The yearly National Theater's Hogaku Composers' Competition, entering its fourth year, has firmly established itself as an important institution for the hogaku world. The original aim of this contest was to generate interest in and foster new works of hogaku, and in this it seems to be succeeding quite well. Each year an increasing number of entries is tendered, and each year the level of composition rises as young composers experiment with new combinations of instruments and sounds.

What is especially notable is the increasing number of hogaku compositions submitted by foreigners. The grand prize winner of this year's contest, judged in a public concert held at the National Theater June 30, was Chinese composer Hu Yin Yue. Hu is presently a research student at Tokyo National University of Fine Arts and Music (Geidai). His winning composition, titled "Hama no Aki no Yoru no Tsuki wo (Moon at the Autumn Beach)," for koto, sho and percussion instruments, was inspired by the elegance of the Heian court, as gleaned from the "Tale of the Genji" and the writings of the famous Heian poet, Fujiwara Teika. The piece exhibited very sensitive use of the instruments, evocative of the lyrical lifestyles and sensibilities of the Heian courtiers.

"Zan Sho," for two shakuhachi, by Venezuelan student Rodrigo Segnini, made it to the finals but failed to win an award. Although a little long and overextended, the piece was interesting in its use of cleverly juxtaposed traditional shakuhachi performance techniques, performed by expert shakuhachi players Teruhisa Fukuda and Teruo Furuya.

The National Theater Hogaku Composers' contest is open to any nationality, age or musical background. The rules are purposely broad and inclusive, stating only that the composition must:

* Be a previously unperformed composition which uses Japanese instruments (voice, koto, shamisen, shakuhachi, fue, biwa, Japanese percussion instruments, gagaku instruments, etc.; seven-holed shakuhachi, 17-stringed and 20-stringed koto are also acceptable). Non-Japanese instruments can be used as accompaniment.

* Include no more than six performers, in any arrangement.

* Be 10 to 20 minutes in length.

* Be written in Western stave notation. A cassette recording (not necessarily professional quality) is requested along with submission of the composition.

Only one entry per person is allowed; all entries for next year's competition must be received between Jan. 19 and Feb. 2, 2001.

Judges will be composers Toshi Ichiyanagi, Hiroshi Nagahiro, Sukeyasu Shiba, Hozan Yamamoto and Minoru Miki. The winning composition will be judged in a performance scheduled for June 29, 2001. Prize money is 1 million yen for first place and 200,000 yen for the runnerups.

Kokuritsu Gekijo Sakkyoku Konkuuru. Inquiries and applications should be directed to: Geinobu Dai-Ni Seisakushitsu, Kokuritsu Gekijo, 4-1 Hayabusa-cho, Chiyoda-ku, Tokyo 102-8656. Tel. (03) 3265-7411, fax (03) 3265-8872.

August is always a slow month for hogaku concerts. No one wants to put up with the heat, and people are usually out of town for the Bon holidays. Furthermore, until the last 30 years or so, halls did not have the luxury of air conditioning. On the other hand, these halls could be had cheaply during the summer months, and therefore many hogaku teachers schedule their student recitals during this time.

I often mention these recitals, called o-sarai kai or, during the summer, yukata kai, since the players forgo the hot, formal kimono for the cooler, more intimate yukata. Since the students bear the production costs, the recitals are usually free or at very low cost.

Of course, much of the playing is at an amateur level, but at the end of the concert the teacher and his or her colleagues always perform a few pieces, making the wait worthwhile. And now we have the luxury of air conditioning in even the oldest of halls, so sitting in a cool hall, sipping barley tea and listening to hogaku is not a bad way to spend a summer's afternoon and evening.

Two such recitals are coming up in early August. Yutaka Mikoya, a virtuoso young koto player of the Yamada style, and his colleagues will be presenting a yukata sarai kai, performing a total of 23 Yamada pieces with accompaniment on the shakuhachi by Jido Fujii.

The liveliness of nagauta, the main accompaniment for kabuki stage dance, always makes for an interesting concert experience as well. Performances are a major affair, with rows of shamisen players, singers, percussion and flutists, and the performers, with their flashy exhibits of technique, are always entertaining to watch and listen to.

An upcoming recital of students of top nagauta performer Rokusaburo Kineya will present an afternoon of nagauta, accompanied by the full orchestra of strings, flutes and drums.

"Sokyoku-Shakuhachi Yukata Sarai," 11 a.m. Aug. 6 at Tokyo Shoken Kaikan Hall, (03) 3667-9210, Kayaba-cho subway station, exit 8. Admission free.

"Ikenohata-ha Domonkai Yukata Benkyokai: Nagauta," 11 a.m. Aug. 6, Nikkan Kogyo Hall, (03) 3222-7118 Kudanshita subway station, exit 5. Admission free.

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