When I was a teenager, I found a recording in my parent’s LP collection called Serenade Op. 24 For Septet And Baritone Voice. Composed by Arnold Schönberg, it’s an early example of the techniques he developed to expand music and, although it takes some getting used to, it’s still somewhat listenable compared to Schönberg’s later pieces.
In 1993, when I was 35 years old, I composed a number of hypertechno magnum opuses using a Boss drum machine, a couple of Yamaha synthesizers, and an eight megabyte capacity sampler. None of the compositions used regular meter or time signatures, which made them particularly psychedelic.
I’ve always been fascinated by the soundtracks of foreign movies that are dubbed in English. There is a peculiar detachment in the voices, since the voice actors are in a small room trying to fit their voices and dialog so it appears the filmed actors are actually speaking the lines.
In avant garde music of the late 20th century, there is extensive exploration of alternate methods for playing traditional instruments. Although electronic instruments were established and used regularly for performance during the time, the effect and tonality of an existing instrument remains a unique and novel experience, especially when used in the context of a performance.
My recent set of ten compositions titled Voce Gyre uses existing recordings to build constantly shifting fragmented patterns, which are then layered into strongly syncopated rhythm tracks. By creating a sound cluster using several copies of a basic sampler, recorded material can be imported and cut up using a randomized sample start setting controlled by a low frequency oscillator.