分として招き、京都を地盤として和泉流を創設し、禁裏能などで活躍した。
English: From then on, Soke lived in Kyoto with fuchi (a stipend) from the Owari family until Mototomo YAMAWAKIIZUMI, the fourth moved to Nagoya, and then Motokiyo YAMAWAKIIZUMI, 10th, to Tokyo.
Japanese: 以降、宗家は尾張家の扶持を受けながら京都に住まったが、四世山脇和泉元知のときに名古屋に移住し、十世山脇和泉元清の代に明治維新を迎えて東京都に移った。
English: This came from the fact that while the Izumi school was a flexible assembly of three ha, it had kept its own lines of Kyoto tesarugaku performances, which were its origin from outset.
Japanese: これは当初から和泉流が、その起源となった京手猿楽の芸系を保ちつつ三派連合のゆるやかな集合体であったことに由来する。
English: The Izumi school currently has a repertoire of 254 pieces, which is a much larger number than that of the Okura school, with its originality coming from scripts and stage effects attaching more importance to songs and ballads.
Japanese: 現行曲は254番と、大蔵流に比べてかなり多く、歌謡を重視した台本や演出に独自性がある。
English: Although the oldest volume of the school (from the early Edo period) is Kyogen rikugi which is housed in the Tenri Central Library, very little has been changed from that time due to the fact that it was developed at a late date.
Japanese: なお天理図書館蔵狂言六義が流儀の最古本（江戸時代初期）であるが、成立が遅かったこともあり、天理本の時点から大きな変化はあまり見られない。
English: Families and ha of this school include: Kyogen Kyodosha (The Kyogen Collective) in the line of the Soke ha, the Matasaburo NOMURA family for the Nomura ha, and the Manzo NOMURA family, the Mansaku family, the Ukon MIYAKE family, and the current Tokuro MIYAKE family in the Miyake ha.
Japanese: 流儀の家・派としては、宗家派の系統に狂言共同社（名古屋）、野村派に野村又三郎家、三宅派に野村万蔵家・万作家、三宅右近家、現三宅藤九郎家がある。
English: Since the death of the 13th Soke Motohide IZUMI in 1995, the Izumi school does not have Soke, and decisions regarding Nogaku (Noh and Kyogen) are made by a membership council system called Izumi-ryu shokubunkai (Chair: Man NOMURA, Secretary: Kikujiro INOUE).
Japanese: 1995年、十三世宗家和泉元秀の死去後、和泉流は宗家を定めておらず、能楽に関する決め事については、和泉流職分会（会長：野村萬、代表幹事：井上菊次郎）における会員合議制を取っている。
English: After the Soke, the head family, moved to Tokyo at the time of the Meiji Restoration, pupils who stayed in Nagoya established this group in 1891 to maintain its performances.
Japanese: 明治維新の折、宗家が東京へ移住した後に、名古屋に居残った弟子が芸系保持のため、1891年に結成した会派。
English: Now that the original Soke have died out, this is the only group which succeeds the styles of Yamawaki Izumi ha performances (although this group had some influence from the Matasaburo NOMURA ha which was also based on Nagoya).
Japanese: 旧宗家が断絶してしまった現在においては、山脇和泉派の芸系を引く唯一の会派でもある（ただし一部には同じく名古屋を本拠としていた野村又三郎派の芸系をも交える）。
English: As Izumi school Kyogen performers in Nagoya were mostly half-amateur noh performers, who had other jobs to make their livings, they tended to be open and liberal and to have a relatively loose bond among them.
Japanese: 名古屋の和泉流狂言師には、別に生業を持つ手猿楽的な役者が多かったため、比較的ゆるやかなつながりで開明的な傾向を持っている。
English: The most important actors from the early time of this group include the first Kikujiro INOUE and Monsui ISE, who is famous for his Kyogenga pictures, and at present, Kikujiro INOUE (the fourth), a descendant of the Inoue family, leads the group.
Japanese: 初期の代表的な役者に初代井上菊次郎や狂言画で有名な伊勢門水がおり、現在では井上家の子孫である井上菊次郎（四代目）が中心となっている。
English: This family originally performed tesarugaku in Kyoto, and as Matasaburo Shigenobu NOMURA (the first) was invited as a guest to establish the Izumi school, their own programs, play scripts, and dramatic interpretation have been maintained.
