• 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…

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    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.

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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
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Musique/Sciences Collection
  • 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
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

    • The IRCAM Forum
    • Subscribe to the Forum
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  • Rendez-vous in Paris
  • Dans l'atelier de Pierre Boulez








Mon 17 June 2019,
8 p.m.
Collège de France
Amphithéâtre Marguerite de Navarre

Free entry, limited seats available.

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Creation
Encounter






Dans l'atelier de Pierre Boulez

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Composer, conductor, music philosopher, Pierre Boulez (1925-2016) created, invested, and transformed highly symbolic places for culture, imagination, and knowledge—IRCAM and the Centre Pompidou, the Opéra de Paris with the premiere of the final version of Lulu by Alban Berg, the Collège de France with the Chair of Invention, Technique, Language in Music. Throughout Boulez’ career, utopia, pragmatism, and an allergy to amateurism formed an unhoped for alliance. Filmed, never before seen archives gravitate around Pierre Boulez’ studio; the fleeting presence of Barthes, Deleuze, and Foucault, the polyphonic violin in Anthèmes and in Bach, numerous vanishing lines revealing a passion for incompleteness.

Based on an idea from Frank Madlener and Jean-François Peyret
Hae-Sun Kang
violin
Andrew Gerzso IRCAM computer music design

Jacques Bonnaffé reading

Film archives from the Opéra de Paris (Lulu by Boulez-Chéreau) and IRCAM-Centre Pompidou
with Roland Barthes, Pierre Boulez, Gilles Deleuze, Michel Foucault, Yvonne Minton, Teresa Stratas

PIERRE BOULEZ ANTHÈMES, ANTHÈMES 2

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A Collège de France production. With the support of the Fondation Hugot du Collège de France and the participation of IRCAM-Centre Pompidou, the Opéra national de Paris, and the Cie Jean-François Peyret.
  • Pierre Boulez  © Jean Radel
    Pierre Boulez © Jean Radel
  • Pierre Boulez  © Jean Radel
    Pierre Boulez © Jean Radel
  • Hae-Sun Kang  © Luc Hossepied
    Hae-Sun Kang © Luc Hossepied
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