miya masaoka

2004 Composition/Installation for multi-channel system. Commissioned by Engine 27/Harvestworks NYC.
2003 While I Was Walking, I Heard A Sound… commissioned by the Gerbode Foundation and Yerba Buena Center for the Arts for their 10th Anniversary. Scored for mixed choir of 100-150 singers and soloists. San Francisco Chamber Singers, San Francisco Choral Society, Piedmont Children’s Choir, and soloists Randall Wong, Amy X Neuberg and others.
2002 Koto Transliterations, Volume 1. Commissioned by the San Francisco Arts Commission. The work is based on a system featuring a common nomenclature for the koto and the tabla, where techniques from both instruments are incorporated into a new, common vocabulary. Transliterations of traditional Hindustani pieces from the tabla repertoire are transliterated for the koto.
2002 Pieces with Plants, an interactive piece with a philodendron and a performer. Electrodes are connected directly to the plant, and music is interpreted via midi and the computer as the plant responds to gestures of the performer. Performed at the LAB, San Francisco, Chapel of the Chimes, Oakland, CA, Lincoln Center Out -of -Doors.
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2001 Koto, solo koto and tape. A 45 minute suite consisting of five pieces. Commissioned by Alonzo King’s Lines Ballet. Performed live with dancers at Yerba Buena Center for the Arts, Luckman Theater, Los Angeles, Summer Stage, NYC, Dusseldorf, Germany
2001 Thinking Sounds, an inactive piece for live and pre-recorded brain waves, computer, and eight musicians. Brainwaves are superimposed on a grand staff which is interpreted by musicians. Real time brainwaves are processed and incorporated into the piece.
2001 What is the Sound of Naked Men? Commissioned by San Francisco Arts Commission SF and Zellerbach. Performed by the SF Sound Ensemble, with live brain waves, medical equipment including EKG, EEG, and fetal heart monitors, and video, Yerba Buena Gardens, SF; San Francisco Electronic Music Festival, ODC Theater, SF; Beyond Music Festival, Santa Monica, CA curated by Brandon LaBelle.
2000 It Creeps Along, commissioned by People’s Commissioning Fund, Bang on a CAN. Performed by Bang on a Can Allstars and composer with, koto, lasers, powerbook; Miller Theater, Columbia University, NY, USA
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2000 Bee Project #5, commissioned by the Zellerbach Family Fund, Inter-species collaboration in multi-media performance. Performed by Miya Masaoka and for 3,000 live bees participating, koto, computer, video; premiered at the LAB, San Francisco, Intersection for the Arts, SF, Sound Culture, 95, Oakland Museum, CA.
1999 Music For Mouths, commissioned by the ROVA Saxophone Quartet; premiered April 1999 New Performance Gallery, San Francisco, also performances in Japan, Europe
1997-99 Ritual, inter-species collaboration with giant Madagascar hissing cockroaches. Performed by Miya Masaoka with infra-red sensors, video, and cockroaches movements trigger samples; The Performance Art Festival, Cleveland, Ohio, UnNatural Acts, UC Riverside, CA, Intersection for the Arts, the LAB, CyberTheater, Brussels, Belgium, U2, Rotterdam, Holland, La Centrale, Montreal, Canada.
1998 Dark Passages, commissioned by the Civil Liberties Public Education Fund, IAC San Francisco Arts Commssion, collaboration with writer Thulani Davis; for text, string quartet, samples, Buddhist chanters, Japanese American internees and resisters, readers, actors, film, video, slides, Asian Art Museum, San Francisco, CA.
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1997 24,000 Years Is Forever, commissioned by Asian Improv Arts for Desert Flower. Orchestra and tape. Premiered at Asian Art Museum, San Francisco, and Yerba Buena Center, Other Minds Festival 1997 with Masaoka Orchestra
1997 What is the Difference Between Stripping and Playing the Violin? Commissoned by San Francisco Public Art and Transit. Site- specific performance on Market Street, SF. Compositions and improvisations with creative orchestra, text, erotic dancers. Features “tai-chi” conducting—a conducting concept developed by Masaoka, and improvising techniques with electronics; San Francisco, CA, also San Pedro, CA.
1996 Bee Project #1 for koto, violin, percussion and live, amplified bees. Premiered at Sound Culture. Support from Zellerbach Family Fund. Performed at Oakland Museum, CA and Intersection for the Arts, San Francisco.
1993 Unearthed/Unbound for solo koto, commissioned by Jill Togawa and the Purple Moon Dance Co. Premiered at Theatre Artaud, San Francisco, Symphony Space, NYC, Tokyo, Hokkaido, Matsumoto.
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