It takes a lot of planning and creative effort to successfully present a public concert, and hogaku is no exception.

The production and management companies which assist in arranging and publicizing concerts are the equivalent of corporate marketing directors. No matter how qualified the product, it is their efforts and abilities which determine whether or not the public becomes aware of and appreciates the product. For good or bad, marketing largely determines the product's outcome, and proper promotion can make the difference between a musician becoming well known or remaining in the backwaters.

The pop-music industry is, of course, vitally aware of this, as the success of this genre rests primarily upon market hype and the dictates of fashion rather than anything to do with artistic depth or ability.

In the last few decades Western classical musicians have also become aware of the necessities of commercial marketing, and the result is superstar tenors, conductors with names almost as recogizable as pop stars, and famous orchestras whose individual members are as business savvy as any European impresario.

Hogaku musicians, on the other hand, have traditionally shunned promotional and marketing ploys. For the most part, theirs was an attitude of "Here it is; if you are interested, come and listen." And come and listen they did -- their students, family and fans, at least, but not the general public.

In spite of the high quality of the music and dedicated artistry of most of the players, hogaku musicians have remained very much in the background, and hogaku concerts tend to cater to the same audiences over and over.

Yet times and conditions are changing here as well. Younger hogaku musicians are learning the art of self-promotion. Even though sometimes their efforts lack sophistication, they are responding to a change in attitudes and working hard to reach wider audiences.

In addition, various management companies and agencies are beginning to realize the wider worth of hogaku music and provide the same kind of professional service as the highly organized Western-music production and management agencies already at work in Japan.

Bright One, a production company which has promoted such Western musical stars as Jose Carreras in Japan, has been particularly successful in presenting hogaku and other genres of Asian music. This is due to the untiring efforts of its founder, Wako Takakusa.

Born into a family of hogaku musicians, Takakusa studied koto at Tokyo University of Fine Arts and Music (Geidai) and uses her knowledge and love of hogaku to reach and educate audiences in appreciation of the music. Her efforts herald a new wave of hogaku production and awareness.

Takakusa has been sponsoring a private series of quality hogaku salon concerts for the past several years. Response to these events has been so positive that she has decided to make them available to the general public.

The first one will be a votive hogaku concert of music and dance at Nogi Shrine Oct. 5. Music will include Michio Miyagi's classic favorite "The Sea in Spring," jiuta dance by Keiin Yoshimura, contemporary shakuhachi and shamisen music and a special guest appearance by violinist Tamaki Kanazeki.

"Hono: Hogaku to Mai," 6 p.m. Oct. 5 at Nogi Shrine (subway Chiyoda Line, right in front of Nogizaka Station). Admission free. For more information call Bright One, (03) 5485-3802.

Another high-quality music management company that often offers hogaku concerts is Collecta. The president, Yo Hirai, founded the company about 10 years ago, concentrating on contemporary music and managing large-scale music festivals like the annual Pacific Music Festival held in Hokkaido.

Since many of the contemporary Japanese composers Hirai has produced through the years, like Yuji Takahashi, frequently use Japanese instruments in their works, Collecta gradually began to be a familiar name on contemporary hogaku programs.

Collecta produces one of the most interesting of all yearly hogaku programs, the "Ranjo" series by koto master Hiroe Yonekawa and shamisen expert Kazuko Takada. "Ranjo" presents new works juxtaposed with pieces from the classical repertoire, enabling one to observe how the traditional techniques are used in contemporary works. The October "Ranjo" concert will feature Hirokazu Fujii on shamisen, Miki Maruta on the 17-string koto and Yoshiko Kanda on percussion.

"Ranjo" 7 p.m. Oct. 8 at Yotsuya Kumin Hall (Shinjuku Gyoen-mae subway station). Admission 4,000 yen. For more information or reservations, call Collecta, (03) 3711-0979.

Other good concerts in early October include:

"Soul Beat," a performance by the highly acclaimed drumming group Amanojaku, which features female taiko drummers. 5 p.m. Oct. 3 at Club Citta Kawasaki, (044) 244-7888, a short walk from the JR Kawasaki or Keihin Kawasaki station. Admission, 3,500 yen in advance, 4,000 yen at the door. For reservations or more information, call Amanojaku, (03) 3904-1745, or check its home page: www.pat.hi-ho.ne.jp/amanojaku

Two fine concerts of jiuta shamisen, koto and shakuhachi: Tominari Seijo Jiuta Sokyoku Concert, 7 p.m. Oct. 13, Toho Seimei Hall (03) 3499-2887, near Shibuya Station. Admission 4,000 yen. For more information, call the Seimatsu Kai office, (03) 3484-8766, or e-mail [email protected]

Handa Mieko Koto Sangen Concert, featuring Living National Treasure shakuhachi master Reibo Aoki, 7 p.m. Oct. 15 at Tokyo Shoken Hall (03) 3667-9210, Kayabacho subway station, right above Exit No. 8. Admission 3,000 yen. For more information, call Mieko Handa (03) 3925-4357.

Christopher Yohmei Blasdel can be reached through his Web site, www2.gol.com/users/yohmei