Paul Kuritz - The Making of Theatre History.
Kuritz fails to make any note or reference to the use of puppets in Noh drama. This may either be because there is no actual primary texts that exist. Maybe he was uncomfortable with the lack of research on the topic. It is quite possible that he omitted it because it seemed obscure and unnecessary for his aims in the text (giving students an over view of theater history), which would be quite contradictory. It is unclear why he does not approach this issue.
Seima Takanashi -- Japanese Mechanical Dolls.
With little help from the traditional journal/book essays I turned to the web. Takanashi's history includes a link from puppet to Noh that was referenced by no other source. He links the creation of the puppets to the mask work of Noh. Takashani's history is very focused on the history of the Japanese puppet as related to modern puppetry. .
It was in the 18th century, halfway through the Edo period, that Japan saw the debut of puppets, called "karakuri-ningyo," with mechanisms fitted inside that made them move by themselves as for the Japanese puppets, their initial development dates back to the middle of the 16th century when "Nanban (foreign) culture" made its way to the country near the end of the Muromachi Era the Japanese [puppets], probably influenced by Japanese traditional, Noh plays, pursued abstract movements to express human emotions.the head of a Japanese puppet is created in the style of a Noh mask. Just; as a Noh performer wearing a blank mask expresses human emotions by slight movements, the abstract moves of the puppet stir feelings in the heart of the audience. (Takanashi).
As with the other texts, the Takanashi history lacks specific references and deals with vague ideas and referrals to medieval texts. Takanashi's focus is so, the reader, once again, must question why the connection between puppets and their use in the Noh drama is not emphasized.