音四郎の英語

シテ方観世流三世音阿弥の子・観世与四郎吉国（1440年〜1493年）が、金春流太鼓方の流祖金春豊氏の弟子となって流儀を興した。例文帳に追加

Yoshiro Yoshikuni KANZE (1440-1493), a son of the 3rd shite-kata Kanze-ryu Otoami, apprenticed himself to Harutoyo KONPARU, the founder of Konparu-ryu taiko-kata, and founded the school.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

1976年の6号の特集「母音調和を探る」には六母音説を主張する服部四郎の「上代日本語の母音体系と母音調和」と松本の「日本語の母音組織」が並んで掲載され、互いの説を批判し合うという体裁が採られた。例文帳に追加

The June issue of 1976 featured 'investigation of vowel harmony,' with Shiro HATTORI's article 'Ancient Japanese Vowel System and Harmony' that advocated for the theory of six vowels and Matsumoto's 'Japanese Vowel Structure' appearing next to and criticizing each other.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

これらの電話端末の種別と名前及び敬称とを音声生成回路６にて音声データに変換し、例えば”井上四郎先生の携帯から電話です”のようにスピーカ７から音声出力する。例文帳に追加

A voice generator circuit 6 converts the type of telephone terminal, the name and the title to voice data and a speaker 7 outputs them audibly e.g. 'There is a call from Mr. Shiro Inoue by portable phone'. - 特許庁

音阿弥の後は四世又三郎政盛（音阿弥の子）、五世三郎之重（政盛の子）、六世四郎元広（之重の子）、七世左近元忠（法名宗節、元広の子）と四代にわたって幼少の大夫が続いた。例文帳に追加

Following Otoami, the fourth Matasaburo Morimasa (Otoami's son), the fifth Saburo Yukishige (Masamori's son), the sixth Shiro Motohiro (Yukishige's son) and the seventh Sakon Mototada (his homyo (a Buddhist name given to a person who has died or has entered the priesthood) was Sosetsu, Motohiro's son) succeeded the position of dayu in order; thus, infant dayu continued for four generations.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

この元次は他に記録に名が見えないため、元雅の前名とするのが一般的であるが、元雅の兄とする説、世阿弥の弟である四郎（音阿弥の父）とする説、音阿弥の共演者として記録に名の見える「観世五郎」と同一人物視する説もある。例文帳に追加

Because this name, Mototsugu, is not found in other records, it is generally considered a previous name of Motomasa; however, there are other opinions including that Mototsugu was an older brother of Motomasa, Mototsugu was in fact Shiro (a father of Onami) who was a younger brother of Zeami, or that Mototsugu was the same person as 'Goro KANZE' recorded as a person who performed with Onami.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

とくに板額にやり込められる藤沢四郎は、板額の怪力に震えながらも花四天の郎党を引き連れて、下座の音楽に乗ってノリ地で門尽くしの台詞を述べるなど、道化じみた端敵の性格で劇を盛り上げている。例文帳に追加

Especially Shiro FUJISAWA, who is put down by Hangaku, sets the stage alight with his clownish ha-gataki (bit-part actor for enemy role) characteristics such as the dialog of 'mon dukushi' (filled with gates) in nori-ji (in a rhythmic manner) to the accompaniment of the stage-right music while leading the rotos (retainers) wearing hanayoten (constables in colorful uniform), even though he is shivering with fright caused by Hangaku's mighty strength.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス