Solo and amplification

Atelier de composition

Content:
Teaching team: <a href="https://www.francescaverunelli.com/" target="_blank" rel="noopener noreferrer">Francesca Verunelli</a> (composer), IRCAM computer music designers, with <a href="https://www.ensembleintercontemporain.com/fr/soliste/alain-billard/" target="_blank" rel="noopener noreferrer">Alain Billard</a> (Ensemble intercontemporain clarinet), <a href="https://www.ensembleintercontemporain.com/fr/soliste/hae-sun-kang/" target="_blank" rel="noopener noreferrer">Hae-Sun Kang</a> (Ensemble intercontemporain violin), <a href="https://www.triokdm.com/le-trio-k-d-m/anthony-millet/" target="_blank" rel="noopener noreferrer">Anthony Millet</a> (accordion) Video-conference meetings between January and April 2024 ManiFeste Academy Workshop: Monday June 10 to Saturday June 22, 2024 at IRCAM <h3>Amplified sound: a radical transformation of the musical instrument.</h3> The microphone and the loudspeaker are two essential instruments in electronic/electroacoustic/mixed music. The sound of an acoustic instrument is so complex and so profoundly different from that of a loudspeaker, that the latter is the first electronic musical "instrument" that the mixed-music composer has to consider. The microphone completely alters the perception of instrumental sound, upsetting its internal relationships, and bringing to the ear elements that would never be heard in an acoustic situation. Many instruments are built to sound "good" at a distance of a few meters. Close-up listening, or even microscopic listening, allows us to hear something other than the instrument heard in a concert hall. Italian composer Francesca Verunelli invites participants in this workshop to explore, collectively during rehearsals, amplified sound as a radical and fundamental transformation of the musical instrument. Participants will test different types of microphones to discover the sonic identities of their chosen instrument (clarinet, violin, or accordion). The workshop will focus on the decomposition and recomposition of sound, through intensive use of the microphone/diffusion relationship. Composers can also imagine simple signal processing (in the Max/MSP environment) or the broadcasting of a tape that integrates with the instrumental writing. However, economy of these means (DSP in particular) is encouraged. <h3>Applications</h3> Applicants must: <ul> <li>be born after January 1, 1992</li> <li>not have participated twice in previous ManiFeste Academy workshops</li> <li>be able to speak and understand English or French</li> </ul> Call for applications closed Personal reply by e-mail Friday, December 20, 2023 To apply, you must create an account (or use an existing account) on the <a href="https://ulysses-network.eu/competitions/manifeste-2024-solo-amplification/" target="_blank" rel="noopener noreferrer">ULYSSES Platform</a>, complete your profile, and click on "Apply" from the "MANIFESTE-2024 Solo and Amplification Composition Workshop" call page, then: <ul> <li>fill in your personal details (surname, first name, age, nationality, address, cell phone number, ID, ID photo to be used by IRCAM for badges and other supports)</li> <li>write a short biography (800 characters MAXIMUM) which may be used by IRCAM for concert programs</li> <li>list your educational background, professional experience, awards, and grants</li> <li>present 2 or 3 recent works of your own composition, including at least one for solo (mp3 audio and pdf score);</li> <li>choose 1 of 3 instruments: accordion, clarinet, violin (1st choice, 2nd choice) </li> </ul> <h3>Jury</h3> The jury selecting the young composers will include composer Francesca Verunelli, two musicians from the Ensemble Intercontemporain (Alain Billard, Hae-Sun Kang), and accordionist Anthony Millet. <h3>Participation conditions for successful candidates</h3> Fees: 450€ The Academy does not provide scholarships. It does not cover travel or accommodation expenses. Successful candidates must find their own accommodations. Selected composers must : <ul> <li>commit to writing a score which is: <ul> <li>original</li> <li>5 to 7 minutes maximum</li> <li>for solo instrument (clarinet, violin, or accordion) and amplification</li> <li>to be worked on and performed without a conductor</li> </ul> </li> <li>participate in an online meeting with the guest composer, the musicians and the IRCAM teams in January 2024</li> <li>participate in an individual videoconference meeting with the guest composer in January/February 2024 to present and validate their score project</li> <li>pay their registration fees no later than Tuesday, January 23, 2024</li> <li>participate in an individual videoconference with the musician who will perform the score, in March 2024</li> <li>send their complete score (including a pre-model and/or notation of their amplification and electronics), no later than Tuesday, April 2, 2024</li> <li>prepare in advance the electronic equipment required for their project, in collaboration with IRCAM's computer music designers (online meetings will be organized between March and May 2024);</li> <li>send their electronic part no later than Tuesday, May 22, 2024</li> <li>make any changes to their score requested by the teaching team;</li> <li>attend all rehearsals of all participants, and dedicated meetings of their workshop from Monday June 10 to Saturday June 22, 2024 (every day from 10am to 6pm maximum, except Sunday June 16, public restitutions scheduled for Saturday June 22 at 7pm)</li> </ul> Composers who hand in their scores or electronic sketches after the specified date, who do not respect the instrumentation and graphic guidelines provided, or who are absent, even partially, during the workshop, will automatically lose their place without recourse.

