• 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…

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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.

    • The IRCAM Forum
    • Subscribe to the Forum
    • Softwares
    • Ircam Amplify
    • Industrial Applications
    • Industrial Licenses
    • Forum Vertigo
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Analysis of Musical Practices

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The Analysis of Musical Practices team carries out research on the works and scholarly practices that form IRCAM’s heart: composition, improvisation, performance.
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To this end, the team is developing an empirical and technological musicology, whose goal is to describe (or even to modify) knowledge outside of the realm of music analysis, through novel methods of data collection. The goal is to characterize the phenomena under examination without reducing them a priori to their apparent structure (formalizable procedures, canonical texts), but in addressing them in all their dynamic, creative, contextualized, social, and cultural complexities. This can be applied to the study of contemporary activities and situations (e.g. a performer’s work at home, in rehearsal, in concert, a composition using computer-music technology, the production of a multimedia musical analysis for instructive purposes, etc.) or to the study of past practices.

The various projects carried out offer a wide range of technological and social interdisciplinary configurations, depending on the study’s focus. Thus, a study of the compositional activity carried out by the composer Philippe Leroux from 2001 to 2006 demanded a connection be made between the artist’s manuscripts and cognitive anthropology: it coincided and interfered with the elaboration of a new work by the composer. Finally, it takes place in relationship with the development of a hypermedia document that traces the creative process and the way in which the composer listens to his own piece. Or again: the study of musical analysis in France (end of the 19th century, beginning of the 20th century) required the creation of a relationship between a micro-historic investigation into writing conditions as well as the reception of these texts, with a critical appraisal of the segmentation and categorization procedures of the 19th and 20th centuries and led to the creation of a computer tool for musical analysis.

These activities are disseminated through publications and symposiums within the scientific communities concerned (primarily historic musicology, musical analysis, cognitive ergonomics, sociology, genetic criticism, and music technology); they are also made public in other ways: the creation of computer tools and hypermedia documents, short documentary films, teaching, and conferences.

Major Themes

Composition Analysis ; Performance Analysis ; Contemporary Listening Practices ; Listening Practices and Musical Analysis: A Historical Approach ; Musicology and Humanities / synthesis work ; Multimedia Publishing Tools for Musicology.

Specialist Areas

Music history/musicology, aesthetics, musical analysis.

Team Website

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  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa
  • © Philippe Barbosa
    © Philippe Barbosa

Collaborations

Centre de recherches sur les arts et le langage (EHESS, CNRS), CEaC/université de Lille-3, Conservatoire national supérieur de musique et de danse de Paris, Haute école de musique/conservatoire de Genève, Institut des textes et manuscrits modernes (CNRS-ENS Ulm), OICCM/université de Montréal.


Research topics and related projects

Instruments of improvisation

Temporalité et spatialité musicales de la conscience morbide

Les cas Barraqué et Zimmermann

History of Acoustics in France

A reconstitution of the networks of institutions, actors, and instruments involved in the history of sound

Tell the music

Sixty six years of composers written works (1950-2020)

Tuning the world

A century of international negotiations around "A"

European and national projects

MICA

Musical Improvisation and Collective Action

Wasabi

Web Audio Semantic Aggregated in the Browser for Indexation


Team


Researchers & Engineers : Bacot Baptiste, Pierre Saint-Germier
Guest Researcher : Fanny Gribenski
Doctorant(e) invité(e) : Yang Song
Associated Researcher : Alain Bonardi

Collaborations

Centre de recherches sur les arts et le langage (EHESS, CNRS), CEaC/université de Lille-3, Conservatoire national supérieur de musique et de danse de Paris, Haute école de musique/conservatoire de Genève, Institut des textes et manuscrits modernes (CNRS-ENS Ulm), OICCM/université de Montréal.

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