17世紀に成立した伝統的な箏曲を修めた山田検校は、文化年間（文化元年〜14年）に江戸の浄瑠璃などの長所を取り入れた新たな様式の箏曲を創始しました。それが「山田流箏曲」です。それぞれ弾き唄いとなることが多く、尺八や胡弓が加わることもあります。物語風の歌詞とそれを表すドラマティックな響き、風情溢れる情景を爽やかに描く音色などが特徴となっています。

YAMADA Kengyo learned the traditional Koto which was formed in the 17th century began a new style of Koto which took the merit of Jyoruri in Edo in Bunka era (1804〜1818). This became known as ‘Yamada Koto’. It is often played while singing and sometimes played with Shakuhachi and Kokyu. The characteristics are words like a story, dramatic echo to express them, tones to represent tasteful scene freshly and so on.

哀切な曲調で18世紀に人気を博した豊後節を祖にもち、文化年間（文化元年〜14年）に初世清元延寿太夫が創始しました。歌舞伎音楽として、主として日本舞踊の伴奏に用いられます。高音を活かした艶麗（えんれい）な響きの語り、澄んだ音色の三味線（中棹）が特徴。しっとりと情緒ゆたかな曲から軽妙でおどけた曲まで、豊かな表現が特徴となっています。

Kiyomotobushi came from Bungobushi which was popular as melancholic music tone in the 18th century and Enjyudayu Kiyomoto originated in Bunka era(1804〜1818). It is used mainly as the accompaniment of traditional Japanese dance as Kabuki music. The characteristics are a talk with glamorous echo to make use of high tone, Shamisen (chuzao) with pure tone and rich expression from refined and emotional music to lambent and comical one.

17世紀末頃から主として歌舞伎音楽として展開してきた三味線音楽。謡曲、地歌、様々な浄瑠璃など他ジャンルの旋律や題材を取り入れてきたため、幅広い曲調を有しており、曲も多くのレパートリーが残っています。19世紀には、劇場を離れて演奏会のための曲も生まれました。歌舞伎の一場面を彩る日本舞踊の伴奏としても重要な役割を果たし、リズミカルで歯切れのいい三味線、伸びやかな唄など、親しみやすく、多くの演奏人口をもっています。

Nagauta is shamisen music which has developed mainly as Kabuki music from the end of the 17th century. Nagauta has a wide music tone and many repertories, because it has incorporated the melody and some aspects of other genre such as Noh music, Jiuta and various Jyoruri. The 19th century saw the emergence of music not only for theaters but also for concerts. Nagauta plays an important role as incidental music of traditional Japanese dance to color a scene of Kabuki. It is easy for many people to enjoy it owing to rhythmical and crisp shamisen and expansive song, and it has a big playing population.

19世紀中頃に生まれた三味線歌曲。天保の改革で天保13年に劇場等以外での三味線の演奏が禁じられましたが、その間に寄席などで演奏された無伴奏の小編歌曲が原型とされます。その後三味線の伴奏がつけられました。趣き溢れる粋な歌詞、ほどよいテンポ、1曲3〜4分程度の短い演奏時間に曲の情緒がしっかりと紡がれた、親しみやすさから、たちまち全国的に広まりました。

Hauta is Shamisen music which appeared in the middle of the 19th century. Playing shamisen was prohibited outside of theaters etc. in 1841 by Tenpo reform. Short songs without accompaniment playing in Yose etc. in that period are said to be the origin of Hauta. Thereafter, accompaniment of shamisen was added. Hauta spread quickly throughout the nation because of spicy and fashionable words, moderate tempo and friendliness produced by expressing the emotion of the song during the short play for 3-4 minutes per song.

邦楽で用いられるのは「歌舞伎囃子」ともいい、主な楽器は笛、小鼓、大鼓、太鼓。 元々は能で用いられていましたが、のちに歌舞伎でも使われるようになりました。芝居の進行に合わせて客席から見えないところで演奏する場合もあり、日本舞踊で演奏する場合には長唄や清元節等の演奏者とともに舞台上に座る場合もあります。

Hayashi is also said to be `Kabukihayashi` when it is used in traditional Japanese music. The main instruments are a flute called ‘Fue’, a shoulder drum called ‘Ko-tsuzumi.’ a large hand drum called ‘O-tsuzumi’ and a drum called ‘Taiko’. Hayashi was originally used for Noh but later it was used for Kabuki as well. It is sometimes played accompanying the progress of a play at places where the audience cannot see, but it is sometimes played on the stage together with the players of Nagauta and Kiyomotobushi etc, in the case of traditional Japanese dance.