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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
    • Seasons from 1996 to present
    • ManiFeste-2024 Website
    • ManiFeste festival from 2012 to 2024
    • 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
    • Generative AI
    • 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-2025 Festival Academy
    • 2025 ÉLAN award
    • Spatial Composition Workshop
    • In Situ Polytopes
    • ULYSSES Ensemble
    • 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 - 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

Broadcast live on Ircam's YouTube channel

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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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