There are generally two types of professional hogaku musicians: those who are born into a musical family and learn from an early age and those who encounter the music later in life and apply themselves to its study.

The first type has a distinct advantage -- they are immersed in the musical metier as children and their impressions of the world are informed by a musical upbringing. Hearing and then practicing the music day in, day out permeates their unconscious, and the act of performing becomes second nature to them.

Those who decide to study hogaku as adults, on the other hand, must expend vast amounts of time and energy in acquiring technique and mastering the musical subtleties. This is not necessarily a disadvantage, however, since approaching a tradition through a conscious decision, as opposed to the default route of being born into a musical family, means that the musician is driven by powerful motivation and the desire to learn. Some of Japan's most stellar hogaku musicians come from outside the traditional families.

Sometimes, however, a musician comes along who has the benefit of being born into a musical family and yet is also consciously motivated to maintain strict standards and discipline. (This is not as common as one might imagine, especially nowadays, as a number of the sons and daughters of traditional musical families merely coast on the family reputation and connections.)

The Fujii family is one example of the marriage of heritage and motivation. Kunie Fujii began her studies of shamisen and koto under her mother, the late Keiko Abe, during the war. Abe was one of the recognized masters of jiuta- style shamisen playing, but at the time, strict wartime rules prevented anyone from being able to perform -- or even practice. As a young girl, Kunie had to practice shamisen and koto under cover of a thick futon to prevent the neighbors from hearing and turning her in to the secret police. In spite of the oppressive wartime situation, Abe tried to keep the tradition alive as best she could.

After the war ended, Abe immediately instigated a family concert series of traditional shamisen, koto and shakuhachi music called the "San Raku Kai," in an effort to motivate and preserve the classics. It was extremely popular and featured many of the great postwar hogaku players as special guests, with performances lasting from noon to midnight. In this atmosphere of dedication and discipline, Kunie matured into one of Japan's greatest traditional shamisen artists.

Now Kunie's children, Hirokazu and Akiko, are in their early 40s and late 30s. Like their mother and grandmother, they grew up in a family in which everything was centered upon traditional music. Although neither have experienced the hardships that Abe and Kunie had to endure, and could easily get by on name only, both are highly motivated and continue to study, practice and perfect their art. Their increasing visibility in the traditional hogaku world attests to their dedication and acceptance as serious musicians.

So much so that Kunie has decided to resurrect the "San Raku Kai" concert series begun by her mother so many years ago. It is her way of passing on the torch and making sure that the present and future generations continue what she and her mother have so carefully preserved.

In researching this article, I spoke with Kunie-sensei, whom I have known and worked with for more than 20 years. She remembered a point during the postwar "San Raku Kai" concert series when her mother made it clear that Kunie had equaled or even surpassed her own artistry. It was an important moment for her. Now, she said, that same moment has come for her children.