MS83 collaborations

Jay_Electronica_better_in_tune_w_the_infinite_ft._LaTonya_Givens

Performed by the New York City Ballet Orchestra featuring saxophonist Chris Hemingway, May 2023

Standard Deviation - ballet for saxophone & orchestra

Still Grxw

(in)somnia, a sudden daydream as if sleep overtakes us or no longer wants to catch us... Like an “anthropo(s)cene”, listening attentively to the changing soundscapes. A musical wake-up call: the unexpected silent cry of a cymbal to preserve the layered, biodiverse sounding ecology for future generations of all living species.

"Dawn Performance": A fresh new sounding day, a cow far away, a car, opening the gate: new grids, performing new dialogues, movements of men and nature, frogs, mechanical sounds, the sandwich tern, a helicopter, sonic sunshine and fresh island wind, silence and noise moving through time cycles, creation of sonic heritage.

sound traveling locations: Amsterdam, Texel, Orangewoud, Kunstmuseum Den Haag

All authentic unquantized (no)human sounds and soundscapes made, recorded, produced, without the use of AI.

(in​)​somnia, Sounding Eco Trance​-​sitions

(in)somnia, Dawn Performance

Buy on Bandcamp

Video: https://www.youtube.com/watch?v=xG3XXq8_01w

The immediate inspiration for my 'Fragment 16 (Xenogothic Triple Canon)' was a piece by the composer Matt Barber (https://soundcloud.com/brbrofsvl ) titled 'Prelude and Canon for Wind Quintet' ( which you can listen to here: https://www.youtube.com/watch?v=vhKDdcFm8l0 ). The title belies his piece's compositional virtuosity: the canon is in five different superimposed speeds, and uses late romantic tonal language. It caused quite a stir at Eastman when it was first played there, despite its short length. Matt's musicianship has been inspirational to me since I was 18 years old, and in some ways I feel like I am always several steps behind him. So I also wanted to write a polytempic canon in a historical contrapuntal style, and Avignon around 1370 was my target.

I failed, quickly: my piece is not strictly in three different consistent speeds (much too difficult), but the melodies in each voice, otherwise all direct copies of one another, do get pervasively pushed and pulled like taffy into and out of shifting speeds. I partly attribute my failure to my beloved teacher, Jean-François Charles, who suggested “Why not write a canon at the [melodic distance of a] 7th? ”, suggesting that canons at the 5th and octave were rather passé. I took him up on this, but it made life harder. For example, for technical reasons, descending scales were now basically off limits, and descending sixths become sort-of necessary as an escape hatch, both features which were uncommon in the melodic style of the medieval period. Nevertheless, it was great fun getting the piece to sound as 'medieval' as possible given these constraints. I can't take credit for the coinage 'Xenogothic'; that honor belongs to microtonal theorist and composer Margo Schulter (https://www.bestii.com/~mschulter/QuickTour.html). Please look up her and Matt's music if you get the chance.

Thanks to the JACK Quartet  for this wonderful performance.

Fragment 16 (Xenogothic Triple Canon)

DropStrike | Edmund Song

14th realise for GRINDSTONE CONCEPT  with Daniel De Togni
https://soundcloud.com/daniel-de-togni

MS83 vs DANIEL DE TOGNI - the falls

MS83 Vs DANIEL DE TOGNI - The Falls (Acoustic)

original link
https://soundcloud.com/taylor-rankin/ii-metropolis-contact
Second movement of a three movement trio for Violin, Bb Clarinet, and Piano. 
Performed by the Redshift Ensemble at the 2012 Glenn Glassow Fellowship Concert. 
Written as undergrad recipient of the Glenn Glassow Fellowship award.
RMX by MS83 , 23-01-16 , cover by [k] 2015 ''dawn''

MS83 vs Taylor Joshua Rankin - contact

original link
https://soundcloud.com/taylor-rankin/ether-for-solo-piano-hq-audio

"Ether" for solo piano is one of a five piece elemental piano collection composed by Taylor Joshua Rankin.

The others in this collection are: 
Fire, Earth, Air, and Water

taylorjoshua-rankin.squarespace.com/

These piano pieces were written and premiered in 2013 during Taylor's senior year at Cal State East Bay, in Hayward CA, under the direction of Dr. Frank La Rocca.

The five collection pieces were inspired by photographs/paintings by established L.A. photographer Craig Barnes.

Performed by Emily Tian
Recorded by Garrett Roads at the Better-World School of Music in Hayward, CA

synth , samplers and RMX by MS83 24-01-16 , noise samplers from ''THE SHINING'' S.K.

artwork : DAWN - the flag  by [k] 2015




MS83 vs Taylor Joshua Rankin - ether

Pendulum Song

Rilascio : Fear of the void // ARM010
Artista : MS83 / Daniel De Togni
Prodotto da ARIAM Records
Mastering : MS83
Grafica : ARIAM Records

Follow @peterkopko

Visita la pagina ufficiale : 
http://www.ariamrecords.it/catalogo/arm010/

Fear of the void

After All

Download EP / Bandcamp

MS83 / Daniel  De Togni - After All

Three Poems of Tennessee Williams (2018)

I. Shadow Wood

KOPKO PROJECT : noise , industrial , isolation , obsessions , fears .
MS83 : drone , ambient , elettro , soundtrack , darkambient , passion , mantra , ritual , elettro acustic , collage music
since 2001
label :
Musique Brut : Seoul-Korea
https://soundcloud.com/musique-brut-records
http://www.musique-brut.com/
label :
ARIAM RECORDS - Bologna , Italy 
https://soundcloud.com/ariamrecords
http://ariamrecords.tumblr.com/
http://www.ariamrecords.it/

Simone Marsi aka :
KOPKO PROJECT , P936 , MS83 , Maverik , Peter Kopko .
Drone and noise giuitar with SUPERVIXENS
https://soundcloud.com/supervixens

MS83 Vs DANIEL DE TOGNI - The Falls (Acoustic)

Daniel De Togni

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