Suite for Marimba and Bass Recorder.
Commissioned by Duo Blockstix.

Auto Dafe Suite:

Auto Dafe Suite for Bass Recorder and Marimba (Four Wooden Rites)

Synthwave Instrumentals [backing tracks] - By NyQuest

A funky deep house track inspired by the video game "Among Us" and sequenced with modular eurorack and drumbrute drum-machine.

One Among Us - Original Deep House by NyQuest

Electro-Sovietwave remix of the "Red Alert" Soundtrack" by NyQuest.
Adapted from two loops from the OST to "Command and Conquer: Red Alert (1996)" score by Frank Klepacki.

R.U.R. March: 001 - Sovietwave Remix by NyQuest

"Boss Fight" Synthwave Remix, an uptempo mix of retro electronica and synthwave with a "Final Boss Fight" remix theme.

130BPM

Mix of fighting synthwave including: Mick Gordon / Emulate / PowerGlove / Sheridan Black /Galatic Beatz / Mick Gordon / NyQuest / PowerGlove

"Boss Fight!" Synthwave Mix (130BPM) by NyQuest

Chill Synthwave Mix by NyQuest, all Originals by NyQuest.

Synthwave and Chill (Mix 1 of 2)_70 to 130 BPM

NyQuest Synthwave (22)!! Originals Mix

Original Music by NyQuest:
Cruiser Class
Mallwave
Love Rains
Galaxy Adrift
MJ Love
French Bells 89
Stand Together (Instrumental)
New Wave Synth
City Limits 128
Cyber Theory 128

Weird Science Full Mix (no leads) Loop Tracks

Full sovietwave mix for Red Alert Event 2023.

NyQuest_(ft. Mr?E & 4IS)_FULL LENINWAVE_MIX(B4DB3)

Sax Setlist (All Originals) by NyQuest:

00’00” - Sax Man
04’40” - Groove City
09’48” - Sax Outrun
14’ 16” - Workout Wave
18’ 04” - Galaxy Adrift
21’ 28” - Dark Sax

SaxWave by NyQuest (Set list of Synthwave Sax Originals)

"String Theory" is an interactive concert work that intertwines the resonant tones of the paetzold contrabass recorder, live electronic music featuring sub bass frequencies, and immersive video projections inspired by Galileo Galilei's celestial research. Designed using MaxMSP, this multidimensional experience takes the audience on a captivating journey through the harmonious realms of both music and astronomy.

The paetzold contrabass recorder, renowned for its deep, resonating timbre, serves as the centerpiece of "String Theory". Its commanding presence and virtuosic expressions evoke a sense of wonder, embodying the cosmic vibrations that once fascinated Galileo. Through MaxMSP, the recorder's melodies and textures blend seamlessly with live electronic manipulations, where sub bass frequencies merge with the organic sounds, blurring the boundaries between the earthly and the ethereal. Accompanying this cacephony of sound, minimal/animated video projections influenced by Galileo's celestial observations unfold in real-time, creating a synesthetic experience that transports the audience into a realm where music and visual imagery harmonize.

"String Theory" not only pays homage to (both) Galileo's groundbreaking contributions to science and music but also invites contemplation of the interconnectedness between the celestial and the terrestrial. This innovative concert work combines the power of live performance, electronic manipulation, and immersive visuals to create a mosaicesque journey where sonics ripple through the vast cosmic tapestry.

StringTheory Workshop 01 June23

Tanox is a new work for an unlikely multimedia ensemble, Alto Saxophone, Harp and fixed media with stereo output. Functioning as a cycle of eight (8) short movements that follows a narrative that is based on a true story. Solo, polyphonic and homophonic instrumental textures weave in and around the set electronic accompaniment. The spoken text, derived from a nostalgic interview from the storyteller and protagonist, is central to the development of each fixed-media segment. Manipulated and live Harp and Saxophone ornamentation contributes to the many textures and aesthetics of the work. Granular synthesis, phase-vocoding and other algorithmic processes contribute to the textures that produce the sometimes meandering, potentially ambient and frequently rhythmically charged attacks that constitute the form of the work.

