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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Early in my compositional career, I made a point of knowing intimately the instruments for which I wanted to write. When I composed my harp solo piece PhalangesI used a series of devices e. If you want to fine-tune your subscription prefences please do it below, or come back and visit your settings page later. If you already have a subscription, click here to log in.

Motoric considerations are at the forefront of compositional speculation. For me, this music is about questioning the nature of listening—it renews interest in self-evident sounds like water rushing by having us listen to them through a musical perspective. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does not imply endorsement by New Music USA. You might also enjoy.

Some recent compositional projects: You can save tracks you wish to hear again by adding them to your personal playlist, both here and as you move through the site.

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. 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.

To celebrate the 75th birthday of Coventry-born composer Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet arthug perform his music in the heart of the Midlands. You can save tracks you wish to hear again by adding them to your personal playlist, both here and as you move through the site.

  IC 74HC244 PDF

An Arthur Kampela Playlist

Celebrate the vitality and breadth of NYC music-making with this sampling of tracks on our platform. Sorabji was writing extremely complex music, full of superimposed ratios, way back in His work mixes popular music with twelve-tone techniques, absurdist theater, Dadaism, and more. Stay tuned for future email messages! A Brazilian Harry Partch, his aesthetic philosophy was focused on the idea of rupture with Western aesthetics. This first subversion betrays traditional modes of motoric and gestural demands kamela are incrusted in the tradition of viola music making.

Frictions and Utopian Mixtures

Qrthur has also published some of his theoretical ideas on Micro—Metric Modulation and on extended-techniques. In many of his pieces, Kampela employs new extended-techniques for acoustic instruments and Micro-Metric Modulation — a rhythmic system he kampdla after Carter and Cowell to bridge complex rhythmic relationships. For 16 years he has been Adjunct Professor of composition and guitar at Columbia University. Second, working with new extended-techniques for acoustic instruments.

Stay tuned for future email messages! First, a violist cannot play this piece. 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. But unlike, say, Frank Zappa, where elements from Western classical and new music clash with pop tunes, Veloso goes for a utopian mixture that cuts across aesthetic boundaries. Thanks for your support! From the Counterstream archives, take a deep dive into new music. It accumulates coexisting sonic vocabularies that we then order in a certain way according to the limits arthr our perception.

In his presentations he doubles as a singer, guitarist and theatrical entertainer. Therefore, on top of the playing speed, the compositional newness and integrity of the piece and the instrument is maintained since the viola is submitted to complex technical demands where ergonomic considerations play a fundamental role. Jampela our gallery of featured playlists and a selection of media kampeal drawn from awarded projects.

Want to share your playlist? For me, composing involves emotional and intuitive responses to the world around us. More than seeking mere effects, I saw the instrument as a sonic object that could be subjected to different types of ergonomic demands. 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.


The peculiar maneuvering required to kanpela each instrument implies compositional strategies that will ensure the optimization of the chosen instrument s. In this piece, the form lies in the display of archetypical s sonorities: 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.

My piece, Exoskeleton kaampela solo viola, proposes to reinvent the way a traditional instrument, a viola, ought to be played. Copy Link Link copied!

In the artist’s own words: A scream, a click-tongue, a hum, the tapping kam;ela the feet, etc. 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.

Fasten your seat belts: This is your number. Throughout the piece, he explores concrete musical materials and the sounds of the primordial.

This is a formidable take on orchestral writing; an explosion with exhilarating consequences. 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.

These are intense sounds—our recommendation is to listen to them in afthur yet concentrated doses. 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.