He has composed orchestral works, for jazz big band and woodwind quintet, and two dance pieces for the Boston Conservatory. He performed at the Flea, New York City. Ueno is a recipient of the 2010/2011 Berlin Prize Fellowship from the American Academy in Berlin. Ueno has collaborated with violist Kim Kashkashian and percussionist Robyn Schulkowsky on the works Hypnomelodiamachia for viola, percussion, and electronics, and Two Hands, a Kashkashian commission, for viola and percussion. A monograph compact disc of three works for soloist and orchestra, Talus for viola and orchestra, On a Sufficient Condition for the Existence of Most Specific Hypothesis for solo throat-singer and orchestra, and Kaze-no-Oka for biwa, shakuhachi, and orchestra, was released by the Boston Modern Orchestra Project in 2010. Ueno has also written for such ensembles as the So Percussion Group, Bang on a Can All-Stars, San Francisco Contemporary Music Players, Del Sol String Quartet, Prism Quartet, and eighth blackbird. Ueno's compositional approach frequently involves extra-musical modeling, including using images, cultural phenomena, or architecture as the basis for structural decisions, somewhat analogous to the use of architectural proportions in Renaissance music. Kaze-no-Oka, for example, reflects in part the structure of the Japanese architect Fumihiko Maki's like-named . His Talus is, in a manner of speaking, a biography of a traumatic event in the life of its soloist, violist Wendy Richman, who shattered her ankle in a ten-foot fall. He is keenly interested in the process of exploring unique, in some sense irreproducible, sonic events linked to the performers for which his music is written. As a performer, Ueno is active as a throat-singing vocalist and performing with live electronics. He is an accomplished guitarist. In 2010, he is the recipient of the Berlin Prize in Music Composition at the American Academy in Berlin.
First Prize in the 25th "Luigi Russolo" competition
Harvard University grant
Discography
"Ken Ueno: Talus", BMOP/sound, BMOP1014
"I screamed at the sea until nodes swelled up, then my voice became the resonant noise of the sea", in New Dialects, Centaur CRC 3038, Gregory Oakes, 2009
"Synchronism Six-Zero", in One Minute More, Transatlantic Foundation for Music and Art B001J54A8S, Guy Livingston, 2008