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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His work mixes popular music with twelve-tone techniques, absurdist theater, Dadaism, and more. This is a formidable take on orchestral writing; an explosion with exhilarating consequences. The peculiar maneuvering required to play each instrument implies compositional strategies that will ensure the optimization of the chosen instrument s. Want to share your playlist? The name Exoskeleton meaning: Stay tuned for future email messages! 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.

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. It reduces language to its sounds; it tries to speak, narrate, and can finally only asphyxiate itself. In he received private lessons from the British composer Brian Ferneyhough.

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This first subversion betrays traditional modes of motoric and gestural demands that are incrusted in the tradition of viola music making. In his presentations he doubles as a singer, guitarist and theatrical entertainer.

This imperfection is what draws me to the sound world he created. Celebrate the vitality and breadth of NYC music-making with this sampling of tracks on our platform. These are intense sounds—our recommendation is to listen to them in small yet concentrated doses.


Arthur Kampela | New Music USA

This phenomenal disc by Veloso from was the leading avant-pop album created in aryhur time. 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.

To celebrate the 75th birthday of Coventry-born composer Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet to perform his music in the heart of the Midlands.

Sign up for our monthly NewMusicBox newsletter. Therefore, on top of the playing speed, the compositional newness and integrity of the piece and the instrument is srthur since the viola is submitted to complex technical demands where ergonomic considerations play a fundamental role. First, a violist cannot play this piece. Copy Link Link copied!

Arthur KampelaBio

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 kampelw. Throughout the piece, he explores concrete musical materials and the sounds of the primordial. In the artist’s own words: If you already have a subscription, click here to log in.

Check out these playlists: Login or register to start creating your own playlist! Arthur Kampela Motoric considerations are at the forefront of compositional speculation. A scream, a click-tongue, a hum, the tapping of the feet, etc. Kampeka always deeply mistrust a complete anything.

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. 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 arthhr gestures implies not only a unique motoric vocabulary but the assumption of a new compositional output.


This is your number. My piece, Exoskeleton for solo viola, proposes to reinvent the way a traditional instrument, a artur, ought to be played.

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. In this piece, the form lies in the display of archetypical s sonorities: Explore The place for curious ears Highlights Browse all projects Browse all profiles Browse all events. And why do we we express ourselves?

A Guide for Performers. From the Counterstream archives, take a deep dive into new music. 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.

Want to share your playlist? Enjoy our gallery of featured playlists and a selection of media samples drawn from awarded projects. It accumulates coexisting sonic vocabularies that we then order in a certain way according to the limits of our perception. Sorabji was writing extremely complex music, full of superimposed ratios, way back in When I composed my harp solo piece PhalangesI used a series of devices e.

A Brazilian Harry Partch, his aesthetic philosophy was focused on the idea of rupture with Western aesthetics. Explore The place for curious ears Highlights Browse all projects Browse all profiles Browse all events. 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.

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