MSN Learning & Research - Search Results - Masaoka AND Shiki statistics, daily performance charts, and a pitching game log. masaoka, miya Homepage. http//thecity.sfsu.edu/~miya/ http://encarta.msn.com/teleport/fromTools/find.asp?brand=elibrary&q1=Masaoka+AND
Bee Project Wendy Reid performed violin, Gino Robair performed percussion . miya masaoka performed on koto. http://thecity.sfsu.edu/~miya/bee.html
Extractions: #1 is a music composition scored for violin, percussion, bowed koto and live bees. A live bee hive of 3,000 bees in a glass exhibit case is on stage and the audio output of the bees, is mixed live, responding to the instructions on the score and to the performative nuances of the players. In addition to the large mass of bee sound, smaller number of bees, yellow jackets and bumble bees are isolated in tubes, so that through live audio mixing, individual bees can "solo" Through this process I have discovered that by isolating a critical mass of bees, the bees create rhythms that can be mixed into the sound landscape. This piece was premiered at the Oakland Museum with support from the Nature Sound Society, Sound Culture, and the Oakland Museum in May, 1996 as part of Sound Culture, an international sound festival. Wendy Reid performed violin, Gino Robair performed percussion, Miya Masaoka performed on koto. Liner Notes: BEE PROJECT #1 3,000 bees are vibrating their wings creating a pitch of approximately middle C. Their social organization, and sound
Miya Masaoka Be patient. You'll get there. http//otherminds.org/shtml/masaoka.shtml. http://www.otherminds.org/html/Masaoka.html
Extractions: Barre Phillips (Bass); Miya Masaoka (Koto); Jon Rose (violin) english It is almost unbelievable: in spite of being invited to the samefestivals and/or two of them playing together in all kind of formationsthese three important figures of improvisational music so far never before had a chance to playtogether as a trio. The audiences on site in Vienna, on line, and inVancouver as well as the musicians there are experiencing a true"First"... Burle Avant adds his visual mix to this special event, using alsolive on line images from Vancouver. BACK
Jazz | ALL ABOUT JAZZ | The Web's Ultimate Guide To Jazz miya masaoka'S TRANS TIMBRAL LITERATION TRIO at the Tonic, New York City. miyamasaoka truly defines uncategoricalsimply she is beyond category. http://www.allaboutjazz.com/articles/open1001_03.htm
Extractions: By Laurence Donohue-Greene Miya Masaoka truly defines uncategoricalsimply she is beyond category. She has performed and/or recorded with musicians as varied as Steve Coleman, Pharoah Sanders, the Rova Saxophone Quartet, Henry Kaiser, Fred Frith, James Newton, Wadada Leo Smith, Reggie Workman, Andrew Cyrille, Gino Robair, and trombonist/electronics experimenter George Lewis. Masaoka, in addition, has presented works that also include such diverse instrumentation and mixed media in conjunction with her koto playing as various electronics (including laptop experimentation), violin, bassoon, a live bee hive (yes, you read right), dancers, poetry, and naked Asian men (yes, you read right again!) Needless to say, I expected the unexpected when going to see her perform live during her too rare of a New York, from Northern California, visit over at the Tonic in early September. Her Trans Timbral Literation Trio, as she labels this collective and fairly new experiment, featured tabla player, Samir Chatterjee and trumpeter, Amir El Saffar. Masaokas already established Eastern sense of space and time would certainly be showcased at the forefront of this trio, or presumably so. The music was written out and of a demanding nature with all six eyes, for the most part, glued to the sheet music. The formal structure and complexity of the music wound up an antithesis of Masaokas personal strengths unfortunately, though there were more than a few memorable highlights from Masaoka's latest experimentation.
Jazz | ALL ABOUT JAZZ | The Web's Ultimate Guide To Jazz Expanding Boundaries miya masaoka. miya masaoka is an artist who stretches theboundaries of music into experimental and experiential realms of creativity. http://www.allaboutjazz.com/articles/womn0301.htm
Extractions: By Teri Harllee Miya Masaoka is an artist who stretches the boundaries of music into experimental and experiential realms of creativity. Her compositions explore sound and rhythm, creating unique sound landscapes. She is classically trained, holding degrees in both Western and Eastern music. Masaoka incorporates many styles in her compositions: Gagaku (Japanese court orchestral music), jazz, avant-garde, new improvised and electronic music. Her influences are many and include jazz artist Pharoah Sanders, virtuoso Indian violinist L. Subramanian, avant-garde composer Alvin Curran, Arditti String Quartets Roham de Saram (who taught her bowing techniques), Asian American jazz artists Francis Wong and Mark Izu, and, of course, her gagaku teacher, Suenobu Togi. Miyas instrument is the koto, a Japanese zither-like instrument with roots in the spiritual practice of Shintoism. In gagaku and Shintoism, a musical instrument, in this case, the koto, is sacred a god embodying a spirit. To pluck the strings of the koto is to release its spirit or soul, which we hear as sound, and the main goal is that the player becomes the koto. The highest goal of gagaku is to become one with the instrument.
