喷火器卷. 1-3: Innovation In Multidisciplinary Electronic And Acoustic Music

Electronic music is largely viewed by the music academic community as a boundless frontier for innovation. 然而, very few electronic music projects have been produced by students of the University of Denver’s 拉蒙特音乐学院. 火焰喷射器,卷. 1-3 is a series of three EPs (short albums) that combine jazz, 经典, 和 commercial electronic music to produce an artistic work in which the perception, 函数, 和 musical context of electronic instruments is challenged. I approached these compositions treating electronic components as instruments, writing out scores as I would for brass 和 wind instruments. I also utilized cutting edge electronic hardware (such as the Arturia Minifreak Algorithmic Synthesizer 和 the Chase Bliss Lossy Digital Artifact Generator) to generate degenerated, 支离破碎的, 不断进化的声音.

This type of in-depth sound design allowed me to write, 执行, 和 record novel parts for unique instruments. The remainder of the sounds on these recordings incorporate sampling of field recordings to generate new instruments or soundscapes 和 unconventional recordings of woodwinds (saxophone, 单簧管, 长笛, 低音单簧管, 和 alto 长笛) from Professor Remy Le Boeuf, 我的同事. Working on 火焰喷射器,卷. 1-3 has allowed me to push the boundaries of what I am capable of creatively. By treating electronic hardware as an instrument in a more traditional sense, I was able to take the synthesizers 和 effects units on their own terms 和 write far more successfully. Once the music I’ve recorded 和 produced is released, it will likely show others within our community that experimenting with electronics is a viable 和 respectable avenue within music academia.