Japanese: もともと京都の手猿楽に発した家系で、初代野村又三郎重信が和泉流樹立にあたり客分として招かれたために、独自の演目・台本・演出などを保持して現在に至っている。
English: At the time of Matasaburo Nobuaki NOMURA the third, the family was granted fuchi by the Owari Clan while living in Kyoto, and after the Meiji Restoration the family moved to Nagoya and then to Tokyo.
Japanese: 三世野村又三郎信明の代に在京のまま尾張藩に扶持されるようになり、明治維新後に名古屋、東京と移住を重ねた。
English: However, as Matasaburo Nobuhide NOMURA, the eleventh suddenly died in a war, the group remained small in number.
Japanese: 十一世野村又三郎信英が不慮の戦死を遂げるなどしたために、派としてはやや少人数である。
English: Their performances are generally calm, rather subtle and soft, and among the Izumi school, they are said to have a special tendency to care more about grace as the music and plays for official ceremonies.
Japanese: 芸風は全体におとなしやかで、幽玄なやわらかみがまさっており、和泉流の中でも特に式楽としての品を意識する傾向が強いと言われる。
English: Like the Matasaburo NOMURA school, the Miyake school started when Tokuro MIYAKE, a tesarugaku actor in Kyoto, was invited as a guest to establish the Izumi school, and later, as 三宅藤九郎喜納, the third was granted fuchi by the Kaga Clan while living in Kyoto, their performances spread in Kaga Province.
Japanese: 三宅派は、野村又三郎派と同じく、もと京都の手猿楽役者であった三宅藤九郎が和泉流樹立にあたって客分として招かれたもので、後に三世三宅藤九郎喜納が在京のまま加賀藩の扶持を受けたため、その芸系が加賀に伝播した。
English: This is the family of the first Manzo Yasuhisa NOMURA, who was active as a tesarugaku actor in Kaga Province.
Japanese: 加賀在の手猿楽役者として活躍した初代野村万蔵保尚の家系がこれである。
English: The 7th Shoichi MIYAKE moved from Kyoto to Tokyo during the Meiji Restoration and was active as a great actor who represented the Izumi school: however, as he did not have any successors the MIYAKE family died out after Nobuyuki Tokuro MIYAKE, the eighth.
Japanese: 明治維新の際、七世三宅庄市は京より東京へ移住し、和泉流を代表する名手として活躍したが、後嗣に人を得なかったために三宅家は八世三宅藤九郎信之をもって断絶する。
English: Since then, the tradition of the performances of the Miyake ha was inherited by Manzo NOMURA, the fifth (Mansai, the first) who went from Kaga Province to Tokyo a little later, and it was passed down to Manzo NOMURA, the sixth (Living National Treasure) who was recognized as a master actor and then to current Manzo NOMURA, the seventh (Living National Treasure) through time until now.
Japanese: 以降、三宅派の芸系は、やや遅れて加賀より上京した五世野村万造（初世萬斎）によって受継がれ、名人といわれた野村万蔵(6世)（人間国宝）、七世野村万蔵（現野村万蔵七世野村万蔵。人間国宝）と相続して現在に至っている。
English: At the time of Manzo, the fifth, his second son Mansuke NOMURA set up a branch family and succeeded the name of 'Tokuro MIYAKE' which had been discontinued while Jiro NOMURA, the second son of Manzo, the sixth styled himself Mansaku NOMURA.
Japanese: 五世万蔵のとき、次男の野村万介に分家させて、三宅藤九郎の名跡を復興させ、さらに六世万蔵の次男野村二朗が野村万作を名乗っている。
English: At present, in the Manzo NOMURA family, there are young Kyogen actors, such as Tadashi OGASAWARA, who are playing active roles, with the family head Manzo NOMURA, the ninth (a younger brother of Mannojo NOMURA who died young and was conferred the style of Manzo NOMURA, the eighth posthumously) and the former family head Man NOMURA leading them.
Japanese: 現在では野村万蔵家に、当主九世野村万蔵（早世した野村万之丞＝追贈八世野村万蔵の弟）、先代当主野村萬を筆頭に小笠原匡など若手狂言師の活躍も目立つ。
English: After they moved to Tokyo, their performances changed to enhance their smart and refined style while retaining the characteristic softness of the Izumi school, and it is sometimes called ' Edomae (Tokyo style) kyogen.'
