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Journal articles on the topic 'Ircam'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 June 2024

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1

Maconie, Robin. "BOULEZ, INFORMATION SCIENCE AND IRCAM." Tempo 71, no. 279 (2016): 38–50. http://dx.doi.org/10.1017/s0040298216000309.

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AbstractThe rise of information science and its effect on contemporary arts is a topic raised in Stravinsky and Craft's Memories and Commentaries in 1959. It makes sense to inquire how the fundamental priorities and exact discriminations of communications science might have altered the ground rules of musical invention and contemporary listening habits. Answers lie thin on the ground, the few composers most deeply implicated in the information revolution – Babbitt, Boulez, Stockhausen and Cage in particular – having chosen to remain silent on issues relating to the hidden side of the avant-garde. ‘No gossip!’ said Stockhausen to me, in a blunt email in 1998.

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2

Cont, Arshia. "Introduction: Musical Research at IRCAM." Contemporary Music Review 32, no. 1 (2013): 1–3. http://dx.doi.org/10.1080/07494467.2013.774121.

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3

Machover, Tod. "David Wessel—The IRCAM years." Journal of the Acoustical Society of America 141, no. 5 (2017): 3560. http://dx.doi.org/10.1121/1.4987550.

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4

Vinet, Hugues. "Recent Research and Development at IRCAM." Computer Music Journal 23, no. 3 (1999): 9–17. http://dx.doi.org/10.1162/014892699559850.

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5

Boulez, Pierre, Pierre-Michel Menger, and Jonathan W. Bernard. "From the Domaine Musical to IRCAM." Perspectives of New Music 28, no. 1 (1990): 6. http://dx.doi.org/10.2307/833340.

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6

Gerzso, Andrew. "Aspects of Musical Research at IRCAM." Contemporary Music Review 32, no. 1 (2013): 5–15. http://dx.doi.org/10.1080/07494467.2013.774123.

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7

Lippe, Cort. "Real-time computer music at IRCAM." Contemporary Music Review 6, no. 1 (1991): 219–24. http://dx.doi.org/10.1080/07494469100640221.

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8

Silsbury, Elizabeth. "Pierre Boulez, IRCAM and Ensemble Intercontemporain." International Journal of Music Education os-10, no. 1 (1987): 25–28. http://dx.doi.org/10.1177/025576148701000105.

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9

Skhaplok, Galina. "ON THE REALIZATION OF NOANOA AND PRES, TWO PIECES FOR SOLO INSTRUMENTS AND IRCAM SIGNAL PROCESSING WORKSTATION (Xavier Chabot, Kaija Saariaho, Jean-Baptiste Barrière)." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 12 (2021): 73–82. http://dx.doi.org/10.17223/26188929/12/7.

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This article is a translation of a musicological work written by the Finnish composer Kaia Saariaho with sound engineers Xavier Chabot and Jean-Baptiste Barrière from the Ircam. The study describes two solo pieces – «NoaNoa» and «Près» – one for flute, the other for cello, realized during 1992 by Kaija Saariaho with the Ircam Signal Processing Workstation (ISPW, based on the Next computer) and with Xavier Chabot from the Ircam Pedagogy department. These works are created in the pedagogical perspective to explore the potentialities of Max on the ISPW, and specially its connexion with Patchwork used to prepare data and patches. In the two pieces, the electronic parts amplify and develop the sonic structure of the solo instrument, exemplify the close relationship between sound material and musical structure, and explore real-time strategies for control over various synthesis and signal processing algorithms.

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10

Lindemann, Eric, Francois Dechelle, Bennett Smith, and Michel Starkier. "The Architecture of the IRCAM Musical Workstation." Computer Music Journal 15, no. 3 (1991): 41. http://dx.doi.org/10.2307/3680764.

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Ferdinand, Louis. "Recording: IRCAM, les années 90 Compact discs (3-CD set), 1998, IRCAM 008, available from IRCAM, 1 Place Igor-Stravinsky, F-75004 Paris, France; telephone (+33-1) 44784843; fax (+33-1) 44781540; World Wide Web http://www.ircam.fr/departements/communication/cd/ircam/indexe.html." Computer Music Journal 23, no. 3 (1999): 104–6. http://dx.doi.org/10.1162/comj.1999.23.3.104.

