"Kineya genealogy" - Kineya Keifu

...However, in the next Wakashu Kabuki (banned in 1652), the shamisen took over as the main instrument instead of the four-beat, and the distinction between actors and performers was also established. In the Kineya Keifu compiled by Kineya Kangoro III, the first Kineya Kangoro, who went to Edo during the Genna era (1615-24), is listed as the founder of Kineya, and the third Kineya Kangoro (the third generation of Kineya, and the second generation under the name Kineya Kangoro) is listed as the "founder of Choga Shamisen," but there is no definite proof. The next type of kabuki, yaro kabuki, made rapid progress during the Genroku period (1688-1704), when dances began to be performed in between acts of "tsuzuki kyogen" in addition to the general dances that were used to show the performers' faces. Composers and shamisen players such as Kishino Jiroza and Yamamoto Kiichi appeared in Kami-gata, and Kineya Kisaburo and Kineya Rokusaburo appeared in Edo.

*Some of the terminology explanations that refer to "Kineya Lineage" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…しかし，次の若衆歌舞伎(1652年禁止)では四拍子に代わって三味線が主要楽器の地位を占め，俳優と演奏者の別も確立した。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。…

※「《杵屋系譜》」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