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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
    • 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
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • 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.

    • 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
    • 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.

    • The IRCAM Forum
    • Subscribe to the Forum
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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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