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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To celebrate the 75th birthday of Coventry-born kwmpela Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet to perform his music in the heart of the Midlands.
An Arthur Kampela Playlist
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. These are intense sounds—our recommendation is to listen to them in small yet concentrated doses. His work mixes popular music with twelve-tone techniques, absurdist theater, Dadaism, kampels more.
Fasten your seat belts: This is a formidable take on orchestral writing; an explosion with exhilarating consequences. 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.
In this piece, the form lies in the display of archetypical s sonorities: It accumulates coexisting sonic vocabularies that we then order in a certain way according to the limits of our perception. Lampela reduces language to its sounds; it tries to speak, narrate, and can finally only asphyxiate itself. Hearing it results in the strange sensation of listening to a discourse that is merely implied, not stated, and artuur recalls the arthru questions: And why do we we express ourselves?
Throughout the piece, he explores concrete musical materials and the sounds of the primordial.
Why do you use unconventional techniques? Arthur Kampela
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. This phenomenal disc by Veloso from was the leading avant-pop album created in that time.
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. Smetak was a wizard of improvised music. Xrthur Brazilian Harry Partch, his aesthetic philosophy was focused on the idea of rupture with Western aesthetics.
He lived in Bahia, in the northeastern part of the country, where he was an obscure inventor of new instruments of a precarious nature. This imperfection is what draws me to the sound world he created. Sorabji was writing extremely complex music, full of superimposed ratios, way back in Rhythmically, he was far beyond anyone writing at the time, including Stravinsky and Schoenberg.
Structurally he was very conservative, almost a classicist. This friction is what makes his work so enticing and enduring.
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Frictions and Utopian Mixtures
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This is your number. An Arthur Kampela Playlist.