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12

Assayag, Gérard, Camilo Rueda, Mikael Laurson, Carlos Agon, and Olivier Delerue. "Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic." Computer Music Journal 23, no. 3 (1999): 59–72. http://dx.doi.org/10.1162/014892699559896.

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13

Купровская, Е. О., and Ф. Леру. "Philippe Leroux: “To Create a Sensation of Continuum”." Журнал Общества теории музыки, no. 4(32) (December 18, 2020): 26–31. http://dx.doi.org/10.26176/otmroo.2020.32.4.004.

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В беседе с Е. Купровской французский композитор Филипп Леру вспоминает о своей работе в IRCAM, о царящем там творческом духе. Композитор также рассказывает о процессе сочинения музыки, который трактует как предварительное «ви́дение» звукового потока и придание ему энергетической, или морфологической, логики, и объясняет свой повышенный интерес к буквам как концептуальной основе музыкального сочинения.. Леру делится своим опытом преподавания композиции и выражает оптимизм по поводу социального положения композитора во Франции. In a conversation with E. Kouprovskaia, the French composer Philippe Leroux recalls his work at the IRCAM, and the creative spirit that reigns there. The composer also talks about the process of composing music, which he interprets as a preliminary “vision” of the sound stream and giving it an energetic, or morphological, logic, and explains his increased interest in letters as the conceptual basis of musical composition. Leroux shares his experience of teaching composition and expresses his optimism about the social position of a composer in France.

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14

Vinet, Hugues. "Science and Technology of Music and Sound: The IRCAM Roadmap." Journal of New Music Research 36, no. 3 (2007): 207–26. http://dx.doi.org/10.1080/09298210701859313.

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15

Lippe, Cort. "Real-time granular sampling using the IRCAM signal processing workstation." Contemporary Music Review 10, no. 2 (1994): 149–55. http://dx.doi.org/10.1080/07494469400640381.

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16

Born, Georgina. "Modernist Discourse, Psychic Forms,and Agency: Aesthetic Subjectivities at IRCAM." Cultural Anthropology 12, no. 4 (1997): 480–501. http://dx.doi.org/10.1525/can.1997.12.4.480.

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17

Viara, Eric. "CPOS: A Real-Time Operating System for the IRCAM Musical Workstation." Computer Music Journal 15, no. 3 (1991): 50. http://dx.doi.org/10.2307/3680765.

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18

DONIN, NICOLAS. "Towards organised listening: some aspects of the ‘Signed Listening’ project, Ircam." Organised Sound 9, no. 1 (2004): 99–108. http://dx.doi.org/10.1017/s1355771804000135.

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‘Signed Listening’ is a project that was initiated by Ircam in the spring of 2003. Its goal is to develop computer tools that permit an expanded listening – whether it be for musical analysis, for composition or simply for its own sake with no specific goal in mind (via stereo or computer). This article will briefly present some hypotheses and objectives of the project, and how it touches issues relating, in particular, to electroacoustic music, as well as presenting examples taken from the early stages of our research.

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19

Lopes, Paul D. "Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avantgarde." American Ethnologist 25, no. 1 (1998): 37–38. http://dx.doi.org/10.1525/ae.1998.25.1.37.

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20

Poirier, Martin. "L’accès à l’information scientifique : le cas de l’IRCAM." Documentation et bibliothèques 44, no. 2 (2015): 79–91. http://dx.doi.org/10.7202/1032959ar.

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Cet article relate la mise en place, pour le département Recherche et Développement de l’Institut de Recherche et Coordination Acoustique/Musique (IRCAM) à Paris, d’une base de notices bibliographiques d’articles scientifiques sur la musique et l’acoustique accessible en intranet et dans Internet. Cette expérience offre un exemple des enjeux inhérents à l’organisation de l’information dans un contexte où la continuité avec des pratiques antérieures devait être maintenue.

