Japanese shōka education—the system of school singing introduced after the Meiji Restoration (1868)—has long been regarded as a foundation of modern school music education in Japan. Previous scholarship has examined shōka primarily as musical material, focusing on lyrics, tonal structures, and its role in national modernization and Westernization. In this framework, modernization has been interpreted as educational progress, and Western musical systems treated as neutral or universal models. Consequently, limited attention has been given to issues of cultural hierarchy and equity—particularly which traditions were prioritized, which were marginalized, and how these choices shaped educational values. Research also addresses the use of shōka in colonial schooling in Taiwan and Korea, where school music functioned as an instrument of imperial governance. However, far fewer studies have examined shōka within Japan itself as a site where cultural priorities were negotiated under Western influence. This gap calls for reconsidering shōka not merely as a vehicle of modernization but as a culturally and politically ambivalent practice. In response to global debates on decolonization and equity, this study re-examines Japanese shōka as a site of cultural hierarchy and social reform from the Meiji era to postwar democracy. It clarifies how shōka education contributed both to modernization and to the formation of cultural hierarchies in modern Japan. Methodologically, the study combines documentary research with musical and textual analysis. It examines shōkasongbooks, education ordinances, and national curricula (Courses of Study), focusing on tonal and melodic structures, lyrical themes of nationhood and moral cultivation, and the adaptation of Western source melodies into Japanese contexts. By comparing European originals with their shōka versions, the analysis shows how musical Westernization was institutionalized while lyrics reflected shifting ideological frameworks. A comparative review of the Meiji, Taishō, early Shōwa, and postwar periods traces changes in musical form, educational aims, and political meaning. The findings indicate that shōka education operated through a dual structure that persisted across political transformation. While Western tonal models continued to dominate musical structures after World War II, lyrical content and educational philosophy shifted from imperial nationalism to democratic ideals emphasizing individuality and civic responsibility. By highlighting both continuity and transformation, the study offers a historically grounded perspective that contributes to contemporary discussions on decolonization, equity, and cultural diversity in music education.