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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
    • 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 24.25
    • 2024-2025
    • Replay Concerts
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    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • L’Étincelle, IRCAM’s journal of creation
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    • Training Courses
    • Training Courses 2025.26
    • Max, Max for Live
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    • ASAP & Partiels
    • Sound spatialization
    • Generative AI
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    • AIMove Master
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  • Sheng! L'orgue à bouche - 11th seminar








Tue 1 June 2021,
2 p.m.- 5:30 p.m.
Ircam
salle Stravinsky
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Free Entry

Limited seats available

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Seminar






Sheng! L'orgue à bouche - 11th seminar

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Contemporary Repertoire of the shô
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L’orgue à bouche shō dans l’œuvre musicale de Toshio Hosokawa
avec Wataru Miyakawa (Meiji University)

L’orgue à bouche shō est un instrument fondamental dans l’œuvre musicale de Toshio Hosokawa (1955-). En collaboration avec la joueuse de shō Mayumi Miyata (1954-), Hosokawa a composé depuis les années 1980, plus d’une dizaine d’œuvres pour cet instrument (seul ou avec d’autres instruments) ; même dans les œuvres sans shō, il évoque sa sonorité avec l’accordéon qu’il considère comme son « petit-fils ». C’est grâce au contact avec cet instrument qu’il élabore quelques concepts fondamentaux de son langage musical tels que la temporalité cyclique ou la notion de « matrice ». Comme le shō est avant tout un instrument du gagaku, musique de cour japonaise, il serait aberrant dans le cas d’Hosokawa, de traiter de cet instrument hors de ce contexte.

Nous étudierons ici les différents aspects du shō dans l’œuvre d’Hosokawa pour définir précisément le rôle de cet instrument dans son œuvre.

Réflexion ethnographique sur l’authenticité du gagaku traditionnel hors de l’Agence impériale : à travers la mesure pour le shô dans l’Ensemble Gagaku Dôyûkai
avec Seiko Suzuki (Osaka University / CRCAO)

L’Ensemble Gagaku Dôyûkai 雅楽道友会 , où j’ai appris le gagaku entre 1990 et 1994 comme apprentie, est un groupe de gagaku traditionnel et professionnel fondé en 1967 hors de l’Agence impériale par le Maître Hironori Sono 薗廣教師. Ce-dernier a quitté le département de gagaku de la cour juste après la Seconde guerre mondiale en raison de la réorganisation de l’Agence, et créé cet Ensemble pour la transmission du gagaku traditionnel et la fabrication des instruments de gagaku.

Dans son enseignement et son discours au quotidien, il a insisté sur la façon différente d’appréhender la mesure pour le shô, par rapport à celle au département de gagaku de la cour. Cette différence était comme l’identité musicale de notre ensemble vis-à-vis du département de gagaku, considéré comme l’héritier du gagaku traditionnel authentique. En décrivant et en analysant cette différence de la mesure pour le shô, nous réfléchissons sur la signification de l’authenticité du gagaku traditionnel hors de l’Agence impériale. Nous replacerons cette réflexion sur l’authenticité du gagaku dans le cadre plus large de la question de l’identité nationale.

Contact | contact(at)tpmc-paris.com

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Co-Production Ircam et TPMC - Tout Pour la Musique Contemporaine. Avec le soutien de : Drac Ile-de-France, IReMus, CNRS, Collegium Musicæ, SACEM, Meiji University et Osaka University.

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