This great activity culminated in the Joruri of Takemoto Gidayu who, gathering up all the existing materials, concentrated them in his little doll-theatre, the Takemoto-za of Osaka. Here Chikamatsu Monzaemon collaborated with him, by writing the plays for the marionettes that moved to the voice of minstrel and samisen accompaniment. Gidayu Joruri, or the balladry of Takemoto Gidayu, in turn had an overwhelming influence upon Kabuki. It was Kineya Kisaburo who first introduced the samisen into the orchestra of Yedo Kabuki. Kisaburo was the grandson of Kineya Kangoro, a younger brother of Saruwaka Kansaburo, the founder of Yedo Kabuki. Kangoro was an expert in the O-Kuni Kabuki, and when young was attached to the Saruwaka-za as an actor. He had two actor sons, Kisaburo and Rokuzaemon. Later on Kisaburo gave up acting, and took up the samisen as his specialty. The name Kineya, or rice pounder, came from the crest chosen by Nakamura Kangoro. Thus it came about that this family of Kabuki musicians and singers were firmly established and have continued until the present day. The Kineya genealogy is extremely complicated, but the headship of the house has been handed down from father to son. When there was a failure in blood relation, the best pupil succeeded. The present Kineya Rokuzaemon is the fourteenth in descent, a young man in the twenties. He is at the head of the Kineya musicians attached to the Imperial Theatre of Tokyo, possesses a good voice, and has appeared since he was a lad, growing up, as it were, in the service of the stage. At the time of the fifth Kineya, the theatre music in which the family specialised became known as Nagauta (long poem or song). Before this, the Kineya singers had entertained with short pieces, but their art developed into something more important, for they furnished the accompaniment of drum, flute, and samisen, also the singing to which the actors danced in the music-posture dramas, or shosagoto, the most characteristic productions of Kabuki. This style of theatre music originating in Yedo, it has always been distinguished as Yedo Nagauta. The music is reminiscent of the Nō, from which it has taken much of its technique. The large number of Nō dramas that have been popularised in order to suit Kabuki requirements have received special treatment at the hands of different members of the Kineya family, who possess some two hundred compositions.