nntsuzu/KFTT huggingface dataset:
English: As the chances of using charcoal fires decreased, Hibashi chopsticks gradually disappeared from daily life except for occasions like Japanese tea ceremony.
Japanese: 家庭で炭火を扱うことが少なくなるにつれ、茶道の席などを除き次第にその姿を消していった。
English: However, you can still see some for elegant pursuits as wind chimes, which consist of several Hibashi chopsticks hanging.
Japanese: しかし、何本かを吊るして風鈴にするという風流な用途があり、この目的で生き残っているのを見かけることができる。
English: The MYOCHIN family in Himeji City has been keeping up the iron-processing technique as an armorer since the Sengoku Period (Period of Warring States in Japan) and makes wind chimes with better sound by using Tamahagane (gem steel) which is the original material of Japanese swords.
Japanese: 戦国時代(日本)から甲冑師として鉄の加工技術を守ってきた姫路市の明珍（みょうちん）家では、この材料に日本刀の材料である玉鋼を用い、さらに美しい音色のものを現在も製作している。
English: The sound is sampled for music by Isao TOMITA, or used for testing audio equipment made by SONY.
Japanese: この音色は冨田勲の楽曲にサンプリングされたり、ソニーの音響機器の試験にも使用されている。
English: Noyaki is done to maintain the partially artificial vegetation most of the times, but in some cases it is done to make semipermanent farmland.
Japanese: 主に半人工の植生を維持するためになされるが、半永久的に農地として供するためになされることもある。
English: In the natural circumstances in Japan excluding fierce cold areas, grassland transitions to forest (based on the principle of biology).
Japanese: 日本の自然の状態では酷寒地を除き、草原は森林へと遷移(生物学)する。
English: Also, it may have the effect of fertilizing the newly sprouting grass by reducing the accumulation of organic substances and turning them into inorganic salts.
Japanese: また、有機物の蓄積を減らし、無機塩類とすることで新たに出る若草のための肥料とする効果があるかもしれない。
English: Noyaki has been traditionally conducted by Japanese people for the purpose of continued use of hills and fields as grassland.
Japanese: 古くから、日本人は、野山を草地として継続的に利用するために、野焼きを行ってきた。
English: According to the Forest Act, when doing Noyaki of forests (in legal terms, 'intentional burn'), approval from the mayor of the relevant city, town or village must be obtained.
Japanese: 森林法により、森林等の野焼き（法律用語では「火入れ」）を行う場合はその所在地の市町村長の許可を得なければならない。
English: Also, noyaki is prohibited except when burning waste materials is necessary to comply with the manners and customs or to perform an religions event, or when it is imperative in order for the operation of agriculture, forestry or fishery, in accordance with 'the Wastes Disposal and Public Cleansing Act' enforced in 2001 and the enforcement order of 'the Wastes Disposal and Public Cleansing Act.'
Japanese: また、平成13年施行の廃棄物の処理及び清掃に関する法律およびそれに基づく「廃棄物の処理及び清掃に関する法律施行令」により、風俗慣習上又は宗教上の行事を行うために必要な廃棄物の焼却や、農業、林業又は漁業を営むためにやむを得ないものとして行われる廃棄物の焼却など以外は禁止されている。
English: Violator of the above act shall be imposed up to 5 years imprisonment, a fine up to 10,000,000 JPY, or both.
Japanese: 同法により違反した者は五年以下の懲役若しくは一千万円以下の罰金又はその両方を科せられる。
English: On March 25, 1977, the noyaki conducted in Hiraodai, Kokuraminami Ward, Kitakyushu City, Fukuoka Prefecture, caused a forest fire due to the strong wind, and burned 207 hectare of the forest and field, and 5 firefighters trying to distinguish the fire died.
