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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
    • 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 2024.25
    • Max, Max for Live
    • Computer-Assisted Composition
    • ASAP & Partiels
    • Sound spatialization
    • Designing Audio Experiences on the Web
    • Generative AI
    • Sound Design
    • 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.

    • The IRCAM Forum
    • Softwares
    • Ircam Amplify
    • Innovative art-science-technology processes
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  • Improvise cum machina 1/2
  • Composers & Artists in Studio
  • Improvise cum machina 1/2






    Improvise cum machina 1/2

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    A look back with percussionist Samuel Favre
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    On December 3, during the Grand Soir Numérique at the Philharmonie de Paris during the Biennale Nemo des Arts Numériques, three soloists from the Ensemble intercontemporain (trumpeter Lucas Lipari-Mayer, bassist Nicolas Crosse, and percussionist Samuel Favre) took part for the first time, in the experience of improvising with a machine. In this case, it was the OMax computer environment - the development of which is being pursued by IRCAM's Musical Representations team as part of the REACH project (for Raising co-creativity in cyber-human Musicianship), winner of an ERC Advanced Grant 2019. The machine was piloted by musician Benjamin Lévy, himself a former member of the Musical Representations team. Samuel Favre's impressions...


    From left to right: the percussionist Samuel Favre, the bassist Nicolas Crosse, the musician Benjamin Lévy, and the trumpeter Lucas Lipari-Mayeret © IRCAM - Centre Pompidou, photo: Quentin Chevrier

    What appealed to you about the idea of improvising with the machine?

    Samuel Favre: Nicolas Crosse was the first to know about it, and asked Lucas and me if we wanted to be part of it. Not being a regular improviser, I was intrigued and, probably reassured in a way, by the presence of a machine which seemed to me to bring with it a research and experimentation component, as well as a large part of mystery. Because even if I understood how computers could transform sound, I had never imagined that we could interact with a computer that would act as a creative force.

    Several software environments developed by the Musical Representations team were presented to you: OMax, SoMax, Improtech, DYCI2... Why did you choose OMax?

    S.F.: Other programs were presented to us, and we became aware of the enormous possibilities they offered. However, to be really effective, they require preparation, elaboration, almost composition. This was not compatible with our desire for free improvisation. Especially since we were only allowed ten minutes on stage, which seemed to us to lack a bit of substance.

    How did you imagine and prepare it? What did you investigate and work on during the rehearsals?

    S.F.: From the beginning, we focused on pure improvisation. That was important to us. The work was essentially intuitive. Improvisation, listening, proposals... What works well? What doesn't work? We quickly agreed that we wanted to propose a range of sound materials and to get away from very referenced sounds.

    At first, I had a jazz drum set, but I quickly abandoned it. For the concert, I had a waterphone, cans, a gong... in short, a motley collection of instruments.


    The percussionist Samuel Favre © Ircam - Centre Pompidou, photo : Quentin Chevrier

    Were you surprised by the machine's proposals and reactions?

    S.F.: Yes, without a doubt! The first tests were very disconcerting.

    Did you have the feeling you were really interacting with a machine? How does it differ from improvising with a "human" musician?

    S.F.: Yes, there is a real interaction, the machine is really able to speak and interact with the musicians' sound as it uses the same material we play. However, it doesn't understand the groove, and doesn't obey certain musical conventions and feelings that we instinctively use. You can't physically communicate with it - there is no eye contact, no body language.

    Are there any aspects of the machine that you would like to see developed?

    S.F.: Honestly, we didn't explore the program enough to have any ideas about its development. For me, it was more of an introduction.

    If you do this again in the future, do you have any ideas for areas of work that you would like to explore?

    S.F.: It must be developed. Why not with the help of a composer. But pure improvisation imposes too many limits on what can be done. To be more meaningful and surprising, the machine needs to be configured.

    Interview by Jérémie Szpirglas

    Concert retransmis dans l'émission d'Arnaud Merlin, le concert de 20h, sur France musique

    This initiative uses the research and software from the REACH project by IRCAM's Musical Representations team directed by Gérard Assayag.

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    Improvise cum machina 2/2

    A look back with electronic musician Benjamin Lévy
    On December 3, during the Grand Soir Numérique at the Philharmonie de Paris during the Biennale Nemo des Arts Numériques, three soloists from the Ensemble intercontemporain (trumpeter Lucas Lipari-Ma…
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