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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
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
    • Biotope
    • EROR
    • IDEA
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2021.22
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • Replay: ManiFeste-2022 Concerts
    • 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
    • Art School Reserach and Creation Workshop
    • 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.

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November 26 through Fri 29 November 2019,
10 a.m.- 5:30 p.m.
Ircam
salle Nono
Language

French

Level

Beginner

Prices

1000 €

Practical information

Edit
Transmission
Software Training






OpenMusic

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Discover Computer-Assisted Composition – From Calculations to Music
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This program introduces participants to the graphical interface environment as a composer: discovery and use of the OpenMusic interface, creation of patches with the use of musical editors and algorithmic generation of musical sequences, an introduction to musical formalism, and the use of two types of models used in 20th century music, stochastic or random models used in "spectral" music. Training alternates between theoretical explanations and hands-on exercises on the computer.

Objectives

Upon completion of this course, participants will be able to use the main functions of OpenMusic (create and open a workspace, load a library), to create simple patches, to represent and preform musical sequences with tools available in OpenMusic (chord, chord-seq, voice, multi seq, poly, and maquette), to import and generate MIDI files, and formalize simple musical problems. Participants will have acquired the conceptual and technical foundation necessary in computer-assisted composition for use in musical writing.

Public

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

Prerequisites


Knowledge of music theory, participants must be able to notes and rhythms;
Basic knowledge of mathematics: arithmetic, geometry (triangles, Pythagorean and Thales theories, symmetry, airs), understanding of powers, equations with a variable, statistics, etc;
Mastery of Macintosh computers (OS X).

Educational Resources and Techniques

Classroom equipped with computers with all the necessary software installed, headphones, and MIDI keyboards;
Class Format: Training alternates between presentations, explanations on theory, studying examples to analyze, and hands-on exercises;
Didactic Materials: Video-projected presentations and documents.

Supervision and Assessment

Welcome the first day of training beginning at 9:45am;
Attendance controlled; signature of an attendance sheet required every morning and afternoon;
Assessment of acquired knowledge using a multiple-choice test (30 minutes) taken at the end of training.

A certificate at the end of the program is given to each participant with the results of the exam.

Training Period and Organization

24 hours of training, 10am-1pm & 2:30pm-5:30pm // Tuesday, November 26 – Friday, November 29, 2019
11 students maximum

Edit

Program

Tuesday

MorningDiscovery and use of the OpenMusic interface (Workspace, Listener and patches);
Creation of patches, main types of data;
Introduction to the formalization and configuration of the musical space;
Construction of chords.
AfternoonDifferent types of musical notation in OpenMusic, proportional notation and metric notation (<chord>, <chord-seq>, <voice>, <multi-seq>, <poly>);
Control of different musical configurations;
Algorithmic generation of musical sequences, repetition, reversal, symmetries, concatenation, and overlays. From monophony to polyphony.

Wednesday

MorningIteration, introduction <omloop>;
Communication from OpenMusic to other musical notation software (Finale, bach, Live, etc.);
Controlling processes from segment curves.
AfternoonUse of sketches, introduction to <maquette>;
Abstractions in OM.

Thursday

MorningAudio-MIDI configuration;
Preferences and external synthesizers;
Microtonality in OM;
Introduction to formalization;
- Exercises on formalization;
- Messiaen’s scales, the use of algebraic representations
- Inversion from an axis, the use of geometric representations <omloop> review and a more in-depth look at (<listloop>, <forloop>, <onlistloop>, <while>).
AfternoonAcoustic models for music, micro-tonality and writing;
The harmonic series, use of spectral analysis for writing, ring modulation, amplitude modulation, etc. (examples from the work of Tristan Murail - Territoires de l’oubli, Gondwana, Désintégrations, etc.) ;
The Esquisse library.

Friday

MorningStochastic models in music, controlling randomness;
The notion of distribution;
Distribution of probabilities: examples in the works of Iannis Xenakis (Achorripis, Herma, etc.);
The OM-alea Library
- Distributions
- Random-Walks
- Markov chains.
Afternoon<maquette>, further analysis;
The resources available in OpenMusic to continue your learning;
Assessment of acquired knowledge using a multiple-choice test (30 minutes).
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