IRCAM
IRCAM (French: Ircam, Institut de recherche et coordination acoustique/musique, English: Institute for Research and Coordination in Acoustics/Music) is a French institute dedicated to the research of music and sound, especially in the fields of avant garde and electro-acoustical art music. It is situated next to, and is organisationally linked with, the Centre Pompidou in Paris. The extension of the building was designed by Renzo Piano and Richard Rogers. Much of the institute is located underground, beneath the fountain to the east of the buildings.
For other uses, see Institut royal de la culture amazighe.A cultural centre for musical modernism[edit]
Apart from electroacoustic programmes, IRCAM has programmes in contemporary classical music. It has disseminated music of post World War II modernist musicians such as that of Luciano Berio or Pierre Boulez, as well as younger performers and composers. Musical spectralism such as that of Tristan Murail, has also received support from IRCAM. Murail taught at IRCAM for a time.[3] Kaija Saariaho, whose work has been influenced by spectralism, has also been supported by IRCAM.[4]
IRCAM has also helped to develop various performance models. A resident ensemble of IRCAM, Ensemble InterContemporain, specialised in contemporary classical music, where each performer could be called upon to perform solo literature or ensemble literature. The Ensemble InterContemporain has been a model for many large ensembles in Europe, for example the Ensemble Modern and Klangforum Wien. Many classical contemporary pieces have been written for the chamber orchestra section of Ensemble InterContemporain.
There are regular concerts at IRCAM.[5]
ICMC, the yearly , in 1984
International Computer Music Conference
NIME-06, the 6th International Conference on , in June 2006
New Interfaces for Musical Expression
Acanthes, a yearly summer festival and series of composition workshops started in 2012
[11]
In 1970 President Georges Pompidou asked Pierre Boulez to found an institution for research in music. In 1973 the section of the building underneath Place Igor-Stravinsky was finished, and IRCAM opened in 1977. From the outset, Boulez was in charge of the institute.[6] The initial administrators included Luciano Berio, Vinko Globokar, Jean-Claude Risset, and Max Mathews. 1990 Ircam established the Cursus Program for young Composers, a training in Computer Music and Composition. In 1992 Boulez, who then became honorary director, was succeeded by Laurent Bayle.[6] In 2002 the philosopher Bernard Stiegler became the new head of the institute. On 1 January 2006, Stiegler became Director of Cultural Development at the Centre Pompidou and was replaced by Frank Madlener.
The creation of IRCAM coincided with the rise of the debates about modernism and postmodernism in culture and the arts.[7]
Its multimedia library[8] was established in 1996.[9] It is one of the first music hybrid libraries to have been created with close to 1000 hours of recorded music and over 2,000 scientific articles available online, in addition to its physical collections of sheet music and books on music and related domains.
Several international conferences have been held at IRCAM:
Instrumental acoustics
Room acoustics
Music therapy
Musical perception and
cognition
Music representations
and software engineering
Free software
Sound design
Online services
: ΟΥΤΙΣ, music theatre for ensemble and electronics (2000–12)
Hanspeter Kyburz
: Machinations, musical spectacle for four women and computer (2000)
Georges Aperghis
: Çogluotobüsisletmesi, versions for piano (1978), magnetic tape (1980), and piano with tape (1980)
Clarence Barlow
: Antara for ensemble and electronics (1986–87)
George Benjamin
: Chemins ex V, for clarinet and 4C computer (1980)
Luciano Berio
Luciano Berio: Orfeo II, opera for voice, orchestras, and tapes (1984)
Luciano Berio: La Voix des voies, spectacle-exposition for tape and diaporama (1977)
Pierre Boulez: , for clarinet and tape (1985); version for bassoon and electronics (1995)
Dialogue de l'ombre double
Pierre Boulez: , version for two flutes, MIDI-flute, electronics, and orchestra (1993)
...explosante-fixe...