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21

Solomos, Makis, and Georgina Born. "Rationalizing Culture. IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde." Revue de musicologie 83, no. 1 (1997): 159. http://dx.doi.org/10.2307/947048.

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22

Marcus, George E., and Georgina Born. "Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde." Journal of the Royal Anthropological Institute 3, no. 1 (1997): 165. http://dx.doi.org/10.2307/3034377.

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23

Braun, Hans-Joachim, and Georgina Born. "Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde." Technology and Culture 38, no. 3 (1997): 803. http://dx.doi.org/10.2307/3106901.

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24

Dowd, Timothy J., and Georgina Born. "Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde." Contemporary Sociology 26, no. 1 (1997): 104. http://dx.doi.org/10.2307/2076636.

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25

DeNora, Tia. "Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde.Georgina Born." American Journal of Sociology 102, no. 2 (1996): 646–47. http://dx.doi.org/10.1086/230988.

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26

Smith, M. G., T. R. Geballe, C. Aspin, I. S. Mclean, and P. F. Roche. "Infrared Images and Line Profiles of Planetary Nebulae." Symposium - International Astronomical Union 131 (1989): 178. http://dx.doi.org/10.1017/s0074180900137866.

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We present high spatial resolution infrared images of the planetary nebulae NGC 7027, M2-9, BD +30 3639, NGC 7099 and NGC 7662. These were taken through a selection of broad and narrow-band line and continuum filters (including a Fabry-Pérot interferometer) using the 2D infrared array “IRCAM” on the United Kingdom Infrared Telescope, UKIRT, in July 1987. Comparison is made with recently published high-resolution VLA radio maps (Basart and Daub 1987, Ap. J., 317, 412) and mid-IR Wyoming Infrared Telescope raster-scanning maps (Bentley et al.1984, Ap. J., 278, 665).

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27

Bailey, Christopher, Oliver Schneller, Douglas Geers, and Elaine Thomazi Freitas. "IRCAM@Columbia 1999 Columbia University, New York, New York, USA, 15–21 November 1999." Computer Music Journal 24, no. 2 (2000): 94–98. http://dx.doi.org/10.1162/comj.2000.24.2.94.

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28

Hughes, D. H., E. I. Robson, and M. J. Ward. "Optical & Near Infrared Imaging of NGC1275." Symposium - International Astronomical Union 134 (1989): 376–78. http://dx.doi.org/10.1017/s0074180900141373.

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We are currently studying a selection of active galaxies using the new IR array camera IRCAM on UKIRT. Our aim is to seperate the underlying stellar emission from that of the active galactic nucleus. Although the optical is the best wavelength region to discriminate between the different populations in the underlying spiral and elliptical galaxies, it is in the infrared that the contrast between the non-thermal central core and the surrounding galaxy is increased. We present reduced data from infrared images taken at 1.25, 1.65 and 2.2 μm with an image scale of 0.6 arcsec/pixel together with optical 0.44 and 0.55 μm CCD images of the Seyfert galaxy NGC1275.

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29

LEBID, Yuliia. "THE INFLUENCE OF IRCAM ON THE DEVELOPMENT OF MUSIC CULTURE OF THE XX-XXI CENTURY." Fine Art and Culture Studies, no. 1 (2022): 121–25. http://dx.doi.org/10.32782/facs-2022-1-17.

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30

Braun, Hans-Joachim. "Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde by Georgina Born." Technology and Culture 38, no. 3 (1997): 803–4. http://dx.doi.org/10.1353/tech.1997.0095.

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31

Boutaounte, M., and Y. Ouadid. "Tifinagh Characters Recognition Using Simple Geometric Shapes." Indonesian Journal of Electrical Engineering and Computer Science 3, no. 1 (2016): 235. http://dx.doi.org/10.11591/ijeecs.v3.i1.pp235-239.

