nntsuzu/KFTT huggingface dataset:
English: On January 6, 1746, 篠澤佐五右衛門包道, an official liaison (warimoto) of Iwamurata, Saku County, Shinshu, presented koikoku to Toba FUKUSHIMA, a low-ranking Shinto priest of Ise Jingu Shrine.
Japanese: 1746年（延享3年）1月6日には信州佐久郡岩村田の割元職の篠澤佐五右衛門包道が伊勢神宮神官福島鳥羽太夫に鯉こくを献上している。
English: The Sasazawa family has run an inn from the Edo period, and they have an event every January 6th at this inn to reproduce koikoku in the original style (the birthday of Sakukoi (Saku carp)).
Japanese: 篠澤家は江戸時代より宿を営んでおり、毎年1月6日にはこの宿にて当時の鯉こくを再現調理するイベント（佐久鯉誕生の日）が行われている。
English: In Hiroshima Prefecture there is a rite to cook carp for a person one loves to communicate the affection, which has been handed down till today.
Japanese: ちなみに広島県(尾三地区)では、鯉こくは好意を持っている相手に対して鯉の手料理を作って、好きな気持ちを伝えるという儀式があり、現在でも伝承されている。
English: Tenugui towel (called Tenogoi in Edo-ben and Hakata-ben dialects) is a plain-woven cotton fabric used to dry your hands, wash your face, or wash yourself during bath time.
Japanese: 手拭（てぬぐい、江戸弁・博多弁では、てのごい）は、手を拭いたり洗顔、入浴時に体を洗ったりするための綿の平織りの布である。
English: Its size is about 90 centimeter by 35 centimeter, and most of them are white with an indigo (plant) dyeing pattern.
Japanese: 約90cmｘ35cm程度の大きさで、白地にアイ(植物)染による柄がある場合が多い。
English: Originally, a Tenugui towel means a traditional Japanese towel but sometimes it includes a towel which comes from Western Europe.
Japanese: 本来、日本古来のものを指すが明治時代に西欧からももたらされたタオルを含むこともある。
English: The origin is not known but the word 'Tekin' started to be used in ancient times, and then the word 'Tenugui' around Edo period.
Japanese: 起源は明らかではないが、古くは手巾、江戸時代頃に手拭という言葉が使われるようになった。
English: Although most present Japanese use towels and handkerchiefs in their life it does not mean that Tenugui towels have died out.
Japanese: 現代日本での日常生活ではタオルあるいはハンカチの使用が多いが手拭が廃れたわけではない。
English: Open and flat-woven Tenugui are longer than towels and have several advantages that towel cloth products do not have.
Japanese: 粗い平織りで長さのある手ぬぐいにはタオル地の製品にはない利点がある。
English: Tenugui is used as a head covering, hachimaki (headband), blindfold, or for wiping away sweat in farm work, traditional performing arts, festivals, or the Japanese art of fencing, or dish towel.
Japanese: 農作業、伝統芸能、祭、剣道などでのかぶり物、鉢巻、目隠し、汗ぬぐいなどとして、あるいは布巾として今なお利用されている。
English: In recent years, Tenugui have been reevaluated, and you can find Tenuguis with various patterns in komono accessories shops or handicraft shops.
Japanese: 近年、見直されいろいろな柄を和小物の店や手芸店で見ることができるようになった。
English: Tenugui is not sewn at the bottom so that it dries well and quickly in order to keep itself clean.
Japanese: また、手拭の端が縫われていないのは、清潔を保つ為水切れをよくし早く乾くようにと云う工夫である。
English: First, soak a bar of agar in water and tear it into small pieces, and boil it in a pan with water (500-600cc of water per one bar of agar).
Japanese: 水で戻した後でちぎって細かくした寒天を水（寒天一本あたり500－600cc）とともに鍋に入れて沸騰させる。
English: When the agar is dissolved, add sugar and bean jam in the pan (in some cases, also add powdered arrowroot mixed with a little water) and heat it to a boil again.
