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This is a Jiuta piece . This piece was composed for shamisen by Kineya Yasaburo in 1753 .

History (from Miyata Kohachiro)
The Maiden at the Dojo Temple

Musume Dojoji is one of the great dance-dramas of the kabuki stage. The ancient legend of a young woman possessed by unrequited love provides the framework for a series of solo dances that take the girl from innocence, through frustration, to her transformation into a vengeful serpent-demon. In this performance, three excerpts are linked. The first is a tama (jewel), improvised by the lead shamisen against the accompanying ground patterns of the
second shamisen, a flute, and percussion. The second is a wistful song that demonstrates the characteristic relationship between shamisen and voice; here, the flute follows the melody much more closely than in Ataka
no Matsu or Echigo jishi. The final excerpt is a true display of shamisen virtuosity.

Musume Dojoji appears on the following albums:

Album	Shakuhachi	Koto	Shamisen
Ensemble Nipponia - Kabuki and other Traditional Music  (Listen)
The Maiden at the Dojo Temple Musume Dojoji is one of the great dance-dramas of the kabuki stage. The ancient legend of a young woman possessed by unrequited love provides the framework for a series of solo dances that take the girl from innocence, through frustration, to her transformation into a vengeful serpent-demon. In this performance, three excerpts are linked. The first is a tama (jewel), improvised by the lead shamisen against the accompanying ground patterns of the second shamisen, a flute, and percussion. The second is a wistful song that demonstrates the characteristic relationship between shamisen and voice; here, the flute follows the melody much more closely than in Ataka no Matsu or Echigo jishi. The final excerpt is a true display of shamisen virtuosity.
Venerated Patterns  (Listen)
(Maiden at the Dojo Temple) Di and Shamisen The fury of a woman spurned by her lover Is portrayed in China In the Peking Opera play White Snake, which is based on an earlier Kunqu play of the same name. In Japan, similar plots can be found in the Noh play Doioji, which became the basis of the 1753 Kabuki play Musume Dojoji. On this recording, selected movements are performed with the Di playing the voice part and the Shamisen accompanying in ni agari (raised second string) tuning. An arrangement of the music typically performed at the end of a Kabuki play comprises the final movement.