Japanese: 1977年3月25日、福岡県北九州市小倉南区平尾台での野焼きで、強風による飛び火で山林火災が発生し、207ヘクタールの山林・原野を焼損、消火作業中の消防士5人が死亡した。
English: On March 17, 2009, at the noyaki conducted in a field in Yufuin-cho, Yufu City, Oita Prefecture, 4 participants were burned to death and 2 people sustained minor and serious injuries.
Japanese: 2009年3月17日、大分県由布市湯布院町の原野で行われた野焼きで、参加者4人が焼死し2人が重軽傷を負う事故が発生した。
English: Although an intentional burn was prohibited on that day according to the city ordinance since a warning was issued, the city and the fire department quietly condoned the violation of the ordinance by following the customs.
Japanese: 当日は注意報が発令されており、市条例で火入れが禁止される状況であったが、市も消防署も慣例により条例違反を黙認していた。
English: According to the witnesses, a firestorm was observed at the site of the fire.
Japanese: 目撃証言によれば、現場では火災旋風とみられる現象が発生していたという。
English: In tropical countries, swidden agriculture in which tropical forestland is burned is widely conducted.
Japanese: 熱帯諸国では、熱帯林を野焼きすることによる焼畑農業が広くおこなわれている。
English: In the small-scale open burnings that have been conducted by the native inhabitants, the land will be left as is after the use for a short period of time, and the land regrow.
Japanese: 先住民により小規模に長年おこなわれてきたものは、短期間の利用の後に放棄され、森林として再生される。
English: Kengyo KIKUOKA(1792 - December 19, 1847) was a blind musician who was active in Kyoto during the early nineteenth century (jiuta shamisen (traditional Japanese shamisen music) player, composer).
Japanese: 菊岡検校（きくおかけんぎょう、寛政4年（1792年）-弘化4年11月12日(旧暦)（1847年12月19日））は19世紀前半に京都で活躍した盲人音楽家（地歌三味線演奏家、作曲家）。
English: He studied under kengyo ICHIZAN and became a kengyo in 1806.
Japanese: 一山（いちざん）検校に師事、1806年（文化(元号)3年）に検校となる。
English: His ichina (a by-name for the blind belonging to Todo-za) was Someichi.
Japanese: 都名（いちな当道座に所属する盲人が名乗る名前）は楚明一（そめいち）。
English: He was a virtuoso of jiuta shamisen and furthermore, was sophisticated with 'Kyoto-style tegotomono' (a form of Japanese chamber music) which was the style of composition and form of jiuta completed by his senior associate kengyo MATSUURA, and composed many great songs.
Japanese: 地歌三味線の名手であり、先輩に当たる松浦検校が完成させた地歌の楽曲形式、様式である「京流手事物」を更に洗練させ、数多くの名曲を残した。
English: His style was neat, had long instrumental parts and many of his shamisen techniques were elaborate and many of his songs were dynamic and are preferably played even now.
Japanese: 作風は流麗で、長い手事（器楽部）を持ち、三味線の技巧も凝ったものが多く、また歌にも力の入った曲が多くあり、現代でも好んで演奏される。
English: In about half of his works, kengyo YAEZAKI played the so or koto (a long Japanese zither with thirteen strings) and by YAEZAKI's good arrangement his works became more sophisticated ones as ensembles of shamisen and koto.
Japanese: 作品の半数ほどは、八重崎検校が箏の手付をしており、八重崎の名アレンジにより、三味線・箏の合奏曲として更なる磨きがかかった音楽となった。
English: There remains an anecdote which tells that these two were a good combination and good rivals as musicians.
Japanese: またこの二人は芸の上でも名コンビ、良きライバルであったという逸話が残されている。
English: Also, in the work of bunraku (Japanese puppet theater) called "Tsubosaka reigenki (The Miraclous Story of Tsubosaka Temple)" there is one scene where the hero Sawaichi plays the part of "Mamanokawa" by kengyo KIKUOKA.
Japanese: また文楽『壺阪霊験記』では、主人公の沢市がやはり同検校の作品『ままの川』の一節を弾くくだりがある。
English: The art pioneered by KIKUOKA was passed down to his junior fellow kengyo MITSUZAKI and he developed furthermore.