JazzWest: Composer And Performer Miya Masaoka JazzWest Profile. miya masaoka, Koto Master by Bill Minor. Composerand performer miya masaoka. This month, we're pleased to present http://www.jazzwest.com/archive/articles/masaoka.html
Extractions: The koto a thirteen-string instrument with a body made from two pieces of paulownia wood, originally intended to imitate the shape of a crouching dragon is mentioned on fifteen different occasions in Japan's first novel (and perhaps the world's), "The Tale of Genji," written in the eleventh century. In the epic "Tale of the Heike," a warrior finds the emperor's lost paramour by way of the unique voice of her koto playing. How then, nineteen centuries later, does a Japanese-American woman born in Washington D.C. discover and eventually master this ancient instrument, expanding its traditional capabilities to include New Music and jazz?
Extractions: The koto a thirteen-string instrument with a body made from two pieces of paulownia wood, originally intended to imitate the shape of a crouching dragon is mentioned on fifteen different occasions in Japan's first novel (and perhaps the world's), "The Tale of Genji," written in the eleventh century. In the epic "Tale of the Heike," a warrior finds the emperor's lost paramour by way of the unique voice of her koto playing. How then, nineteen centuries later, does a Japanese-American woman born in Washington D.C. discover and eventually master this ancient instrument, expanding its traditional capabilities to include New Music and jazz?
Metroactive Music | Miya Masaoka Challenging the KotoMonster. Tradition meets the cutting edge whenMiya masaoka manipulates her koto. By Marianne Messina. ALTHOUGH http://www.metroactive.com/papers/metro/07.20.00/koto-0029.html
Extractions: Improvised Turmoil: Miya Masaoka has collaborated with everyoneand thingfrom Pharoah Sanders to a box full of bees. Challenging the Koto-Monster Tradition meets the cutting edge when Miya Masaoka manipulates her koto By Marianne Messina A LTHOUGH MIYA MASAOKA plays the Japanese koto, an instrument wrapped in more than 1,000 years of tradition, there isn't much that's traditional about her. Masaoka has taken her "note-bending zither," her refined technique, her Gagaku (formal court music) training under a Sensei who can trace his lineage back 1,000 years, and she has hybridized them almost beyond recognition by interfacing not only with improvisational jazz but also with technology. This year, for example, at the San Francisco Electronic Music Festival, Masaoka made music by dancing: her movements triggered laser sensors on what she calls her "koto-monster," a mutant koto she created with a team of musical hardware and software experts at the STEIM Institute in Amsterdam. Like other Mills College alumni (John Cage, et al.), Masaoka hounds the cutting edge in search of new voices for the human artistic impulsein fact she originally chose Mills because, as she put it, "There's not a lot of academic fat there" (fat being instructors whose "careers in academia affect their perspective on the art").
