Kineya Rokuzaemon

Japanese: 杵屋六左衛門 - きねやろくざえもん

Nagauta shamisen player and singer. There have been 15 generations to date, including the head of the Kineya family, including Kangoro and Kisaburo. According to the "Kineya Genealogy" compiled by the third Kineya Kangoro, the 2nd, 4th, 6th, 7th, and 9th generations onwards have all taken the name Rokuzaemon, but there is little definitive proof up to the 7th generation, and many points remain unclear.

[Naoko Watanabe]

9th generation

(?-1819) The second son of Tanaka Denzaemon III. Adopted by the 8th head of the family, Kisaburo. Former name was Rokuzaemon III. In 1797 (Kansei 9), he revived and assumed the name Rokuzaemon. Composed pieces such as "Echigo Lion" and "Oharame". He was called "Uekidana" due to his address, and thereafter the Rokuzaemon family came to be known as the Uekidana school.

[Naoko Watanabe]

Teens

(1800-58) The biological son of the 9th generation. Formerly named Saburosuke IV. In 1830 (Tenpo 1), he took the name Rokuzaemon. Along with Rokusaburo IV, he is said to be the founder of the revival of Nagauta. He composed pieces such as "Tomoyakko," "Stone Bridge," "Shizuhataobi," "Akino Irokusa," "Tsurukame," and "Okina Senzai Sanbaso."

[Naoko Watanabe]

11th generation

(c. 1815-77) A nephew in his teens. Formerly known as the 5th Saburosuke. In 1861 (Bunkyu 1), he succeeded to the 11th name. Later he became the 3rd Kineya Kangoro (see the same entry).

[Naoko Watanabe]

12th generation

(1839-1912) Son of Kozaburo Yoshimura. Adopted in his teens. Formerly known as Kisaburo. Succeeded to the 12th generation in 1868 (Meiji 1). Mainly active in the field of performance.

[Naoko Watanabe]

13th generation

(1870-1940) The biological son of the 12th. Formerly named Kisaburo. In 1894 (Meiji 27), he succeeded to the stage name of the 13th. Later, he was called Kangyoku. Together with his younger brother Kangoro V, he devoted himself to the development of Kabuki Nagauta. He composed pieces such as "Nanko" and "Gojobashi".

[Naoko Watanabe]

14th generation

(1900-81) Biological son of the 13th. Real name Kineya Yasuhiko. Former name Kisaburo. Succeeded to the name of the 14th in 1916 (Taisho 5). Though from a family of shamisen players, he switched to singing. He studied under the 4th Yoshizumi Kosaburo (Jikyou), and worked hard to develop new Nagauta as well as pass on traditional Nagauta. Composed pieces such as "Mother's Notes" and "The Ballad of Narayama." Member of the Japan Art Academy. Holder of Important Intangible Cultural Property. Died on August 23, 1981. After his death, his second daughter Rokuza (1930- ) succeeded him as the 15th Rokuzaemon.

[Naoko Watanabe]

[Reference item] | Kangoro Kineya

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

長唄(ながうた)三味線方、唄方(うたかた)。現在まで15代を数えるが、それは勘五郎、喜三郎を含めた杵屋宗家の代数であり、3世杵屋勘五郎編の『杵屋系譜』によれば、2代、4代、6代、7代、そして9代目以降が六左衛門を名のっているが、7代目までは確証に乏しく、不明な点が多い。

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9代

（？―1819）3世田中伝左衛門の次男。宗家8代喜三郎の養子。前名3世六三郎。1797年（寛政9）六左衛門名義を復活襲名。『越後獅子(えちごじし)』『小原女(おはらめ)』などを作曲。その住所から「植木店(うえきだな)」とよばれ、以後、六左衛門家は植木店派とよばれることとなる。

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10代

（1800―58）9代の実子。前名4世三郎助。1830年（天保1）六左衛門を襲名。4世六三郎とともに長唄中興の祖といわれる。『供奴(ともやっこ)』『石橋(しゃっきょう)』『賤機帯(しずはたおび)』『秋色種(あきのいろくさ)』『鶴亀(つるかめ)』『翁千歳三番叟(おきなせんざいさんばそう)』などを作曲。

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11代

（1815ころ―77）10代の甥(おい)。前名5世三郎助。1861年（文久1）11代を襲名。後の3世杵屋勘五郎（同項目参照）。

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12代

（1839―1912）芳村(よしむら)孝三郎の実子。10代の養子。前名喜三郎。1868年（明治1）12代を襲名。おもに演奏方面で活躍。

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13代

（1870―1940）12代の実子。前名喜三郎。1894年（明治27）13世を襲名。のち寒玉(かんぎょく)と称す。弟の5世勘五郎とともに歌舞伎(かぶき)長唄の育成に力を入れる。『楠公(なんこう)』『五条橋』などを作曲。

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14代

（1900―81）13代の実子。本名杵家安彦。前名喜三郎。1916年（大正5）14世を襲名。三味線方としての家系ながら唄方に転向。4世吉住(よしずみ)小三郎（慈恭(じきょう)）に師事し、伝統的な長唄の伝承とともに新しい長唄の発展にも力を注いだ。『母を恋ふるの記』『楢山節考(ならやまぶしこう)』などを作曲。日本芸術院会員。重要無形文化財保持者。昭和56年8月23日没。没後、次女の六左（1930―　）が15代六左衛門を継ぐ。

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[参照項目] | 杵屋勘五郎

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