楽譜の出版には熱心で、精密な三味線楽譜集である「絃曲大榛抄」や、自作曲『秋風の曲』の楽譜である「箏曲秘譜」を発刊した。例文帳に追加

He was keen on the publication of his scores and published 'Genkyoku taishinsho' which was an accurate score collection of shamisen music and 'Sokyokuhifu' which was the score of "Akikaze no kyoku" of his own composition.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

光崎検校は古い箏曲を見直し、組歌と段物を組み合わせた「秋風の曲」や、複雑精緻な高低二重奏曲である「五段砧」を作曲した。例文帳に追加

After looking over the old sokyoku, Kengyo MITSUZAKI composed 'Akikaze no kyoku' (Song of the Autumn Wind) which combined kumiuta, danmono, and 'Godanginuda,' a kind of koto duet music that makes use of high and low-pitched sounds to produce a sophisticated and delicate melody.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

幕末の箏独立期の曲として、先輩光崎検校の作品『秋風の曲』は異国的、ロマンティックであり、同じく『五段砧』はモダン、複雑であるのに対し、吉沢の『千鳥の曲』は古雅、シンプルであるといえる。例文帳に追加

As the music in the period for separating koto in the end of Edo period, while "Akikaze no kyoku" by his senior, Mitsuzaki Kengyo, is exotic and romantic and "Godanginuda" by the same is modern and complicated, Yoshizawa's "Chidori no Kyoku" may be traditional and simple.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

一方『秋風の曲』は、白居易の詩「長恨歌」に取材、やはり江戸初期の楽曲形式である箏組歌と段物のスタイルによって作られた箏と歌のための曲で、そのために新たな箏の調弦法「秋風調子」を考案したが、当時流行していた明清楽の旋法が取り入れられているという。例文帳に追加

On the other hand, "Akikaze no kyoku" (a song for the autumn wind), composed by researching the poem 'The Song of Everlasting Sorrow' by Bai Juyi, was a work for koto and song by the compositional style of koto kumiuta (koto suites of songs) and danmono (most important type in shirabemono (the koto solo instrumental music)) during the early Edo period and for this he invented a new method of tuning koto called 'Akikaze-joshi tuning' where he incorporated the mode of Ming and Xing-era Chinese music (as popularized in Japan before the First Sino-Japanese war) that had been popular in those days.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

このような試みは幕末の音楽作品に色々なかたちで垣間見えるが、中でも、元禄の生田検校以来、三味線に対し従属的な立場にあった箏に再注目することによって、作曲に新たな方向性を見いだしたのが京都の光崎検校であり、「五段砧」「秋風の曲」など箏のみの名曲をも残している。例文帳に追加

Such attempts can be seen in the many styles of pieces from the end of the Edo Period, especially those of Kengyo MITSUZAKI in Kyoto, who found a new direction in composition by refocusing on the koto, which had been neglected in favor of the shamisen since Kengyo IKUTA at the Genroku era (the end of the 17th century) and left koto-only masterpieces such as 'Godan-ginuta' (Instrumental in Five Sections) and 'Akikaze no Kyoku' (Song of the Autumn Wind).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス