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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
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  • Grisey / Posadas








Tue 12 March 2019,
7:30 p.m.
Fondation BBVA
Edit
Creation
Concert






Grisey / Posadas

Edit






“The ideas inherent to Chants de l’Amour require the use of a synthesized voice although it is difficult not to eroticize the sounds of the computer.” This is how Gerard Grisey announces the complexity of the project carried out at IRCAM in the 1980s. The computer program Chant made it possible to create pure synthesis and transform concrete sounds using filters. Ten different languages, litanies, interjections…. Les Chants de l’Amour modify this heterogeneous material over time. Even more, they couple voice and machine, monstrous, menacing, and seductive, the 12 voices for the vocal ensemble.  Twenty-five years after Grisey, Alberto Posadas, the original heir of spectral thought, immerses the real voices in a virtual instrumental space. Singing in an instrument to create the model of a resonator, removing the electronics: this compositional gesture owes much to Grisey’s founding experience.

GÉRARD GRISEY LES CHANTS DE L’AMOUR
ALBERTO POSADAS VOCES NÓMADAS

Ensemble Musicatreize

Roland Hayrabedian Conductor
Thomas GoepferIRCAM Computer Music Design

Edit
Coproduction IRCAM/Les Spectacles vivants-Centre Pompidou. Supported by the Sacem.
  • Alberto Posadas  © Harald Hoffmann / Ed. Durand
    Alberto Posadas © Harald Hoffmann / Ed. Durand
  • Roland Hayrabedian pendant les répétitions de « Voces Nómadas »  © Cumulus
    Roland Hayrabedian pendant les répétitions de « Voces Nómadas » © Cumulus
  • L'Ensemble MusicaTreize pendant les répétitions de « Voces Nómadas »  © Cumulus
    L'Ensemble MusicaTreize pendant les répétitions de « Voces Nómadas » © Cumulus
  • Ensemble Musicatreize  © Guy Vivien
    Ensemble Musicatreize © Guy Vivien
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