<\/p>\n
<\/p>\n","protected":false},"author":659,"featured_media":5546,"template":"","class_list":["post-152","faculty-profile","type-faculty-profile","status-publish","has-post-thumbnail","hentry","expertise-composition-and-music-theory","expertise-specific-contemporary-and-20th-century-music-theory","expertise-specific-contemporary-performance-practice","expertise-specific-japanese-court-music","what-i-teach-composition","what-i-teach-music-analysis-and-theory","what-i-teach-specific-contemporary-extended-techniques","what-i-teach-specific-instrumentation-and-orchestration","what-i-teach-specific-musical-analysis","what-i-teach-specific-non-tonal-techniques","what-i-teach-specific-tonal-harmony"],"_links":{"self":[{"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/faculty-profile\/152","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/faculty-profile"}],"about":[{"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/types\/faculty-profile"}],"author":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/users\/659"}],"version-history":[{"count":12,"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/faculty-profile\/152\/revisions"}],"predecessor-version":[{"id":5548,"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/faculty-profile\/152\/revisions\/5548"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/media\/5546"}],"wp:attachment":[{"href":"https:\/\/www.bates.edu\/faculty\/wp-json\/wp\/v2\/media?parent=152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Hiroya Miura (\u4e09\u6d66\u5bdb\u4e5f), a native of Sendai, Japan, has been active as a composer and performer in North America. acclaimed by Allan Kozinn of New York Times as \u201cacidic and tactile,\u201d his compositional output typically mirrors his multiple musical roles, and creates \u201cthe charm resulting from continuous changes of balance.\u201d For the 2019-20 season, Miura has composed micro-opera, Sharaku Unframed, for San Francisco\u2019s Left Coast Chamber Ensemble, and Galactic Monarchs, a shakuhachi concerto, for John Kaizan Neptune and Prague\u2019s BERG Orchestra. He was awarded Rockefeller Foundation Bellagio Center Arts and Literary Arts residency, la Napoule Art Foundation residency, and Willapa Bay AiR residency, amongst others.<\/code><\/p>\nMiura composed works for Speculum Musicae, New York New Music Ensemble, American Composers Orchestra, Juilliard Percussion Ensemble, le Nouvel Ensemble Moderne, fama Q, Momenta Quartet, and members of Reigakusha (gagaku ensemble based in Tokyo), which were presented in venues and festivals such as Lincoln Center\u2019s Alice Tully Hall, Carnegie Hall, Merkin Hall, Miller Theater, Smithsonian Institution\u2019s Freer Gallery, Tokyo Opera City, Tanglewood, Havana Contemporary Music Festival (Cuba), Ostrava Days (Czech Republic), Centro de Arte Pepe Espali\u00fa (C\u00f3rdoba, Spain), Vacances Percutantes (Marmande, France), Centro Cultural Moca (Buenos Aires, Argentina), and Yomiuri Hall (Tokyo, Japan). He is also a founding member of the electronic improvisation unit, No One Receiving, whose debut album from the Grain of Sound has won critical acclaim in Europe and the United States.<\/code><\/p>\nHe holds masters and doctoral degrees in composition from Columbia University, and he is Associate Professor at Bates College where he teaches composition and directs the College Orchestra. He serves on Advisory Board for Composers Conference, and also as Artistic Director of Columbia University\u2019s IMJS\/Japanese Cultural Heritage Initiatives.\u00a0<\/code><\/p>\n