• 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…

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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
    • 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 2024.25
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Generative AI
    • Sound Design
    • 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
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Thu 12 September 2024,
10 a.m.- 8 p.m., Fri 13 September 2024,
10 a.m.- 6 p.m., Sat 14 September 2024,
11 a.m.- 8 p.m., Sun 15 September 2024,
11 a.m.- 3 p.m.
Théâtre de la Manufacture – Centre dramatique national Nancy Lorraine
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Creation
Installation






Musiques-Fictions

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As part of the « Livres sur la place » festival
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The Musiques-Fictions combine a contemporary text, a musical creation, and a collective experience of immersive listening. A collection launched in 2020, a program in which musical creation is in direct contact with literary fiction. Giving full scope to musical writing and full intelligibility to the text: Musiques-Fictions intends to renew the genre of radio fiction, the Hörspiel, by going beyond the simple sonic illustration of the narrative or dialogue, when the image no longer acts as a screen.

Croire aux fauves
Premiere 2024

In 2015, while on an anthropological mission in Siberia, Nastassja 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, and goes beyond the story of a traumatic accident to reflect on the encounter between human and non-human worlds at a time when the planet's ecosystems are collapsing. Croire aux fauves (Believing in Wild Beasts) is another encounter between Audrey Bonnet's voice and Frédéric Pattar's music, adapted by young director Mathilde Delahaye.

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

Based on Croire aux fauves by Nastassja Martin © Éditions Gallimard


L'autre fille

In this short story, Annie Ernaux addresses her older sister, who died before she was born, and whose existence she learned of fortuitously at the age of ten. The creation and sound diffusion system makes it possible to stage this letter without embodying it, to arouse the author's intimacy through her own voice, her breathing, through the imaginary presence of her body. A solitary and secret word, which will remain unanswered, except for the refined music of Aurélien Dumont, in an adaptation by Daniel Jeanneteau and with a sound design by Augustin Muller.

Annie Ernaux text
Aurélien Dumont composition, commissioned by IRCAM-Centre Pompidou
Daniel Jeanneteau adaptation and production
Augustin Muller sound design and production
Sylvain Cadars sound engineering
With the voice of Annie Ernaux
And music recorded by the ensemble L’Instant Donné: Nicolas Carpentier violoncelle, Maxime Echardour percussion, Mayu Sato-Brémaud flûte

Based on L'autre fille by Annie Ernaux (2011) © Édition Nil 


Le sentiment du monde
based on L’Établi by Robert Linhart, from chapters « La Grève » and « Le Sentiment du monde »

L'Établi refers to the hundreds of intellectual militants who, from 1967 onwards, were hired and worked in factories or docks. Robert Linhart was one of them, spending a year as a worker in the Citroën factory in Choisy. Ten years later, he decided to share his story. Poignant and precise, this account allows us to appreciate the production system, the surveillance and repression, the unequal balance of power between the bosses and the workers, whether they were French or immigrants. L'établi is also the French word for workbench at which an old worker touches up damaged pieces before being used. Today, L'Établi brings together composer Roque Rivas and director Julia Vidit.

Robert Linhart text
Roque Rivas composition, commissioned by IRCAM-Centre Pompidou
Julia Vidit adaptation
Augustin Muller IRCAM computer music design
Oscar Ferran sound engineering
With the voices of Hassam Ghancy and music recorded by Mathieu Steffanus clarinet

Based on L'Établi by Robert Linhart © Éditions de Minuit

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  • https://www.theatre-manufacture.fr
In collaboration with CCAM Scène nationale de Vandœuvre-lès-Nancy. L’autre fille : Co-produced by Ircam-Centre Pompidou / Théâtre de Gennevilliers. With the support of Sacem. Le sentiment du monde et Croire aux fauves : Produced by Ircam-Centre Pompidou. With the support of Sacem. Photo by © Quentin Chevrier.
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