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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
    • 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.

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  • Sheng! L'orgue à bouche - 14th seminar








Tue 19 April 2022,
2:30 p.m.- 5 p.m.
Ircam
salle Stravinsky
Prices

Free Entry

Également retransmis en live sur la chaine Youtube de l'Ircam

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Research
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Sheng! L'orgue à bouche - 14th seminar

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Forêt de Bambous
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With Wu Wei, sheng master & composer
Alexis Baskind, sound engineer, electronic music and sound projection
André Serre-Milan, composer
Liao Lin-Ni, artistic director of the project

For the vast majority of studio or concert productions, the sheng (like most instruments) is usually presented as an external sound object to the listener, i.e. a sound source, typically positioned at the front, with a given width and distance, placed in a real or virtual space.

In order to explore and present the sheng in a new way, "A Bamboo Forest: The 37-pipe sheng presented from the inside", born from the empirical research between Wu Wei and Alexis Baskind, consists in proposing a reversal of perspective. It is about developing methods to place the listener metaphorically inside the sheng, surrounded by the pipes, in a way similar to the image of the "forest of pipes" sometimes used for the church organ. This idea, which for the organ may be technically easier (though still complex) to implement, poses significant difficulties for the sheng because of the size of the instrument and the radiation of the pipes (mostly directed towards the outside). It is therefore necessary to look for alternative methods of designing the microphone system to overcome this obstacle.

The multidisciplinary project Forêt de Bambous will take place in several steps between 2020 and 2024. We will present the end of the first stage of research and creation with the new works of André Serre-Milan and Wu Wei. The works were created in the FARaway Festival at the Opéra de Reims and at the MaerzMusik Festival in Berlin 2022.

Next Seminar

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

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

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

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TPMC - Tout Pour la Musique Contemporaine Production. GMEM-CNCM-Marseille Coproduction. With the support of the Drac Ile-de-France, IReMus, Ircam, CNRS, Sorbonne Université, GVL - Neu Start Kultur et SACEM.
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