Japanese: 菊岡の開拓した芸術は後輩にあたる光崎検校らに更に受け継がれ発展することとなる。
English: Kengyo MITSUZAKI (year of birth unknown, but estimated around 1853) was a blind musician who was active during the early nineteenth century in Kyoto (jiuta shamisen (traditional Japanese shamisen music) player, so or koto (a long Japanese zither with thirteen strings) player and composer).
Japanese: 光崎検校（みつざきけんぎょう、生年不詳-1853年頃）は、19世紀前半に京都で活躍した盲人音楽家（地歌三味線、箏演奏家、作曲家）。
English: His ichina (a by-name for the blind belonging to Todo-za) was Naminoichi and later changed to Tomikiichi.
Japanese: 都名（いちな当道座に属する盲人が名乗った名前）は浪の一（なみのいち）、のち富機一に改名。
English: He studied jiuta shamisen under kengyo ICHIZAN and sokyoku (koto music) under kengyo YAEZAKI.
Japanese: 地歌三味線を一山検校（いちざんけんぎょう）に、箏曲を八重崎検校に師事。
English: In those days, the composition of jiuta shamisen music and the finesse of performance had already been culminated by his senior associates.
Japanese: すでに当時、先輩音楽家たちにより地歌三味線音楽の作曲や演奏技巧の開発が頂点に達していた。
English: Meanwhile, he sought for various new ways, for example, he studied well shamisen kumiuta (song cycles accompanied by koto or shamisen), koto kumiuta (koto suites of songs) or danmono (most important type in shirabemono (the koto solo instrumental music)) and incorporated them into his own works.
Japanese: その間、新たな方向をさまざまに模索、そのひとつとして、江戸時代初期の音楽である三味線組歌や箏組歌、段物をよく研究し、自らの曲にも取り入れた。
English: As he was a disciple of kengyo YAEZAKI, he was very good at koto, let alone shamisen and he arranged some of his own songs by playing the koto by himself.
Japanese: また三味線は言うに及ばず、八重崎検校の弟子ということもあり箏にも非常に堪能で、自作曲のうちいくつかは、自ら箏の手を付けている。
English: He paid attention to this and composed music only for koto again, instead of shamisen that had no room to develop any more, which was very important and oriented the new direction of later traditional Japanese music.
Japanese: 箏にいまだ開拓の余地があることに注目し、これ以上進む余地の少なくなりつつあった三味線から離れた、箏のみの音楽を再び作り出したことは特に重要で、これは後の邦楽の新たな方向付けとなった。
English: In particular, kengyo YOSHIZAWA observed the spirit and composed "Chidori no kyoku" (a song for plover) and so on, but in this song there are some parts which were revised by MITSUZAKI's advice, who was asked to criticize it.
Japanese: 中でも吉沢検校はその精神を受け継ぎ『千鳥の曲』などを作曲しているが、千鳥の曲には批評を乞われた光崎の助言により手直しされた部分があるという。
English: The style is elaborate, neat, intellective, elegant, stately and often needs virtuosity.
Japanese: 作風は精緻で端正かつ理知的、気品と風格があり、高度な技術が要求される曲が多い。
English: He incorporated the technique of the early Edo period, composed "Nanakomachi" (Seven Komachi) or "Mitsuyama" by researching noh and one of his works called "Godanginuda koto music" is extremely complicated, elaborate, high-low koto duet.
Japanese: 江戸初期の手法を取り入れたり、『七小町』や『三津山』など能に取材した曲もあり、また作品の一つ『五段砧』はきわめて複雑精緻に作られた箏の高低二重奏曲である。
English: On the other hand, "Akikaze no kyoku" (a song for the autumn wind), composed by researching the poem 'The Song of Everlasting Sorrow' by Bai Juyi, was a work for koto and song by the compositional style of koto kumiuta (koto suites of songs) and danmono (most important type in shirabemono (the koto solo instrumental music)) during the early Edo period and for this he invented a new method of tuning koto called 'Akikaze-joshi tuning' where he incorporated the mode of Ming and Xing-era Chinese music (as popularized in Japan before the First Sino-Japanese war) that had been popular in those days.