Pierre Boulez: Répons, for six soloists, chamber ensemble, electronic sounds, and live electronics (1981–84)
: Double Bind? for violin and electronics (2006)
Unsuk Chin
: Stria, for magnetic tape (1977)
John Chowning
: "Hidden", for string quartet and electronics (2014)
Chaya Czernowin
: Sur la Nappe d'un étang glacé, for nine instruments and tape (1991)
Edison Denisov
: Tornasol (1980–81)
Luis de Pablo
: Interphone, for soprano and tape (1977)
Michel Decoust
: Animus IV (1977)
Jacob Druckman
: To Be Sung, chamber opera in 43 numbers (1992–93)
Pascal Dusapin
: Entsagung (1993) for ensemble and electronics
Karlheinz Essl
: Ombres (1984) for ensemble and live electronics
Lorenzo Ferrero
: Etymo (1994)
Luca Francesconi
: Les Chants de l'Amour, for twelve mixed voices and magnétic tape (1982–84)
Gérard Grisey
: Les temps tiraillés, for 2 violins, bassoon, and electronics (2008)
Georg Friedrich Haas
: Advaya, for cello and electronics (1994)
Jonathan Harvey
Jonathan Harvey: Bhakti (1982)
Jonathan Harvey: , for concrete sounds treated by computer (1980)
Mortuos Plango, Vivos Voco
Jonathan Harvey: Ritual Melodies, for magnetic tape (1990)
Jonathan Harvey: String Quartet No. 4 with live electronics (2003)
Jonathan Harvey: Speakings, for orchestra and live electronics (2008)
: Antiphon, for string quartet and tape (1977)
York Höller
York Höller: Arcus (1978)
York Höller: , opera in two acts after the novel by Mikhail Bulgakov (1989)
The Master and Margarita
York Höller: Résonance (1982)
: Morphallaxis (2008) for ensemble and electronics
Panayiotis Kokoras
: Millefoglie (1985)
Barbara Kolb
: M for ensemble and electronics
Philippe Leroux
: Rebonds (1993)
Michaël Lévinas
: Joy for orchestra and electronics
Magnus Lindberg
Magnus Lindberg: Related Rocks for two pianos, two percussionists, and electronics (1997)
Magnus Lindberg: Ur (1986)
: Hasta que caigan las puertas del odio, for choir (1977)
Luca Lombardi
: Soft Morning, City!, for soprano, contrabass and tape (1980)
Tod Machover
Tod Machover: , opera for six voices, 4X computer, and images (1986–87/1988)
VALIS
: Fmélodies, for ensemble and tape (1982)
Mesías Maiguashca
: Jupiter for flute and live electronics
Philippe Manoury
Philippe Manoury: Pluton for piano and live electronics
Philippe Manoury: En Echo for soprano voice and live electronics
: Sul Segno, for harp, guitar, cymbalon, contrabass and electronic equipment (2004)
Yan Maresz
: L'Esprit des dunes, for chamber ensemble (1993–1994)
Tristan Murail
: Lichtung I (1988/1991)
Emmanuel Nunes
Emmanuel Nunes: Lichtung II, for chamber ensemble and electronics (1996)
: Kristallwelt, for Ensemble and Electronics (1983)
Michael Obst
: Pièce noire, for thirteen musicians and tape (1990)
Robert H.P. Platz
: Liège à Paris (1977)
Henri Pousseur
: Incandescent Serene, for contrabass and tape (1982)
Horațiu Rădulescu
: The Angel of Death, for solo piano, chamber orchestra, and six-channel computer-processed sound (2001)
Roger Reynolds
Roger Reynolds: Archipelago, for orchestra and magnetic tape (1983)
: Salome Dances for Peace, for string quartet (1986)
Terry Riley
: Inharmonique, for soprano and tape (1977)
Jean-Claude Risset
Jean-Claude Risset: Mirages, for six musicians and tape (1978)
Jean-Claude Risset: Songes (1979)
: Transiciones de Fase, for brass quartet and electronics (1994)
Manuel Rocha Iturbide
: Instrumental Studies (1977)
Frederic Rzewski
: Lonh, for soprano and electronics (1995–96)
Kaija Saariaho
Kaija Saariaho: NoaNoa, for flute and electronics (1992)
[16]
: Kathinkas Gesang als Luzifers Requiem, version for flute and 6-channel tape (1985)
Karlheinz Stockhausen
: In cielo, in terra, in mare, radiophonic opera on texts by Adolfo Moriconi (1992)
Marco Stroppa
: Nemo for ensemble (1992)
Jukka Tiensuu
: Epitafios, for mixed choir and electronics (1999)
Alejandro Viñao
: Antony (1977)
David Wessel
David Wessel: Contacts Turbulents, for saxophone and electronics (1986)
: VOX-5, an electroacoustic piece based around extended vocal techniques (1986)
Trevor Wishart
: Psappha, electronic version (1976/1996)
Iannis Xenakis
: Perfect Stranger (1984)
Frank Zappa
: Lo Shu III, for flute and twenty-four instrumentalists (1979)
Hans Zender
Affiliations[edit]
IRCAM is part of a consortium with Stanford's Center for Computer Research and Acoustics (CCRMA) and the Center for New Music and Audio Technologies (CNMAT) in Berkeley, California.
Stockholm
Elektronmusikstudion
(Groupe de recherche et d'improvisation musicales), Marseille
GRIM
(Sound Description Interchange Format), developed at IRCAM and CNMAT
SDIF
(Studio for Electro Instrumental Music), Amsterdam
STEIM
Rotterdam studio and venue
WORM
List of music software
Anderson, Julian (2001). "Murail, Tristan". In ; John Tyrrell (eds.). The New Grove Dictionary of Music and Musicians. London: Macmillan.
Stanley Sadie
Born, Georgina (1995). IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Los Angeles: .
University of California Press
Manning, Peter (2001). "Institut de Recherche et Coordination Acoustique/Musique [IRCAM]". In ; John Tyrrell (eds.). The New Grove Dictionary of Music and Musicians. London: Macmillan.
Stanley Sadie
Sources
Anderson, Julian. 1989. "Désintégrations." Within liner notes to Tristan Murail. Montaigne MO 782175.
Dearden, Ian. "The Electronic Music of The Mask of Orpheus." Within liner notes to by Harrison Birtwistle. NMC D050, 1997.
The Mask of Orpheus
Machover, Todd (ed.). 1984. "Musical Thought at IRCAM". Contemporary Music Review 1, part 1. London: Harwood Academic Publishers. 3-7186-0272-5 ISSN 0749-4467
ISBN
. 1976. Boulez: Composer, Conductor, Enigma. New York: Schirmer Books.
Peyser, Joan
Official website
[relational database of articles on music of the 20th century] (in French and English)