曲: 1000 Terms and Phrases
- 管弦楽曲
- Orchestral works
- Compositions for symphonic orchestra
- 吹奏楽曲
- The work of wind-instrument music
- Concert band pieces
- 三曲合奏
- Sankyoku ensemble pieces
- Sankyoku Gasso
- 演技と音曲
- Performance and Music
- 現存曲一覧
- List of existent roei
- 作曲の背景
- Background of composition
- 琴古流本曲
- Kinko school honkyoku
- 竹保流本曲
- Chikuho school honkyoku
- 都山流本曲
- Tozan school honkyoku
- 上田流本曲
- Ueda school honkyoku
- 曲種の分類
- The Classification of Song Types
- 『新曲浦島
- 'Shinkyoku Urashima' (a long epic song based on the tale of Urashima Taro which is accompanied by a shamisen music)
- 曲芸・太神楽
- Acrobatics, Daikagura (Street performances of a lion dance and jugglery)
- 箏曲の流派。
- A school of koto music.
- 普化宗の本曲
- Honkyoku of Fuke sect
- くの字に曲げる
- to bend over in the shape of the the character ku
- to bend forward from the waist to form a chevron shape
- 三曲のひとつ。
- It may also refer to the koto part of a sankyoku (a kind of Japanese chamber music with three instruments: a koto, a shamisen (three-stringed banjo-type instrument) and a shakuhachi (bamboo flute)).
- 三曲以外の三曲
- Sankyoku (the three instruments) used for other than sankyoku (sankyoku music)
- 歌舞音曲・芸能
- Music and dancing/Entertainment
- 三曲合奏の範囲
- The range of sankyoku gasso
- 三曲合奏の由来
- The origin of sankyoku gasso
- 浪速神楽の曲目。
- A number of Naniwa kagura-dance.
- 内省的な曲が多い
- Many pieces are reflective (introspective).
- 箏曲独立への胎動
- The Insipient Movement Toward Sokyoku's Independence
- 大福に関する楽曲
- Music associated with daifuku
- めでたさ本位の曲。
- Waki Kyogen is a program obviously representing an auspicious atmosphere.
- 曲独楽(きょくごま)
- Kyokugoma (top spinning tricks)
- 平家物語平曲を参照。
- Refer to 'Heikyoku' in the Heike Monogatari.
- 披きとして扱われる曲
- Music that are used as hiraki
- 「瀬見の秘曲づくし」
- Semi no Hikyoku Zukushi' (many secret pieces of music of Semi)
- 作曲者に由来するもの
- Those that are based on their composers
- また三曲合奏のこと。
- Sankyoku can also indicate the sankyoku gasso (sankyoku ensemble).
- 三曲合奏の音楽的特徴
- The musical characteristics of sankyoku gasso
- 「舞曲扇林」の著者。
- He wrote a guide to dance 'Bukyoku Orin.'
- 戯曲「気丈な貴婦人」
- A play called 'Kijo na kifujin' (A brave lady)
- 浦崎検校に箏曲を師事。
- He studied under kengyo URASAKI.
- これを三曲合奏と呼ぶ。
- The music performed by such a trio was called 'sankyokugasso'.
- これが三曲合奏である。
- This is the origin of the term sankyoku pieces (literally, 'compositions for three instruments').
- 楽曲形式に由来するもの
- Those that are based on musical composition
- 落語、講談、浪曲、萬歳
- Rakugo, Kodan, Rokyoku, Manzai
- メヌエット(ピアノ曲)
- Minuet (piano piece)
- 現在、15曲が現存する。
- At present, 15 roei tunes are still existent.
- 木魚が使用される主な楽曲
- Music composition in which Mokugyo is used
- 地歌との一体化、三曲合奏
- Unification of sokyoku with jiuta and the three instrument ensemble
- 歌の節を聴かせる曲が多い
- Many pieces emphasize the melody.
- 内容、曲調に由来するもの
- Those that are based on the content and melody
- 段もの(本来箏曲の曲目)
- Danmono (numbers that were originally sokyoku)
- ただしごく古い曲にはない。
- However, this is not the case with very old pieces.
- 『六段の調』はその代表曲。
- 'Rokudan no Shirabe' is a masterpiece of danmono.
- 朝鮮民謡の主題による変奏曲
- Variations with a theme of Korean Folk Song
- 何れも相撲の時の曲らしい。
- They seem to have been played at sumo exhibitions.
- 雅楽にも褌が付く曲がある。
- Even in gagaku (ancient Japanese court dance and music), there are some tunes that contain the word 'fundoshi.'
- 楽曲のカラオケヴァージョン
- Karaoke versions of music
- 宮城曲(宮城道雄の作品群)
- Miyagikyoku (a group of works composed by Michio MIYAGI)
- 現存する延年は44曲ある。
- 44 tunes of Ennen remain.
- 憾 (滝廉太郎)(ピアノ曲)
- Urami (a piece for piano)
- 別装束が用意される曲目もある。
- Some programs of bugaku dance and music may adopt sets of costumes different from the above ordinary one.
- 現在でも十数曲伝えられている。
- More than ten songs are still played.
- 数は少ないながら器楽曲を持つ。
- Instrumental pieces exist, though they are few in number.
- 替手式箏曲の始まりと合奏の発達
- The Start of Kaede Shiki Sokyoku (so (koto) music with accompanying melodic style) and Ensemble Development
- 作曲された場所に由来するもの。
- Those that are based on the places where they were composed
- 九州もの(九州系で作られた曲)
- Kyushumono (numbers composed in Kyushu)
- 夏草図 二曲屏風 根津美術館蔵
- Natsugusa-zu (picture of flowering plants of summer, two panel screen), Nezu Museum
- 落語や講談・浪曲の演目である。
- This is a program for rakugo (comic story telling), kodan (storytelling) and rokyoku (storytelling with shamisen accompaniment).
- 関西系地歌箏曲家が伝承している。
- It has been passed down among the jiuta and sokyoku musicians of Kansai.
- 節もの(歌に比重が置かれた曲群)
- Fushimono (a group of songs that emphasize the lyrics)
- 一曲として独立して演じられるもの。
- Hon Kyogen is Kyogen performed independently.
- 怨霊もの(怨霊をテーマとする曲群)
- Onryomono (a group of songs with vengeful ghosts as their themes)
- 道成寺もの(道成寺に関連した曲群)
- Dojojimono (a group of music associated with Dojo-ji Temple)
- 京もの(京都で作曲された手事もの)
- Kyomono (tegotomono composed in Kyoto)
- 手事物(本格的な手事を備えた曲群)
- Tegotomono (a group of musical pieces that have genuine tegoto)
- 曲見(しゃくみ) 情感的、田舎風。
- Shakumi: expressive and provincial.
- 唐衣(からごろも)は、箏曲の曲名。
- Karagoromo' (唐衣) is a sokyoku (koto music) song title.
- 宮城以降の楽曲では広く用いられる。
- It is commonly used in many pieces of Soh music composed since the era of Miyagi.
- 幼稚園唱歌(作曲は1900年から)
- Songs for kindergarten students (Taki began to compose these songs in 1900)
- 世阿弥は数多くの謡曲を残している。
- Zeami left many Yokyoku after him.
- 小説、詩歌、戯曲などの実作もある。
- He also wrote novels, poems and dramas.
- 作曲は藤原忠房、振り付けは敦実親王。
- It was composed by FUJIWARA no Tadafusa, and choreographed by Imperial Prince Atsumi.
- 変奏曲のような展開をとるものが多い。
- Many of them take a form like a variation.
- これらの楽器の合奏を三曲合奏という。
- An ensemble of the instruments is called sankyoku gasso.
- 本手(ほんて)は、原曲の旋律パート。
- Honte is a melody part of the original music.
- 雅楽の曲のなかで最も有名な曲である。
- It is the most famous among gagaku musical works.
- 明治以降の箏曲に多大な影響を与えた。
- It greatly influenced sokyoku in Meiji period and later.
- 盲人作曲家によって作られた曲が多い。
- Many pieces were written by blind composers.
- 中規模以上の曲では頻繁に転調がある。
- In numbers exceeding medium length there are frequent key changes.
- 大阪もの(大阪で作曲された手事もの)
- Osakamono (tegotomono composed in Osaka)
- このほか語りが入る曲は非常に少ない。
- Other than that, pieces that have narratives are extremely rare.
- そのほか他の作曲家の作品の編曲も存在
- In addition, Taki arranged music by other composers.
- 四季山水図 六曲一双 - 香雪美術館
- Shiki Sansui-zu (Landscape of the four seasons), a pair of 6 fold screens - Kosetsu Museum of Art
- 逆に静かでゆっくりとした曲も存在する。
- In contrast, slow and peaceful pieces also exist.
- 特定の難曲や大曲についてしか用いない。
- It is only applied in a certain difficult music piece or grand scale music.
- 作詞は並木五瓶、作曲は杵屋六三郎4代。
- It was written by Gohei NAMIKI, with music composed by Rokuzaburo KINEYA the Fourth.
- もちろん日本の作曲家にも使用例が多い。
- Of course, there are many examples of its use by Japanese composers.
- また三味線の替手を持つ曲も少なくない。
- Furthermore, many pieces employ shamisen kaede.
- 追善もの(故人の追善用に作られた曲群)
- Tsuizenmono (a group of songs composed for memorial services of the deceased)
- 芝居歌(芝居の伴奏として使われる曲群)
- Shibaiuta (a group of songs that are used as accompaniments to theatrical plays)
- 端歌(雑多な曲群。短めの叙情曲が多い)
- Hauta (a group of miscellaneous songs; most tend to be short and lyrical)
- 古くは「三曲合わせ」などとも呼ばれた。
- In the past, sankyoku gassou was also called 'sankyoku awase.'
- また三曲合奏が行なわれるわけでもない。
- Consequently, sankyoku gasso is not performed in regard to these tunes.
- 中国風の感じが残ると言われる美しい曲。
- It is a beautiful song with touch of Chinese style remaining.
- 花鳥図押絵貼屏風 六曲一双 - 個人蔵
- Kacho-zu Oshiebari Byobu (folding screen pasted with pictures of flowers and birds), a pair of 6 fold screens - private collection
- 胡弓本曲では前唄と手事のみの構成も多い。
- Many original kokyu music works structurally consist only of maeuta and tegoto.
- 和漢朗詠集等からの漢詩に曲を付けたもの。
- Roei were tunes set to Chinese-style poems that were taken from some collections, including Wakan roei shu (Japanese and Chinese poems to sing).
- 朗詠(ろうえい)は、日本の歌曲の一形式。
- Roei is one style of Japanese songs.
- 今様(いまよう)は、日本の歌曲の一形式。
- Imayo is one style of Japanese songs.
- また前弾き (前奏部) を伴う曲もある。
- And some have a prelude part.
- 平安時代の謡曲『羅生門』などに登場する。
- It appears in 'yokyoku' (Noh song), 'Rashomon' in Heian period and so on.
- 江戸時代を通じて三曲合奏が盛んであった。
- These three instruments were played together frequently throughout the Edo period.
- この後、手事もの作曲の主流は京都に移る。
- Later, the mainstream composition of tegotomono moved to Kyoto.
- 「三曲」と「三曲合奏」の前後関係は不明。
- It is not clear which came first, 'sankyoku' or 'sankyoku gasso.'
- 瀟湘勝概図(個人蔵)六曲一隻 重要文化財
- Shosho Shogai-zu (one of six-panel folding screens) (Private Collection) Important Cultural Property
- 八橋図 六曲屏風 メトロポリタン美術館蔵
- Yatsuhashi-zu (Eight-Planked Bridge, six panel fold screen), The Metropolitan Museum of Art
- 本人は大変この曲を気に入っていたという。
- It has been told that he deeply loved this tune.
- これを備えた曲種、楽曲形式を手事物と呼ぶ。
- The type of piece or style of a composition which is equipped with tegoto is called 'tegotomono.'
- 曲の調子は高麗壱越調(唐楽の平調と同様)。
- The scale of music is Koma-ichikotsucho (the same scale as hirajoshi scale [one of the most basic scales of Japanese sokyoku koto music: literally, 'tranquil tuning'] in Togaku music).
- 各段104拍で、段数は曲によってさまざま。
- Each section includes 104 beats, and the number of sections varies from song to song.
- 組歌と共に箏本曲とされる器楽曲形式の箏曲。
- Koto music in an instrumental style regarded as sohonkyoku (traditional Japanese music for koto) along with kumiuta.
- 京流手事物最盛期を代表する作曲家と言える。
- He is said to have been a representative composer of Kyoto-style tegotomono (a form of Japanese chamber music) at its best.
- 彼の作曲である『籠の鳥』は一世を風靡した。
- Composed by him, 'Kago no Tori' (Bird in a Cage) became a great hit.
- こうして地歌と箏曲の一体化が進んでいった。
- Consequently, the unification of jiuta and sokyoku was promoted.
- 尺八で演奏される楽曲は多岐にわたっている。
- There are many types of music played on the shakuhachi.
- と同時に、地歌と箏曲はほとんど一体化した。
- At the same time, jiuta and sokyoku became nearly inseparable.
- 祝儀もの(祝儀用に作られたおめでたい曲群)
- Shugimono (a group of festive musical pieces composed for celebrations such as weddings)
- 松浦の四つもの(松浦検校作品中の四大名曲)
- Matsuura no Yotsumono (the four great masterpieces among the works by Kengyo Matsuura)
- 石川の三つもの(石川勾当作品中の三大名曲)
- Ishikawa no Mitsumono (the three great masterpieces among the works by Koto Ishikawa)
- なので、箏曲の一環にあげられることもある。
- Therefore, jiuta is sometimes considered to be a part of sokyoku.
- 作詞・東くめ、作曲・滝廉太郎 『鯉のぼり』
- Lyrics: Kume HIGASHI; music: 'Koi-nobori,' composed by Rentaro TAKI
- 中期:組歌の作曲で有名な三橋検校、安村検校
- The middle Edo period: Mitsuhashi Kengyo, who was known as the composer of kumiuta (koto suites of Sohngs), and Yasumura Kengyo
- 新作・復曲能や映画、海外公演にも多数参加。
- He has been participating in a large number of new noh dramas, repeated noh dramas, movies, and overseas stage plays.
- 楼閣山水図(東京国立博物館)六曲一双 国宝
- Rokaku Sansui-zu (a pair of six folding screens with painting of pavilion and landscape) (Tokyo National Museum) National Treasure
- 紅白梅図 六曲屏風 MOA美術館蔵(国宝)
- Red and White Plum Blossoms (six panel folding screen), MOA Museum of Art (National Treasure)
- 小曲絵本「三味線草」(新潮社 1915年)
- An illustration book of minor works, 'Samisen Gusa' (Samisen Grass) (Shinchosha, 1915)
- このように手事物は人気の高い楽曲形式である。
- As seen here, tegotomono is a very popular style of composition.
- 更に歌と手事がもう一回ずつ加わった曲もある。
- Moreover, uta (song) and tegoto are respectively once more added to some songs.
- その中の第4曲に「雅楽」と題した楽章がある。
- In it, there is a movement entitled 'Gagaku' as the fourth number.
- シテにかぎらず曲によってさまざまな役が舞う。
- Depending on the shite or the music, various performers dance.
- 直線を何度も曲折させ渦や山のように似せた文様
- A pattern obtained by bending straight lines many times to imitate vortexes or mountains.
- 『越天楽』(えてんらく)とは雅楽の曲である。
- 'Etenraku' is a piece of gagaku (ancient Japanese court dance and music).
- 別名蘭陵王入陣曲、短縮して陵王とも呼ばれる。
- It is also called Ranryo-o nyujin no kyoku (a music for Ranryo-o entering the camp), and Ryo-o for short.
- 中規模の曲の多くが、途中一度は調弦を変える。
- In most of the medium-length pieces, at least one tuning change occurs.
- 「紙治」「橋づくし」などが知られた曲である。
- Well-known pieces include 'Kamiji' and 'Hashizukushi.'
- 十二曲(大阪で特に大切にされた12曲の総称)
- Junikyoku (a collective term for the 12 pieces that were particularly valued in Osaka)
- 長歌(一貫した内容を持つ曲群。長い曲が多い)
- Nagauta (a group of songs that have a consistent theme; many such songs are long)
- 『教訓抄』には「安波波」という曲名がみえる。
- 'Kyokunsho' (a musical book of gagaku) describes a song called '安波波.'
- 平安時代後期に61曲のうち廃曲が若干あった。
- Among 61 songs, some were lost in the latter Heian period.
- 蘭陵王(らんりょうおう)は雅楽の曲目の一つ。
- Ranryo-o is a number in gagaku (ancient Japanese court dance and music).
- 波涛図 二曲屏風一隻 メトロポリタン美術館蔵
- Hato-zu (Rough Waves, one of the two panel screen), The Metropolitan Museum of Art
- 曲亭馬琴、本居宣長ら多くの人物の知己となる。
- He became acquainted with many people, such as Bakin KYOKUTEI and Norinaga MOTOORI.
- 東面して立って歌曲をうたい、終わって退出する。
- They stood facing the east, sang songs, and, upon completing their songs, they left.
- 風帯の先が余る場合には折り目に合わせて曲げる。
- When the 'futai' is too long, bend them along with a creased line.
- ただし、これらは箏曲として作曲された曲に限る。
- Note that the only compositions of this type are those specifically composed as sokyoku.
- 八橋以後もこれらの形式による作曲が行なわれた。
- Composition of this type of music continued after the death of YATSUHASHI.
- 半太夫もの(浄瑠璃の半太夫節から移入された曲)
- Handayumono (pieces that came from Handayu Bushi of joruri)
- 三弦音楽として作られた曲が本来的な地歌である。
- However, jiuta songs were composed originally as sangen miscues.
- 三木稔 「天如」(1969)二十絃箏初の独奏曲
- Minoru MIKI: 'Tenjo' (1969), the first solo for 20-stringed Soh.
- 群鶴図 六曲屏風 ワシントン、フリーア美術館蔵
- Gunkaku-zu (picture of cranes, six panel fold screen, Freer Gallery of Art, Washington DC
- 後者の代表曲としては『八千代獅子』が挙げられる。
- The representative song of the latter includes 'Yachiyojishi.'
- また箏曲でも、古典曲の場合過半数が手事物である。
- Also in so (or koto) music, most of them are tegotomono in the case of classic music.
- 魏氏伝来の楽曲は全部で243曲の多きにのぼった。
- As many as 243 musical compositions had been handed down from generation to generation in the Gi clan.
- カラオケ向けの楽曲作りとマーケティングが始まる。
- Writing and marketing of songs for karaoke started.
- こうして箏曲が再び独自に発展を始めることになる。
- Thus sokyoku again began to develop on its own.
- 曲芸的な要素の一部は、後に歌舞伎に引き継がれた。
- Some of the stunt elements were later inherited by kabuki (traditional performing art).
- 主に清代の民間楽曲(清楽)を他の楽器と合奏する。
- It was mainly played with folk music (Qing-era Chinese music) in the Qing Dynasty.
- つまり元結左巻に四巻、髷を逆さに下に折り曲げる。
- Therefore the paper cord was wound four times on the left and the topknot folded downwards.
- このほか「三曲萬歳」では三味線、胡弓、鼓をいう。
- Besides, in 'sankyoku manzai' (a comic dialogue accompanied by sankyoku), the instruments used are shamisen, kokyu and tsuzumi (hand drum).
- その他江戸時代の重要な箏曲家は次のとおりである。
- Other prominent Soh musicians during the Edo period were as follows.
- ただし本格的な三曲への参入は幕末に大阪で始まる。
- However, the genuine participation of the shakuhachi in sankyoku began in the last days of the Tokugawa shogunate in Osaka.
- また長唄には地歌の手事物に相当する曲種分類もない。
- Also, choka have no classification for the genre of song, equivalent to tegotomoto of jiuta.
- 使用する楽器、詳細については箏、箏曲を参照のこと。
- For the instruments and the details of zokuso, please refer to the articles on So and Sokyoku.
- 明治期には「明治新曲」と呼ばれる箏曲が多作された。
- Many pieces of koto music called 'Meiji shinkyoku piece' (literally, 'new song of Meiji') were produced in Meiji period.
- 第6条から13条までは音曲についての説明が占める。
- From Section 6 through 13 is occupied by the explanation about Noh music
- この3つの楽器を用いている点も三曲の影響といえる。
- The fact that the three instruments are used here proves an influence of Sangyoku.
- 外曲は箏曲、地歌曲を指し、きわめて多くの曲がある。
- Gaikyoku indicates music for So and music for Jiuta songs, and a large number of pieces of Gaikyoku exist.
- 「三曲」のひとつであり、三曲合奏の構成楽器の一つ。
- Kokyu is one of 'Sangyoku,' or one of the instruments that are used for Sangyoku three instrument ensemble.
- 胡弓楽、地歌、箏曲の胡弓は圧倒的に三下がりが多い。
- Kokyu for Kokyu-gaku, for Jiuta songs and for So music uses San-sagari tuning dominantly.
- 山田流箏曲は一中節などの浄瑠璃風の歌が中心である。
- Yamada school sokyoku is based around the songs of icchubushi (a particular type of joruri style) and other songs of the joruri style.
- 全国の寺院で伝承される本曲には同名異曲が多くある。
- There are many instances of honkyoku transmitted at the various temples throughout the country that have the same name, but are completely different compositions.
- 幾山の「萩の露」は名曲中の名曲として知られている。
- Ikuyama's 'Hagi no Tsuyu' (Dew on the Bush Clover) is known as the masterpiece of masterpieces.
- 作もの(滑稽な内容を持つ曲群。手事のある曲が多い)
- Sakumono (a group of musical pieces with comical content; many of them have tegoto)
- 砧もの(箏曲「砧」より移入しそれから発展した曲群)
- Kinutamono (a group of musical pieces that came from and then developed from the sokyoku entitled 'Kinuta')
- またはそれらの音楽である地歌、箏曲、胡弓楽の総称。
- Sankyoku is also the collective name for the types of music played on each instrument: jiuta, so-kyoku (so music), and kokyu-gaku (kokyu music).
- お正月 (歌曲) (詞・東くめ。独唱・ピアノ伴奏)
- Oshogatsu (solo vocal with piano accompaniment,lyrics by Kume HIGASHI)
- 十二月離合山水図(出光美術館)六曲一双 重要文化財
- Junikagetsu Rigo Sansui-zu (a pair of six fold screens) (Idemitsu Museum of Arts) Important Cultural Property
- 鎌倉時代には平家物語を琵琶に合わせて語る平曲が完成。
- The style called heikyoku, chanting the Heike Monogatari (The Tale of the Heike) to the accompaniment of a biwa, was established in the Kamakura period.
- 本曲ではあるが、段ものは他楽器との合奏が行なわれる。
- Although it is honkyoku, danmono is played with other instruments.
- 同時に、胡弓本曲としても重要な位置を占める曲である。
- At the same time, the song occupies an important place as a Kokyu Honkyoku (Music for the Kokyu).
- 吉沢検校はそのあと更に「新古今組」四曲も作っている。
- Yoshizawa Kengyo later composed four more songs of 'Shinkokin-gumi.'
- その日の正規の番組で取りあげた曲は避けることが多い。
- Numbers used in the regular ban-gumi (combining of music numbers of a noh play) of the day are often avoided.
- 現代においては多数の作曲家が雅楽から着想を得ている。
- In the modern era, many composers are inspired by gagaku.
- 主なものとして尺八との合奏曲である「春の海」がある。
- Of these, the masterpiece is 'Haru no umi' (The sea in springtime) for an ensemble including a shakuhachi.
- 現在では通常は三曲合奏といえば尺八が入るものを指す。
- At present, sankyoku ensembles almost always include the shakuhachi.
- どんな小曲でも、たいていは曲中に部分的な転調がある。
- Any little piece usually contains a sectional key change.
- 名古屋もの(吉沢検校とその系統により作曲された曲群)
- Nagoyamono (a group of musical pieces composed by Kengyo Yoshizawa and those who belonged to his school)
- 特に端歌ものには、節回しの面白さを聴かせる曲が多い。
- Particularly in hautamono numbers there are many songs that focus on interesting fushimawashi (intonations).
- 曲によって高音域が多いものと低音域が多いものがある。
- Depending on the piece, there are those in which the high register is dominant while others are predominantly in the low register.
- したがって一つの曲でも様々に分類づけることができる。
- Accordingly, a single piece can be listed under various groupings.
- 次いで髪を結うが、普段より高く結い普段と逆に曲げる。
- The seppukunin would then dress his hair but would tie it higher than normal and fold it in the opposite direction.
- それからしばらくの間、箏曲は上方を中心に栄えていた。
- For a while since then, Soh music prospered mainly in the kamigata region.
- 山田流においても『都の春』などの名曲が作られている。
- Excellent pieces of music such as 'Miyako no haru' etc. were created by the Yamada school as well.
- 瀧は最も早く、その要望に応えた作曲家と言えるだろう。
- Taki can be said to have been the first composer to respond to that demand.
- 前後赤壁図(個人蔵)六曲一双 重要文化財 1749年
- Zengo Sekiheki-zu (a pair of six fold screens) (Private Collection) Important Cultural Property 1749
- 後者は多くの地歌手事物曲に当てはまり数多くの曲がある。
- The latter type includes many pieces of tegotomono by jiuta, and a large number of pieces fall under this type.
- その後、音曲万歳、しゃべくり漫才の登場で人気も落ちる。
- Later, with the advent of onkyoku-manzai (musical manzai) and shabekuri-manzai, the popularity of karukuchi declined.
- また胡弓本曲の伴奏として、胡弓と合奏されることもある。
- The koto is also used as an accompaniment for the kokyu and in ensemble with the kokyu.
- 箏曲(そうきょく)は、箏(そう)つまり「こと」の音楽。
- Sokyoku refers to music for the koto (long zither with 13 strings).
- また手事ものでも、歌の節に力点が置かれている曲もある。
- Furthermore, even in tegotomono numbers there are songs that emphasize the song's melody.
- 「三曲」という言葉が文献に見えるのはこの頃からである。
- The word 'sankyoku' appeared in literature from around this time.
- 歌のある曲の場合は、三味線,箏の奏者が弾きながら唄う。
- If a tune has its song, the performers of shamisen and koto sing the song while plucking their instruments.
- 箏曲、三味線音楽など近世都市の芸術音楽を中心に使われる。
- Miyako-bushi scale is mainly used in artistic music in modern cities such as koto music and shamisen music.
- なお同曲は谷崎潤一郎の「春琴抄」にも取り上げられている。
- This song is referred to in 'Shunkin Sho' by Junichiro TANIZAKI.
- 戦後『三山』『求塚』『蝉丸』を復曲し、現行曲は210番。
- After the World War II, three plays of 'Mitsuyama,' 'Motomezuka' and 'Semimaru' were reproduced, and as a result 210 plays are currently played.
- 台子 後述するカネワリ法(曲尺割法)による台子飾りの図集
- 'Daisu' has illustrations of daisukazari (the arrangement of tea utensils on a stand) in the kanewari measurement system which will be mentioned later.
- しかし胡弓音楽の主体は歴史的、内容的に見ても三曲にある。
- However, the core of Kokyu music consists in Sangyoku from the viewpoint of its contents as well as of the history.
- 義太夫節や民謡では二上がりの調弦を用いる曲も少なくない。
- Ni-agari tuning is used for many pieces of music, for Gidayu-bushi, and for ballads.
- 歌のついている曲の場合、演奏家は歌を歌いながら演奏する。
- In cases where the music has lyrics, the musician plays the musical instrument while singing.
- ただし箏が主体となって、地歌単独での作曲は少なくなった。
- However, so (koto) became mainstream, and the composition of jiuta alone became rare.
- もっとも使用音域の広い曲では3オクターヴと3度に達する。
- Pieces that use the widest range of tones can cover three and one-third octaves.
- 特に「手事もの」では3オクターヴまで使う曲が少なくない。
- Many few pieces use up to three octaves, particularly the 'tegotomono' numbers.
- また光崎検校も『七小町』、『夜々の星』等の名曲を作った。
- Additionally, Kengyo Mitsuzaki wrote masterpieces such as 'Nanakomachi' and 'Yoyo no Hoshi' (Stars in the Night).
- また通常、楽曲の最初の部分は龍笛のソロ演奏となっている。
- In addition, the first part of a composition is usually a Ryuteki flute solo.
- 幹が左右に曲線を描くように曲がっている木を模様木と呼ぶ。
- Moyogi style bonsai is one in which the trunk is twisted into a curved line from left to right.
- 弓の全長は直線距離ではなく、弓の曲線に沿った長さを測る。
- The length of the bow is not the direct distance from end to end of the bow but measured along the curve of the bow.
- 民謡、民俗芸能の三味線、尺八、胡弓は三曲には含まれない。
- Shamisen, shakuhachi, and kokyu used in minyo (a traditional folk song) and folk arts are not included in sankyoku.
- ただし具体的な楽曲は現在残っていない(伝わっていない)。
- However, no particular music is existing today (has not been handed down).
- 「法を曲げずに情けをかけてくれたから、今の自分がある。」
- Because he felt pity for me without bending law, I got to where I am now.'
- 燕子花図(かきつばたず) 六曲屏風 根津美術館蔵(国宝)
- Kakitsubata-zu six panel fold screen, Nezu Museum (National Treasure)
- 大曲、あるいは前唄の長い曲では、合の手が数カ所に配される。
- Large-scale songs or songs which has a long maeuta have several intermezzos.
- - 腰が曲がっていることから年老いた人の喩えで長寿を表す。
- It symbolized longevity because it has a stoop just like elderly people.
- 作風は同時代の作曲家の中でも風格の高さで群を抜き、高踏的。
- His style was conspicuously stately and Parnassian among his contemporary composers.
- 次に、右手側の風帯を左手側の風帯の上に載せるように曲げる。
- Then, bend the 'futai' on the right hand side and put it on the 'futai' on the left hand side.
- 現在でも新しい曲が作られ、演奏活動や伝承も行なわれている。
- Even today, Sangyoku is played, with new pieces composed for it, and the efforts to hand down the music to subsequent generations are made as well.
- 一方、山田流箏曲に対応するものとして藤植流、松翁流がある。
- On the other hand, the Fujiue school and the Sho school exist correspondingly to the Yamada school for So music.
- 「三曲」とも呼ばれ、地歌及び箏・胡弓・尺八との合奏に使用。
- It is also called 'sankyoku,' and is used for playing music with jiuta, so (koto), kokyu, and shakuhachi (bamboo flute) as an ensemble.
- この他にも、箏は地歌の曲のほとんどすべてと合奏可能である。
- The koto is also able to join the ensemble in nearly all jiuta music.
- 地歌の隆盛とともに複雑な合奏を楽しめる箏曲として発展した。
- As a result, it was developed as sokyoku which could be enjoyed as sophisticated concert music along with jiuta's populatiry.
- 新曲は一度録音すればそれで終了ということになってしまった。
- They had only to record a new song once, and that was it.
- 非常に多彩な技能を要し、どの曲も難曲といって過言ではない。
- It requires an extremely rich variety of techniques, and it isn't an exaggeration to say that any one piece is challenging.
