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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
    • 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 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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  • Sheng! L'orgue à bouche - 13th seminar








Sun 13 March 2022,
2:30 p.m.- 5:30 p.m.
Ircam
salle Stravinsky

Online

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Sheng! L'orgue à bouche - 13th seminar

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Fallings for shō (and u), viola and cello by Daryl Jamieson: The expression of an intercultural thought
with François-Xavier Féron (CNRS,  Ircam-STMS)

Fallings (2016) is the second part of a trilogy entitled Vanitas Series (2014-2017) that reveals the intercultural approach and the tropism for traditional Japanese culture developed by the Canadian composer Daryl Jamieson. In this work, two Western string instruments – the viola and the cello – dialogue with the Japanese mouth organ – the shō or u which is an octave lower. During this communication I will first look at briefly the background of Jamieson who is lived in Japan for over fifteen years now. I will then look at the genesis and dramaturgy of the trilogy, before focusing on the analysis of Fallings: I will reveal the sources of inspiration and will show how the idea of collapse is explored within a cyclical form.

Shō and u: An exploration of physical and generic limitations through a decade of collaboration with Ko Ishikawa
avec Daryl Jamieson (Kyushu University)

Over the past 10 years I have written five chamber or solo pieces for shō and/or u, all of which were written for Ko Ishikawa. These are Spectral (for Kazuo Ohno) (2012), fallen fragments (2015), fallings (2016), Stravaig (2017), and Descnats 1 (2020). Over these five pieces, I have been exploring the limits of what the shō and u can do. Working at the borders of instrumental and conventional limitations, I have been experimenting in order to discover where perceived limits are actual and hard (ie, immutable facts based in the physicality of the instruments), and where those limits are merely conventional and in reality quite porous (and thus able to be transcended).

In this paper, by reexamining this decade-long process of collaboration and experimentation, I will show how my approach has changed/is changing through growing familiarity with the instrument (which I do not yet play myself), with its tradition, and with Ishikawa-san as a performer. I will share some of my conceptual approaches to composition and how they informed my approach to writing for the shō and u, and I will also introduce some of the practical results of these experiments – things that the instruments can and cannot do.

14th seminar | April 19, 2022, 2:30-5:30pm

Une forêt de tuyaux - Retour(s) sur une création
avec Alexis Baskind - Wu Wei - André Serre-Milan

15th seminar | May 10, 2022, 2:30-5:30pm

Le fleuve de sons, analyse des modulations et masquages dans les accords du sheng
avec Mikhail Malt (Ircam-STMS, IReMus)

La visualisation des données pour la musicologie
avec Pierre Couprie (CHCSC, Université Paris-Saclay)

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Co-Production Ircam et TPMC - Tout Pour la Musique Contemporaine. Avec le soutien de la Drac Ile-de-France, IReMus, CNRS, Collegium Musicæ, SACEM, CNCM-gmem et GVL-NEUSTART KULTUR.
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