Japanese: 寒天が湯の中で溶解した後に砂糖と餡（少量の水で溶かした葛粉を入れる場合もある）を入れて再び沸騰させる。
English: Cool the material in the pan, strain it, put it in a container and allow it to cool until it becomes hard.
Japanese: これを冷ましたものを漉して容器に流し込んだ後に冷やすと水羊羹となる。
English: Most mizu-yokan is sold in an aluminum can or a plastic cup.
Japanese: 一般的に、アルミ缶やプラスチックカップに入った製品が市販されている。
English: As a vestige of that, some stores in Fukui Prefecture and Ishikawa Prefecture make mizu-yokan in a paperboard container to sell.
Japanese: その名残として福井県や石川県では、厚紙製の箱に羊羹を流し込んで販売する店がみられる。
English: However, mizu-yokan is mostly eaten in winter in places like Fukui Prefecture, Osaka Prefecture (in the Nose-cho area), Kyoto Prefecture (in the Kameoka City area), Ishikawa Prefecture (in the Wajima City area), Niigata Prefecture (in the Joetsu City area), Yamagata Prefecture (in the Tsuruoka City area), and Tochigi Prefecture (in the Nikko City area).
Japanese: 福井県をはじめとして、大阪府（能勢町周辺）京都府（亀岡市周辺）、石川県（輪島市周辺）、新潟県（上越市周辺）、山形県（鶴岡市周辺）、栃木県（日光市周辺）などでは主に冬に食べる。
English: Mizu-yokan made in Fukui Prefecture is very different; it is made with brown sugar and agar, and the texture is extremely soft since it contains a lot of water.
Japanese: 福井県のものは黒砂糖と寒天を使用し、水分の多い極柔らかい仕上がりの、かなり独自の食品である。
English: The making process and texture are very different from detchi-yokan made in Kyoto Prefecture and Omihachiman City, Shiga Prefecture.
Japanese: 京都市や滋賀県の近江八幡市などで作られる「丁稚羊羹」とは製法も食感は全くことなる。
English: Detchi-yokan made in Nara Prefecture and in the Iga district in Mie Prefecture is similar to the mizu-yokan made in Fukui Prefecture.
Japanese: 三重県の伊賀地方、奈良県の「丁稚羊羹」は、福井の水羊羹に形態が近い。
English: Kiribi (flint sparks) is a ceremony for kiyome (purification) which is performed using sparks caused by striking an object with a flint.
Japanese: 切火（きり・び）は対象にむかって火打石を打って火花を起こすことによって行う清めの儀式。
English: It is performed to purify altarages or ritual articles presented to Shinto and Buddhist deities and may also be performed for those who believe in omens in the world of chancy business such as Sumo or karyukai (world of the geisha).
Japanese: 神仏に対する供物や神具を清めるほかに、花柳界や相撲のような水商売の世界では一種の縁起かつぎとして人に対しても行う。
English: Hina arare is a kind of Japanese confectionery that is offered at the Dolls' Festival (March 3rd).
Japanese: 雛霰（ひなあられ）とは、桃の節句（3月3日）に供えられる節句菓子であり、和菓子の一種。
English: The Kanto region style hina arare is made by roasting glutinous rice hoshiii (glutinous rice that have been fully dried after being cooked or steamed) and sweetening it with sugar.
Japanese: 関東地風ひなあられの基本的な製法は、もち米の乾飯（炊くか蒸した後に十分乾燥させたもの）を炒ったものに砂糖がけして甘味をつけている。
English: When coloring the hina arare pink, green or yellow, one can do that either by coloring the hina arare or adding colored sugar over them.
Japanese: 桃・緑・黄などの色を付ける場合、あられに着色するか、色付きの砂糖をあられにかける。
English: Today, hina arare is often made by sugar-coating bean snacks, karinto (dried-dough stick-shaped cookies), millet or rice cake, or puffed rice.
Japanese: 最近では豆菓子・かりんとう・おこし・膨化米（いわゆるコメのポン菓子）などに砂糖がけして作られることが多い。
English: In the Chubu and western Japan areas, round-shaped, ordinary salt- or soy sauce-flavored arare (rice crackers) is made as hina arare.
