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    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…

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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.

    • The IRCAM Forum
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  • Studio 5, Live








Sat 6 October 2018,
3 p.m.- 6 p.m.
Ircam
studio 5

Free entry, limited seats available.

Edit
Research
Encounter






Studio 5, Live

Edit






New Instrument-Making and Instrumental Archeology - Instrument Fabrication at IRCAM
Edit






How can an acoustic instrument be transformed and its possibilities augmented using new technologies? Can we recreate and play virtual examples of instruments from the past using archeological data? The same lab that "augments" the possibilities of an acoustic instrument today is capable of recreating—virtually—and making an antique instrument be heard, like the cornu from Pompeii. These scientific, technological, and musical issues examine "sound systems and signals" with a physical approach to "audio acoustics" and "instruments".

Discover the answers and explore them yourself by testing instruments available for your use or by opening the door of the anechoic chamber, exeptionally open to the public.

Participants

Sound Systems and Signals: Audio/Acoustics, InstruMents Team, IRCAM-STMS : Thomas Hélie, researcher CNRS-STMS, head of the team, Robert Piéchaud, Quentin Lamerand, developers IRCAM-STMS, Camille Dianoux, assistante engineer, Sorbonne Université-STMS, Tristan Lebrun, doctorant, École doctorale SMAER
With: René Caussé, scientist emeritus IRCAM-STMS, Carmine Emanuele Cella, composer, Serge Lemouton, IRCAM computer music designer, Adrien Mamou-Mani, director of HyVibe

Program

Studio 5

3:00

L'archéologue et le collégien au pays des instruments de musique virtuels

Presentation of the European Project  iMuSciCA
Robert Piéchaud & Quentin Lamerand

Virtual reconstitution of ancient intruments, using the cornu as an example  
René Caussé & Robert Piéchaud

4:00Les SmartInstruments, from Research at IRCAM to HyVibe Products

Adrien Mamou-Mani

5:00Smart Instruments and Stupid Composers.  Or: How Composers Write Music for Instruments that Does-not Exist
Carmine Emanuele Cella & Serge Lemouton

Studio 2

3:00-6:00Virtual Tools for the Visualization and Physical Fabrication of Sound  

Thomas Hélie &  Quentin Lamerand

Anechoic Chamber

3:00-6:00Discover the room

Camille Dianoux & Tristan  Lebrun

Salle Shannon

3:00-6:00Screening of films on themes addressed during the afternoon (non-stop)

Galerie

Presentation of HyVibe by founder Adrien Mamou-Mani

Edit
A part of the Fête de la science 2018
  • © Philippe Barbosa
    © Philippe Barbosa
  • Bouche artificielle contrôlée pour instruments à vent  © Philippe Barbosa
    Bouche artificielle contrôlée pour instruments à vent © Philippe Barbosa

Next "Studio 5, Live"

Encounter
Transmission

Studio 5, Live

Saturday 16 February 2019
Ircam
Education at IRCAM
Encounter
Research

Studio 5, Live

Saturday 19 January 2019
Ircam
Sound Design
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