Micro-metric modulation in the music of Arthur Kampela

Authors

  • Graziela Bortz City University of New York

DOI:

https://doi.org/10.35699/2317-6377.2006.55381

Keywords:

musical meter, rhythm, New Complexity, performance, music analysis, composition

Abstract

This article discusses rhythmic aspects found in pieces of The New Complexity School of composition, such as nested rhythms and irrational meters, in order to analyze the rhythmic notation of works written between 1995 and 1999 by Brazilian composer Arthur Kampela. Two methods described by Arthur Weisberg are used to explain how to find the speed changes in Elliott Carter’s tempo modulations, and to introduce the concept of micro-metric modulation as developed by Kampela.

Author Biography

  • Graziela Bortz, City University of New York

    Graziela Bortz holds a Bachelor's degree in horn from the University of São Paulo. As a CAPES/MEC scholarship recipient, she obtained her Master's degree from the Manhattan School of Music and her Doctorate, supervised by Joseph N. Straus, at the City University of New York. She was a horn player with the Porto Alegre Symphony Orchestra and the Municipal Symphony Orchestra of São Paulo. As a performer of contemporary music and a soloist, she has appeared at the Bienal de Música Contemporânea (RJ), the ISCM Festival in Seoul, at an event promoted by ASCAP at The Cutting Room (New York), at the Teatro Popular do SESI (SP), at the Conservatory of Cuenca, and at the University of Valladolid (Spain). She was a member of Grupo Novo Horizonte in São Paulo. She worked as a translator for RILM – Répertoire International de Littérature Musicale (New York). She presented papers at the Congreso Música y Universidad in Salamanca (Spain) and at the Symposium on Cognition and Musical Arts (PR).

References

BORTZ, Graziela. “Rhythm in the Music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela: A Guide for Performers”. Diss. de doutorado, Graduate School and University Center of CUNY, 2003.

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FERNEYHOUGH, Brian. Collected Writings, ed. James Boros. Amsterdam: Harwood, c1995.

KAMPELA, Arthur. “Micro-Metric Modulation: New Directions in the Theory of Complex Rhythms”. Diss. de doutorado, Columbia University, 1998.

________. A Knife All Blade para quarteto de cordas. Partitura. Requisito parcial da diss. de doutorado, Columbia University, 1998.

________. “A Knife All Blade: Deciding the Side Not to Take”. Current Musicology 67-68 (Special Issue 2002): 167-93.

________. Phalanges para harpa solo. Partitura. Manuscrito do autor,1995.

________. Quimbanda para guitarra elétrica. Partitura. Manuscrito do autor, 1999.

SILVERMAN, Julian. “Britcomplexity”. Review of Aspects of Complexity in Recent British Music, by Tom Morgan. Tempo 197 (July 1996): 33-7.

TOOP, Richard. “On Complexity”. Perspectives of New Music 31, n.1 (1993): 42-57.

WEISBERG, Arthur. Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists. New Haven: Yale University Press, 1993.

WEISSER, Benedict. “Notational Practice in Contemporary Music: A Critique of Three Compositional Models, Luciano Berio, John Cage, and Brian Ferneyhough”. Diss. de Doutorado, Graduate School and University Center of CUNY, 1998.

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Published

2006-01-01

Issue

No. 13 (2006): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2006 Per Musi

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How to Cite

“Micro-Metric Modulation in the Music of Arthur Kampela”. 2006. Per Musi, no. 13 (January): 85-99. https://doi.org/10.35699/2317-6377.2006.55381.