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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.

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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://philharmoniedeparis.fr/grand-soir-numerique
  • https://www.biennalenemo.fr/
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. Metallics by Yan Maresz, 1995 (recorded at IRCAM, 2013)
  2. Kammerkonzert 2 by Jug Marković (recorded at the CENTQUATRE-PARIS, 2021)
  3. Keep digging the hare hole by Sofia Avramidou (binaural, recorded in 2020)
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