According to Professor Kono, Tokyo Music School, the predecessor of the Faculty of Music, was established in the Meiji Period in order to adopt Western cultures, place the Western music at the heart of its education and produce excellent musicians. After entering the 21st century, a new trend, in which the Western music and ethnic music in the world (for example, traditional Japanese music and gamelan in Indonesia) are seen as equal in value, has emerged. In that sense, it is important to be conscious of how Japanese people, who have the unique traditional music, can find their own identity, and what kind of expressions musicians can produce as representational artists in the classical music world. Students in the Strings Instruments course usually take lessons on a one-to-one basis. In addition to class contributions, students are graded on their performances in concerts on campus in the first semester, and graded on the term-end exam and other criteria in the second semester. Professor Kono also conducts a seminar, in which students play the instrument in front of other students, give each other criticism and deepen their understanding, and improves students' abilities to play together through classes of chamber music, string ensemble and orchestra.
 Since instructors who were active abroad have been increasing, Tokyo University of the Arts can offer classes comparable to those in universities in Western countries. Also, students from Asian countries, who enter the university and study the authentic Western music, have increased.

 According to Professor Sekine, Noh is an art that expresses what one sees and thinks of using one's body, and it is better when younger people's performances are little bit too strong and stiff. Their performances mature as they get older. They can master Noh dances accompanied with soft and hearty music while acquiring experience. It is better if they thoroughly sense the unfathomed depth and invisible presence of stages when they are children or young. Moreover, jet-black lacks a taste, and "Yugen," which means subtle and profound black that is produced by applying multiple layers of colors, does not contradict strength. Rough performances, and performances that are weak and lack grace are not acceptable. As the saying goes, "Learn to perform by stealing tricks of masters," tricks explained and given by words are just imitations. The shortest way to master Noh dances is to see the dances with one's own eyes and experience them firsthand. Nowadays, many students who are not from schools of Noh enter the Department of Traditional Japanese Music. Since the Ministry of Education, Culture, Sports, Science and Technology gives high priority to traditional performance arts and music, Professor Sekine expects that Noh performers will increase more and more. The music hall, in which a Noh stage is set up, was filled with quiet and tense air when talking with Professor Sekine during a class session. Professor Sekine taught students very attentively, and gave detailed instructions to students while his voice echoed throughout the hall.
 Professor Sekine was apprenticed to Sakon Kanze, the 25th head of the Kanze school, after graduating from the Department of Traditional Japanese Music, Tokyo University of the Arts, and has been active as a shite actor. He has taught at the university as a part-time lecturer since 1984. He has been dedicated to showing Noh performances and coaching people both at home and abroad.

 There are many new dances of Noh, but Professor Sekine teaches only classical Noh dances. Although nowadays appearances of Noh stages, its rhythm and melody are slightly altered, Noh masks and words have not been changed and handed down over 600 years, so one's own individual interpretation of them are not acceptable. In the Noh theater, actors should master classics in the first place, and can finally express the essence of Noh at their 60s and 70s after patiently learning all classics at their 40s and 50s.   Generally, male actors perform without Noh masks, which state is called "Hitamen," when showing their real faces is appropriate for scenes. However, they wear masks when they play a female, devil and god. In addition to playing official roles with Noh masks and costumes, they sometimes perform only the first 3 to 5 minutes of Noh drama, which is called "Shimai," or Noh extracts performed in plain clothes and without musical accompaniment. The four pillars of a Noh stage have very important meaning. If actors stand too close to the pillars, they look weak. When they maintain an appropriate distance from the pillars, they can induce a sense of moderate tension. If they perform too closely together, the tension is lost.

 An actor also should perform particular dance routines. Whey he take a step forward with his left foot, he should stop with his left foot forward. There is an ambiguous style for a right feet, which has a particular meaning. For example, an actor stops with his right foot forward, and pull someone who he catches. These natural flows of movements are systematized and integrated into a law. There are 5 schools of Noh. Some of the schools do not accept female performers. Although the Kanze school accepts female performers, compared to male performers, there are a few chances for female performers to appear on stages. If female performers do not practice hard, they cannot catch up with male performers. In Tokyo University of the Arts, styles of the Kanze and Hosho schools out of the 5 schools are taught. Special courses of "Hayashi," or Noh instrument, "Waki," or supporting role, and "Kyogen," or Noh farce, are established in the university.