Facing the place Stravinsky, IRCAM was created in 1970 by President Pompidou, eager to associate a center for musical creation with the national center of art and culture Georges Pompidou to make a multidisciplinary cultural center.
|La Banque des Territoires (Caisse des dépôts), Believe, and E.T.R.E joined their capital with that of IRCAM for the development of Ircam Amplify.|
Ircam creates Ircam Amplify, its commercial entity for audio innovations. Conceived as a real bridge between the state of the art of audio research and the industrial world at global level, Ircam Amplify will be a key player in the sound revolution in the twenty-first century.
First edition of the Vertigo Forum on creation and innovation in connection with digital technologies.
IRCAM is at the heart of European scientific and artistic research through its coordination of the European H2020 project: Vertigo Starts.
IRCAM becomes an associated member of the Comité Colbert.
Creation and launch of a doctoral program of research in composition with Sorbonne Universités, l’UPMC et Paris-Sorbonne.
Emergence of three start-ups from IRCAM: Niland, Phonotonic, and Mogees.
First edition of ManiFeste, an international festival and multidisciplinary academy.
|Launch of the IRCAMAX collection of patches for Max for Live.|
|The University Pierre et Marie Curie (UPMC) joined the CNRS and the French Ministry of Culture and Communication at IRCAM in the Mixed Research Unit 9912. |
The IRCAM Tools series of 5 plug-ins was launched in partnership with Flux::.
|Agora Festival: the first use of the WFS system in a concert situation with Philippe Schoeller's creation.|
First call to applications for the artistic research residency.
|The launch of a new collection of contemporary music recordings, Sirènes, bringing together the talents of the Ensemble intercontemporain, IRCAM, and Kairos.|
nauguration of the Wave Field Synthesis (WFS) system in the Espace de projection at IRCAM.
IRCAM forms a partnership with the CentQuatre, a new cultural establishment founded by the city of Paris, where the institute will implement an experimental stage.
|Creation of the new Cursus II program for young composers in partnership with Le Fresnoy and European music conservatories.|
|Frank Madlener succeeds Bernard Stiegler as the director of IRCAM : IRCAM's artistic policy becomes the institute's general policy.|
The first edition of the multidisciplinary journal L'étincelle on musical creation at IRCAM is published.
The Musique/Sciences book collection in launched in collaboration with Editions Delatour France and IRCAM-Centre Pompidou.
|The first edition of the annual revue L'Inouï is published in conjunction with the Editions Léo Scheer.|
|Creation of new musical research groups (orchestration, rhythm, voice).|
|Bernard Stiegler becomes director of IRCAM.|
Completion of the Musique Lab software designed by IRCAM for the French Ministry of Education for music education in middle and high schools.
Creation of Résonances, a meeting among internationally renowned scientists on new technology for music.
|François Raffinot joins IRCAM to head the new choreographic creation departement.|
|First edition of the Agora Festival.|
Creation of a visual programming software program for the creation of applications for computer-assisted composition - OpenMusic.
|Inauguration of the IRCAM multimedia library.|
|IRCAM and the CNRS join forces to create the STMS IRCAM-CNRS joint lab (UMR 9912).|
Creation of the Spatializater software program used for concert hall acoustics and urban acoustics.
|Launch of a collection of recordings in collaboration with the Ensemble intercontemporain and Adès.|
Creation of AudioSculpt, a computer program that enables users to manipulate sound.
|Creation of the IRCAM Forum (IRCAM software users' group).|
Beginning of the industrial relations policy at IRCAM.
Establishment of the ATIAM master's program
|Laurent Bayle succeeds Pierre Boulez as director and Pierre Boulez becomes honorary director.|
Publication of the revue Résonances and the Cahiers de l'Ircam collection.
First open house.
|Creation of the International Cursus Program for Composition and Computer Music.|
|Creation of the Max software program designed to process the interaction between computer and performer in real-time.|
Creation of the Modalys software program for synthesis via physical modeling.
|Publication of the first issue of the revue InHarmoniques.|
|Perfection of the 4X System, the last link in a series of digital sound processors that was first conceived in 1976.|
The premiere of the first work produced by Pierre Boulez at IRCAM, Répons.
|Opening of the building designed by Renzo Piano and Richard Rogers.|
|Pierre Boulez is invited by Georges Pompidou to create and head an institute specialized in musical research and creation under the aegis of the Centre Pompidou.|