- また胡弓本曲の伴奏として地歌三味線が用いられることもある。
- Furthermore, jiuta shamisen can also be used as an accompaniment to kokyuhonkyoku.
- 著名な曲としては「九連環」「茉莉花」「水仙花」などがある。
- There are famous songs such as 'Kyurenkan,' 'Matsurika,' and 'Suisenka.'
- 『初瀬川』『山桜』『新雪月花』と共に、「新古今組」の一曲。
- It is a composition of 'Shin kokin-gumi' (New Ancient and Modern Suite) along with 'Hatsusegawa,' Yamazakura' and 'Shin Setsugetsuka.'
- 天和 (日本)2年2月催馬楽がおこなわれ、復興曲はふえた。
- In February 1682, Saibara was held and more songs were restored.
- 浄瑠璃(じょうるり)は、日本の伝統的な音曲(音楽)の一種。
- Joruri is one of the traditional Japanese musical forms.
- 西湖春景・銭塘観潮図(東京国立博物館)六曲一双 重要文化財
- Saiko Shunkei Sento Kancho-zu (a pair of six fold screens) (Tokyo National Museum) Important Cultural Property
- 曲水宴図屏風(京都・随心院)重要文化財 京都国立博物館委託
- Kyokusuien no zu Byobu (Zuishin-in, Kyoto) which was designated as an important cultural property is now entrusted to Kyoto National Museum.
- 竹梅図 二曲屏風一隻 墨画 東京国立博物館蔵(重要文化財)
- Chikubai-zu (picture of bamboo and plum, one of two panel screen, ink drawing), Tokyo National Museum (Important Cultural Property)
- 小説のほか戯曲も書き、演劇の近代化に果たした役割も大きい。
- He wrote plays as well as novels, and he played a great role in modernization of plays.
- 童謡・唱歌には3/4今様、歌謡曲には5/4今様の形式も多い。
- Not a few children's songs and songs for school music classes are imayo of three-four time, and not a few popular songs are imayo of five-four time.
- このほか、八雲琴(やぐもごと二弦琴のひとつ)曲の作品もある。
- In addition, he composed the works of yagumo-goto (two-stringed zither).
- ただし胡弓演奏家はほとんど必ず地歌、箏曲演奏家でもあるので、
- However, almost all of the Kokyu players are also the players of Jiuta and So players.
- (この雅楽のHIKARIはその作曲過程の最初にあたる作品。)
- (This gagaku piece HIKARI is his very first piece created in the stages of composition.)
- まず松浦検校が京都風な洗練を加えた手事ものの曲を多く作った。
- First of all, Kengyo Matsuura created many tegotomono pieces to which the refined Kyoto style was added.
- これは女性的な内容の曲とか、追善のための曲など、内容による。
- This depends on the content, such as whether a song has a feminine content or whether it's for a memorial.
- 古代において四弦系(曲頚琵琶)と五弦系(直頚琵琶)があった。
- In ancient times, there were two types of biwa: the four-stringed type with a neck bent backward (Kyokukei Biwa) and the five-stringed type with a straight neck (Chokukei Biwa).
- 三曲合奏は見た目も美しい為か、錦絵にもしばしば描かれている。
- Sankyoku gasso has been often portrayed in nishikie (colored woodblock print) probably because the visual of sankyoku gasso looks stunning.
- ただし三曲においてすべての楽曲が三曲合奏されるわけではない。
- In sankyoku, however, not every tune is performed in the style of sankyoku gasso.
- 浄瑠璃は、三味線を伴奏楽器として太夫が詞章を語る音曲である。
- In Joruri, the dayu (narrator) narrates a verse with the accompaniment of the shamisen, a banjo-like, three-string instrument.
- 三曲界、特に地歌・箏曲では、三弦または三絃という場合が多い。
- The instrument is often expressed as '三弦' (which reads as 'sangen') or '三絃' (which also reads as 'sangen') in the community of 'sankyoku' (the instrumental trio, i.e., shamisen, koto (the thirteen-string Japanese zither), and shakuhachi (the bamboo flute) or occasionally kokyu (the Chinese fiddle) instead of shakuhachi), and this is particularly true in the community of Jiuta (songs of the country accompanied by shamisen) and Sokyoku (the music of the koto).
- 三曲合奏に地歌曲が多い理由については、次のように考えられる。
- The reasons that so many tunes of Jiuta are found in sankyoku gasso are explained as follows:
- 柳下童子図(池大雅美術館)八曲一隻 重要文化財 1760年頃
- Ryuka Doji-zu (one of eight-panel folding screens with picture of a child under a willow tree) (Ikeno Taiga Art Museum) Important Cultural Property 1760
- 孔雀葵花図(くじゃくきかず) 二曲屏風 個人蔵(重要文化財)
- Kujaku Kika-zu (picture of peacock and sunflower, two panel screen), private collection (Important Cultural Property)
- 多くは技巧を凝らし、きわめて高ポジションまで使われる曲も多い。
- Many such pieces consist of great techniques and may use quite high positions.
- この曲に舞を付けたものは「今様舞」と呼ばれ、白拍子装束で舞う。
- The dance set to this music is called 'Imayo Mai' (the dance in accord with Imayo), which is performed in a costume of Shirabyoshi (a Japanese traditional dance).
- このコンビから生まれた名曲は多く、今日でも広く演奏されている。
- There are many great songs by their combination and even now they are played widely.
- 既存曲の替手作りも得意で、いくつか現代にも伝えられ愛奏される。
- He was also good at making kaede (accompanying melody) of existing songs and even now some of them are played favorably.
- 作詞浅原六朗(号:鏡村)、作曲中山晋平による同名の童謡は有名。
- A children's song 'Teru teru bozu' is famous, whose lyrics was written by Rokuro ASAHARA (pen name; KAGAMIMURA) and melody was composed by Shinpei NAKAYAMA.
- 明治以降は、清楽の曲を邦楽器や洋楽器でも演奏するようになった。
- In and after the Meiji period, Shingaku music was performed by Japanese instruments and by Western instruments as well.
- ただし胡弓楽は地歌、箏曲とは半ば独立した伝承系統を持っている。
- However, Kokyu-gaku has a handing-down line independent of those for Jiuta songs and So music.
- これらを総称して「三曲」といい、相互に深くかかわり合って来た。
- The music played with these three instruments are collectively called 'Sangyoku' (literally, three kinds of music), and these three kinds of music have deeply interacted with each other.
- 歌謡浪曲物…三波春夫「俵星玄蕃」、「紀伊国屋文左衛門」、など。
- Kayo Rokyoku (songs combined with rokyoku [a kind of sung narrative popular during the Edo period]): 'Tawaraboshi Genba' (Genba TAWARABOSHI) and 'Kinokuniya Bunzaemon' (Bunzaemon KINOKUNIYA) by Haruo MINAMI, etc.
- また生田検校は地歌曲に箏を合奏させることを始めたとされている。
- Kengyo IKUTA may have been the first to introduce the koto into jiuta music.
- こうしてこの新たな調弦法にのっとり、多数の新しい曲を作曲した。
- On adopting the new tuning method, YATSUHASHI composed a great number of pieces.
- いっぽう『浮舟』など端歌ものの小曲でも調弦を変えるものがある。
- On the other hand, tuning can occur in hautamono pieces such as 'Ukifune' (A Drifting Boat), even though they're short pieces.
- ただし『八重衣』のように大曲でも一度も調弦を変えない曲もある。
- However, there are pieces in which no tuning takes place even if they are long, such as 'Yaegoromo.'
- 謡もの(能の詞章を一部抽出し、ほとんどそのまま歌詞とした曲群)
- Utaimono (a group of songs whose lyrics are partially extracted from noh verses, and the lyrics remain in nearly their original form)
- しかし、最近は桜前線が複雑な曲線を描いて進んでいくこともある。
- In recent years, however, Cherry Blossom Front has sometimes moved in a complex curving line.
- 柳生宗矩にも、秘曲として名高い難曲「関寺小町」を舞わせている。
- He even ordered Munenari YAGYU to dance to the famously difficult music called 'Sekidera Komachi' as a secret song.
- こうして彼は作曲とピアノ演奏でめきめきと才能を伸ばしていった。
- He developed his talents for music composition and piano performance with remarkable speed.
- また合の手は三曲のみならずそれ以外の三味線音楽や琵琶楽にもある。
- Ainote can be found not only in the instrumental trio but also in other shamisen music and biwagaku (Japanese lute music).
- ただし、まったく別の展開として作られている段を持つ曲の方が多い。
- However, many pieces have stages that were created completely as a separate development.
- ほかにも地歌、箏曲には一部分に千鳥を詠んでいる曲がいくつかある。
- There are some other jiuta and koto music that partially includes the word of chidori.
- 一つの曲で三味線、箏の両パートを作ったのは光崎が最初と言われる。
- It is said that MITSUZAKI was the first to compose both shamisen parts and koto parts in one song.
- 笛子にはC管D管などの曲笛やF管G管などのホウ笛(梆笛)がある。
- Tekishi are divided into two types; kyokuteki of pitch C or D, and hoteki of pitch F and G.
- 口は目の後ろまで裂け、吻部が長く発達し、鼻先がわずかに湾曲する。
- The mouth stretches to behind the eyes, and its nose is long and developed, the tip of which is slightly curved.
- こうして、実に久しぶりに、地歌から離れた箏曲が再び作られ始める。
- Then, for the first time in a long time, people started to make sokyoku outside the field of jiuta.
- これらの本曲は、托鉢のため諸国を往来した虚無僧により伝播された。
- The honkyoku of these schools have been conveyed by the mendicant komuso active in each of the respective provinces.
- 中尾都山らが作曲した現代曲、尺八独奏曲または尺八二重奏曲をさす。
- The Tozan school honkyoku repertoire consists of pieces composed by Tozan NAKAO, as well as compositions for the shakuhachi for solo or multiple parts.
- たいていの曲は合奏できる箏、胡弓、尺八のパートが付けられている。
- Most pieces have so, kokyu and shakuhachi parts that can be played together.
- また箏曲の器楽曲種目である「段もの」も三味線用に編曲されている。
- Furthermore, 'danmono' pieces, which belong to the instrumental genre of sokyoku, have been arranged for shamisen.
- 恋慕もの(曲名に「恋慕」という語がつく曲群。恋を明るく扱った曲)
- Renbomono (a group of songs that have 'renbo' in their titles; they're songs that cheerfully describe love)
- 能、狂言、歌舞伎、文楽、落語、講談(講釈)、浪花節(浪曲)、寄席
- Noh, Kyogen (farce played during a Noh cycle), Kabuki (traditional drama performed by male actors), Bunraku (Japanese puppet theater), Rakugo (traditional comic storytelling), Kodan storytelling (or called Koshaku storytelling), Naniwabushi (a kind of sung narrative popular during the Edo period), and Yose (storyteller theater)
- 三曲合奏に参入する時も結局尺八が地歌、箏曲に便乗する形になった。
- When sankyoku gasso was orchestrated, ultimately it was the side of the shakuhachi that participated in Jiuta and Sokyoku.
- 宮下伸作曲 「三十絃・尺八・歌になる“南島”」1995・文化庁委嘱
- Sanjugen, Shakuhach, Uta ninaru 'Minamijima'' (Minamijima becoming 30-string Koto, Shakuhachi, and songs) composed by Shin MIYASHITA (1995, commissioned by the Agency for Cultural Affairs)
- 決まったリズムで打つ場合と、曲中の決まった箇所で打つ場合とがある。
- In one type, it is struck in determined rhythm, and in the other type, it is struck at determined points in a piece of music.
- 曲の内容もその祭の目的や性格、演奏される場面に関連したものである。
- Repertoire relates to the aims, character and performance space at each festival.
- なお古今組に続く新古今組各曲では、音楽的に一層簡潔化が進んでいる。
- The songs in Shinkokin-gumi that followed Kokin-gumi were musically simplified even more.
- しかし、難解な新作曲の場合は誤解を避けるために実音表記が望ましい。
- However, in the case of difficult new compositions, it is desirable to indicate actual sounds in order to avoid mistakes.
- なお、能楽において式三番は極めて神聖かつ重い曲として扱われている。
- Shiki Sanban is treated as an extremely sacred and heavy song in Nohgaku.
- 大正になると演歌師の中から洋楽の手法を使って作曲する者も現われた。
- In the Taisho period, some enka singers began to compose music using techniques of western music.
- 彼は前述のように「雪」をはじめ端歌ものの名曲もいくつか残している。
- He left many hauta masterpieces, including 'Yuki' (Snow), as mentioned earlier.
- 三ツ橋は曲中の手事の数を増やし、より長大で変化に富んだものとした。
- Mitsuhashi increased the number of tegoto within his compositions, making them even longer and richer in variation.
- また「松竹梅」は手事もの、大阪もの、祝儀もので十二曲の一つである。
- As another example, 'Shochikubai' is a tegotomono, as well as an Osakamono and shugimono, and it's one of the Juni Kyoku (Twelve Songs).
- 宴会、芸妓、カラオケ、名曲喫茶、歌声喫茶、ジャズ喫茶、ジャズクラブ
- Banquet, geigi (Japanese professional female entertainer at drinking party), karaoke (sing to a karaoke machine), Meikyoku Kissa (classical music cafe), Utagoe Kissa (coffee shop for people to sing songs), and Jazz Kissa (jazz music cafe) and jazz music club
- 地歌以外の三味線音楽は三曲に含まれず、基本的に三曲合奏も行わない。
- Shamisen music other than jiuta is not included in sankyoku, nor played in the sankyoku gasso.
- 披きの場合には番組の曲名右肩に「披キ」と書きくわえられることもある。
- In the case of a hiraki, sometimes the word 'hiraki' is added to the right of the name of the music in the program.
- 稀に激しい曲ではアクロバテックな演技(飛び返りや仏倒れなど)もある。
- In some rare cases, acrobatic performances (Tobikaeri (backward somersault), Hotokedaore (performance that represents death or falling unconscious), and so on) are performed in aggressive types of pieces.
- 截金の曲線で衣を表し、さらに金銀の切箔を連ねた瓔珞を全身に纏っている
- The robe is expressed with curved kirikane patterns, and furthermore, the entire body of the bosatsu is covered with Yoraku (patterns based on the accessories and jewels of ancient Indian aristocracy) made by overlapping cut gold and silver leaves.
- 「紙屑屋」「辻占茶屋」などの「音曲噺」では演者と掛け合いの型となる。
- In 'musical routines' such as 'A Scavenger' and 'The Fortune-teller's Café,' the performer and the musicians chase one another.
- 「二人袴」「八幡前」「比丘貞」「右近左近」「千切木」「寝音曲」など。
- It includes such programs as 'Futari bakama' (a story of Muko and his father over one pair of Hakama [formal men's divided skirt]), 'Yahata no mae' (a story of a man without special talent), 'Bikusada' (a story that a man Bikusada became a parent to give a child a name), 'Oko Sako' (troubles caused by two farmers, Oko and Sako), 'Chigiriki' (a story of a cowardly man trying to revenge an insult he received),and 'Ne ongyoku' (a story of a servant singing songs with his head pillowed in his master's lap).
- 以後演歌かその他の音楽ジャンルか分別の難しい曲も登場することとなる。
- Since then, songs which are difficult to divide into enka and other music genres have appeared.
- これを「替手式箏曲」と呼び、更に八重崎検校らによって洗練されて行く。
- This is called 'kaede shiki sokyoku,' and it was further refined by people such as Kengyo Yaezaki.
- 地歌・箏曲の合奏曲として発展し、地歌としても最盛期を迎えたといえる。
- These pieces developed as jiuta and sokyoku ensembles, and the golden age of jiuta arrived.
- 地歌は非常に曲数が多く、歴史も長いため実に様々な傾向の曲が存在する。
- An extremely large number of songs exists for jiuta, and because of jiuta's long history there are pieces from various trends.
- いっぽう江戸では、1777年に山田検校が新しい箏曲山田流を創始する。
- Meanwhile, in Edo, Yamada Kengyo founded his new Yamada school of Sokyoku in 1777.
- その意味でも特に『千鳥の曲』が箏曲史上の転換点になっていると思われる。
- In that context, too, 'Chidori no Kyoku' may have especially served as the turning point in the history of koto music.
- 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。
- He studied jiuta shamisen under kengyo ICHIZAN and sokyoku (koto music) under kengyo YAEZAKI.
- 写楽をはじめ曲亭馬琴、十返舎一九など重三郎の世話を受けた人物は数多い。
- There were many figures such as Sharaku, Bakin KYOKUTEI and Ikku JUPPENSHA who were indebted to Juzaburo.
- かつては落語以外の講談や浪曲や色物など各分野それぞれの寄席が存在した。
- In the past, there were yose for kodan storytelling, yose for Rokyoku (naniwabushi recitation) and yose for iromono (various entertainments other than storytelling), respectively, in addition to yose for rakugo.
- その曲の場面に応じて、シテなどが囃子に合わせて表意的な所作を行うもの。
- It is an ideographical shosa performed by the Noh shite or others to the accompaniment of hayashi according to the scene of the music.
- しかし「石橋 (能)」のように半能形式で上演されることの多い曲もある。
- On the other hand some pieces, such as 'Shakkyo' (Stone Bridge, Noh Play), are played more often in Han-Noh style.
- 玄宗の嗜好する法曲を、皇帝が直々に教えたため、皇帝梨園弟子と称された。
- They were called the Emperor's Rien Disciples because Emperor Xuan Zong himself taught his favorite faqu (a type of Tang popular songs) directly to them.
- 純粋な器楽曲は江戸時代を通じ、「段もの」と「砧もの」の数曲のみである。
- The only purely instrumental music from the Edo period is 'Danmono' and 'Kinumono.'
- 端唄や小唄などに対して、江戸時代初期に上方で行われた長編の三味線歌曲。
- Compared to Hauta, Kouta and the like, the Nagauta genre developed as a lengthened form of the shamisen accompanied song performed in the areas of Kyoto and Osaka in the early Edo period.
- 彼は江戸っ子好みの浄瑠璃を取り入れた新作を作り、山田流箏曲を創始した。
- He created new music influenced by joruri (ballad drama) which was popular in Edo, and started the Yamada school of sokyoku.
- これらは宗教音楽として成立し、作者、作曲年代ともに基本的に不詳である。
- These pieces were brought into being and transmitted as part of a meditative religious practice, and generally speaking, the names of the composers and the dates of composition are unknown.
- 大曲の場合はほとんど二回の調弦変えを行ない、三回変える曲も少なくない。
- In long pieces, most often tuning takes place twice, but in many pieces it occurs three times.
- 長い器楽部を持つ「手事もの」が、もっともよく演奏され、曲も非常に多い。
- Tegotomono, which has long instrumental sections, is played most often, and the repertoire contains many pieces.
- 彼の後輩である三ツ橋勾当も「松竹梅」「根曵の松」の作曲で知られている。
- His junior musician, Koto Mitsuhashi, is also known for composing 'Shochikubai' (Pine, Bamboo and Plum Blossoms) and 'Nebiki no Matsu' (Pine Seedlings).
- そこで、楽曲形式だけではなく、様々な切り口で曲種の仕分けが行なわれる。
- Therefore, the songs are categorized by various ways other than simply their musical forms.
- 古典的な楽曲だけではなく、独奏、合奏ともに様々な作曲が試みられている。
- Attempts have been made to compose not only classical-style songs but also new songs as well as solos and ensembles.
- 昔は越後獅子など芸能や曲芸をする者がバランス能力を見せるために履いた。
- In the olden days, people who performed public entertainments including Echigojishi, or performed acrobatics put on this Geta to show their capacity of balance.
- 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。
- To play all three instruments of sankyoku in concert, in particular, is called sankyoku awase or sankyoku gasso.
- 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。
- 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).
- 下総皖一 「箏独奏のためのソナタ」(1938)洋楽系作曲家初の箏独奏曲
- Kanichi SHINOFUSA: 'Sonata for Soh Solo' (1938), the first Soh composed by Western music composer
- 大正時代および昭和初期の箏曲には、宮城道雄の名がまずもって挙げられる。
- When talking about Soh music during the Taisho and early Showa era, Michio MIYAGI is on the top of the list.
- 特に大阪において非常に盛んであり、これらを「明治新曲」と総称している。
- In particular, many pieces were created in Osaka and these were collectively called 'Meiji shinkyoku pieces.'
- こうして江戸時代中期以降、厖大な数の地歌三味線の新曲が次々と作られる。
- In this way, from the middle of the Edo period, large numbers of Jiuta accompanied by shamisen were composed, one after another.
- 蘭亭曲水・龍山勝会図(静岡県立美術館)六曲一双 重要文化財 1763年
- Rantei Kyokusui Ryuzan Shokai-zu (a pair of six fold screens) (Shizuoka Prefectural Museum of Art) Important Cultural Property 1763
- 将軍・足利義輝は名医・曲直瀬道三を派遣して元就の治療に当たらせている。
- Shogun Yoshiteru ASHIKAGA sent the great physician Dosan MANASE to treat Motonari.
- 更に「根曵の松」(三ツ橋勾当作曲)のように、三カ所の手事を持つ曲もある。
- Furthermore, pieces such as 'Nebiki no Matsu' (by Koto MITSUHASHI) contain tegoto in three places in a piece.
- 宮下伸作曲 「三十絃と打楽器のための“ひびき”」(1972・NHK委嘱)
- Sanjugen to dagakki no tameno Hibiki' (sounds for 30-string Koto and percussions) composed by Shin MIYASHITA (1972, commissioned by NHK)
- このあたりは曲全体の山場で、箏と胡弓のからみ合い、掛け合いが素晴らしい。
- It is the climax of the song, where koto and kokyu show an excellent chase.
- 自然描写が印象的な作曲法によってなされ、それなりに華やかさも持っている。
- It was composed by a composition technique impressively describing nature and has a certain gorgeousness.
- 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。
- Mainly during the Bunka era, he was active as a player of jiuta shamisen and so (or koto) and a composer.
- 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。
- Among the jiuta music which is played now, tegotomono is most often played.
- その一方で、清楽は清朝時代の軽妙な通俗音楽で、曲目も楽器の編成も異なる。
- Shingaku, however, was the light and popular music, so the two forms are different in their compositions as well as their instrumental configurations.
- いかしながら、多くの地歌・箏曲の伝承流派は現在も胡弓の曲を伝承している。
- However, even now, many of traditional Jiuta song schools and So music schools have been handing down music using Kokyu to subsequent generations.
- ことに三曲の楽器すべてを合奏することを三曲合奏といい、盛んに行なわれた。
- In particular, the performance in which all three instruments are played together is called Sangyoku-gasso and such concerts were held actively.
- これに、同じく盲人音楽家たちの専門である地歌・箏曲を合わせて三曲と呼ぶ。
- Music including Kokyu-gaku as well as Jiuta songs and So music, both of which were also specialties for blind musicians, is called Sangyoku.
- 天秤で質量を測定するためのもので、曲線4本を互い違いに繋いで製作する文様
- Fundo is a tool for measuring weight with a balance, and this pattern is generated by connecting four curved lines alternately.
- 山田は大変な美声の持ち主で、銭湯で歌ってはその技と曲を知らしめたと言う。
- It is said that YAMADA had a very beautiful voice and would show off his technique and songs by singing in public baths.
- 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。
- However, some records from the mid Edo period indicate that the combination of so, kokyu, and shakuhachi was called 'sankyoku.'
- 幕末の万延、文久頃、名古屋、京都で活躍した盲人音楽家吉沢検校が作曲した。
- It was composed by a blind musician, Kengyo (the highest title of the official ranks within the Todo-za (the traditional guild for the blind)) YOSHIZAWA, who was active in Nagoya and Kyoto during the Manen and Bunkyu eras at the end of the Edo Period.
- 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。
- Furthermore in the nineteenth century, blind musicians in Kyoto created many masterpieces of tegotomono.
- 現在では小唄・うた沢・俗曲に属さない江戸期の小曲が端唄であると定義される。
- At present, hauta is defined as short songs that are not categorized as kouta, utazawa or folk songs.
- 直接的に雅楽を取り入れた作曲法は、生田流系としては初めてのことと思われる。
- The composition technique that directly covers the traditional Japanese music may have been the first one in the line of Ikuta school.
- これにより、雅楽の旋律や技法も取り入れて完成されたのが『千鳥の曲』である。
- In this manner, melodies and techniques of the traditional Japanese music were employed to complete 'Chidori no Kyoku.'
- まず近代では、近衛秀麿が1931年に「越天楽」をオーケストラ用に編曲した。
- In the modern era, Hidemaro KONOE arranged 'Etenraku' (literally, music brought from heaven) for orchestra in 1931.
- 管絃向けに双調、黄鐘調に編曲されたものを「鳥」という曲名で呼ぶこともある。
- This piece is also called 'Tori' (bird) when is arranged for wind and string music in the key of So (which closely corresponds to G major in Western music) or the key of Oshiki (which closely corresponds to A minor in Western music).
- そのため、場合によっては一曲の能から数番の仕舞が掲出されていることもある。
- Therefore, several numbers of Shimai are excerpted from one piece in some cases.
- この岩山の間を曲がりくねって流れ、西江に注ぐ谷川を端溪(たんけい)という。
- The mountain stream that meanders between rock mountains and flows into the Xi Jiang river is known as tankei.
- さらに江戸時代後期には、光崎検校、吉沢検校らによって箏曲は一段と発展する。
- Sokyoku was further developed by Kengyo MITSUZAKI and Kengyo YOSHIZAWA at the end of the Edo period.
- 尺八の楽曲分類で大きなウエイトを占めるのは、本曲と外曲という対概念である。
- The most emphasis on distinguishing types of music played with the shakuhachi falls on the genres called 'honkyoku' and 'gaikyoku,' which occupy opposite ends of the conceptual field.
- ひげが長く腰が曲がっている様子が老人を連想させる事から長寿を祈願したもの。
- Ebi-no-yakimono has been eaten to pray for a long life because the shape of a lobster with its long antennas and curved waist is similar to that of an aged person.
- さらに選曲ボタンが多かったりと、カラオケ使用のための操作ボタンが多かった。
- Furthermore, it had many operational buttons for karaoke use, such as many song selection buttons.
- しかし、多くの自作品において、はじめて三味線、箏両パートを一人で作曲した。
- However, in many of his original pieces he composed both the shamisen and so (koto) parts on his own for the first time.
- さらに菊岡検校(1792年 - 1847年)が京都で手事物を多数作曲した。
- Furthermore, Kengyo Kikuoka (1792 - 1847) wrote many tegotomono pieces in Kyoto.
- こけ順が素直で、模様が前後左右にバランス良く曲がっていることが重要である。
- It is important that the taper is good and the tree curves with a form which is well-balanced all around.
- 五弦系(直頚)琵琶はインド起源とされ、糸倉は曲がらず真っすぐに伸びている。
- The five-stringed type of biwa with a straight neck (Chokukei) is said to have its origin in India and its pegbox is not bent but straight.
- 地歌曲の場合は、多くは元の三味線パートに後に箏や胡弓のパートが付けられた。
- In most Jiuta tunes, the parts for koto and kokyu were later added to the original shamisen part.
- 三曲合奏が行なわれる曲は「三曲」の中でも地歌曲(三味線組歌を除く)が多い。
- Of all the tunes of 'sankyoku,' those performed in the style of sankyoku gasso are mostly the music of Jiuta (except for Kumiuta (assembled songs) accompanied by the shamisen).
- ただしそれらの中で箏曲の「段もの」は後世三曲合奏が行なわれるようになった。
- Of these tunes, however, the 'Danmono' (leveled pieces) of Sokyoku (koto music) began to be played in sankyoku gasso in later years.
- 楽曲中に笏拍子を打つ箇所は楽曲によってそれぞれであるが概ね二種に大別される。
- The points to strike shakubyoshi vary from music to music, but they are generally divided into two types.
- 「祭囃子」という言葉であらわされる中にも非常に多種多様な楽曲が存在している。
- The word Matsuribayashi has come to refer to an extremely diverse range of musical compositions.
- 清水国明の弟子でもあった嘉門達夫の歌曲にも効果音に木魚を使用した作品がある。
- In a song of Tatsuo KAMON, who was a disciple of Kuniaki SHIMIZU, Mokugyo is used for special effects.
- 風帯のある掛軸の場合、まず向かって左手側の風帯を右手側の風帯の下に曲げ込む。
- 4. As for the kakejiku with 'futai' (a pair of strips of cloths or paper hanging from the top), first, bend the 'futai' on the left hand side into the bottom of the other 'futai' on the right hand side.
- いずれにしろ地口の一種であり、雅楽や能の曲目と直接の関係があるわけではない。
- At any rate, either of them is a pun and is not related directly to the programs of gagaku or Noh.
- 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。
- 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.
- 乱には猩々乱と鷺乱の二種があり、それぞれ当該曲のみに限られる特殊な舞である。
- Two types of Midare, Shojo Midare (disorder of Shojo (an imaginary animal)) and Sagi Midare (disorder of heron), exist, and each of them is a special dance specific to the program.
- 後に尺八が加わり、現代では三弦、箏、尺八による三曲合奏が圧倒的に多くなった。
- Later the shakuhachi was added to the ensemble and in modern times the vast majority of trio ensembles are composed of a shamisen, a koto, and a shakuhachi.
- 明治時代になると、箏曲が独自に発展してゆき、地歌の作曲は少なくなっていった。
- During the Meiji period sokyoku developed on its own, and fewer jiuta compositions were created.
- 繁太夫もの(浄瑠璃の繁太夫節から移入され、またそのスタイルで作曲された曲群)
- Shigetayu bushimono (a group of pieces that come from joruri's Shigetayu Bushi, or those composed in that style)
- 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。
- 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.
- また寺島花野の作品『白菊』など、現在では忘れられかけている佳曲も少なくない。
- Also, there are quite a few excellent pieces of music, such as 'Shiragiku' composed by Hanano TERASHIMA, which tend to be forgotten at present.
- 弓は湾曲する細長い素材(もしくは湾曲しない素材)の両端に弦を張って作られる。
- A bow is made of a curved thin material (or a material which does not curve) with a string stretched between the tips.
- 18世紀末には、尾張の藤尾勾当が、能の詞章を取り入れた曲をいくつも作曲した。
- At the end of the 18th century Koto Fujio of Owari composed many pieces to which verses from noh (classical Japanese musical drama) were added.
- 指の第一関節を伸ばしたまま第二関節だけを曲げると第一関節に力が入らなくなる。
- When we bend the second joint of a finger with the first joint kept stretched, we cannot put the power to the first joint.
- 謡曲とは、能における節と詞(ことば)、または能の脚本(謡本)そのものを指す。
- Yokyoku means staves and words for Noh or playbook for Noh itself (Utai-bon (chant book)).
- 槙楓図(まきかえでず) 六曲屏風一隻 東京藝術大学大学美術館蔵(重要文化財)
- Maki Kaede-zu (picture of Chinese black pine and maple trees, one of six fold screen), The University Art Museum, Tokyo University of the Arts, (Important Cultural Property)
- 雅楽の唐楽などで、曲を構成する三つの部分をいい、ほぼ西洋音楽の楽章に相当する。
- Johakyu indicates the three sections composing a piece of gagaku music, including togaku (the art of noh introduced by the Tang Dynasty), and is broadly equivalent to the movements of Western music.
