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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 - 17th seminar








Tue 4 April 2023,
2:30 p.m.- 5:30 p.m.
Ircam
salle Stravinsky
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Research
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Sheng! L'orgue à bouche - 17th seminar

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Shô, shô basse and sheng alto in Anâhata (1986) by Jean-Claude Eloy
with Véronique Brindeau (Inalco)

Anahâta - "Primordial Vibration" - is an electronic fresco composed between 1984 and 1986 by Jean-Claude Eloy. Conceived as a triptych, the work combines an electronic score with two solo voices of Buddhist monks, percussion instruments and the wind instruments of gagaku court music: ryûteki transverse flute, hichiriki oboe and shō mouth organ, the latter forming the fulcrum of the third part subtitled Nimîlana-Unmîlana ("That which opens - that which folds"). It is this part, which also makes use of the ô shō and the sheng-alto, that will be analysed. Like many of his other works for electronics and voice or instruments of oriental origin, it is a question for the composer, who has always been concerned by the slow and fluctuating tempo of gagaku and by the slippery chanting in indeterminate pitches of Buddhist shômyô, of "broadening his cultural roots" - while at the same time enlarging the traditional palette of the gagaku by the addition of the ô hichiriki (the lower fourth of the hichiriki) and of the ô shō (lower octave of the shō). As he writes: "From this dialectic between these two great sources ("the oriental" and "the occidental") was born my entire approach as a composer.

Sho, Gagaku and modern harmony in Yoritsune Matsudaira (1907-2001) - interpolarity between harmony and timbre
with Mikako Mizuno 水野 みか子 (Nagoya City University)

Yoritsune Matsudaira (1907-2001) is the first Japanese composer who combined occidental instruments with gagaku harmony and crystalized to own personal sound ecriture. Theme and variations for piano and orchestra  (1951) showed very special approach to twelve tone technique and the style of the piece is far from atonal harmony. It partially simulates  Aitake  harmony as cluster. Matsudaira was thinking  gagaku  sound is different from  gagaku  harmony and from the instrumental timbre of  gagaku. Matsudaira often used six violins for the sound of  Aitake in his early days but had never used sho itself before 1990’s. Matsudaira often claimed that he didn’t use Japanese instruments like  sho  or  koto  because their timbre inevitably evokes Japanese culture and aesthetics.

For Matsudaira,  gagaku  is not the counterpart to be simulated but a metaphysical world to be pursued through musical experiments. Encountering with Yumi Nara’s singing style with much portamento triggered new phase of Matsudaira’s composition.  Genji Mnogatari, mono -opera dedicated to Yumi Nara, was premiered in 1995 in Fukui. On the stage, five modern pictures by Toshimitsu Imai were presented by turns. There included soprano, two  shō  (one of them is  U) and  So, which is very rare case in Matsudaira’s compositions. 

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Co-Organisation: TPMC – Tout Pour la Musique Contemporaine - IRCAM. Partners : IReMus – Institut de Recherche en Musicologie, CNRS, Sorbonne Université, Nagoya City University, Meiji University and DRAC Ile-de-France

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