\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"medias":25},{"id":26,"slug":27,"title":28,"titleEn":28,"category":29,"tags":30,"type":31,"set":32,"setSlug":33,"place":34,"timestamp":35,"download":11,"summary":36,"summaryEn":11,"collectionSummary":36,"collectionSummaryEn":36,"collectionName":37,"collectionNameEn":37,"duration":38,"collectivities":39,"work":11,"participants":40,"event":45,"img":11,"files":49,"thumbnail":54,"relatedContent":56,"programnote":11,"confidentiality":107},"4d5401b5-696e-457a-96a7-4a8ce1c1e595","x1dd707_ai-networked-performance-and-aesthetic-ju","AI, networked performance and aesthetic judgment","Conférences",[],"video","Ateliers du Forum","ateliers-du-forum","Ircam, Salle Igor-Stravinsky (Paris)","2023-03-31","","Ateliers du forum 2023 - jour 3","27 min",[],[41],{"firstName":42,"lastName":43,"slug":44,"role":36,"roleEn":36},"Hans","Kretz","Hans-Kretz",{"title":46,"start":11,"end":11,"type":47,"slug":48,"location":11},"Ateliers du Forum 2023","Ensemble de conférences, symposium, congrès","ateliers-du-forum-2023-2023",[50],{"getUrl":51,"getUrlSource":52,"originalFileName":53},"https://storage.ressources.ircam.fr/ressources/media/fe70581f-3eaf-405d-8d74-ffa4e2cfa9e4.mp4?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%222023-3-31-8_AI_networked_performance_and_aesthetic_judgment_1080.mp4%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250921%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250921T220434Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=a51061a6540897d789b4f98bffa4a5c01adf17207175ee7df1721c8b36c313db","https://storage.ressources.ircam.fr/ressources/media/c4ca50ba-bb6f-4a65-b986-e31996ce9e76.mp4?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%222023-3-31-8_AI_networked_performance_and_aesthetic_judgment.mp4%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250921%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250921T220434Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=6c7d0ef93c698502cd80b7a9ccda034c571dee2d6a2853d823a06356d735512e","2023-3-31-8_AI_networked_performance_and_aesthetic_judgment_1080.mp4",{"getUrl":55},"https://storage.ressources.ircam.fr/ressources/media/ecc779f3-2b07-4f50-88f3-1c387dc79387.png?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&response-content-disposition=attachment%3Bfilename%3D%222023-3-31-8_AI_networked_performance_and_aesthetic_judgment.mp4-00_00_02.png%22&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250921%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250921T220434Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=9361761cef9a8b5f26b189347e26b9482fd5a23173fc14bd73d50c873ed67548",[57,63,69,75,81,86,92,96,101],{"id":58,"slug":59,"title":60,"description":61,"duration":62,"type":31,"timestamp":35},"6394d083-baf0-41d3-8e15-6ab3e0ea6e11","x3d635f_gestural-based-sound-spatialization-synt","Gestural-Based Sound Spatialization & Synthesis Strategies in 3D Virtual Environment in Interactive Audiovisual Composition","This presentation/demo is based on my final doctoral project that explores computer game technology's artistic potential, particularly through the adaptation of the hand gesture of the Sabetan Technique of Indonesia Wayang Kulit to create performative strategies for Interactive Audiovisual Composition. Through this presentation, I will demonstrate how I acquired the gestural information processed through a machine learning model to control the spatialization and synthesis parameters, including the locomotion and behaviour of visual objects in the virtual environment.","28 min",{"id":64,"slug":65,"title":66,"description":67,"duration":68,"type":31,"timestamp":35},"b87d33b6-a5d7-4823-8275-6782b1e2c69d","x7121f2_adas-song-making-machine-learning-proces","\u003Ci>Ada's Song\u003C/i>: Making machine-learning processes visible and tangible","Ada’s Song is a ca. 10-minute work for mezzo-soprano, ensemble and an interactive Piano Machine system, commissioned as an hommage to Ada Lovelace in 2019. It was created using AI-assisted composition processes, and employs real-time machine learning in the performance of the Piano Machine. Designed at Goldsmiths College in collaboration with Konstantin Leonenko in 2017, the Piano Machine plays the strings of the piano directly through mechanical, sustained vibration created by a set of motors and finger-like appendages controlled by microprocessors, thus creating dynamic control of notes over time, piloted by wireless OSC messaging. The material performed by the Piano Machine was generated by a concatenation of recordings of a work by Henry Purcell, Hosanna to the Highest, such that the repetitive ground bass of the original creates a foundation for the expressive intervention of real-time machine-learning processes.\r\nIn an attempt to render the Piano Machine more expressive and responsive to the ‘human’ musicians’ performance, the repeating harmonic patterns performed by the Piano Machine are shaped by machine learning processes that ‘listen’ to the instrumentalists during the rehearsals and performance. These processes filter the reservoir of notes and amplitudes produced from the concatenated recordings, not only in relation the notes that been played, but how they have been performed. This is achieved by building up training sets of timbral data over the course of rehearsals. Thus, the Piano Machine inscribes itself into the expressive sonic world of the ensemble.","24 min",{"id":70,"slug":71,"title":72,"description":73,"duration":74,"type":31,"timestamp":35},"1c1ead26-584b-4ca1-9651-e84622e9513c","x72455a_media-specific-performance-the-screen-med","Media Specific Performance: the screen mediated production during the Pandemic","In this presentation, I am aiming to discuss the development of new