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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
    • Murcof in the studio
    • Vimala Pons in studio
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • "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 23.24
    • Season 2023.24
    • Replay Concerts
    • Seasons from 1996 to present
    • ManiFeste-2023 Website
    • ManiFeste festival from 2012 to 2023
    • 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 2023.24
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Interact, Compose, Improvise with Generative Agents
    • Other training programs
    • 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
    • Digital Workshops
    • TACT
    • Images of a Work Collection
    • Group Tours
    • ManiFeste-2024 Festival Academy
    • 2024 ÉLAN award
    • Solo and amplification
    • Collaboratory Cine-concert - Percussion and electronics
    • Auditors
  • 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 - 9th seminar [live]








Mon 15 February 2021,
2:30 p.m.- 5:30 p.m.
Ircam
salle Stravinsky
Prices

Free Entry

Live on Youtube

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Research
Seminar






Sheng! L'orgue à bouche - 9th seminar [live]

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Wu Wei and 37-pipe Mouth Organ
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In every era, there are visionaries who use their experience to advance a tradition which might otherwise risk stagnation. In the early 1980s, Chinese musicians were no longer satisfied with only playing music based on pentatonic scales * augmented by a few diatonic scales.

In 1985, Weng Zhengfa and Mou Shanping, two teachers well-versed in research and experimentation, created the renovated 37-pipe sheng, with a register between G3-G6, including keywork and couples pipes. Inspired and informed by sheng master, Xu Chaoming, their renovation respected traditional fingering and tonal aesthetic.

This new model greatly expands the possibilities for interpretation, from performing traditional music to playing melody, harmony, polyphony, and cluster, which conforms to Western musical parameters. Now, after thirty-five years of experience, it is considered to be one of the most successful refurbished instruments in the world today.

In this seminar, Wu Wei will introduce research in organology, new repertoire for sheng, teaching, interpretation, and theoretical research of the three, aforementioned sheng masters whose collective skills have contributed to the success of the new model.

Their work also serves as the foundation for our research into the acoustics and organology of contemporary repertoire for sheng.

After Wu Wei's presentation in English, the webinar will include a Q&A session in English-French-Chinese-German. To best facilitate this session, we strongly invite you to send your questions before February 13, 2021.

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TPMC - IRCAM - CNRS - IReMus - Ministère de la Culture - SACEM

Two excerpts of a Sheng

  1. Extract from the Sheng by François Picard (Ircam, 2019)
  2. Improvisation with the sheng by Li Lin-Chin (Ircam, 2019)

Next Seminar

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Research

Sheng! L'orgue à bouche - 10th seminar [live]

Tuesday 13 April 2021
Ircam
Acoustic Analysis of Mouth Organ
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