- ただし、序破急すべてを備えていない(失われたか、始めから存在しない)曲も多い。
- However, many of the pieces which exist today are missing sections because they were lost or remain unfinished.
- 宮下伸作曲 「二面の三十絃と打楽器のための“ひびき”」(1972・NHK委嘱)
- Nimen no Sanjugen to dagakki no tameno Hibiki' (sounds for two 30-string Kotos and percussions) composed by Shin MIYASHITA (1972, commissioned by NHK)
- 童謡「村祭り」などでイメージされるような賑やかな雰囲気の曲であるとは限らない。
- Repertoire is not limited to lively pieces that are evocative of children's songs 'village fairs.'
- 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。
- Thanks to this, the song came out of the crisis of abolition and after that came to be played widely as an ensemble.
- 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。
- The style is elaborate, neat, intellective, elegant, stately and often needs virtuosity.
- これを円滑に行うためには膝を曲げ腰を入れて重心を落とした体勢をとる必要がある。
- In order to do this smoothly, actors have to lower their center of gravity by bending their knees.
- 謡曲はほとんどを地謡が取るが、なかには演者との掛け合いになっているものもある。
- For most Yokyoku (Noh song), Jiutai (Noh chorus) is used; however, sometimes the performer and Jiutai sing in turn.
- 黄鐘早舞は「松虫」のような曲のほか、早舞ものを脇能として演ずる際に用いられる。
- Oshiki Haya-mai is performed not only in programs such as 'Matsumushi' (Pine Cricket) but also when playing haya mai as waki Noh.
- そのほかの曲でも『生写朝顔話』など義太夫節では胡弓が用いられる曲は少なくない。
- Kokyu is also played in not a few other pieces of music for Gidayu-bushi such as in 'Shoutsushi-Asagao-banashi' (Morning Glory Diary).
- カラオケが流行しだすと、その楽曲のCD自体にカラオケが付属するようにもなった。
- As karaoke became popular, CDs were made to include a karaoke version of the song.
- アメリカ合衆国では、1963年に坂本九の曲『上を向いて歩こう』が大ヒットした。
- This song by Kyu SAKAMOTO with the lyric 'Uewo Muite Aruko' (literally, let's walk looking upward) was a big hit in the United States of America in 1963.
- 以後京都で作曲された手事もの地歌を「京もの」「京流手事もの」と呼ぶようになる。
- From then on, tegotomono jiuta written in Kyoto was called 'Kyomono' or 'Kyoryu tegotomono' (Kyoto-style tegotomono).
- 作詞・近藤宮子、作曲者不詳 『こいのぼり (近藤宮子)』1931年(昭和6年)
- Lyrics: Miyako KONDO; music: 'Koi-nobori,' composed in 1931, composer unknown
- 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。
- They had sequentially produced the music of jiuta, so-kyoku, and kokyu-gaku played on each instrument respectively.
- 紆余曲折の末、実行者であった十津川郷士ら4名が明治3年に処刑される事となった。
- Despite a number of setbacks, 4 samurais from Totsugawa area who killed Shonan were executed in 1870.
- 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。
- 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).
- このように斬新さと復古志向が様々に混合され、聴きどころのきわめて多い曲といえる。
- The originalities and the revivalistic intentions are mixed in many ways as described above, the song has many interesting points.
- これらは、手事がない点が『千鳥の曲』とは違うが、五曲を総称して「古今組」と呼ぶ。
- Although they are different from 'Chidori no Kyoku' for not including an instrumental intermezzo, the five music pieces are collectively referred to as 'Kokin-gumi.'
- 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。
- Normally in kokyu music, they are not called tegotomoto, but virtually all the original works are said to be tegotomono.
- また、何人かの作曲家により、和楽器の合奏用や洋楽器との合奏用に編曲されてもいる。
- Some composers also arranged Chidori no Kyoku for an ensemble with Japanese instruments or Western instruments.
- 第2条は、いかに風趣、風情を感じさせるかについて、具体的な曲を挙げながらの指導。
- In Section 2, instructions are written on how to have the audience feel the taste and elegance with examples of the particular music pieces.
- したがってその表現する内容も曲によって異なり、共通の性格をいうことはむずかしい。
- Therefore, their expressions vary on music and it is difficult to list common features.
- それは最後の曲の後でシテや囃子方が退出した後、地謡だけが舞台に居残って謡われた。
- The part was chanted by jiutai (noh chorus) that stayed on a stage on its own following the withdrawal of Shite (a main actor of a noh play) and hayashikata (people who play hayashi, or the musical accompaniment) after the last number.
- しかしながら、吉沢は胡弓に独自の旋律を与え、非常に技巧的な作曲、編曲をしている。
- However, Yoshizawa gave independent melodies to Kokyu, arranging and composing highly technical pieces of music.
- また宮城道雄以降、今に至るまで胡弓のための新作曲も多くはないながら作られている。
- Even after Michio MIYAGI, new pieces of music for Kokyu have been composed, although they are not so many.
- 武満徹 「秋庭歌一具」(最初「秋庭歌」が作られ、後に5曲を加えて「一具」とした)
- Toru TAKEMITSU, 'Shuteiga Ichigu' ('Shuteiga' [An Autumn Garden] was composed first, then five more pieces were added later to create 'Ichigu' [a suite])
- このころから、箏曲は三弦音楽から独立して新たに独自の発展を遂げていくことになる。
- From this point onwards, sokyoku developed independently from shamisen music.
- 古典的な本曲の吹奏では、このひとつひとつの尺八のもつ個性もその魅力となっている。
- In the performance of classic honkyoku (pieces originally composed and played with the shakuhachi), the unique characteristics of each ko-kan or ji-nashi-kan shakuhachi can be attractive.
- その後、曲のタイトルや歌詞の意味にあわせた、一種の寸劇といえる画像が追加された。
- Later, images like a skit adapted to the meanings of the title or the lyric of the song were added.
- 地合わせ、段合わせ、打ち合わせ、本手替手合奏、三曲合奏など、多様な合奏法がある。
- There are various ensemble techniques, such as jiawase, danawase, uchiawase, honte kaede ensemble and sankyoku ensemble.
- やはり原曲と異なった複雑な合奏効果をもつパートである「替手」がいろいろ作られた。
- Many 'kaede' pieces were written that differed from the original scores but with parts that had complex ensemble effects.
- 筑前琵琶の音楽は薩摩琵琶に比べ曲風がおだやかであり、楽器、撥ともやや小柄である。
- Music of the Chikuzen biwa has more gentle melodies compared to ones of the Satsuma biwa and the instrument and its plectrum are smaller.
- 作詞者不詳、作曲・弘田龍太郎 『鯉のぼり (弘田龍太郎)』1914年(大正3年)
- Lyricist unknown; music: 'Koi-nobori,' composed in 1914 by Ryutaro HIROTA
- しかし催馬楽は廃曲が次第に増え、また藤家と源家とでは伝えられる曲に違いがあった。
- However, Saibara started to lose its songs gradually, and also there were differences in songs that were brought down between the To and Gen families.
- 後期:京流手事物の地歌曲に複音楽的な箏の手付をした浦崎検校、八重崎検校、光崎検校
- The late Edo period: Urasaki Kengyo who adapted Kyoryu tegotomono (Kyoto-style chamber music) to Soh music, Yaezaki Kengyo and Mitsuzaki Kengyo
- 名作者近松門左衛門と結ぶことによって、戯曲の文学的な成熟と詞章の洗練が行われた。
- Thanks to the cooperation of the distinguished writer Monzaemon CHIKAMATSU, the stories were upgraded from the literary standpoint and verses were refined.
- なかでも詩「宵待草」には曲が付けられて大衆歌として受け、全国的な愛唱曲となった。
- In particular, his poem 'Yoimachi-gusa' was set to a melody, became a popular song and was sung nationwide.
- 金春流ではとだえていた「関寺小町」を復曲上演するなど、プロをもしのぐ活躍をした。
- He was active in Noh performance and outpaced professional Noh performers by such as re-compositing and performing 'Sekidera Komachi' that had not been performed in Konparu-ryu for a long time.
- 松井が歌う劇中歌「カチューシャの唄」は大ヒット曲になり、新劇の大衆化に貢献した。
- Kachusha no Uta' (Katyusha's Song) sung by Matsui in the drama became a huge hit and contributed to the popularization of the shingeki.
- 『蛍の光』、『リパブリック讃歌』等、外国曲に今様形式の歌詞を当てはめたものもある。
- There also exist some tunes applying imayo lyrics to foreign melodies, such as 'Song of Firefly Glow' and 'The Battle Hymn of the Republic.'
- 歌が終わったあと楽器だけの寂寥感あふれる部分が少しあり、余情を残しつつ終曲となる。
- When the song is over, a short instrumental phrase full of loneliness and stillness is played to the termination with an allusive feeling.
- 1948年4月 新橋演舞場にて『助六曲輪菊』の禿で五代目尾上丑之助を名のり初舞台。
- April, 1948: He performed as Kamuro (apprentice of a high-class prostitute) in 'Sukeroku Kuruwa no Momoyogusa' at Shinbashi Enbujo theatre, referred to himself as Ushinosuke ONOE, the fifth.
- 特に、和太鼓を用いた創作曲を演奏するグループにおいて、篠笛が盛んに用いられている。
- Shinobue are often played by groups that play original music using Japanese drums.
- 清楽(しんがく)とは、清国から伝来した、民謡、俗曲を中心とする音楽群の名称である。
- 'Shingaku' is a group of music that is centered on 'minyo' (traditional folk songs) and 'zokkyoku' (folk songs), introduced from Qing.
- 唐宋の詩詞と同題名の曲も少なくない(例えば「陽関曲」の歌詞は、王維の七絶である)。
- Many of them are provided with the same names as those in the Tang and Sung poetry (for example, the words of the song titled 'Yang Guan' consist of a Shichi-zetsu style poem by Wei WANG.)
- 中国から渡来した曲目で、元林邑調であったが、後には壱越調で舞うようになったらしい。
- Probably, it was introduced from China and originally composed in Rinyu style (Vietnamese music); later, it was performed in the key of Ichikotsu (which closely corresponds to D major in Western music).
- 作曲家のすぎやまこういちも「日本の音楽文化に暗黒時代を築いた」と自著に記している。
- Koichi SUGIYAMA, a composer, also writes in his book that it 'brought about the dark age in Japanese music culture.'
- 地歌合流期の初期段階では、地歌の三弦の旋律とほぼ同様の旋律を演奏する曲が多かった。
- At the initial stage of merging with jiuta, there were many pieces with melodies that were almost the same as those for the shamisen part in jiuta.
- この曲のヒットと共にたこ焼きの人気が上がり、ソウル特別市市内各地に屋台が広がった。
- Takoyaki became more popular with the success of this song, and food wagons dealing in takoyaki spread all over Seoul.
- 三曲合奏は、胡弓の代わりに尺八を用いて、三弦、箏、尺八での合奏が多くなっていった。
- It has become more common for sankyoku ensembles to use shakuhachi instead of kokyu so that they consist of sangen, so (koto) and shakuhachi.
- 『融』に少し語りの部分があるが、これは平曲の「素声」(しらごえ)を取り入れたもの。
- There is a bit of narrative in 'Toru,' but this is actually an addition of 'shiragoe' (plain voice) of Heikyoku.
- 音曲(おんぎょく)とは、近世において音楽、あるいは音楽を用いた芸能のことを指した。
- In the early-modern times, the term 'ongyoku' meant music or an art of musical performance.
- これは、「曲物」(まげもの)とも呼ばれ、薄い板を円状に曲げ接着されたものであった。
- It was also called 'magemono' (wooden bucket), in which thin boards were circularly bended and bonded.
- また尾張から松翁流胡弓が伝えられ、山田流箏曲との合奏専用に特化して伝えられている。
- Also, the Shoo school of kokyu music, which was introduced from Owari Province, has been handed down to us in an exclusively specialized form of the ensemble with the Yamada school of koto music.
- 「自分も学者として法を曲げずに浪士に最大の情けをかけた、それは豆腐屋殿とおなじ。」
- I didn't bend law as a scholar and showed ultimate mercy to the Roshi, which is the same way as Mr. tofu seller.'
- 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。
- The traditional Japanese music of the early-modern times centered around vocal music; however, instrumental music developed significantly in the instrumental trio.
- 諸井誠作曲 「S. M.のための“シンフォニア”」 (宮下伸の演奏により芸術祭大賞)
- Symphonia for S.M.' composed by Makoto MOROI (won the Arts Festival Grand Prize played by Shin MIYASHITA)
- 茶筅飾の時に曲建水を茶碗の下敷きにすることで茶入と茶碗をさらに重く扱う古法があった。
- There was an old manner in which chaire and chawan are treated with more respect by placing magari kensui under chawan during the chasen kazari procedure.
- 八橋検校作曲と伝えられる箏曲組歌『梅ヶ枝』の別名として「千鳥の曲」と呼ぶ場合もある。
- A koto kumiuta 'Umegae' allegedly composed by Yatsuhashi Kengyo is also occasionally called 'Chidori no Kyoku.'
- 長男は太神楽の翁家勝丸(太神楽曲芸協会員、落語協会員)、長女はタレントの林家まる子。
- Raisu's eldest son is a performer of 'Daikagura' (lion dance), Katsuma OKINAYA (a member of the Daigakugra Kyokugei Kyokai group and a member of the Rakugo Kyokai association), and his eldest daughter is Maruko HAYASHIYA, an entertainer.
- 弓の棹は中央部が毛側に向けてやや湾曲し、つまり内向きにわずかに反っているものが多い。
- The central portion of the wood part of the bow is bent slightly towards the hair side, or warped slightly inwards in the most cases.
- 最近の傾向としては比較的ポピュラーに近いもの、またアジア的要素の強い曲が増えている。
- Recently more music pieces which are comparatively similar to pop music or have strong Asian feel are being composed.
- また、通常の三味線パートのほかに「上調子」と呼ばれる三味線パートを持つ曲も存在する。
- Furthermore, in addition to the usual shamisen accompaniment, there are also compositions that have an additional shamisen part, called the 'Uwajoshi.
- 江戸時代に虚無僧が吹いた本曲は、琴古流本曲をふくめ、150曲あまりが伝承されている。
- With respect to honkyoku played by the komuso (mendicant Fuke sect priest) during the Edo period, which included those in the repertoire of the Kinko school, there are more than 150 pieces known to have been transmitted at present.
- 雅楽の「楽箏」に対し、近世の箏曲は「俗箏(「ぞくそう」または「ぞくごと」)」と呼ぶ。
- While Soh music of gagaku was called 'gaku-Soh,' Soh music in the pre-modern times was called 'zoku-Soh' (or zokugoto) (modern Sho music).
- 上記の軍記物や新作能以外に、謡曲、和歌、連歌、俳諧、狂歌などに多彩な才能を発揮した。
- Yuko displayed his various abilities in Noh chanting, composing of waka poetry, linked verse, popular linked verse, satirical poem, and so forth other than writing the war chronicle and new Noh plays.
- 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。
- 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).
- 近代以降の歌曲にも、『一月一日』、『われは海の子』、『荒城の月』等この形式の曲が多い。
- Imayo was followed by many tunes composed in and after the Japanese modern age, such as 'Ichigatsu Ichijitsu' (January First), 'Ware wa Umi no Ko' (I Was Born by the Sea),' and 'Kojo no Tsuki' (The Moon Over the Deserted Castle).
- しかしこれらの改正は能楽師にとって全曲の覚えなおしを意味するもので評判が大変悪かった。
- However, the revision had a very bad reputation because for Noh actors it meant to memorize all the pieces again.
- これに対して清楽は、俗曲の色彩が強く、歌詞(中国語)の内容も市井に受け入れやすかった。
- In contrast, the important factor of Shingaku was folk songs and the content of the song's words (in Chinese) was also accessible for ordinary people in Japan.
- 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。
- 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.
- 快慶が法橋時代に製作した仏像であり、秀麗な面相と流れるような美しい曲線を描く衣が特徴。
- This is a Buddha statue that Kaikei sculpted in his Hokkyo phase, and features a beautiful face and gracefully curved robe lines.
- 日本人の歌がアメリカでヒットチャートのNo.1になったのは、現時点でこの曲だけである。
- Even today, this is the only Japanese song to ever rank No. 1 in the charts in the U.S.A.
- 光崎検校は従来の手事もの地歌でも「桜川」「夜々の星」「七小町」などの名曲を残している。
- Kengyo Mitsuzaki left traditional tegotomono jiuta masterpieces such as 'Sakuragawa' (Sakura River), 'Yoyo no Hoshi' and 'Nanakomachi.'
- このように江戸時代中期から後期にかけて、音楽性の高い楽曲が数多く作られるようになった。
- Thus high-quality musical pieces were composed from the middle to late Edo period.
- - 奇術・手品・曲芸・軽業・祈祷・占いなどを大道芸として行いながら,旅回りをしていた。
- Street performers who traveled around performing juggleries, magic shows, acrobatics, prayers, and fortune telling.
- このソロ演奏は、その楽曲の龍笛パートのリーダー(音頭、または主管とも呼ぶ)が担当する。
- The leader of the Ryuteki flute players in the composition, called Ondo or Shukan, takes charge of this solo performance.
- 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。
- 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.
- 地歌曲の「三つ恋慕」も同様な趣向の曲であるが、こちらは地歌なので三曲合奏が行なわれる。
- The Jiuta music 'Mitsu-renbo' (a tune expressing love for the instruments themselves, meaning the shamisen, koto and kokyu) has the same idea as the above-mentioned Nagauta, but since this tune is for Jiuta, it's performed in sankyoku gasso.
- 八橋検校以降、江戸時代中期の特に重要な箏曲家としては、生田検校と山田検校が挙げられる。
- After Yatsuhashi Kengyo's death, Ikuta Kengyo and Yamada Kengyo were prominent Soh musicians during the middle of the Edo period.
- さらにこれと浄瑠璃節が合体することによって、現在にまでいたる浄瑠璃音曲が完成してゆく。
- Joruri reached its current state of completion when the shamisen was combined with Joruri-bushi.
- この時期の詞章・戯曲は未発達なものが多く、かならずしも高い評価を与えることはできない。
- Because the verses/stories in this era were underdeveloped, one cannot give them high marks.
- 三弦がトレモロ演奏を行っている場合、元の曲は中国琵琶のために書かれた曲であったりする。
- If a tune is performed on the sanxian with tremolo picking, its original tune is in many cases composed for the Chinese lute.
- 肘関節を屈曲、前腕を回外、手関節を屈曲させ斜め前方に投げた後相手を腹這いにさせ抑える。
- Bend the elbow joint, rotate the forearm outward, bend the hand joint, throwing diagonally forward, then put the opponent on his/her stomach and hold him/her down.
- 鹿児島県出身、1960年奥野達也に入門し、“石橋”“道成寺”“安宅”“望月”等、開曲。
- He came from Kagoshima Prefecture, became a disciple of Tatsuya OKUNO in 1960 and started to perform for the audience the programs including 'Stone bridge,' 'Dojo-ji Temple,' 'Ataka' and 'Mochizuki '(The Full Moon, Noh play).
- 風神雷神図 二曲屏風 東京国立博物館蔵(重要文化財) - 俵屋宗達の作品を模したもの。
- Fujin Raijin-zu (Wind God and Thunder God Screens, two panel screen), Tokyo National Museum (Important Cultural Property) - Work copying the work of Sotatsu TAWARAYA
- しかしながら、正史として扱われており、この話がのちに曲亭馬琴の『椿説弓張月』を産んだ。
- Nonetheless, this story was treated as part of the official history, and was later used in this capacity as the basis of the story entitled 'Chinsetsu Yumiharizuki,' written by Bakin KYOKUTEI.
- それでも市場における供給不足は深刻なので、曲がりなりにも酒として出荷しなければならない。
- However, the shortage of supply in market was so serious that they had to sell something as sake.
- 直接の源流となる僧・賢順によって始められた「筑紫箏」および「筑紫流箏曲」は含められない。
- The 'Tsukushi goto' and 'Tsukushi school of koto music,' which were both started by Priest Kenjun and the direct origin of Yatsuhashi Kengyo's koto and koto music, are not included in zokuso.
- 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。
- Examples are 'Kumoi no Kyoku' for koto, 'Ryukyu Gumi' for shamisen, 'Tsuru no Sugomori' for kokyu, and 'Shika no Tone' for Shakuhachi.
- 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。
- Honkyoku (traditional Japanese music) is a musical piece composed for each instrument in sankyoku music.
- 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。
- The sound is sampled for music by Isao TOMITA, or used for testing audio equipment made by SONY.
- 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。
- In those days, the composition of jiuta shamisen music and the finesse of performance had already been culminated by his senior associates.
- オリヴィエ・メシアンは日本旅行の印象をまとめた小管弦楽のための「7つの俳諧」を作曲した。
- Olivier MESSIAEN composed 'Nanatsu no Haikai' (seven haikai poems) for small string and wind instruments, which is a summary of his impression from his trip to Japan.
- 雅楽を演奏する際、1日の最後の曲には祝言の意味から必ず「千秋楽」を演奏したという古い風習
- It came from the ancient custom that, when gagaku (traditional court music) was played, 'senshuraku,' which suggested congratulations, was played as the last number of the day.
- 鞨鼓は能の鞨鼓と同じもので、狂言ではシテが最後のほうに曲芸的な様を見せる型がついている。
- Kakko is the same as that for Noh, but in Kyogen the shite plays an acrobatic dance toward the end of a kyogen program.
- 地歌曲や箏曲に胡弓を合奏させる場合、多くはほとんどユニゾンで目立ち過ぎぬように合わせる。
- Playing for a Jiuta song or a piece of So music, Kokyu usually plays in unison with the song or music inconspicuously.
- (ワタナベエンターテインメント所属の歌手に代表される)洋楽指向の歌謡曲と人気を二分した。
- The popularity was split between enka and western music-oriented kayo kyoku (typically sung by singers in Watanabe Entertainment Co., Ltd.).
- 長唄(ながうた)は、江戸の音曲の一つであり、正式名称は江戸長唄(えど ながうた)という。
- Nagauta is a type of musical genre that first appeared in the Edo period, and it's formal name is therefore Edo Nagauta.
- 古典的な三曲合奏では、尺八の手付けは三絃の手をベタ付けで尺八向けに編曲したものであった。
- In the case of adapting a classical sankyoku pieces for shakuhachi, the shakuhachi part was generally added in a manner so as to roughly parallel that of the shamisen part.
- また曲によっては3オクターヴ以上の音域を駆使するなど、色々な三味線の技巧が発達している。
- Furthermore, depending on the piece, various shamisen techniques are employed, such as tonal ranges exceeding three octaves.
- 著名な曲としては「湖水渡」「道灌」「義士の本懐」「敦盛」「本能寺」「石堂丸」などがある。
- Famous songs are 'Kosuiwatari,' 'Dokan,' 'Gishi no Honkai,' 'Atsumori,' 'Honno-ji Temple,' or 'Ishidomaru.'
- 三曲合奏を人体になぞらえて、三味線は骨、箏は肉、胡弓、尺八は皮にたとえられることがある。
- Sankyoku gasso is sometimes likened to a human body, such as the bone for shamisen, the flesh for koto, and the skin for kokyu and shakuhachi.
- 弓の始まりは、世界中どこでも押並べて変わらず、湾曲形の単弓(和弓)であり、短弓であった。
- The first form of bow was simple with a bending form and a short length, which was common anywhere in the world.
- 具体的には単一素材で弾性のある木材等を使用した弓で、湾曲させただけの丈も短い物であった。
- It was made of single piece of flexible wood and others were curved, and were short in length.
- 『宵待草』に宮内省雅楽部のバイオリニスト多忠亮が曲をつけ芸術座 (劇団)音楽会にて発表。
- Tadasuke ONO, belonging to the Gagakubu (Music Department) of the Imperial Household Ministry, set 'Yoimachi-gusa' to music and presented it at a concert at the Geijutsuza (Arts Theatre).
- 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。
- Also especially in tegoto of Kyoto-style tegotomono pieces, a method called 'kakeai' (alternate performance), wherein shamisen and koto exchange figures, is often used.
- 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。
- Many of his songs were unconventional and very long and in particular the instrumental parts 'tegoto' were long, complicated and extremely difficult to play.
- 本曲でも伴奏として箏や三味線が入ったり、また地歌や箏曲に取り入れられたりしている曲もある。
- Therefore, some pieces of Honkyoku are accompanied by So or Shamisen, or are taken into music for Jiuta songs or for So.
- 地歌・箏曲とともに発展し、当道座の盲人音楽家によって伝承されてきた胡弓音楽を胡弓楽と呼ぶ。
- The Kokyu music that has evolved together with Jiuta songs and So music and has been handed down to subsequent generations by blind musicians at Todo-za is called Kokyu-gaku.
- ただし湾曲部より先はむしろ長めにしてあり、つまり手元から先に向けての棹と毛の離角が大きい。
- However, the portion from the bend is made longer than the other portion from the bend, which is nearer to the playing hand, and therefore, the angle between the hair and the wood of the bow is larger at the portion nearer to the playing hand.
- その後、胡弓音楽は三味線 (三弦) の音楽である地歌、箏の音楽である箏曲と同時に発展した。
- After that, Kokyu music developed consequently with Jiuta songs using Shamisen (with three strings) and with So music (played with So - thirteen-stringed Koto).
- また、器楽部分では掛け合いと呼ばれる類似の旋律を三弦と交互に演奏するような作曲もみられる。
- There were also compositions with parts (called 'kakeai') which are interchangeable between the koto and shamisen.
- 吉沢は更に進んで「玉くしげ」などにおいて三味線、箏、胡弓の三パートをすべて一人で作曲した。
- Yoshizawa took one step further, and in numbers such as 'Tamakushige,' he composed the three parts of shamisen, so (koto) and kokyu by himself.
- 獅子もの(曲名に「獅子」の語が付き、荘重かつ華麗な曲調を持つ曲群。すべて手事ものに属する)
- Shishimono (a group of musical pieces that are majestic and gorgeous, and with 'jishi' in their titles; they all belong to tegotomono)
- また江戸末期以降、それまで地歌に便乗する形で発展して来た箏曲が、今度は先に立って発展した。
- Furthermore, after the late Edo period sokyoku, which until this point had developed as an addition to jiuta, began to surpass jiuta.
- 謡曲『安宅』(あたか)には、登場人物の弁慶が踊る男舞として、延年の舞が踊られることがある。
- In the yokyoku (noh song) 'Ataka,' Ennen no mai is used as otoko-mai (a male dance) danced by Benkei, one of the characters.
- 枝の出し方には注意が必要であり、自然樹のように枝は曲の外側に残して、内側の枝は剪定をする。
- It is necessary to take care with the branch formation and leave the outward curving branches as in nature, while pruning the inward branches.
- 三味線と箏の両パートを一人の作曲家が作るようになったのは八重崎の弟子の光崎検校からである。
- It was Mitsuzaki Kengyo (Yaezaki Kengyo's pupil) who began to compose both the shamisen melody part and the koto part.
- 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。
- Also in Kyoto-style tegotomono, many have a part of 'jo' or 'makura' (prelude) as an introduction of tegoto.
- 「鳴く声に」で次第に箏曲的な歌に戻り、胡弓が繊細なトレモロを奏する、短いが美しい間奏となる。
- In the section of 'naku koe ni,' the song gradually returns to a song based on the koto music leading to a short but beautiful intermezzo of a delicate tremolo played by kokyu.
- 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。
- Hearing this, YAEZAKI roused himself to play 'Yaegoromo' excellently and after that this song came to be widely played.
- 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。
- 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.
- 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。
- 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).
- 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。
- 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).
- 歌舞伎ではもっぱら長唄曲の鳴物として活用され、特に松羽目物・能取物において重要な役割を担う。
- In Kabuki, it is mostly used as the narimono (musical instruments) for nagauta-mono (item featuring long epic songs), and plays an important role especially for Matsubamemono and Notorimono (Nogaku style).
- 管弦楽曲でも使用されることがあり、大栗裕の『大阪俗謡による幻想曲』では特徴的なリズムを刻む。
- It's sometimes used in orchestral works, and it beats out a characteristic rhythm in 'Fantasy on Osaka Folk Tunes' by Hiroshi OGURI.
- このうち十七弦箏は、邦楽合奏における低音楽器として現在でも広く使われ、独奏曲も生まれている。
- The seventeen-stringed koto is still used today in ensembles for Japanese music to provide low notes and has had solos composed specifically for it.
- その理由は、カラオケとして録音されている曲(カラオケ・ソース)の多くが演歌だったからである。
- It was because most of the songs recorded as karaoke (karaoke source) were enka (Japanese ballad).
- また幕末には京阪や名古屋のみではなく中国、九州などでも地歌が盛んになり、独自の曲が作られた。
- Moreover, at the end of the Edo period jiuta became popular not only in Kyoto, Osaka and Nagoya but also in Chugoku and Kyushu, and numbers unique to the region were composed.
- 手事もの地歌曲では高いポジションをよく使用するが、これにより明確な高音が出せるようになった。
- High positions are often used in the jiuta numbers of tegotomono, and this design enables high notes to be played more clearly.
- 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。
- 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.
- また箏曲家以外でも町田佳聲や高森高山らによって、多くの和楽器を合奏させる作品が多数作られた。
- Also, many pieces of music in which varieties of traditional Japanese instruments are played in concert were created by other persons than Soh musicians, such as Kasho MACHIDA and Takayama TAKAMORI etc.
- そして地歌に合奏することで、多くの地歌曲、ことに手事物をレパートリーとして、大いに発展した。
- Later, Soh music added many jiuta, especially tegotomono, to its repertoire through ensemble and further developed.
- 故に奸曲のへつらい者、主君の好むところにともなって、色能き婦人を捜し求めだす輩、出頭立身す。
- Those vassals who found Naganori good women were promoted as flattering vassals were always favored by the lord.
- 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。
- 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.
- 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。
- 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.
- 宮下伸作曲 「三十絃・箏・尺八・打楽器のための“海流にのって”」(1993・日本三曲協会委嘱)
- Sanjugen, So, Shakuhachi, dagakki no tameno 'Kairyu ni notte'' (Going with Kairyu, the ocean current for 30-string Koto, 13-string Koto, Shakuhachi, and percussion) composed by Shin MIYASHITA (1993, commissioned by Nihon Sankyoku Kyokai)
- 第3条は「心根」、即ち謡曲の文辞をいかに表現するかについて、やはり具体的な曲を挙げて説明する。
- Section 3 is on instructions on 'kokorone (feelings), that is, how to express the words of yokyoku (Noh song), also giving the examples of the particular music pieces.
- 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。
- 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.
- いずれの譜も1オクターブ上げて演奏することが可能であるが、音色と表情が大きく異なった曲になる。
- It is possible to go up by one octave in both scores, but the timbre and atmosphere would become completely different.
- その後、オートバイでは出前機を用いる方法が普通になり、蒸籠担ぎの曲芸はあまり見られなくなった。
- It subsequently became common to use delivery box carriers with motorcycles whereby acrobatic performance of the delivery man carrying a pile of seiro can no longer be seen these days.