Japanese: 中部、西日本では、一般的な塩または醤油味のあられ(菓子)を、丸い形状にして作っている。
English: Yukimi is one of the Japanese folkways since the medieval period, where people enjoy watching the snowing or the snowscape.
Japanese: 雪見（ゆき-み）とは、中世以降の日本に見られる風俗の一つであり、降雪や雪景色を眺めて楽しむこと。
English: "Yukimi Fune Zu," an ukiyoe landscape painted by Kuniyoshi UTAGAWA who was famous in the late Edo period (the early-modern times in Japan) is a representative example describing yukimi.
Japanese: 日本の近世にあたる江戸時代（後期）に活躍した浮世絵・歌川国芳の名所絵『雪見舟図』などは、その様子を描いた代表例である。
English: Another example is 'Koishikawa Yuki no Ashita' (The Snowing Morning in Koishikawa) which is one of the paintings in the "Thirty-six Sceneries of Mt. Fuji," a master piece painted by Hokusai KATSUSHIKA (refer to the picture on the right).
Japanese: 葛飾北斎の傑作、『富嶽三十六景』のうちの1図「礫川雪ノ旦」（右図参照）がある。
English: People also enjoy things that make them warm during yukimi such as yukimizake (sake drinking while enjoying a snow scene) or yukimiburo (bathing while enjoying a snow scene).
Japanese: 雪見酒や雪見風呂など、暖かいものを楽しみながら雪に興じることも広く行われる。
English: "Thirty-six Sceneries of Mt. Fuji, Koishikawa Yuki no Ashita."
Japanese: 『富嶽三十六景礫川雪ノ旦』：「ふがく-さんじゅうろっけいこいしかわゆき-の-あした」と読む。
English: "Thirty-six Sceneries of Mt. Fuji" were painted during 1823-1835 by Hokusai KATSUSHIKA, and this particular painting was the fifth among the total 46 paintings published.
Japanese: 葛飾北斎（画号：為一）により、文政6年（1823年）頃から天保4年（1835年）までの間に作られ、発表された全46図中の第5の図。
English: It paints a scene where a connoisseur surrounded by several beautiful women is watching the Mt. Fuji covered with snow from a feast place in the second floor of a fancy Japanese-style restaurant.
Japanese: 美女数人をはべらせた通人が雪景色の中の料亭の二階に宴を張り、富士を眺める様子を描いた一枚。
English: Koishikawa (礫川) refers to Koishikawa (小石川), an area in the current Bunkyo Ward, Tokyo.
Japanese: 「礫川（こいしかわ）」とは「小石川」のことであり、現在は東京都文京区に属している一地域。
English: In the Edo period, Koishikawa included areas not only around the Koishikawa Village in Toshima County, Musashi Province but also the areas from the Kanda Josui (Kanda water supply), which is the current Suidobashi Station area, to Hakusan (Bunkyo Ward).
Japanese: 江戸期には、武蔵国豊島郡(武蔵国)小石川村のみならず、神田上水の現・水道橋駅界隈から白山(文京区)あたりまでを含む広い地域を指す呼称であった。
English: Sankyoku is the collective name for the three musical instruments: jiuta shamisen (shamisen, or sangen--a three-stringed Japanese banjo, for jiuta, or traditional songs with shamisen accompaniment), so (a long Japanese zither with thirteen strings), and kokyu (Chinese fiddle).
Japanese: 三曲（さんきょく）は、地歌三味線(三弦)、箏、胡弓の三種の楽器の総称。
English: It is not clear when the word sankyoku was first used, but there have been some instances of such use in a sense that the three instruments were played together.
Japanese: いつ頃から使われたかはっきりしないが、三種の楽器を合わせる意味においていくつかの用例がある。
English: Jiuta shamisen, so and kokyu had originally been the musical instruments played by blind musicians in the Todo-za (traditional guild for the blind) since the early Edo period.