HCA: Miya Masaoka In Performance miya masaoka in Performance Thursday, May 18, 8 pm. Musician andspring Artistin-Residence miya masaoka will captivate audience http://www.headlands.org/Programs/20000518.shtml
Extractions: Thursday, May 18, 8 pm Musician and spring Artist-in-Residence Miya Masaoka will captivate audience members with a presentation of old and in-progress work developed during her residency in the Headlands. A composer, virtuoso instrumentalist and audio performance artist, Masaoka mingles contemporary methods and technologies with Eastern tradition, blending the music of the Japanese koto with digital sampling, improvisation, performance and video. In this one-night-only appearance at HCA, Masaoka will capture and integrate the amplified sounds of the human body with the hypnotic rhythms of her koto and electro-acoustic live sampling. Building on a work-in-progress, and surrounded by more than 10,000 acres of coastal Headlands wilderness as source material during her residency, Masaoka will take audience members on an experimental journey, testing new ideas and blurring traditional boundaries of culture, gender and artistic discipline. For five years, Masaoka has been creating compositions, videos and performance art pieces while investigating, among other things, the sound, behavior and social organization of insects. She has performed throughout the U.S. and abroad and is a recognized innovator in the contemporary music world. Home About HCA Public Programs Support HCA ... Map + Directions Headlands Center for the Arts, 944 Fort Barry, Sausalito, CA 94965
Extractions: Home Backlist: Ambient Audio Art/Radio Art Books Classical /20th C [a-c] [d-h] [i-r] [s-z] Experimental [a] [b] [c] [d] ... Industrial/Noise Jazz/Improvisation [a] [b] Anthony Braxton [c] ... [w-z] Rock [a-b] [c-d] [e-g] [h-j] ... Video World/Ethnomusicology [a-g] [h-t] [u-z] World: Ocara ... How to Order Instrumentation Codes ACC= accordion VOC= vocals, voice Ingram Marshall David Moss Machine for Making Sense On second thoughts: O.O. DISCS OO-#19-CD ($19.00 CD) 'Machine had the sonic purity of England's AMM, but with a scary, on-the-edge fierceness. Any sense their machines makes is psychic, not linguistic...' -Village Voice. Jim Denley, Chris Mann, Rik Rue, Amanda Stewart, Steve Wishart. Machine for Making Sense Talk is Cheap SPLIT RECORDS SP-4-CD ($25.00 CD)
Artist Detail miya masaoka. koto. Link to home page miya masaoka. Biography miyamasaoka is a pioneering artist whose work has helped place http://www.bayimproviser.com/artistdetail.asp?artist_id=19
Venue Detail Beth Custer and miya masaoka Beth Custer and miya masaoka tear it up on electricclarinet and koto improvisations, delivering a psychedelic whirlwind of http://www.bayimproviser.com/venuedetail.asp?venue_id=60
Real Audio: Music & Arts DUETS George Lewis, trombone, miya masaoka, Koto CD1023(1). Add to ShoppingCart. The wildly adventurous music on this album is performed http://www.musicandarts.com/JazzNewReleases.html
Extractions: CD-1051(2) Add to Shopping Cart A PREVIOUSLY UNISSUED CONCERT CD-1051(2) DUKE ELLINGTON IN HAMILTON, ONTARIO (1954): Take the "A" Train/Introduction; The Mooche; How High The Moon; Serious Serenade; Theme for Trambean; Skin Deep; Tenderly; PerdiD-; Monologue (Pretty And The Wolf); Ellington Medley; Things Ain't What They Used to Be; Satin D-ll; Stompin' At The Savoy; I Let A Song Go Out Of My Heart; Caravan; The Bunny Hop Mambo; Isle of Capri Mambo; The Hawk Talks; All The Things You Are; Duet; Blue Jean Beguine; Take The "A" Train; Warm Valley; Jam With Sam; Closing Remarks/God Save The Queen. Personnel: Clark Terry, Willie Cook, Cat Anderson, Ray Nance, Quentin Jackson, Britt Woodman, George Jean, Jimmy Hamilton, Rick Henderson, Russell Procope, Paul Gonsalves, Harry Carney, Duke Ellington, Wendell Marshall, Dave Black. Disc No. 1, timing: 56:00. Disc No. 2, timing: 66:38. Originally released in 1994 in a limited edition by Radiex Music, Rexdale, Ontario, Canada; first general release. (AAD) UPC # 0-17685-10512-8 audio samples: Take The 'A' Train/Introduction CD-1042 Add to Shopping Cart There was a period in the 1920's when Paul Whiteman was much better-known than the up-and-coming George Gershwin. Whiteman's band leading career began after World War I: within a short period of time he had some major hit records on the charts and he was being billed as "The King of Jazz" although "King of Jazz Age" would have been more accurate. For about a decade, he was the most famous bandleader in the world, heading a huge variety of orchestra which played, in addition to viable jazz, show tunes, novelties, vocal ballads, symphonic jazz and the compositions of George Gershwin. Whiteman commissioned and premiered Gershwin's Rhapsody in Blue as well as the Concerto in F and remained a lifelong advocate of Gershwin's music, even using the main melody from Rhapsody in Blue as his theme song.
-=:: Downtown Music :: Pictures :: Miya Masaoka ::=- DOWNTOWN MUSIC, miya masaoka October 1, 2002 Center Picture 7. back tothe list Buy miya masaoka's music at Djangos or CDUniverse. home page http://www.downtownmusic.net/pictures/picturesxhtml/artist.Miya_Masaoka/default.
