Matsunosuke Kasugai

...Especially noteworthy are Takekawa Kumekichi and Hirosawa Iwasuke of the late Edo period. Kumekichi's beautiful high-pitched voice and Iwasuke's delicate shamisen and rhythm reformed the art of Isuke and Hideyoshi, which had a hint of ritual music, and elevated it to a pure Naniwabushi. Before the Meiji period, Naniwabushi was mainly performed in tent performances in the precincts of shrines and temples, but in 1874 (Meiji 7), Kasugai Matsunosuke and Yagitei Seika appeared on the stage at Azabu Fukuitei, and also in various vaudeville halls. Following in the footsteps of earlier performing arts such as rakugo and kodan, it gradually gained popularity in the entertainment world. After that, the Tokyo Naniwabushi Guild, headed by Kasugai Matsunosuke, and the Kansai Ukarebushi Guild, headed by Inoue Harumu, were established, and Naniwabushi continued to flourish. Especially after the Russo-Japanese War, it took advantage of the trend towards nationalism and achieved great development by adopting the theme of loyalty to the emperor and patriotism.

*Some of the terminology that refers to "Kasugai Matsunosuke" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…とりわけ特筆すべきは，幕末の竹川粂吉と広沢岩助で，粂吉の美声高音と岩助の微妙な三弦と節とは，祭文の臭みが抜けきれなかった伊助や秀吉の芸を改革し，純粋の浪花節にまで高めた。　明治以前の浪花節は，主として神社仏閣の境内で小屋掛け興行をしていたが，1874年(明治7)，春日井（かすがい）松之助や八木亭清歌などが，麻布福井亭の高座へ出演したのをはじめとして，諸方の寄席にも出演するようになり，落語や講談などの先行演芸に追随して，しだいに芸界における人気を集めていった。以後，春日井松之助を頭取（とうどり）とした〈東京浪花節組合〉，井上晴夢を取締役とする関西うかれ節組合〈愛国社〉とが設立され，浪花節は隆盛の一途をたどったが，とくに日露戦争後は，忠君愛国をテーマとすることで国粋主義の時流に乗って大発展をとげた。…

※「春日井松之助」について言及している用語解説の一部を掲載しています。

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