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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
    • 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
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Tablado
    • Musical creation around Outer Space
    • Campo Abierto
    • Musical creation around Dream Work
    • Biotope
    • EROR
    • IDEA
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2021.22
    • Seasons from 1996 to present
    • ManiFeste-2022
    • 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
    • Art School Reserach and Creation Workshop
    • 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
    • Subscribe to the Forum
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Writing for Sound and Space

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New approach to the representation of sounds via high-level programs
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The technology used for sound analysis, synthesis and signal processing have made it possible to imagine significant, even new, possibilities for composition. In this prospect, new functions have been developed in the OpenMusic environment to include these technologies in the context of the compositional process. Several specialized libraries make it possible to connect programs created in a computer-assisted composition environment with processes for sound processing or synthesis (created by IRCAM tools such as SupervP, pm2, CHANT, Modalys, Spat, but also tools such as Csound and Faust). Bringing the domain of sound synthesis and computer-assisted composition together is a new approach to the representation of sounds via high-level programs that put structures of abstract data and models of advanced temporal structures to work, permitting total control of the processes of sound processing and generation of synthesis data.

Developed in collaboration with Marco Stroppa, the OMChroma library makes it possible to control the processes of sound synthesis with the help of matrix data structures. OMChroma’s extension for spatialization, OMPrisma, enables to implement "spatialized sound synthesis" processes, calling on spatialization (positions and
trajectories, but also room characteristics, sound source orientation and directivity) when sounds are produced. Controlled in OpenMusic via an ensemble of graphical editors and operators, these tools propose a wealth of possibilities in the conjoint specification of synthesized sounds and spatialized spaces.

The OM-Chant project also made it possible to bring back the technology of FOF (Formant Wave Functions) synthesis at the heart of the process of computer-assisted composition, and to create at the core of CAC processes synthesized sounds inspired by the model of vocal production.

The theme of space, and the collaboration with the Acoustic and Cognitive Spaces team, has been reinforced with a project on the conception of interfaces to control sound spatialization processes. Using a participatory design approach, interviews were held with composers to better understand their needs with the goal of offering tools to facilitate the control and writing of spatialization. These interviews revealed the necessity of interactive tools to enter, visualize, and manipulate control data for spatialization, and led to the design of different prototypes.

OpenMusic objects and tools for 2D/3D spatial conception are based on a model of delayed data, enabling a homogenous management of temporal specifications and transformations. Connected to a sequencing motor and high-level temporal structures, these data make it possible to represent sound scenes and their evolution over time. An interactive object was developed using models of visualization, interaction, and spatialized rendering from the Spat library.

IRCAM's Team: Music Representations team.

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