There are several branches to Kineya—offshoots of the main line a hundred or more years ago—such as Yoshizumi, Fujita, and Yoshimura. The last two companies of musicians are chiefly attached to the Kabuki-za of Tokyo, although they occasionally appear at other theatres. Tokyo critics consider Yoshizumi Kosaburo to possess the best voice, but it is not strong, and his activities are confined to entertainments given in small halls or private residences. He is a ronin among the musicians, and is not a regular member of a theatre company. The two most popular Kineya singers at present are Yoshimura Ejuro, of the Imperial Theatre, and Fujita Utazo, of the Kabuki-za. Kineya Rokuzaemon, although young, has proved himself worthy to assume the responsibilities as head of this old family. After Nagauta, the most popular theatre music is Tokiwazu. It belongs to Joruri, or balladry set to the samisen, one of the innumerable streams of this music of the people. The minstrel who founded this line was Miyakoji Bungojo, and his tune was styled Bungo-bushi. This became all the rage in Yedo, for the words that went with the new airs were highly sentimental, treating of love adventures, elopements, and kindred subjects. It had an unwholesome effect upon society, however, the Bungo-bushi inducing men and women to step out of the prescribed paths of virtue. The authorities did everything in their power to suppress it, but without success. It was but a reaction against the Puritanic rule in force, and the themes of Bungo-bushi—adultery, elopement, suicide, and gambling—were but an expression of dissatisfaction on account of the rigid feudal laws which continually interfered with the people, and caused them to break loose by way of protest. Miyakoji Bungojo lived the life of which he sang, for he was the victim of an unhappy love affair and committed shinju, or double suicide, with a young woman. His adopted son, Mojidayu, succeeded to and completed his father’s work. When Bungo-bushi was forbidden, Mojidayu founded his own school. He was afraid that his new style of music might suffer the same fate as Bungo-bushi and made great changes. In order that it might survive he took all the life and sensation out of it, so that it now gives an impression of stiffness and repression. When Mojidayu looked about for a name for his music, he hit upon one that offended the authorities. It was considered much too assuming and high-sounding, and was taken away from him in consequence. As Mojidayu lived near one of Yedo’s bridges, the Tokiwa-bashi, or Evergreen-Bridge, not far from the modern Bank of Japan, he selected Tokiwazu, and by this name his music has been known ever since. The present Mojidayu is the seventh in succession. Kiyomoto, another branch of Gidayu, is closely allied to Tokiwazu, and a great variety of these tunes may be heard among the people.