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more references to Smetak project
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An important aspect of Kampela's music is his development of ''micro-metric modulation'', a formula for precisely controlled transition from any polyrhythm to any other polyrhythm, without either the tempos of the respective polyrhythms being directly related.<ref>{{cite journal|last=Bortz|first=Grazie|title=Modulação micrométrica na música de Arthur Kampela|date=2006|journal=Per Musi, Bela Horizonte|volume=13|pages=85–99|
An important aspect of Kampela's music is his development of ''micro-metric modulation'', a formula for precisely controlled transition from any polyrhythm to any other polyrhythm, without either the tempos of the respective polyrhythms being directly related.<ref>{{cite journal|last=Bortz|first=Grazie|title=Modulação micrométrica na música de Arthur Kampela|date=2006|journal=Per Musi, Bela Horizonte|volume=13|pages=85–99|
url=https://www.academia.edu/37059850}}</ref><ref>{{cite thesis|last=Bortz|first=Grazie|title=Rhythm in the music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela: A guide for performers|date=2003|publisher=City University of New York}}</ref><ref>{{cite thesis|last=Santos, Lucas Albuquerque Matias|title=Rhythm in Arthur Kampela and Brian Ferneyhough|date=2021|publisher=UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” (UNESP) – INSTITUTO DE ARTES|hdl=11449/215656|url=http://hdl.handle.net/11449/215656}}</ref> (He has also participated in activities that revive the theories and practices of Swiss-Brazilian musician [[Walter Smetak]].<ref>{{cite book|url=https://www.soundohm.com/product/smetak-inventions-the-int|title=Smetak Inventions: The Interfused Realms of Inventor, Sound Artist, and Musician Walter Smetak (1913-84)|publisher=Wolke|year=2019|isbn=978-3-95593-094-3}}</ref><ref>{{cite web|title=BBC programmes|url=https://www.bbc.co.uk/programmes/b093m19z}}</ref><ref>{{cite web|title=Berlin Kunstlerprogramm|url=https://www.berliner-kuenstlerprogramm.de/en/events/re-inventing-smetak/}}</ref><ref>{{cite web|title=Smetak Inventions|url=https://www.wolke-verlag.de/wp-content/uploads/2019/01/smetaks-inventions.pdf}}</ref><ref>{{cite magazine|title=An Arthur Kampela Playlist Frictions and utopian mixtures|journal=VAN Magazine|year=2017|url=https://van-magazine.com/mag/author/van-magazine/page/3/?amp}}</ref>) Kampela's rhythmic and timbral techniques are sometimes framed by a reference to [[Theatre of the Absurd]] and combined with electronics.<ref>{{cite thesis|last=Hornsby|first=Sarah|title=The exploded flute of Arthur Kampela: An interpretative guide to Elastics II and Happy Days|date=2015|publisher=Campinas:Unicamp|url=https://www.academia.edu/37064337|url-access=<!--WP:URLACCESS-->}}</ref>
url=https://www.academia.edu/37059850}}</ref><ref>{{cite thesis|last=Bortz|first=Grazie|title=Rhythm in the music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela: A guide for performers|date=2003|publisher=City University of New York}}</ref><ref>{{cite thesis|last=Santos, Lucas Albuquerque Matias|title=Rhythm in Arthur Kampela and Brian Ferneyhough|date=2021|publisher=UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” (UNESP) – INSTITUTO DE ARTES|hdl=11449/215656|url=http://hdl.handle.net/11449/215656}}</ref> (He has also participated in activities that revive the theories and practices of Swiss-Brazilian musician [[Walter Smetak]].<ref>{{cite book|url=https://www.soundohm.com/product/smetak-inventions-the-int|title=Smetak Inventions: The Interfused Realms of Inventor, Sound Artist, and Musician Walter Smetak (1913-84)|publisher=Wolke|year=2019|isbn=978-3-95593-094-3}}</ref><ref>{{cite web|title=BBC programmes|url=https://www.bbc.co.uk/programmes/b093m19z}}</ref><ref>{{cite web|title=Berlin Kunstlerprogramm|url=https://www.berliner-kuenstlerprogramm.de/en/events/re-inventing-smetak/}}</ref><ref>{{cite web|title=Smetak Inventions|url=https://www.wolke-verlag.de/wp-content/uploads/2019/01/smetaks-inventions.pdf}}</ref><ref>{{cite magazine|title=An Arthur Kampela Playlist Frictions and utopian mixtures|journal=VAN Magazine|year=2017|url=https://van-magazine.com/mag/author/van-magazine/page/3/?amp}}</ref>) Kampela's rhythmic and timbral techniques are sometimes framed by a reference to [[Theatre of the Absurd]] and combined with electronics.<ref>{{cite thesis|last=Hornsby|first=Sarah|title=The exploded flute of Arthur Kampela: An interpretative guide to Elastics II and Happy Days|date=2015|publisher=Campinas:Unicamp|url=https://www.academia.edu/37064337|url-access=<!--WP:URLACCESS-->}}</ref>
Another aspect of Kampela's music is the fusion of vernacular Brazilian roots (bossa novas and samba) with subversive wordplay lyrics and atonal harmonies, which can be heard in his 1988 LP ''Epopéia e Graça de uma Raça em Desencanto…'' (‘Epic and Grace…’)


