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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 - 19th seminar








Thu 1 June 2023,
2:30 p.m.- 5:30 p.m.
Ircam
salle Stravinsky
Prices

Free entry, limited seats available

Broadcast live on Ircam's YouTube channel

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Free entry

Innovations
Encounter






Sheng! L'orgue à bouche - 19th seminar

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Forest of bamboos - Sum and difference
avec Julie Zhu (Stanford University), Alexis Baskind (musician, sound engineer and RIM) and Wu Wei (musician of sheng)

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 empirical research between Wu Wei and Alexis Baskind, proposes a reversal of perspective. It places the listener metaphorically inside the sheng, surrounded by the pipes, in a way similar to the image of “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 challenges for the sheng because of the size of the instrument and the radiation of the pipes (mostly directed outside of the instrument). It is therefore necessary to look for alternative methods of designing a microphone system to overcome these difficulties.

The multidisciplinary project “Forêt de Bambous” takes place in several steps between 2020 and 2024. This year in 2023, we will present the second step of research and creation of a new work by Julie Zhu commissioned by Radio France for "Création Mondiale" (production: Anne Montaron). The work will be supported particularly by GMEM-CNCM-Marseille for ten days of residency for the period of production in March 2023. 

Challenges, doubts, perspectives
with Joël Bons on intercultural composition and working with the Atlas Ensemble

In 2002 Joël Bons founded the  Atlas Ensemble, an intercultural chamber orchestra uniting brilliant musicians from China, Japan, India, Central Asia, the Near East and Europe. The ensemble presents an unheard sound world of instruments from different cultures. Bons will talk about working for 20 years with these musicians and instruments and about the new possibilities that such a combination opens up for colour, orchestration and a different music practice. He will also share the various issues, doubts, perspectives involved of such an adventurous and challenging collaboration.

Especially for this event, Joël Bons will explain the compositional strategies he has used while writing for sheng and sho in his works Tour à Tour and Nomaden. In Tour à Tour he explored the rich chord formations that the sheng has to offer. Duel in Nomaden is a fiercely barking conversation between cello and sheng. The sho, with its 17 bamboo pipes, is more limited than the 38-pipe sheng and must be approached with care. Therefore, Bons based the sho solo in Nomaden on unusual but practical fingerings for the sho. In the same work, the sheng and sho, together with the other winds, create a gigantic swelling chord that opens up vistas for the large Atlas project that Bons will be working on the coming three years: the Atlas Orchestra.

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Production : TPMC – Tout Pour la Musique Contemporaine - IRCAM. Partners : Radio France, Maison de la Musique Contemporaine, GMEM-CNCM-Marseille, DRAC Ile-de-France, IReMus – Institut de Recherche en Musicologie, IRCAM, CNRS, Sorbonne Université, GVL – Neustart Kultur, France-Stanford Center.
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