• 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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    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.

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    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.

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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
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Musical Representations

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The Musical Representations team works on the formal structures of music and creative environments for composition and musical interaction. This work finds application in computer-assisted composition (CAC), performance, improvisation, performance and computational musicology.
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Reflection on the high-level representation of musical concepts and structures supported by original computer languages developed by the team, leads to the conception of models which can be used for musical analysis and creation.

On the musicology side, tools for representation and modeling enable a truly experimental approach that significantly rejuvenates this discipline.

On the creation side, the objective is to design musical companions that interact with composers, musicians, sound engineers, etc. throughout the musical workflow. The software developed has been distributed to a large community of musicians, materializing original forms of thought connected to the particular characteristics of the computer supports they represent (and execute): the final score, the score’s different levels of formal elaboration, its algorithmic generators, and live interaction during a performance.

For the past few years, the team has worked on symbolic interaction and artificial creativity in its work via projects on artificial listening, synchronization of musical signals and score following (a subject that led to the creation of an INRIA team-project), orchestration assistance (using the analysis of temporal series and deep learning techniques), and engineering  intelligent agents capable of listening, learning, and musical interaction in improvised contexts.

The team has a long history of collaborations with composers and musicians both from IRCAM and elsewhere. Archives of this work can be found in three volumes of the OM Composer’s Book, guaranteeing its international dissemination and continuity.

Major Themes

  • Computer-assisted composition: assisted composition, orchestration assistance
  • Control of synthesis and spatialization, creative systems to write for time, sound, space, and interaction
  • Mathematics and music
  • Computer languages for music: Open Music, Antescofo
  • Modeling style, dynamics of improvised interaction: improvised musical interactions, DYCi2
  • New interfaces for composers and teaching
  • Musicology and computational analysis
  • Efficient search of temporal series
  • Writing synchronous time

Team Website

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  • Premier collage de l'identité du logiciel OpenMusic par A. Mohsen  © Philippe Barbosa
    Premier collage de l'identité du logiciel OpenMusic par A. Mohsen © Philippe Barbosa
  • Mederic Collignon improvise en concert avec le logiciel OMax (RIM B. Lévy)
    Mederic Collignon improvise en concert avec le logiciel OMax (RIM B. Lévy)
  • Moreno Andreatta, chercheur CNRS-Ircam dans son bureau  © Philippe Barbosa
    Moreno Andreatta, chercheur CNRS-Ircam dans son bureau © Philippe Barbosa
  • OM Composer's Book
    OM Composer's Book
  • Claude Delangle en studio avec le logiciel Antescofo  © Inria / H. Raguet
    Claude Delangle en studio avec le logiciel Antescofo © Inria / H. Raguet
  • Papier Intelligent, écriture de l’espace dans la composition  © Inria
    Papier Intelligent, écriture de l’espace dans la composition © Inria

Specialist Areas

Computer-assisted composition and analysis, computer musicology, cognitive musicology, artificial intelligence, computer languages, algebraic and geometric methods, symbolic interactions, languages for synchronous time and tempered time, executable notations


Research topics and related projects

Computer-Assisted Composition (OpenMusic)

Design models techniques adapted to the creative process, incorporating paradigms for calculations as well as musical interactions and representations

Computer-Assisted Composition (Orchids)

Orchestration via an automatic search of instrumentation and layering instruments approaching a target defined by the composer

Effective Searches of Temporal Series

Code that makes it possible to carry out effective searches on temporal forms

Improvised Musical Interactions - OMax & Co

Development of improvised man-machine musical interactions

Mathematics and Music

Algebraic Models, Topologies, and Categories in Computational Musicology

Orchestration Assistance

Tool to assist orchestration that is integrated in the software created at IRCAM

Writing for Sound and Space

New approach to the representation of sounds via high-level programs

Writing Timed Interactions and Musical Synchronizations

Definition of complex interactions between performers and live electronics

Somax2

Somax 2 is an application for musical improvisation and composition. It is implemented in Max and is based on a generative model using a process similar to concatenative synthesis to provide stylistically coherent improvisation, while listening to and adapting to a musician (or any other type of audio or MIDI source) in real-time. The model is operating in the symbolic domain and is trained on a musical corpus, consisting of one or multiple MIDI files, from which it draws its material used for improvisation. The model can be used with little configuration to autonomously interact with a musician, but it also allows manual control of its generative process, effectively letting the model serve as an instrument that can be played in its own right.

