This article describes how the author, Koji Matsunobu, a musician and teacher of the piano in Japan, was introduced to the concept of bimusicality in ethnomusicology. Akin to second language acquisition, bimusicality refers to the mastery of a musical idiom other than that associated with one's own culture. Applied in music education, it suggests that music teachers should be acquainted with multiple musical idioms as a prerequisite for licensure. In pursuit of his own bimusicality during graduate school, he tried different types of world music until he encountered the shakuhachi bamboo flute and its surrounding culture. The author remembers one of his teachers explaining to him that many forms of music are like stained glass: they are decorative and therefore beautiful, while others, like the shakuhachi, are meant to be as reflective and reverberant as a pure mirror. Through his musical journey, he has come to believe that it is possible to pursue the art of pure mirror through any medium. His life has surely been enriched by both--stained-glass art and pure mirror art.