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<p>In this paper we present method of features extraction based on decomposition of the characters into several simple geometric shapes (segment, arc) by detecting the branch points and end points, as it explained follow a new methods are using to treated the obtained information in order to decide if the characters need to add more key points also in this step we extracte the type of the shapes (segment or arc) and the orientation. The next step of characters recognition different methods are used such as neural network (NN), K-mean and support vector machine (SVM) classifier. The results shown in this paper are obtained using the IRCAM database.</p>

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32

Akkermann, Miriam. "(Re-)Performing Early Mixed Music from the 1980s at Ircam: Pierre Boulez’s Dialogue de l’ombre double." Circuit 26, no. 2 (2016): 51–61. http://dx.doi.org/10.7202/1037303ar.

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In the 1980s, performing mixed music required cumbersome, expensive technical equipment which was usually tied to institutions. Hence, the creation of those works was bound to technical structures, personnel resources, and facilities, and closely connected to technological developments. Today, re-performances of these works face several challenges. Due to rapidly changing technology, the performance of these pieces is in constant flux, and documentation on them is based in part on an oral tradition of information exchange. The career of such works is therefore more strongly connected to institutional actors than is typically the case. Based on the example of Pierre Boulez’s compositionDialogue de l’ombre double(1976/1981-1984), the situation of re-performances of mixed music compositions at Ircam in the 2000s is described in order to give a brief overview of more general trends.

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33

Lindemann, Eric, Miller Puckette, Eric Viara, and Michel Starkier. "The IRCAM signal processing workstation — An environment for research in real-time musical signal processing and performance." Microprocessing and Microprogramming 30, no. 1-5 (1990): 167–74. http://dx.doi.org/10.1016/0165-6074(90)90235-2.

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34

Ouadid, Youssef, Mohamed Fakir, and Brahim Minaoui. "Tifinagh Printed Character Recognition through Structural Feature Extraction." International Journal of Computer Vision and Image Processing 6, no. 2 (2016): 42–53. http://dx.doi.org/10.4018/ijcvip.2016070103.

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In this paper a system for the recognition of printed Tifinagh characters is presented. It is divided into three main steps: preprocessing, feature extraction, and classification. Image quality is enhanced through preprocessing which are: binarization, normalization and thinning. Then the image is given to a proposed structural feature extracting algorithm where the character is divided into several geometrically sample shapes which are segments, then transformed into an undirected graph with unique coordinate of all nodes. The character is classified by matching the graph of the character and its counterpart graph which is generated from the images in the IRCAM database using an efficient spectral graph matching algorithm. Experimental results and analysis are accomplished by the use of 3267 random characters to test the effectiveness. The system shows good results in term of accuracy and CPU time.

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35

Eiroa, C., and M. Casali. "Near-Infrared Images of the Serpens Molecular Cloud Core." International Astronomical Union Colloquium 120 (1989): 227–30. http://dx.doi.org/10.1017/s0252921100023782.

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ABSTRACT:Near-infrared images of the Serpens molecular cloud core have been carried out at UKIRT (Mauna Kea Observatory) using the infrared array camera, IRCAM. A large-scale diffuse nebulosity extending over the central part of the core is observed. Over 100 K-sources are detected in the 30 arc min2 cloud core. Some of them are PMS objects which were previously unknown. For the first time, a near-infrared counterpart of the far-infrared source Seroens FIRS1 has been detected. The 2.2 µm source appears as a point like object at the apex of an extended knotty, jet-like nebulosity oriented towards the northwest. In addition, a group of 11 stellar objects is seen in the position of the IR/radio source SVS4. These objects are embedded in a very faint nebulosity and form one of the densest clustering of young stars found in dark clouds.

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36

Boutounte, M., and Y. Ouadid. "Characters recognition using keys points and convolutional neural network." Indonesian Journal of Electrical Engineering and Computer Science 22, no. 3 (2021): 1629. http://dx.doi.org/10.11591/ijeecs.v22.i3.pp1629-1634.