Japanese: もともと地歌三味線、箏、胡弓は江戸時代初期から当道座に属する盲人音楽家の扱う楽器であった。
English: They had sequentially produced the music of jiuta, so-kyoku, and kokyu-gaku played on each instrument respectively.
Japanese: 彼らによってそれぞれの楽器による音楽である、地歌、箏曲、胡弓楽が順次成立した。
English: It is assumed that the word 'sankyoku' started to be used to distinguish these instruments and music genres from 'hei-kyoku' (music played on heike-biwa, or Japanese lute used as accompaniment for the recitation of Heike Monogatari), their area of expertise, which had been performed for a long time.
Japanese: これらの楽器や音楽を、同じく彼らの専門音楽であり、はるかに以前から行なわれて来た「平曲」(平家琵琶の音楽)に対して区別するために「三曲」という言葉が使われ始めたのではないかと思われる。
English: However, some records from the mid Edo period indicate that the combination of so, kokyu, and shakuhachi was called 'sankyoku.'
Japanese: ただし江戸時代中期には箏、胡弓、尺八の合奏を「三曲」と呼んだ記録もある。
English: This could mean that any combination of three instruments were simply called 'sankyoku' (in fact, the Todo-za members did not play shakuhachi).
Japanese: 単に三種の楽器の組み合わせを漠然と「三曲」と呼んだ可能性もある(尺八は当道座の楽器ではない)。
English: Although various music instruments were played in concert in the early Edo period, there is no evidence to show that any combination of music instruments was called 'sankyoku.'
Japanese: 江戸時代初期には色々な楽器が合奏されていたようだが、まだ「三曲」と呼ばれた記録は見つかっていない。
English: As they were being established as art music, jiuta, so-kyoku and kokyu-gaku each came to retain their own musical composition; each of them became established as a different genre of music.
Japanese: やがて芸術音楽として確立されるに従い、地歌、箏曲、胡弓楽は独自の楽曲を持つようになり、合奏されることのない、それぞれ独立した別個の音楽として成立した。
English: The music instruments used for them started to be played in concert centering around jiuta from around the mid Edo period.
Japanese: しかし江戸中期頃からこれらの楽器は特に地歌を中心に合奏されるようになった。
English: To play all three instruments of sankyoku in concert, in particular, is called sankyoku awase or sankyoku gasso.
Japanese: 特に三曲の楽器三種をすべて合奏させることを三曲合わせ、三曲合奏と呼ぶ。
English: In addition, shakuhachi came to be played in concert often with the shamisen and so from around the mid Edo period, and it fully joined them after the Meiji period.
Japanese: また江戸時代中期頃からしばしば三味線、箏との合奏に加わるようになり、明治以降本格的に参入した。
English: The sankyoku gasso, accordingly, has had two types of ensemble in general: ensemble of shamisen, so and kokyu, and that of shamisen, so and shakuhachi.
Japanese: 従って三曲合奏には、ふつう三味線、箏、胡弓と三味線、箏、尺八という二通りの編成がある。
English: Some sankyoku musicians do not even include kokyu in 'sankyoku' and ignore it because the number of musicians who can play kokyu has declined since the Meiji period.
Japanese: また明治以降胡弓を演奏出来る人が減ったため、「三曲」に胡弓を含めなかったり、無視する三曲人もいる。
English: It is inappropriate, however, to exclude kokyu from sankyoku and to regard it as a thing of the past because kokyu was originally one of the instruments of sankyoku, kokyu-gaku is still passed down, and the sankyoku gasso with kokyu is still played.
Japanese: しかし胡弓は本来三曲の楽器であり、現在でも胡弓楽は伝承されているし、胡弓入り三曲合奏も引き続き行われているので、三曲から胡弓を除いたり過去のものにするのは不当である。
English: Musicians who play shamisen, so, or kokyu often play other instruments, but shakuhachi players usually play only shakuhachi.