- 雅楽の楽器を用いず西洋楽器のみによる編成でも、雅楽の音楽構造に着想を得て作曲された作品は多い。
- There are many compositions that were inspired by the gagaku music structure, even when these pieces were composed with western musical instruments alone and without using any gagaku musical instruments.
- 祝言音曲・曲舞謡・かかり・訛り・拍子・位などがライバルたちのエピソードも交えて詳細に語られる。
- The sections explain in detail music of shugen (celebration), kakari utai (chanting of a Noh text), namari (accent), hyoushi (beat) and kurai (rank), telling the rival's episodes.
- 茎に見立てた曲線と草の葉に見立てた菱形の截箔を組み合わせ、蔓などの植物が絡み合う様子を表す文様
- A pattern combining curved-line pieces of gold leaf, imitating stalks, and lozenge-shaped pieces of gold leaf, imitating grass leaves, to express intertwined plants, for example, ivies.
- 一方洋服を作るために布を切るときは、曲線をたくさん使い、和服よりも複雑な形状な布の部品を作る。
- On the other hand, in the processes of making Western clothing from a piece of cloth, pattern pieces are cut out from the cloth along a lot of curved lines to be made into shapes much more complicated than those of Wafuku.
- 同曲は、1963年6月15日にはビルボードおよびキャッシュボックスの第1位にランキングされた。
- This song was ranked No. 1 by two magazines, Billboard and Cash Box on June 15, 1963.
- 江戸時代中期以降、三曲と総称される地歌、箏曲、胡弓楽は合奏のために共通の曲を持つようになった。
- After the mid-Edo period jiuta, sokyoku and kokyugaku, collectively called sankyoku, began to share common pieces for ensembles.
- 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。
- 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).
- 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。
- 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.
- そのため、日本全国で同じ曲や楽器構成を指すのではなく、一つの起源に遡ることができるものでもない。
- For that reason, it does not refer an identical nation-wide repertoire or use of instruments, nor is it possible to trace its roots back to one sole source.
- まず「淡路島通う千鳥の」で、これまでの地歌箏曲にはない独特な旋律が、転調して高い音域で歌われる。
- First, a unique melody that is not seen other jiuta koto music in the past is sung to 'Awaji shima, kayou chidori no...' in a modulated high range.
- これも尺八パートと同じく箏の旋律に沿って付けられたもので、ユニゾンに近く、胡弓本曲とは言えない。
- This was also added resembling the tune of koto to sound like a unison, which is hardly called kokyu honkyoku (traditional Japanese music for kokyu).
- また明治時代になると、三曲合奏は胡弓の代わりに尺八を用いることが多くなり、胡弓の演奏は減少した。
- In addition, after entering the Meiji period, Shakuhachi bamboo flutes instead of Kokyu mostly came to be used, reducing the occasions in which Kokyu was played.
- 10代、20代の若者の中には代表的なヒット曲や、歌手の存在自体をも認知していない者も少なくない。
- Many young people in their teens and 20s do not even know major hit songs and singers exist.
- 八橋検校ののち、北島検校を経て、元禄の頃に京都の生田検校によって箏曲は改変、整理されたとされる。
- In the Genroku era, after Kengyo YATSUHASHI and Kengyo KITAJIMA, sokyoku was reformed and organized by Kengyo IKUTA in Kyoto.
- たとえば狩人の曲であるあずさ2号の場合はあずさ (列車)の走行シーンが流れるといった具合である。
- For example, in the case of 'Azusa 2-go' sung by Kariudo, an image of running Azusa (train) is played.
- 地歌的な作品、地歌三味線を使った曲は宮城道雄をはじめ、こんにちに至るまで少なからず作られている。
- Nevertheless, some jiuta-like numbers and pieces that used jiuta shamisen are created today by people such as Michio MIYAGI.
- 手事と呼ばれる、歌の間にはさまれる長い器楽部分を持つ曲(手事物と呼ばれる)が多く伝承されている。
- Many pieces called tegotomono that have long instrumental sections between the sections with lyrics (called tegotomono) have been passed down.
- さらに18世紀後半には繁太夫節が地歌に取り込まれ、検校たち自身が浄瑠璃を作曲することにもなった。
- Furthermore, in the latter half of the 18th century Shigetayu Bushi was integrated into jiuta, and even the kengyo began to compose joruri pieces.
- 歌もの(手事ものに対し、歌のみ、もしくは手事はあってもごく短くあくまでも歌に重点が置かれた曲群)
- Utamono (as opposed to tegotomono, this is a group of musical pieces that are only songs; if tegoto is included, then it's very short and the emphasis is placed on singing)
- 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)。
- This could mean that any combination of three instruments were simply called 'sankyoku' (in fact, the Todo-za members did not play shakuhachi).
- しかしこの頃のレパートリーは現在の奏者にとって満足できるレベルで作曲された楽曲は少ないとされる。
- However, it is regarded that few of such pieces reached the level that satisfies current players.
- 上方歌は、地歌の「端歌もの」と比較してテンポ・歌詞の内容が軽快で明るい曲調のものが多い傾向にある。
- Many Kamigata uta seem to have more rhythmical melody and more cheerful lyrics than hauta mono in jiuta.
- それだけではなく宮城道雄にも、新機軸を打ち出しつつ『千鳥の曲』の要素を残す傾向の作品は少なくない。
- Furthermore, Michio MIYAGI also composed not a few works with elements of 'Chidori no Kyoku' while making a new departure.
- 更に古雅さを追求した吉沢検校は、箏曲の遠い先祖である雅楽に一つの音楽美の理想を見いだしたのだろう。
- Further pursuing the classic, Yoshizawa Kengyo may have found an ideal of musical aesthetic in the traditional Japanese music that was a far ancestor of sokyoku.
- 少なくとも明治時代以降の謡曲本では「へ」の字型のものが使われ、2008年現在もそれを踏襲している。
- 'へ'-shaped marks were used at least in sheet music made after the Meiji period, and they are still being used as of 2008.
- 台詞は語り手(「太夫」たゆう)・唄い手に任されて役者や踊り手は一言も発しないという演目・曲も多い。
- In many plays and songs, dialogues are assigned to a narrator (tayu) and singer, while actors and dancers don't speak at all.
- 従って、篠笛は長さが異なるものを何種類も用意しておき、転調の際には曲の途中で持ち替えることもある。
- Therefore, several types of shinobue are prepared and replaced during the performance when the tune of the song changes.
- 手延べした後で、竹などに掛けて干すものは、製品にする際に竹に掛けた時の曲線部分が副産物として残る。
- If hand-stretched dough is dried by hanging on bamboo, the curved parts made by the impression of the bamboo remain as a by-product.
- 「東京1989」 (雅楽編成でベートーヴェンの第九交響曲を演奏するなどコラージュ的要素の強い作品)
- Tokyo 1989' (this piece has a strong collage element, such as playing Beethoven's Symphony No. 9 using a gagaku composition)
- 民謡や浪曲などをベースにし、それまでの「流行歌」とはかなり質の異なる現在の演歌に近い作風となった。
- Songs with a style which is very different in character from that of earlier 'hit songs' and similar to today's enka were developed based on traditional folk songs and rokyoku.
- 通常、楽曲の伴奏部分だけが「事前に記録」されている記録媒体(音楽テープやディスク等)で再生される。
- The music accompaniment is reproduced by a 'previously recorded' recording medium (music tape, disc, or the like).
- 通信カラオケは、いままでメディア(媒体)で供給されていた楽曲が、通信により提供されるようになった。
- While songs were conventionally supplied through media, the online karaoke is configured to supply them through online communications.
- 他にも、京都の石川勾当が「八重衣」「新青柳」など、非常に長大で複雑な技巧を尽くした曲を残している。
- Other than that, Koto Ishikawa of Kyoto left pieces such as 'Yaegoromo' (An Eight-Fold Garment) and 'Shin Aoyanagi' (New Green Willow), which were extremely long and required very complicated techniques.
- 特に現代では近世に発達した俗箏による音楽を指す場合が多く、大きく生田流箏曲と山田流箏曲に分かれる。
- The word is often used to refer to zokuso (recently developed koto music) which is broadly divided into two schools, the Ikuta school and the Yamada school.
- 四弦系(曲頚)琵琶は、西アジアのウード、ヨーロッパのリュートと共通の起源を持ち、形もよく似ている。
- The four-stringed type of biwa (Kyokukei) has a common origin with the oud (lute-like instrument of Arabic Origin) in West Asia and the lute in Europe and a similar shape to those.
- 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。
- 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.
- 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。
- 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.'
- 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。
- 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.
- 当然「三曲」の範囲内で行なわれるので、地歌以外の三味線音楽では、三曲合奏はまずほとんど行なわない。
- Of course, sankyoku gasso is performed within 'sankyoku;' therefore, when shamisen is performed for the music other than Jiuta, the music is rarely performed in sankyoku gasso.
- またしばしば中国琵琶とテクニックを共有し、中国琵琶のために伝統的に書かれた曲を演奏することがある。
- The sanxian and Chinese lute have many performance skills in common, so the tunes traditionally composed for the Chinese lute are occasionally performed with the sanxian.
- 地歌や箏曲での合奏の中で、胡弓に独自の旋律を持たせたのは光崎の後輩にあたる名古屋の吉沢検校である。
- It was Yoshizawa Kengyo (Mitsuzaki Kengyo's junior), a resident of Nagoya, who made the kokyu melody distinctive in the Jiuta (or Sokyoku) ensemble.
- 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。
- This is because audiences could enjoy both vocal parts and instrumental parts in one work and the works could be easily changed.
- 1955年(昭和30年)、箏演奏家および作曲家の初代宮下秀冽が考案し、その息子の宮下伸の改良による。
- It is created in 1955 by Shuretsu MIYASHITA the first, a So player and composer, and improved by Shin MIYASHITA, his son.
- つづらは「九十九」とも変換されるがこれはツヅラフジのつるが曲がりくねっていることが語源とされている。
- Tsuzura is also written as '九十九' (tukumo, winding and twisting) of which origin is the vine of Tsuzurafuji that twists and turns.
- そこで覚えたての小曲をすぐに弾くことが出来るという理由で、端唄がもてはやされるようになったのである。
- Therefore, hauta became popular as they were easy to learn and play for their shortness.
- もっとも時代背景として作曲後間もなく明治維新という変革期を迎えたことも重要であり、忘れてはならない。
- However, it should be noted that the historical background of the composition followed by the revolutionary period of the Meiji Restoration is also important.
- エビ類の2対の触角はしなやかに曲がるものが多いが、イセエビ類の第二触角は太く、頑丈な殻におおわれる。
- Many species of Decapoda have two pairs of flexible antennas, but the secondary antenna of Ise ebi are thick and covered with hard shell.
- 若者もカラオケに夢中になる様になり、日本のポップスもカラオケ向けの楽曲作りとマーケティングが始まる。
- Young people also became fascinated with karaoke and writing and marketing of Japanese pop songs for karaoke started too.
- 節麺(ふしめん)は素麺を作る際の副産物で、棒で延ばすときに棒にかかる曲線部分を切り分けたものをいう。
- Fushimen is a byproduct of somen, which is a wound part formed at the time of hanging on rods and then cut off later.
- つまり多くの地歌曲は、箏のパートが作られ合奏されるようになって、箏曲のジャンルともなったことになる。
- Many jiuta songs were now made with a koto part and for an ensemble, and jiuta thus became a genre of sokyoku.
- 単なる自然描写や心情の吐露の域を脱し、純音楽として高踏的な芸術性を発揮している曲も決して少なくない。
- There are many pieces that demonstrate Parnassian artistry in the form of pure music, having transcended the simple illustration of nature or the effusion of emotions.
- 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。
- 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.
- 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。
- 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.
- しかし厳密なものではなく、18世紀後半には箏、胡弓に尺八が加わった合奏を「三曲」と呼んだ記録もある。
- However, the usage of the name wasn't strict, and the ensemble of koto, kokyu and shakuhachi was also called 'sankyoku' in a record from the late 18th century.
- 独奏曲としての箏という楽器を代表する楽曲「六段」(の調べ)は、この八橋検校の作曲によると伝えられる。
- It has been handed down that 'Rokudan' (no shirabe), a representative Soh solo, was composed by Yatsuhashi Kengyo.
- この模様が全国に生中継されてしまった日本国内では、アメリカ側の選曲を問題視する声が一部で出たという。
- The program was broadcast all over Japan, and some Japanese people thought that the two songs chosen by NBC were a technical problem.
- 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)。
- 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).
- そのために『至花道』などで理論化された「二曲三体」の習道を行うよう、過去の著作を引用しつつ説いている。
- So, it says at the first part of the book that 'Nikyoku Santai (Two performances; songs and dance, and three roles; senior men, women, and warriors) should be practiced, using the quotation from the books in the past.
- 披き(ひらき)とは、能楽師が、ある曲のシテもしくはそれに準ずる役、狂言、囃子などをはじめて演ずること。
- Hiraki is what a Nohgakushi (Noh actor) performs for the first time as a shite (a main actor of a Noh play) or a quasi shite role for a certain music, Kyogen (farce played during a Noh play cycle), or hayashi (musical accompaniment played on traditional Japanese instruments).
- ポップスの分野では篳篥の東儀秀樹が、篳篥の音色を生かしたポピュラー音楽の編曲および自作を演奏している。
- In the genre of pops, hichiriki player Hideki TOGI performed his own compositions as well as arrangements of popular music that make use of the sound of hichiriki.
- 謡曲本(謡本)においては、能職掌であるシテ、ワキ、地謡などの役割がかわるところで、語句の頭に使われる。
- In a sheet music of a Noh song (Utai-bon), ioriten is used at the beginning of a word when a part of each Noh player including Shite (a main actor of a Noh play), Waki (a supporting actor) and Jiutai (Noh chorus) starts.
- とはいえ上記の特徴をもってしても、演歌とそれ以外のジャンル(歌謡曲など)を明確に分類することは難しい。
- Even with the characteristics described above, however, it is difficult to clearly distinguish the enka from other genres (such as kayo kyoku - Japanese popular songs with ballads).
- 段合わせもの(手事が複数段に分かれている曲のうち、段どうし互いに合奏もできるように作曲されている曲群)
- Danawasemono (among the numbers that have tegoto separated into multiple dan (steps), a group of musical pieces composed so that the different dan can be played together)
- 当時の散楽師が曲芸だけでなく、今の狂言に通じる滑稽物真似的な芸もしていたことが窺える貴重な記録である。
- This is a precious record from which we can gather the fact that Sangaku performers at the time performed not only stunts but also humorous mimicry which led to kyogen (farce played during a Noh play cycle).
- 明治時代の曲芸に「信田妻」と言う、両手での同時筆記、筆を口に加えての筆記などを売り物にした演目がある。
- Among acrobatics in the Meiji period, there is an acrobatics called 'Shinodazuma' which features writing with both hands at the same time, writing with a brush in one's mouth, and so on.
- これはおそらく当道座の音楽家たちの本来の専門音楽である「平曲」(平家琵琶の音楽)に対しての名称である。
- This sankyoku must have been the name used in contrast with ¥'heikyoku' (the music of 'heike biwa' (the Japanese lute for playing the Tale of Heike)), in which the musicians of Todo-za (the traditional guild for the blind) originally engaged as a profession.
- まず京都の生田検校が元禄頃、箏の楽器法(調弦および奏法や爪の改良)や楽曲を大きく発展させたといわれる。
- It is said that Ikuta Kengyo in Kyoto developed the way of playing Soh (tuning, playing method, improvement of a pick) as well as Soh music in the era of Genroku.
- 当初は物真似だけでなく、散楽の流れをくむ軽業や手品、曲芸、呪術まがいの芸など、多岐に渡る芸能を行った。
- Originally, Sarugaku players displayed various arts inherited from Sangaku, such as acrobatics, the conjuring of tricks, stunts, and something similar to magic.
- ただしあくまでも声楽を基本とする山田流箏曲では、基本的にほとんどすべてユニゾンで三曲合奏が行なわれる。
- However, in the Yamada school of koto music, which is completely based on vocal music, all the instruments of sankyoku gasso are performed nearly in unison.
- 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。
- Many tegotos are divided into several 'dan,' and each dan has the same beat rate and some are like variations.
- また箏曲史全体を見回してみても、『千鳥の曲』はこれ以降の箏曲への大きな転換点のひとつとなったと思われる。
- In a perspective view of the history of koto music, 'Chidori no Kyoku' must have been one of big turning points to new koto music.
- 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。
- 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).
- また、ここからさらに転じて、追善会などの際に、追悼にふさわしい曲の終曲部分をつけくわえる慣習も生まれた。
- Having changed further from it, there sprang up a custom to add the last part of a suitable number for mourning at a memorial concert and so on.
- 三曲系で使われる弓は長いものが多く、毛の長さ70センチメートル、全長1メートルを超えるものも珍しくない。
- Most of the bows of Kokyu that are used in the genre of Sangyoku (played in combination with Kokyu and two other Japanese instruments) are long, and bows with a hair length of seventy centimeters and a total length exceeding one meter are common.
- このように、地歌・箏曲の成立とほぼ同時に当道座の盲人音楽家たちによって胡弓が演奏されていたことが分かる。
- In this way, it is known that blind musicians at Todo-za (the traditional guild for the blind) played Kokyu during almost the same period when Jiuta songs and Sokyoku (koto music) had been established.
- 洋楽(クラシック)系の現代音楽において、雅楽の楽器、特に笙は国内外の作曲家によって頻繁に使用されている。
- In modern classical music, gagaku musical instruments such as sho (a Japanese wind instrument composed of a mouthpiece and seventeen bamboo pipes of various lengths) are used frequently by Japanese and non-Japanese composers.
- かつては独奏曲もあり、「楊真操」、「啄木」、「流泉」などが名曲として知られたが、現在に伝えられていない。
- There also once existed solo music and 'Yoshinso,' 'Takuboku,' or 'Ryusen' were known as masterpieces but they have not handed down to the present.
- 相対的な比較としては山田流が生田流よりも「歌もの」を多く扱い、生田流は独奏曲において技巧が発達している。
- Relatively, the Ikuta school deals with 'utamono' (a music genre) and the Ikuta school excelled in the technique of Solo.
- しかし、実際には当時上方にはいくつもの新流派が生まれ、それぞれ独自に爪の改良や楽曲の作曲を行なっていた。
- As a matter of fact, however, a lot of new schools were born in kamigata region (Osaka and Kyoto regions) at that time and each of them independently strived to improve the pick or compose music.
- そのさだまさしは、自分の従兄弟の死に際して行なわれた精霊流しを題材にして、ヒット曲『精霊流し』を作った。
- Masashi SADA created the hit song 'Shoronagashi' having been inspired by Shoronagashi after his cousin's death.
- 瀧 廉太郎(たき れんたろう、1879年8月24日 - 1903年6月29日)は、日本の音楽家・作曲家。
- Rentaro TAKI (August 24, 1879 - June 29, 1903) was a Japanese musician and composer.
- 世阿弥の作品とされるものには『高砂』『井筒』『実盛』など50曲近くがあり、現在も能舞台で上演されている。
- There are close to 50 plays attributable to Zeami still performed on stage today, including 'Takasago,' 'Izutsu,' and 'Sanemori.'
- 河合鉄五郎(かわい てつごろう、弘化3年(1846年) - ?)は、国厚見郡岐阜七曲町出身の貫義隊隊士。
- Tetsugoro KAWAI (1846 - ?) was a member of Kangi-tai from Gifu Nanamagaricho Town, Atsumi County.
- また、後世の曲でも特定の情景、場面を暗示させるために、これらのモティーフを部分的に使用していることがある。
- Furthermore, in pieces of later years, these motifs are partially used for the purpose of implying certain scenes and situations.
- 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。
- 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).
- 以上のような経過から、従前の端唄は上記のどれかに吸収されており、独自の端唄とするに足りる曲は非常に少ない。
- With this background, traditional hauta had been categorized as one of the above types of songs, and there had been few songs that were unique enough to be regarded as hauta.
- 近衛秀麿による管弦楽編曲版(1931年)も有名で、レオポルド・ストコフスキーによっても度々取り上げられた。
- The orchestral version arranged by Hidemaro KONOE (in 1931) is famous and was often covered by Leopold STOKOWSKI.
- その他家族物…鳥羽一郎「兄弟船」、芦屋雁之助「娘よ (シングル)」、大泉逸郎「孫 (大泉逸郎の曲)」など。
- Stories of families other than the above: 'Kyodai Bune' (Brothers' Ship) by Ichiro TOBA, 'Musume Yo (single)' (My Daughter) by Gannosuke ASHIYA, 'Mago (composed by Itsuro OIZUMI)' (Grandchild) by Itsuro OIZUMI, etc.
- さらに、大正・昭和の時代になって宮城道雄が伝統に根ざし、西洋音楽などの影響も受けた新たな曲を多数発表した。
- In the Taisho and Showa periods Michio MIYAGI released many new pieces which had their roots in traditional music but also drew from Western music.
- このときのテープ内容は8トラックテープ1本に付き4曲10本で計40曲で、当時の料金は5分で100円だった。
- At the time, each eight track tape included four songs times ten tapes makes forty songs, and the charge was a hundred yen per five minutes.
- 近世箏曲は、戦国末期から江戸時代はじめにかけて活躍した賢順が完成した「筑紫箏」(つくしごと)を始祖とする。
- Modern Sokyoku began with 'Tsukushi goto' (a type of solo koto music) which was completed by Kenjun, a musician who was active from the end of Sengoku (Warring states) period to the beginning of the Edo periods.
- それらのほとんどの曲には、同時代に活躍した八重崎検校(1776年 - 1848年)が箏のパートを作曲した。
- For most such pieces, Kengyo Yaezaki (1776 - 1848), who was successful during the same period, wrote the so (koto) parts.
- すなわち卵を縦に半分に割ったような形の共鳴胴に棹を付け、糸倉(ヘッド)がほぼ直角に後ろに曲がった形である。
- It has a sound box shaped like an egg cut in half lengthwise and a neck with a pegbox (the part which the tuning pegs are inserted into) bent roughly 90 degrees backwards.
- 上方における三曲の音楽の中では、江戸時代中期になると箏曲が停滞し、旧作の演奏のみで新作は非常に少なくなる。
- Of the music of sankyoku (instrumental trio), Sokyoku became stagnant in Kamigata (the area of Kyoto and Osaka) in the middle of the Edo period, so they simply performed tunes composed earlier and rarely performed new ones.
- 能「石橋」「乱」「望月」「道成寺」「内外詣」「翁」「卒都婆小町」「檜垣」「姨捨」ほか主たる曲すべて演能済み
- He has already performed the major Noh plays including Noh 'Stone bridge,' 'Ran, 'Mochizuki' (The Full Moon), 'Dojo-ji Temple,' 'Uchito mode' (The Pilgrimage), 'Okina' (an old man), 'Sotoba Komachi' (Komachi at the Gravepost), 'Higaki' (Cypress fence) and 'Ubasute' (Abandoning an Old Woman).
- また禅竹は作能にもすぐれた手腕を見せ、「定家」「芭蕉」「杜若」など現在でも演じられる佳曲を次々と生みだした。
- Zenchiku was also a great playwright and produced a series of excellent works such as 'Teika', 'Basho' and 'Kakitsubata', which are still performed today.
- 明治以降には宮城道雄が、通常使われている胡弓を大型にした大胡弓を開発し、この楽器を用いた楽曲を作曲している。
- After the Meiji period, Michio MIYAGI developed Kokyu larger than those that had been ordinarily used, or Dai-Kokyu,, and composed music for this instrument.
- 日本語の表記において漢字と仮名が交用されていく中で漢字の点画も平仮名のような曲線を帯びるようになっていった。
- While both kanji (Chinese characters) and hiragana were used together in Japanese writing, the dots and strokes making up a kanji character gradually came to have curve lines like hiragana characters.
- こうして山田流箏曲は江戸人の嗜好に合い、以後江戸を中心に東日本に普及して、生田流と肩を並べる大流派となった。
- The Yamada school style fitted the tastes of people in Edo, and thereafter spread through eastern Japan from Edo, eventually becoming a movement akin to the Ikuta school.
- 上方で箏曲が早くから隆盛していたのに比べ、中期まで江戸ではあまり人気がなかったのか、演奏する人が少なかった。
- Although koto music had been popular from an early stage in Kamigata, there were not many koto musicians in Edo (present-day Tokyo) until the middle period for its less popularity.
- その後、カラオケボックスとなり、学生までその対象が広がると、歌謡曲やヒット曲、そして洋楽へと音源は広がった。
- After that, when the karaoke box emerged and students were targeted, the music source range included popular songs, hit songs, and Western music.
- あるいは三曲合奏の中に箏、または三味線の替手や地を加えたり(つまり4パート以上の編成)することも珍しくない。
- It's fairly common for sankyoku gasso to be joined by the second and third koto or by the second and third shamisen, which means the ensemble consists of at least four parts.
- 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。
- 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.
- 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。
- Here many works use modulation to lift the feeling and some repeat modulation to lift the feeling more and more.
- 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。
- 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.
- 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。
- Kengyo URASAKI and his disciple kengyo YAEZAKI played these works by the koto and even now they are often played as good works.
- 江戸時代には曲尺で六尺の長さ(約180cm)で、前垂れを出し(三角に畳む場合も多い)、後で結ぶ場合が多かった。
- In the Edo period, rokushaku fundoshi were 6 shaku according to a carpenter's square, which totals to about 180 cm, and were often worn by tying it behind the wearer's back, with a maedare hanging down (often folded into a triangle).
- 半能(はん-のう)とは、能楽において付祝言のために、一曲の能を後場に焦点をあて、前場を大幅に略して演じる形態。
- 'Han-Noh' is a style of 'Nohgaku' that a play is performed with largely shortened 'Maeba' (the first half of the drama), focusing on 'Nochiba', (the second half of the drama) for 'Tsukeshugen' (a short celebratory Noh play).
- 義太夫節は上方で盛んだったためか、三曲の影響を色濃く受けている側面があり、そのひとつが胡弓を使う演奏といえる。
- Having been popular in Osaka, Gidayu-bushi is significantly affected by Sangyoku, and such an example is the use of Kokyu in the performance.
- また元の曲と合奏できるように作られた別の曲を合わせる「打ち合わせ」など、三曲合奏とともに様々な合奏が発達した。
- Also, various ensembles developed along with the sankyoku ensemble, such as 'uchiawase,' which combined a separate piece that could be played together with the original number.
- 尽しもの(主題となる特定の器物や歌枕、地名などの名を連ねて一連の歌詞とした曲群。「何何尽し」という曲名が多い)
- Tsukushimono (a group of songs in which the words consist of a string of specific kibutsu (bowls, containers, utensils or tools), utamakura (place names used in Japanese poetry, which have special meanings, moods, seasons or other references to history associated with them) or place names that are the themes of the songs; the titles usually end with 'tsukushi')
- 現代において蘇演(復曲)された作品や、新たな新作の現代雅楽、例えば黛敏郎の「昭和天平楽」などで用いられている。
- It is used in revived classics as well as newly composed modern gagaku music such as 'Showa Tempyoraku' by Toshiro MAYUZUMI.
- 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。
- 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.
- 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。
- 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.
- 新古今和歌集から唐衣の歌を採り、吉沢自身が考案した「新古今調子」という新たな箏の調弦法によって作曲されている。
- A poem of Karagoromo was taken from 'Shin Kokin Waka Shu' (New Collection of Ancients and Modern Poems), and it was composed with the new koto tuning method called 'Shinkokin tuning' (New Ancient and Modern tuning) devised by Yoshizawa himself.
- 18世紀後半に山田検校が江戸で浄瑠璃風の歌ものを中心とした楽曲の作曲や楽器の改良を行い、山田流の始祖となった。
- In Edo, Yamada Kengyo composed jorui (dramatic narrative chanted with shamisen accompaniment)-style music and improved a pick in the late 18th century, and he became the founder of Yamada school.
- 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。
- 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).
- 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。
- 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.
- また、千鳥の曲の手事における自然描写は、古い時代の抽象的なものよりも自由で、どちらかといえば印象的な作りである。
- The description of nature in tegoto of Chidori no Kyoku is freer and rather impressive than abstract ones in older ages.
- 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。
- With Mitsuzaki Kengyo's multifaceted experiments, koto music gradually left jiuta shamisen to start its unique development after one and a half centuries.
- 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。
- 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.
- 近年の新作曲では、西洋のフルートやピッコロ同様にタンギング、ビブラートも「現代奏法」として用いられることがある。
- In some pieces which have been newly composed in recent years, the techniques of tonguing and vibration are used as 'the modern style of playing' like they are used with Western flute and piccolo.
- 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。
- 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.
- さらに流儀によっては神舞のなかでも特に位のはやい「高砂」「弓八幡」の二曲を真之神舞として独立して扱うこともある。
- Furthermore, depending on the Noh school, the two programs of 'Takasago' and 'Yumi Yawata' (The Bow at the Hachiman Shrine), which are played at an especially fast tempo among the kami mai dances, are handled independently as genuine kami mai.
- 安史の乱で宮廷の音楽も壊滅して衰退したが、その後再興され、838年には法曲を仙韶曲と改め、梨園を仙韶院と改めた。
- Although the court music declined severely as a result of the An Shi Rebellion, it was revived in the subsequent generation and in 838, faqu was renamed senshokyoku (仙韶曲), and rien was renamed senshoin (仙韶院).
- 楽曲としての高度に発達を遂げて飛躍的な発展の余地が少ないと思われた地歌から、まだ発展の余地のある箏に眼を向けた。
- He turned to so, which still had room for improvement, as opposed to jiuta, which had little room for dramatic development because it was already highly refined as a form of musical composition.
- 敵討ちなどの忠義や武勇伝、浄瑠璃・歌舞伎、謡曲、仮名双紙、軍記物、お伽双紙、浮世双紙など多様な内容になってきた。
- Contents varied and ranged widely: revenge, loyalty and martial stories, dramatic narrations, Kabuki and Noh stories, depictions written in phonetic Japanese kana syllabary, fairy tales, poignant stories etc.
- この頃作曲された作品を「明治新曲」と呼ぶが、洋楽の影響はまだ少なく、また当時流行していた明清楽の影響も見られる。
- Pieces composed in this era were called 'Meiji shinkyoku pieces' (literally, new songs of Meiji), but they were not so much affected by western music as Ming and Xing era Chinese music.
- はじめて同一曲内において尺八のパートまで作曲したのは宮城道雄であり、西洋音楽の合奏法を取り入れて作曲されている。
- It was Michio MIYAGI who composed not only the koto part but also the shakuhachi part of a tune for the first time in history, and he introduced the ensemble method of Western music into his tunes.
- 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。
- 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.
- 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)。
- 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).
- 1978年 京響委嘱作品5曲を集めたレコード『京都をイメージとした作品集』で「日本レコード・アカデミー大賞」を受賞
- In 1978, Kyoto Symphony Orchestra received the 'Japan Record Academy Award' for its record 'Kyoto wo imejishita sakuhinshu' (The Contemporary Music of Japan), a collection of five Kyokyo's commissioned works.
- 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。
- 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.