Teaching team: Francesca Verunelli (composer), IRCAM computer music designers, with Alain Billard (Ensemble intercontemporain clarinet), Hae-Sun Kang (Ensemble intercontemporain violin), Anthony Millet (accordion)
Video-conference meetings between January and April 2024
ManiFeste Academy Workshop: Monday June 10 to Saturday June 22, 2024 at IRCAM

Amplified sound: a radical transformation of the musical instrument.

The microphone and the loudspeaker are two essential instruments in electronic/electroacoustic/mixed music. The sound of an acoustic instrument is so complex and so profoundly different from that of a loudspeaker, that the latter is the first electronic musical "instrument" that the mixed-music composer has to consider. The microphone completely alters the perception of instrumental sound, upsetting its internal relationships, and bringing to the ear elements that would never be heard in an acoustic situation. Many instruments are built to sound "good" at a distance of a few meters. Close-up listening, or even microscopic listening, allows us to hear something other than the instrument heard in a concert hall.

Italian composer Francesca Verunelli invites participants in this workshop to explore, collectively during rehearsals, amplified sound as a radical and fundamental transformation of the musical instrument. Participants will test different types of microphones to discover the sonic identities of their chosen instrument (clarinet, violin, or accordion). The workshop will focus on the decomposition and recomposition of sound, through intensive use of the microphone/diffusion relationship. Composers can also imagine simple signal processing (in the Max/MSP environment) or the broadcasting of a tape that integrates with the instrumental writing. However, economy of these means (DSP in particular) is encouraged.

Applications

Applicants must:

be born after January 1, 1992
not have participated twice in previous ManiFeste Academy workshops
be able to speak and understand English or French

Call for applications closed
Personal reply by e-mail Friday, December 20, 2023

To apply, you must create an account (or use an existing account) on the ULYSSES Platform, complete your profile, and click on "Apply" from the "MANIFESTE-2024 Solo and Amplification Composition Workshop" call page, then:

fill in your personal details (surname, first name, age, nationality, address, cell phone number, ID, ID photo to be used by IRCAM for badges and other supports)
write a short biography (800 characters MAXIMUM) which may be used by IRCAM for concert programs
list your educational background, professional experience, awards, and grants
present 2 or 3 recent works of your own composition, including at least one for solo (mp3 audio and pdf score);
choose 1 of 3 instruments: accordion, clarinet, violin (1st choice, 2nd choice)

Jury

The jury selecting the young composers will include composer Francesca Verunelli, two musicians from the Ensemble Intercontemporain (Alain Billard, Hae-Sun Kang), and accordionist Anthony Millet.

Participation conditions for successful candidates

Fees: 450€
The Academy does not provide scholarships. It does not cover travel or accommodation expenses. Successful candidates must find their own accommodations.

Selected composers must :

commit to writing a score which is:
- original
- 5 to 7 minutes maximum
- for solo instrument (clarinet, violin, or accordion) and amplification
- to be worked on and performed without a conductor
participate in an online meeting with the guest composer, the musicians and the IRCAM teams in January 2024
participate in an individual videoconference meeting with the guest composer in January/February 2024 to present and validate their score project
pay their registration fees no later than Tuesday, January 23, 2024
participate in an individual videoconference with the musician who will perform the score, in March 2024
send their complete score (including a pre-model and/or notation of their amplification and electronics), no later than Tuesday, April 2, 2024
prepare in advance the electronic equipment required for their project, in collaboration with IRCAM's computer music designers (online meetings will be organized between March and May 2024);
send their electronic part no later than Tuesday, May 22, 2024
make any changes to their score requested by the teaching team;
attend all rehearsals of all participants, and dedicated meetings of their workshop from Monday June 10 to Saturday June 22, 2024 (every day from 10am to 6pm maximum, except Sunday June 16, public restitutions scheduled for Saturday June 22 at 7pm)

Composers who hand in their scores or electronic sketches after the specified date, who do not respect the instrumentation and graphic guidelines provided, or who are absent, even partially, during the workshop, will automatically lose their place without recourse.

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