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translation">lit.</abbr><span style="white-space: nowrap;"> </span><span class="gloss-quot">'</span><span class="gloss-text">little songs</span><span class="gloss-quot">'</span>)</span> is a type of <a href="/wiki/Traditional_Japanese_music" title="Traditional Japanese music">traditional Japanese music</a> that originated in the <a href="/wiki/Y%C5%ABkaku" title="Yūkaku">red-light districts</a> of <a href="/wiki/Edo_period" title="Edo period">Edo period</a> (1603–1868) <a href="/wiki/Japan" title="Japan">Japan</a>, before developing further and experiencing wider popularity in the <a href="/wiki/Hanamachi" title="Hanamachi">geisha districts</a> that succeeded many red-light districts. Originally popularised by <a href="/wiki/Geisha" title="Geisha">geisha</a> as an alternative to <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Nagauta" title="Nagauta">nagauta</a></i></span> (<span class="gloss-quot">'</span><span class="gloss-text">long songs</span><span class="gloss-quot">'</span>), <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> are typically no longer than 3 minutes in length,<sup id="cite_ref-Little_Songs_1-0" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 9">: 9 </span></sup> are played on the <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Shamisen" title="Shamisen">shamisen</a></i></span>,<sup id="cite_ref-Institution_of_2-0" class="reference"><a href="#cite_note-Institution_of-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 56">: 56 </span></sup> and are generally accompanied by singing and <a href="/wiki/Japanese_traditional_dance" title="Japanese traditional dance">traditional dance</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The <a href="/wiki/Japanese_language" title="Japanese language">Japanese</a> term <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> has been used for a number of inconsistent musical styles throughout <a href="/wiki/Japanese_history" class="mw-redirect" title="Japanese history">Japanese history</a>, though the term is used in the modern day exclusively to refer to the style of short, informal songs first developed in the late <a href="/wiki/Edo_period" title="Edo period">Edo period</a> (1603–1867) and popularised in the early <a href="/wiki/Meiji_period" class="mw-redirect" title="Meiji period">Meiji period</a> (1868–1912).<sup id="cite_ref-Gei_of_Geisha_3-0" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 26">: 26 </span></sup> </p><p>During the <a href="/wiki/Heian_period" title="Heian period">Heian period</a>, the term <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> was broadly applied to court songs performed by women such as <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Y%C5%ABjo" class="mw-redirect" title="Yūjo">yūjo</a></i></span> (<span class="gloss-quot">'</span><span class="gloss-text">woman of pleasure</span><span class="gloss-quot">'</span>) and <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Shiraby%C5%8Dshi" title="Shirabyōshi">shirabyōshi</a></i></span>. This term was used in contrast to the <span title="Japanese-language romanization"><i lang="ja-Latn">ōuta</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">large songs</span><span class="gloss-quot">'</span>) performed by male court musicians. In later centuries, compilations of short, lyrical songs known as <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> were published; the first of these, entitled <span title="Japanese-language romanization"><i lang="ja-Latn">Kanginshū</i></span>, was published in 1518.<sup id="cite_ref-Little_Songs_1-1" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 14">: 14 </span></sup> </p><p>The term <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> was also used in <a href="/wiki/Noh_theatre" class="mw-redirect" title="Noh theatre">Noh theatre</a>, as well as accompanying early forms of <a href="/wiki/Kabuki" title="Kabuki">kabuki</a> performance. The <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Shamisen" title="Shamisen">shamisen</a></i></span>, which had been introduced to Japan in 1600, had begun to accompany <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> played for kabuki by 1650.<sup id="cite_ref-Gei_of_Geisha_3-1" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 26">: 26 </span></sup><sup id="cite_ref-Little_Songs_1-2" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 15">: 15 </span></sup> By 1740, this style of music used for kabuki – referred to broadly as <span title="Japanese-language romanization"><i lang="ja-Latn">odori uta</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">dance music</span><span class="gloss-quot">'</span>) – had evolved into the <span title="Japanese-language romanization"><i lang="ja-Latn">nagauta</i></span> style, short songs being too short to carry the now-longer dances of theatrical performances.<sup id="cite_ref-Little_Songs_1-3" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 15">: 15 </span></sup> </p><p>The style of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> performed in the present day originated in the late Edo period as short, improvised songs created by musicians already versed in the <span title="Japanese-language romanization"><i lang="ja-Latn">katarimono</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">narrative <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> music</span><span class="gloss-quot">'</span>) styles of <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> music, including <span title="Japanese-language romanization"><i lang="ja-Latn">hauta</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">short songs</span><span class="gloss-quot">'</span>).