Given the successive appearance of Handayu EDO (Handayu-bushi) and Kato MASUMI (Kato-bushi), who were disciples of Tango SUGIYAMA, Satsuma Geki Dayu (Geki-bushi) and Shuzen Osatsuma Dayu (Osatsuma-bushi), who were in turn disciples of Joun SATSUMA, Miyakodayu Icchu (Icchu-bushi) and Takemoto Chikugo no jo (Gidayu-bushi), this era was epochal in the history of Joruri (Hadayu-bushi and Geki-bushi continued their existence after being integrated into Kato-bushi, and Osatsuma-bushi continued its existence after being integrated into Nagauta (long epic song with shamisen accompaniment).
杉山丹後の門下からは江戸半太夫（半太夫節）、十寸見河東（河東節）が、薩摩浄雲の門下からは薩摩外記太夫（外記節）、大薩摩主膳太夫（大薩摩節）、都太夫一中（一中節）、竹本筑後掾（義太夫節）などが輩出し、浄瑠璃の歴史の上で一時期を画することとなった（半太夫節と外記節は河東節に、大薩摩節は長唄に吸収されて残っている）。