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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
    • Mauro Lanza 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.

    • The IRCAM Forum
    • Softwares
    • Ircam Amplify
    • Innovative art-science-technology processes
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  • Rendez-vous in Paris
  • « Feu de joie »








Tue 2 April 2024,
7 p.m.
Centre Pompidou
Forum
Prices

Free entry, limited seats available

Running time: 15 minutes 

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Creation
Concert






« Feu de joie »

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50 years ago, on April 2 1974, President Georges Pompidou passed away, leaving his mark on the cultural renewal of France. The Centre Pompidou, IRCAM, the Place Stravinsky and its fountain were born of a rare union of politics and art. Designed by Niki de Saint Phalle and Jean Tinguely, the Fountain des Automates is the most musical of all Paris fountains. Its characters refer to Stravinsky's music in a lively carnival of rhythms and colors. The fountain inspired Feu de joie by Mikel Urquiza, written for students at the Conservatoire Mozart. " I inherited Stravinsky's taste for humor and excess, his sense of mechanical and slightly acid orchestration, his polymorphous and slightly kleptomaniac tendencies." Feu de joie takes us into mechanics and musettes, waltzes and songs of a public square that is the epitome of "Paris".

Students from the conservatoire Mozart Harmonie inter-conservatoires from the Ville de Paris
Pierre Boutillier conductor et director

Mikel Urquiza Feu de joie - création 2024
commissoned by IRCAM-Centre Pompidou

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  • https://www.centrepompidou.fr/fr/
Production Ircam-Centre Pompidou. Avec le soutien du mécénat d'AXA.
  • Le compositeur Mikel Urquiza  © Rui Camilo
    Le compositeur Mikel Urquiza © Rui Camilo
  • L'oiseau de feu  © Guillaume Bontemps/Ville de Paris
    L'oiseau de feu © Guillaume Bontemps/Ville de Paris
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