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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • Chloé Thévenin in studio
    • Oren Boneh in studio
    • Tristan Murail in studio
    • Martin Matalon in studio
    • Sébastien Gaxie in studio
    • Murcof in the studio
    • Vimala Pons in studio
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 24.25
    • 2024-2025
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • Training Courses
    • Training Courses 2025.26
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Generative AI
    • Practical Information
    • Higher Education
    • Cursus Program on Composition and Computer Music
    • Master ATIAM
    • Sound Design Master's Program
    • Mixed-Music
    • AIMove Master
    • Discover Research at IRCAM
    • Cultural Outreach
    • Cultural Mediation at Middle School Students
    • Médiations culturelles au lycée
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2025 Festival Academy
    • 2025 ÉLAN award
    • Spatial Composition Workshop
    • In Situ Polytopes
    • ULYSSES Ensemble
    • Auditors
  • Innovations

    Engaged with societal and economic issues at the intersection of culture and IT, research at Ircam has forged a reputation for itself in the world of international research as an interdisciplinary benchmark in the science and technology of sound and music, constantly attentive to the new needs and uses in society.

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  • Computer-Assisted Composition with OpenMusic








Thu 6 November 2025,
Thu 13 November 2025,
Thu 20 November 2025,
Thu 27 November 2025,
Thu 4 December 2025,
Thu 11 December 2025,
Thu 18 December 2025,
2 p.m.- 4 p.m.
En ligne
Language

English

Level

Beginner

Prices

Full : 640 €
Mbre Forum Premium : 450 €
Student : 320 €

Practical Information

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Reserve

Transmission
Software Training






Computer-Assisted Composition with OpenMusic

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Discover Computer-Assisted Composition
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OpenMusic is a graphical programming environment intended to assist the composer.

Objectives

Upon completion of the course, participants will be able to use a graphical programming environment as part of a composer's activity. Familiar with the interface and features of OpenMusic, they will be able to create patches using generation of musi-cal sequences displayed in score editors. They will also have acquired a basic understanding of musical formalization and studied models used in 20th and 21st century music.

Public

Composers, musicians, teachers and any person interested in computer-assisted composition

Prerequisites


  • Knowledge of music theory, participants must be able to read notes and rhythms.
  • Good knowledge of engraving software (Finale, Sibelius, Dorico, etc.).
  • Basic knowledge of mathematics: arithmetic, geometry (triangles, Pythagorean and Thales theories, symmetry, airs), under-standing of powers, equations with a variable, statistics, etc.
  • Mastery of the use of the main features of the Apple computer (knowledge and handling of the keyboard and mouse, creating and managing files and folders, navigating menus, starting an application).
  • Basic knowledge of Zoom for online courses.

Training Period and Organization

14 hours of training, every Thursday from 2 to 4 p.m. from November 6 to December 18, 2025
Online Class, In English
10 students maximum

Edit

Program

Some details of the training program are subject to modification as the software on which it is based evolves. Exercises are assigned at the end of each session, to be reviewed collectively during the following session.

Thursday, November 6: Getting Started

  • Discovering and using the OpenMusic interface (Workspace, Listener, and patches).
  • Creation of patches, the main data types.
  • Audio and MIDI configuration. Preferences and external synthesizers.
  • Editors <note> <chord>, <chord-seq>, random music sequence generation, transposition.
  • Exercise: generate a random monophonic musical sequence.

Thursday, November 13: Rhythm (1)

  • The different types of rhythmic notation in OM: proportional notation and metric notation (<chord>, <chord-seq>, <voice>, <multi-seq>, <poly>).
  • Microtonality in OM. XML export.
  • Building random sequences.
  • Exercise: generate a polyphonic score sketch (in engraving software) including microtonal chords.

Thursday, November 20: Spectral Style (1)

  • Harmonic material: harmonic series, distortions, interpolation.
  • Iteration (1): <mapcar> and the lambda function.
  • Building spectra, arpeggios.
  • Exercise: generate a sequence from spectral material.

Thursday, November 27: Spectral Style (2)

  • “Technomorphic” models of spectral music.
  • Iteration (2): introduction to <omloop>.
  • Controlling dynamic processes from curves.
  • Exercise: generate a sequence with an iterative evolution of a material.

Thursday, December 4: Composing with Acoustic Model

  • Spectral analysis using the external libraries pm2 and supervp.
  • Recovering and processing spectral analysis results into a musical sequence.
  • Exercise: generate a sequence based on acoustic analysis (f0, chord-sequence analysis, partial tracking).

Thursday, December 11: Rhythm (2)

  • Complex Rhythmic Patterns
  • Algorithmic generation of rhythms based on rules and models.
  • Exercise: Control the rhythmic evolution of a sequence based on a harmonic progression derived from a model.

Thursday, December 18

  • Audio in OpenMusic. The Sox library.
  • An example of a workflow combining audio and symbolic notation in OpenMusic.
  • Creating audio sequences in OM.

Final exercise: knowledge assessment MCQ, to be completed one week after the training.


Moyens pédagogiques et techniques

  • This professional training class will be taught online.
  • Technical requirements: Participants should download OpenMusic prior to training.
  • For best results, please use two screens for this class and a good internet connection.
  • Class Format: Class is taught in English. Training alternates between presentations, explanations on theory, studying exam-ples to analyze, and hands-on exercises.
  • Didactic Materials: presentations. A class guide will be given at the beginning of each training session and all complementary files will be given as needed.

Supervision

  • Technical session on the first day of training to check trainees' installation.
  • Attendance controlled; signature of an attendance sheet required every afternoon.
  • Delivery of a certificate of achievement.

.Assessment

  • Knowledge will be assessed through a multiple-choice questionnaire to be completed within one week following the train-ing.
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