Arthur Kampela is on Facebook. Join Facebook to connect with Arthur Kampela and others you may know. Facebook gives people the power to share and. Arthur Kampela (born in Rio de Janeiro, Brazil – now also an American Citizen), is the winner of the Guggenheim prize in Music Composition, the Arthur Kampela is the winner of the Guggenheim Prize in Music Composition. From he was a DAAD (Berliner Künstlerprogramm) Fellow . He has.
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This is fundamental if we composers want to excel in mastering the intricacies that exist within the instrument itself and more importantly between the instrument and performer. Hearing it results in the strange sensation of listening to a discourse that is merely implied, not stated, and it recalls the essential questions: A scream, a click-tongue, a hum, the tapping of the feet, etc.
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Arthur Kampela Motoric considerations are at the forefront of compositional speculation. Again, working with a palette of percussive sounds, noises and pitch oriented material pitch is not precisely indicated in the piece, only rhythmI managed to accomplish a true deconstruction of the expected sonic qualities inherent in the viola.
Smetak is one artist featured in this playlist of radical, searching music by Kampela, himself a Brazilian composer and guitarist currently living in New York.
Stay tuned for future email messages! For me, composing involves emotional and intuitive responses to the world around us. The re-channeling of energy spent in performing can acquire the status of structural cell if we view the bodily reaction to the music being played as a complementary detail.
An Arthur Kampela Playlist. I always deeply mistrust a complete anything. This first subversion betrays traditional modes of motoric and gestural demands that are incrusted in the tradition of viola music making. My piece, Exoskeleton for solo viola, proposes to reinvent the way a traditional instrument, a viola, ought to be played. My goal was to demonstrate that it is possible to treat the percussive effects using the same rhythmic constraints normally employed for the pitches.
In other words, to pass from a note to an effect any percussive one and back to a note, it is imperative for the effect to be easily accessible i. Enjoy our gallery of featured playlists and a selection of media samples drawn from awarded projects. He lived in Bahia, in the northeastern part of the country, where he was an obscure inventor of new instruments of a precarious nature.
Check out these playlists: I acquired a cello, a viola, a violin, I rented a harp, a trombone, an oboe, etc. The complex rhythmic structure used in this and other pieces of mine is an important tool providing not only compositional substance, but filtering the effects and allowing them to surface at very precise points. If one is able to understand the ergonomics behind traditional gestural moves, one is also able to penetrate the depths of gestural potentialities—a state of affairs where the superimposition of new gestures implies not only a unique motoric vocabulary but the assumption of a new compositional output.
This is your number. Check out these playlists: We’re an independent magazine, we pay our writers, and our advertising will never slow you down. Celebrate the vitality and breadth of NYC music-making with this sampling of tracks on our platform.
Arthur Kampela | New Music USA
In many of his pieces, Kampela employs new extended-techniques for acoustic instruments and Micro-Metric Modulation — a rhythmic system he devised after Carter and Cowell to bridge complex rhythmic relationships.
From the Counterstream archives, take a deep dive into new music. However, I might add, minus gimmicks. In his presentations he doubles as a singer, guitarist and theatrical entertainer. Some recent compositional projects: In he received private lessons from the British composer Brian Ferneyhough. Second, working with new extended-techniques for acoustic instruments. The present mingles with the immediate past as the materials clash with energy against each other; therefore, different people listening to this piece at the same time and in almost the same place can hear wildly different outputs.
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Thanks for your support! And why do we we express ourselves? Sorabji was writing extremely complex music, full of superimposed ratios, way back mampela For 16 years he has been Adjunct Professor of composition and guitar at Columbia University. Smetak was a wizard of improvised music. Subscribe to keep reading You’ve read both of your free articles for this month.
This is kapela formidable take on orchestral writing; an explosion with exhilarating consequences.
Why do you use unconventional techniques? Arthur Kampela | NewMusicBox
The point here is to make sure that the flow of materials of diverse textural qualities or weights are to be presented always as something new. Independent of the type of material that you are working with be it a chamber piece, a Bossa-Nova, a popular song or a symphonysubverting the means and the expectations of a specific art form is part of the business of being an artist in a world where such function is already confused with a commodity. A Brazilian Harry Partch, his aesthetic philosophy was focused on the idea of rupture with Western aesthetics.
His work mixes popular music with twelve-tone techniques, absurdist theater, Dadaism, and more.
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It reduces language to its sounds; it kampel to speak, narrate, and can finally only asphyxiate itself. Want to share your playlist? This friction is what makes his work so enticing and enduring.