In homage to the many great stories to come from the generations above, this work tells the story of my (Mark Oliveiro’s) grandfathers ‘near-death-experience’ during the Japanese occupation of Singapore (WWII). An organized physical confrontation that spirals out of control, Tanox, retells the story of a 15 year old boy’s sparring encounter with a Japanese military officer. Conceptually, the two instruments speak as the two opposing yet central characters: Vivien (‘Tano’) the boxer and the challenging  Japanese Solider. Each miniature progresses through the various blocks of the story, following the pride and fall of a confident, young professional boxer. Listen intently to the text and sound world of the fixed-media and instruments as you are transported to a volatile time and place in history .


All samples where processed using Max/MSP and arranged using Protools. 
CONFIDENTIAL



TANOX - for Alto Saxophone, Harp and

In Australian art and literature, a prevalent binary opposition emerges from works classic and contemporary, a dichotomy that permeates reality as much as fiction. In Maluga, a spatial fixed media work for five channels, explores notions of bush VS city. Often poets, artists and musicians explore the pervasive nature of the city as it etches away the beauty of an ancient omnipotent bushscape. Sometimes the soft and docile manmade city-limits are tested by the harsh reality of an unforgiving desolate wilderness. Maluga (the subject) is a resurrected traditional mangrove, a reborn spit of bush in the middle of Sydney’s suburbia, a fantasy of a lost living forest in historical Australia. Surrounded by the urbanized cacophony driven by business and industry, In Maluga presents a juxtaposition between a living serene bushland and a bustling city.  The bird calls of Australian natives and the clang of a mechanized modern piano are two central samples that represent the bush VS city idiom. The audience is transported to and from a ‘happy place’, a gentle collage of nature’s orchestra and the ‘foreign’ harsh crack of industrial noise. Synthesized and manipulated sounds represent both calamity and tranquility as the listener is thrown between these opposing settings, common in a contemporary human habitat. 
This work is set in five channels, mixed in protocols with sounds manipulated using RTCmix.


In Maluga

It is a common theme in the legends of the ancients, to elucidate an awe of the natural, by
drawing a spiritual connection to the Supernatural. The many mythological paradigms that represent nature’s cause and effect as a consequence of the mood or wraith of the Gods, gives this work its narrative. Thunor, the God of Sea and Storm, was the Anglo-Saxon model of the Thunder God Thor. 
With his crashing hammer, swelling seas and violent winds; Thunor is an image of a legendary past that is ripe for an abrasive musical setting. In the course of writing the work I found much 
inspiration, in keeping with the concept, by observing nature. I will often sit on a beach, listen 
to the waves and absorb the beauty of earths own aesthetic. If Thunor’s realm is the storm of the 
ocean, his gate is the beach and I wrote this work in quiet observation near Ramsgate beach 
(Sydney, Australia). More inspiration, still, comes from the musical past of the people who’s 
mysticism I have attempted to evoke; the Germanic peoples of northern Europe. The Bukkehorn is an ancient shepherd’s instrument made from the horn of a ram or goat and plays with a warm lamenting beauty that is of interest in the setting of this piece. As Thunor’s totemic symbol is the “Ram”, it seemed especially appropriate to capture the sound of the Bukkehorn in the composition of the Solo Horn. The people, the past and the mysticism of the Anglo-Saxon people are key to the programmatic nature of this work.

To further the conceptual relevance of nature and its connection to the supernatural, the 
programmatic narrative is thrust upon itself in the aural realm. This work is set for Solo Horn and 
LIVE electronics. Every sound heard, during the course of the work, is a manipulation of the Horn’s raw acoustic self (the natural) or a re-synthesis of a snapshot of the acoustic realm (the 
Supernatural). This dichotomy of hyper-reality VS reality, man VS wild, city VS bush; is a
common theme in Australian art and literature. Here I attempt to appropriate an inherited legend 
from our Anglo-Saxon lineage and reconnextualise the saga within the guise of a common modern 
milieu. The live electronic component of this work is available as a standalone application or as a 
max/MSP patch and uses a host of synthesis techniques to produce the realtime sonic canvas that underpins the acoustic solo. Granular synthesis, signal delay, frequency modulation and other 
techniques constitute the complex electronic environment.

Thunor’s Gate is a new work commissioned by the International Horn Society and composed as a 
dedication to Zachary Glavan and Jeff Nelsen’s commitment to furthering the development of 
contemporary literature for the Horn.


