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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.

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  • Mécaniques de l'intuition [online]








Mon 5 April 2021,
8:30 p.m.
Centre Pompidou
Grande salle
Downloads

prg_concert_cbarre.pdf

Performed and recorded March 18 at the Centre Pompidou
Online April 5 on this website and Youtube

Edit
Creation
Concert






Mécaniques de l'intuition [online]

Edit






“Now the Sirens have a still more fatal weapon than their song, namely their silence... someone might possibly have escaped from their singing; but from their silence, certainly never.” (Kafka, The Silence of the Sirens)

As a prelude to this first concert by C Barré, an unexpected interpretation of the adventure of Ulysses. It is at the origin of Francesca Verunelli's Five Song’s: what is left of singing when nobody sings? For Francisco Alvarado, a former student of Stefano Gervasoni, only one voice remains: the synthetic voice, the sister of Alexa or of other vocal assistants, endowed with relative intelligence and expressiveness. Passionate, like Giulia Lorusso, about the contribution of artificial intelligence to creation, Alvarado imagines this voice becoming emancipated, moving from reading a written text to generating an original speech.

Ensemble C Barré
Sébastien Boin, Guillaume Bourgogne conductor
Benjamin Lévy (IRCAM), Charles Bascou (gmem-CNCM Marseille) computer music design

Mikel Urquiza Lavorare stanca, commissioned by the Ensemble C Barré — Premiere 2021 
Giulia Lorusso Fabrica — Premiere 2021
Francisco Alvarado Je ne suis qu'une voix — Premiere 2021
Francesca Verunelli Five Songs (Kafka’s Sirens)

Edit
Coproduction Ensemble C Barré, gmem-CNCM-marseille, IRCAM/Les Spectacles vivants-Centre Pompidou With the support of the région Sud-Provence- Alpes-Côte d’Azur – « Carte blanche aux artistes », the Fondation Ernst Von Siemens pour la Musique, and the Sacem.
  • Ensemble C Barré, répétitions  © Pierre Gondard
    Ensemble C Barré, répétitions © Pierre Gondard
  • Ensemble C Barré, répétitions  © Pierre Gondard
    Ensemble C Barré, répétitions © Pierre Gondard
  • Ensemble C Barré, répétitions  © Pierre Gondard
    Ensemble C Barré, répétitions © Pierre Gondard
  • Ensemble C Barré, répétitions  © Pierre Gondard
    Ensemble C Barré, répétitions © Pierre Gondard
  • Ensemble C Barré, répétitions  © Pierre Gondard
    Ensemble C Barré, répétitions © Pierre Gondard
  • Ensemble C Barré  © Bruno Vacherand-Denand/Passage Citron
    Ensemble C Barré © Bruno Vacherand-Denand/Passage Citron
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