- 代々金春座の座付として一族内で世襲し、二世金春勝国(豊氏の甥にあたる)は「吉備津宮」など謡曲作者としても活躍した。
- The headship, as a drummer attached to the Konparu troupe, was handed down in the family from generation to generation, and the second head Katsukuni KONPARU (the nephew of Toyouji) also did a good job as a playwright, with works such as 'Kibistu no miya.'
- このほか、有名な胡弓本曲に『蝉の曲 (名古屋系・吉沢検校作曲)』、『岡安砧』 (藤植流・作曲者不詳) などがある。
- In addition, 'Semi no uta' (a song of cicadas) (composed by Kengyo YOSHIZAWA, and handed down in the Nagoya line) and 'Okayasu-ginuta' (handed down in the Fujiue school, but its composer is unknown) are famous Honkyoku of Kokyu.
- 近世邦楽の世界、特に地歌・箏曲の世界(三曲)等では「三弦(さんげん)」、または「三絃」と呼称し、表記する事も多い。
- In the world of traditional Japanese music of the early-modern times, especially the world of jiuta (a genre of traditional songs with shamisen accompaniment), sokyoku (koto music) (combined with the kokyu (Chinese fiddle) music, they are called 'sankyoku' or instrumental trio), and so on; shamisen is sometimes called 'sangen' (a three-stringed musical instrument), written as '三弦' or '三絃.'
- 任侠物…北島三郎「兄弟仁義」、高倉健「唐獅子牡丹」など(股旅物に近いが、股旅物は軽快、任侠物は重厚な曲調が多い)。
- Stories of chivalrous men: 'Kyodai Jingi' (Duty of Brotherhood) by Saburo KITAJIMA, 'Karajishi Botan' (Lion and Peony) by Ken TAKAKURA, etc. (Songs about chivalrous men are similar to those about wandering gamblers, but the former usually have heavy melodies, while the latter are lighter.)
- なお 八橋検校の時代には、箏曲、三味線音楽はそれぞれ別の音楽として成立しており、基本的に合奏されることはなかった。
- In the era of YATSUHASHI, however, sokyoku and shamisen music were seen as being different types of music and, generally speaking, were not played together.
- これら京都で作られた曲群を「京もの」「京流手事もの」と呼び、更に光崎検校、吉沢検校、幾山検校らに引き継がれて行く。
- The music created in Kyoto is called 'Kyo mono' or 'Kyoryu tegoto mono,' and was passed down to Kengyo MITSUZAKI, Kengyo YOSHIZAWA and Kengyo IKUYAMA.
- 吹合所の指南役であった初代琴古は、これらの曲の譜字のや習曲順の整理を行い、宗教音楽をはなれた琴古流の基礎を築いた。
- As head instructor at the fukiawase-dokoro, Kinko KUROSAWA set the pieces he had gathered to notation and established an order in which the repertoire of honkyoku was to be studied, as well as laid the foundation enabling the Kinko school to later adapt the shakuhachi to secular music.
- 唐琵琶は、清代に民間で流行した琵琶で、その楽曲(清楽)や月琴等多数の楽器と共に文政年間頃日本に伝わったものである。
- The To biwa was a biwa that became popular among people in the Qing Dynasty and was introduced into Japan around the Bunsei era along with its music, Qing-era Chinese music (popularized in Japan during the early 19th century), and gekkin and other many instruments.
- 江戸時代には「木崎ヶ原合戦」などの合戦を叙した曲が作られて次第に盛んになり、やがて武士だけでなく町民にも広まった。
- These biwas gradually became popular in the Edo period as songs derived from fights such as 'Kizakigahara gassen' were composed, and they spread through not only samurai but also townspeople.
- これらの盲僧たちはそれぞれの組織を持ち、室町時代から江戸時代にかけ、平曲の盲人演奏家の組織である当道座と対立した。
- These blind priests belonged to their own guild and had a conflict with Todo-za, an organization of blind musicians of Heikyoku, from the Muromachi period to the Edo period.
- こうした店では、調理器具の金属製のコテ(ヘラ)や油を引くための道具に火を点火し、ジャグリングに似た曲芸を披露する。
- In such restaurants, the chef sets fire to metallic spatulas or utensils used to grease the iron griddle and performs a juggling act.
- 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。
- 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)).
- 1920年代までは小唄も端唄の名で呼ばれていたが、その後端唄・小唄・うた沢・俗曲とはっきりと区別されるようになった。
- Kouta were also referred to as hauta up until 1920s, but later, these came to be clearly categorized into hauta, kouta, utazawa (popular ballad) and folk song.
- この後、同じく古今調子により、古今和歌集から採った和歌に作曲した曲が「春の曲」「夏の曲」「秋の曲」「冬の曲」である。
- Composed later over waka poems taken from Kokin Wakashu based on the kokinchoshi scale are 'The Spring Music,' 'The Summer Music,' 'The Autumn Music' and 'The Winter Music.'
- 茶を掬う部分(櫂先という)は幅1cm、長さ2cmほどの楕円形で、一方の辺(竹の場合は表皮側)を曲げた形状をしている。
- The part used for spooning green powdered tea (called kaisaki, or a paddle tip or bowl) is oval in shape with the width of about 1 cm and the length of about 2 cm, and the edge of one side (the surface skin side, if bamboo is used) is bent upward.
- 清の中国支配が始まり、清国との貿易で長崎には多くの清国商人が渡来し、彼らが清国の戯曲や民謡といった民間音楽を伝えた。
- After the Qing dynasty began in China, many Qing merchants came to Nagasaki for trade and they introduced the people's music, such as Qing plays and minyo.
- また地歌や箏曲に加わり他の楽器と合奏することも多くなり、特に三曲すべてを合わせる三曲合奏の形式が出来上がっていった。
- In addition, Kokyu became increasingly played for Jiuta songs or So music with other instruments, and in particular, the form of playing these three instruments in concert had been established.
- 三味線にあっては、調弦は複数のパターンがあり、ヴァイオリン等と異なり、曲によって、また曲の途中でも調弦を変化させる。
- There are several types of tuning for shamisen and, unlike violin and some other instruments, shamisen is tuned up according to the music, even during the performance.
- 例:箏・三味線における「楽曲途中での調弦変更(『転調』) 地歌を参照」) や、尺八・篠笛の「指穴半開」、「持ち替え」
- Examples include 'changes of tuning (modulation)' in the course of a piece in the case of the So and Shamisen (see Jiuta), or 'half-open finger holes' and 'changes of holding style' in the case of the Shakuhachi and Shinobue.
- やがて西洋一辺倒の時期が過ぎると、地歌は箏曲、尺八とともに全国に普及した家庭音楽となり、広く愛好されるようになった。
- Once the period of the spread of exclusively Western culture was over, jiuta, along with sokyoku and shakuhachi (Japanese bamboo flute), spread throughout Japan to become home music, and they became popular.
- 演芸、演劇、お笑い、漫才、コント、手品(和妻)、サーカス(曲馬団)、ミュージカル、レヴュー (演芸)、ストリップ劇場
- Entertainment, theatrical performance, comical (story, song), 'manzai' or a comic dialogue, comic or light-hearted short play, magic (Japanese Style Magic), circus (circus troupe), musical, revue (entertainment), and strip theater
- ただし、これらの伝統芸能のうち、視覚的要素をのぞく聴覚的要素のみを指す言葉としても、“音曲”という言葉は用いられる。
- However, 'ongyoku' is now used as an indication to solely auditory elements of those traditional arts excluding their visual elements.
- しかし演奏者は同じでも本来、三味線は地歌、箏は箏曲、胡弓は胡弓楽という、それぞれ別個の音楽として成立、存在していた。
- However, each instrument established and kept music of its own, Jiuta for shamisen, Sokyoku for koto, and Kokyu-gaku for kokyu, although their performers overlapped with one another.
- 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。
- 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.
- 俗箏(ぞくそうまたはぞくごと)とは、雅楽の楽箏に対し、近世、八橋検校によって始められた箏曲以降の箏、および箏曲を指す。
- Zokuso (zokugoto) is the koto or the koto music from the time Yatsuhashi Kengyo reformed the koto music in the early modern ages of Japan, and his koto contrasts with gakuso (the koto used in gagaku [ancient Japanese court music and dance]).
- 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。
- 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.
- 七十九世宗家を襲った信高は、他流に比べて整備の遅れていた謡本を改訂し(昭和版)、復曲などによる現行曲の増補につとめた。
- Nobutaka, who succeeded as the seventy-ninth head, revised their utai-bon (singing texts) which had been less developed than those of other schools (the Showa versions), and strove to increase the current Noh repertory by reviving old pieces.
- その後、一般的に替手(かえで)と呼ばれる、地歌の三弦の旋律を引き立て、装飾するような複雑な旋律の作曲が多くなってゆく。
- Later, more compositions called 'kaede' appeared with sophisticated melodies provided to make the melody of the shamisen stand out within the jiuta.
- ただし楽曲形式的にはほとんど地歌の手事物の踏襲であり、またこの時代でも、三味線と箏のための曲も引き続き作られてはいる。
- However, this music largely adhered to the traditions of tegotomono in jiuta, and the music for shamisen and koto continued to be composed in this period.
- 光崎検校は古い箏曲を見直し、組歌と段物を組み合わせた「秋風の曲」や、複雑精緻な高低二重奏曲である「五段砧」を作曲した。
- After looking over the old sokyoku, Kengyo MITSUZAKI composed 'Akikaze no kyoku' (Song of the Autumn Wind) which combined kumiuta, danmono, and 'Godanginuda,' a kind of koto duet music that makes use of high and low-pitched sounds to produce a sophisticated and delicate melody.
- 琴古流本曲は、琴古流の始祖である初代黒沢琴古が日本各地の虚無僧寺に伝わる楽曲をまとめ、本曲として制定した36曲である。
- The Kinko school honkyoku consists of a repertoire of 36 pieces that the founder of the lineage, Kinko KUROSAWA the first, gathered in his travels to komuso temples throughout the country.
- 農業機械に分類されるような巨大な熊手は、湾曲した鋼鉄製の歯を取り付けた棒を車輪に搭載し、トラクターで牽引して使用する。
- For large kumade that are classified as being agricultural machinery, the bar on which the curved steel teeth are mounted is equipped with wheels, enabling it to be pulled by a tractor.
- 楽器編成は古くは三弦、箏、胡弓の組み合わせが一般的であったが、箏、胡弓、尺八といった組み合わせの三曲合奏も行なわれた。
- The common instrumental trio was sangen (shamisen), koto and kokyu, but occasionally it was koto, kokyu and shakuhachi.
- この祀りは神楽(かぐら)などの巫女の舞や太神楽などの曲芸や獅子舞などであり、広く親しまれるものとして恵比寿講などがある。
- This matsuri refers to Miko no mai (shrine maidens dancing) such as Kagura (sacred music and dancing performed at shrines) and so on, or acrobatics and shishimai (lion dance) such as Daikagura (Street performances of a lion dance and jugglery) and so on, and a festival in honor of Ebisu and so on is popularized broadly.
- 炭直下の灰に埋め込むものの構造はU字型に曲げられたパイプであり、炭を覆うものに比して火箸で炭の世話をしやすい利点がある。
- Built to be buried in the charcoal directly below is a u-shaped pipe which makes it comparatively easy to control the charcoal by use of metal chop sticks.
- 「三味線組歌」と「箏組歌」があり、それぞれ地歌、箏曲においてもっとも古い楽曲形式であるとともに、それぞれの本曲でもある。
- There are 'shamisen kumiura' and 'koto kumiuta,' each being the oldest music style and the honkyoku (traditional Japanese music) in jiuta and koto music.
- そのためか一般受けせず、新古今組は吉沢の直系以外ではほとんど演奏されないが、このスタイルを踏襲した京極流箏曲も存在した。
- For this or another reason, Shinkokin-gumi is seldom played by musicians out of the direct line of Yoshizawa, but there was Kyogoku school of koto music that followed this style.
- 明治以降、尺八が三曲へ本格的に参入し、『千鳥の曲』も尺八各流派で合奏用に手付けされ、その意味では尺八曲であるとも言える。
- In Meiji period and later, shakuhachi was fully included in sankyoku music, and 'Chidori no Khyoku' was also arranged by each school of shakuhachi for an ensemble, in which context it can be a song for shakuhachi.
- 江戸時代中期以降、大阪の峰崎勾当、三ツ橋勾当らにより器楽部分である手事を重要視した地歌の楽曲形式「手事物」が完成される。
- The mid Edo period and onward saw the completion, by Koto MINEZAKI and Koto MITSUHASHI, of a jiuta musical style called 'tegotomono' in which importance was placed on the instrumental part between songs.
- 打ち合わせもの(元の曲に対し、合奏できるように作られた別の曲があり、実際に異曲合奏で演じられるのが普通に行なわれる曲群)
- Uchiawasemono (a group of pieces that are usually performed different musical pieces together; it is comprised of a main piece and the other pieces composed as suitable for the ensemble)
- 義太夫狂言「傾城反魂香(けいせいはんごんこう)」の大切「哥へす哥へす余波大津絵(かえすがえすなごりのおおつえ)」の一曲。
- It contained as one of the pieces from the last act, 'Kaesu Gaesu Nagori no Otsue,' in the Gidayu Kyogen (Kabuki adaptations of puppet plays), 'Keisei Hangonko.'
- 相手の腕は外側にねじれることになるが、相手の腕を相手の後方に持って行くようにすると、肘が曲がり、相手は力が入らなくなる。
- The opponent's arm will twist outward, but by bringing the opponent's arm toward the back of the opponent the elbow bends, and the opponent will not be able to use force.
- 1835年(天保6)、画家友達であった滝沢琴嶺が没し、崋山は葬儀の場で琴嶺の父・曲亭馬琴にその肖像画の作成を依頼された。
- In 1835, one of his painter friends Kinrei TAKIZAWA died, and Kazan was asked by Kinrei's father Kyokutei Bakin to draw Kinrei's portrait at the funeral.
- あるいは笹の露(菊岡検校作曲)の手事では、きわめて掛け合いが多く、これは酒を差しつ差されつを現わしたものであるといわれる。
- Tegoto of 'Sasa no Tsuyu' (by Kengyo KIKUOKA) contains quite a lot of kakeai, and this is said to represent the exchange of pouring of sake.
- 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。
- 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.
- 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。
- 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.
- 付祝言に選ばれる曲は、「高砂 (能)」や「難波」のような調子の早い脇能か「猩猩」のような五番目祝言物がふさわしいとされる。
- Waki noh (a noh whose main character is god) in quick rhythm such as 'Takasago (noh)' and 'Naniwa' or gobanme shugen-mono (the-fifth-section celebratory piece of a noh play) such as 'Shojo' is considered suitable for the number to be chosen as tsukeshugen.
- 中庸の位で、特に固有の性格というものも持たず、囃子の構成(大小中之舞・太鼓中之舞)や曲趣、役柄によってそれぞれに仕分ける。
- With a moderate tempo and without any particular characteristics, the mai is classified depending on the configuration of hayashi (Chu no mai accompanied on dai-sho (big and small) hand drums or Chu no mai accompanied on drums), on the characteristics of the music or on the performers' character in the Noh play.
- 本曲は本手組とも呼ばれ、胡弓本来のために作られた曲であり、各流派がほぼ独自の本曲を持っている(一部本曲のない流派もある)。
- Honkyoku, also called Honte-gumi, indicates pieces of music composed specifically for Kokyu, and each school has its own Honkyoku (although some schools do not).
- 『鈴慕』『三谷』『鶴の巣籠』などは本曲の代表的な曲名であるが、曲によっては10種類以上の旋律の異なるものが伝承されている。
- 'Reibo,' 'Sanya,' 'Tsuru-no-sugomori,' and the like are representative names of honkyoku; however, depending on the piece, more than ten versions of some pieces have been passed down to the present, each of which has a different melody.
- 現在はリモコン側に設けられた液晶画面で曲名やアーティスト名から検索し、本体に送信することで選曲することができるものもある。
- Presently, some of the karaoke players enable the user to search for the song from among the song titles or artist names displayed on an LCD panel provided on the remote control and transmit the selected song to the main body, thereby selecting the song.
- この建物入口に「唐破風」(記事冒頭部、子宝湯頭写真中央の曲線形の庇)もしくは「破風」が正面につく建築様式を『宮型』という。
- The architectural style under which 'karahafu' (cusped gable) (the curved eave in the center of the photo of Kodakara-yu at the start of the article) or a gable is attached at the front of the entrance of the building implies that it is 'shrine-shaped.'
- 雅楽と平曲は絶対音高の音楽であるため、楽琵琶と平家琵琶は絶対音の楽器であり、相対音高の音楽である近世以降の琵琶楽と異なる。
- Gagaku and Heikyoku are music with absolute pitch so the Gakubiwa and the Heike biwa are instruments with perfect pitch, and they are different from the Biwagaku, music with relative pitch, after the early-modern times.
- 長崎県対馬市佐賀(さか)の「永留菓子店」が製造・販売している「佐賀のたい焼き」の鯛は尾を曲げて全体が今川焼きのように丸い。
- The sea bream of 'Saga no Taiyaki' which are made and sold by 'Nagatome Confectionery' in Saka, Tsushima City, Nagasaki Prefecture have a curved tail and their whole shape is round just like Imagawa-yaki.
- 特に平曲は鎌倉時代以来、当道座の表芸であったが、江戸時代には次第に沈静化し、代わって地歌、箏曲を専門とする者が一般化した。
- Especially, heikyoku which had been the typical profession in todoza since the Kamakura period became less popular among the blind, but the popularity subsided in the Edo period and instead the blind specialized in jiuta and so music was more common.
- 神楽の大前張を催馬楽曲としるした譜本があり、嘉禎節付本には「大前張以下半出二於催馬楽一」(一、二は返り点)と注されている。
- There are books that describe osaibari of Kagura as Saibaraburi (music based on melody and beat of Saibara), and Katei fushizuke hon (book with tunes) notes '大前張以下半出二於催馬楽一' (一 and 二 are kaeriten [return marks to help read Chinese literature in Japanese]).
- 三曲合奏とは、三曲の楽器である地歌三味線(三弦)、箏、胡弓の三種の楽器による合奏編成、及びそれにより演奏される音楽をいう。
- 'Sankyoku gasso' means the ensemble made up of 'sankyoku' (instrumental trio); originally, the trio was 'shamisen' (also called 'sangen,' the three-string Japanese banjo) for accompanying 'Jiuta' (songs of the country), 'koto' (the long Japanese zither with thirteen strings) and 'kokyu' (the Chinese fiddle), but it also means the ensemble music itself.
- 長唄曲に「三曲糸の調」や「三曲松竹梅」があるが、これは三曲を指し、つまり三種の楽器を詠んだもので、三曲合奏の意味ではない。
- In Nagauta (ballads sung to shamisen accompaniment), there are certainly tunes whose titles include sankyoku, such as 'Sankyoku Ito no Shirabe' (The Melody of Sankyoku Strings) and 'Sankyoku Sho-chiku-bai' (literally, Sankyoku Made Up of Pine, Bamboo and Plum Blossom), but the sankyoku embedded in their titles indicates not sankyoku gasso but the three kinds of instruments themselves.
- 胡弓本曲に三味線または箏を合わせることはあったが、これは主に「地」で伴奏する形であり、普通二重奏までで三曲合奏にはしない。
- Occasionally, shamisen or koto would join in kokyu honkyoku, but both of them did so merely as an accompaniment and the ensemble was usually a duet instead of a trio.
- 歌曲に有名な作品が多い瀧だが、1900年には日本人作曲家による初めてのピアノ独奏曲メヌエット (滝廉太郎)を作曲している。
- Although Taki wrote many popular songs, he also composed a piano solo called Minuet in 1900, which became the first piano solo by a Japanese composer.
- 「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。
- 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.
- なかでも1765年に刊行のはじまった「明和改正謡本」は、復曲を含む全二百十番組という公定の謡本としてはかつてない規模である。
- Especially, 'Utai Libretto Revised in the Meiwa Era,' the first edition of which was published in 1765, had 210 pieces including reprints, being the largest in scale among Utai-bon officially recognized so far.
- 曲亭馬琴による『四天王剿盗異録』では鬼童丸が山中の洞窟で、『今昔物語集』などにある盗賊・袴垂に会って術比べをする場面がある。
- According to Bakin KYOKUTEI's 'Shitenno Shoto Iroku' (picaresque novel of the life of Yasusuke HAKAMADARE, a robber), Kidomaru met the thief Hakamadare described in 'Konjaku Monogatarishu' (Anthology of Tales from the Past) at his mountain cave and competed in a magic competition.
- そこから転じて、五番立ではない演能会であっても、祝言曲のキリ終曲部分をつけくわえて謡い、本来の付祝言に代える形式が発生した。
- Having changed from it, there appeared a style that kiri (the concluding segment) of a celebratory number was chanted additionally, taking the place of the original tsukeshugen, even at a noh-performed concert which was not in the gobandate style.
- 舞囃子が一曲のうち能シテの舞がかかわる部分の大半を上演するのに対して、仕舞においては謡のあるシテの舞を抜きだしたものである。
- In Maibayashi, most parts relating to dances by Noh shite (leading role) is performed in one play, while in Shimai, dances performed by the shite which is accompanied by Utai (the chanting of a Noh text) are extracted.
- 明治時代に入り、箏曲の地歌からの独立は進み、寺島花野の「新高砂」など、「明治新曲」と呼ばれる、箏のみの曲が多く作られていく。
- In the Meiji period, sokyoku became increasingly independent from jiuta, and many pieces of so-called 'New Meiji music' were composed solely for the koto, one of these being 'Shin Takasago' (literally, 'new version of Takasago') by Hanano TERASHIMA.
- 中でも地歌三味線では、一人の奏者が何個もの駒を持ち、その日の天候、楽器のコンディション、曲の雰囲気などに合わせて使い分ける。
- Particularly, for the Jiuta-shamisens one player carries several bridges and selects the most appropriate one depending on the weather, the condition of the instrument, the nature of the music to be played, etc.
- 特に、江戸時代中期以降は地歌が盛んでなかった東京をはじめとする東日本に、生田流系箏曲とともに地歌が再び広まる機会ともなった。
- Particularly, along with the Ikuta school of sokyoku, it was an opportunity for jiuta to spread again to Tokyo and eastern Japan, where jiuta had lost popularity since the middle Edo period.
- これは「おどけ物者」ともよばれ、「曲ねずみ」「タニシ」「タヌキ」などの動物が主人公で智恵を絞って難を逃れる内容のものがある。
- It is called 'odokemono' (jokers), and examples such as 'Kyoku Nezumi' (Musical Mice) 'Tanishi' (Mud Snail) and 'Tanuki' (Raccoon Dog) have contents that feature animals that use their wits to overcome obstacles.
- その意味において、一般的に明治以降宮城道雄に至るまでの間に作られた箏曲は、多くが『千鳥の曲』の延長線上に存在すると言ってよい。
- In that context, we can generally say that most of koto music pieces composed since Meiji period to the emergence of Michio MIYAGI are on the line of 'Chidori no Kyoku.'
- 菊塚検校の『明治松竹梅』、松坂春栄の『楓の花』、楯山登の『時鳥(ほととぎす)の曲』、西山徳茂都の『秋の言の葉』などの曲が有名。
- The songs, 'Meiji Shochikubai' by Kikuzuka Kengyo, 'Kaede no Hana' by Shunei MATSUZAKA, 'Hototogisu no Kyoku' by Noboru TATEYAMA, and 'Aki no Kotonoha' by Tokumoichi NISHIYAMA, are popular.
- 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。
- 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.
- 清楽の月琴は長崎経由で中国から輸入されたが、ほどなく日本国内でも模倣製作され、清楽以外の俗曲の演奏にも用いられるようになった。
- Gekkin for Xing-era Chinese music were imported from China through Nagasaki, but, later, it was manufactured in Japan imitating the Chinese instruments and it came to be used for performances of Japanese folk melody other than Xing-era Chinese music.
- 各地の大名を弟子に持ち、金春流では長らく途絶していた秘曲「関寺小町」を復活させ、「童舞抄」などの伝書を記すなどの活躍を見せた。
- He took some local daimyo (feudal lord) as his pupils, and as a performer in the Konparu school, he revived an old classic, 'Seki-dera Komachi (Komachi at Seki-dera),' which had ceased to be performed for a long time, and left 'Dobusho' (Comments on Noh Plays).
- 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。
- 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).'
- したがって、流派としては、地歌や箏曲の生田流に対応するものは流派を名乗っていないが大きく分けて大阪系、京都系、名古屋系がある。
- Therefore, although there is no named school, the three large lines of the Osaka line, the Kyoto line and the Nagoya line exist correspondingly to the Ikuta school for Jiuta songs and So music.
- それに引き続き京都の松浦検校、石川勾当、菊岡検校らが京都地歌の曲を多数作曲し、それらの曲に八重崎検校らが箏のパートを作曲した。
- Using this style, Kengyo MATSUUA, Koto ISHIKAWA and Kengyo KIKUOKA composed a large number of Kyoto jiuta for which Kengyo YAEZAKI and others wrote the koto parts.
- 曲名の由来はすき焼きが日本を代表する料理であり、またレコード会社の社長が日本で食べた「スキヤキ」が旨かったからであるとされる。
- The reason the song was titled SUKIYAKI, is attributed to the fact that sukiyaki is a dish representative of Japan, as well as the fact that the head of the record company enjoyed eating delicious 'sukiyaki' in Japan.
- また三曲に属する箏曲の中でも、筑紫箏、及び八橋流箏曲は三曲合奏以前の音楽を伝えているので、まったく他楽器との合奏を行なわない。
- Of all the pieces of Sokyoku (koto music), both of Tsukushi-goto (the refined and elegant Sokyoku composed during the Azuchi-Momoyama period, which became the origin of Sokyoku in the early modern age) and the Yatsuhashi school of Sokyoku perform the music before sankyoku gasso, so they aren't to be played with other instruments.
- このため浄瑠璃の口演は「歌う」ではなく「語る」という用語を以てし、浄瑠璃系統の音曲をまとめて「語り物」と呼ぶのが一般的である。
- Therefore, the term 'narration,' instead of 'singing,' is used for Joruri performance, and Joruri songs are commonly collectively called 'katarimono' (narratives).
- しかし他の楽器との演奏は法令により表向き禁止されていたらしいが、実際にはすでに18世紀末に尺八が加わった三曲合奏図が見られる。
- Though it seemed the ensemble of shakuhachi and other instruments was officially prohibited by law, a picture in those days shows us that in fact the shakuhachi was already participating in sankyoku gasso at the end of the 18th century.
- このように三曲合奏が多音的な展開を見せたのも、地歌の手事もの、箏曲の段もの、胡弓本曲など器楽的な発展が著しかったからであろう。
- Sankyoku gasso developed in such a polyphonic way probably because there was much development in instrumental works, such as Jiuta's 'tegotomono' (pieces with long instrumental interludes called 'tegoto'), koto music's 'danmono' (leveled pieces) and kokyu music's 'honkyoku' (pieces composed in the early days).
- 海外公演を精力的に行うほか、西洋音楽作曲家やオペラ歌手との共同制作上演や、現代演劇とのコラボレーションなど新境地の開拓を行う。
- He actively performs in foreign countries and explores new realms of activity including joint production and performances with Western music composers and opera singers and collaborative performance with modern dramas.
- 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。
- 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.
- しかし、特に上方舞の世界や関西の一部の地歌箏曲の世界で使われるこの名称がさすものはそれとは少し異なるジャンルの音楽のようである。
- Kamigata uta has also been used in the world of 'Kamigata mai' (dances born in the pleasure quarters of Kamigata) and in some parts of the world of 'jiuta sokyoku' (songs accompanied with shamisen and koto [the long Japanese zither with 13 strings]), but this Kamigata uta seems to be a little different from the above-mentioned 'Kamigata uta.'
- 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。
- 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.
- 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。
- 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.
- 上述の『魏氏楽譜』には、「江陵楽」「蝶恋花」「喜遷鶯」「陽関曲」「賀聖朝」「昭君怨」「如夢令」など五十曲の楽譜が収録されている。
- In 'Wei shi yue pu (Scores by the Wei Family),' 50 compositions, including 'Koryoraku,' 'Lovely Jasmine,' 'Kiseno,' 'Yang Guan,' 'Heshengchao,' 'Zhaojun Yuan' and 'Ru Meng Ling' were recorded.
- こうして独奏楽器として、また三味線・胡弓合奏、箏・胡弓合奏、三曲合奏の1パートとして胡弓楽のジャンルが広がり発展することになる。
- In this way, Kokyu was not only used for playing music specialized for Kokyu alone, but also played together with Shamisen or So or as a part of Sangyoku-gasso, which expanded music genres where Kokyu was played and made Kokyu used more widely.
- 収録曲は懐メロや歌謡曲、演歌など高年層好みが中心のものも多く、若年層が中心のJ-POPが少なめであったが、最近は増加傾向にある。
- Many of them mainly contained 'natsumero' (nostalgic popular songs), popular songs, and enka favored by old generations and few of J-pops favored by young people, and J-pop songs are increasing recently.
- 個人用としては、携帯電話やパーソナルコンピュータにカラオケソフトや楽曲データをダウンロードする、新しいサービスも試みられている。
- For personal use, a new service for downloading karaoke software and music data to a mobile phone or a personal computer is being attempted.
- また、火であぶってそのまま食べるのも、八代亜紀のヒット曲『舟唄』の著名な歌詞にもあるように、素朴な酒の肴の一つとして挙げられる。
- Additionally, as in the celebrated lyrics of the popular song 'Funauta' sung by Aki YASHIRO, the surume which is toasted over the flame and eaten right away can be cited among simple foods eaten with sake.
- 現代では雅楽だけでなく、クラシック音楽の作曲家によって管弦楽や室内楽のなかで、あるいは声楽の伴奏楽器として活用されることもある。
- Today, the instrument is not only used in gagaku, but also used by classical music composers in orchestral music and chamber music, or as accompaniment for vocal music.
- むろん歌舞伎の劇付随音楽としても用いられたが、それだけにとどまらず、素人の習事、座敷音曲としての性格をも備えるようになってゆく。
- These were used, needless to say, as the musical accompaniment of Kabuki, but they also became the subjects of amateur learning or as music played at Japanese-style restaurants.
- 平安時代に成立した初期の猿楽に歌舞音曲が組み合わされ、現在で言うところの能楽の原型が出現したのが鎌倉時代であると考えられている。
- It is believed that the original model of the current Nogaku (Noh music) was created during the Kamakura period after Sarugaku, which was created in the Heian period and was in its early stage at the time, was combined with music and dance.
- 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。
- 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.
- 演歌(えんか)とは、日本の大衆音楽のジャンルのひとつであり、日本人独特の感覚や情念にもとづく娯楽的な歌曲の分類であるとされている。
- Enka, or 演歌, is one of the categories of Japanese popular music, which is considered to represent entertaining songs based on feeling and pathos that are unique to Japanese people.
- さらに、付け加えられた映像バリエーションの質もこれに加わり当初の印象は質よりも楽曲の多様性と早期提供度合いにそのメリットがあった。
- Furthermore, with the poor variation of the added images, the initially impressed merit was the variety of songs and early supply of new songs rather than the quality.
