Jirozo Kishino

...The Kineya Keifu, compiled by Kineya Kangoro III, states that the first Kineya Kangoro, who went down to Edo in the Genna era (1615-24), was the founder of Kineya, and the third Kineya Kangoro (the third Kineya, and the second under the name Kineya Kangoro) was the founder of Choga shamisen, but there is no proof. The next stage, Yaro Kabuki, made rapid progress during the Genroku period (1688-1704), and dances were frequently performed during the intermissions of Tsuzuki Kyogen in addition to the general dances that were used to show the faces of the performers. Composers and shamisen players such as Kishino Jirozo and Yamamoto Kiichi appeared in Kamigata, and Kineya Kisaburo and Kineya Rokusaburo appeared in Edo. The accompanying music was originally called "short songs" or "uta," but from around the Genroku period it came to be called "long songs."

*Some of the terminology that refers to "Kishino Jirozo" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…3世杵屋（きねや）勘五郎編《杵屋系譜》では，元和年間(1615‐24)に江戸に下った初世杵屋勘五郎を杵屋の始祖とし，3代目杵屋勘五郎(杵屋の3代目であり，杵屋勘五郎名義では2世)を〈長哥三絃始祖〉としているが確証はない。次の野郎歌舞伎は元禄期(1688‐1704)を迎えて急速な進歩をとげ，顔見世的な総踊り以外に〈続き狂言〉の幕間にも舞踊が盛んに上演されるようになり，上方に岸野次郎三，山本喜市などの作曲者や三味線演奏者，江戸にも杵屋喜三郎，杵屋六三郎などが現れた。その伴奏音楽も最初は〈小うた〉〈うた〉などとも呼ばれていたが，元禄期ころからは〈長うた〉と呼ばれるようになった。…

※「岸野次郎三」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。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報