A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist who is currently an Associate Professor at UC Berkeley. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata, Teodoro Anzellotti, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, SFCMP, the Nieuw Ensemble, and Frances-Marie Uitti. His music has been performed at such venues as Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, the Muziekgebouw, Ars Musica, Warsaw Autumn, Other Minds, the Hopkins Center, Spoleto USA, Steim, and at the Norfolk Music Festival. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, has been featured in their repertoire for over ten years, with performances at such venues as Queen Elizabeth Hall in England, the Vienna Konzerthaus, and was aired on Italian national radio, RAI 3. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin in 2011. As a vocalist, he specializes in extended techniques and has collaborated in improvisations with Ryuichi Sakamoto, Joey Baron, Ikue Mori,Robyn Schulkowsky, Joan Jeanrenaud, Tim Feeney, and David Wessel amongst others. Recently, he performed his vocal concerto with the Warsaw Philharmonic. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label. For more information, please visit - http://kenueno.com
Winner of the 2006-2007 Rome Prize and the 2010-2011 Berlin Prize, Ken Ueno, is a composer, vocalist, improviser, and cross-disciplinary artist. His music coalesces diverse influences into a democratic sonic landscape. In addition to Heavy Metal sub-tone singing and Tuvan throat singing, he is also informed by European avant-garde instrumental techniques, American experimentalism, and sawari or beautiful noise, an aesthetic in traditional Japanese music. Ken’s artistic mission is to champion sounds that have been overlooked or denied so that audiences reevaluate their musical potential. The music pushes the boundaries of perception and challenges traditional paradigms of beauty. In an effort to feature inherent qualities of sound such as beatings, overtones, and artifacts of production noise, Ken’s music is often amplified.
Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Frances-Marie Uitti, Mayumi Miyata, Teodoro Anzellotti, Alarm Will Sound, the Boston Modern Orchestra Project, the San Francisco Contemporary Music Players, the Warsaw Philharmonic, the Lithuanian National Symphony, the Nieuw Ensemble, Wendy Richman, Greg Oakes, the Del Sol String Quartet, Vincent Royer, the Bang on a Can All-Stars, the American Composers Orchestra (Whitaker Reading Session), the Cassatt Quartet, the New York New Music Ensemble, the Prism Saxophone Quartet, the Atlas Ensemble, Relâche, the Pro Arte Chamber Orchestra, Dogs of Desire, the Orkest de Ereprijs, and the So Percussion Ensemble.
Ken’s music has been performed at Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, Ars Musica, Warsaw Autumn, the GAIDA festival, the Muziekgebouw, the Hopkins Center, Spoleto USA, and Steim. He has been the featured guest composer at the Takefu International Music Festival, Norfolk Music Festival, the Great Lakes Chamber Music Festival, the Pacific Rim Festival, the Intégrales New Music Festival, and the MANCA Festival in Nice, France where he performed as a vocal soloist in his piece with the San Francisco Contemporary Music Players. Over the past five years, he has performed as soloist in his vocal concerto with orchestras in New York, Boston, Warsaw, and Lithuania. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, has been featured in their repertoire for over ten years, with performances at such venues as Queen Elizabeth Hall in England, the Vienna Konzerthaus, and was aired on Italian national radio, RAI 3. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin in 2011. In 2012, he was a featured artist on Other Minds 17. Most recently, Frances-Mairie Uitti and the Boston Modern Orchestra premiered his concerto for two-bow cello and orchestra this past January.
Awards and grants that Ken has received include those from the American Academy in Rome, the American Academy in Berlin, the Fromm Music Foundation (2), the Aaron Copland House, the Aaron Copland Fund for Music Recording, Meet the Composer (6), the National Endowment for the Arts, the Belgian-American Education Foundation, First Prize in the 25th “Luigi Russolo” competition, and Harvard University. A monograph CD of three of his concertos was released on the Bmop/sound label.
As a vocalist, Ken specializes in extended techniques (overtones, throat-singing, multiphonics, extreme registers, circular singing), and has collaborated in improvisations with Ryuichi Sakamoto, Joey Baron, Ikue Mori, Robyn Schulkowsky, Joan Jeanrenaud, Pascal Contet, Gene Coleman, Tyshawn Sorey, David Wessel, Robin Hayward, John Kelly, Jorrit Dykstra, Kevork Mourad, Gilberto Bernardes, Hans Tutschku, James Coleman, and Vic Rawlings amongst others. Ken’s ongoing performance projects include collaborations with Tim Feeney, Matt Ingalls, Du Yun, and Lou Bunk.
In recent years, Ken has been collaborating with visual artists, architects, and video artists to create unique cross-disciplinary art works. With the artist, Angela Bulloch, he has created several audio installations (driven with custom software), which provide audio input that affect the way her mechanical drawing machine sculptures draw. These works have been exhibited at Art Basel as well as at Angela’s solo exhibition at the Wolfsburg Castle. In collaborating with the architect, Patrick Tighe, Ken created a custom software-driven 8-channel sound installation that provided the sonic environment for Tighe’s robotically carved foam construction. Working with the landscape architect, Jose Parral, he collaborated on videos, interactive video installations, and a multi-room intervention at the art space Rialto, in Rome, Italy. In 2013, Ken created a 24-channel audio installation, Liquid Lucretius, which was installed at the Museo Universitario Arete Contemporáneo in Mexico City for two months. Currently, he is working with the architect, Thomas Tsang, to create an installation at the Inside-Out Museum in Beijing. The work sonically activates a stairwell as a resonant chamber, which leads to a sonic aperture with an opening outside the building, effectively turning the building into a large wind instrument.
Ken is currently an Associate Professor at the University of California, Berkeley. www.kenueno.com