<sup id="cite_ref-Japan_Times_4-0" class="reference"><a href="#cite_note-Japan_Times-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The first modern <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> piece is said to have been composed in 1855 by <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/J%C5%8Druri_(music)" title="Jōruri (music)">jōruri</a></i></span> puppet theatre singer Kiyomoto Oyō (1840–1901), and was titled <span title="Japanese-language romanization"><i lang="ja-Latn">Chiru wa Uki</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">Those that fall float</span><span class="gloss-quot">'</span>).<sup id="cite_ref-Japan_Times_4-1" class="reference"><a href="#cite_note-Japan_Times-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Performing a <span title="Japanese-language romanization"><i lang="ja-Latn">hauta</i></span> piece in the <span title="Japanese-language romanization"><i lang="ja-Latn">kiyomoto</i></span> style at a faster tempo, Oyō would go on to compose a number of early <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span>, typically through borrowing lyrics from <span title="Japanese-language romanization"><i lang="ja-Latn">kamigata hauta</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">short songs from <a href="/wiki/Kamigata" title="Kamigata">Kamigata</a></span><span class="gloss-quot">'</span>), <span title="Japanese-language romanization"><i lang="ja-Latn">edo hauta</i></span> (<span class="gloss-quot">'</span><span class="gloss-text">short songs from <a href="/wiki/Edo" title="Edo">Edo</a></span><span class="gloss-quot">'</span>) and <span title="Japanese-language romanization"><i lang="ja-Latn">utazawa</i></span> – a style of <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> music characterised as "classy" and "graceful", itself having resulted from governmental reforms aimed at suppressing the excessive erotic expression of late 17th century <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span>.<sup id="cite_ref-Gei_of_Geisha_3-2" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 25–26">: 25–26 </span></sup><sup id="cite_ref-Little_Songs_1-4" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 15">: 15 </span></sup> </p><p>The conflation of <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> genres in <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> became a key feature of the style, with a number of early <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> having separate versions in both <span title="Japanese-language romanization"><i lang="ja-Latn">hauta</i></span> and <span title="Japanese-language romanization"><i lang="ja-Latn">utazawa</i></span>. In the early Meiji period, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> were often creatively composed by a number of <span title="Japanese-language romanization"><i lang="ja-Latn">kiyomoto</i></span> performers, who, having inserted <span title="Japanese-language romanization"><i lang="ja-Latn">hauta</i></span> pieces into their <span title="Japanese-language romanization"><i lang="ja-Latn">kiyomoto</i></span> performances, later extracted these sections to be performed alone, composing new pieces in this style with the use of imagery taken from the pleasure quarters. <span title="Japanese-language romanization"><i lang="ja-Latn">Kouta</i></span>, needing few performers and taking under three minutes to perform, eventually grew into a popular musical tradition of its own right in the Meiji period, forming an independent genre.<sup id="cite_ref-Gei_of_Geisha_3-3" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 26">: 26 </span></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Geisha">Geisha</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=2" title="Edit section: Geisha"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>During the 18th century, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> had grown to become emblematic of the rising merchant (<span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Ch%C5%8Dnin" title="Chōnin">chōnin</a></i></span>) classes of Japan; by the end of the Edo period, these classes had come to favour geisha as the most fashionable female companions, in contrast to the beginning of the Edo period, where <a href="/wiki/Oiran" title="Oiran">courtesans</a> had been considered fashionable. These geisha sang <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> at parties for guests,<sup id="cite_ref-hesselink_5-0" class="reference"><a href="#cite_note-hesselink-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> and became the centre of the popularity of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span>, with all the early founders of modern <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> having been geisha from Tokyo.<sup id="cite_ref-Gei_of_Geisha_3-4" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup> Beginning in the Meiji period, a number of geisha left the profession entirely to teach <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> instead, both to geisha and members of the general public. These geisha would later go on to become the first <span title="Japanese-language romanization"><i lang="ja-Latn">kouta <a href="/wiki/Iemoto" title="Iemoto">iemoto</a></i></span> in the <a href="/wiki/Taish%C5%8D_period" class="mw-redirect" title="Taishō period">early 20th century</a>: </p> <ul><li>Kotama (1876–1941), <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> name Hori Kotama: Kotama, who became the first <span title="Japanese-language romanization"><i lang="ja-Latn">kouta iemoto</i></span> in 1917, was formerly a geisha in <a href="/wiki/Shinbashi" title="Shinbashi">Shinbashi</a> and a student of Yokayama Saki.