Japanese: 一方『秋風の曲』は、白居易の詩「長恨歌」に取材、やはり江戸初期の楽曲形式である箏組歌と段物のスタイルによって作られた箏と歌のための曲で、そのために新たな箏の調弦法「秋風調子」を考案したが、当時流行していた明清楽の旋法が取り入れられているという。
English: The daikan (local governor) in Echizen province, Ganmon MAKITA, who highly appreciated his artistic quality, patronized him and supported his composition and the publication of books of traditional Japanese music.
Japanese: 彼の芸術性を高く評価した越前国の代官、蒔田雁門がパトロンとなり、作曲や譜本の出版も後押しした。
English: He was keen on the publication of his scores and published 'Genkyoku taishinsho' which was an accurate score collection of shamisen music and 'Sokyokuhifu' which was the score of "Akikaze no kyoku" of his own composition.
Japanese: 楽譜の出版には熱心で、精密な三味線楽譜集である「絃曲大榛抄」や、自作曲『秋風の曲』の楽譜である「箏曲秘譜」を発刊した。
English: Also, the score of "Godanginuda koto music" which MITSUZAKI himself had reviewed still remained before the war, but was burnt during the war.
Japanese: また、戦前までは光崎本人が校閲した『五段砧』の譜本が現存していたが、これは戦災で焼失した。
English: It is said that such an aggressive attitude like MITSUZAKI aroused opposition from Todo-za and he was expelled from Kyoto, but it is no longer sure.
Japanese: 光崎のこのような積極的姿勢は当道座の反感を誘い、京都を追われたという話もあるが定かではない。
English: And in response to this, he is said to have expressed his disgust by composing the shamisen song "Yube no kumo" (Clouds in the evening) which could be an ensemble, in addition to his signature piece of koto kumiuta called "Fuki" (Japanese butterbur) which originally should be played only with koto.
Japanese: またそれについて、本来は箏のみで演奏されるべき箏組歌の代表曲『菜蕗（ふき）』に、合奏（打ち合わせ）できる三味線曲『夕の雲（ゆうべのくも）』を作曲し憤懣をはらしたともいう。
English: Koto (the title of the official ranks within the Todo-za) KUZUHARA from Bigo province was one of his disciples (he also was kengyo YAEZAKI's disciple) and he became the originator of jiuta-sokyoku of the Chugoku region style.
Japanese: 門弟の一人に備後国の葛原勾当（八重崎検校の門人でもある）がおり、中国系地歌箏曲の元となった。
English: Kengyo YAEZAKI (around 1776 – October 7, 1848) was a blind musician who was active during the early nineteenth century in Kyoto (jiuta shamisen (traditional Japanese shamisen music) player, so or koto (a long Japanese zither with thirteen strings) player and composer).
Japanese: 八重崎検校（やえざきけんぎょう、安永5年（1776年）頃－嘉永元年9月11日(旧暦)（1848年10月7日））は、19世紀前半に京都で活躍した盲人音楽家（地歌三味線、箏曲演奏家、作曲家）。
English: His ichina (a by-name for the blind belonging in Todo-za), was Mihoichi or Ikinoichi.
Japanese: 都名（いちな当道座に所属する盲人が名乗る名前）は三保一、または壱岐一（いきのいち）。
English: He was known as a brilliant koto player and composed his own shamisen songs, but he was far more famous for playing lots of jiuta excellently, especially tegotomono (a form of Japanese chamber music) songs.
Japanese: 箏の名手として知られ、三味線の自作曲もあるが、むしろ多くの地歌、特に手事物曲に優れた箏の手付をしたことの方がはるかに有名である。
English: Around the Bunka era, kengyo ICHIURA exercised his ingenuity in creating melodies differently from the shamisen melody of the original song when playing the koto for jiuta song (we call this "kaede shiki sokyoku" (koto music with accompanying melody style)) and enhanced the ensemble effect.
Japanese: 文化頃に大阪の市浦検校が、地歌曲に箏の手付をする際、原曲の三味線の旋律とは違う旋律を工夫し（これを替手式箏曲と呼ぶ）、合奏の効果を高めた。
English: His master Kengyo URASAKI took over and developed it, but YAEZAKI himself devised and refined it further and made Kyoto-style tegotomono (a form of Japanese chamber music) which kengyo MATSUURA or kengyo KIKUOKA had completed an ensemble music which had a higher musical value.
Japanese: それを師の浦崎検校が受けて発展させたが、更に八重崎がより工夫、洗練させ、松浦検校や菊岡検校が完成させた京流手事物を、合奏音楽として更に音楽的価値の高いものとした。
English: He was famous for being a good combination and rivalry with kengyo KIKUOKA, but he was forced to eat the leftovers of KIKUOKA who had assumed a kengyo earlier and bore a grudge against KIKUOKA, but when there was an ensemble with KIKUOKA he played the koto freely and beat KIKUOKA down and next time KIKUOKA improvised staggeringly blowing him out and at last they thawed and became good musical friends.
Japanese: 菊岡検校とは名コンビ、良きライバルとして有名で、先に検校へと登官した菊岡から食事の残り物を食べさせられたのを遺恨に思い、菊岡との合奏の際に箏を縦横無尽に弾き菊岡を打ち負かしたが、菊岡も次には八重崎を圧倒するほどの即興演奏を行ない、そうこうする内に互いに打ちとけて良き楽友となったという。
English: Also, the work "Yaegoromo" (An Eight-Fold Garment) by koto ISHIKAWA, where the shamisen parts were extremely difficult to play, was being forgotten and kengyo MIYAHARA regretted this and contrived a plot, saying 'YAEZAKI is publicly honored for his koto virtuosity, but he's never played "Yaegoromo" and is not a big deal.'
Japanese: また、石川勾当の作品『八重衣』が三味線のあまりの難技巧のため、忘れ去られようとしているのを惜しんだ宮原検校が一計を案じ、「世間では箏の手付けの名人と讃えられているが、さすがに『八重衣』に箏の手が付けられないようでは八重崎も大したことはない」と吹聴した。
English: Hearing this, YAEZAKI roused himself to play "Yaegoromo" excellently and after that this song came to be widely played.
Japanese: それを聞いた八重崎は発奮して『八重衣』に見事な手付けを行ない、以後広く演奏される曲となった。
English: The musical achievement of Kengyo YAEZAKI was huge like this, but allegedly he was ignorant of money and led a life of honorable poverty and austerity and was supported by the money changer Yorozuya as a patron in Kyoto.
Japanese: このように八重崎検校の音楽的功績は多大であるが、金銭には疎く清貧な生涯を送ったことが知られ、質素な生活ぶりで、京都の両替商万屋がパトロンとして八重崎を支えていた。
English: His disciples included kengyo MITSUZAKI who composed "Godanginuda koto music," "Akikaze no kyoku" (a song for the autumn wind), "Nanakomachi" (Seven Komachi) and so on, kengyo MATSUZAKI who later followed the Kyotoshimo school, koto (the title of the official ranks within the Todo-za) KUZUHARA in Bingo province who was the originator of jiuta and sokyoku of the Chugoku region style, Shunei MATSUZAKA and so on who revised and improved "Kokin gumi" (Kokin group) by kengyo YOSHIZAWA and TSURU who was a female and composed "Obokogiku" (Kiku, a virgin girl) and so on.
Japanese: 門人には、『五段砧』、『秋風の曲』、『七小町』などの作曲で知られる光崎検校、後の京都下派（しもは）に続く松崎検校、中国系箏曲、地歌の祖である備後国の葛原勾当、吉沢検校の「古今組」に手事を補作した松坂春栄ら、女性の門人には『おぼこ菊』を作曲した津留らがいる。
English: Kengyo MATSUURA (year of birth unknown – January 2, 1823) was a blind musician who was active during the early nineteenth century in Kyoto (jiuta shamisen (traditional Japanese shamisen music) player, so or koto (a long Japanese zither with thirteen strings) player and composer).
Japanese: 松浦検校（まつうらけんぎょう、生年不詳-文政5年11月21日(旧暦)（1823年1月2日））は、19世紀前半に京都で活躍した盲人音楽家（地歌三味線および箏曲演奏家、作曲家）。
English: Mainly during the Bunka era, he was active as a player of jiuta shamisen and so (or koto) and a composer.
Japanese: 文化(元号)年間を中心に地歌三味線、箏の演奏家、作曲家として活躍した。
English: In particular, he refined tegotomono (a form of Japanese chamber music), which was a style or form of composition of jiuta completed by koto MINEZAKI or koto MITSUHASHI in Osaka, to a Kyoto-style one and established 'Kyoto-style tegotomono' and composed many good songs.
Japanese: ことに、大阪の峰崎勾当や三つ橋勾当が完成させた地歌の楽曲形式、様式である「手事物」を京都風に洗練させ、「京流手事物」のスタイルを確立、多くの名曲を残した。
English: The atmosphere or composition of Osaka-style tegotomono remained in the Kyoto-style one and Kyoto-style elegance and sensuous refinement were added to the Osaka-style one.
Japanese: 作風は大阪ものの雰囲気や手事の構成を残しつつ、京風な優雅さ、感覚的な洗練が加えられている。
English: "Shinya no tsuki" (The midnight moon), "Sue-no-chigiri" and so on are known for the beauty of emotional melody, and in "Wakana" (New Herbs) and "Tama no Utena," he pursued the song parts, and in "Shiki no Nagame" (Viewing the Four Seasons), "Uji meguri" (uji tour), "Yotsu no tami" (The four peoples) and so on, he characteristically tried not only normal modulation but various modulations.
Japanese: 『深夜の月』『末の契』などでは情緒豊かな旋律の美しさで知られ、『若菜』『玉の台』では歌の節が追求され、また『四季の眺』『宇治巡り』『四つの民』などでは通常の転調だけでなくさまざまな転調が試みられているのも特徴である。
English: Kengyo URASAKI and his disciple kengyo YAEZAKI played these works by the koto and even now they are often played as good works.
Japanese: これらの作品には、浦崎検校やその弟子の八重崎検校が箏の手付をしており、現代でも名曲として演奏されることが多い。
English: MATSUURA inherited FUJIIKE-style in IKUTA-style on playing the so (or koto), reviewed books of songs and also composed the koto kumiuta (koto suites of songs) called "Juhakko" (the Pine Tree).
Japanese: 松浦は箏においては生田流系の藤池流を伝承しており、歌本の校閲をしたり、箏組歌『十八公』の作曲もしている。
English: As he was in the family line of a large landowner the Ota clan (SUMITOMO family line), he was very rich.
Japanese: 太田氏という大地主の家系（住友家の家系とも）であったために大変裕福であった。
English: He had an acute sense of hearing and when he was invited to play in a house he would not begin to play though the preparations were completed and was asked why, he answered, 'Resonance here is not good because the shamisen box behind is not cleared up.'
Japanese: 聴覚に優れ、ある邸に招かれて演奏したおり、準備が整ったもののいっこうに弾き始めようとしないので問うたところ、「後ろの三味線箱が片付けられていないので音の響きが悪いから」と答えたという。
English: Kyoto-style tegotomono' which MATSUURA completed was handed down to his junior fellows such as koto (the title of the official ranks within the Todo-za) ISHIKAWA, kengyo KIKUOKA and kengyo MITSUZAKI and developed further.
Japanese: 松浦の完成した「京流手事物」は、後輩にあたる石川勾当や菊岡検校、光崎検校らに受け継がれ更に発展してゆく。
English: Koto ISHIKAWA (year of birth unknown) was a blind musician who was active during the early nineteenth century in Kyoto (jiuta shamisen (traditional Japanese shamisen music) player, so or koto (a long Japanese zither with thirteen strings) player and composer).
Japanese: 石川勾当（いしかわこうとう、生没年不詳）は、19世紀前半に京都で活躍した盲人音楽家（地歌三味線演奏家、作曲家）。
English: He was an active virtuoso of jiuta-shamisen during the Bunka and Bunsei eras and composed some good songs of Kyoto-style tegotomono (a form of Japanese chamber music).
Japanese: 文化(元号)・文政頃に活躍した地歌三味線の名手で、手事物京流手事物の名曲をいくつか残した。
English: Many of his songs were unconventional and very long and in particular the instrumental parts 'tegoto' were long, complicated and extremely difficult to play.
Japanese: 型破りで非常に長大な曲が多く、ことに器楽部である「手事」が長く複雑で、かつ難技巧を極める。
English: One of his works called "Yaegoromo" (An Eight-Fold Garment) was too difficult even for ISHIKAWA himself to play and lost hearts and minds of kengyos to be nearly obsolete.
Japanese: 作品の一つ『八重衣』は、あまりにも難しく石川本人にすら弾けないほどであったため、検校たちの支持を得られず廃曲になりかけた。
English: However, kengyo MIYAHARA in Kyushu regretted it and encouraged kengyo YAEZAKI who was the best player of so (or koto) to play "Yaegoromo" excellently.
Japanese: だが、九州の宮原検校がそれを惜しみ、箏の手付けの第一人者八重崎検校にたき付けて見事な箏の手を付けさせた。
English: Thanks to this, the song came out of the crisis of abolition and after that came to be played widely as an ensemble.
Japanese: そのお陰で廃絶の危機を脱し、以後合奏曲として広く演奏されるようになったという。
English: He was supposed to have come from quite a prestigious family because of his magnificent works which were composed by researching Noh or Hyakunin Isshu (one hundred waka poems by one hundred poets).
Japanese: 能や百人一首に取材した大曲の高度な格調といい、かなり由緒ある出身ではないかと想像されていた。
English: Although he was a super performer of shamisen, he was disliked because of his talent, had few disciples and was poor and unhappy over the course of his life.
Japanese: また大変な三味線の名手でもあったものの、才能を疎まれ、弟子も少なく、生涯を通じて貧しく不遇な生活であったという。
English: From the atmosphere of his works, he is imagined to have characteristically hated compromise or convention.
Japanese: 作品の雰囲気から言っても、妥協や型にはまることを厭う性格の持ち主であったことが想像される。
English: However, it is right to say that the works of ISHIKAWA were the pinnacle of jiuta tegotomono and as the first-class works not only in jiuta but in shamisen music, even now they have never lost a high evaluation.
Japanese: しかし、石川の作品群は地歌手事物の頂点を極めたと言ってもよく、地歌のみならずあらゆる三味線音楽を通じ第一級の作品として、現代でも高い評価を失っていない。
English: Tegotomono is the style of composition which has instrumental parts (here, it is also called "tegotomono-form") or the kind of songs in sankyoku music which consists of jiuta, so (or koto) music and kokyu (Chinese fiddle) music.
Japanese: 手事物(てごともの)は、三曲の音楽である地歌、箏曲、胡弓楽において、器楽部である手事を備えた楽曲形式(この場合『手事物形式』とも呼ぶ)、また曲種のこと。
English: Among the jiuta music which is played now, tegotomono is most often played.