Japanese: 芸風は特に上京以降、和泉流のやわらかさを残しつつ瀟洒で洗練を経た風をつよめ、俗に「江戸前狂言」などと呼ばれたりもする。
English: In 1994, there was a dispute over succession to the name between the Manzo NOMURA family and Mansaku NOMURA's first son, Takeshi (current Mansai), which led to a separation of the group, with Mansaku NOMURA setting up 'Mansaku no kai (the kyogen performance group).'
Japanese: 1994年に野村万蔵家と野村万作の長男・武司（現萬斎）の襲名を巡って争い、袂を別ち「万作の会」を立ち上げる。
English: This group includes Mansaku, his first son Mansai NOMURA, Mannosuke NOMURA who is the fifth son of Manzo NOMURA the sixth, and their follower Yukio ISHIDA, and with all of them leading the group, it has been active in a variety of fields.
Japanese: 万作を始め6世野村万蔵の五男・野村万之介や長男・野村萬斎、弟子の石田幸雄を中心に幅広い活動を展開する。
English: In July, 2007, the family head Mansaku NOMURA was designated the holder of Important Intangible Cultural Property (Living National Treasure), making this group the most prosperous in the current world of Kyogen.
Japanese: 2007年7月には当主野村万作が重要無形文化財個人指定（人間国宝）に認定され、現在狂言界で最も隆盛を極めている一派である。
English: They work in a range of fields and Mansaku's son Mansai NOMURA in particular has been working tirelessly in different fields, such as appearing in TV drama series and producing theatrical plays.
Japanese: その活動範囲は広く、特に息子・野村萬斎はテレビドラマ出演や舞台演出を手掛けるなど各方面に精力的な姿勢を見せている。
English: Also, there are some new Kyogen actors growing steadily in this group such as Hiroharu FUKATA and Kazunori TAKANO, who finished the fourth Nogaku sanyaku (three roles of Nogaku) training at the National Noh Theatre.
Japanese: また、国立能楽堂能楽三役第四期研修終了の深田博治、高野和憲など若手狂言師も着々と育ってきている。
English: The second son of Manzo NOMURA, the fifth, Mansuke, succeeded to the name of Tokuro MIYAKE, the ninth, with the consent of the school and reestablished the Tokuro MIYAKE family.
Japanese: 五世野村万蔵の次男万介は流儀の了承を得て九世三宅藤九郎を襲名し、三宅藤九郎家を復興した。
English: The ninth Tokuro had two sons; the first son was adopted into the Yamawaki family to reestablish the Soke, styling himself Motohide IZUMI.
Japanese: 九世藤九郎には2人の息子があり、長男は宗家復興のため山脇家の養子となり、芸名を和泉元秀と名乗る。
English: Although their performances are not so different from those of the Manzo NOMURA family, in Hon Kyogen (played independently, this normally is the one generally called Kyogen), realism which is often seen in plays dealing with the lives of ordinary people is highlighted while in Ai Kyogen (comic interlude in Noh) they emphasize the grace of the music and plays for official ceremonies.
Japanese: 芸風は野村万蔵家と大きく変らないが、本狂言においては世話物的写実性が目立つ一方で、間狂言では式楽的な上品さが強調されるようである。
English: The Yamawaki Izumi family, the head family of the Izumi school which is called the Izumi ryu Soke, moved its base to Tokyo after the Meiji Restoration, but the lineage died out after Mototeru YAMAWAKI, the 11th.
Japanese: 和泉流宗家山脇和泉家は、明治維新後東京に移住したのち、十一世山脇元照をもって後嗣が絶えた。
English: Then, Motoyasu YAMAWAKI, the twelfth married a daughter of Mototeru YAMAWAKI, the eleventh, becoming an heir to the Soke family: however, he was unable to bring the school together due to love affairs and lack of talent, and in the end, he retired from Kyogen, leaving the Izumi school without a Soke head.
Japanese: その後、十二世山脇元康が十一世の遺子と縁組みをして宗家を継承したものの、女性問題や芸力の不足によって流内の統一をはかることができず、ついに狂言を廃して、和泉流は宗家不在の状態となった。
English: As powerful occupational branch families such as the Matasaburo NOMURA family, the Tokuro MIYAKE family, and the Manzo NOMURA family were active, the absence of the head family, Soke, continued for a long time.
Japanese: 野村又三郎家、三宅藤九郎家、野村万蔵家といった有力な職分家が活発に活動していたこともあり、宗家の不在は長らくつづいた。
English: However, in 1943, Yasuyuki, the first son of Tokuro MIYAKE, the ninth was recommended by members of the school to succeed the family by being adopted by the daughter of Motokiyo YAMAWAKI, the tenth, becoming Motohide YAMAWAKI, the thirteenth Soke and later styling himself Motohide IZUMI.
Japanese: しかし、1943年、流内の推挙によって、九世三宅藤九郎の長男保之が、十世山脇元清の娘の養子に入って十三世宗家山脇元秀、のち和泉元秀を名乗る。
English: After Motohide's sudden death in 1995, his first son Motoya IZUMI declared his succession to the Soke family: however, it was a unilateral action without any consent from other members of the school, never taking into consideration the circumstances of Motohide's succession to the Soke family.
Japanese: 1995年の元秀急逝の後は長男・和泉元彌がこれを継承したと宣言したが、元秀宗家相続のさいの経緯があるにもかかわらず、元彌が流内の同意を得ることなく一方的に宣言。
English: In addition, as he lacked talent and repeatedly caused troubles and scandals, he was given an order by the Nohgaku Performers' Association to withdraw from membership (which is the second heaviest punishment after expulsion, but still leaves room for coming back) while occupational branch families in the school claimed that his succession should be invalid.
Japanese: 加えて芸力の不足や度重なるトラブルとスキャンダルを引きおこしたこともあって、能楽協会からは退会命令（「除名」の次に重い処分、復帰の可能性は残されている）の処分を受け、流内職分から宗家相続無効を主張された。
English: Motoya's side brought the issue to court, but the Supreme Court pointed out the 'the plaintiff is not recognized as Soke,' and made the judgement that 'the order of withdrawal is legal.'
Japanese: 元彌側は裁判で争ったが、最高裁は、「原告は宗家と認められていない」と指摘、「退会命令も適法」と判断。
English: (Refer to the section of 'disturbance over succession of Soke' in Motoya IZUMI.) Two daughters of Motohide became Kyogen actors and the second one styles herself Tokuro MIYAKE, the tenth.
Japanese: （和泉元彌の項「宗家継承騒動」参照）　元秀の娘二人も狂言師となり、次女が十世三宅藤九郎を名乗っている。
English: Note that in the Izumi family, all the titles have added six numbers to their actual number: for example, Motohide IZUMI, who is actually the thirteenth, becomes the nineteenth Soke.
Japanese: 注）和泉家では、十三代目の宗家和泉元秀を十九世宗家とするなど、過去の宗家すべてに六つ上乗せした数字を付けている。
English: Mingaku is the name of the music played in mausoleum halls or the Imperial Court, and the music was brought to Japan from the Ming dynasty during the Edo period.
Japanese: 明楽(みんがく)とは、江戸時代に明朝から日本に伝えられた廟堂(びょうどう)音楽の名称である。
English: The introduction of Mingaku to Japan dates back to when Gishien of Ming (c.1617 - 1689) became naturalized in Japan.
Japanese: 明楽の伝来は、明国の魏之琰（ぎしえん）（1617年?-1689年）の帰化にさかのぼる。
English: Came from Fuqing, Fuzhou, Fujian, he went to Annan and later reached Tonkin.
Japanese: 福建省福州府福清県の出であったが、明末清初の戦乱を避けて安南国、後にトンキンへと赴いた。
English: In 1637, he made a huge contribution to the construction of Sofuku-ji Temple (located in Nagasaki City), being listed in the Yon-dai Danotsu (the Four Danapati [donators]) or one of the Gio-nanrin.
Japanese: 正保四年（1637年）には長崎に崇福寺(長崎市)の建立に多大な寄進をして四大檀越すなわち魏王何林の一つに名を連ねた。
English: Though he was engaged in trade, he well versed himself in music played in the Imperial Court or mausoleum halls in Ming, and he played these pieces of music with his family and followers.