Japanese: 三味線、箏、胡弓の奏者は兼任が多いが、尺八はそれのみを専門とする演奏家が多い。
English: Since the mid Edo period, more and more, jiuta, so-kyoku, and kokyu-gaku tended to share the same songs for ensemble while each maintaining their own songs.
Japanese: 江戸時代中期以降、地歌、箏曲、胡弓楽はそれぞれ固有の曲も残しつつ、合奏のため同じ曲を共有する比率が高くなった。
English: Shakuhachi was also added to the ensemble from the Meiji period, and jiuta and so-kyoku were more and more played on shakuhachi as its repertoire.
Japanese: また尺八も明治以降、合奏に加わりレパートリーとして地歌曲、箏曲を演奏する比率が大きくなった。
English: Music composed for shamisen today is played in concert with jiuta shamisen and so; overall, the music played on these instruments are unified while each retaining its own style.
Japanese: 現代において作られる曲でも箏や地歌三味線との合奏が多く、独立したを持ちつつもやはり一体化している。
English: Therefore, four types of music, jiuta, so-kyoku, kokyu-gaku, and shakuhachi-gaku, are collectively called 'sankyoku', and the word 'sankyoku' has been used to distinguish itself from other traditional Japanese music such as nagauta (long epic song with shamisen accompaniment), gidayu-bushi (musical narrative with shamisen accompaniment), kiyomoto-bushi (musical narrative with shamisen accompaniment), biwa-gaku (biwa music), and nogaku (the art of Noh).
Japanese: そこで、これら地歌、箏曲、胡弓楽、尺八楽の四種の音楽を総称して「三曲」と呼び、他の邦楽種目、例えば長唄や義太夫節、清元、琵琶楽、能楽などと区別するために使われる。
English: Today's sankyoku musicians form music associations such as 'Sankyoku-kai' (Sankyoku Society), 'Sankyoku-renmei' (Sankyoku Federation) and 'Sankyoku-kyokai' (Sankyoku Association) in addition to their own schools.
Japanese: 現代の三曲の奏者たちは、流派のほかに「三曲会」「三曲連盟」「三曲協会」などの音楽団体を結成している。
English: The three instruments of 'sankyoku' are sometimes used for other schools of shamisen music perhaps because jiuta has a long history as shamisen music and has been the norm for other schools of shamisen music.
Japanese: 地歌は三味線音楽として最も長い歴史を持ち、他の三味線音楽の規範となった部分も多いためか、それ以外の三味線音楽でも時おり「三曲」を扱うことがある。
English: For example, among the gidayu-bushi, accompaniment for ningyo joruri (traditional Japanese puppet theater) and kabuki (traditional Japanese drama), 'Akoya-no-kotozeme' is the most famous, and the sankyoku of jiuta shamisen, so and kokyu are all played in it.
Japanese: たとえば、人形浄瑠璃及び歌舞伎の伴奏音楽である義太夫節では、「阿古屋の琴責め」が有名であり、ここでは地歌三味線、箏、胡弓の三曲がすべて演奏される。
English: Also in the nagauta music of "Sankyoku Ito no Shirabe" and "Sankyoku Sho-chiku-bai," things about shamisen, so and kokyu are chanted and the music of each instrument is played only on shamisen (without actually using the instruments of sankyoku).
Japanese: また長唄曲『三曲糸の調』や『三曲松竹梅』では、三味線、箏、胡弓が詠われ、またそれぞれの音楽を三味線で表現している(三曲の楽器を実際に用いるわけではない)。
English: Among so-kyoku, the Tsukushi-goto (a school of so-kyoku) and the Yatsuhashi school do not play in concert with other instruments since they retain the music of the beginning of the Edo period and the early Edo period almost in tact even today.
Japanese: 箏曲のうち筑紫箏、八橋流は江戸初期、前期の音楽をほとんどそのまま伝えており他楽器との合奏を行わない。
English: In the so music of the Yamada school, chuzao shamisen (shamisen smaller than jiuta shamisen) for joruri instead of jiuta shamisen is generally used for ensemble.
