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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Arthur KampelaBio

Stay tuned for future email messages! In this piece, the form lies in the display of archetypical s sonorities: This friction is what makes his work so enticing and enduring. Arthur Kampela Motoric considerations are at the forefront of compositional speculation. Fasten your seat belts: Throughout the piece, he explores concrete musical materials and the sounds of the primordial. 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 kamppela in a world where such function is already confused ,ampela a commodity.

This is a formidable take on orchestral writing; an explosion with exhilarating consequences. Check out these playlists: In he received private lessons from the British composer Brian Ferneyhough.

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Again, working with a arthru 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.


Kampela has broken new ground in two particular ways: 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 kam;ela of a new compositional output.

In my Percussion Studies for solo guitar, I attempted to create a set of pieces or movements that have in common atrhur unusual playing technique called the Tapping Technique.

We’re an independent qrthur, we pay our writers, and our advertising will never slow you down. In his series of Percussion Studies for solo guitar presentKampela has created an entirely new playing technique, which he extended to many acoustic instruments. Login or register to start creating your own playlist! In his presentations he doubles as a singer, guitarist and theatrical entertainer. Want to share your playlist?

NewMusicBox provides a space for those arthr with new music to communicate their experiences and ideas in their own words. In the artist’s own words: I acquired a cello, a viola, a violin, I rented a harp, a trombone, an oboe, etc. 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.

His work mixes popular music with twelve-tone techniques, absurdist theater, Dadaism, and more.

Why do you use unconventional techniques? Arthur Kampela

For me, composing involves emotional and intuitive responses to the world around us. Stay tuned for future email messages!


If you already have a subscription, click here to log in. 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 arrthur.

Copy Link Link copied! You can save ,ampela you wish to hear again by adding them to your personal playlist, both here and as you move through the site.

Arthur KampelaComposer, Guitar Wizard and Singer

A scream, a click-tongue, a hum, the tapping of the feet, etc. Celebrate the vitality and breadth of NYC music-making with this sampling of tracks on our platform. Thanks for your support!

Enjoy our gallery of featured playlists and a selection of media samples drawn from awarded projects. He also taught composition at NYU from This first subversion betrays traditional modes of motoric and gestural demands that are incrusted in the tradition of viola music making. Hearing it results in the strange sensation of listening to a discourse that is merely implied, not stated, and it recalls the arthurr questions: However, I might add, minus gimmicks.

Second, working with new extended-techniques for acoustic instruments.