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<p>In this paper, the convolutional neural network (CNN) is used in order to design an efficient optical character recognition (OCR) system for the Tifinagh characters. indeed, this approach has proved a greater efficiency by giving an accuracy of 99%, this approach based in keys points detection using Harris corner method, the detected points are automatically added to the original image to create a new database compared to the basic method that use directly the database after a preprocessing step consisting on normalization and thinning the characters. Using this method, we can benefit from the power of the convolutional neural network as classifier in image that has already the feature. The test was performed on the Moroccan Royal Institute of Amazigh Culture (IRCAM) database composed of 33000 characters of different size and style what present the difficulty, the keys points are the same in the printed and handwritten characters so this method can be apply in both type with some modifications.</p>

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37

Besada, José L. "DIFFERENT TRAILS: ON THE MULTIPLE GENETIC ROOTS DETERMINING A DISTRIBUTED COMPOSITIONAL PROJECT." Tempo 73, no. 290 (2019): 56–72. http://dx.doi.org/10.1017/s0040298219000585.

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AbstractAlthough it is a mistake to believe that the material traces left by a composer's practice can help us to properly reconstruct the creative process, compositional sketches may throw light on it. Nevertheless many such accounts take their respective case studies as isolated objects that are, unfortunately, sometimes decontextualised from the whole record of their authors. Ethnography potentially offers a better methodology and auto-ethnographic accounts, third party observations, and mixtures of these approaches have already been applied to contemporary music. This article aims to combine both these approaches in a discussion of a recent compositional project at IRCAM, carried out by a team of three people. I consider how the previous artistic experiences and achievements of these people, jointly and separately, have had a substantial impact on their shared project. In addition, as the case study had a scientific underpinning, I comment on the cognitive bridge that the composer had to build between scientific and musical conceptions.

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38

Troin, Jean-François. "A. Humbert, H. Popp . L’Anti-Atlas, une montagne marocaine méconnue. Découverte d’un riche patrimoine . Rabat, IRCAM, 2016, 238 p." Annales de géographie N° 720, no. 2 (2018): 222. http://dx.doi.org/10.3917/ag.720.0222.

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39

Beller, Grégory. "L’IRCAM et la voix augmentée au théâtre : les nouvelles technologies sonores au service de la dramaturgie." L’Annuaire théâtral, no. 56-57 (August 30, 2016): 195–205. http://dx.doi.org/10.7202/1037338ar.

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Cet article vise à rendre publiques de nouvelles solutions créatives pour la dramaturgie sonore dans le spectacle vivant. Ces nouvelles technologies sont le fruit d’une trentaine d’années de recherches sur la voix menées par plusieurs équipes de l’Institut de recherche et coordination acoustique / musique (IRCAM). Dans un premier temps, la problématique générale du traitement automatique de la voix est abordée afin de situer la spécificité de l’IRCAM dans le contexte international de la recherche sur la parole et dans le but de présenter différents facteurs qui rendent, aujourd’hui, les nouvelles technologies sonores bénéfiques à la création artistique. Dans un deuxième temps, cet article tente de présenter différents outils qui peuvent apporter des éléments de réponse à des questions dramaturgiques. Enfin, la dernière partie de l’article porte une attention particulière au suivi de voix, jeune technologie prometteuse qui sert la composition théâtrale et la régie sonore. Cet article se termine par un rappel de l’importance d’intégrer ces outils dans le processus de création, les distinguant par là des techniques d’amplification palliative du théâtre.

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40

Polfreman, Richard. "Modalys-ER for OpenMusic (MfOM): virtual instruments and virtual musicians." Organised Sound 7, no. 3 (2002): 325–38. http://dx.doi.org/10.1017/s1355771802003126.

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Modalys-ER is a graphical environment for creating physical model instruments and generating musical sounds with them. While Modalys-ER provides users with a relatively simple-to-use interface, it has only limited methods for mapping control data onto model parameters for performance. While these are sufficient for many interesting applications, they do not bridge the gap from high-level specifications such as MIDI files or Standard Western Notation (SWN) down to low-level parameters within the physical model. With this issue in mind, a part of Modalys-ER has now been ported to OpenMusic, providing a platform for developing more sophisticated automation and control systems that can be specified through OpenMusic's visual programming interface. An overview of the MfOM library is presented and illustrated with several musical examples using some early mapping designs. Also, some of the issues relating to building and controlling virtual instruments are discussed and future directions for research in this area are suggested. The first release is now available via the IRCAM Software Forum.

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41

Vorbrich, Ryszard. "Od Berberów do Amazighe, czyli ukształtowanie się nowoczesnej tożsamości berberskiej." Kultura i Społeczeństwo 64, no. 1 (2020): 169–96. http://dx.doi.org/10.35757/kis.2020.64.1.8.

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The Berbers, an indigenous people of North Africa, belong to the group of “nations without a state.” For centuries, they were marginalized by the Arab majority or manipulated by European colonizers. Since the mid-twentieth century in North Africa, a movement for a Berber and Pan-Berber identity has been growing strongly. The movement has disseminated the neologism “Amazigh” as the endoethnonim of this group of peoples. The process of building (creating) a Berber identity has been slightly different in Morocco (where the stabilizing role of the monarchy has been highlighted) and in Algeria (where it has taken more violent forms). With the rise of Berber self-awareness in North Africa and the activity of the Berber diaspora in Europe (mainly in France), civil society organizations (associations) were established in Morocco and Algeria to defend the rights of the Berber minority. After many attempts and despite the resistance of Arab elites the Berber language and culture were recognized by the state authorities as equivalent to the Arabic component of the Algerian and Moroccan identity. State institutions (the Institut royal de la culture Amazighe–the IRCAM–in Morocco, and the Haut Commissariat à l’Amazighité–the HCA–in Algeria) were established for the revitalization of the Berber culture and language (tamazight).

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42

Carretero Aguado, Alberto. "PASSIO. Composición musical para marimba, danza, captación de movimiento y electrónica en vivo producida en IRCAMCentre Pompidou, París." Enclaves. Revista de Literatura, Música y Artes Escénicas, no. 1 (2021): 196–213. http://dx.doi.org/10.12795/enclaves.2021.i01.13.

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Este proyecto interdisciplinar se llevó a cabo en el IRCAM-Centre Pompidou de París como una colaboración entre dos creadores: la coreógrafa Christine Gérard y el compositor Alberto Carretero; así como dos intérpretes: la bailarina Aurélie Berland y la percusionista Linda Edsjö. Se trata de un proceso basado en la escritura coreográfica y musical conjunta, tomando como inspiración la notación Laban para danza. A partir del concepto de «pasión», se buscaron materiales sonoros y gestuales que fueran apropiados para representar y dramatizar de forma abstracta este concepto a través de un itinerario temporal y espacial basado en la geometría de un cubo. Se creó un espacio lumínico en el escenario y un espacio sonoro en la sala mediante un sistema envolvente de altavoces, de acuerdo a la arquitectura de la pieza. Además, existe un trabajo interactivo mediante tecnologías de captación y reconocimiento del movimiento a través de una cámara con sensores infrarrojos, capaz de capturar una imagen 3D y realizar un seguimiento en la oscuridad. El procesamiento electrónico utiliza técnicas de síntesis y transformación del sonido en tiempo real, tales como modelos físicos, Super phase vocoder (SuperVP), modelos de espacialización y reverberación basados en convolución, armonizadores, sampling, filtros y resonadores, granuladores, líneas de retardo de tiempo variable o flanger.

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43

Rutherford-Johnson, Tim. "THE WORLD IN PIECES: AARON EINBOND." Tempo 73, no. 290 (2019): 7–12. http://dx.doi.org/10.1017/s0040298219000536.

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AbstractAaron Einbond was born in New York in 1978. He received his compositional education in the US (Harvard, University of California, Berkeley), the UK (Cambridge, Royal College of Music) and France (IRCAM), and his teachers have included Mario Davidovsky, Julian Anderson, Edmund Campion and Philippe Leroux. He currently teaches music composition, sound and technology at City University, London. He is interested in applications of technology within instrumental music, and almost all of his works combine electronics and acoustic instruments. Since 2007 – beginning with his piece Beside Oneself for viola and electronics (first performed by Ellen Ruth Rose), composed while studying at the University of California, Berkeley – he has also used audio analysis and retrieval software to transcribe recorded sounds into instrumental notation.Einbond's interest in phonographic transcription connects his work to that of other composers of his generation, including Patricia Alessandrini, Joanna Bailie, Richard Beaudoin and Cassandra Miller. (It also finds precedents in a wider musical interest in forms of transcription that one can find in the music of composers as diverse as Peter Ablinger, Luciano Berio and Michael Finnissy.) What makes Einbond's work distinctive is his focus on timbre as a musical parameter, rather than more abstract or easily quantifiable values such as pitch.

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Shtrepi, Louena, Sonja Di Blasio, and Arianna Astolfi. "Listeners Sensitivity to Different Locations of Diffusive Surfaces in Performance Spaces: The Case of a Shoebox Concert Hall." Applied Sciences 10, no. 12 (2020): 4370. http://dx.doi.org/10.3390/app10124370.

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Diffusive surfaces are considered as one of the most challenging aspects to deal with in the acoustic design of concert halls. However, the acoustic effects that these surface locations have on the objective acoustic parameters and on sound perception have not yet been fully understood. Therefore, the effects of these surfaces on the acoustic design parameters have been investigated in a real shoebox concert hall with variable acoustics (Espace de Projection, IRCAM, Paris, France). Acoustic measurements have been carried out in six hall configurations by varying the location of the diffusive surfaces over the front, mid, and rear part of the lateral walls, while the other surfaces have been maintained absorptive or reflective. Moreover, two reference conditions, that is, fully absorptive and reflective boundaries of the hall have been tested. Measurements have been carried out at different positions in the hall, using an artificial head and an array of omnidirectional microphones. Conventional ISO 3382 objective acoustic parameters have been evaluated in all conditions. The results showed that the values of these parameters do not vary significantly with the diffusive surface location. Moreover, a subjective investigation performed by using the ABX method with auralizations at two listening positions revealed that listeners are not sensitive to the diffusive surface location variations even when front-rear asymmetric conditions are compared. However, some of them reported perceived differences relying on reverberance, coloration, and spaciousness.

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ZATTRA, LAURA. "Searching for lost data: outlines of aesthesic–poietic analysis." Organised Sound 9, no. 1 (2004): 35–46. http://dx.doi.org/10.1017/s1355771804000068.

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Fifty years down the line, the analysis of computer music is still a very complex issue, highly dependent on the identity of computer music itself: the variety of software, the lack of a common musical notation for scores, the absence or presence of computer data. This has led to the emergence of a multitude of analytical methods, including aesthesical analysis, which approaches music from the point of view of perception, and poietical analysis, which pays attention to the creative process.This study aims to combine these two methods of analysis in order to understand the relationship between technology and the actual piece of music. The article presents a methodological approach – focused on six pieces produced at IRCAM in Paris and at CSC in Padua, between 1975 and 1985 – via an in-depth consideration of Mauro Graziani's Winter leaves, a work conceived in 1980 at the CSC using Music360. The method used consists of comparing data collected using a diversity of practices: repeated listening, the tracing of graphical schematics, sonogram and spectrogram analysis, data listing analysis. An algorithm has also been created in order to calculate the degree to which the software is exploited and to enable a comparison between the different analyses. It is hoped that this procedure will combine traditional musicological methods with new approaches suited to the medium and grounded in a thorough knowledge of computer technology and musical environments.

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Husson, Jean-Pierre. "André Humbert et Herbert Popp , L’Anti-Atlas, une montagne marocaine méconnue. Découverte d’un riche patrimoine , Rabat, Institut Royal de la Culture Amazighe (IRCAM), 2016, 238 p." Histoire & Sociétés Rurales Vol. 50, no. 2 (2018): XXII. http://dx.doi.org/10.3917/hsr.050.0205v.

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Nonken, Marilyn. "‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’." Tempo 62, no. 244 (2008): 2–10. http://dx.doi.org/10.1017/s0040298208000089.

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For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre Boulez and staffed by Luciano Berio, Vinko Globokar, Max Mathews, and Jean-Claude Risset, its stated mission was to reunite science and music and create new modes of performance. Across the Channel, the composers of the New Complexity (Brian Ferneyhough, James Dillon, Richard Barrett, and Chris Dench) were also redefining performance practice, focusing not on technology but on notation and its implications for virtuosity. And in America, different schools of musical thought were colliding in the streets and the academy. Leonard Bernstein delivered the Charles Eliot Norton lectures at Harvard, then presented his ‘unanswered question’ to the American public, on television, in 1976. And uptown and downtown were ensconced, with Milton Babbitt and Morton Feldman appointed to the faculties at the Juilliard School and the State University of New York at Buffalo, respectively. On both sides of the Atlantic, seminal artistic statements were being made, heralding the unruly adolescence of a new and disparate avant-garde no longer directly connected to the Second World War.

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Maconie, Robin. "Cinquante Ans de Modernité Musicale: De Darmstadt à IRCAM. Contribution historiographique à une musicologie critique by Célestin Deliège. Sprimont: Mardaga, Collection Musique/Musicologie, dir. Malou Haine. E65.00." Tempo 57, no. 226 (2003): 72–74. http://dx.doi.org/10.1017/s0040298203210378.

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Emmerson, Simon. "Review - Born Georgina, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde, Berkeley, University of California Press, 1995. xv + 390 pp. ISBN 0 520 20216 3." Journal of the Royal Musical Association 122, no. 1 (1997): 147–51. http://dx.doi.org/10.1093/jrma/122.1.147.

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Tissier, Brice. "Vox et machina : lorsque l’électronique redéploie la voix dans les opéras de Philippe Manoury (En écho, 60e Parallèle, K…, La Frontière, La Nuit de Gutenberg)." Les Cahiers de la Société québécoise de recherche en musique 15, no. 2 (2016): 55–69. http://dx.doi.org/10.7202/1036119ar.

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À la fois compositeur et chercheur, Manoury s’est très tôt intéressé à l’interaction en temps réel entre les instruments acoustiques et les nouvelles technologies liées à l’informatique musicale, telle que développée à l’Institut de recherche et coordination acoustique/musique (Ircam) à partir des années 1980. Après Répons (première version en 1981) de Pierre Boulez, le besoin se fait en effet sentir de casser la rigidité de l’outil électronique et d’explorer au-delà du dialogue conventionnel instrument/ordinateur, afin d’élaborer, enfin, une symbiose réciproquement profitable, malléable en concert, et constamment renouvelable, à la manière d’une interprétation concertante. Après l’instrument, le compositeur devait très rapidement se pencher sur la problématique soulevée par la voix. À partir de 1993, Manoury travaillera ainsi à la capture, puis au traitement numérique de la voix en temps réel, d’abord par une analyse des composantes acoustiques du son, puis une manipulation de ces composantes. Le cycle de mélodies En écho (1993-1994) pour soprano et électronique représentera le premier stade de cette réflexion, toujours dans le cadre de recherches expérimentales. Si le chercheur Manoury recherche l’innovation, le compositeur Manoury, quant à lui, se tourne aussi volontiers vers les institutions et les genres musicaux traditionnels, dont l’opéra et la musique chorale. L’écriture vocale de Manoury, que l’on peut qualifier de simple et naturelle, témoigne d’une grande flexibilité et est le fruit d’une réflexion qui prend en compte les limites du langage post-sériel, et dont témoignent ses différents opéras. Or, ce retour au genre-roi ne saurait se priver de l’innovation électronique nouvellement créée ; 60e Parallèle (1995-1996), K… (2000), La Frontière (2003) et La Nuit de Gutenberg (2011) intègrent une partie électronique, profitant, pour chaque opus, des avancées de la technique au service de la voix et de l’art lyrique. L’objet de ce texte est de proposer une approche globale des différents projets lyriques de Manoury, afin de mettre notamment en lumière le rôle de plus en plus prononcé de la transformation électronique sur le plan dramatique, et d’étudier également le réel travail de réciprocité entre l’instrumental et l’électronique.

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