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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
    • "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
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    • 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 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
    • 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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  • Seconde nature








Tue 17 January 2023,
8 p.m.
Ircam
Espace de projection
Downloads

prg-seconde-nature.pdf

Prices

Full : 18 €
Discount Price : 14 €
Pass Ircam : 10 €
Youth Pass : 5 €

Duration
1h15 approx.

Concert complet

Edit
Creation
Concert






Seconde nature

Edit






L'Ircam en Fête
Edit






Olivier Messiaen liked to call himself a composer, a rhythmicist, and an ornithologist all at the same time, especially when he recorded the songs of birds in different parts of the world. Rhythmic vivacity, melodic virtuosity: Messiaen undertook his immense Catalogue d'oiseau, which ends with Le Courlis cendré that lives on the island of Ouessant. "Slow and sad tremolos, chromatic ascents, wild trills, and a tragically repeated glissando call, which expresses all the desolation of the seascapes."

The place, the time, the territory: Florent Caron Darras in turn records soundscapes, but with a 3D microphone, then analyzes them to replace some of the original sounds by instruments or synthesizers. Transfer from the real country to the imaginary. Natasha Barrett, who perfectly masters electronic land art, exposes here the potentialities of sound immersion with the ambisonic diffusion of the Espace de projection.

Julien Le Pape piano
Ensemble TM+

Laurent Cuniot conductor
Electronic diffusion IRCAM Augustin Muller
Sound diffusion IRCAM Sylvain Cadars

Olivier Messiaen La rousserolle effarvatte (2nd part)
Natasha Barrett
Hidden Values (Part 1 "The Umbrella" and Part 3 "Optical Tubes")
Olivier Messiaen
Le Courlis cendré
Florent Caron Darras Transfert - Premiere 2022
Commissioned by IRCAM-Centre Pompidou and the  TM+

Meet the artists at the end of the concert!


Coproduction IRCAM-Centre Pompidou, Ensemble TM+. With the support of AXA, exclusive sponsor of the Espace de projection, and of the Sacem. In partnership with Libération, Le Bonbon.

For safety reasons, the Espace de projection is not accessible to visitors with reduced mobility. We apologize for the inconvenience.

Edit
  • Le compositeur Florent Caron Darras  © Yurina Niihara
    Le compositeur Florent Caron Darras © Yurina Niihara
  • Illustration, Transfert  © Florent Caron Darras
    Illustration, Transfert © Florent Caron Darras
  • La compositrice Natasha Barrett  © Ircam - Centre Pompidou, photo : Philippe Barbosa
    La compositrice Natasha Barrett © Ircam - Centre Pompidou, photo : Philippe Barbosa

Before the concert... Seconde nature

  1. Technotope by Florent Caron Darras (recorded at the Centquatre, 2019)
  2. Liquid Crystal by Natasha Barrett (recorded at the CENTQUATRE-PARIS, 2022)

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