As Alejandro L. Madrid puts it:<blockquote>"Brazilian Arthur Kampela developed a personal language that reads popular and traditional Brazilian music styles, genres, and techniques through the aesthetics of New Complexity and Elliott Carter’s notion of metric modulation, including his series of Percussion Studies for solo guitar."<ref>{{cite book|title=The Modernist World|chapter=RENOVATION, RUPTURE, AND RESTORATION: The modernist musical experience in Latin America|year=2015|page=415|isbn=9781315778334|editor-first1=Allana|editor-last1=Lindgren|editor-first2=Stephen|editor-last2=Ross|publisher=Routledge}}</ref></blockquote>
Another aspect of Kampela's music is the fusion of vernacular Brazilian roots (bossa novas and samba) with subversive wordplay lyrics and atonal harmonies, which can be heard in his 1988 LP ''Epopéia e Graça de uma Raça em Desencanto…'' (‘Epic and Grace…’) Although the 1988 album is of a more vernacular-popular genre, Kampela's later compositional style grows organically out of his earlier practices as a composer-guitarist-singer as represented on this album. As Alejandro L. Madrid puts it:<blockquote>"Brazilian Arthur Kampela developed a personal language that reads popular and traditional Brazilian music styles, genres, and techniques through the aesthetics of New Complexity and Elliott Carter’s notion of metric modulation, including his series of Percussion Studies for solo guitar."<ref>{{cite book|title=The Modernist World|chapter=RENOVATION, RUPTURE, AND RESTORATION: The modernist musical experience in Latin America|year=2015|page=415|isbn=9781315778334|editor-first1=Allana|editor-last1=Lindgren|editor-first2=Stephen|editor-last2=Ross|publisher=Routledge}}</ref></blockquote>


Kampela's compositions, particular his ''Percussion Studies'' for Guitar, have been performed numerous times around the world (North America, South America, Europe, and Asia), resulting in dozens of renditions on YouTube,<ref>{{cite web|title=Dozens of renditions of Kampela's Percussion Etudes 1 for Guitar on YouTube|url=https://www.youtube.com/results?search_query=kampela+percussion+study+guitar+1}}</ref> and by ensembles such as the [[New York Philharmonic]], Ensemble Linea, Momenta Quartet, and [[Ensemble Modern]].
Kampela's compositions, particular his ''Percussion Studies'' for Guitar, have been performed numerous times around the world (North America, South America, Europe, and Asia), resulting in dozens of renditions on YouTube,<ref>{{cite web|title=Dozens of renditions of Kampela's Percussion Etudes 1 for Guitar on YouTube|url=https://www.youtube.com/results?search_query=kampela+percussion+study+guitar+1}}</ref> and by ensembles such as the [[New York Philharmonic]], Ensemble Linea, Momenta Quartet, and [[Ensemble Modern]].

Revision as of 02:22, 23 January 2024

Arthur Kampela is a Brazilian-American composer, guitarist, and songwriter.

Compositions

Though Kampela has been associated with the New Complexity movement, his style evolves out of extreme extended-technique improvisational practices which remap the ergonomics of one instrument onto another (percussion onto guitar, or guitar onto viola).[1][2]

An important aspect of Kampela's music is his development of micro-metric modulation, a formula for precisely controlled transition from any polyrhythm to any other polyrhythm, without either the tempos of the respective polyrhythms being directly related.[3][4][5] (He has also participated in activities that revive the theories and practices of Swiss-Brazilian musician Walter Smetak.[6][7][8][9][10]) Kampela's rhythmic and timbral techniques are sometimes framed by a reference to Theatre of the Absurd and combined with electronics.[11]

