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    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…

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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
    • Forum Vertigo
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  • Les ressorts de l’écoute musicale : comment suit-on une voix ?








Mon 3 June 2024,
7 p.m.
Ircam
salle Stravinsky
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Research
Encounter






Les ressorts de l’écoute musicale : comment suit-on une voix ?

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Conférence-démonstration organisée dans le cadre des «Echappées inattendues » du CNRS.
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Le thème de cette conférence-démo est l’écoute musicale, et plus particulièrement la question de l’écoute sélective dans le contexte de productions polyphoniques : qu’est-ce qui fait qu’une voix musicale va être plus ou moins facile à suivre ? Que notre écoute va soudainement être attirée par telle voix plutôt que par telle autre ?

Les chercheurs du laboratoire Sciences et technologies de la musique et du son décryptent les mystères de la perception sonore ! Participez à l’expérience qu’ils ont préparée avec le compositeur Sébastien Roux qui a réalisé pour l’occasion une série de courtes miniatures de musique électronique à trois voix, et vous saurez tout sur l’écoute en contexte de concert.

L’expérience participative d’une quinzaine de minutes sera précédée d’une introduction permettant de situer la recherche sur l’écoute musicale en lien avec les travaux dans le domaine de la psychoacoustique et de la musicologie, et une discussion collective suivra la présentation des résultats de l’expérience.

Clément Canonne directeur de recherche CNRS, équipe Analyse des pratiques musicales Ircam-STMS
Emmanuel Ponsot chargé de recherche CNRS, équipe Perception et design sonore Ircam-STMS
Patrick Susini directeur de recherche Ircam, équipe Perception et design sonore Ircam-STMS
Sébastien Roux compositeur

Ludique, cette démonstration nécessite que vous veniez avec un téléphone portable chargé.

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