Japanese: 山田流箏曲ではふつう合奏において地歌三味線ではなく浄瑠璃系中棹三味線を使う。
English: In the so music of the Yamada school, some pieces are played with (played in turn, i.e., exchange of performances) the music of joruri such as the Icchubushi (a school of joruri), a different genre from sankyoku.
Japanese: 山田流箏曲は曲により三曲外のジャンルである一中節などの浄瑠璃と合奏(交互演奏。掛け合いという)することがある。
English: Chidori no Kyoku (a song for plover) is a musical composition for koto (a long Japanese zither with thirteen strings) and kokyu (Chinese fiddle) composed by Yoshizawa Kengyo (the highest title of the official ranks within the Todo-za [the traditional guild for the blind]) (the second).
Japanese: 千鳥の曲（ちどりのきょく）は、吉沢検校（二世）が作曲した、箏（こと）と胡弓のための楽曲。
English: The song was composed by Yoshizawa Kengyo (second generation; 1800 - 1872), a blind musician who flourished in Nagoya and Kyoto in the end of Edo period.
Japanese: 幕末に名古屋、京都で活躍した盲人音楽家、吉沢検校（二世・1800年（寛政12年）-1872年（明治5年））が作曲した。
English: It is widely known as a sokyoku (koto music) along with "Rokudan no shirabe" (believed to have been composed by Yatsuhashi Kengyo) and "Haru no umi" (composed by Michio MIYAGI).
Japanese: 『六段の調』（八橋検校作曲と伝えられる）、『春の海』（宮城道雄作曲）と並んで、箏曲として広く知られる。
English: The song was composed based on two original waka poems about chidori (plover) included in "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry) and "Kinyo Wakashu" (Kinyo Collection of Japanese poems) and added with instrumental parts of 'maebiki' (introduction) and 'tegoto' (long instrumental intermezzo between songs).
Japanese: 『古今和歌集』、『金葉和歌集』から千鳥を詠んだ和歌二首を採り歌とし、器楽部である「前弾き」（前奏部）および「手事」（歌と歌に挟まれた、楽器だけの長い間奏部）を加えて作曲したもの。
English: It utilizes a new tuning method of koto adopting the tuning and the scale of koto in Japanese court music invented by Yoshizawa, which is called 'kokinchoshi' scale.
Japanese: 吉沢自身が考案した「古今調子」という、雅楽の箏の調弦、音階を取り入れた新たな箏の調弦法が使われている。
English: "Chidori no Kyoku" is combined with later composed "The Spring Music," "The Summer Music," "The Autumn Music" and "The Winter Music" to be collectively called 'Kokin-gumi.'
Japanese: この『千鳥の曲』と、そのあとに作られた『春の曲』、『夏の曲』、『秋の曲』、『冬の曲』（いずれも古今和歌集から歌詞を採ったもの）の四曲を合わせ、「古今組（こきんぐみ）」と呼ぶ。
English: It was originally an ensemble of kokyu and koto, but an ensemble with kokyu is seldom performed except by 'Kokufu Ongaku Kai' (the Traditional Japanese Music Association), a music association in the direct line of Yoshizawa Kengyo, because there are very few kokyu players.
Japanese: 本来は胡弓と箏の合奏曲であるが、胡弓奏者がきわめて少ないため、吉沢検校直系の音楽団体である「国風音楽会」以外では、胡弓入り合奏はあまり行なわれない。
English: While it is often performed by koto solo, Yoshizawa himself composed a kaede (accompanying melody) of koto resembling a kokyu part, and an ensemble of honte (melody part) and kaede by koto is often performed beyond the border of schools.
Japanese: 箏の独奏で行なわれることも多い一方、吉沢本人が胡弓パートに類似した箏の替手も作っており、箏の本手、替手による合奏が流派を越えてよく行なわれる。
English: A part of shakuhachi bamboo flute was composed later, and an ensemble of koto and shakuhachi bamboo flute is rather common these days.
