Eric Schultheiss stands at the vanguard of contemporary composition, forging a unique path that bridges the rhythmic drive of global percussion with the infinite possibilities of digital sound. As a composer, percussionist, and educator, Schultheiss is acclaimed for his hybrid electro-acoustic works—pieces that fuse the organic pulse of drums with orchestral richness and the sonic innovation of modern electronics.

Rooted in a Southern California upbringing steeped in progressive rock, classical discipline, and the improvisational freedom of jazz, Schultheiss draws on a vast tapestry of influences. His music channels the off-kilter accents of Stewart Copeland, the lyrical intensity of Neil Peart, the storytelling depth of Peter Gabriel and Sting, and the progressive artistry of Genesis, Dream Theater, and Spock’s Beard. This synthesis results in compositions that are as intellectually rigorous as they are emotionally evocative.

Currently, as Head of Percussion Studies and Electro-Acoustic Composition at the Middle Tennessee Conservatory of Music, Schultheiss is an outspoken advocate for the DAW as a true instrument. In his hands, digital workstations become canvases for sonic experimentation, allowing for real-time orchestration, microscopic precision, and the layering of polyrhythms and timbres that would be impossible with traditional notation alone. He champions technology not as a shortcut, but as an authentic extension of the composer’s voice.

Signature works such as Lights Twinkle—a Christmas percussion-ensemble piece blending Japanese Taiko, harp, and haiku-inspired vocal textures—showcase his ability to unite tradition with innovation. Airidea’s Journal explores the dialogue between structure and freedom through dance-driven percussion and atmospheric synths, while As You Sleep and Terminal Memory reveal Schultheiss’ penchant for ambient soundscapes, introspective melodies, and cross-media collaborations. His compositions have been commissioned for film, dance, and multimedia productions, performed by leading ensembles, and praised for their intricate interplay of rhythm and resonance.

As an educator, Schultheiss is dedicated to shaping musicians who are not only technically skilled but also creatively fluent in both acoustic and digital modalities. At the Middle Tennessee Conservatory, he mentors young composers in hybrid techniques, polyrhythmic structures, and DAW-based workflows, encouraging them to embrace technology as a creative partner. His influence extends beyond the classroom, as he helps students gain visibility in the digital era and equips them to thrive in an evolving musical landscape.

Through his relentless curiosity, innovative spirit, and commitment to artistic growth, Eric Schultheiss is redefining what it means to be a composer in the 21st century. His work is a testament to the power of bridging tradition and technology, and to the limitless frontiers that await those willing to explore them.

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Geschichte und Charakteristik von Deephouse

In Chicago produzierte Larry Heard als Fingers Inc. mit den Sängern Ron Wilson und Robert Owens ab 1986 perkussive House-Tracks mit souligen Gesangseinlagen. Der Deep House hob sich damit insbesondere mit seinen jazzigen, bisweilen gesangslastigen Arrangements vom damals populären New Yorker Garage House ab.

Deep House hat eine Geschwindigkeit, die mit Disco vergleichbar ist, aber reduziertere Grooves, und war eine Reaktion auf die vorherrschende „Party House Music“. Das Spektrum aktueller Tracks ist sehr groß, es reicht von Soul-Einflüssen über Jazz bis zu Tech House, aber alles in einem gemäßigtem Tempo meist um 125 BPM.

In Chicago kam es Ende der 1980er Jahre zu einer regelrechten Deep-House-Welle. Die meisten House-Produzenten produzierten nun auch Deep-House-Tracks wie beispielsweise Fast Eddies Can U Still Dance (1988) und Marshall Jeffersons Truth Open Your Eyes (1988). Zu den stilprägenden Alben gehört unter anderem Promised Land von Joe Smooth.

Musikgeschichtlich gesehen war die Entwicklung des Deep House eine Weiterführung des Chicago House, der sich mit dem Garage House aus New York zu einem neuen gemeinsamen Sound verband und einer Vereinigung und Annäherung der beiden bisher sehr getrennt und autark existierenden Szenen.

Die regionale Ausdifferenzierung und Weiterentwicklung des Ur-House führte 1986 neben der Entwicklung des Deep House aber auch zur Ausbildung eines weiteren Stils in Chicago: dem Acid House, der außer einem riesigen Hype 1988 in England aber niemals an die lange und gleich bleibende Popularität des Deep House heranreichte.

Hej,

Thank you for stopping by! 

I'm an autodidact on guitar (acoustic , electric) and on flute. I enjoy jazz, folk, blues, latin, funk & soul and classic in all kinds of variation and combination.

I'm looking for inspiration and collaboration on the Cloud. Please post some info or a comment, if my tunes appeal to you.

Overwhelmed and very encouraged from unexpected 2100 plays in 1 year.
Thanks for all your positive feedback!
Great community!

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