Enter a Japanese junior high school music classroom and you might wonder what country you're in. Pasted high along the walls of the classrooms are faded pictures of European composers, all looking very austere (and all very dead). In the middle of the room there is usually a Yamaha piano or Electone, and to the side are xylophones, tympani and various other Western instruments. A look in the storeroom will reveal shelves of recorders, sundry percussion instruments, batons and various works of Bach, Beethoven and Wagner scored for piano, chorus or brass bands.

Rarely, if you search carefully, you might find a koto gathering dust in the corner.

A look at the curriculum will confirm that the Japanese music education system has indeed little to do with Japanese music. To be fair, there are three or four pages in the textbook devoted to the "Appreciation of Japanese Traditional Performing Arts," with photos of kabuki plays, short descriptions of gagaku court music and a section on koto, shakuhachi and shamisen music, but in general, the treatment of hogaku in the Japanese music educational system is cursory. Rarely do the students get to hear live performances and almost never do they get to actually touch or play a Japanese instrument.

This is going to change, drastically, in two years. The Monbusho (Ministry of Education), having ignored Japanese music throughout the 20th century, suddenly, in December 1998, announced major revisions in the school curriculum guidelines vis-a-vis hogaku. The word "appreciation" was changed to "perform," and from 2002 Japanese junior high school students must actually be taught a Japanese instrument.

The ministry, which controls almost all aspects of primary and secondary education in Japan, has issued its edict, and those Japanese music educators who for years have been petitioning for more hogaku in the public schools suddenly had their requests granted. Now they must undertake the enormous task of preparing school music teachers for instruction in hogaku and making sure the schools have the proper equipment.

Although it took the monolithic Monbusho over 100 years to finally grant hogaku a place in the curriculum, private institutions and groups have responded quickly to the need for hogaku instruction. One of these is the Gendai Hogaku Kenkyujo (Contemporary Hogaku Research Academy, or "Genhoken").

Founded by shamisen performer Akiko Nishigata in 1995, Genhoken has burgeoned into an institute with a comprehensive curriculum focusing on the performance, history and theory of hogaku. The academy boasts some of Japan's best hogaku performers and teachers.

The academy's curriculum is divided into four yearlong courses. The first year is for beginners. No previous experience is required and students may learn shamisen, koto or shakuhachi. Classes are in the evenings and are divided into two periods: general introduction to various aspects of Japanese music and actual performance.

The second-year course is for those with basic performance skills, and focuses on advanced techniques and ensemble playing. The third and fourth years are intended for those who are seriously considering a career in hogaku.

Genhoken, sponsored in part by the Japan Victor Foundation, accepts students of all ages and nationalities. Although there is no English instruction per se, many of the younger teachers in the academy can speak English and the academy welcomes non-Japanese speakers.

Gendai Hogaku Kenkyujo is now accepting applications for the courses, which begin May 8. Tuition (inclusive of all fees) is 350,000 yen per year (including classes, rehearsals and related gatherings). More information can be obtained through their Web site, www.mejiro.com/hogaku or by e-mail at [email protected] Inquiries via e-mail can be in English. Telephone inquiries (in Japanese) can be made through the Genhoken office, (03) 3565-4197.

Kioi Hall continues with its program of presenting hogaku, both traditional and contemporary, through its hogaku composers' series. The ninth in the series will feature the hogaku compositions of Michio Mamiya.

Although Mamiya is best known for his Western-style compositions, he has created many works for hogaku instruments as well. He has done much research into Japanese folk songs (minyo), especially of the Tsugaru region. This presentation will feature a koto solo, "The First Song for the Meadow," performed by Keiko Nosaka; a quartet featuring shakuhachi, two koto and shamisen; a duo for shakuhachi and cello; a trio for violin, voice and shamisen and a koto quartet.

Mamiya Michio no Hogaku Sakuhin, 6:30 p.m. April 20, Kioi Small Hall (JR Yotsuya Station or subway Akasaka-Mitsuke Station). Admission 4,000 yen, 3,000 yen (student discounts available). For tickets or more information call Kioi Hall ticket center, (03) 3237-0061. The Kioi Hall Web site is at www.kioi-hall.or.jp

Shakuhachi player Keisuke Zenyoji is a master of the shakuhachi style of the old komuso, the basket-hatted monks who wandered the Edo Period countryside, blowing the shakuhachi as a spiritual discipline. The pieces they created, called honkyoku, are deeply meditative and full of nuance, and there are few who play them better than Zenyoji.

His upcoming honkyoku performance is at Kiyoko, an intimate inn situated between the mountains and seaside in Kamakura. Admission includes wine and light snacks. What better way to spend a spring afternoon than drinking wine, listening to shakuhachi and looking out over the waves to Enoshima Island?

Komuso Shakuhachi, 2 p.m. April 22, Kiyoko Inn, Kamakura. Admission 5,000 yen, reservations required. For reservations and directions to Kiyoko Inn, contact Office Toramaru, (0468) 61-8367, fax (0468) 61-8523, e-mail [email protected]

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