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Séminaire Recherche et Création : Arthur Kampela

2013-04-22 - 2013-04-22

12:00 - 13:00

1 place Igor-Stravinsky , Paris, France, 75004, France


Les Séminaires Recherche & Création sont l’occasion de découvrir le travail d’un compositeur en résidence à l’Ircam ou bien de pénetrer dans les coulisses d’un projet de création.

A découvrir : enjeux et problématiques de composition, développements informatiques nouveaux, collaborations avec les laboratoires de recherche.

Invité par le groupe de travail sur le rythme, Arthur Kampela, compositeur brésilien,  présente son projet :

“Timbre ergonomics and Micro-Metric Modulation: a compositional assessment “


“The Micro-Metric Modulation (MMM) is a theoretical (and musical) tool,  developed by Arthur Kampela, to bridge rhythms that exhibit complex surface configurations (ratios with many levels subratios) through common denominator’s speed. As an extension of Cowell and Carter’s rhythmic practice the MMM broadens and deepens the concept for connecting rhythms between non-equivalent metric figures at the level of subsurface ratios. From Kampela’s point of view, this theory “inverts or suspends” momentarily the usual model of counting/beating rhythm (having the Metronome as basic referential) to rely on the inner (or subsurface) characteristics of rhythmic subratios that acquire the momentary status of referential speed. This has  practical applications for the compositional and performance aspects of music making, the MMM theory serving as a kind of “compositional sieve”  where effects and gestures negotiate their performability, therefore acquiring a functional identity and avoiding the mere superimposition of unrelated compositional aspects and materials.”
Composer and virtuoso guitar player currently living in Berlin as a DAAD Artist Berliner Künstlerprogramm (2012-13). Commissions: New York Philharmonic, Koussevitzky Foundation, Fromm Music Foundation of Harvard, fellowships from the Brazilian Government (CNPq), Columbia University, etc. Kampela has fused popular and vernacular styles with contemporary textural techniques. His 1988 CD “Epopéia e Graça…” ushered a new conception regarding the deconstruction of (Brazilian) popular song. In his “Percussion Studies” for solo guitar, Kampela has created an entirely new playing technique, later extended to many acoustic instruments. He has been playing with his new music-band in NYC and abroad (Mexico, Europe and South America).
Some recent premieres/important works “…B…” for 10 soloists, video and electronic sounds, Darmstadt Ferienkurse 2012 Linea Ensemble of Strasbourg;, MACUNAÍMA (2009) by the New York Philharmonic; Antropofagia (2004) for electric guitar and Ensemble, Kammerensemble Neue Musik Berlin; Uma Faca Só Lâmina (1997) String Quartet, Momenta Quartet; Kampela’s works have been performed in South-America, Europe, Asia and the USA. Doctorate in composition, Columbia University. Private lessons from British composer Brian Ferneyhough.
He has been writing on his theoretical ideas on Micro–Metric Modulation and on extended-techniques such as in his 1998 Doctoral Dissertation “Micro-Metric Modulation: New Directions in the Theory of Complex Rhythms;” his article “A Knife All Blade: Deciding the Side not to Take” that appeared on the Current Musicology Journal (“Composers Issue” 67 & 68 © 2002 Columbia University NYC) and most recently, he contributed with the article “Micro-Metric Rhythms and Noises Emanations from the Stochastic Cloud” to a new book on Xenakis published in November 2012. A recent CUNY DMA, Graziela Bortz, wrote her DMA dissertation (“Rhythm in the Music of Brian Ferneyhough, Michael Finissy and Arthur Kampela: A Guide for Performers,” 2003) based on Kampela’s theory of Micro-Metric Modulation in order to analyze the rhythmic strata of her thesis’ subjects.
Entrée libre dans la limite des places disponibles
Seminar in English without translation – Séminaire en anglais sans traduction.