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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.

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  • Musiques-Fictions








May 21 through Sat 25 May 2024,
Comédie, Centre dramatique national de Reims
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Installation






Musiques-Fictions

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With the Musiques-Fictions, IRCAM invites the public to discover contemporary texts and an ambitious musical creation under an ambisonic diffusion dome, for a new literary and sound experience.

Installed in an immersive diffusion device, the listener is invited to a listening experience where the imagination is stimulated by a sound environment with wide-ranging expressive possibilities: from the spectacular grand stage to the tiniest details of intimate discourse. This modern wake will feature The Great Disaster by Patrick Kermann, Croire aux fauves by Nastassja Martin, Le Sentiment du monde by Robert Linhart, Trois Femmes disparaissent by Hélène Frappat, and L'Autre Fille by Annie Ernaux.

The Great Disaster - Premiere 2024

On April 14, 1912, at 11:40 pm, the Titanic sank with Giovanni Pastore on board, in charge of cleaning the 3177 dessert spoons for the first-class passengers. Giovanni Pastore came down from the mountains of Friuli. He's always been the immigrant, the handyman. At last, he found a "good place" on the Titanic. In the end, he sinks! But beneath the waves, he keeps telling the same story, the story of lost land and childhood, of love found at last. He tells the story of the third class, of those never counted, of those left behind by all the nations who hoped to win the promised land of free labor. He tells the story of the great and small disasters.

Patrick Kermann text
Jérôme Combier adaptation and composition, commissioned by IRCAM-Centre Pompidou
Marc Lainé realisation
Clément Cerles sound engineering
Gilles Marsalet sound effects
With the voices of Vladislav Galard, song by Sofia Avramidou and music recorded by Amarilys Billet violon, Nicolas Crosse bass, Ayumi Mori clarinet, Alvise Sinivia piano, Diego Tosi violin, Fanny Vicens accordeon

Croire aux fauves - Premiere 2024

In 2015, while on an anthropological mission in Siberia, Nasstassja Martin was attacked by a bear that tore off half her face. Disfigured, she underwent numerous operations in Russia, then in France. The researcher tells the story of her physical and psychological reconstruction, but goes beyond the story of this traumatic accident to reflect on the encounter between human and non-human worlds at a time when the planet's ecosystems are collapsing. The "encounter" with this bear brings her face to face with an essential figure in the mythology of the Evène people, and a Nature inhabited by ancestral beliefs. This event finally enabled her to deepen her research and her attachment to the Arctic peoples she studies.

Nastassja Martin text
Frédéric Pattar composition, commissioned by IRCAM-Centre Pompidou
Mathilde Delahaye adaptation and realisation
Quentin Nivromont IRCAM computer music production
Jérémie Bourgogne sound engineering
With the voice of Audrey Bonnet

Other Musiques-Fictions on the program:

Trois femmes disparaissent by Hélène Frappat - Premiere 2024
L’autre fille by Annie Ernaux
Le Sentiment du monde, after L’Établi by Robert Linhart

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  • https://www.lacomediedereims.fr/saison-23-24/musiques-fictions
Installation created in September 2020 at the Centre Pompidou, Paris. Production IRCAM-Centre Pompidou, with the support of the Sacem.
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