絃原の英語

性格について藤原実資はその日記「小右記」で「博雅の如きは文筆・管絃者なり。例文帳に追加

Details of his personal traits are noted in the 'Shoyuki' Diary by FUJIWARA no Sanesuke: 'apparently accomplished in both letters and ensemble music.'発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

競馬をよくし、詩文や管絃・絵画を好み、藤原孝時から琵琶の伝授を受けたが破門された。例文帳に追加

He often did Kurabeuma (horse racing), liked poetry, Kangen music and paintings, and received instruction of biwa (Japanese lute) from FUJIWARA no Takatoki, but he was expelled.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

選定保存技術「邦楽器原糸製造」の保存団体である、木之本町邦楽器原糸製造保存会は、三味線などの弦楽器の糸（絃）に用いられる原糸を製造する技術の伝承者養成を行っている。例文帳に追加

Kinomoto Town Japanese Musical Instruments Original Yarn Production Conservation Society, the organization that preserves the selected preservation technique “Japanese Musical Instrument Original Yarn Production,” is fostering successors of techniques for manufacturing original yarns used for Japanese shamisen or other string instruments.発音を聞く  - 経済産業省

俳優部では右太プロでは浅香麗三郎、河合映画製作社では燕東三郎と名乗った綾野小路絃三郎、宝塚キネマから来た水原洋一や鳥人・高木新平、新興キネマの五十鈴桂子らが主力となった。例文帳に追加

Key members of the players department were Tozaburo TSUBAME and Genzaburo AYANOKOJI, who called himself Reizaburo ASAKA, from Kawai Eiga Seisakusha, Yoichi MIZUHARA from Takarazuka Kinema and an aviator named Shinpei TAKAGI, as well as Keiko ISUZU from Shinko Kinema.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

平安時代末期の藤原明衡の著である『新猿楽記』には、巫女に必要な4要素として「占い・神遊・寄絃・口寄」が挙げられており、彼が実際に目撃したという巫女の神遊（神楽）はまさしく神と舞い遊ぶ仙人のようだったと、記している。例文帳に追加

"Shin sarugoki," written by FUJIWARA no Akihira at the end of the Heian period, lists four abilities required of miko: foretelling, kamiasobi (kagura), yotsura (playing Japanese harp) and kuchiyose (invocation); the author who saw kamiasobi wrote that it was "like angels dancing with gods."発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

平安時代末期の藤原明衡の著である『新猿楽記』には、巫女に必要な4要素として「占い・神遊・寄絃・口寄」が挙げられており、彼が実際に目撃したという巫女の神遊（神楽）はまさしく神と舞い遊ぶ仙人のようだったと、記している。例文帳に追加

According to the "Shin-sarugoki" (a textbook written about lives and cultures of the people of Kyoto in the Heian period) by FUJIWARA no Akihira in the late Heian period, the four elements shrine maidens were required to master were the abilities of uranai (fortune-telling,) kami-asobi (playing music and dancing in front of gods,) yotsura (beating out strings of Japanese bows as a ritual to ward off evil spirits) and kuchiyose (mediumship or technique to communicate with spirits), and in this book Akihira described his actual experience of witnessing a shrine maiden playing kami-asobi (Kagura), which to him appeared as if an immortal mountain wizard was enjoying dancing with a god.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス