ABSTRACT
This chapter deals with four case studies explore in ethnographic detail classical Japanese percussion, and ensemble taiko performance in contemporary Kyoto. Tosha and Imafuji have a critical, even grim view of the current state of hogaku. Imafuji in particular lamented that people do not want to put the time into studying, pursing activities that are perhaps more immediately satisfying. And several of Tosha's students conferred that some named professionals are not as skilled as was once required, as teachers award professional titles for monetary gain and not as a real recognition of talent or skill. Kineya Hiroki in fact feels hogaku in general will eventually fade away in Kyoto. But for now, Tosha Roetsu's Pontocho okeiko offers a remarkable experience. The majority of Basara's members do not feel the group connects with Kyoto in any way. Most of them are not even from Kyoto, but first moved to the city for college or work, and ended up settling there permanently.
