An electro-acoustic work in which an artificial voice moves spatially in a virtual three-dimensional sound.
※This is a binaural recording, so please wear headphones or earphones to listen.

Text : Yoshio Nikaho

Detail
https://chikukomiya.com/o-ren

O-ren (Binaural)

Shinjuku

Takadanobaba

Mejiro

Ikebukuro

Komagome

Nishinippori

Ohtsuka

Shin-okubo

Komagome2

INDEX

ぴりあど

NULpourOrchestre

Using ImperfectMatch (Soprano, Electronics)(2015)
NUL (Orchestra)(2014/2015)

ImperfectMatch(hyperpnea remix)

for 2 pianos
Paralysis : 麻痺、中風

May 30, 2017
Tokyo

Text→http://chikukomiya.com/paralysis

パラリシス -Paralysis- for 2 pianos (2017)

Obsessive Paroxysm for orchestra (2018)

Premiere : Conductor Masamichi Watanabe, Tokyo Philharmonic Orchestra

1Piccolo, 2 Flutes, 3 Oboes, 2 Clarinet in B♭, 1 BassClarinet, 2 Bassoons, 1 ContraBasoon, 4 Horns in F, 3 Trumpets in C, 2 TenorTrombones, 1 BassTrombone, 1 Tuba, 1 Piano, Strings

http://chikukomiya.com/obsessive

[Description]
It might say that composing music on a score has a choreographic meaning that shapes the performer's physicality before it shapes the music. The score dictates how the performer should use their body. I composed this piece because I wondered if I could create a work from such a choreographic aspect. The core of the work is an obsessively repeated irregular or regular pulse. This rhythm causes the performer to make spasmodic gestures. Convulsions are an experience beyond our control. It is an unpleasant experience, but at the same time, it is an experience that can bring us pleasure as our body moves on its own without our will. Experiences over which we have no control give rise to transformation between discomfort and comfort, pain and good feeling. In this work, irregular rhythms that are difficult for the human body and regular rhythms appear one after the other. The former is an unpleasant experience in which the body is difficult to control, while the latter is a simple repetitive movement, a pleasurable exercise in which the body can move on its own without consciousness (i.e., the body is out of control in a different vector). In this way, not only the performing body but also the listening body experiences both discomfort and pleasure as it shifts from a rhythm that is difficult to ride to one that is easier to ride. However, alternately repeating the rhythm over and over again in a short span of time reverses the discomfort and comfort. This evokes a kind of unique trance sensation. In add, I used computer-assisted composition for generate these rhythms. And the composer has no control over what kind of rhythms computer generates at the micro level. Even as the composer, he is incorporating something he cannot control. There are also senses of discomfort and comfort in having sound forms generated on one's own. We often feel such obsessive fear or exclusion of others out of our control or over whom we have no control. At the same time, however, the uncontrollable can be pleasurable.
In our modern age, we should think about the desire to control the uncontrollable, the uncontrollable pleasure, and the actual social control of the body.

Obsessive Paroxysm for orchestra(2018)

《For Formalistic Formal (SONATA?) Form For Four》(2020)
for string quartet

Commissioned by Music from Japan
Premiered by Momenta Quartet, in NYC

This composition is a sonata-form work for string quartet that uses only open strings. The elements that constitute the work—a quartet arranged for strings, the sonata form, repeated double-stops using open strings like when a performer tune—are all elements that function as a kind of the norm in the history of Western music. From classical composers on, countless composers have tried writing string quartets in sonata form as a sort of canon. Moreover, for string players and people engaged in Western music, double stops on open strings are indelibly imprinted on their brains from tuning and other familiar resonances. I set out with the goal of realizing these norms in the extreme.
Just as, for example, a drag queen’s flagrant dress, makeup, and gestures exhibit a kind of exaggeration of conventional femininity, thereby exposing how formalized these conventions are, and in revealing transcend them, so I hoped to escape from the authority and rules inherent in Western musical norms by cynically (or in a queer manner) taking them to excess.
The fact that a work like this has been composed by a Japanese and premiered in the United States is significant for the geopolitical history of Western music, born and raised as it was in Europe and now become a music of the world. 

この作品は弦楽四重奏のための開放弦のみを用いたソナタ形式の作品である。弦楽四重奏という編成、調弦をするときのような開放弦を用いた重音の反復、ソナタ形式、この作品を構成するこれらの要素は、いずれも西洋音楽の歴史において一種の規範として機能する要素である。弦楽四重奏という編成でソナタ形式の作品を書くことは古典派以降、一種のカノンとして、多くの作曲家に試みられてきた。また開放弦での重音も弦楽器奏者や西洋音楽に携わるものにとって、チューニングや響きの規範として刷り込まれている。これらの規範を極端に曲の中でリアリゼーションすること。それはむしろ規範を逸脱することになるかもしれない。例えば、ドラァグクイーンのクィアな衣装や化粧や振る舞いは女性性という一種の規範を過剰に演じることで、その女性性がいかに形式的なものかを暴き、その規範を逸脱していく。そのように、むしろ過剰に西洋音楽の規範をなぞることで、西洋音楽的な規範の持つ権威性や規律からの逃走をシニカルに（もしくはクィアに）やってみせることができるのではないかと思った。このような作品が日本人によって作曲されアメリカで初演されるということは、西洋音楽がヨーロッパに生まれ、ヨーロッパで築きあげられながらも、グローバルな音楽となったという地政学的な歴史を踏まえても重要な意味があるはずである。

https://chikukomiya.com/for_formalistic

For Formalistic Formal (SONATA?) Form For Four for string quartet (2020)

Composer / Artist

Chiku KOMIYA was born in 1993. He is a graduate of Tokyo University of the Arts with both undergraduate and graduate degrees in Music and Composition (Masters in Music Research) and designs computer works to generate a rethinking of the relationship between composition and performance. In his acoustic compositions, live electronics and sound installations, the act of performing itself engenders a fresh new sense of the player’s body in performance. His works were performed by Tokyo Philharmonic Orchestra, Momenta Quartet, and Geidai Philharmonia Orchestra, etc.

His string quartet commissioned by Music from Japan was premiered by Momenta Quartet in NY. (2020) He is a recipient of the Second Prize in the 87th Annual Music Competition of Japan, Composition Division, for orchestral work, Obsessive Paroxysm for Orchestra. A solo exhibition of live electronic works entitled “We Have to Keep on Swimming” was presented at Tokyo Wonder Site (TOKAS) in 2016. Komiya’s VOX-AUTOPOIESIS, design: Yutaro Yamada, was published in 2018 by publisher thoasa (honkbooks: available at http://amzn.asia/d/10qNjOx

chiku komiya：小宮知久

Popular tracks