 In addition, he adopted a playing style with the shamisen held upright, included the area around the bridge as the playing area, and incorporated beating and slapping the strings in contrast to exclusive use of the plectrum.However, other scholars, such as Gerald Groemer, argue that due to a lack of documentation, the account advanced by Kazuo may not be entirely accurate.Nitabō had multiple blind students, such as Kinobo and Chōsakubo, who contributed to the development of the style.