Wesley S. Uchiyama-Penix
Wesley S. Uchiyama-Penix is a Japanese-American composer.
Wesley S. Uchiyama-Penix (b. 1994) is a composer, producer, audio engineer, sound designer, educator, and performer. His main musical interests stem from mixing a variety of styles and sounds together ranging from soundtrack styles, hybrid sounds between electronic and acoustic, and improvisatory moments in a large scale setting. Wesley also creates synth-pop music under the artist name WSU-P.
After receiving his B.M. in Music Education and Certificate of Clarinet Performance at the University of Texas at San Antonio, Wesley decided to make composing music his main focus. Returning to his alma mater, he received a Certificate of Music Technology learning to become an audio engineer and producer while also refining his compositional technique. Afterwards, Wesley attended Texas State University to obtain his M.M. in Music Composition where he continued to develop his music writing for the traditional and electronic/computer setting, but also for various media such as dance, film, and video game. Wesley has studied under Ethan Wickman, Michael Ippolito, and Richard Hall.
Wesley has helped establish the week long music technology event held at UTSA, MuTe Fest, where events include student/guest concerts, guest masterclasses, and student ran events with the theme of audio/music technology. As a performer, Wesley is a member of the San Antonio Wind Symphony as a clarinetist. He is also a founding member of the San Antonio Ambient Orchestra (SAAO) as clarinet, keyboard, and a mixing engineer. He is the recipient of multiple ASCAP Plus Awards.
As technology advances with each passing day, so too does our understanding of the benefits and costs of this way of living. We have spent decades trying to get our technology to contribute to society with the same capabilities as the human brain. As this trend continued, we truly understood the limits of the human mind and are now developing technology to surpass us. So that brings up the question: who is emulating whom?
This piece can be performed with a recording or two musicians performing the electronics. This piece also has two different versions of the score and recording: A Version and B-flat Version. Please make sure you have the correct version before performing.
The piece will start with the clarinet solo going at their tempo. If using a recording, it should start at “tape start” shortly after the performer finishes the previous phrase.
The recording/electronics will end at “wait for tape to end” and the clarinet will finish the piece in a similar fashion to how it started.