- 左右の幕番が竹を利用して幕をあげて(これを本幕という)、シテやワキが出入りし、曲趣に応じて幕のあげかたにも違いがもうけられている。
- The right and left makuban (curtain guards) raise a curtain (called 'Honmaku' (full curtain)) using bamboo to allow Shite and Waki to enter or exit, and the way the curtain is raised differs according to the theme.
- 糸倉が後ろに曲がり、多くは撥をもって弾奏されており、この「バルバット」と呼ばれる楽器が四弦系琵琶やウード、リュートの祖先とされる。
- Their pegboxes were bent backward and many were played with a plectrum and these instruments called barbat (an old Persian instrument) are said to be an ancestor of the four-stringed type of biwa, oud, or lute.
- 浮世絵の直線と曲線による表現方法は、その後、世界中の全ての分野の絵画、グラフィックで当たり前のように見ることができるようになった。
- The ukiyoe technique of using straight and curved lines subsequently became commonly used in every field of painting and graphic design.
- 『神楽譜』には「朝闇吹二返催馬楽拍子一」(一、二は返り点)としるされているのは、これらが古くは催馬楽の曲であったことを示している。
- In addition, that 'Kagura-fu' describes '朝闇吹二返催馬楽拍子一' (一 and 二 are kaeriten) in it indicates that these were originally Saibara songs.
- それぞれ現代の(邦楽系の「現代邦楽」および洋楽系の「現代音楽」双方の分野の)作曲家によって新しい音楽作品を作る試みが行われている。
- Contemporary composers (those of 'modern Japanese traditional music' whose origin are Japanese traditional music as well as those of 'modern music' whose origin are western music) are trying to create new musical pieces using such newly developed instruments.
- 正倉院御物の「弾弓散楽図」などから推測される限りでは、軽業や手品、物真似、曲芸、歌舞音曲など様々な芸能が含まれていたものとされる。
- What we can guess from 'Dankyu Sangaku zu,' one of the Shoso-in gyobutsu (Shoso-in Treasures), is that various arts such as acrobatics, the conjuring of tricks, mimicry, stunts, dance and music, etc., were included in Sangaku.
- なお、ローソンは2004年に「手巻四角型包装」と称する海苔をUの字に曲げただけのものを発売したが、かえって剥きにくいという声もある。
- Meanwhile, in 2004, Lawson (the second largest CVS in Japan) put on sale a product called a 'hand-rolled square package,' which just bent a sheet of dried laver in the shape of U, but some people say it is rather difficult to remove.
- 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。
- 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.
- 寄席(よせ)とは、都市において落語・浪曲・講談・漫才・奇術などの技芸を観客に見せるため席亭(興行主)が経営する常設の興行小屋である。
- A yose originally referred to a permanent hut operated by a promoter where professionals of rakugo (traditional comic storytelling), rokyoku (naniwabushi recitation), kodan storytelling, manzai or a comic dialogue, or magicians entertained their audiences by exhibiting their skills in speaking or trickery.
- 演者は、本来の指定にかかわらず最初の一句を坐ったまま謡い、次に立ち上って舞い、最後に打ち込みと呼ばれる型を行って坐って一曲を終える。
- A performer chants the first phrase in a sitting posture regardless of original designation, then stands up and dances, and finally performs a movemenet called Uchikomi (the Scooping Point), and then sits down and finishes the piece.
- 三弦が義爪を使って弾奏していたのを改め、三味線の弾奏に彼らが専門としていた「平曲(平家琵琶)」の撥を援用したのもそのあらわれである。
- It is expressed in the change of plucking method: sanxian was plucked with giso (a pick shaped like a nail), but shamisen was plucked with bachi for 'Heikyoku' (the music played on Heike biwa as accompaniment for the recitation of Heike monogatari) which they specialized in.
- 演奏は基本的に複数人の唄と三味線で成り立っているが、曲目によっては小鼓、大鼓、太鼓、笛などで構成される「長唄囃子」が付くこともある。
- Performances are basically comprised of multiple persons singing accompanied by the shamisen (a type of string instrument); however, depending on the composition, there are pieces that include accompaniment by various sizes of drums, flutes, and the like.
- 肺結核が悪化して、死期が近いことを悟った時、死の4ヶ月前に作曲したピアノ曲「憾 (滝廉太郎)(うらみ)」が最後の作品として残された。
- His pulmonary tuberculosis worsened, and when he realized he would soon die, he composed a piano piece titled 'Urami' (Regret) four months before his death; this became his last work.
- 彼女が歌った主題歌『カチューシャの唄(復活唱歌)』(抱月作詞・中山晋平作曲)のレコードも当時2万枚以上を売り上げる大ヒットとなった。
- The theme song 'Kachusha no uta (Katyusha song)' (by composer Hougetsu and lyricist Shinpei NAKAYAMA) sung by Sumako became a huge hit and more than 20,000 records ware sold at that time.
- 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。
- 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.
- だが、それらの多くは、以下のように詩情といった点はともかく、『千鳥の曲』と共通点が多い(その他高低二重奏が多い点は『五段砧』に類似)。
- Most of these songs have many common points with 'Chidori no Kyoku' other than the poetical imagination (in addition, frequent use of duet in high and low tones is similar to 'Godanginuta') as follows:
- 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。
- 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.
- 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。
- 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.
- 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。
- 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.
- 文章上はよい展開に見える曲も実際の演技にそぐうものでなくては意味がない、言葉の余韻を大切にし、文章は簡潔かつ意味を明快にせよ……など。
- It does not make any sense if the piece which seems to have a good plot on sentences does not match the actual performance, and much weight must be placed on resonance of words and sentences and their meanings must be concise…etc.
- 組歌としては「菜蕗」(ふき)、「雲井の曲」など、段物としては「六段の調」などが知られている(「六段の調」の作曲者について異説もある)。
- Well-known kumiuta composed by YATSUHASHI include titles such as 'Fuki' and 'Kumoi no kyoku,' while well-known Danmono by him include 'Rokudan no shirabe' (music of six steps) (however, there is some controversy over who actually composed 'Rokudan no shirabe').
- ハードウェアに収録済みの曲と、それに補充するRead Only Memoryを使用し、個人用でカラオケボックスにも負けない人気を得た。
- With music recorded in hardware in advance and additional read only memories for personal use, karaoke with a microphone became as popular as the karaoke box.
- 真竹は三年竹と呼ばれる芽が出てから2年〜3年目の竹を選び、さらにその中から節間、節の高さ、直径、曲がり等条件に合うものだけが選ばれる。
- In case of madake, two to three year-old sannenndake (three year-old bamboo) are chosen and then among them, only madake that fit the criteria depending on its joint length, the distances between joints, diameter and curvature, are chosen for the bow material.
- その戯曲の中でのガラシャは、夫である野蛮な君主の非道に耐えながらも信仰を貫き、最後は命を落として暴君を改心さるという解釈になっている。
- The play depicts Garasha as a woman who kept her faith while enduring the unjustness of her barbarian and dominant husband, with her death reforming the tyrant at last.
- さらに、本来岡崎の郊外を通っていた東海道を岡崎城下町の中心を通るように変更し、「岡崎の27曲がり」といわれるクランク状の道に整備した。
- In addition, he changed the path of Tokai-do Road from within the suburbs of Okazaki to the middle of Okazaki-jo Castle town and improved it to a winding road called '27 curves road of Okazaki'.
- 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。
- 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.
- 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。
- 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.
- 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。
- 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.
- 千鳥の曲の須磨の浦や差手の磯のほか、陸奥国の野田の玉川(現宮城県塩竈市)や下総国の行徳(現千葉県市川市)なども千鳥の名所として知られた。
- Tama-gawa River in Noda of Mutsu Province (present Shiogama City, Miyagi Prefecture) and Gyotoku in Shimosa Province (present Ichikawa City, Chiba Prefecture) as well as Suma no ura and Sashide no iso in Chidori no Kyoku were famous for plovers.
- 一応こういう区別は存するが、実際には主(しゅう)、太郎冠者(たろうかじゃ)、すっぱ、亭主等、その曲その曲の役名で呼ばれることの方が多い。
- Although it is possible to distinguish performers by using the above-mentioned titles, in fact, they are mostly called by the role name of each program, such as Shu, Tarokaja, Suppa, and Teishu.
- 材料は素麺と同じであるが、幅があり、曲がりの部分はパスタのコンキリエに少し似たような立体をしているので、JAS規格の素麺には当たらない。
- Although it is made from the same ingredients as somen, because it is wide and the wound part is three-dimensional with a shape similar to conchiglie, it cannot be classified as somen according to the JAS standard.
- 現代音楽音楽の観点からは次第にクラシック音楽との違いが希薄になり、箏曲に限らずこうして創作される邦楽系の曲群を「現代邦楽」と呼んでいる。
- Gradually the distinction between what was viewed as classical and what was viewed as modern music blurred, and 'modern Japanese music' came to mean all music composed in this way (rather than just new sokyoku).
- 井上は既存の楽曲を単に再生するだけでなく、バンドマンには当然の発想である歌う人に合わせた音階やテンポという概念をシステムとして実現した。
- Inoue realized not only a system for reproducing existing songs but also a concept of musical scales and tempo adapted to each singer, which was a matter of course for him.
- その一方で「残月」「越後獅子」「吾妻獅子」「梅の月」など、手事を技巧的で長いものとし、三味線が器楽的に大いに活躍する曲をも多数作曲した。
- However, he also wrote many pieces such as 'Zangetsu' (A Morning Moon), 'Echigo Jishi' (Lion of Echigo), 'Azuma Jishi' (Lion of Azuma) and 'Ume no Tsuki' (Plum Moon) in which the tegotomono is long and technical, and in which the shamisen is a featured instrument.
- おもりの重さによって音色も変わって来るので、地歌の演奏家は普通、楽器の癖、皮の張り具合、天候、曲調などに合わせいくつもの駒を使い分ける。
- The amount of weight affects the sound, and therefore jiuta performers usually use koma of various types depending on the character of the instrument, the tension in the leather, the weather and the melody of the music.
- 言えることは「三曲合奏」とは三種の楽器を合奏させる意味であって、「三」種の楽器を合わせて奏する「曲」という意味ではないということである。
- At least, it can be said that the meaning of 'sankyoku gasso' is not 'tunes' played with 'three' kinds of instruments but the ensemble with three kinds of instruments.
- 江戸では、18世紀中頃に藤植検校により藤植流胡弓が成立していたが、山田検校により山田流箏曲が興ると、それに加わり合奏されるようになった。
- In Edo, the Fujiue school of kokyu music was founded by Fujiue Kengyo around the middle of the 18th century, and when the Yamada school of koto music was founded by Yamada Kengyo, Fujiue's kokyu music participated in Yamada's koto music and they began to play tunes together.
- ただし江戸時代初期には、大衆的な曲では色々な合奏が行なわれていたことが絵画などで知られるが、そのような曲は現在ほとんど伝えられていない。
- Some pictures and other historical materials show us that various ensembles of popular tunes were performed in the early Edo period, but few have been handed down to the present day.
- また、人気の高い曲のひとつである「花 (滝廉太郎)」は1900年(明治33年)8月に作曲された、4曲からなる組曲『四季』の第1曲である。
- Hana' (Flowers), one of his popular songs, is the first song of his suite 'Shiki' (Four Seasons), which consists of four songs and was composed in August 1900.
- 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。
- 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.
- 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。
- 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.
- 特に『千鳥の曲』は明治以降、箏曲としては名古屋系のみならず広く生田流各派、さらには山田流にも普及し、ほとんどの流派で演奏される曲となった。
- Especially 'Chidori no Kyoku' diffused as a koto music not only in the Nagoya line but also into various groups in Ikuta school, and even into Yamada school to be played in almost all schools in Meiji period and later.
- 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。
- 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.
- 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)。
- 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).
- そして民謡や祭囃子など、他の分野の音楽とも相互に影響を及ぼしあい、「お座敷」と呼ばれる宴席で披露するための小曲「小唄」「端唄」が生まれた。
- Stage music and genres of music such as minyo and matsuri-bayashi (Japanese festival music) influenced each other, and short kouta (ballads sung to shamisen accompaniment) and hauta (traditional Japanese song or ballad sung to the accompaniment of the shamisen) were created to be performed at banquets called 'ozashiki.'
- ただし、特に江戸時代後半となると、胡弓楽と地歌、箏曲は交流が著しくほとんど一体化してしまっているので、胡弓楽という言葉はあまり使われない。
- However, after entering the latter half of the Edo period in particular, Kokyu-gaku, Jiuta songs, and So music were intermingled considerably to the extent that they were almost integrated, and the term of Kokyu-gaku almost ceased to be used.
- 曲によっては『鶴の巣籠』のように尺八楽との交流によって生まれたものもあるし、先の『千鳥の曲』のように箏との二重奏曲的性格の強いものもある。
- Some pieces of music for Kokyu, for example, 'Tsuru-no-Sugomori' (a song depicting various aspects of the life cycle of the crane), were composed through playing for Shakuhachi bamboo flute music, and there are also pieces of music provided strongly with features of duets for Kokyu and So, for example, 'Chidori no kyoku' described above.
- 一方、山田流箏曲は一中節など浄瑠璃の音楽要素を取り入れて作曲されているため、「段もの」及び「四段砧」を除きほとんど全ての曲が歌付きである。
- Since the Yamada school sokyoku, meanwhile, took in elements of joruri such as icchubushi, the music from this school all includes songs with the exceptions of 'Danmono' and 'Yodanginuda koto music.'
- その後、生田流系の箏曲は箏曲独自の作曲が次第に下火になり、幕末に至るまで、厖大な数の地歌曲にパートとして合奏、参加することで発展していく。
- While the original style of sokyoku went into gradual decline towards the end of the Edo period, sokyoku of the Ikuta school style prospered as a result of its contributing the koto parts for an enormous number of jiuta songs.
- 彼は浄土僧でもあり、寺院に伝承される雅楽や歌謡を修め、また当時来日していた明人の鄭家定に古琴(きん)を学び、 これらから箏曲を作り出した。
- Kenjun, a Jodo priest, mastered gagaku (ancient Japanese court dance and music) and Kayo (songs and ballads) that had been handed down to the monks of his temple, and learned how to play the Kokin (Chinese zither with 3000 year history) from Teikatei, a Chinese musician who was in Japan at that time; drawing on what he had learnt, he began making Sokyoku music.
- また三味線は楽器のみが伝わり楽曲は伴わなかったため、彼らにより新曲が次々に作り出されたが、その際にも平曲の音楽的要素が色々反映されている。
- As shamisen came down with only an instrument without scores, many new songs were composed one after another by the Heike biwa players and various musical elements of the Heikyoku were reflected.
- これらの四種の音楽のうちで、三種の楽器編成で合奏されるのが現在言われる「三曲合奏」であるが、それと「三曲」の概念との前後関係は不明である。
- What we call sankyoku gassou today is the ensemble made up of the three kinds of instruments out of the above-mentioned four, but it isn't clear which concept came first, 'sankyoku gasso' or 'sankyoku.'
- 『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。
- '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.
- 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。
- 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.
- 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。
- 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.
- 現在は京都コンサートホールで毎月1回の定期演奏会を開催しており、4管編成、自治体直営の利を活かして演奏機会の少ない曲を採り上げることも多い。
- At present, it gives a Subscription Concert once a month in the Kyoto Concert Hall and, taking advantage of its large modern orchestra and its direct management by a municipality, it also gives a lot of performances of works that otherwise would have little chance of being heard.
- 指孔すべてを閉じて出す最低音(「筒音」、つつね)は竹と製作者による差が大きいため、基本音とは見なされておらず、楽曲で用いることもまれである。
- The lowest tone (tsutsune), which is produced when all the finger holes are closed, is not regarded as the fundamental tone as it varies greatly depending on the manufacturer, and it is rarely used in musical composition.
- そこで総検校の安村検校(1732年検校登官)は、江戸への勢力拡大を図り、弟子の長谷富検校を江戸へ下らせ、生田流系箏曲を広めさせたと言われる。
- Then, Kengyo (the highest title of the official ranks within the Todo-za) YASUMURA who was the sokengyo (president of the Todo-za) (he became kengyo in 1732) attempted to increase his influence in Edo by sending his pupil Kengyo HASETOMI to Edo to spread Ikuta school style sokyoku.
- 三曲系の演奏者のあいだでは、古典的な地歌箏曲を古曲、宮城道雄などの明治期から戦前までの楽曲曲を新曲、それ以降の楽曲を現代曲と呼ぶこともある。
- Among sankyoku ensemble performers, classical jiuta-sokyoku pieces (jiuta compositions based on the koto part) are referred to as kokyoku (old pieces, or classical pieces), pieces composed by Michio MIYAGI and other from the Meiji period up to the beginning of WWI are referred to as shinkyoku (new pieces), and pieces composed subsequently are referred to as modern pieces.
- また、「猩猩」や「岩船」のように半能形式で上演されることがあまりに頻繁であったために、ついに半能の形態が正規の上演法になってしまった曲もある。
- Also there are some pieces like 'Shojo' (Monkey like animal in legend) and 'Iwafune' (a boat-like rock), which are played in Han-Noh style too often that finally Han-Noh style became their formal performance style.
- また、たとえば箏曲「六段の調」に、吉沢の手付による胡弓パートが合奏される場合、特別に「長崎六段」と呼ばれるほど独自で技巧的な手付になっている。
- In addition, when, for example, Kokyu was played together with So in 'Rokudan no shirabe' (Music of Six Steps), a piece of music for So, using the music score written by Yoshizawa, it is specifically called 'Nagasaki Rokudan' because the score was so unique and needed such a high skill level to play.
- 一方で前川清の「ひまわり」(2002年ヒット;福山雅治プロデュース)のように演歌歌手がポップスを意識した楽曲を発表するような動きも増えている。
- At the same time, enka singers are increasingly releasing songs with pops in mind, such as 'Himawari' (Sunflower) (became a hit in 2002; produced by Masaharu FUKUYAMA) by Kiyoshi MAEKAWA.
- ただし上述した古賀政男の作品「吉良の仁吉」、あるいは「こぶし」を利かせた唱法を使った人気歌手上原敏などは、広沢虎造ら浪曲師の影響を受けている。
- However, 'Kira no Nikichi' composed by the aforementioned Masao KOGA and Bin UEHARA, a popular singer featuring a vocal style that uses 'kobushi,' were influenced by rokyoku performers such as Torazo HIROSAWA.
- テレビの歌番組で歌手の歌に合わせて歌詞の字幕スーパーも放映するようになって以後、楽曲によってはそのCD自体にカラオケが付属するようにもなった。
- Since lyrics started to be captioned along with the song by a singer in a TV music show, a karaoke version of some of the songs was made to be included in his CD.
- 三味線組歌(小歌曲をいくつもつなぎ合わせて作った曲群、またそれに倣って作られた曲群。現在ではごく一部の系統にのみ伝承されている地歌最古の曲群)
- Shamisen kumiuta (a group of songs created by combining several short, simple songs or a group of songs composed in such a way; this is the oldest group of jiuta songs that are currently passed down only in limited schools).
- 散楽(さんがく)は、日本の奈良時代に大陸から移入された、物真似や軽業・曲芸、奇術、幻術、人形まわし、日本舞踊など、娯楽的要素の濃い芸能の総称。
- Sangaku, which was imported from the Asian continent into Japan in the Nara period, is the collective name of various amusement arts including, but not limited to, mimicry, acrobatics/stunt, trick, magic, puppet show and Japanese dancing.
- 三教:相手の手首を取り体を回転させながらひねり上げて前腕を回内、肘関節を90°屈曲、肩関節を外転内旋させ爪先立ちにさせた後腹這いにさせ抑える。
- Sankyo (aikido's third basic technique): Take the opponent's wrist and twist it upward while turning one's body to rotate the forearm inward; bend the elbow joint 90 degrees, move the shoulder joint outward and rotate it inward, make the opponent stand on his/her toes, then place him/her on his/her stomach and hold him/her down.
- こうして、三曲合奏は日本の伝統音楽の中でも合奏音楽として重要な位置を占めており、明治以降、西洋音楽にももっとも早くから対応することにもなった。
- In this way, of all kinds of traditional Japanese music, sankyoku gasso came to occupy an important position as ensemble music, and it was able to catch up with Western music in and after the Meiji period sooner than any other music in Japan.
- 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。
- 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.
- 戦後は自転車やオートバイを利用することも多く、高く積み重ねた蒸籠を曲芸さながら肩に担いで片手でハンドルを握る姿は、いっとき蕎麦屋の象徴であった。
- After the war, bicycles and motorcycles began to be commonly used with the delivery man balancing a tall stack of numerous seiro on a shoulder with one hand while holding the handlebar with the other which was the symbolic sight of soba restaurant business at one time.
- 演奏形式も自由で、同一の曲でも、月琴や胡琴だけの2~3名のアンサンブルや、あるいは月琴を弾き語りするソロなど、適宜、演奏形式を選ぶことができた。
- In addition, the performance style of Shingaku music was so flexible that players could choose their own style to their tastes, such as the two or three people's ensemble with using just gekkin and kokin, and a solo performance of singing to its own accompaniment of gekkin - even when the tune was just the same.
- 舞事(まい-ごと)とは、能において、主として一曲の能や狂言の後半部分に能シテ、能シテ、能ワキが能囃子のみによって演じる抽象的な所作(舞)をいう。
- Mai-goto means abstract acts (mai) that, in Noh, the shite (an actor playing the leading part), tsure (a supporting actor) and waki (the partner of a shite) perform accompanied solely by the hayashi (music played in the background), mostly in the latter half of a Noh or a Kyogen (a farce played during a Noh cycle) play.
- しかし1990年代も半ばを過ぎると演歌の衰退は激化し、1990年代末には演歌の新曲CDが数十万枚単位でヒットする例は極めて少なくなってしまった。
- Years after the mid-1990s, however, saw severer deterioration of the enka genre, and it became unusual for new enka CDs to become hits and sell as many as hundreds of thousands of copies in the late 1990s.
- 宮城道雄と提携し、宮城作曲の尺八譜の公刊を独占したこと、評議員制の導入など中央集権的な組織作りを行ったことなど都山流は尺八界最大の組織となった。
- By collaborating with Michio MIYAGI and coming to hold the exclusive rights to publishing shakuhachi notation for MIYAGI's compositions, introducing a council system and the like, Tozan NAKANO established a centralized organization that grew to become the largest organization in the shakuhachi world.
- 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。
- 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.
- それぞれの編成に面白みがあり、また流派によって後で付けられたパートの旋律が違っていたりするので、同一曲でも様々な編成の演奏を楽しむことができる。
- Each ensemble has fun of its own, and each school of the music adds a different melody part to the original tune, so that one can enjoy various styles of ensembles for even a single tune.
- 近年では「篠笛」による「独奏」「合奏」といった器楽曲も多く作られ、上記の分野以外の和楽器および洋楽器、他国の民族楽器との合奏も盛んに行われている。
- Many 'shino-bue' solos and ensembles have been written in recent years, and ensembles featuring Japanese musical instruments other than those described above as well as western musical instruments (including folk music instruments from abroad) have been frequently played.
- これらの曲の多くは、現在の中国でも古典的な軽音楽としての生命を保っている(ただし歌詞の字句や編曲などは、日本の清楽のものとかなり違うことが多い)。
- Most of these songs keep their vitality as classical popular music even in today's China; the words, the style of arrangement and others are, in many cases, quite different from those of Shingaku in Japan.
- そのため、これまでのジャンルとしての演歌の枠に納まらない楽曲も多くなり、ジャンル名としての呼び名が演歌から演歌・歌謡曲と呼ぶようにもなりつつある。
- Therefore, many songs have come to extend beyond traditional enka genre boundaries, and the name of the genre is changing from enka to enka kayo kyoku.
- また、毎年ある時期になると同じ曲が入ってくる(例えば高校野球の季節には岩崎良美 (歌手)の「タッチ」が必ず上位に入る)傾向が強いことも挙げられる。
- There is also a strong tendency that the same song enters the chart in a certain season of every year (for example, 'Touch' by Yoshimi IWASAKI always enters high on the list in the season of high school baseball games).
- 例えば『日本三代実録』によると、承和3年(837年)に仁明天皇が、弄玉、弄刀(今で言うジャグリングのような曲芸)の散楽を演じさせたとの記録がある。
- In 'Nihon Sandai Jitsuroku,' for example, there is a description stating that Emperor Ninmyo ordered in 837 to perform rodama (ball playing) and roto (sword playing - stunt similar to current juggling).
- 伝承によれば、鎌倉時代のはじめ頃に生仏(しょうぶつ)という盲人音楽家がはじめたとされ、曲節には仏教音楽である声明(しょうみょう)の影響がみられる。
- According to traditions, it was started by a blind musician called Shobutsu at around the beginning of the Kamakura period and we can see the strong influence of Shomyo (chanting of Buddhist hymns) in its tunes.
- 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。
- 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.
- 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。
- 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.
- 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。
- 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.
- さらに、従来の真っ直ぐな剣から、湾曲して人を斬りやすく、また馬上での戦いに適した形に進化し、やがて現在まで伝わる日本刀の原型ともいえる剣が登場する。
- Instead of the then existing straight swords, curved swords which were more suitable for cutting persons or those suitable for fighting on horseback were developed, and the original model of the current Japanese sword was created.
- 特に和田寧の円理表の出現によって、複雑な図形の面積や、立体の体積、重心、曲線の長さなど、今日の積分法に相当する計算がかなり自在にできるようになった。
- Nei WADA's enri-hyo (enri table), in particular, enabled calculations equaling today's integration method, including the calculation of areas of complicated diagrams, volumes of solids, median points, and lengths of curves.
- 現代でも西洋音楽やポピュラー音楽など、幅広い分野の影響を受けて、新しい曲が作曲されており、それらは三曲、箏曲の世界において「現代曲」と呼ばれている。
- The composition of new music influenced by a wide range of music including western and popular music continues to this day, and such music is known as 'modern music' in the worlds of sankyoku and sokyoku.
- 大量にソフト(メディア (媒体))を各カラオケ装置脇に用意する必要がなく、機械駆動装置がないため小型化し省スペース化も図れ、新曲の配布も早くなった。
- There was no need of preparing a lot of software (media) beside each karaoke machine, the footprint was reduced by downsizing without using a machine drive system, and new songs were distributed faster than before.
- 具体的には1964年ごろより洋楽系の現代音楽の作曲家の間での「邦楽器ブーム」により、洋楽系現代音楽の中に箏を含む邦楽器が広く用いられるようになった。
- Under 'the boom of traditional Japanese instruments' that started from 1964 among the composers of contemporary western music, varieties of traditional Japanese instruments including Soh were introduced in contemporary western music.
- このため地歌以外の三味線音楽が歌舞伎や人形浄瑠璃などの視覚的要素を伴う伴奏音楽として発展したのに対し、箏曲は劇場とは関係のない純音楽として発展した。
- As a result, while shamisen music other than jiuta developed as accompanying music for kabuki and ningyo joruri (traditional Japanese puppet theater) that involve visual elements, Soh music developed as purely music independently from theater arts.
- 同年10月、源護と姻戚関係にある一族の平良正は軍勢を集め鬼怒川沿いの新治郷川曲(八千代町)に陣を構えて将門と対峙するが、将門は良正の軍をも撃破する。
- In November of the same year, TAIRA no Yoshimasa, whose clan was related to MINAMOTO no Mamoru through marriage, assembled an army and set up camp in Kawawa, Nihari-no-sato Village (Yachiyo-cho) along the Kinu-gawa River, where he faced off against Masakado, but Masakado also obliterated Yoshimasa's army.
- まだ手事ものの形式を保持している『千鳥の曲』に対して、それよりも後に作られた古今組各曲はより簡潔化し、手事もなく、ますます組歌に近いものとなっている。
- Contrary to 'Chidori no Kyoku' still retaining the form of tegotomono, other pieces of Kokin-gumi composed later are more simplified and includes no tegoto to be more like kumiuta.
- 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。
- 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.
- また神楽「其駒」について『吉野吉水院楽書』では「本催馬楽也」としるされ、「朝倉」について『郢曲抄』には「朝倉催馬楽の音にして三段に唱ふ」としるされる。
- 'Yoshino yoshimizuin gakusho' describes a Kagura song 'Sonokoma' as 'originally from Saibara,' and 'Eikyokusho' (a musical document in the late of Heian period) describes 'Asakura' as 'a tune of Asakura Saibara, sing in three parts.'
- ただ沖縄諸島、または沖縄の文化を伝えている地域では、八橋流の流れをくむ独自の琉球箏曲が発展・継承されていて、そちらは現在でも生田流式の箏を使っている。
- However, as the unique Ryukyu Sohkyoku (Okinawa Soh music) which originated from the Yatsuhashi school has been handed down in Okinawa as well as in other regions where Okinawa culture remains, Soh of the Ikuta school style is being used in these regions even today.
- この流れは宮城に留まらず三曲界全体の主潮流となり、中村双葉や山田流系の久本玄智、中能島欣一をはじめ、多くの箏曲家が宮城の影響を受けた作品を多数残した。
- This school became the mainstream of sankyokukai and many Soh musicians, including Futaba NAKAMURA, Genchi HISAMOTO of Yamada school and Kinichi NAKANOSHIMA, composed many pieces affected by Miyagi.
- 明治時代の前半に多くの翻訳唱歌ができたが、日本語訳詞を'無理にはめこんだ'ぎこちない歌が多く、日本人作曲家によるオリジナルの歌を望む声が高まっていた。
- Although many foreign songs were translated for school music classes in the early Meiji period, most of them were awkward, with translated lyrics forcibly set to the music; accordingly, there was high demand for Japanese songs composed by Japanese composers.
- 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。
- 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.
- 戦後も日本の大衆音楽は「流行歌」によっていたが、新世代の台頭と1953年の藤山一郎の引退により音楽性が揺らぎ始め、次第に今の演歌に近い曲が出現し始めた。
- Although 'hit songs' continued to lead the Japanese popular music after the war, because of the rise of a new generation and the retirement of Ichiro FUJIYAMA in 1953, their musical characteristics began to crumble and songs similar to the current enka gradually began to appear.
- この時期のヒット曲に「お富さん」「別れの一本杉」「哀愁列車」「おんな船頭歌」「古城」「チャンチキおけさ」「船方さんよ」「からたち日記」「人生劇場」など。
- Otomi-san,' 'Wakare no Ippon Sugi' (Farewell One Cedar), 'Aishu Ressha' (Sorrowful Train), 'Onna Sendo Uta' (Female Waterman Song), 'Kojo' (Old Castle), 'Chanchiki Okesa' (Okesa [a folk song of Niigata] with Chanchiki [gong]), 'Funakata San Yo' (Hey Sailor), 'Karatachi Nikki' (Trifoliate Orange Diary), 'Jinsei Gekijo,' etc. became hits around that time.
- 近世邦楽としての箏曲は本来「組歌」という歌のみの楽曲形式による曲を最も正式なジャンルとし、またその後も地歌とともに発展したため、歌のついている曲が多い。
- A lot of sokyoku music pieces have lyrics since the most formal style of sokyoku as early-modern traditional Japanese music is 'kumiuta,' which is composition style of songs with vocals only, and sokyoku have been developed along with jiuta.
