A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist/sound artist who is currently a Professor at UC Berkeley, where he holds the Jerry and Evelyn Hemmings Chambers Distinguished Professor Chair in Music. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata, Teodoro Anzellotti, Aki Takahashi, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, Steve Schick and the San Francisco Contemporary Music Players, 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, was 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. In 2014, Frances-Mairie Uitti and the Boston Modern Orchestra premiered his concerto for two-bow cello and orchestra, and Guerilla Opera premiered a run of his chamber opera, Gallo, to critical acclaim. He has performed as soloist in his vocal concerto with the Boston Modern Orchestra Project in New York and Boston, the Warsaw Philharmonic, the Lithuanian National Symphony, the Thailand Philharmonic Orchestra, and with orchestras in North Carolina, Pittsburgh, and California. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label. His bio appears in The Grove Dictionary of American Music.

Sound + Process deconstructs new electronic and experimental works through conversations with their composers. These artists all belong to the online community lines (http://llllllll.co). Hosted and produced by Dan Derks.

Groundbreaking Peabody Award-winning conversation about the big questions of meaning, hosted by Krista Tippett. Every Thursday a new discovery about the immensity of our lives — and frequent special features like poetry, music and Q + A with Krista.

Flutist Gina Izzo “Rattles speakers and expectations with stop-time razzle, vocal (flute-talk) and electronic (phaser) effects" (NYC Jazz Record).

Chamber Music America, the national network for ensemble music professionals, develops, supports, and strengthens the chamber music field with a membership including musicians, ensembles, presenters, artist managers, educators, music businesses, and advocates of ensemble music, CMA welcomes members representing a wide range of musical styles and traditions.

CMA Talks series receives support from the National Endowment for the Arts, New York City Department of Cultural Affairs, and the Doris Duke Charitable Foundation.

November 2010 to April 2013
present day and onward found here https://soundcloud.com/quinn-dougherty

FIRE IS THE FIRST AND LAST LEITMOTIF.

THE WHOLE HISTORY OF THEISM IS A COPING MECHANISM AND SOON MY MUSIC-THEATRE WILL INVENT A NEW RELIGION. 
SUBTLETY IS THE ULTIMATE FACADE AND CHAIRS ARE FOR THE COMFORTABLE. STAY UNCOMFORTABLE. BREAK CHAIRS. 
IN WAGNER IF YOU FALL IN LOVE YOU DIE. 
WHEN JULIET IS SCREAMING ABOUT GETTING LAID AND DYING SHE MENTIONS THAT SHE WANTS TO RIDE MAD HORSES INTO THE SUN ITSELF. 
I LEARNED FROM BELA TARR ABOUT THE SACRED COMEDY OF THE APOCALYPSE, THAT A JOKE COULD BE WRITTEN CONSISTING ENTIRELY OF SERIOUS AND GOOD PHILOSOPHICAL WORKS.
SAPIENTIAL ESCHATOLOGY MY GENERATION'S CULMINATING REDEMPTIVE GESTURE TO TAKE BACK THE PREMATURE FEAR IN NIETZSCHE'S THE MADMAN.
IT IS OF UTMOST IMPORTANCE THAT BARDS AND SOOTHSAYERS ARE WILLING TO DENY OR OTHERWISE UNDERMINE THEIR OWN DIDACTIC ENTITLEMENT. 
(THEATRE OF NO CHAIRS MEANS NO HIERARCHY. CHAIRS ARE A COMFORT ZONE. A SUBMISSION TO FOLLOW. TO LET OTHERS DO THE WAKING FOR YOU.) SCREAM AT THE LIGHT

SCHEME TOWARD THE PLANLESS. 
ARCHITECTURE TOWARD NONSENSE.

THE IDEA IS THAT THE FRIAR LOVES THE WOLF LIKE DODD LOVES FREDDY QUELL.
CONCERNING WITH THE PRIMORDIAL NECESSITY OF HUMAN NATURE, THE BEING OF THE STORM. 
IN BLADERUNNER THE REPLICANT SHOWS US BYRONICISM WITH A KIND OF HUMILITY THAT IS INEVITABLE AND A KIND OF INEVITABILITY THAT IS HUMBLE.
I AM CONCERNED RATHER WITH THE STORMFIGHTER'S TRAUMATIC BATH IN THE UNCANNY. 
THE MIND OF THE ROMANTIC IS THE GAZE OF THE SUBLIME.

THE SECRET IS THAT EMERSON UNDERSTOOD STARDUST THEORY; ON BEING ASKED WHENCE IS THE FLOWER.
THE CAPACITY FOR IRRATIONAL THOUGHT IS THE FINAL TRIUMPH OF MIND, MAYBE IT HAS TO DO WITH THE FACT THAT IT IS ATOMICALLY COSMIC. THIS IS INEVITABILITY AND HUMILITY. THE DUST TRAVELED NO DISTANCES BETWEEN THE FIRST STAR AND THE LAST BRAIN. BECAUSE OF THIS, I CANNOT FASCINATE WITH THE FIRE AT A DISTANCE, I NEED TO GO UP WITH THE CATASTROPHIC ANXIETY. BEING AWAKE AND UNCOMFORTABLE. 

IN MESSIAEN'S PLAY THE FRIAR LEARNS THE TOTALITY OF GRACE AND IN THE STORM OF TRAUMATIC ECSTASY HIS BRAIN GOES UP IN FLAMES.
MUCH LIKE NIETZSCHE AT TURIN, WHO BY THE WAY HAD AT THAT POINT DONE AWAY WITH CHAOS/ORDER AND FOCUSED THEN ON CHAOS/DIVINE.

THE MIND IS BY DEFINITION A CATASTROPHIC IMBALANCE SO LIGHT UP THE STORM AND BATHED IN THE UNCANNY THE LIGHT THE DISASTER SEE THE IMBALANCE TO ITS END: FIRE, LOVE, NONSENSE, AS SEEN BY THE STORM AS PRESCRIBED BY THE PRIMORDIAL NECESSITY INHERENT IN THE BEING OF THE AWAKE. IF THE ARCHITECT CAN WORK TOWARD GRACE AND THAT ENDS IN THE STORM OF THE GRACE-DEATH, THAT ISN'T BETTER THAN NONSENSE, THE STORM IS IN THE GRACELESS. 

NONSENSE IS THE CATASTROPHIC IMBALANCE, OURS US I, NONSENSE IS THE STORM ITSELF. 

EVERYTHING BEGINS AND ENDS WITH THE INTERNAL THEISM OF BEING. THE IDEA THAT ALL TRANSIENCE AND TRANSCENDENCE IS BY DEFINITION AN ILLUMINATED ILLUSION AFTER YOUR MIND'S TRIUMPHANT CAPACITY FOR IRRATIONAL THOUGHT. 

WITHIN THE PYROTECHNICAL POTENTIAL OF OUTDOOR THEATRE THE SCHEMES COLLAPSE IN THEIR TRIUMPH. 
LIGHT UP THE STORM.

Gina Izzo [ ladyybirdd ] is following