• 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
    • Sivan Eldar 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
    • Creation of interactive environments
    • 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
    • Forum Vertigo
  • IRCAM
  • Careers & Job Offers
  • Calls for applications
  • Newsletter
  • Arrive
  • Resource Center
  • News
  • login
  • En
  • Fr
  • IRCAM
  • Careers & Job Offers
  • Calls for applications
  • Newsletter
  • Arrive
  • Resource Center

Fr | En

  • login
  • 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
    • Sivan Eldar 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
    • Creation of interactive environments
    • 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
    • Forum Vertigo
  • Home
  • Rendez-vous in Paris
  • Computer-Assisted Composition with OpenMusic








Thu 7 November 2024,
Thu 14 November 2024,
Thu 21 November 2024,
Thu 28 November 2024,
Thu 5 December 2024,
Thu 12 December 2024,
2 p.m.- 4 p.m.
En ligne
Prices

Full rate : 550 €
Forum Premium Member : 385 €
Student : 275 €

In English

Level :
Beginner

Practical Information

Edit
Transmission
Software Training






Computer-Assisted Composition with OpenMusic

Edit






Discover Computer-Assisted Composition
Edit






OpenMusic is a graphical programming environment designed to help composers with their writing.

Objectives

Upon completion of the course, students will be able to use a graphical programming environment as part of a composer's activity. Familiar with the interface and features of OpenMusic, they will be able to create patches using music editors and use algorithmic generation of musical sequences. They will also have acquired a basic understanding of musical formalization and studied models used in 20th and 21st century music

Public

Composers, musicians, teachers and any person interested in computer-assisted composition.

Prerequisites

  • Knowledge of music theory, participants must be able to read notes and rhythms
  • Good knowledge of engraving software (Finale, Sibelius, Dorico, etc.)
  • Basic knowledge of mathematics: arithmetic, geometry (triangles, Pythagorean and Thales theories, symmetry, airs), understanding of powers, equations with a variable, statistics, etc
  • Mastery of the use of the main features of the Macintosh computer (knowledge and handling of the keyboard and mouse, creating and managing files and folders, navigating menus, starting an application)
  • Basic knowledge of Zoom for online courses

Training Period and Organization

12 hours of training, every Thursday from 2 to 4 p.m. from November 7 to December 12, 2024
Online Class, In English

8 students maximum

Edit

Program

Certain details of the training program are subject to modification as the software on which it is based evolves.

 

Thursday, November 7

Discovering and using the OpenMusic interface (Workspace, Listener, and patches)
Creation of patches, the main data types
Audio and MIDI configuration. Preferences and external synthesizers
Editors <note> <chord>, <chord-seq>, random music sequence generation, transposition.
Exercise: generate a random monophonic musical sequence.

Thursday, November 14

The different types of musical notation in OM: proportional notation and metric notation (<chord>, <chord-seq>, <voice>, <multi-seq>, <poly>).
Microtonality in OM. XML export.
Building random sequences.
Exercise: generate a polyphonic score sketch (in engraving software) including microtonal chords. 

Thursday, November 21

Spectral style: harmonic series / distortions / interpolation.
Iteration (1): <mapcar> and the lambda function.
Building spectra, arpeggios.
Exercise: generate a sequence from spectral material.

Thursday, November 28

“Technomorphic” models of spectral music.
Iteration (2): introduction to <omloop>.
Controlling dynamic processes from curves.
Exercise: generate with an iterative evolution of a material.

Thursday, December 5

Composing with acoustic models.
Spectral analysis.
Recovering and processing spectral analysis results into a musical sequence.
Exercise: generate a sequence based on acoustic analysis (f0, chord-sequence analysis, partial tracking).

Thursday, December 12

Audio in OpenMusic. The Sox library.
An example of a workflow combining audio and symbolic notation in OpenMusic.
Creating audio sequences in OM.
Final exercise: knowledge assessment MCQ.


Educational Resources and Techniques

  • This professional training class will be taught online.
  • Technical requirements: Participants should download OpenMusic prior to training.
  • For best results, please use two screens for this class and a good internet connection.
  • Class Format: Class is taught in English. Training alternates between presentations, explanations on theory, studying examples to analyze, and hands-on exercises.
  • Didactic Materials: presentations. A class guide will be given at the beginning of each training session and all com-plementary files will be given as needed.

Supervision

  • A technical session will be held on the first day of training to ensure all participants have the necessary equipment.
  • Attendance controlled; signature of an attendance sheet required every afternoon.
  • Delivery of a certificate of achievement.

Assessment

  • Assessment of knowledge in the form of a multiple-choice questionnaire.
Ircam

1, place Igor-Stravinsky
75004 Paris
T. +33 1 44 78 48 43
Opening times

Monday through Friday 9:30am-7pm Closed Saturday and Sunday
Subway access

Hôtel de Ville, Rambuteau, Châtelet, Les Halles
  • Jobs Offers & Internships
  • Accessibility
  • The IRCAM team
  • Partners
  • Support IRCAM
Institut de Recherche et de Coordination Acoustique/Musique

go to :
  • Centre Pompidou
  • General Conditions
  • Legal Notes
  • Espace Pro
Copyright © 2025 Ircam. All rights reserved.