<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Manual_of_Style/Words_to_watch#Unsupported_attributions" title="Wikipedia:Manual of Style/Words to watch"><span title="The material near this tag possibly uses too-vague attribution or weasel words. (April 2023)">who?</span></a></i>]</sup> Kotama founded a <span title="Japanese-language romanization"><i lang="ja-Latn">keiko ya</i></span><sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="What does this mean? (April 2023)">clarification needed</span></a></i>]</sup> in 1916, and founded the Hori <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> the following year, acting as the first <span title="Japanese-language romanization"><i lang="ja-Latn">kouta iemoto</i></span>.<sup id="cite_ref-Gei_of_Geisha_3-5" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li> <li>Koteru, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> name Tamura Teru: The geisha Koteru of Nihonbashi established the Tamura <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> in 1920, and assumed name Tamura Teru as its <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> in the same year.<sup id="cite_ref-Gei_of_Geisha_3-6" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li> <li>O-yū, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> name Yoshimura Yū: The geisha O-yū of Shinbashi founded the Yoshimura <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> in 1922, assuming the name Yoshimura Yū as its <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span>.<sup id="cite_ref-Gei_of_Geisha_3-7" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li> <li>Kouta Kōbei: Kōbei became a <span title="Japanese-language romanization"><i lang="ja-Latn">kouta iemoto</i></span> in 1923<sup id="cite_ref-Gei_of_Geisha_3-8" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li> <li>Kochō, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> name Tade Kochō: Kochō, a geisha in <a href="/wiki/Hanamachi#Areas_historically_renowned_as_hanamachi" title="Hanamachi">Yanagibashi</a>, became a <span title="Japanese-language romanization"><i lang="ja-Latn">kouta iemoto</i></span> in 1927, assuming the <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> name Tade Kochō and founding the Tade <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span><sup id="cite_ref-Gei_of_Geisha_3-9" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li> <li>Tsurusuke, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> name Kasuga Toyo: Asakusa geisha Tsurusuke became a <span title="Japanese-language romanization"><i lang="ja-Latn">kouta iemoto</i></span> in 1930, and founded the Kasuga <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> in the same year.<sup id="cite_ref-Gei_of_Geisha_3-10" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup></li></ul> <p>In 1917, the first school for teaching <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> opened in <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a>. Students of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> extended from businessmen, artists, and politicians to office women and housewives.<sup id="cite_ref-hesselink_5-1" class="reference"><a href="#cite_note-hesselink-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> The original three <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> <a href="/wiki/Ry%C5%AB_(school)" title="Ryū (school)">schools</a> of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> correspond to three of the most well-known <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Hanamachi#Tokyo_hanamachi" title="Hanamachi">hanamachi</a></i></span> of <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a> in the Meiji period: the Tamura-ha <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> was founded by <a href="/wiki/Nihonbashi" title="Nihonbashi">Nihonbashi</a> geisha Koteru, who later became <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> Tamura Teru; the Tade-ha <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> was founded by Yanagibashi geisha Kochō, who became <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> Tade Kochō; and the Kasuga-ha <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> was founded by <a href="/wiki/Asakusa" title="Asakusa">Asakusa</a> geisha Tsurusuke, who became <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> Kasuga Toyo. </p><p>The resulting spread of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> throughout the general population, as well as the pleasure quarters, was as a direct result of these geisha leaving the profession to teach <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> full-time. <span title="Japanese-language romanization"><i lang="ja-Latn">Kouta</i></span> were considered easy and relatively cheap to learn in comparison to other traditional forms of music, and could be composed quickly, with little need of others to perform fully. </p><p>By the early 20th century, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> had also grown to become a highly-varied music genre, and had long been a key aspect of the entertainment repertoire of geisha, with many <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> lyrics taking direct inspiration from the fashionable entertainment districts where they entertained. By this time, geisha either worked in districts separate from those of courtesans, or outnumbered them significantly within their district. Though the term <span title="Hepburn transliteration"><i lang="ja-Latn">karyūkai</i></span><span style="font-weight: normal"> (<span title="Japanese-language text"><span lang="ja">花柳界</span></span>, the <span class="gloss-quot">'</span><span class="gloss-text">flower and willow world</span><span class="gloss-quot">'</span>)</span> ostensibly referred to both courtesans and geisha living in the same district, courtesans had become a dying breed, and had not been viewed as the height of fashion and female companionship since the early Edo period.<sup id="cite_ref-Institution_of_2-1" class="reference"><a href="#cite_note-Institution_of-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>By the late 1940s and early 1950s, the sheer number of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> students and teachers resulted in a <span title="Japanese-language romanization"><i lang="ja-Latn">'kouta</i></span> boom'<span style="font-weight: normal"> (<span title="Hepburn transliteration"><i lang="ja-Latn">kouta būmu</i></span>)</span>; in Tokyo, as many as over 200 <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> teachers were said to be practicing by 1952, each with 50–60 students, and over 2,000 new <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> pieces were composed.<sup id="cite_ref-Gei_of_Geisha_3-11" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup> This trend continued into the later 1950s, with a number of <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> breaking away from larger <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> schools, resulting in 180 <span title="Japanese-language romanization"><i lang="ja-Latn">iemoto</i></span> and their corresponding schools by 1972. In 2008, the number of <span title="Japanese-language romanization"><i lang="ja-Latn">ryū</i></span> was estimated to be over 200.<sup id="cite_ref-Gei_of_Geisha_3-12" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 27">: 27 </span></sup> </p><p>In the present day, the parties and performances of geisha are where the majority of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> performances are held.<sup id="cite_ref-Gei_of_Geisha_3-13" class="reference"><a href="#cite_note-Gei_of_Geisha-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 25">: 25 </span></sup> Some <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> are directly linked to the <span title="Japanese-language romanization"><i lang="ja-Latn">karyūkai</i></span>, with one famous song, the <a href="/wiki/Gion" title="Gion">Gion</a> <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span>, directly referencing the appearance of the <a href="/wiki/Maiko" title="Maiko">apprentice geisha</a> found in the city's <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Hanamachi" title="Hanamachi">hanamachi</a></i></span> of Gion. </p> <div class="mw-heading mw-heading2"><h2 id="Style">Style</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=3" title="Edit section: Style"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><span title="Japanese-language romanization"><i lang="ja-Latn">Kouta</i></span>, alongside <span title="Japanese-language romanization"><i lang="ja-Latn">nagauta</i></span>, fall into the <span title="Japanese-language romanization"><i lang="ja-Latn">utaimono</i></span> category (<span class="gloss-quot">'</span><span class="gloss-text">lyrical <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> music</span><span class="gloss-quot">'</span> – vocalised music pieces based on native folk poetry) of the traditional <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> repertoire, as opposed to the <span title="Japanese-language romanization"><i lang="ja-Latn">katarimono</i></span> styles that <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> originated from. Most <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> can be sung in under five minutes, with even the longest songs taking no longer than four minutes to sing.<sup id="cite_ref-Little_Songs_1-5" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 9">: 9 </span></sup> As with most traditional <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> music, though <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> <a href="/wiki/Music_notation" class="mw-redirect" title="Music notation">music notation</a> does exist, most are learned by ear without notation. </p><p>The themes and lyrical content of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> vary widely, though they are considered to be more sentimental in content and style than longer ballads. Dalby (2000) notes that "many have a common structure in first sketching a natural scene, followed by a middle or pivot phrase which connects the description of nature to the last section, which talks of some human emotion. This technique is one commonly found in traditional poetry such as <span title="Japanese-language romanization"><i lang="ja-Latn">waka</i></span> and <i>haiku</i>."<sup id="cite_ref-Little_Songs_1-6" class="reference"><a href="#cite_note-Little_Songs-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 13">: 13 </span></sup> </p><p>Despite their poetic nature, in the Edo period, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span>, like geisha and the <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span>, were considered to be a relatively low-class form of entertainment, regardless of their wide popularity.<sup id="cite_ref-Dalby_Geisha_6-0" class="reference"><a href="#cite_note-Dalby_Geisha-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 259">: 259 </span></sup> Though their lyrics are often romantic and sometimes humorous, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> with refined themes of aestheticism, especially those focused on the theme of <span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Ukiyo" title="Ukiyo">ukiyo</a></i></span>, can also be found.<sup id="cite_ref-Kouta_Renmei_7-0" class="reference"><a href="#cite_note-Kouta_Renmei-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Schools_of_kouta_study">Schools of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> study</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=4" title="Edit section: Schools of kouta study"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A group of kouta teachers collectively make up a <span title="Japanese-language romanization"><i lang="ja-Latn">ha</i></span> (school); schools of a city or metropolitan area form an association (<span title="Japanese-language romanization"><i lang="ja-Latn">rengōkai</i></span>). Associations organise recitals in Western-style concert halls twice a year.<sup id="cite_ref-hesselink_5-2" class="reference"><a href="#cite_note-hesselink-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>In the present day, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> are still studied by geisha, for whom <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> form an intrinsic part of their working lives, as well as wealthy housewives and high-level businessmen, who make take lessons in <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> for enjoyment, or to further their own skills to show off at parties.<sup id="cite_ref-hesselink_5-3" class="reference"><a href="#cite_note-hesselink-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Dalby_Geisha_6-1" class="reference"><a href="#cite_note-Dalby_Geisha-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> In previous decades, it was necessary for all geisha to learn and master, to some degree, <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> and the <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> as part of their work; in the present day, only those who decide to specialise in the musical style and playing the <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> pursue study of <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> for any considerable length of time, though geisha who specialise in other arts, such as <a href="/wiki/Buy%C5%8D" class="mw-redirect" title="Buyō">traditional dance</a>, will still study <span title="Japanese-language romanization"><i lang="ja-Latn">kouta</i></span> to aid in their studies of dance and performance.<sup id="cite_ref-Dalby_Geisha_6-2" class="reference"><a href="#cite_note-Dalby_Geisha-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=5" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Nagauta" title="Nagauta">Nagauta</a></i></span></li> <li><span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Shamisen" title="Shamisen">Shamisen</a></i></span> <ul><li><span title="Japanese-language romanization"><i lang="ja-Latn"><a href="/wiki/Sanshin" title="Sanshin">Sanshin</a></i></span>, the predecessor of the <span title="Japanese-language romanization"><i lang="ja-Latn">shamisen</i></span> and a traditional instrument in <a href="/wiki/Okinawa_Prefecture" title="Okinawa Prefecture">Okinawa</a></li> <li><span title="Chinese-language romanization"><i lang="zh-Latn"><a href="/wiki/Sanxian" title="Sanxian">Sanxian</a></i></span>, the predecessor of the <span title="Japanese-language romanization"><i lang="ja-Latn">sanshin</i></span></li></ul></li> <li><a href="/wiki/Geisha" title="Geisha">Geisha</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Kouta_(music)&action=edit&section=6" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-Little_Songs-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-Little_Songs_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Little_Songs_1-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFDalby2000" class="citation book cs1">Dalby, Liza (2000). <i>Little Songs of the Geisha</i>. Massachusetts: Tuttle Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8048-3250-1" title="Special:BookSources/0-8048-3250-1"><bdi>0-8048-3250-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Little+Songs+of+the+Geisha&rft.place=Massachusetts&rft.pub=Tuttle+Publishing&rft.date=2000&rft.isbn=0-8048-3250-1&rft.aulast=Dalby&rft.aufirst=Liza&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Institution_of-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-Institution_of_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Institution_of_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCrihfield1978" class="citation thesis cs1">Crihfield, Liza (1978). <i>The Institution of the Geisha in modern Japanese society</i> (Thesis). Stanford University.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adissertation&rft.title=The+Institution+of+the+Geisha+in+modern+Japanese+society&rft.inst=Stanford+University&rft.date=1978&rft.aulast=Crihfield&rft.aufirst=Liza&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Gei_of_Geisha-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gei_of_Geisha_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-Gei_of_Geisha_3-13"><sup><i><b>n</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFForeman2016" class="citation book cs1">Foreman, Kelly M. (2016). <i>The Gei of Geisha: Music, Identity and Meaning</i>. Oxfordshire: Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-138-25181-6" title="Special:BookSources/978-1-138-25181-6"><bdi>978-1-138-25181-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Gei+of+Geisha%3A+Music%2C+Identity+and+Meaning&rft.place=Oxfordshire&rft.pub=Routledge&rft.date=2016&rft.isbn=978-1-138-25181-6&rft.aulast=Foreman&rft.aufirst=Kelly+M.