Japanese: また後世尺八のパートが作られ、現代ではむしろ箏に尺八が合奏されることがごく普通である。
English: Therefore, though the music is so popular, so many people do not know the fact that "Chidori no Kyoku" is originally an ensemble of kokyu and koto even in the scene of sankyoku (instrumental trio).
Japanese: そのため、これほど著名な曲であるのに、三曲界でも『千鳥の曲』が本来胡弓、箏合奏曲であることを知らない人が非常に多い。
English: Kengyo is the highest rank among four court ranks given to blind people who belonged to Todo-za, which was a traditional guild for the blind, from Muromachi period to the end of Edo period.
Japanese: 検校（けんぎょう）は、室町以降江戸時代幕末まで、盲人の自治組織である当道座に属した盲人に与えられた四段階の官位の内、一番上の位。
English: In Edo period, they actively worked as professional musicians of Heikyoku (the music played on Heike biwa as accompaniment for the recitation of Heike monogatari), and sankyoku (jiuta shamisen [traditional Japanese shamisen music], koto, and Kokyu [Chinese fiddle] music) or engaged in acupuncture and massage, under protection by bakufu (Japanese feudal government headed by a shogun).
Japanese: 江戸時代には幕府の保護のもと、平曲（平家琵琶）、三曲（地歌三味線、箏（こと）、胡弓楽）の専門音楽家として活躍したり、また人によっては鍼灸、按摩を専業とした。
English: Honkyoku (traditional Japanese music) is a musical piece composed for each instrument in sankyoku music.
Japanese: 本曲（ほんきょく）は、三曲の音楽において、それぞれの楽器固有の曲として作曲されたもの。
English: Examples are "Kumoi no Kyoku" for koto, "Ryukyu Gumi" for shamisen, "Tsuru no Sugomori" for kokyu, and "Shika no Tone" for Shakuhachi.
Japanese: 例えば箏の『雲井の曲』、三味線の『琉球組』、胡弓の『鶴の巣籠』、尺八の『鹿の遠音』など。
English: Sankyoku is a collective name for three instruments of jiuta shamisen, koto, and kokyu specialized by the blind musicians belonging to Todo-za, as well as a collective name for jiuta, koto music, and kokyu music played with these instruments.
Japanese: 三曲は、当道座に属する盲人音楽家たちが専門とした地歌三味線、箏、胡弓の三種の楽器の総称、またそれらの音楽である地歌、箏曲、胡弓楽の総称。
English: Shamisen had the initiative of the traditional Japanese music in both Kamigata (Kyoto and Osaka area) and Edo.
Japanese: 江戸時代後半の邦楽は、上方でも江戸においても、三味線がその主導権を握っていた。
English: The blind musicians highly developed especially jiuta, which was shamisen music in Kamigata.
Japanese: 特に上方の三味線音楽である地歌は、盲人音楽家たちによって高度な音楽的発展を見せた。
English: They developed a highly instrumental music style called 'tegoto mono' (composition of basically the first vocal section, an instrumental intermezzo, and the second vocal section), and sought for the instrumental technique to the ultimate level.
Japanese: 「手事物」と呼ばれる、器楽性の高い楽曲形式（基本的に、前歌-手事-後唄の構成）が発達、演奏技巧も極限まで追求された。
English: They also composed 'kaede shiki sokyoku' (koto music with accompanying melody composed to be played with an original shamisen music) to play to tegoto mono, thus extremely complicated and delicate music was produced.
Japanese: またそれに合奏させるべく、「替手式箏曲（原曲の三味線と合奏するために作られた対旋律を持つ箏曲）」が作られ、非常に複雑精緻な音楽が作り出されていた。
English: However, by the beginning of Tempo era (1830), the development of shamisen technique had been accomplished and 'tegoto' had also been thoroughly sought, where the blind musicians sought a new development of composition in various ways.
Japanese: しかし天保を迎える頃には、もはや三味線の技巧開拓も行き着く所まで行き着き、「手事」も追求され尽くして、盲人音楽家たちは新たな作曲の展開を様々に模索していた。
English: On the other hand, the development of koto music, one of sankyoku along with jiuta specialized by the blind musicians, was sluggish in the middle of Edo period unlike its prosperity in the beginning of Edo period, and kept growing until the end of Edo period in the form of accompanying jiuta shamisen music without seeking an independent development.