Thunor's Gate

Eight are dead!
Violence ebbs in a Watery Romance. 
Bickering ends peacefully.
All aboard are safe.


As the text suggests, LOADED, is an exploration of the barrage of media sensationalism that we are exposed to in the 21st century. New York poet and author Dylan Pancer extracted this small portion of text from a culmination of randomly selected words from BBC world news reports. A curious literary algorithmic process then jumbled and reconnected the words, in order to produce a pseudo-news report. Selections from the original text are presented in the setting for soprano, as over-animated emotion dictate the mood of the piece. 
Sensationalism and textual aggrandizement are presented as melodrama and musical satire, in this work. The text setting and aesthetic of the music is intended to directly comment on (through re-contextualization) the dangers of exploitative journalism. 
The randomly selected structure of the original texts, abstractly remaps itself onto the theme. Is it possible that as much careless randomization is employed in the development of tabloid news, as there is in applying algorithms to arbitrary found texts? Listen carefully to Pancers ‘Loaded’ words and decide from whom you’d rather listen to the news!


Loaded - Movement I

A recount is ordered.
Bankers crack-down on China, to name the dead.
Terrorist cases of Euthanasia


As the text suggests, LOADED, is an exploration of the barrage of media sensationalism that we are exposed to in the 21st century. New York poet and author Dylan Pancer extracted this small portion of text from a culmination of randomly selected words from BBC world news reports. A curious literary algorithmic process then jumbled and reconnected the words, in order to produce a pseudo-news report. Selections from the original text are presented in the setting for soprano, as over-animated emotion dictate the mood of the piece. 
Sensationalism and textual aggrandizement are presented as melodrama and musical satire, in this work. The text setting and aesthetic of the music is intended to directly comment on (through re-contextualization) the dangers of exploitative journalism. 
The randomly selected structure of the original texts, abstractly remaps itself onto the theme. Is it possible that as much careless randomization is employed in the development of tabloid news, as there is in applying algorithms to arbitrary found texts? Listen carefully to Pancers ‘Loaded’ words and decide from whom you’d rather listen to the news!


Loaded - Movement III

In Cyan Echo I, a solo for cello and live electronics, the soloist's music is picked up and modified by electronic means before being returned to the performance venue through loudspeakers.  The devices employed include delay effects, reverberation, harmonisation and granular synthesis.  

The application of electronics in this piece is primarily a means of expanding the variety of timbres available from the solo cello, enabling it to evoke the sound world of the great cliffs and valleys near Katoomba in the Blue Mountains.  The composer writes:

``I have a fond memory of standing at the brink of the Jamieson Valley in the Blue Mountains, shouting at the Three Sisters on the other side, listening to the muffled, distorted repetitions of my vocalisations boomeranging their way in return.  I would do this for ages, as long as my parents could stand it.''

So the work begins with the solo cello, the echo, emerging like the early morning haze of the mountains, prolonged by electronically generated echoes; later sections require the soloist to soars above walls of sound like a bird in flight, or to tumble down dramatically like a waterfall.  The electronic effects surround the soloistic lines with an atmospheric halo like a dense mist shrouding the landscape.  Frequent forceful interjections from the synthesized bass and sharp granular attacks suggest mysterious rocky outcrops hidden from sight deep  the mist.  At the dying moments of the work the last of the delays fades into silence beneath the soloist's lamenting, resonant phrases.


Cyan Echo I - Solo Cello and Live Electronics

A selection of incidental music from the IU production of Shakespeare's Hamlet, 2008.


Gertrude's Lament - [Selections from McGibbon's Hamlet]

A selection of new music for small and large ensembles.

Witches Brew - for Chamber ensemble

Prelude and Berceuse is a new chamber work that explores notions of Gestation and Quickening, a component of the story of the Nativity and ritual of early life. Using a subtle work of poetry and a striking excerpt of prose, the text setting employs the work of Donall Dempsey and Joan Raphael-Leff. In literality and anagram the texts vacillate relentlessly as the text setting meanders between tonality and pantonality; consonance and dissonance. As if a mother when wailing exclaims her pain, though too singing softly to calm her unborn; the music wades through anguish and serenity. Although often superimposed, the many binary opposites enveloped in this work are often as subtle as they are apparent.