- 安土・桃山時代には北九州で僧侶の賢順(1574年 - 1636年)により、中国、在来の独奏箏曲、雅楽の箏曲をまとめて「筑紫箏(つくしごと)」が起こった。
- In the Azuchi-Momoyama period, Kenjun (1574 - 1636), a monk in Kitakyushu, created 'Tsukushigoto' by integrating Chinese as well as indigenous Soh music for solo performance and Soh music of gagaku.
- こうした基煕の関東接近を憎んだ霊元上皇は、下御霊神社に呪詛の願文を自ら認め(霊元院宸筆御祈願文)、その中で基煕を「私曲邪佞の悪臣」と悪し様に罵っている。
- The Retired Emperor Reigen, who disliked Motohiro associating himself closely with the Kanto region, personally sought a prayer of curse ('Reigen Shinpitsu Gokiganmon') at Shimogoryo-jinja Shrine, and in it denounced Motohiro as 'Shinkyokujanei no akushin' (Bad retainer who acts for his own benefit and with insincerity).
- 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。
- 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.
- 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。
- 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.
- 清楽の代表的な曲には、「算命曲」「九連環(右上の写真の楽譜参照)」「茉莉花 (民謡)」「四季」「紗窓」「売脚魚」「哈哈調」「満江紅」「将軍令」などがある。
- Typical Shingaku songs are 'Sanminkyo,' 'Kyurenkan' (cf. the upper right photograph of the score), 'Matsurika' (folk song), 'Shiki', 'Saso,' 'Baikyakugyo,' 'Hahacho,' 'Man Jiang Hong' and 'Jiang Jun Ling.'
- そのために剪定を施したり、自然の景観に似せるために枝を針金で固定し時に屈曲させあるいは岩石の上に根を這わせたりと様々な技巧を競うのも楽しみの一つとされる。
- Therefore the branches are pruned and fixed with wire to imitate the aesthetic of nature and sometimes the roots are bent or made to creep over rocks and taking up the challenge of using a variety of techniques is part of the fun.
- さらに尺八と交代して主旋律も奏でるといった、邦楽の語法として新しく楽器の性能も十分に駆使した書法により、現在でも箏という楽器を代表する名曲の位置を占める。
- He also used Soh, instead of shakuhachi, for playing the melody in order to make the most of the instruments property, and this piece is regarded today as an excellent piece of music that represents the musical instrument Soh.
- 胡弓も独自の楽曲である胡弓本曲を持つ一方、江戸中期からしばしば地歌や箏曲の合奏に加わっていたが、やはり即興的にユニゾンに近い状態で合わせられていたらしい。
- The kokyu, having its own music 'kokyu honkyoku' (pieces for kokyu composed in the early days), would often participate in the ensemble of Jiuta or Sokyoku from the middle of the Edo period, and this improvised performance also seems to have been in a unison-like style.
- 氏郷を診断した医師・曲直瀬玄朔が残したカルテ「医学天正記」には文禄の役の主兵の途中、既に名護屋城で発病し黄疸、目下にも浮腫などの症状が出たと記されている。
- 'Tenshou Era (1573 - 1592) Medical Chronicle,' the clinical notes of Gensaku MANASE, the physician who saw Ujisato, there is a record of a military leader who fell ill at Nagoya castle en-route to the Bunroku Campaign and had symptoms of jaundice with swelling under the eyes.
- 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。
- 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.
- 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。
- 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.
- 本来は、五番目の能が鬼畜物など祝言性を持たない曲目であった場合に、一日の演能をめでたく舞いおさめる意味で、さらに一番、祝言の曲を追加して上演したことを指す。
- Originally it meant performing further an additional celebratory number in order to finish dancing the en-noh of the day happily when the fifth noh was an uncelebratory number such as a play featuring kichiku (brute).
- もともとの本曲は、普化宗で吹禅に使われた曲を指していたが、1871年の普化宗廃止後は宗教音楽とは無縁な尺八のみの独奏曲や重奏曲も本曲と呼ばれるようになった。
- The term honkyoku originally referred to the pieces that were practiced by adherents to the Fuke sect; however, following the abolition of the Fuke sect in 1871, the scope of meaning of the term expanded to include solo musical compositions unrelated to religion that were played on the shakuhachi, and even compositions consisting of more than one part for the shakuhachi came to be called honkyoku.
- 一つの布の面に世界の染色の中でも類を見ないほどの多彩な色彩を使い、「友禅模様」と呼ばれる曲線的で簡略化された動植物、器物、風景などの文様を描き出すのが特徴。
- Yuzen is characterized by drawing patterns of rounded and simplified animals, plants, utensils, and landscapes, which are called 'yuzen pattern,' using as many colors on a single plane of a cloth as never seen in any dyeing techniques in the world.
- 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)。
- 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).
- 芸術曲における箏と三味線の本格的な合奏は、元禄期の生田検校により始められたと言われ(異説もあり)、三味線の曲(地歌)に箏のパートを作り合わせるようになった。
- A theory asserts that the genuine ensemble of koto and shamisen in the world of art music was started by Ikuta Kengyo in the Genroku era, though some disagree with that theory, when he began to add the part of koto music to shamisen music (Jiuta).
- 雅実は舞楽に優れ、秘曲『胡飲酒』を伝える楽家の多資忠が変死したとき、堀河天皇が『胡飲酒』を伝受していた雅実に命じて多忠方(資忠の子)に伝えさせた話は名高い。
- Masazane possessed outstanding skill in court dance and music, and there is a famous story that upon the unnatural death of Suketada ONO, who was supposed to pass down the court dance, Konju, Emperor Horikawa ordered Masazane to teach the dance to Tadataka ONO (Suketada's son).
- 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。
- 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.
- こうして吉沢は学んだ雅楽の調弦と、自分たちのものである近世箏曲の調弦を合わせ、雅楽の律音階と近世邦楽の都節音階の両システムを折衷した「古今調子」を編み出した。
- Combining the tuning techniques of the traditional Japanese music thus learned and his own tuning techniques of modern koto music, Yoshizawa came up with 'kokinchoshi' scale that is a combination of both systems of ritsu scale (anhemitonic pentatonic scale) in the traditional Japanese music and miyako-bushi scale (characteristic Japanese hemitonic pentatonic scale: mi, fa, la, ti, do) in the modern Japanese music.
- なおこの時期の大衆音楽をも「演歌」扱いすることがあるが、本来的には演歌・歌謡曲・声楽曲全ての音楽性が渾然一体となった独特の音楽性を持っており、同一視出来ない。
- Although popular music around that time is sometimes categorized as 'enka,' it intrinsically has unique musical characteristics harmoniously combining all of musical elements of enka, kayo kyoku, and vocal music, so it cannot be identical with enka music.
- 「お正月」、「鳩ぽっぽ」、「雪やこんこ」などは、日本生まれの最も古い童謡作品として知られるが、これらは1900年に編纂された幼稚園唱歌に収められた名曲である。
- His songs 'Oshogatsu' (New Year's Day), 'Hato Poppo' (Pigeons), and 'Yuki Ya Konko' (Japanese Snow Song) are known as the oldest nursery songs to be composed in Japan, and are such excellent pieces that they were included in the music book compiled in 1900 for kindergarten students.
- しかしながら、拍子木と全く同様に左右離した状態から打ち鳴らすと曲中の打つべき箇所から遅れを生じるため、笏拍子の元の部分(握った手元)を蝶番の様に接して使用する。
- However, if the striking pieces of shakubyoshi are completely apart before making a sound just as in the case of a clapper, they may create delay and cannot be struck at the correct point in the music, so they are used with the bottom sides (holding part) together in the manner of a hinge.
- のちに、中島雅楽之都(なかしまうたしと(1896年 - 1979年)箏曲家・正派邦楽会の創始者)が、千鳥の曲に合奏できる箏曲『四方(よも)の海』を作曲している。
- Utashito NAKASHIMA (1896 - 1979, a koto musician and founder of Seiha Hogaku Kai) later composed 'Yomo no Umi' (the sea all around) which can be played ensemble with Chidori no Kyoku.
- (演説歌が「フォーク」と呼称されるようになり、演歌と呼ばれなくなったことで、ヨナ抜き音階や小節を用いた歌謡曲が「演歌」と呼称されるようになったとの見方もある。)
- (It is also thought that kayo kyoku songs using yona nuki scale and kobushi were given the name 'enka' after enzetsuka came to be called 'folk' instead of enka.)
- みつ夫人(進十六の娘)との間に2男3女をもうけ、長男・箕作秋吉は理学博士号を持つ化学者であると同時に作曲家としても活躍し、次男・洋輔は工業技術家として知られた。
- Mitsukuri and his wife Mitsu (a daughter of 進十六) had two sons and three daughters: the first son, Shukichi MITSUKURI, was a chemist with a Doctorate of Science, and also was a composer; the second son, Yosuke, was known as an industrial technician.
- こうした三曲の一員としての尺八は、西洋音楽の影響を受けた明治新曲や、春の海で知られる宮城道雄などの新日本音楽を経て、現代邦楽と呼ばれるジャンルを形成するに至った。
- Sankyoku compositions of this sort, which have been adapted to include a single shakuhachi player, along with Meiji shinkyoku, which are a type of music composed in Japan after the Meiji period reflecting the influence of classical western composition, and including Shin Nihon compositions, such as Haru-no-umi, by Michio MIYAGI, form the genre of music commonly referred to as modern Japanese music.
- 8トラックのテープを使い、また曲にアレンジを加えて長さを調整することで、1本のテープに何曲も入れることができ、また、できるだけ早く頭出しが出来るようになっていた。
- By using an eight track tape and arranging the song to adjust the length of it, it became possible to record many songs on a single tape and cueing the next song as quickly as possible.
- 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。
- 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.
- 正倉院正倉院宝物の新羅琴・金薄輪草形鳳形(しらぎごと・きんぱくわのくさがたおおとりがた)には菱、松葉、草花文や曲線で表現した鳳凰文などの截金文様を見ることができる。
- On the Shiragi-goto (Shiragi-style koto) called Kinpaku wanokusagata otorigata (literally, grass and big bird patterns using thin gold rings) in the Shosoin Treasures, patterns with the kirikane techniques, such as lozenges, pine leaves, grass flowers and a phoenix drawn using curves, and so on, can be seen.
- しかし総じて、このような盲人への保護政策により三味線音楽や近世箏曲、胡弓楽の成立発展、管鍼法の確立など、江戸時代の音楽や鍼灸医学の発展が促進されたことは重要である。
- In general, however, it should be noted that by the welfare system for the blind, the development of music and the medicine of acupuncture and moxibustion in the Edo period was advanced, including the formation and development of shamisen music, modern koto music and Chinese fiddle as well as the establishment of the acupuncture needle tube method.
- 、ヤヨイ食品の企画によりコロッケのキャンペーンソング「コロッケのうた」(作詞:礼空トオル、作曲:青木隆、歌:やよいちゃん)がシングルコンパクトディスクで発売された。
- Yayoi Foods Co., Ltd.'s korokke campaign song, 'Korokke Song' (Lyric is composed by Tooru RESORA, song is written by Takashi AOKI, sung by Yayoi-chan) was released as a single on CD.
- 実際、江戸時代末期からそこに尺八が参入したので、現在三曲と呼ぶ場合は地歌・箏曲・胡弓楽・尺八楽を総合する名称と言え、邦楽分類上不可分な一ジャンルの呼称となっている。
- In fact, shakuhachi participated in the ensemble from the end of the Edo period, so sankyoku today can be thought of as the general term for Jiuta, Sokyoku, Kokyu-gaku and Shakuhachi-gaku (shakuhachi music), which becomes the name of an inseparable genre in Japanese music.
- これと違い、三曲合奏は本来独奏曲に後から他のパートを付けたものであり、どちらかと言えば流動的、並列的、装飾的であって、その編成にはバロック音楽のように自由さがある。
- Contrastingly, in the case of sankyoku gasso some parts are added to a tune that is originally a solo, so the music is somewhat fluid, heterophonic and ornamental, and in its orchestration it's as flexible as baroque music.
- 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。
- 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.
- 大曲では、「松竹梅」(三ツ橋勾当作曲)、「宇治巡り」(松浦検校作曲)、「新青柳」(石川勾当作曲)、「千代の鶯」(光崎検校作曲)など、曲中に二カ所の手事を持つ曲も多い。
- In long pieces such as 'Shochikubai' (by Koto MITSUHASHI), 'Uji Meguri' (by Kengyo MATSUURA), 'Shin Aoyagi' (by Koto ISHIKAWA), and 'Chiyo no Uguisu' (by Kengyo MITSUZAKI), tegoto can be found in two places in a piece.
- 他の舞事・働事とちがって、固定した型があるのではなく、曲ごとに異なった型がついており、事実上、働事の分類のうえでほかの項目に入らないものをまとめて立廻りといっている。
- Unlike other mai-goto and hataraki-goto, there is no fixed pattern of movement but each music has its different movement and, virtually, for classification of hataraki-goto, those that do not fall other categories are gathered together and called collectively tachimawari.
- ただし演歌と歌謡曲との間に明確な分岐ラインが存在するわけではなく、むしろ歌手(およびレコード会社など)が「自分は演歌歌手」と称するかどうかが分かれ目と見る向きもある。
- There is no clear line between enka and kayo kyoku, and some say the difference depends on whether a singer (and record company, etc.) says 'I am an enka singer.'
- 選曲は、歌曲を歌手別あるいは歌詞の出だし順に並べた本で、曲名の索引なども参照して、歌いたい曲に割り当てられた番号を検索し、その番号を機械に入力することにより行われる。
- To select a song, a user searches a book that includes songs listed in the order of the singer's name or the first words of the song for a number assigned to the desired song, also referring to the index of the song titles, and inputs the number into the machine.
- 単独の芸能ではなく、舞楽や散楽、台詞のやりとりのある風流、郷土色の強い歌舞音曲や、猿楽、白拍子、小唄など、貴族的芸能と庶民的芸能が雑多に混じり合ったものの総称である。
- It is not an independent art but is the collective name of various aristocratic and folk arts, including bugaku (traditional Japanese court music accompanied by dancing), sangaku (form of theater popular in Japan during the 11th to 14th century), furyu with lines (form of theater popular in Japan during the 11th to 14th century), local music and dance, sarugaku (form of theater popular in Japan during the 11th to 14th century), shirabyoshi (Japanese traditional dance) and kouta (a ballad sung to samisen accompaniment) etc.
- 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。
- 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.
- 前述の筑紫箏を基本として、楽器としての箏および箏曲の基礎を大成させたのが、江戸時代初期に活躍した八橋検校(やつはし・けんぎょう、1614年 - 1685年)であった。
- Based on the above-mentioned Tsukusigoto, Yatsuhashi Kengyo (1614 - 1685), who was active during the early Edo period, established the basis of the musical instrument Soh as well as Soh music.
- また同一曲において胡弓のパートも含め三パートすべてが一人の作曲家により作られるようになったのも吉沢からであり、以後二パート、三パートを一人で作曲することが多くなった。
- It was also Yoshizawa Kengyo who composed all three parts of a tune, including the part for kokyu, all by himself for the first time in history, and thereafter many musicians came to compose two or three parts by themselves.
- 特に尺八や笛から影響を受けた曲が生まれ、それが更に三味線(地歌)に取り入れられたりすることもあったが、江戸時代後期に入るとやはり地歌に便乗する面が強くなったといえる。
- Occasionally, kokyu music, which was influenced mainly by the music of the shakuhachi and other Japanese flutes, further influenced the music of the shamisen (Jiuta), but from the later Edo period kokyu music also had a tendency to participate in Jiuta.
- 明治に刊行された明笛や尺八、手風琴(アコーディオン)、ハーモニカなどの教則本には、当時の日本の曲に混じって、「九連環」「算明曲」「茉莉花」なども収録されていることが多い。
- In the Meiji period, instruction books were issued about 'minteki' (Ming flute), shakuhachi, accordion and harmonica, and these books often include the Japanese songs at that time as well as the Shingaku songs, such as 'Kyurenkan,' 'Sanminkyo' and 'Matsurika.'
- 1999年(平成11年)から2000年(平成12年)にかけて、上方落語協会は浪曲親友協会などと共に、大阪に東京同様の国立演芸場の開設を求めて文化庁などに働きかけを行った。
- From 1999 to 2000 the Kamigata Rakugo Association and the Friends of Rokyoku lobbied the Agency for Cultural Affairs for the establishment of a national engei hall in Osaka as in Tokyo.
- そのため光崎検校同様、複雑煩瑣に発達した当時の地歌音楽とは対極ともいえる、江戸前期の箏曲の形式である組歌の整合的構成、シンプルな技巧、気品高く雅びな雰囲気などを取り入れた。
- Therefore, like Mitsuzaki Kengyo, he also employed a consistent composition, a simple technique, and a noble and classic atmosphere of kumiuta, which was a form of sokyoku in the early Edo period, and an extreme opposite of jiuta music developed into complication at the time.
- さらに、ファミリー層までが通いだすと、子供向けの曲、さらにそしてさらには、通常のレコード、CDではなかなか手に入らなかった諸外国の音楽まで現在は幅広い音源が提供されている。
- Furthermore, children's songs were covered when families started to go to karaoke, and now a wide range of music is provided including even foreign music that was not available through records and CDs.
- 1964年にニューヨーク・フィルハーモニックと尺八の横山勝也、薩摩琵琶の流れをくむ鶴田流の琵琶奏者鶴田錦史のために作曲された武満徹のノヴェンバー・ステップスは反響を呼んだ。
- Shakuhachi player Katsuya YOKOYAMA appeared with the New York Philharmonic in 1964 to high acclaim, performing a piece called 'November Steps,' which was composed by Toru TAKEMITSU for biwa player Kinshi TSURUTA of the Tsuruta-school lineage, a lineage influenced by the Satsuma style of biwa playing.
- 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。
- 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.
- 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。
- 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.
- ただし、その旋律は各派いずれも比較的箏の旋律に沿ったユニゾン(同音)に近いものであり、原曲の胡弓の旋律とはまったく違っているので、作曲者が目指した本来の姿とは必ずしも言えない。
- However, the tune of shakuhachi is rather similar to that of koto to be played rather in unison and totally different from the original tune of kokyu, which may not be different from the sound intended by the composer.
- それだけではなく、吉右衛門が得意とする丸本歌舞伎の舞台に多く出演することで、戯曲に対する解釈力と役の把握を深め、古典的な様式美と近代的な心理描写の手法を着々と身につけていった。
- Besides, by performing many times on the scene of Maruhon Kabuki (kabuki plays of doll theatre origin) which Kichiemon was good at, he deepened the interpretation of the play and the understanding of the role and steadily acquired the classic beauty of style and techniques of modern psychological descriptions.
- カステラや和菓子のブランド(屋号・商標)で知られる文明堂が、テレビの文明堂CMで「カステラ一番、電話は二番、三時のおやつは~」と言うキャッチフレーズを軽快な曲に併せて放送した。
- Bunmeido Shinjuku Inc., which is known as a brand of castella sponge cake and Japanese confectionery, produced a TV commercial in which the following catch phrase was broadcast with a lilting tune: 'Our castella is No. 1, our telephone number is two, let's stop at 3 p.m. for a snack (produced by Bunmeido).'
- なお、吉沢検校による革新的な古今調子の考案や、それに基づく作曲は、箏本来の曲を目指したこと、曲の歌詞などに古今和歌集の和歌を多用したことなどから、復古主義と呼ばれることもある。
- Note that the innovative tuning method developed by Kengyo YOSHIZAWA and compositions based on it aimed at going back to the beginnings of koto music, and the lyrics to the music were often used from the waka of Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry), and so this music is sometimes seen as being reactionary.
- 『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。
- 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).
- また雅楽には君主の長久を祝うめでたい曲として、千秋楽と共に萬歳楽(まんざいらく)という曲が伝えられていて、ここから千秋萬歳(せんずまんざい)となり、単に萬歳となったともいわれる。
- Also in gagaku (ancient Japanese court dance and music), the song called 'manzairaku' as well as 'senshuraku' to celebrate the longevity of the lord had been carried on, from which the name allegedly became 'senzumanzai,' and simply 'manzai.'
- 以後も中国ではこの形のものを使用しており、民間歌謡の伴奏を主にしていたが、20世紀に入り、劉天華(二胡、琵琶演奏家、作曲家・1895年〜1932年)らにより独奏曲が作られ始めた。
- In China, this type of biwa had been used and mainly played as accompaniment for folk songs but, in the 20th century, solo music started to be composed by Tianhua LIU (erhu (two-stringed Chinese instrument played with a bow) and biwa player, composer, 1895 - 1932) and others.
- つまり、同じく彼らが専門とする新しい三種の楽器(三味線(主として地歌の三味線)、箏、胡弓)」とその音楽である地歌、箏曲、胡弓楽を区別するために使われ始めたのではないかと思われる。
- In other words, they must have begun using the name sankyoku to distinguish heikyoku from their new, professionally engaged three instruments (shamisen (mainly for Jiuta), koto and kokyu) and their tunes (Jiuta, Sokyoku (koto music) and Kokyu-gaku (kokyu music)).
- 三味線をいち早く音曲に取入れたのは上方の盲人であったが(地歌)、文禄年間(1593-96年)にいたってこれが傀儡子(くぐつしもしくはかいらいし)の伴奏として用いられるようになる。
- Although the shamisen was initially used by the blind in the Kamigata region (Kyoto and Osaka), it became the accompaniment instrument of Kairaishi/Kugutsushi (entertainment groups of puppet players) in the Bunroku era (1593 - 1596).
- また例えば地歌のある曲でも、流派によって違う箏の手、胡弓の手、尺八の手がつけられていることが多く、それもユニゾンに近いものから多音的なものまで、流派によっても傾向が異なっている。
- Even when one and the same jiuta is sung, its accompaniment melody of koto, kokyu and shakuhachi often varies from school to school, and the performance style varies from school to school, ranging from a unison-like ensemble to polyphonic one.
- 1871年には、カミーユ・サン=サーンスが作曲し、ルイ・ガレが台本を書いたオペラ『ラ・プランセス・ジョーヌ』(『黄色人の王女』、La Princesse jaune)が公開された。
- In 1871, the opera 'La princesse jaune' (The Yellow Princess)' composed by Camille Saint-Saëns and written by Louis Gallet opened to the public.
- 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。
- 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.
- 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)。
- 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).
- また、2008年にデビュー曲「海雪」がヒットしたジェロは初の黒人演歌歌手として注目され、日本のヒップホップ2008年スタイルのファッションでの演歌歌唱も話題となりヒットとなっている。
- JERO whose debut song 'Umiyuki' (Ocean Snow) became a hit in 2008 attracted attention as a first black enka singer and his enka singing in a Japanese hip-hop 2008-style fashion attracts interest and becomes a hit.
- 日本古来からの物真似や形態模写などのお笑い芸や剣舞や独り相撲の舞踊りと唐から伝わった奇術や手品または、軽業や曲芸などの芸が合わさりできた芸能で、奉納相撲や御神楽祭の夜祭で演じられた。
- It consisted of impersonations and other comedy routines, sword dancing, and dancing in one man sumo, as well as Tang's magic shows, acrobatics and stunts performed at honozumo (ritual sumo matches held at a shrine) and kagura (Shinto music and dance) festivals held at night.
- 誤解をさらに広めてしまうのを防ぐ配慮としてか、共演の妻夫木聡に「小野妹子って男じゃ......」「(本当は男性なのに、女性であると)歴史を曲げるなよ......」とツッコませている。
- In order not to mislead viewers, a co-actor, Satoshi TSUMABUKI, says 'ONO no Imoko was a man; don't distort the historical fact' in the commercial.
- 幕末の箏独立期の曲として、先輩光崎検校の作品『秋風の曲』は異国的、ロマンティックであり、同じく『五段砧』はモダン、複雑であるのに対し、吉沢の『千鳥の曲』は古雅、シンプルであるといえる。
- As the music in the period for separating koto in the end of Edo period, while 'Akikaze no kyoku' by his senior, Mitsuzaki Kengyo, is exotic and romantic and 'Godanginuda' by the same is modern and complicated, Yoshizawa's 'Chidori no Kyoku' may be traditional and simple.
- 2002年、全国焼肉協会の企画により焼肉のキャンペーンソング「GO!GO!!カルビくん」(作詞・作曲:OK-D、歌:太平サブロー SiSTA)がシングルコンパクトディスクで発売された。
- The yakiniku campaign song 'GO! GO! Karubi-kun' of the All Japan Yakiniku Association (written and composed by OK-D, sung by Saburo TAIHEI & SiSTA) was released as a CD single in 2002.
- 薩摩琵琶は16世紀に活躍した薩摩の盲僧、淵脇了公が時の領主、島津忠良に召され、命を受けて、武士の士気向上のため、新たに教育的な歌詞の琵琶歌を作曲し、楽器を改良したのが始まりと言われる。
- It is said that the Satsuma biwa was made by Ryoko FUCHIWAKI, a blind priest in Satsuma, who worked actively in the 16th century, when he was called by Tadayoshi SHIMAZU, a feudal lord at that time, and was ordered to compose Biwa uta (Biwa song) with educational poems and modify the instrument to inspire morals of samurai.
- ただし、「箏」の字が常用漢字で無いことから「箏のこと」で用いる柱を琴柱(ことじ)と言ったり、箏曲を教える人が広告などに「琴曲教授」と書いていたり、「琴」と「箏」は一部に混乱もみられる。
- However, because the Chinese character '箏' isn't included in the Joyo-kanji, '琴' and '箏' are sometimes used confusedly; for example, bridges (ji, '柱' in Chinese character) used for 'So (箏) no Koto' are called 'Koto-ji' (琴柱), and the person who teaches playing the instrument 'So (箏) no Koto' introduces oneself as 'a teacher of 'Kin (琴) no Koto' in advertisements and others.
- 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)。
- 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).
- 松平頼則作曲の『盤渉調越天楽の主題によるピアノと管弦楽のための主題と変奏』(1951年)は平調とは異なる盤渉調の越天楽のメロディを採用しつつ十二音技法やブギウギとの融合も試みられている。
- In 'Theme and Variation of Etenraku in Banshikicho Mode for Piano and Orchestra' arranged by Yoritsune MATSUDAIRA (in 1951), the melody line of Etenraku was used in Banshikicho mode which is different from 'Hyo-jo' (a basic mode) while attempts for fusion with dodecaphony, Twelve-tone technique and with boogie-woogie are observed.
- 慶長20年(1615年)、大坂の役大坂夏の陣では征夷大将軍徳川秀忠の娘で秀頼の正室であった千姫を使者とし、己の切腹を条件に秀頼母子の助命を願うが、秀頼とともに大坂城の山里曲輪で自害した。
- In 1615 during the summer campaign of the Siege of Osaka, Harunaga sent Princess Sen (who was a daughter of Hidetada TOKUGAWA, the Seii taishogun (literally, 'great general who subdues the barbarians') as well as the legal wife of Hideyori) as a messenger for ONO, to plead for clemency for Hideyori and his mother, on the condition that he commit ritual suicide ('seppuku', suicide by disembowelment), but subsequently he and Hideyori committed suicide in a mountain hamlet in the vicinity of Osaka-jo Castle.
- 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。
- 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.
- 謡曲『羅生門』は『平家物語』で綱と鬼との戦いまでの話をもとに、舞台を一条戻橋から羅城門に変えて創作されたものとされ、その後の鬼の報復の話は謡曲では『羅生門』とは別作品の『茨木』になっている。
- Yokyoku 'Rashomon'is considered to have been created by transferring the set of th escene from Ichijo Modori-bashi Bridge to Rajo-mon Gate, based on the story of the battle of Tsuna and the ogre in 'Heike Monogatari,' and the story of the ogre's retaliation afterwards is in yokyoku 'Ibaraki' which is a different story from 'Rashomon'.
- 胡弓の代わりに尺八が加わることも江戸時代後半から行なわれていたが、明治初年に虚無僧制度が廃止されて以降、尺八が積極的に三曲合奏に進出し、今日では胡弓よりも尺八が加わる方が圧倒的に多くなった。
- Later in the Edo period, shakuhachi began to participate in sankyoku gasso instead of kokyu, and from the first year of the Meiji period, when the governmental protection of 'komuso' (a mendicant Zen priest of the Fuke sect) was ended, shakuhachi performers actively entered the world of sankyoku gasso, and therefore shakuhachi predominates over kokyu in sankyoku gasso today.
- ただこの時期独特の清新な雰囲気もあり、西山徳茂都(とくもいち)の『秋の言の葉』、松坂春栄の『楓の花』、菊末検校の『嵯峨の秋』、菊塚与一の『明治松竹梅』などは現在でも名曲として良く演奏される。
- Thanks to the unique social atmosphere at the time, 'Aki no kotonoha' composed by Tokumoichi NISHIYAMA, 'Kaede no hana' composed by Shunei MATSUZAKA, 'Saga no aki' composed by Kikusue Kengyo and 'Meiji shochikubai' composed by Yoichi KIKUZUKA etc. are often played even now as the excellent pieces.
- 楽器間の関係は、曲によってほとんどユニゾンのものもあれば(歌がある場合はその方が良いことも多い)、器楽的要素が強い曲では各楽器が複雑にからみ合うよう作られているものが多い(特に三味線と箏)。
- In some tunes, all instruments are performed nearly in unison; This is better in most cases, if the instruments accompany a song, and in other tunes the different melodies of the instruments are interwoven when the tune has an instrumental flavor, especially when the tune is an ensemble of shamisen and koto.
- その他外国の作曲家では主にドイツ語圏を中心にクラウス・フーバー(スイス)、ロバート・HP・プラッツ(ドイツ)、ジョン・ケージ(アメリカ)、ポール・メファノ(フランス)などが好んで使用している。
- Other non-Japanese composers who favor it include mostly German-speaking musicians such as Klaus HUBER (Switzerland) and Robert H.P. PLATZ (Germany), other than John CAGE (U.S.A.) and Paul MEFANO (France).
- 古くは市(朝市、定期市)や縁日などで時節の縁起物を売っていた蓮の葉商いや、その目抜き通りで大道芸などを行っていた手品師、太神楽とも言われる曲芸師や曲独楽師などが、現在の的屋の源流ともいわれる。
- It is said that today's tekiya date back to traders of lotus leaves (dealing with seasonal goods) who sold lucky charms of the season at markets (morning markets and seasonal markets) and fairs, magicians performing street performances on the main streets, and acrobatic artists also known as daikagura (lion dancer) and kyokugomashi (spinning trick performers).
- この戯曲はオーストリア・ハプスブルク家の姫君達に特に好まれたとされ、彼女達は政治的な理由で他国に嫁がされるガラシャを自分達の身の上に重ね、それでも自らの信仰を貫いた気高さに感銘を受けたと言う。
- It is said that this play was particularly favored by the princesses of the Habsburg family of Austria, who empathized with Garasha's life in which she was forced to marry into other country for political reasons, and were impressed by the nobility of her having kept her faith.
