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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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Theories of Musical Composition of the 20th Century

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Collective reference publication on the compositional theories
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This editorial project began in 2003 and aims to publish a substantial panorama of the main compositional theories of the 20th century. While certain theoretical corpora have been broadly published and commentated (e.g. Schoenberg, Xenakis, Boulez, Stockhausen), others, just as important
for history and the musical aesthetic, remain relatively unknown due to a lack of available introductory texts. Today, neither musicians nor musicologists have a comprehensive reference source on the fertile relationship between composition and theory during the last century.

Even so, the fertility of this relationship was a determining factor in the development of contemporary music, and particularly of computer-music. Crossing historical musicology, discourse analysis and musical analysis, the book edited by N. Donin and L. Feneyrou will fill the current void with a collective reference publication on the compositional theories of past century—a century characterized by a profusion of writings by artists, aesthetic manifests defining musical techniques and technologies, and research carried out on compositional systems.

Sixty international specialists have come together to treat, on one hand, compositional theories specific to an individual or a school—from Schoenberg to Hindemith to Carter to Rihm —and on the other hand, the categories and problems that surfaced throughout the century such as algorithmic music, musical theater, live electronics, or spectralism. Theoretical corpora unknown in French, sometimes unpublished, are presented alongside the most widely explored themes by musicologists during the past 40 years.

The contributions offer a synthetic presentation, both technical and historical, of these notions and/ or doctrines, based on the most current knowledge about the articles, manifests, etc. on the composers studied. The level of diversity of the participants reflects different aspects of 20th century musicology, from Philippe Albèra to Elena Ungeheuer, from Angelo Orcalli to Richard Toop. Éditions Symétrie published this two 900-page volume work in 2013.

IRCAM's Teams: Analysis of Musical Practices team.

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