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Japan_Times-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Japan_Times_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Japan_Times_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTreyvaud2015" class="citation web cs1">Treyvaud, Matt (17 October 2015). <a rel="nofollow" class="external text" href="https://www.japantimes.co.jp/culture/2015/10/17/books/book-reviews/little-songs-geisha-collected-american-anthropologist/">"<span class="cs1-kern-left"></span>'Little Songs of the Geisha' collected by an American anthropologist"</a>. <i>japantimes.co.jp</i>. The Japan Times. <a rel="nofollow" class="external text" href="https://archive.today/20210315125109/https://www.japantimes.co.jp/culture/2015/10/17/books/book-reviews/little-songs-geisha-collected-american-anthropologist/">Archived</a> from the original on 15 March 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">15 March</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=japantimes.co.jp&rft.atitle=%27Little+Songs+of+the+Geisha%27+collected+by+an+American+anthropologist&rft.date=2015-10-17&rft.aulast=Treyvaud&rft.aufirst=Matt&rft_id=https%3A%2F%2Fwww.japantimes.co.jp%2Fculture%2F2015%2F10%2F17%2Fbooks%2Fbook-reviews%2Flittle-songs-geisha-collected-american-anthropologist%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-hesselink-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-hesselink_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-hesselink_5-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-hesselink_5-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-hesselink_5-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHesselink1994" class="citation journal cs1">Hesselink, Nathan (1994). <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3060805">"Kouta and Karaoke in Modern Japan: A Blurring of the Distinction between Umgangsmusik and Darbietungsmusik"</a>. <i>British Journal of Ethnomusicology</i>. <b>3</b>: <span class="nowrap">49–</span>61. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F09681229408567225">10.1080/09681229408567225</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0968-1221">0968-1221</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3060805">3060805</a><span class="reference-accessdate">. Retrieved <span class="nowrap">23 March</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=British+Journal+of+Ethnomusicology&rft.atitle=Kouta+and+Karaoke+in+Modern+Japan%3A+A+Blurring+of+the+Distinction+between+Umgangsmusik+and+Darbietungsmusik&rft.volume=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E49-%3C%2Fspan%3E61&rft.date=1994&rft.issn=0968-1221&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3060805%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.1080%2F09681229408567225&rft.aulast=Hesselink&rft.aufirst=Nathan&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3060805&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Dalby_Geisha-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-Dalby_Geisha_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Dalby_Geisha_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Dalby_Geisha_6-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDalby2000" class="citation book cs1">Dalby, Liza (2000). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/geisha00dalb"><i>Geisha</i></a></span> (3rd ed.). London: Vintage Random House. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0099286386" title="Special:BookSources/0099286386"><bdi>0099286386</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Geisha&rft.place=London&rft.edition=3rd&rft.pub=Vintage+Random+House&rft.date=2000&rft.isbn=0099286386&rft.aulast=Dalby&rft.aufirst=Liza&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fgeisha00dalb&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> <li id="cite_note-Kouta_Renmei-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-Kouta_Renmei_7-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.kouta-renmei.org/eng.html">"WELCOME to our KO-UTA Website"</a>. <i>kouta-renmei.org/eng</i>. The Kouta Federation. <a rel="nofollow" class="external text" href="https://archive.today/20210315131301/http://www.kouta-renmei.org/eng.html">Archived</a> from the original on 15 March 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">15 March</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=kouta-renmei.org%2Feng&rft.atitle=WELCOME+to+our+KO-UTA+Website&rft_id=http%3A%2F%2Fwww.kouta-renmei.org%2Feng.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AKouta+%28music%29" class="Z3988"></span></span> </li> </ol></div></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Kouta_(music)&oldid=1247436061">https://en.wikipedia.org/w/index.php?title=Kouta_(music)&oldid=1247436061</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Japanese_traditional_music" title="Category:Japanese traditional music">Japanese traditional music</a></li><li><a href="/wiki/Category:Geisha" title="Category:Geisha">Geisha</a></li><li><a href="/wiki/Category:Culture_of_Japan" title="Category:Culture of Japan">Culture of Japan</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:Articles_containing_Japanese-language_text" title="Category:Articles containing Japanese-language text">Articles containing Japanese-language text</a></li><li><a href="/wiki/Category:All_articles_with_specifically_marked_weasel-worded_phrases" title="Category:All articles with specifically marked weasel-worded phrases">All articles with specifically marked weasel-worded phrases</a></li><li><a href="/wiki/Category:Articles_with_specifically_marked_weasel-worded_phrases_from_April_2023" title="Category:Articles with specifically marked weasel-worded phrases from April 2023">Articles with specifically marked weasel-worded phrases from April 2023</a></li><li><a href="/wiki/Category:Wikipedia_articles_needing_clarification_from_April_2023" title="Category:Wikipedia articles needing clarification from April 2023">Wikipedia articles needing clarification from April 2023</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 24 September 2024, at 08:06<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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