Japanese: いっぽう、地歌と共に三曲のひとつであり、やはり盲人音楽家たちが専門としてきた箏曲は、江戸初期の発展とは裏腹に中期になると停滞してしまい、むしろ独自に発展するのではなく、地歌の肩を借り、地歌三味線曲に付随し合奏するという形で、後期に至るまで発展してきた。
English: In Tempo era, Mitsuzaki Kengyo in Kyoto found a way of compositional expression in the late-starting instrument, koto, and composed "Akikaze no kyoku" (a song for the autumn wind) and "Godanginuda" for koto alone, as well as the conventional jiuta shamisen music.
Japanese: 天保の頃、京都の光崎検校は、そんな後発楽器である箏にあらたな作曲表現の余地を見いだし、従来的な地歌三味線曲の他に、箏だけの曲である『秋風の曲』『五段砧』を作曲した。
English: They have a reactionary aspect of taking in the styles of 'kumiuta' (koto suites of songs) and 'danmono' (most important type in shirabemono [the koto solo instrumental music]) and also modern aspects of taking in the scale of Ming and Xing-era Chinese music (as popularized in Japan before the First Sino-Japanese war) that was popular at the time and employing a very precise and complicated koto duet at high and low pitches.
Japanese: これらは、江戸時代初期の箏曲の形式である「組歌」「段物」のスタイルを取り入れたりするなど、復古的であると同時に、当時の流行音楽であった明清楽の音階を取り入れたり、非常に精緻で複雑な箏の高低二重奏であるなど、モダンな面も強く持っている。
English: With Mitsuzaki Kengyo's multifaceted experiments, koto music gradually left jiuta shamisen to start its unique development after one and a half centuries.
Japanese: こうして光崎検校の多面的な試みの内に、実に一世紀半ぶりに、箏曲は次第に地歌三味線から離れ、独自の再発展が始まる。
English: While he wrote many of conventional jiuta music pieces, he also focused on the remaining possibility of koto after the "Chidori no Kyoku" triggered by the compositions of Mitsuzaki.
Japanese: 彼は従来的な地歌作品も多く書いているが、また光崎の作品に刺激を受け、この『千鳥の曲』から、箏に残された可能性の追求にも力を入れ始めた。
English: Yoshizawa was so talented at koto by nature as to have played a complicated tune for a jiuta 'Yashima' at the age of 11.
Japanese: そもそも吉沢は11歳で地歌「屋島」に複雑な箏の手を付けるほど、箏に堪能でもあった。
English: On the other hand, he also found a new possibility of kokyu that was often hidden behind the presence of shamisen though it was also an instrument of sankyoku.
Japanese: いっぽう、彼はこれまた同じく三曲の楽器でありながら三味線の陰に隠れがちであった胡弓にも新たな可能性を見いだした。
English: Yoshizawa was also good at kokyu, and a legend tells that he composed Chidori no Kyoku for kokyu in Tempo era, and then composed a part for koto later in Kaei and Ansei eras.
Japanese: 吉沢は胡弓の名手でもあり、伝承によれば、千鳥の曲をまず天保の頃に胡弓曲として作曲し、その後嘉永、安政の頃に箏パートを作ったという。
English: Yoshizawa Kengyo himself also had knowledge of the study and waka poem, and was apparently influenced by the thought of reversionism.
Japanese: 吉沢検校自身国学、和歌をもたしなんでおり、復古主義的思潮には明らかに影響されていたようである。
English: Accordingly, he picked words for music from Kokin Wakashu and so on, and he may have wanted to promote the reversionism in an aspect of not only literature but also music.
Japanese: したがって曲を作るにあたり歌詞を古今和歌集などから採ったが、文芸だけでなく、音楽面からも復古主義を進めることを考えたと思われる。