Japanese: 彼は交易に携わる傍ら、明国の宗室や廟の音楽に造詣が深かったが、それらの音楽を長崎で一族郎党を率い演奏していた。
English: He requested permission to visit Kyoto, where he made Mingaku widely known, for example by playing such music in the dairi (Imperial Palace) in 1673.
Japanese: 彼は願い出て上京し、延宝元年（1673年）には内裏で演奏するなど、明楽は広まりを見せた。
English: In 1679, he became naturalized in Japan through the permission of the Nagasaki bugyo (Nagasaki magistrate) and took the name Oga after his birthplace in Fujian Province.
Japanese: 延宝七年（1679年）には長崎奉行に許されて日本に帰化し、福建の出身地から鉅鹿（おおが）姓を名乗った。
English: Giko, a fourth-generation descendent of Gishien (1728? - 1774) (Gikunzan or OGA Minbu Norisada), had an outstanding talent for music.
Japanese: 魏之琰から四代目にあたる魏皓(ぎこう)（1728年?-1774年）（魏君山、鉅鹿民部規貞）は、特に秀でた音楽の才能を持っていた。
English: Instead, in order that the Mingaku, having been inherited from generation to generation within his family, should be made known more widely, he went to Kyoto and played Mingaku in front of the feudal lords.
Japanese: また自分の家の中だけで伝承されていた明楽を世に広めたいと考え、京にのぼり諸侯の前で明楽を奏した。
English: Furthermore, he obtained a stipend from the lord of the Himeji domain Sakai Uta no kami (the Sakai clan, Director of Music), had as many as 100 followers at a time, and made Mingaku widely known by people of the nobility and the samurai class.
Japanese: また姫路藩主の酒井雅楽頭の扶持も受け、一時は百人もの弟子を抱えまでになり、広く明楽を貴族階級、武士階級に広めた。
English: In 1768, he recorded the scores of Mingaku in gongchepu (a method of musical notation), and published "Wei shi yue pu" (Score by the Wei Family) as a textbook for his followers.
Japanese: 明和5年(1768)、魏皓は明楽の曲を工尺譜(こうせきふ)で書き表し、門人のための教科書『魏氏楽譜』を刊行した。
English: However, only 100 of them (slightly less than half) were handed over to his followers while Giko was still alive, and only 50 compositions (further half) were recorded in "Wei shi yue pu (Scores by the Wei family)."
Japanese: しかし、そのうち魏皓が生前に門人に伝授した曲は半分の百余曲で、『魏氏楽譜』に収録されたのはさらにその半分の50曲のみであった。
English: According to Batsubun, his leading disciple, it was likely that the publication of another textbook following the first one was planned; but regrettably, because Giko died, the publication ended with only 50 compositions.
Japanese: 高弟の跋文によると続刊を刊行する計画があったようだが、魏皓が死去したため、残念ながら50曲のみで刊行終了となった。
English: After Giko died, in 1780, "Gishi Gakki zu" (literally, drawings of musical instruments in the Gi clan) was published by his disciple.
Japanese: 魏皓の没後、安永9年(1780)には、弟子によって『魏氏楽器図』が刊行された。
English: In Japan during the Edo period, 'Mingaku in another lineage' descended in a line different from that of 'Mingaku by the Gi clan.'
Japanese: 江戸時代の日本には、上述の「魏氏明楽」とは別系統の「別伝の明楽」も存在した。
English: For example, there is a record suggesting that the Mingaku brought by Shun-Shui CHU was descended from generation to generation in the Yanagawa Domain ("Music Journal," Vol. 25, 1892).
Japanese: 例えば、朱舜水が伝えた明楽が梁川藩で伝承されていたことを示唆する記録もある(『音楽雑誌』第二拾五号、1892年)。
English: Furthermore, simple scores of Mingaku are recorded in "Mingaku shogo" (compiler unknown), "Toon Wage" and 'Fuefu' (scores for fue flutes) attached to "Gayu manroku (Miscellaneous Records of Elegant Pastimes)."
Japanese: また『明楽唱号』(編者不詳)や『唐音和解』、『雅遊漫録』付録「笛譜」にも明楽の簡単な楽譜が載っている。
English: However, Mingau of other lineages weren't widely known, since they were in the shadow of the 'Mingaku by the Gi clan.'
Japanese: が、これら別伝の明楽は「魏氏明楽」の影にかくれて、あまり世に知られなかった。