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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
    • Perception and Sound Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • 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 parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

    • 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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Sonosphère III & IV

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Premieres by the composer Elzbieta Sikora
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For Symphony Orchestra and Live

Shatter the concert format! This is the goal declared by the composer Elzbieta Sikora in her Sonosphères III & IV. Erase the ceremony that encapsulates the beginning of each classical musical performance, destroy the bows, get rid of the weight of the decorum that the history of music conveys without knowing why.

Sonosphère – literally a sphere of sound. The dictionary teaches us that the term was born in 1974, and at the time, designated "a round loudspeaker with a magnetic base enabling its orientation". For Elzbieta Sikora, the term is not only poetic, but also a veritable compositional aspiration: that of inhabiting and dressing an acoustic space in its entirety to expand it. The third and fourth chapters of this series should be played successively. Sonosphères III invades not only the concert hall, but the entire building: the music resonates in the foyer via brass instruments in the balconies. The buzz of the audience also becomes a part of the musical discourse until the audience enters the room itself, where the orchestra is playing, welcoming them. Sonosphères IV then takes over, limited to the concert hall, but­—with the brass and percussion instruments hidden in stereo throughout the seats—always working with the space between the orchestra’s sounds, the space between the sounds and the public; the sonosphere, constantly in motion.

The Technologies

Beyond the spatialization and plotting the trajectories of the sounds in space, the live electronics contribute here to giving birth to a type of ambiguity to perception, notably via the variety of the timbres created.  A manner of highlighting the hidden secrets of a simple violin, a piano chord, or the trill of a flute.

Past Experiences at IRCAM

La tête d’Orphée II  for flute and electronics (1982)

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Biography

person

Elzbieta Sikora

Composer (b. 1943)
Polish composer Elzbieta Sikora has lived in Paris since 1981. She studied composition in Warsaw with Tadeus Baird and Zbigniew Rudzinski. In Paris, she studied electroacoustic music with Pierre Schaeffer and François Bayle, comp…


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Concert
Creation

Sonosphère III & IV

Friday 19 May 2017
National Forum of Music, Wroclaw
d'Elżbieta Sikora
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