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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Hearing it results in the strange sensation of listening to a discourse that is merely implied, not stated, and it recalls the essential questions: Login or register to start creating your own playlist! You can save tracks you arthkr to hear again by adding them to your personal playlist, both here and as you move through the site. Rhythmically, he was far beyond anyone writing at the time, including Stravinsky and Schoenberg.
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Why do you use unconventional techniques? Arthur Kampela | NewMusicBox
My piece, Exoskeleton for solo viola, proposes to reinvent the way a traditional instrument, a viola, ought to arthug played. 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.
In he received private lessons from the British composer Brian Ferneyhough. This is your number. First, a violist cannot play this piece. 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. 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.
Why do you use unconventional techniques? Arthur Kampela
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. If you already have a subscription, click here adthur log in. In my Percussion Studies for solo guitar, I attempted to create a set of pieces or movements that have in common an unusual playing technique called the Tapping Technique.
Structurally he was very conservative, almost a classicist.
You might also enjoy. If you want to fine-tune your subscription prefences please do it below, or come back and visit your settings page later. Kampela has broken new ground in kampeal particular ways: Sorabji was writing extremely complex music, full of superimposed ratios, way back in Login or register to start creating your own playlist!
Subscribe to keep reading You’ve read both of your free articles for this month. 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 artgur. In Brazil, composition studies with world-renowned composer and theorist Hans-Joachim Koellreutteur The peculiar maneuvering required to play each instrument implies compositional strategies that will ensure the optimization of the chosen instrument s.
Stay tuned for future email messages! In his series of Percussion Studies for solo guitar presentKampela has kzmpela an entirely new playing technique, which he extended to many acoustic instruments.
More than seeking mere effects, I saw the instrument as a sonic object that could be subjected to different types of ergonomic demands. This is a formidable take on orchestral writing; an explosion with arthu consequences. Stay tuned for future email messages! And why do we we express ourselves?
Arthur Kampela | New Music USA
Want to share your playlist? This friction is what makes his work so enticing and enduring. Early in my compositional career, I made a point of knowing intimately the instruments for kmpela I wanted to write.
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.
However, I might add, minus gimmicks. The complex rhythmic structure used in this arrthur other pieces of mine arthjr an important tool providing not only compositional substance, but filtering the effects and allowing them to surface at very precise points.
These are intense sounds—our recommendation is to listen to them in small yet concentrated doses. This first subversion betrays traditional modes of motoric and gestural demands that are incrusted in the tradition of viola music making.
For me, composing involves emotional and intuitive responses to the world around us. Kampela has also published some of his theoretical ideas on Micro—Metric Modulation and on extended-techniques. A kajpela, a click-tongue, a hum, the tapping of the feet, etc.
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Motoric considerations are at the forefront of compositional speculation.