Another aspect of Kampela's music is the fusion of vernacular Brazilian roots (bossa novas and samba) with subversive wordplay lyrics and atonal harmonies, which can be heard in his 1988 LP Epopéia e Graça de uma Raça em Desencanto… (‘Epic and Grace…’) Although the 1988 album is of a more vernacular-popular genre, Kampela's later compositional style grows organically out of his earlier practices as a composer-guitarist-singer as represented on this album. As Alejandro L. Madrid puts it:

"Brazilian Arthur Kampela developed a personal language that reads popular and traditional Brazilian music styles, genres, and techniques through the aesthetics of New Complexity and Elliott Carter’s notion of metric modulation, including his series of Percussion Studies for solo guitar."[12]

Kampela's compositions, particular his Percussion Studies for Guitar, have been performed numerous times around the world (North America, South America, Europe, and Asia), resulting in dozens of renditions on YouTube,[13] and by ensembles such as the New York Philharmonic, Ensemble Linea, Momenta Quartet, and Ensemble Modern.

Career

Kampela has taught composition at Columbia University, New York University, Bates College, and Escola de Música da UFRJ (Federal University of Rio de Janeiro).

Awards and Commissions

Education

Kampela attended Conservatório Brasileiro de Música, Centro Universitário, then Manhattan School of Music where he studied with Ursula Mamlok. He continued his studies at Columbia University, principally with Mario Davidovsky and Fred Lerdahl, and earned a DMA (1998) degree. (He also studied privately with Brian Ferneyhough in 1993.)

Selected works

  • Percussion Studies for Guitar, Nos. 1, 2, and 3
  • A Knife all Blade, [uma faca só lâmina - after Joao Cabral] (string quartet)
  • Phalanges, for solo harp (1995)
  • Macunaíma, for orchestra
  • Happy Days, for solo flute and electronics
  • Exoskeleton, for solo viola
  • Naked Singularity, for solo tuba
  • ...tak-tak...tak...
  • Antropofagia, for electric guitar and large ensemble
  • Between Fingers and Mouth (2022)

Publications

  • "Micro-Metric Rhythms and Noises Emanations from the Stochastic Cloud", In Sharon Kanak (ed.) Xenakis Matters, New York: Pendragon Press: 341–362
  • "The Exile of the Metric in the Dance of Pulsation", 2020, Journal MusMat, 4(1): 63–80
  • "A Knife All Blade: Deciding the Side Not To Take", Current Musicology, 67/68: 167–193.

References

  1. ^ Fernandes-Weiss, Ledice (2018). "Estudo do gesto instrumental sob o prisma da Labanotation: o exemplo da Tapping Technique em Percussion Study I para violão solo de Arthur Kampela". Capa. 24 (1): 199. doi:10.20504/opus2018a2410.
  2. ^ Fernandes-Weiss, Ledice (2021). "Arthur Kampela and the Exoskeletons: the gesture and the guitarist". Er Musi. 40: 123. doi:10.35699/2317-6377.2020.15077. S2CID 237806030.
  3. ^ Bortz, Grazie (2006). "Modulação micrométrica na música de Arthur Kampela". Per Musi, Bela Horizonte. 13: 85–99.
  4. ^ Bortz, Grazie (2003). Rhythm in the music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela: A guide for performers (Thesis). City University of New York.
  5. ^ Santos, Lucas Albuquerque Matias (2021). Rhythm in Arthur Kampela and Brian Ferneyhough (Thesis). UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” (UNESP) – INSTITUTO DE ARTES. hdl:11449/215656.
  6. ^ Smetak Inventions: The Interfused Realms of Inventor, Sound Artist, and Musician Walter Smetak (1913-84). Wolke. 2019. ISBN 978-3-95593-094-3.
  7. ^ "BBC programmes".
  8. ^ "Berlin Kunstlerprogramm".
  9. ^ "Smetak Inventions" (PDF).
  10. ^ "An Arthur Kampela Playlist Frictions and utopian mixtures". VAN Magazine. 2017.
  11. ^ Hornsby, Sarah (2015). The exploded flute of Arthur Kampela: An interpretative guide to Elastics II and Happy Days (Thesis). Campinas:Unicamp.
  12. ^ Lindgren, Allana; Ross, Stephen, eds. (2015). "RENOVATION, RUPTURE, AND RESTORATION: The modernist musical experience in Latin America". The Modernist World. Routledge. p. 415. ISBN 9781315778334.
  13. ^ "Dozens of renditions of Kampela's Percussion Etudes 1 for Guitar on YouTube".

Listening

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