- 平家琵琶を用いた平家物語の語り物音楽を「平曲」と呼ぶ(薩摩琵琶、筑前琵琶にも平家物語を題材とする曲が多数あるが、これらは近世以降に作られたものであり、音楽的には平曲とはまったく違うものである)。
- The narrative music of Heike Monogatari accompanied by a Heike biwa is called 'Heikyoku' (the music played on the Heike biwa as accompaniment for the recitation of Heike monogatari) (There are also many songs based on Heike Monogatari for the Satsuma biwa and the Chikuzen biwa but they were composed after the early-modern times and are musically quite different from Heikyoku).
- その際、後白河院に「田舎住まいで音曲など忘れただろう」という問いに対して、「信濃にあんなる木曽路河」という今様を「信濃に有し木曽路河」と謡い替えた逸話は有名(『十訓抄』『平家物語』などに記載)。
- There is a famous anecdote related to this occasion as follows: to the Retired Emperor Goshirakawa, who said to him 'As you were living a country life, you have forgotten music, haven't you?' he replied reciting a verse of imayo (popular style of song in Heian period) that originally reads, 'The river along the Kisoji Road which is supposed to be in deep Shinano,' by changing it slightly as, 'The river along the Kisoji Road which surely exists in deep Shinano,' (recorded in 'Jikkinsho' [Miscellany of Ten Maxims], 'Heike Monogatari' [The Tale of the Heike], etc.).
- 曲の方も、後述の越天楽今様(音節型)の他に各種作られ、長生殿のようなメリスマ型の曲や、中部日本放送の局名告知(1964-1993)に使われたような暗い曲調のもの(原曲は箏曲、シラブル型)もあった。
- Various tunes of imayo, including Etenraku Imayo (syllabic-style tunes) mentioned below, were also composed, and there existed two categories of tunes : melisma-style tunes, such as Choseiden, and syllabic-style tunes, such as the melancholy music used from 1964 to 1993 in the self-introduction announcement of Chubu-Nippon Broadcasting Co., Ltd., which was originally the music of koto (a long Japanese zither with 13 strings).
- しかし地歌や浄瑠璃などの三味線音楽や箏曲の発展と共に次第に下火となり、波多野流は断絶、前田流は江戸時代中期に名古屋の荻野検校によって中興し、この流派のみがこんにちまで名古屋と仙台に伝えられている。
- However, they had gradually cooled down as Shamisen music and sokyoku (koto music) such as Jiuta (a genre of traditional songs with samisen accompaniment) and Joruri (dramatic narrative chanted to a samisen accompaniment) developed, and the Hatano-ryu was put to an end while the Maeda-ryu was restored by Kengyo OGINO in Nagoya in the middle of the Edo period, and only this school has been handed down to the present in Nagoya and Sendai.
- 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)。
- 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).
- 1曲は3~4分になるように調整されており、1曲目を気分よく歌ったあと、2曲目の途中で次のコインを投入する必要が出てくるため、客はついつい100円玉を景気よく使ってしまう……というパターンが生まれた。
- With each song arranged to last three to four minutes, after singing the first song on a good note, the customer had to insert another coin while he was singing the second song, and therefore he spent a lot of 100-yen coins without thinking... which became a typical pattern.
- 「何本調子」の表記に「笨」の字を用いる流派もある(なお、三味線音楽、箏曲・三曲、琵琶においても「何本調子」で基本音を定める慣習があるが、分野によって実際の音の高さは異なっているので注意が必要である)。
- The character '笨' is used instead of '本' in the notation of 'nanbon-joshi' in some schools (there is the practice of specifying the fundamental tone using nanbon-joshi even in shamisen music, sokyoku (koto music), sankyoku (music performed by a shamisen (three-stringed Japanese guitar), so (thirteen-stringed Japanese zither), and shakuhachi (bamboo flute) trio), and biwa (Japanese flute) music, but attention is required because the actual tones vary according to the instrument).
- これは地下茎が岩盤などの障害によりそれ以上延びることができずに地上に現れるもので、枝が一本で樋(ひ)が深い(実際のひとはパイプであるが、茶道の場合のひは曲げにより増した溝深さと縦屈曲)のが特徴である。
- Jicchiku is an underground stem of bamboo that appears above the ground because it can no longer grow underground owing to obstacles such as bedrock, and characterized by its single trunk and a deep 'hi' (Usually, 'hi' refers to a pipe, but in tea ceremony, terminology 'hi' refers to a deep groove in a bamboo trunk, where the depth increased thanks to bending, and vertical curvature).
- 千鳥の曲のほか、曲名に「千鳥」を冠した楽曲に、『友千鳥』(久村検校作曲、箏組歌)、『磯千鳥』(菊岡検校作曲、八重崎検校箏手付、手事もの地歌・箏曲)、『川千鳥』(幾山検校作曲、手事もの地歌・箏曲)がある。
- In addition to Chidori no Kyoku, there are many songs with a title including 'chidori' such as 'Tomochidori' (a flocking plover) (composed by Hisamura Kengyo, koto kumiuta), 'Iso Chidori' (beach plover) (composed by Kikuoka Kengyo, arranged by Yazaki Kengyo, tegotomono jiuta, koto music), and 'Kawa Chidori' (river plover) (composed by Ikuyama Kengyo, tegotomono jiuta, koto music).
- (金春流の所演曲は五流のなかでももっとも少なく、大正末年の時点で153曲しかなかった。しかもこのなかには「姨捨」「砧」など多くの秘曲・人気曲が含まれておらず、この点が流勢低迷の要因の一ともなっていた。)
- (The number of Noh works performed by the Konparu school were the fewest among the five Noh schools, only 153 in the last year of the Taisho period. In addition, they did not include many secret or popular pieces such as 'Obasute' and 'Kinuta', and that was one of the chief causes of the school's difficulties.)
- なお、体型を隠すように直線的に和服を着るべしとされたのは高度経済成長時代に入ってからのことであり、戦後まもなくは、洋服の影響もあって、洋服の下着を身につけ、体の線を出すように曲線的に着るのが良しとされた。
- People began considering that Wafuku should be worn to cover the figure of the body to make a cylindrical shape only after High Economic Growth; in contrast, immediately after the World War II, with the influence of Western clothing, it was considered ideal to wear Wafuku to emphasize the figure of the body by showing curvature of the body over kimono.
- ことに大正末から昭和10年代にかけ、新しい作曲運動が大きな盛り上がりを見せ、宮城の他にも久本玄智、中村双葉、町田嘉声、中能島欣一、高森高山らにより、新しい形式、編成、作曲法による新曲がおびただしく作られた。
- The movement of making new music was grew strong from the end of Taisho period to around 1935-1944, and a huge amount of new music with new styles, arrangements and composition methods was created by MIYAGI and others such as Genchi HISAMOTO, Soyo NAKAMURA, Kasei MACHIDA, Kinichi NAKANOSHIMA and Takayama TAKAMORI.
- 神社仏閣や城郭の天守を想起させる切り妻の屋根飾りに合掌組を反曲させた曲線(写真建物の上端部)は、宗教性や権威を誇るディテールであり、また、極楽浄土へいざなう入り口を示すシンボリックな側面を合わせ持っている。
- A curve (at the upper end of the photo) of the recurved principal rafter is used to decorate a gable roof, reminding people of shrines and temples, or the tenshu (keep or tower) of a castle is a detail that proudly denotes religion and authority while having a symbolic feature showing the entrance leading to the Pure Land of Amitabha.
- 流儀とは、一言でいえば、あるものをどう行うか(敵とどう戦うか、ある戯曲をどう演じるか)ということについて個人の一代の技能でなく、ある一定の技術論に基づく技術が、集団的、伝統的に共有されている技能共同体を指す。
- To put it simply, ryugi is not one person's techniques for doing a certain thing (such as how to fight against enemies and how to perform a play) which last only in his lifetime, but fellowship in which a group of people traditionally share techniques based on a certain art theory.
- 上に述べたような歌謡が貞観 (日本)年間ころにひとつの書物にまとめられ、ついで、一条雅信によって延喜20年ころ撰譜され(一説に藤原忠房によって作譜されるという)、以後、藤家および源家によって歌曲はつたえられた。
- Around Jogan era (Japan), among these songs described above were collected into a book, then Masanobu ICHIJO chose scores around 920 (one theory says that FUJIWARA no Tadafusa wrote scores), and later on, songs were brought down by the To and Gen families.
- 作曲家は流行歌から転身した古賀政男にくわえ、吉田正、猪俣公章、船村徹、市川昭介、流しから転身した遠藤実、ロカビリーから転身した平尾昌晃が登場、作詞家ではなかにし礼、星野哲郎、岩谷時子、山口洋子、川内康範らが登場。
- Composers, such as Masao KOGA who switched from hit songs, Tadashi YOSHIDA, Kosho INOMATA, Toru FUNAMURA, Shosuke ICHIKAWA, Minoru ENDO who had been a strolling singer, and Masaaki HIRAO converting from rockabilly, and lyricists, such as Rei NAKANISHI, Tetsuro HOSHINO, Tokiko IWATANI, Yoko YAMAGUCHI, and Kohan KAWAUCHI, also appeared.
- ガラシャをモデルにした戯曲「気丈な貴婦人」(グラーシャ)の初演は神聖ローマ帝国のエレオノーレ・マグダレーナ皇后の聖名祝日(7月26日)の祝いとして、1698年7月31日にイエスズ会の劇場でオペラとして発表された。
- A play called 'Kijo na kifujin' (A brave lady) (Gratia), modeled on Garasha, was premiered as an opera on July 31, 1698 in the Jesuit theater to celebrate the name day of the Holy Roman Empress Eleonor Magdalene (July 26).
- 平成18年からは、次世代の大正琴音楽文化を担う後継者育成のため流派を問わず参加できる「全国子供大正琴コンクール」をスタートさせたほか、大正琴愛好者に最も好まれた曲を歌った歌手に贈られる「大正琴音楽大賞」も創設した。
- From 2006, in order to foster the next generation of players who will promote the music culture of taishogoto, a 'Nationwide Children's Taishogoto Contest,' open to players from any school was launched and the 'Taishogoto Ongaku Taisho' was established, and is given to the singer who sings the song most liked by taishogoto fans.
- 高麗楽(三韓楽の一つである高麗楽(高句麗の民族音楽)では無く、渤海楽・三韓楽を中心に平安時代に編集された音楽様式)・右方の舞に属するが、渤海 (国)や朝鮮半島が起源なのではなくて高麗楽の様式に則って日本で作られた曲。
- It belongs to Komagaku music (the music form arranged in the Heian period mainly based on the Bohai music and sankangaku [the music of three old Korean countries; Silla, Peakche, and Koguryo], not based on the Komagaku music, one of sankangaku, [Goguryeo folk lore music]) and Uhomai Dance; it was not originated in Bokkai (country) or Korean Peninsula, and it was created in Japan based on the form of Komagaku music.
- また、井戸端に集う女性たちを描いたもの(法華経巻七扇1)があり、そこには曲物を頭に乗せながら裸の子どもの手をひく袿なし姿の里の女、つるべで水を汲みのどをうるおす袿を着た旅姿の女が描かれ、当時の地方の庶民生活がしのばれる。
- Another painting that shows the everyday life of people at that time (the first fan of 'hokekyo' vol. 7) features women gathering around a well, with a village woman without an uchigi and carrying a wooden bucket on her head, leading her naked child by the hand, and another woman dressed for travel in an uchigi, quenching her thirst by drinking from the well bucket.
- それ以外にも素人への謡曲教授などを行い、名誉師範(シテ方観世流)や教授嘱託(シテ方宝生流)など、流儀から一定の資格を得ている人々もいるが、あくまで素人としての称号であって、能楽界においては玄人(能楽師)として認識されない。
- In addition, some people who give lessons on noh songs to amateurs and so on receive certain qualifications from schools, such as the honorary master (shite-kata of Kanze school) or the commissioned instructor (shite-kata of Hosho school), but these qualifications are nothing more than for nonprofessionals and do not allow the holders to be recognized as the professionals (noh actors) in the world of noh.
- 太夫と三味線によって作りあげられる間の緊迫、言葉や音づかいに対する意識、一曲のドラマツルギーを「語り」によって立体的に描きあげる構成力、そのいずれをとっても義太夫こそは浄瑠璃におけるひとつの完成形であるというにふさわしい。
- Judging by any of the following factors, such as the strained intervals created by the dayu and shamisen, consciousness of words and sounds or the dramaturgy to depict music in three dimensions in the form of 'narration,' Gidayu is worthy of being called the culmination of Joruri.
- 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。
- 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.
- 「神奈川沖浪裏」は、後世、それを見たフィンセント・ファン・ゴッホが画家仲間宛ての手紙の中で賞賛する、発想を得たクロード・ドビュッシーが交響詩『海 (ドビュッシー)』を作曲するなど、西欧の芸術家に多大な影響を与えることとなった。
- Kanagawa oki nami ura' had a great impact on Western artists such as Vincent VAN GOGH, who saw it and later praised it in a letter to a fellow painter; and Claude Debussy, who got an idea and composed the symphonic poem 'La Mer (The Sea).'
- ジョン・レノンは1975年、ビートルズ脱退後のソロ曲を集めたベストアルバム『ジョン・レノンの軌跡 シェイヴド・フィッシュ』(Shaved Fish)を出しているが、ここでの「シェイヴド・フィッシュ」とは鰹節のことだ、と言われる。
- In 1975, John Lennon released his album 'Shaved Fish,' which compiled his popular singles issued after the breakup of the Beatles, and in this case the term 'shaved fish' is said to mean katsuobushi.
- 「曾根崎心中」の徳兵衛、「心中天網島」の治兵衛、「恋飛脚大和往来・封印切」の忠兵衛、『伊賀越道中双六・沼津』の重兵衛、『双蝶々曲輪日記・引窓』の南方十次兵衛、『義経千本櫻・すし屋』のいがみの権太、『土屋主税』の土屋侯などが代表作。
- His important works are Tokubei in 'Sonezaki shinju,' Jihei in 'Shinju ten no amishima' (Lovers' suicide in Amijima), Chubei in 'Fuinkiri (breaking the seal), Koibikyaku Yamato orai' (The Amorous Courier on the Yamato Highway), Jubei in 'Iga-goe dochu sugoroku (Japanese backgammon); Numazu' (Through Iga Pass with the Tokaido Board Game, Numazu post), Jujibei MINAMIGATA in 'Futatsu chocho kuruwa nikki; Hikimado'(Skylight of 'A Diary of Two Butterflies in the Pleasure Quarters'), Igami no Gonta of 'Yoshitsune senbon zakura; sushiya' (Sushi restaurant of 'Yoshitsune and the 1000 cherry trees') and Lord Tsuchiya in 'Tsuchiya Chikara' (Chikara TSUCHIYA, hatamoto (a direct vassal of the shogun)).
- また多数の作曲をして、ここで現在の箏曲の基本形が整った(一説には、箏曲の基本形の一つである「段もの」と呼ばれるいわゆる変奏曲に類似した形式は、八橋検校が何らかの形で洋楽、特にチェンバロの変奏曲に接触したことによって生まれたという)。
- He also composed lots of Soh music and the basic form of contemporary Soh music was established at the time (one theory is that Yatsuhashi Kengyo created one of the basic patterns of Soh music called 'danmono,' similar to a variation, when he came in contact in some way with western music, especially cembalo variations.
- 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。
- 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.
- また、千鳥の曲は吉沢検校の作品群の中において、華やかな「京流手事もの(19世紀初頭から後半にかけて京都の盲人音楽家たちによって作曲された手事ものの地歌曲群)」的作品から、簡潔、古雅な美の「古今組」「新古今組」に至る過渡期に位置する曲である。
- Among Yoshizawa Kengyo's works, Chidori no Kyoku is positioned in a period of transiting glamorous works like 'Kyoto-style tegotomono music' (jiuta songs of tegotomono composed by blind musicians in Kyoto from the beginning to the end of the 19th century) to 'Kokin-gumi' and 'Shinkokin-gumi' of the simple and traditional aesthetic.
- また、平安時代にはやはり雅楽の楽曲種類の一つである「催馬楽(さいばら)」(在来の民謡などを当時の渡来音楽である雅楽の編成に編曲した管絃伴奏付き歌曲)の伴奏楽器として、和琴が加わることがあった(現在では普通、催馬楽に和琴が加わることはない)。
- In the Heian period, wagon was used as an accompanying instrument for playing one of gagaku called 'Saibara' (a song accompanied by wind and stringed instruments which was created by arranging indigenous folk music to the style of newly imported gagaku) (at present, wagon is rarely used for playing Saibara).
- それゆえ、三という数にこだわらず、たとえば三味線と尺八だけ、箏と胡弓だけ、三味線と箏、あるいは三味線の本手と替手だけといった編成での演奏も行なわれるし、独奏や四種の楽器での合奏すら可能である(ただしそれらのような場合は三曲合奏とは言わない)。
- Therefore, despite the number 'three' being embedded in the name 'sankyoku,' various kinds of performances are possible, such as an ensemble of just shamisen and shakuhachi, an ensemble of just koto and kokyu, an ensemble of just shamisen and koto, an ensemble of just the leading shamisen and the second shamisen, a solo performance or even an ensemble of four instruments; however, these performances aren't called sankyoku gasso.
- 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。
- 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.
- 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。
- 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.
- また、当道座の盲人たちによって伝承されてきたために法師唄とも呼ばれることもあった (検校など当道座の盲人は髪を剃りユニフォームが「検校服」と呼ばれる僧衣に近いもので、僧形であったため。ただし平曲以外の演奏は民間の礼服である紋付羽織袴が多かったらしい)。
- Furthermore, because it was passed down among the blind people of Todo-za it was also called hoshi uta (because the blind people of Todo-za, such as the kengyo, shaved their heads and wore uniforms called 'kengyo fuku' resembling the robes of Buddhist monks, and therefore they looked like Buddhist priests; but in performances other than Heikyoku it is considered that they often dressed in a combination of a haori and a hakama with a family crest, as the formal attire of ordinary citizens).
- 宗教音楽としての本曲は、各地の本曲を収集した黒沢琴古の琴古流本曲、西園流を学び明治期に明暗対山流を興し、明暗教会の再興に尽力した樋口対山(1856年 - 1915年)の系統をはじめ、各地において明治維新後も伝承されたものが現代においても血脈を保っている。
- Honkyoku as religious music continues to be practiced to this today; the following lineages of honkyoku, including those transmitted after Meiji Restoration across the country, has been transmitted as follows; Kinko school honkyoku, which was gathered throughout the country by Kinko KUROSAWA; and that of Taizan HIGUCHI (1856 - 1915), who first learned the Seien school shakuhachi and established Myoan Taizan school, and later made effort to restore Myoan Kyokai (Myoan Church).
- また三味線音楽が遊里との結びつきも持っていて、どちらかといえば三味線が庶民の楽器として普及したのに対し、箏曲は王朝文学に取材したものが多いなど高雅な精神性を持ち、このため武家では「高尚な音楽」として、箏は武家の娘のたしなみ(アマチュア)としてもてはやされた。
- While shamisen developed as a kind of ordinary people's musical instrument because shamisen music linked with the red-light district, Soh music was regarded as 'music of high spirituality' by samurai families because many pieces were created based on dynastic style literature, and it was praised as an essential achievement for the daughters of samurai families (amateur).
- 代表的な作詞者・作曲者には、金井三笑、冨士田吉次初代、冨士田吉次2代目、櫻田治助初代、杵屋正次郎初代、杵屋正次郎3代目、杵屋六左衛門9代目、杵屋六左衛門10代目、杵屋勘五郎3代目、杵屋六三郎4代、杵屋勝三郎2代目、稀音家浄観2代目、吉住小三郎 (4代目)などが挙げられる。
- Representative composures of lyrics and music include Sansho KANAI, Kichiji FUJITA the 1st, Kichiji FUJITA the 2nd, Jisuke SAKURADA the 1st, Shojiro KINEYA the 1st, Shojiro KINEYA the 3rd, Rokuzaemon KINEYA the 9th, Rokuzaemon KINEYA the 10th, Kangoro KINEYA the 3rd, Rokusaburo KINEYA the 4th, Katsusaburo KINEYA the 2nd, Jokan KINEYA the 2nd, Kosaburo YOSHIZUMI the 4th, and so on.
- 現在、浄瑠璃音楽として残っているものは、義太夫節(丸本歌舞伎専用の義太夫を特に「竹本(チョボ)」と呼ぶことがある)、常磐津節、清元節、それに河東節、一中節、宮薗節(河東節、一中節、宮薗節に上方地歌の系統を引く荻江節を加えた4種を「古曲」と総称する)、新内節、富本節の8種である。
- Eight kinds of Joruri music are existent today, namely Gidayu-bushi (Gidayu specializing in Marumoto Kabuki is sometimes called 'Takemoto (Chobo)'), Tokiwazu-bushi, Kiyomoto-bushi, Kato-bushi, Icchu-bushi, Miyazono-bushi (Kato-bushi, Icchu-bushi, Miyazono-bushi and Hagie-bushi, which derived from Kamigata jiuta (a genre of traditional songs with shamisen accompaniment), are collectively called 'Kokyoku'), Shinnai-bushi and Tomimoto-bushi.
- 近年、見た目の格好が良くないとして好まれないが、男性がズボン下として着用し膝や太ももが、夏に汗ばんだ時は汗を吸着し、かがむ、座るなど脚を曲げる場合、ズボンと膝や太ももとの間にあってスリップ (衣類)や襦袢などと同様に滑りをよくする役目もあり、ズボンを突っ張って傷めることが少ない。
- These days, suteteko is likely to be avoided for its bad appearance, however, it works as underwear that protects the knee and the thigh, absorbs the sweat in summertime, makes the movements of bending and sitting smooth like slip and juban (underwear for kimono), and prevents trousers from being damaged.
- 本領を発揮した舞踊では、記録映画に残された『遅櫻手爾葉七文字』(越後獅子)のほか、『大和い手向五字』(子守)、『六歌仙容彩・喜撰』、『神楽諷雲井曲毬』(どんつく)、『傀儡師 (舞踊)』、『再春菘種蒔』(舌出し三番)、『深山櫻及兼樹振』(保名)、『三つ面子守』、その他多数に至芸を見せた。
- In addition to 'Osozakura Teniha no Nanamoji' ('Echigo-Jishi'), which can be seen as a documentary film, buyo dances that perfectly demonstrated his specialty included 'Yamato Gana Tamuke no Itsumoji' ('Komori'), the 'Kisen' dance of 'Rokkasen Sugata no Irodori,' 'Kagurauta Kumoi no Kyokumari' ('Dontsuku'), 'Kairaishi' (buyo), 'Mata Kuru Haru Suzuna no Tanemaki' ('Shitadashi Sanba'), 'Miyama no Hana to Dokanu Edaburi' ('Yasuna') and 'Mitsumen Komori,' among many other productions.
- 描写的な面では、砧を打つリズムを取り入れた「砧物」の曲群、宇治川での布ざらしを描写した「さらし」、虫の音を描写した「虫の音」(藤尾勾当作曲)や「八重衣」(石川勾当作曲)後半、胡弓楽では「鶴の巣籠」のツル、「蝉の曲」(吉沢検校作曲)のセミ、「千鳥の曲」(同)のチドリ、波、松風が挙げられる。
- Examples of tegoto having a descriptive aspect include a group of pieces in 'Kinutamono' which incorporates rhythms of beating with kinuta (wooden or stone block for beating cloth), 'Sarashi' which depicts nunozarashi (washing of cloth at a riverside) at Uji-gawa River, 'Mushi no Oto' (by Koto FUJIO) which depicts sounds of insects, the latter part of 'Yaegoromo' (by Koto ISHIKAWA), and in kokyugaku, the crane in 'Tsuru no Sugomori' (a song depicting various aspects of the life cycle of the crane), the cicada in 'Semi no Uta' (a song of cicadas) (by Kengyo YOSHIZAWA), the plover, wave, and matsukaze (wind blowing through pines) in 'Chidori no Kyoku' (a song for plover).
- 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。
- 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.
- この時期既にブギウギで流行歌歌手としてデビューしていた美空ひばりも音楽性をシフトさせ、キングレコードから望郷歌謡の春日八郎、三橋美智也、ビクターレコードから任侠路線のスター鶴田浩二、テイチクレコードから浪曲出身の三波春夫、戦後の大スター石原裕次郎、コロムビアレコードからは三波と同じく浪曲界より村田英雄がデビュー。
- Around that time, Hibari MISORA, who had already debuted with boogie-woogie as a hit song singer, changed her musical characteristics, nostalgia singer Hachiro KASUGA and Michiya MIHASHI debuted with King Records, Koji TSURUTA presenting himself as a chivalrous star debuted with Victor Records, Haruo MINAMI, the former rokyoku performer, and Yujiro ISHIHARA, the postwar superstar debuted with Teichiku Records, and Hideo MURATA debuted with Columbia Records, moving out of the world of rokyoku as Minami.
- 一方で、永長元年(1096年)には貴族・官人から庶民までが風流な格好を纏って田楽を演じながら行進した永長大田楽や久寿元年(1154年)の今宮神社 (京都市)御霊会において傘の上に風流な飾りの花を掲げて唄い囃した「風流のあそび」が行われ(『梁塵秘抄』巻14)、後世における音曲や歌で囃す「風流」の原型が記録されている。
- On the other hand, the original form of the 'Furyu' which was remembered by future generations as 'to keep rhythm with music and songs' is recorded in events such as the 1096 Eicho Daidengaku, in which people from the aristocrats and government bureaucrats down to the common people wore Furyu-style costumes and marched while playing Dengaku (a Japanese traditional performing art), and a festival of souls at Imamiya-jinja Shrine (in Kyoto City) in 1154, where a 'Pleasure of Furyu' was held ('Rojinhisho' (poetry book) Vol. 14), in which people held umbrellas decorated with Furyu-style flowers and sang songs.
- 主なヒット曲には「雨の慕情」「おまえとふたり」「大阪しぐれ」「みちのくひとり旅」「奥飛騨慕情」「さざんかの宿」「兄弟船」「氷雨」「娘よ」「北酒場」「矢切の渡し (細川たかし)」「長良川艶歌」「つぐない」「時の流れに身をまかせ」「すずめの涙」「夢おんな」「雪國」「酒よ」「雪椿」「命くれない」「恋歌綴り」「むらさき雨情」「こころ酒」「夜桜お七」「蜩」「珍島物語」など。
- Major hits included 'Ame no Bojo' (Longing in the Rain), 'Omae to Futari' (Together with You), 'Osaka Shigure,' 'Michinoku Hitoritabi' (Solitary Journey to Michinoku), 'Okuhida Bojo' (Longing in Okuhida), 'Sazanka no Yado,' 'Kyodai Bune,' 'Hisame' (Chilly Rain), 'Musume Yo,' 'Kitasakaba,' 'Yagiri no Watashi (Takashi HOSOKAWA)' (Yagiri Ferry), 'Nagaragawa Enka' (Nagara-gawa River Song), 'Tsugunai' (Compensation), 'Toki no Nagare ni Mi wo Makase' (Yielding Myself to the Flow of Time), 'Suzume no Namida' (Tears of Sparrow), 'Yume Onna' (Dreaming Woman), 'Yuki Guni' (Snow Country), 'Sake Yo,' 'Yuki Tsubaki' (Snow Camellia), 'Inochi Kurenai' (Crimson Life of Passion), 'Koi Uta Tsuzuri' (Writing a Love Song), 'Murasaki Ujo'(Purple Rain), 'Kokoro Zake' (Sake of the Heart), 'Yozakura Oshichi' (Oshichi under the Cherry Blossoms in the Night), 'Higurashi' (An Evening Cicada), 'Chindo Monogatari' (A Story of Jindo).
- イギリスからはボルトン・イヤーズ=モンセル海軍省 (イギリス) のメッセージが英国放送協会から、アメリカからはウィリアム・スタンドレイアメリカ海軍作戦部長のメッセージがNBCからそれぞれ放送されたが、アメリカからの放送では予定より早く終了したため、時間調整に日本の曲として『お江戸日本橋』『かっぽれ』という、おおよそ追悼に似つかわしくない音楽が放送されてしまうというハプニングが起こった。
- The message of Bolton EYRES-MONSEL, First Lord of the Admiralty, by BBC from England, and the message of William STANDLEY, Chief of Naval Operation, by NBC from America were broadcast respectively, and it happened that the program by NBC finished earlier than planned, so the NBC broadcast the Japanese songs 'Oedo Nihon-bashi Bridge' and 'Kappore,' which were completely unsuitable to the funeral memory, to fill its allotted time.
- その変遷や必要性において重要な要因は、弓の素材の選定やその組み合わせであり、具体的には「長さ(弓丈)と断面積の比率に対しての弾性率・弾性限界」(断面形状が点対称でない場合は「断面形状と曲げる方向に対しての弾性率・弾性限界」も加味する)や「最小限の引く力と最大限の飛距離」など、条件の妥協点を見出す事にあり、その他には「地上やウマ上から矢を射る」という条件の違いや、「機械化と連射性能」などである。
- The important factors of its necessity and transition were the selection of materials for bows and their combination, in particular, to find 'the elastic modulus and elastic limits against the ratio of length of the bow and cross-sectional dimension' (when the cross-section is not point symmetry, add 'the elastic modules and elastic limit against the cross-section and the direction of bending'), and 'the least power to pull and the longest flying distance,' as well as the difference of conditions such as 'shooting from the ground or from horseback,' and 'the mechanization and the ability of automatic fire.'
- 「なみだの操」「夫婦鏡」「女のみち」「女のねがい」「おやじの海」「よこはま・たそがれ」「傷だらけの人生」「くちなしの花」「ふるさと (五木ひろし)」「喝采 (ちあきなおみ)」「せんせい」「心のこり」「与作」「舟唄」「昔の名前で出ています」「北の宿から」「津軽海峡・冬景色」「おもいで酒」「北国の春」「夢追い酒」など多くのヒット曲が生まれ、フォーク、ニューミュージック、アイドル歌謡などと競い合いながら安定した発展を見せていた。
- With many hits, including 'Namida no Misao' (Tearful Fidelity), 'Meoto Kagami' (Couple Mirrors), 'Onna no Michi' (Woman's Way), 'Onna no Negai' (Woman's Wish), 'Oyaji no Umi' (Father's Ocean), 'Yokohama Tasogare' (Yokohama Twilight Time), 'Kizudarake no Jinsei' (Life with Bruises), 'Kuchinashi no Hana' (Flower of Gardenia), 'Furusato (Hiroshi ITSUKI)' (Hometown), 'Kassai (Naomi CHIAKI)' (Applause), 'Sensei' (Teacher), 'Kokoro Nokori' (Regret), 'Yosaku' (Yosaku [a popular Japanese name for woodcutters]), 'Funauta' (Sailor's Song), 'Mukashi no Namae de Deteimasu' (Coming out in the Name of Old Days), 'Kita no Yado kara' (From an Inn in the North Country), 'Tsugaru Kaikyo Fuyu-geshiki' (Winterscape of the Tsugaru Straits), 'Omoide Zake' (Sake of Memories), 'Kitaguni no Haru' (Spring in the North Country), and 'Yume Oi Zake' (Dream-chasing Sake), enka music developed steadily, competing with folk, new music, and idol songs.