About
I am Henry Schroy, a bassist, composer, producer, and systems-oriented musician whose work explores how musical meaning emerges through structure, repetition, and attention over time. My practice moves between improvisation, composition, production, and instrument-centered research, with an emphasis on designing conditions that allow music to unfold rather than be imposed.
Born in Rio de Janeiro and shaped by a life lived between cultures, my musical orientation has been informed as much by collective ritual, rhythm, and embodied practice as by formal study and technical systems thinking.
Spending long hours practicing bass while studying circuit design and the physics of audio nearby, I learned—often unconsciously—to treat sound, structure, and repetition as parts of the same system.
Over the past several decades, I have performed, recorded, and collaborated across a wide range of musical contexts, from experimental and improvised music to song-based, diasporic, and ritual-influenced work.
A recurring focus of my work is the relationship between abstraction and embodiment: how rule-sets and conceptual frameworks translate into touch, groove, listening, and presence. This has taken many forms over time, including ensemble projects, studio-based productions, pedagogical work, and system-driven practices such as Dodecahedron and Misha-matics.
In recent years, my primary practice has centered on Misha-matics, an ongoing series built around live performance with an interval-based instrument. The work treats music as a repeatable practice rather than a fixed object—valuing continuity, variation, and careful attention over novelty or display.
Alongside music, I have worked professionally as a systems engineer, and this parallel track has shaped how I think about structure, resilience, and long-form processes. Across both domains, I am drawn to clarity over spectacle, depth over scale, and practices that can remain alive through interruption, change, and time.
I currently live in South Florida and continue to develop music, writing, and collaborative projects oriented toward stewardship rather than accumulation—maintaining frameworks that invite listening, learning, and renewal rather than closure.
