©MAYUKO UKAWA
KUBOTA Midori（Japan）
Born in Sapporo in 1979, Midori Kubota studied musical composition with Satoshi Minami. She received her B.A. in musical composition at Tokyo University of the Arts (2002) and her M.A. at the Graduate School on Interdisciplinary Cultural Studies, the University of Tokyo at Komaba (2005)
She is involved in a wide range of activities, such as musical composition, arrangement, piano, organ, organizations of concerts or performance events. She is a member of Ensemble for Experimental Music and Theater. She is also engaged in a scholarly exploration on the relationship between notation and performing body.
She is currently an associate professor of Seigakuin University (Saitama, Japan). midorikubota.net
Born in Sapporo in 1979, Midori Kubota studied musical composition with Satoshi Minami. She received her B.A. in musical composition at Tokyo University of the Arts (2002) and her M.A. at the Graduate School on Interdisciplinary Cultural Studies, the University of Tokyo at Komaba (2005)
She is involved in a wide range of activities, such as musical composition, arrangement, piano, organ, organizations of concerts or performance events. She is a member of Ensemble for Experimental Music and Theater. She is also engaged in a scholarly exploration on the relationship between notation and performing body.
She is currently an associate professor of Seigakuin University (Saitama, Japan). midorikubota.net
Violinist and Cellist
Normally, the sound heard after start of the performance is considered "Inside" of the work, and the sound heard in preparation or/and rehearsals is "Outside". "The consciousness of this distinction of Inside and Outside" determines the performer’s conduct. But at the same time, the difference of sounding could be, strangely but somehow, felt by the audience.
I would like to make the stage the occasion of listening to The Time of the Sound that is flickering between "Inside and Outside" of the work.