European and national projects

ACIDS

Artificial Creative Intelligence and Data Science

REACH

Raising Co-Creativity in Cyber-Human Musicianship

COSMOS

Computational Shaping and Modeling of Musical Structures

Dyci2

Creative Dynamics for Improvised Interaction

EFFICAC(e)

Extended Frameworks For 'In-Time' Computer-Aided Composition

Heart.FM

Maximizing the Therapeutic Potential of Music through Tailored Therapy with Physiological Feedback in Cardiovascular Disease

Houle

Hierarchical Object based Unsupervised Learning

Inedit

Interactivity in Writing of Interaction and Time

MAKIMOno

Create the first partnership of a true scientific theory of orchestration

MERCI

Mixed Musical Reality with Creative Instruments

Orchestration

Comparison of the state of the art in musicology, in psychology of perception, and in computer music to create new tools

REACH

Raising Co-Creativity in Cyber-Human Musicianship



Softwares (design & development)

product

OpenMusic

free
OpenMusic is a visual programming environment for creating computer aided composition applications. OpenMusic offers users the possibility of graphical construction for processing procedures or generation of musical data with the assistance of numerous graphical modules and predefined functions, assembled in visual programs.
download
product

Antescofo

free
Antescofo is a modular score following system as well as a synchronous programming language for musical composition. The module allows for automatic recognition of the player’s position and tempo in a musical score from a realtime audio stream coming from a performer, thus making it possible to synchronize an instrumental performance with computer…
download
product

OMax

free
Omax is an environment for improvisation with a computer that analyzes, models, and re-improvises in real-time the performance of one or several musicians, in audio or in MIDI formats. OMax is based on a computer model called “Oracle Factors”, a graph that connects all the motives, from smallest to biggest.
download
product

Orchids

included in your membership
Orchids/Éric is the first complete system for temporal computer-assisted orchestration and timbral mixture optimization. It provides a set of algorithms and features to reconstruct any time-evolving target sound with a combination of acoustic instruments, given a set of psychoacoustic criteria.
subscribelearn more
product

Musique Lab 2.0

Environment designed to assist musical education based on OpenMusic, IRCAM’s computer-assisted orchestration software.
learn more

Team


Head Researcher : Gerard Assayag
Researchers & Engineers : Mikhail Malt, Jerome Nika, Carlos Agon Amado, Jean-Louis Giavitto, Karim Haddad, Marco Fiorini, Emily Graber, Emma Frid
Doctoral Students : Yohann Rabearivelo, David Genova, Nils Demerlé, Giovanni Bindi, , Gonzalo Romero, Paul Lascabettes, Antoine Caillon
Trainees : Pierre Rodriguez,
: Ninon Devis, Constance Douwes
Administrative : Vasiliki Zachari
: Sasha J. Blondeau, Claudy Malherbe
Associated Researcher : Georges Bloch

Specialist Areas

Computer-assisted composition and analysis, computer musicology, cognitive musicology, artificial intelligence, computer languages, algebraic and geometric methods, symbolic interactions, languages for synchronous time and tempered time, executable notations


Collaborations

Bergen Center for Electronic Arts (Norvège), CIRMMT/McGill University (Canada), City University London, CNSMDP, Columbia New York, CNMAT/UC Berkeley, Electronic Music Foundation, Gmem, Grame Lyon, École normale supérieure Paris, EsMuC Barcelone, Harvard University, Inria, IReMus – Sorbonne Paris-4, Jyvaskyla University, univ. de Bologne, USC Los Angeles, université Marc Bloch Strasbourg, Pontificad Javeriana Cali, université Paris-Sud Orsay, université de Pise, UPMC Paris, UCSD San Diego, Yale, U. Minnesota, U. Washington.


Publications

Also discover

News
Research

01'30 in Stravinsky with Pierre Talbot, PhD student

Média
Pierre Talbot will defend his doctoral  carried out  in the Musical Representations team (STMS - CNRS/IRCAM/Sorbonne Université) last June: Spacetime Programming: A Synchronous Langu…
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