WELCOME!
Thanks for visiting Michael Masumoto's Official Music page. Michael is in the process of transferring his back catalog to the internet. As old and new works become available, they will be posted here.
Michael's two most recent classical compositions are his first Piano Sonata and a short suite of orchestral pieces; you can listen to these works below. Michael also created all of the music for the voiceover demos in the Voice section of this website. Michael is currently preparing/recording an album of songs and operatic arias.
If you like Michael's music, please subscribe to the Masumoto Herd YouTube channel at http://www.youtube.com/glofau/. Thanks!
PIANO SONATA IN A MINOR
(2016; HD; 14 min 38 sec)
For more information about this composition, please visit Michael's Piano Sonata page. Sheet music is available for purchase directly from the composer; please see the Contact Us section for information.
ORCHESTRAL SAMPLER SUITE
(2016; HD; 3 min 37 sec)
For more information about this composition, please visit the Orchestral Sampler Suite page.
FILM SCORES
Michael has written two original short film scores, both for documentaries. Here they are:
MASUMOTO HERD ART FURNITURE: INTRODUCTION
(2014; HD; 6 min 54 sec) A humorous, musical look at Masumoto Herd and the Fantasium.
(Documentary #1 of 4)
FANTASIUM: ORIGINS
(2014; HD; 9 min 35 sec) A musical tour of the inspiration behind our Fantasium.
(Documentary #2 of 4)
FOR MORE INFORMATION
To read more about these scores, visit Michael's Film Scores page.
In addition, Michael performs and/or composes all the music for Masumoto Herd video projects; you can see these in the Video section, or by visiting the Masumoto Herd YouTube channel, http://www.youtube.com/glofau/.
ABOUT MY MUSIC
I prefer essentially tonal music. I love almost all classical music of the Late Romantic and Early Modern periods. I wrote operas and trained seriously as an opera singer, so, obviously, I'm a fan of opera (although I prefer the Post-Wagnerian period, when the music grew more overtly theatrical).
But I'm not some hardcore classicist. I love Swing music. I love classic film musicals. I am gaga about classic film scores. I love German Expressionism. I also like bubble gum pop music of the 1970's as well as progressive rock from that period. I'm a fan of 1980's New Wave. I listen to a lot of contemporary international pop music. And I'll always have a soft spot for folk and folk rock. My compositions might potentially reference any of these things. And why shouldn't they?
I believe that art music took a wrong turn when it became so serial and atonal in the mid-1950's. While I can appreciate the artistry that goes into making atonal music, you'll never hear entire works in that idiom from me. I loathe composers like John Cage, whose work was really about concept, not music. I'm also not a Minimalist. I've enjoyed some Minimalist compositions and I'm not above using those techniques, but... If you're going to write consonant music, why limit yourself that way? I want melodies that develop. I want harmonic progressions. So I guess you'd call me a Neo-Romantic, but I'm not really that either. I just want Music to serve Passion, regardless of the form it takes. If a composer becomes so lost in manipulating notes that they forget to communicate "something ineffable about the human condition," they've lost the battle.
I would like to see Art Music align itself more with the musical mainstream, as it was in the 19th century when Art Music was a much more popular form. Our audiences in America today are miniscule. Art music needs to express emotions, convey drama, drum up a little excitement! I believe in music as a form of storytelling and theater, in solo works as well as stage shows. I think music needs to take the listener on a relatable journey, or what's the point?
So, that's where I'm coming from. Thanks for taking the time to stop by! I really appreciate it.
--Michael
ABOUT THE COMPOSER
Michael Masumoto holds a Master's degree in Music Composition from the San Francisco Conservatory of Music, where he studied composition and orchestration with Eleanor Armer and Conrad Susa. During his undergraduate years at UC Berkeley, Michael studied composition with Dan Weymouth (currently the head of Electronic Music at SUNY Stonybrook). Michael has composed and produced six operas (among other works), and has recently completed his first piano sonata. As a pianist, Michael studied with Sue Hocker, Gloria Larson, Olga Quercia, and Tim Bach. As a singer, Michael studied with heldentenors Jess Thomas and Stan Norsworthy and is a proponent of the Melocchi Method. Michael does teach private voice lessons.
Last Updated: September 30, 2018
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