Prelude and Berceuse -  for Chamber Ensemble

Le Violon is the first in a set of three songs, Il Garrot - Song Cycle.

Il Garrot, is a collection of song settings for three poems of French (and Canadian) origin, organized in a French-English-French formation. Conceptually, this set of poems outlines the rise and fall of a striking romance; following a saga from a lust born of uncertainty, affection lost in the conflict of the mundane, and then finally, the reminiscence of a love lost in the sparseness of memory.
The Soprano and the text setting are fixed delicately on an array of text painting techniques, the piano speaks as the characters and surroundings of the narrative. In Il Violin, as the piano presents as the unfamiliar Violin, the draw of this illicit affairs hangs upon a sigh of its affect. As the romance turn’s stale and the unfamiliar becomes a humdrum of expectation, A House Divided sets the tension of a frayed relationship. Here the piano is a machine, churning in mechanisms of clock strike and metronome click. Robotic rhythms as aggressive piano attacks places the text setting in a mode of uneasy recitation, monotone melodies, angular lines and extended vocal techniques are rife in this quarrelsome milieu. The final act in this romantic chronicle: features the distant reminiscence of the couple, now devoid of life or love. The piano paints this hyper-reality in amongst the serenity of a perfected Japanese square garden. The specters of our troubled pair wander the reserve, lamenting the dissipated affection. This icy lament falls in voice and accompaniment as the protagonists try to relive shattered memories, as delicate as the frost on the green of the garden. The piano perpetually paints a picture of the sparse misty night, where two lovers wander aimlessly, with further lamenting calls, with nothing but a memory of their love.
Il Garrot, was written for Jane Sheldon and Zubin Kanga.


Le Violon - For Soprano and Piano

Colloque Sentimental is the third in a set of three songs, Il Garrot - Song Cycle.

Il Garrot, is a collection of song settings for three poems of French (and Canadian) origin, organized in a French-English-French formation. Conceptually, this set of poems outlines the rise and fall of a striking romance; following a saga from a lust born of uncertainty, affection lost in the conflict of the mundane, and then finally, the reminiscence of a love lost in the sparseness of memory. 
The Soprano and the text setting are fixed delicately on an array of text painting techniques, the piano speaks as the characters and surroundings of the narrative. In Il Violin, as the piano presents as the unfamiliar Violin, the draw of this illicit affairs hangs upon a sigh of its affect. As the romance turn’s stale and the unfamiliar becomes a humdrum of expectation, A House Divided sets the tension of a frayed relationship. Here the piano is a machine, churning in mechanisms of clock strike and metronome click. Robotic rhythms as aggressive piano attacks places the text setting in a mode of uneasy recitation, monotone melodies, angular lines and extended vocal techniques are rife in this quarrelsome milieu. The final act in this romantic chronicle: features the distant reminiscence of the couple, now devoid of life or love. The piano paints this hyper-reality in amongst the serenity of a perfected Japanese square garden. The specters of our troubled pair wander the reserve, lamenting the dissipated affection. This icy lament falls in voice and accompaniment as the protagonists try to relive shattered memories, as delicate as the frost on the green of the garden. The piano perpetually paints a picture of the sparse misty night, where two lovers wander aimlessly, with further lamenting calls, with nothing but a memory of their love. 
Il Garrot, was written for Jane Sheldon and Zubin Kanga.


Colloque sentimental - For Soprano and Piano

A selection from Sarah Treem's "A Feminine Ending", a story about the struggles of a Female musician/composer.

Sarah's Oboe - [Selections from Treem's A Feminine Ending]

A selection from the IU 2007 Production of Anton Chekhov's "The Seagull".

From A Dream - [Selections from Chekhov's The Seagull]

For Dance - Fixed-Media (2008)

Commissioned by project HAMMER AND NAIL
For Tape
Premiere: Hammer and Nail 2008, Buskirk-Chumley Theatre, Bloomington 19-20 April 2008 [Choreography by Richelle Steiner]

WaterDance - [Phase Elemental]

EarthSong - [Phase Elemental]

BurningBush - [Phase Elemental]

A selection of ambient sound-scapes and samples, mixed for your listening pleasure.

Samples of both acoustic and physically modelled instruments.

