Hiroya Miura, 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 “acidic and tactile,” his compositional output typically mirrors his multiple musical roles, and creates “the charm resulting from continuous changes of balance.” Miura has composed works for American Composers Orchestra, le Nouvel Ensemble Moderne, Juilliard Percussion Ensemble, So Percussion, Momenta Quartet, Speculum Musicae, New York New Music Ensemble, Mise-en, and members of Reigakusha (Japanese court music ensemble based in Tokyo), which were presented in venues and festivals such as Lincoln Center’s Alice Tully Hall, Merkin Hall, Miller Theater, Annenberg Center, Smithsonian Institution’s Freer Gallery, Carnegie Hall’s JapanNYC Festival, Vacances Percutantes (Marmande, France), Centro de Arte Pepe Espaliú (Córdoba, Spain), Ostrava Days (Ostrava, Czech Republic), Centro Cultural Moca (Buenos Aires, Argentina), and Yomiuri Hall (Tokyo, Japan). For the 2016-17 season, Miura was selected as one of the four American Composers to be sent to the Havana Contemporary Music Festival in Cuba as part of the American Composers Forum’s artist delegation program. 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 US.
For the 2019-20 season, he is working on Sharaku Unframed, a micro-opera commissioned by San Francisco’s Left Coast Chamber Ensemble, and a shakuhachi concerto for Berg Orchestra for the 12th International Shakuhachi Festival in Prague, Czech Republic.
He 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 also serves as Artistic Director of Columbia University’s IMJS/Japanese Cultural Heritage Initiatives.