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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
    • 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 25.26
    • 2025-2026
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2025
    • 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-2026 Festival Academy
    • In Situ Dance Film Composition
    • In Situ Electronic Composition
    • Solo and electronics
    • ULYSSES Ensemble
    • 2026 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
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    • Ircam Amplify
    • Innovative art-science-technology processes
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  • Sciences of Sound in Action








March 22 through Sat 23 March 2019,
10 a.m.- 5:30 p.m.
Ircam
salle Stravinsky
Downloads

prog_science_du_son.pdf

Free entry, limited seats available.

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Research
Symposium






Sciences of Sound in Action

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Acoustics, physiology, and technology in France (19th & 20th centuries)
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Siren, phonautograph, tuning fork, gramophone: the history of these iconic objects from sound studies is closely tied to the fields of acoustics, physiology and sound technologies in France in the nineteenth and twentieth centuries. But although work on connections between sound, music, science, and technologies have multiplied in recent years, French sources in this domain remain largely unexplored. In this conference, we wish to contribute to the renewal of research in history of science, music, and media by illuminating not yet understood contexts of scientific practices tied to sound. Through an approach that considers sciences of sound in action, this conference will accentuate the production of knowledge about sound, as well as about the entanglement between sciences of sound and the numerous fields of their application, including musical performance, instrument manufacturing, physics, medicine, musical criticism, and the development of communication technologies. The talks will focus around four axes:

Music, sound, and medicine: from discourse to practice | Friday, 10am-1pm

Presenters: Molly Doran (Indiana University), Céline Frigau Manning (université Paris-8), Jillian Rogers (University College Cork)
Moderator & respondent: Manuela Schwartz (Hochschule Magdeburg-Stendal)

Listener communities: new media and sound technology | Friday, 2:30pm-5:30pm

Presenters: Sarah Fuchs (Syracuse University), André Timponi (CRAL, EHESS), Jonathan Goldman (université de Montréal), Marie-Madeleine Mervant-Roux (THALIM, CNRS-Université Sorbonne Nouvelle)
Moderator & respondent: Sophie Maisonneuve (université Paris-Descartes)

Mathematicians, physicists, musicians, and manufacturers: the sciences face-toface with musical practices | Saturday, 10am-1pm

Presenters: Marion Weckerlé (Musée de la Musique, Cité de la musique / Philharmonie de Paris), Fanny Gribenski (Max Planck Institut für Wissenschaftsgeschichte), Stéphane Le Gars (université de Nantes), Stéphane Leteuré (Centre Georg Simmel, EHESS)
Moderator & respondent: Marc Rigaudière (université Paris-Sorbonne, IReMus)

Institutionalization of musical acoustics after World War II | Saturday, 2:30pm-5:30pm

Presenters: François-Xavier Féron (Analysis of Musical Practices IRCAM-STMS), Michèle Castellengo (LAM-Institut d’Alembert, CNRS-Sorbonne Université), François Delalande (INA-GRM), Vincent Tiffon (Université de Lille)
Moderator & respondent: Nicolas Donin (Analysis of Musical Practices IRCAM-STMS)

Organization: Jillian Rogers (University College Cork), Fanny Gribenski (Max Planck Institut für Wissenschaftsgeschichte), Francois-Xavier Féron (Analysis of Musical Practices IRCAM-STMS)

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