Miya Masaoka Artists Catalog Buy Music Links Contact Etc. miya masaoka. Guerrilla Mosaics,Guerrilla Mosaics (2002) a sax-koto-percussion conversation http://www.482music.com/musicians/miya-masaoka.html
Butcher / Masaoka / Robair masaoka / Robair John Butcher, miya masaoka and Gino Robair have separately spentcareers as innovators in composition, improvisation and performance. http://www.482music.com/artists/butcher-masaoka-robair.html
Extractions: John Butcher, Miya Masaoka and Gino Robair have separately spent careers as innovators in composition, improvisation and performance. Though each of the others has worked separately with Robair, Guerrilla Mosaics records their first meeting as a trio. John Butcher lives in London and has played the saxophone for about 25 years. By the early 80s he had developed an individual voice, while also completing a physics doctorate on the theoretical properties of charmed quarks. His music now ranges through free improvisation, composition, multitracked pieces, work with pre-recorded tape, and also with live electronics. His solo work was featured in the BBC TV series "Date with an Artist". Groups he has played with include Derek Bailey's Company, John Stevens' Spontaneous Music Ensemble, Chris Burn's Ensemble, Butch Morris' London Skyscraper, Polwecshel, EX Orkestra. Duos include concerts with Gerry Hemingway, Fred Frith, Phil Minton, Derek Bailey. Gino Robair is a percussionist, music journalist, and published composer living in the San Francisco Bay Area. Gino frequently tours North America and Europe as a soloist and often improvises in ad-hoc groups. He has performed and recorded with Anthony Braxton, John Butcher, Otomo Yoshihide, Tom Waits, Eugene Chadbourne, John Zorn, Nina Hagen, Thinking Fellers Union Local 282, ROVA Saxophone Quartet, and he is a founding member of the Splatter Trio. Gino has studied percussion with Ron George, AMM percussionist Eddie Prevost, William Kraft, and William Winant; studied composition with Barney Childs, Lou Harrison, David Rosenboom, and Larry Polansky; and has earned two masters degreesElectronic Music and Compositionfrom Mills College.
Miya.html miya masaoka The Usual Turmoil interview by Declan O'Driscoll.The koto is a visual wonder. 21 strings over two pieces of wood http://www.btinternet.com/~rubberneck/miya.html
Extractions: Miya Masaoka: The Usual Turmoil - interview by Declan O'Driscoll The koto is a visual wonder. 21 strings over two pieces of wood (shaped like a coffin); bridge like a human spine. It has presence. When it is played by Miya Masaoka (born 1958) sound and movement combine as she reaches across its length, scrapes a string, strokes its underside with a ball or bows it. A choreography that is her thought process, each sound a careful decision, each action a thought. The possibilities, already vast, are extended further by the technology created for her at STEIM in Amsterdam. Just played notes return, percussive effects created on the hollow body of the koto are sampled to build a dark, rumbling layer. A committed political activist and resident of San Francisco, Masaoka began studying koto in her twenties, having already spent four years working in a Mack Trucks assembly plant where, apart from working on the line, she was a shop steward. After receiving a degree in music at Mills College (among her tutors were Willie Winant, Alvin Curran and David Tudor) she worked for two years as artistic director of a music workshop for homeless people. Through meetings with Henry Kaiser, Lisle Ellis and Larry Ochs she began to find her way into the San Francisco improvising community and eventually became recognised there, and beyond, as a player of great imaginative depth, with an explorer's urge to push towards new territory that would lead to her playing with, among others, Mark Dresser, Ikue Mori, Susie Ibarra, Cecil Taylor, George Lewis, Pharoah Sanders, John Zorn and Jon Rose.
SDR Jazz Homepage - CD-Tip Miya Masaoka Trio Monk´s Japanese Translate this page CD-Tip der Woche 6. miya masaoka Trio Monk´s Japanese Folk Song. dizim records4104 Besetzung miya masaoka (koto) Reggie Workman (b) Andrew Cyrille (dr). http://www.jazz-network.com/cd-tip/cd-98-06.html
Extractions: dizim records 4104 30 Jahre nachdem Thelonious Monk einen "Japanese Folk Song" (Straight no Chaser, 1966) eingespielt hat, verbindet nun die 40jährige Japan-Amerikanerin Miya Masaoka Monks Kompositionen mit asiatischen Traditionen. Und dies auf einem alten japanischen Instrument: der Koto.