L'Dagh Banshee - Ambient Electro-Ritual - Electronica (June '16)

Movement 1 - Auto Dafe Suite, composed for Duo Blockstix: www.duoblockstix.com

Download/order album here: https://duoblockstix.com/

Auto Dafe Suite - Movement I (Sesquialtera Ritual)

Movement 3 - Auto Dafe Suite, composed for Duo Blockstix: www.duoblockstix.com

Download/order album here: https://duoblockstix.com/

Auto Dafe Suite - Movement III (Iteration Ritual)

Movement 2 - Auto Dafe Suite, composed for Duo Blockstix: www.duoblockstix.com

Download/order album here: https://duoblockstix.com/

Auto Dafe Suite - Movement II (Rentak Silat Ritual)

Auto Dafe Suite - Movement IV (Reflection Ritual)

Recorder vs. Modular Synth Improv 
feat. Alicia Crossley [recorder]
With synth tabletop + Eurorack 
+Arp Odyssey 
+Korg ms20 
+Modseq
+Karpplus
+sq-1

Recorder vs. Modular Synth Improv (Alicia Crossley [recorder] + Arp Odyssey + Korg ms20 + Eurorack)

An ambient, glitchy soundscape; suspenseful and ominous.

Made using Korg ms-20, Arp odyssey, Wavetable VCO and sq-1.

No post-production.

Suspenseful Synth Music (8mins - Korg ms20 | Arp Odyssey | Wavetable Osc)

A monophonic Arp Odyssey melodic improv in the style of 17th century baroque keyboard studies.

No post-processing, performed on Arp Odyssey mkII.

Performed/patched/recorded by Mark Oliveiro.

Arp Odyssey Etude - 01 (Monophonic synth after Telemann)

As inspired by Historical Recreation groups such as Musica Romania and Synaulia, Magnificum Orbis is a recreation of the musical ritual associated with ceremonial gladiatorial combat. 

This work was written as a music/dance collaboration as comments on the spectacle of the arena (theatre in the round), the decadence of Imperial Rome (multicultural spectacle) and the simple, yet chaotic sound of militant ancient music.

This work is set for two choirs of 4 Cornu (Trumpets) and 5 Tubas (Trombones), Two timpanists (percussionists) and 1 Cithara (Harp).

Magnificum Orbis - Final Rehearsal Reading April 27 2012

Tena Koe - An Imaginary Haka for Contemporary Dance

Draft run of new work for Flute and Computer programmed in max MSP and written for ICMC 2018.

Patricia Surman, flute.

Lilith, Cometh: for Flute and Computer Music

The Panegyrite

The Panegyrite is a work of Abstract Historical Recreation, a musical ritual that pieces together rare details of a religion shrouded in secrecy. True Louisiana styled Voodoo is a syncretic observance that is, today, polluted by rampant commercialism, the spirits of the L’wa and the mysteries of Gris; all but lost.
The Panegyrite is a Grimwar document, a book of spells that combines singing, incantation, chant verse, poetry, music and liturgical movement, in a single recreation of a nineteenth century Vodou ceremony. The Panegyrite is a good luck ceremony, modelled after the cult of Laveaux, with a focused adoration of the “La Croix Fortuna” or the “Cross of Luck”.


The Panegyrite - pour Le Cantor, Pipeau, Alto, Basse and Batterie

Full instrumental track of "Synth-step Odyssey" an instrumental backing track for live mono-synth performance; developed for performance on the arp odyssey.

Synth Step Odyssey [Instrumental] (By DJ Nyquest)- FULL MIX

Part One of the instrumental track of "Pixel Bay Drive" an instrumental backing track for live mono-synth performance; developed for performance on the arp odyssey.

(part one)

Pixel Bay Drive [Part 1] - {Instrumental} - (By DJ Nyquest)- FULL MIX

Part One of the instrumental track of "Pixel Bay Drive" an instrumental backing track for live mono-synth performance; developed for performance on the arp odyssey.

(part two)

Pixel Bay Drive [Part 2] - {Instrumental} - (By DJ Nyquest)- FULL MIX

A work for Solo Viola, intended as a fictional transcription of early period Anglo-Saxon courtly dance/improvised string performance. The form is modular and employs modern indeterminacy, runic lettering and Renaissance notation.