Japanese: 現在演奏される地歌曲の中で、もっともよく取り上げられるのが手事物である。
English: Normally in kokyu music, they are not called tegotomoto, but virtually all the original works are said to be tegotomono.
Japanese: 胡弓楽では、普通手事物とは言わないが、実質的に本曲のすべてが手事物と言ってよい。
English: The basic music form structure has the three-step structure which consists of maeuta (the former song), tegoto (Japanese Koto) and atouta (the latter song), but in large scale songs, many have a structure which consists of maeuta, tegoto, nakauta (the middle song), tegoto and atouta.
Japanese: 基本的な楽式構造は、前唄-手事-後唄という三段構成をとるが、大曲になると前唄-手事-中唄-手事-後唄という構成のものも多い。
English: Most maeuta are usually divided into the slow parts and the fast parts and a short intermezzo 'ai no te' is inserted between them at least once.
Japanese: 前唄は通常緩徐部分と早い部分に分けられるものがほとんどで、その間に短い間奏部である「合の手」を最低一回挟む。
English: In the first part of the maeuta or the last part of the slow part of a maeuta, some have a solo which consists of only a short song.
Japanese: 前唄の最初、あるいは前唄緩徐部分の終わりに、短い歌のみの独唱部を持つものもある。
English: Many tegotos are divided into several 'dan,' and each dan has the same beat rate and some are like variations.
Japanese: 手事はいくつかの「段」に分かれていることが多く、それぞれ拍数が等しく変奏曲のようになっているものがある。
English: Some songs have chirashi which are further divided into two or three parts (naka-chirashi (the middle coda), ato-chirashi (the latter coda), hon-chirashi (the main coda) and so on).
Japanese: 曲によってはチラシが更に二つまたは三つに分かれているものもある(中チラシ、後チラシ、本チラシなど)。
English: Also in Kyoto-style tegotomono, many have a part of 'jo' or 'makura' (prelude) as an introduction of tegoto.
Japanese: また京流手事物では手事の冒頭に導入部として「序」あるいは「マクラ」という部分のある曲も多い。
English: Mostly atouta is shorter than maeuta, the ai-no-te is fewer if any, and they are short and play a role of coda of the whole song or a "kyu" of "Jo-ha-kyu" (three segments of performance and speed of plays; slower and quieter performance during the jo (beginning), gradually gaining the tempo in the ha (middle portion), and becoming more energetic during the kyu (denouement)).
Japanese: 後唄はたいてい前唄よりも短く、合の手も少なく、あっても短いが、曲全体のコーダ的、あるいは序破急の急的役割をしている。
English: After tegoto becomes gradually slower and finishes, atouta, taking over this, gradually begins but soon becomes faster and forms the last climax.
Japanese: 手事がリタルダントして終わった後、それを受けてゆっくり始まるがすぐに早くなり、最後の盛り上がりを形作る。
English: Here many works use modulation to lift the feeling and some repeat modulation to lift the feeling more and more.
Japanese: ここで転調が行なわれ気分の高揚に役立たせているものも多く、更に転調を繰り返して一段と気分を高めている曲もある。
English: The song and tegoto in one song have hiatuses as paragraphs, but unlike Jo-ha-kyu in gagaku (ancient Japanese court dance and music) or movements in Western music, sound does not stop completely and begins after a while, but the performance seamlessly continues.
Japanese: 一つの曲において歌や手事は段落として切れ目はあるが、雅楽の序、破、急や、西洋音楽の楽章のように、いったん完全に終止し時間を置いてからまた始めるのではなく、連続して演奏される。
English: Jiuta songs which have a cohesive instrumental part at the middle of the songs were seen in 'Rangoya' and 'Seiran' which were 'kumiuta' (koto suites of songs) that were the oldest kind of jiuta.
Japanese: 曲の中間にまとまった器楽部分をもつ地歌曲は、すでに地歌最古の種目である「組歌」の「乱後夜」「晴嵐」にも見られる。