The summer months have traditionally been a time when Tokyoites tried to avoid the urban heat either by escaping to the mountains, beaches or, if that was not possible, venturing out during the evening to sit on the riverbank, drink cool, refreshing beverages and listen to ghost stories.

Ghosts have played a large part in daily urban life since Edo Period Japan, and the performing and narrative arts are full of stories of ghosts, both helpful and vengeful, whose recounting no doubt sent chills through the listeners' spines (perhaps not altogether an ineffective way to beat the heat).

Kioi Hall, which sponsors a series of interesting and unusual hogaku programs, is presenting some of hogaku's finest ghost stories in its July concert. But there is a twist: The Japanese ghosts will be joined by one of their occidental counterparts, in a true "spirit" of international cooperation.

As a prologue, hogaku expert Michitaka Takeuchi and rakugo artist Rakutaro Sanyutei will talk about ghosts in Western music. The trio (bass, baritone and piano) will perform the last act of Mozart's "Don Giovanni." This is the frightening scene where the spirit of the slain knight appears to take Don Giovanni to the underworld to avenge the knight's murder.

From there on it is all Japanese ghosts, however. After a rakugo (traditional storytelling) ghost story, there will be a performance of a nagauta (shamisen, voice, flute) piece, "Takao Sange." In this piece, a remorseful ghost relates the horrors and tortures of hell, no doubt meant as a warning to those who might think of misbehaving.

Last is the famous Shinnai ballad (shamisen and voice), " Okyo no Yurei," where a crafty art dealer, thinking he is getting a great deal on a painting of a ghost by the famous Edo Period painter Maruyama Okyo, changes his mind when he discovers that the ghost comes to life after a few drinks of sake.

These are some of hogaku's very best ghost stories and songs. I suggest bringing a light sweater to this concert. Japanese halls tend to be overly air conditioned as it is, and with all the ghosts there floating about, it will no doubt be a chilling performance.

"Yurei -- Ghost," 2 p.m. July 20 at Kioi Small Hall, (03) 5276-4500, a short walk from JR Yotsuya Station or subway Akasaka Mitsuke. Admission 4,000 yen, 3,000 yen (first two rows); students 2,000 yen, 1,500 yen. For ticket reservations or more information, call Kioi Hall Ticket Center, (03) 3237-0061.

Although ghosts were part of the intangible urban scene in Edo Period Japan, the basket-hatted komuso who wandered the streets and back alleys were a very visible and integral part of the Edo landscape and soundscape as well. These monks were ostensibly searching for enlightenment through their disciplined blowing of the shakuhachi, but too often they were out to make money through begging, picking fights or spying for the Edo government. Although there were serious and highly spiritual shakuhachi players among the komuso, their colorful legends are the popular legacy of the komuso rogues and dandies.

Shakuhachi scholar Kayu Kanda has spent a lifetime collecting komuso artifacts and memorabilia and researching their music and playing styles, both the serious and the delinquent. He will have an exhibition of his personal collection, including shakuhachi made by Kurosawa Kinko (1710-1771, founder of the Kinko Style of shakuhachi playing), the Chidori shakuhachi (claimed to be the oldest root-end shakuhachi in existence, over 500 years old), rare sheet music, ukiyo-e woodblock prints on shakuhachi themes, old manuscripts, early gramophone records and much more. He will also be on hand to answer questions and will give scheduled talks on the material. There will be a limited quantity of merchandise for sale. The exhibition space is in Mejiro Shakuhachi Shop, one of Tokyo's best sources for shakuhachi flutes, materials, CDs and music.

"Komuso Story Exhibition" 10 a.m.-5:30 p.m. July 17-18 at Studio M, Mejiro Shakuhachi Shop, Daikan Plaza 2F, 1-31-8 Takadanobaba, Shinjuku-ku, a four-minute walk south of JR Takadanobaba Station. For more information or directions to the store, call (03) 3442-1296. Admission 1,000 yen.

Another concert worth recommending this month is the Annual Seiha Student recital. Seiha is one of Japan's largest private koto and shamisen academies, and they consistently produce high-quality performers skilled in traditional techniques. The performance is free, and if you don't want to cool down with ghost stories you can sit in the spacious, air-conditioned hall and listen to fine classical koto and shamisen music all afternoon. Along with the students, headmasters Yasuko Nakajima and Shinichi Yuize will also perform.

"Seiha Hogaku Kai (Kanto School)" 12 p.m. July 18, at Nikkan Kogyo Hall, (03) 3222-7118, outside Kudanshita subway station exit 5. Admission free. For more information, call the Seiha Academy, (03) 3260-6806.

The three-string, banjolike shamisen, mentioned already in two of the above concert listings, is Japan's most representative lute-type instrument. During the Edo Period, shamisen were as ubiquitous as guitars or pianos are today, and there sprang up a wide variety of playing styles and instruments. Even an inexperienced listener can easily tell the difference between the delicate tones of the nagauta or jiuta shamisen and the vibrant, strong pulsations found in folk styles such as Tsugaru shamisen. Two upcoming concerts will present the best of two distinct styles, jiuta shamisen, which developed around the Kansai region, and the nagauta shamisen, which accompanied theater music in Edo.

"Shamisen Honde Kumiuta" 1 p.m. July 31 at Nikkan Kogyo Hall. Admission 2,000 yen. For more information, call the Ikuta Ryu Assn., (03) 3260-0308.

"The Dramatic Appeal of the Shamisen, Etoku Kineya's Short Recital" 7 p.m. Aug. 4, O-Edo Nihonbashi-tei. Admission 2,300 yen. For more information, call the Etoku Kineya Office, (03) 5454-0338.