Godwinus Le Dauncere - Music for an Imaginary Dancer [Solo Viola - Lacey Kesterke]

This is the first rec-tape of SORGA SAGA (Story of Sorrow), based on the Anglo-Saxon Poem "The Dream of the Rood" - for orchestra and narrator

Narrator:    Mark Oliveiro

Conductor: Jessica Morel

SORGA SAGA [Part 1] - first take November 2012

SOCIAL MEDIA MUSIC EXPERIMENT #001
[30-DAY COMPOSITION PROJECT]
start time:  9:00pm February 20, 2013 
finish time: 9:00pm March 21, 2013 

[Current release: Feb 21-Feb 23]

BASIC RULES FOR CONTRIBUTION

1) Listen to the current release! 
2) Comment on the track, explaining what YOU would like to hear next!
3) Watch this space (soundcloud/facebook) to see if YOUR comment is chosen for the next minute of music!

ARTICLES
Anyone can contribute to the composition. Anyone can post comments on the soundcloud track during the 48-hour comment period. One minute of music will be added to the composition every three days. The three day cycle will function as follows: on the first day, the new track is released and is open for comments; on the second day, comments are open for a final 24-hours for those that wish to join in the music production; on the third day, one comment will be selected and it's author will join the artistic team. A comment may consist of a new musical idea, or the development of an existing one. The winning comment will be selected, at the end of the 48-hour commend period, by a greater than 50% majority of the contributing artists. Each new artist will contribute an equal portion of a collective one minute of music. By the end of the 30-day period, 10-minutes of music will be mixed down into a seamless composition. By the end of the 30-day period there will be 10 artists contributing to the final composition. Before the final composition is released, a greater than 50% majority of the artist group will vote on the the finished composition and the official release of the track, set for 9:00pm on Thursday the 21st of March. All final edits will be compiled using freeware programs such as Audacity. All contributing artists will communicate via the facebook group: 
http://www.facebook.com/groups/548060441894351/

For more information including copyright information, please contact: mark@o-vation.com.au

Listen to the composition here:  http://soundcloud.com/markusmusic-1/
social-media-music-experiment

Download audacity here: http://audacity.sourceforge.net/



SOCIAL-MEDIA-MUSIC-EXPERIMENT#001[part (a)]

A sci-fi mid-tempo synthwave and cyberpunk hybrid track, with an outrun bass and jazz inspired synth leads.

Preview of Nyquests 2020 release: "Singapore Sling"

Mixed by DJ Derek Turner and Mister. E

Featuring Mister E. and NyQuest

O.B.City 2061 ft. Mister E - by NyQuest - Synthwave Mix

Mark Oliveiro, a Sydney native, Doctor of Music and Lecturer in Music Composition at the Australian of Institute of Music, and is a composer with diverse extra-musical interests. Whilst notions of narrative, programme and theatre, have always been a stoic component of his music; Oliveiro offers an exploration of the quintessence of ceremony inherent in all human expression. 

An obsession with history, mythology and ancient literature, renders Oliveiro’s work riddled with themes from archaeological study and obscure urban legends, alike. His music has been described as; “epic”, “unashamedly ritualistic” and “atmospheric” with “Dreamtime overtones”. At present, Oliveiro has an interest in exploring, by way of conceptual abstract and musical aesthetic, the notion of reconstructing lost or imagined performance traditions. Dance and movement, theatrics and technology, language and social media, are just some of the non-musical solutions most apt for the ever expanding, contemporary composer tool belt. 

With a keen and equal interest in music of the acoustic and electronic medium, Oliveiro’s music has been represented at national and international conferences and festivals hosted by: the North American Saxophone Alliance, the World Saxophone Congress, the International Horn Society, the Australasian Computer Music Association, the International Computer Music Association, the Society of Electroacoustic Music in the United States, Electronic Music Midwest, the British Trombone Society and many more.

Oliveiro is a graduate and distinguished alumnus of the Sydney Conservatorium, the College of Music and the University of North Texas and the Jacob’s School of Music of Indiana University. His music has been commissioned by the International Horn Society and the Meir Rimon Commissioning fund, the Australiasian Art Music Fund, the Settimane Musicali di Stresa e del Lago Maggiore, Chronology Arts, Pictures on Silence, as well as numerous professional individuals. 

Oliveiro is an active Disc Jockey and Music Educator.

NyQuest/MarkusMusic

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