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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.

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  • Sheng! L'orgue à bouche - 16th seminar








Tue 14 March 2023,
2:30 p.m.- 5:30 p.m.
Ircam
salle Stravinsky
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Free entry, limited seats available

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Encounter






Sheng! L'orgue à bouche - 16th seminar

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Color, Birdsongs, and Symmetry - Concertos for Sheng and Orchestra
with Fang Man 方滿 (University of South Carolina)

The solo instrument Sheng is the world’s oldest free-reed mouth organ, with a history of more than 3,000 years. It is a representation of 凤凰 (fenghuang) Phoenix, 和 (he) Harmony, and 笙 (sheng) - 生 life. The idea of this work came from maestro Esa-Pekka Salonen’s initial proposal to pair a piece of mine with Scriabin’s Prometheus. Song of the Flaming Phoenix was composed using inspiration of the symmetric octatonic sets and the color schemes of Prometheus. The Fenghuang, known as the Phoenix, was considered the king of all birds in Chinese mythology. In the latter half of Song of the Flaming Phoenix, with computer-assisted orchestration program Orchidea designed by Dr. Carmine Emanuele Cella (UC-Berkeley), I translated the birdsongs heard in my backyard in South Carolina into seven other mythical birds: Yu (Carolina Chickadee), Changfu (Carolina Wren), Manman (Yellow-Rumped Warbler), Luan (Tufted Titmouse), Lingyao (Northern Cardinal & Summer Tanager), Qiyu (Red-breasted Nuthatch & Northern Mockingbird), and Min (Blue-gray Gnatcatcher). I imagine that the Fenghuang lead her feathered friends from heaven to save humanity from the ongoing disasters. Thanks to the devotion and artistry of Sheng virtuoso Wu Wei, we explored expansive ranges of harmony, timbre as well as rhythmic diversities on this ancient instrument.

Analyse génétique de quelques versions du « Chaoyuan ge »
with François Picard (Sorbonne Université - IReMus)

"Chaoyuan ge" (Court song) from Kunqu song to solo sheng, from Gao Lian (1573) to Yu Zhenfei (1953) via Wang Jinlie (1924), then from Chen Zhong (1960) to Xu Chaoming (1998) via François Picard (1995), and from Xu to Weng Zhenfa (2015).

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Co-Organisation: TPMC – Tout Pour la Musique Contemporaine - IRCAM. Partners : IReMus – Institut de Recherche en Musicologie, CNRS, Sorbonne Université, University of South Carolina School of Music and DRAC Ile-de-France.

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