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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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Tablado

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Premiere by the composer Januibe Tejera
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Sound & Light - Artistic Issues

Tablado— a reference to the stage on which flamenco is danced—is the first chapter of a triptych/laboratory dedicated to musical theater. In this work, Januibe Tejera questions both writing and possible relationships among music and other elements on stage. One after another,  each isolated element is questioned in order to devise a personal language for the field of musical theater and what it could represent.  

Before examining the scenography and gesture, Tablado first questions the compositional integration of sound and light through an imaginary ball. While Tejera usually thinks about the light used on the stage once the score is already written, here, he attempts to think of it as he is writing, developing a unified language in which the musical and lighting discourses are joined, complement each other, and speak with a single voice. In short: how can light and music come to life from the same source, and evolve together, to express the same idea?

3 reasons to go to Bal Passé : Interview with Januibe Tejera

Sensors On Every Level  à tous les étages - Technological Issues

From the beginning of the creative process to the performance, the relationships between sound and light are emphasized in Tablado: R-IoT sensors, based on fairly traditional technologies of accelerometers and gyroscopes, have been the basis on which IRCAM-STMS’s Interaction Sound Music Movement team has developed numerous tools.

Tejera has developed his own library for computer-assisted writing—based on the Bach library and other analyses of gesture perfected at IRCAM—and he begins by using sensors in the intimate act of composition.  Used as simple “instruments” that provide a range of data, the sensors also generate musical material: pitch, frequency movments, rhythms… Like Liszt at the piano, Januibe Tejera improvises with the R-IoT.

As the main goal of Tablado is writing that includes lighting and sound, Tejera worked with the video artist Claudio Cavalari to create the lights. These lights are, throughout the performance, controlled in real-time by the electronic system that manages the sound. By fitting the conductor and percussionist with R-IoT sensors, Tejera and Cavalari have provided the means to fine-tune the synchronization of the sound and light effects. Knowing that, in terms of synchronization, the perception of a movement is much more convincing than its reality.

The sensors also played a role in the synchronization among the musicians on stage and the performance of the recorded electronic discourse: using the MotionFollower program developed at IRCAM applied to the conductor’s sensors, they can control the tempo of the electronics…

In addition to the sensors, Januibe Tejera was seduced by the research of another department at IRCAM: the Acoustic and Cognitive Spaces team that works on the creation of virtual acoustics. The principle is simple: how can we create the acoustics of a space (real or imaginary) in a different space (here, the concert hall)? For example, how can we recreate the reverberation of a church or theater, or the closeness of a small room in a large symphony hall?  

Januibe Tejera would like to be able to change the acoustics of a room depending on the different types of lighting used during the work in order to create a disoriented feeling—not only luminous, but also acoustic—with acoustics that become larger or smaller in connection with the stage lighting.

Past projects with Ircam

2014 – Le Patois du Monarque, for soprano and electronics, 12 mn (Cursus 1)

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Biography

person

Januibe Tejera

Januibe Tejera se démarque par son travail influencé à la fois par l’écriture théâtrale et par les musiques de tradition orale, univers qui l’accompagnent tout au long de son parcours. Diplô…

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Bal passé

Wednesday 26 June 2019
Maison de la musique de nanterre
Carlos de Castellarnau, Ondrej Adamek, Januibe Tejera with the Ensemble TM+
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