Arthur Kampela compositeur invité par le groupe de travail sur le rythme Ircam

présente son projet de recherche :
“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.
BIO : Composer and virtuoso guitar player currently living in Berlin as a DAAD Artist Berliner Künstlerprogramm (2012-13)

Séminaire en anglais. Seminar in English.

Timbre ergonomics and Micro-Metric Modulation: a compositional assessment

Arthur Kampela compositeur invité par le groupe de travail sur le rythme Ircam présente son projet de recherche : “Timbre ergonomics and Micro-Metric Modulation: a compositional assessment" Séminaire en anglais. Seminar in English. 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. BIO : Composer and virtuoso guitar player currently living in Berlin as a DAAD Artist Berliner Künstlerprogramm (2012-13)