In addition to chairing the Contemporary Writing and Production Department, Andrea Pejrolo is a composer, producer, electric and acoustic bassist, and music technology expert. Some of his recent collaborations and projects include work with Kukaio Film Production (Munich, Germany), Traits de Marque (Paris), the iAcoustica Studio drum library, the iDrum Rock Edition for iPhone/iPad in collaboration with Izotope, and arrangements and recordings with the City of Prague Philharmonic Orchestra, among many others.
Pejrolo is an active presenter and lecturer for prestigious conferences such as the Audio Engineering Society (AES) and MacWorld. Hi most recent publications include Creating Sounds from Scratch (Oxford University Press) and Acoustic and MIDI Orchestration for the Contemporary Composer for (Focal Press). Some of his latest inventions as a music technologist and programmer can be seen on Vimeo here and here.
Pejrolo holds a Ph.D. in jazz studies from New York University, a master's degree in composition for film, TV, theater, and multimedia from the University of Bristol, and a music diploma in jazz performance from the Manhattan School of Music.
- Career Highlights
- Performances include “Scanzonati” with Stefano Marchese, Dan Smith, Rento Milone, Somer o’Brian, and Gilad Barakan
- Collaborations include work with George Arvanitas, Tony Scott, Lee Konitz Big Band, Tal Farlow, Barnie Kessel, Garry Dial, Richard De Rosa, Harold Danko, Terre Roche (The Roches), Robert Bonfiglio, Gordon Gottlieb
- Performances in venues such as Birdland (weekly concerts), the Five Spot, Knitting Factory, the Bottom Line, and at Arizona's Grand Canyon Music Festival
- Publications include Creating Original Sounds: A Guide to Digital/Analog Sound Creation for Producers and Composers (Oxford University Press), Acoustic and MIDI Orchestration for the Contemporary Composer, first and second editions (Focal Press), and Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase, first and second editions (Focal Press)
- Arrangements and production for works such as "Just Like Jesus" for Lebanese artist Jamie Helou, A True Story Based on Lies (original music and sound design for a theater play based on the book by Jennifer Clement), "Sawtak Ya Yassou" for Stronghold and the City of Prague Symphonic Orchestra, Links Andrea Pejrolo Quartet for Splasc(H) Records, La Vie Offensee for string quartet commissioned by Accademia Torino Arte (Italy) and Le Conservatoire de Strasbourg (France), and Interesting Times commissioned by the Contemporary American Theater Festival in West Virginia, among many others
- Composer for Telefonate a Simone for Kukajo Film Production, Munich, Germany; “La Donna Via Fax,” a short film finalist at the Munich Film Festival; and Out of Service, a theater production in Munich
- Audio engineering, mixing, and production for US An’them, featuring Garry Dial, Terre Roche, Romero Lubambo, Susan McKeown, Samir Chatterjee, Jay Anderson, Jeff Hirschfield, Joey Baron, and Vic Juris
- Work on iDrum Library Rock Edition for iPhone and iPad with Izotope, the iAcoustica Studio Drum Sound Library for Kontakt, the iAcoustica Drum Sound Library for iDrum with Izotope, and the online tutorial for IK Multimedia's advanced Orchestral Workstation Philharmonic
- Ph.D., New York University, composition and performance
- M.A., University of Bristol, U.K., composition for film, TV and theater
- Diploma, Manhattan School of Music, New York, jazz acoustic bass
In Their Own Words
"At Berklee in general, and in our department especially, we strike the right path between the traditional composition and arranging techniques and the technological aspect of production. We teach the latest technology in terms of production, recording, and sequencing, but we also provide our students with the traditional orchestration techniques for acoustic ensembles, tools that are extremely valuable these days to any professional musician. I always strongly encourage my students to stay updated on new musical trends, new arranging techniques, new styles, and new technologies. Technology should be regarded as a tool to improve the quality of music and to help develop new musical idioms, but it is imperative for the student to sustain a balance that includes strong musicianship."
"I want my students to understand that in this business, they really need to be passionate about what they do. The life of a musician is an incredible journey, a rollercoaster, where highs and lows alternate and where the next turn may reveal unforeseen and exciting new events. My goal is to prepare students to enjoy every minute of that experience, to be ready when the next opportunity will arise, to realize that being a musician is an incredible gift that they can benefit from only if they have the right tools, knowledge, and flexibility to take advantage of it. My philosophy is 'Do as many things as you can, making sure that everything you are involved in is done well and with passion.' I think that's what makes the work so exciting."
"I want my students to be 100 percent focused on what we do and to really take advantage of everything that goes on in class. I like to be available for students if they need to see me during office hours. I always like to comment on every project in class. Also, I like to have the students commenting on their projects in class. The critique process is a very important one for me. Students learn not only from getting their projects critiqued by me, but they also learn from accepting constructive criticism from their peers. In fact, the entire process of commenting on other people's projects is an invaluable tool for learning about our own limitations and about areas that need improvement."