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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
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
    • Biotope
    • EROR
    • IDEA
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2021.22
    • Seasons from 1996 to present
    • ManiFeste-2022
    • 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
    • Art School Reserach and Creation Workshop
    • 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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  • Grand Soir Numérique – Biennale Némo








Fri 3 December 2021,
8:30 p.m.
Cité de la musique
Salle des concerts
Prices

Full (cat 1) : 26 €
Discount Price and IRCAM Card (cat 1) : 22.10 €
Full (cat 2) : 20 €

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Creation
Concert






Grand Soir Numérique – Biennale Némo

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Revealing the invisible: this is the guiding theme of the 4th edition of the Grand Soir Numérique, as part of the Nemo Biennial. ScanAudience by SCHNITT, Sibaldi and Monfardini does exactly what its title says: it scans the audience to generate sounds and images specific to each person. Interactivity again: OMax software transforms the machine into a jamming partner for the soloists of the Ensemble intercontemporain, while Maresz shapes a virtual and evolving trumpet mute in Metallics. In The Island, Vigroux and d’Haeseleer question the upheavals caused by technical progress, evoking the islands and valleys submerged by hydroelectric dams. Finally, for Sofia Avramidou, digital technology is put at the service of the Greek myth of Geranomachy, the fight of the legendary Pygmies against the cranes - embodied respectively by the ensemble and the electronics.

Lucas Lipari-Mayer trumpet
Ensemble intercontemporain
Léo Margue conductor
Carlo Laurenzi, Manuel Poletti IRCAM computer music design
Benjamin Lévy electronic improvisation
Schnitt (Amelie Duchow et Marco Monfardini) electronics, live video
Gianluca Sibaldi, Marco Monfardini programmation, computer systems
Franck Vigroux electronics
Kurt d’Haeseleer live video

Impro ex machina – Premiere 2021
Yan Maresz Metallics
Jug Marković Concerto de chambre n° 2
Sofia Avramidou Géranomachie – Premiere 2021
commissioned by the Ensemble intercontemporain, Michèle Gagliano, and IRCAM-Centre Pompidou
SCHNITT/Gianluca Sibaldi/Marco Monfardini ScanAudience
Franck Vigroux/Kurt d’Haeseleer The Island

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  • https://www.biennalenemo.fr/
  • https://philharmoniedeparis.fr/grand-soir-numerique
A Philharmonie de Paris, Ensemble intercontemporain, LE CENTQUATRE-PARIS coproduction. In partnership with IRCAM-Centre Pompidou. A part of Némo – Biennale internationale des arts numériques de la région Île-de-France
  • Scan Audience de SCHNITT/Gianluca Sibaldi/Marco Monfardini  © Elena de la Puente
    Scan Audience de SCHNITT/Gianluca Sibaldi/Marco Monfardini © Elena de la Puente
  • Le compositeur Jug Marković  © Ben Viaperalta
    Le compositeur Jug Marković © Ben Viaperalta
  • La compositrice Sofia Avramidou  None
    La compositrice Sofia Avramidou
  • Le compositeur Franck Vigroux  © Remiphoton
    Le compositeur Franck Vigroux © Remiphoton
  • Le chef Léo Margue  © Jérémy Garamond
    Le chef Léo Margue © Jérémy Garamond

Before the concert... Grand soir numérique

  1. Keep digging the hare hole by Sofia Avramidou (binaural, recorded in 2020)
  2. Kammerkonzert 2 by Jug Marković (recorded at the CENTQUATRE-PARIS, 2021)
  3. Metallics by Yan Maresz, 1995 (recorded at IRCAM, 2013)
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