Category: Reviews

  • Wall Street Journal: “‘Overtones — Harmonic Seasons’ and ‘Triangle of Resistance’”

    by Allan Kozinn, Wall Street Journal September 13, 2016 Albums from Wu Wei and Miya Masaoka meld disparate accents by combining the instrumentation and musical forms of both worlds. Over the past few decades, Asian composers with Asian roots, have melded Eastern and Western musical accents by combining the instrumentation and musical forms of both… More »

  • Herald-Tribune: Miya Masaoka finds new sounds in ancient instrument

    by Susan Rife, Herald-Tribune November 6, 2015 The Japanese koto is a traditional stringed instrument that, in the words of new-music composer Miya Masaoka, is “basically a hollow log with strings across it.” But from this very traditional instrument, which has its roots in China and is cousin to similar zither-style instruments throughout Africa and Asia,… More »

  • Cleaveland Classical: CMA at Transformer Station — Miya Masaoka

    by Mike Telin, CleavelandClassical.com February 21, 2014 Before the advent of electronic tuning devices there were tuning forks and musicians usually carried at least one in their instrument cases to use to set a pitch standard. Tuning forks also provide entertainment for people of all ages who want to experiment with sound vibrations: strike the… More »

  • The Wire: The Reach of Resonance

    by Dan Warburton, The Wire The Reach of Resonance Steve Elkins (Director) Candela Films 2010, 118 mins Focusing its attention on four mavericks of New Music – Miya Masaoka, John Luther Adams, Jon Rose and Bob Ostertag – this entertaining and thought-provoking debut from Steve Elkins sets out to find music in the unlikeliest of… More »

  • SF Asian Music Examiner: Koto and electronics featured at the Garden of Memory, Oakland.

    Johnathon Bakan, SF Asian Music Examiner June 23, 2011 The concert took place at the Chapel of the Chimes a large Gothic columbarium nestled at the end of Piedmont St. in Oakland, CA. The concert called “Garden of Memory” was a summer solstice celebration concert that featured the best avant-garde, progressive, electro-acoustic, and new music… Ecouterre: LED Kimono Reacts to Music, Motion to Create Interactive Light Show

    by Jasmin Malik Chua Dec 3, 2009 The past and future collide with composer Miya Masaoka’s LED Kimono, a high-tech garment that cuts a time-honored silhouette. But the kimono, which has 444 individually controlled LEDs embroidered along the voluminous length of one sleeve, isn’t just a flashy fashion statement—it’s also an interactive light-and-sound instrument that… The Wire: For Birds, Planes and Cello

    by Brian Morton, The Wire August 2008 Messiaen talked about the”sovereign freedom” of birdsong. Through the open window to my right I can hear the calls and songs of a white throat, a willow warbler, more distantly nesting sandpipers, and a solitary depressed buzzard, all working together in an extraordinary (if presumably accidental) counterpoint. I… More »

  • The New York Sun: Classical Creature

    By Alan Lockwood, The New York Sun January 10, 2008 Miya Masaoka may work in classical composition, but her tools are anything but classical. Bees, plants, cockroaches — these are the tricks of Ms. Masaoka’s trade. The composer and koto player has worked for two decades at expanding compositional and performance parameters, embracing jazz improvisation,… More »

  • Los Angeles Times: “Koto tradition melds with high-tech mode”

    by Josef Woodard, Los Angeles Times January 27, 2007 Masterful and conceptually restless koto player Miya Masaoka has made it her business to usher the Japanese instrument into contemporary contexts, combining respect for tradition with new musical applications. At REDCAT on Thursday in the first of three varied evenings in the CEAIT Festival — for the… More »

  • Pierrou.Free.fr: “Miya Masaoka – Sylvie Courvoisier – Peggy Lee – Trio”

    by Josef Woodard, Pierrou.Free.fr January 27, 2007 Au rayon improvisation libre, un trio forcément fortement original composé de Miya Masoaka au koto, Sylvie Courvoisier au piano, et Peggy Lee (pas la chanteuse, une autre) au violoncelle. L’ensemble est invraisemblablement virtuose et maîtrisé, le mélange de timbres est tout à fait réussi, ce qui n’avait rien d’évident… More »