possibilities of aesthetic explorations in sound art, experimental music and audiovisual performances, that emerged during the pandemic. I am interested in real-time audiovisual researches that were specific created in and for video call software applications and virtual environments such as Zoom and Mozilla Hubs. In that sense, new forms of art works that had to englobe structural and sensitive limitations of the interfaces – that were not designed for this end -, and that could only emerge in that extreme social situation. Therefore, an essay about how this technical environment transformation influenced the development of a new cultural context for performance practice, that includes not only the new forms of image exploration for the construction of the dramaturgy, but also the acceptance of this new kind of real-time art experience by the audience. I will problematize how this accelerated technical development of software applications was – and is still linked - with the growing precariousness of the social-political-economic conditions of Global South realities. Finally, I will present the performance “Plurinational Hymn :: Life is an Utopia” created in and for Zoom application. The performance problematizes the recent episodes of legal precarization of the demarcations of indigenous lands in Brazil realized by the alt-right fascist government Bolsonaro. In that sense, it questions the growing devaluation of life in face of the financial market, manifested in the recent environmental catastrophes and the systematic dismantling of social and human rights.\r\n\r\nDudu Tsuda","34 min",{"id":76,"slug":77,"title":78,"description":79,"duration":80,"type":31,"timestamp":35},"52d2f33a-bbd2-4a37-8b69-b980d9dde6a3","xf5975a_the-world-of-freedom","The World of Freedom","World of Freedom is an immersive virtual space. It provides possibilities for people to empathetically imagine a “free” living sociology at the post-pandemic Anthropocene. Technologies support people to live in their identical personal spaces, meanwhile access shared information and areas with neighbors, even those with different faith and beliefs.Since we are all inside this pandemic bubble, after most people stay at home for a couple of months, we start emerging a global-size collective memory, which makes people more empathetically understanding others’ situations. Meanwhile, more and more people have to learn and take experience virtually. The attention of empathy and the new work-from-home mode evokes the initial idea of this virtual reality experience. We start to ask how people could learn and think more effectively in this brand new virtual age? The time of post-pandemic might never pass. Some phenomena supposed as temporary might become the normality for the world. We use Unity to build up an immersive and empathetic space that embodies a hypothetical argument of a social dilemma into a virtual manifestation. In this way, we wish to make the experience as a heuristic innovation for the post-pandemic Anthropocene. People might be able to figure out the most meaningful answer by wearing the same shoes. The social distance could also be virtually controlled in this program by counting if the number of participants overload spaces.","22 min",{"id":82,"slug":83,"title":84,"description":36,"duration":85,"type":31,"timestamp":35},"4ff945e0-a1d7-4c66-a41a-9244e4b8a624","x26e39d_ismm-team-ircam-presentation-of-the-la","ISMM team (IRCAM) - Presentation of the latest projects for Max: Mubu, CataRT, SkataRT, Gesture&Sound Toolkit.","30 min",{"id":87,"slug":88,"title":89,"description":90,"duration":91,"type":31,"timestamp":35},"6de50148-20a0-4b94-bf54-6dee3a8b893f","xd6adb6_family-life-recomposed","Family Life - recomposed","Family life, and children in general are commonly associated with chaos and unsolicited noise. Something sound artists themselves mostly try to avoid, as the worst place for them to work. This 16-loudspeaker installation, in opposition, aims at celebrating the musicality in everyday life, where intimacy and brutality, tensions and resolutions, power and abandonment are all intrinsically linked together.\r\n\r\n24 hours in the life of a family of four were thus recorded through a network of omnidirectional microphones set in an apartment located on a pedestrian street of Copenhagen, early 2022. The technique used doesn’t aim at recording people, instruments nor objects in a defined space though, but the space itself including its full acoustics in which, incidentally, people, instruments and/or objects might be interacting. Making it counter-intuitively a non-anthropocentric work, in which the family is merely inhabiting a living space.\r\n\r\nThe final piece re-composes the apartment on 16 loudspeakers in a big empty room. It is a full 3D celebration of the musicality in everyday life, where intimacy and brutality, tensions and resolutions, power and abandonment are all intrinsically linked together. Performed in a recreated apartment (using tape on the floor to show where the walls are), it allows the audience to experience a most intimate world from the apartment’s point of view, everywhere and nowhere at the same time, as it seemingly encapsulates everything, even sounds from the outside, in a 100m2 box filled with emotions…\r\n\r\nIn January 2022 a first highly immersive version which blended discussions, drama and music, both instrumental and spectral, was created at Inter Arts Center, Malmö, Sweden. As the most complex dramaturgies unfolded on an everyday basis, in a place few people external to the inner family circle are allowed to peek, it pushed participants to walk among “ghosts”: other people’s memories seemed to walk literally through them – or was the audience reduced to ghosts itself?\r\n\r\nThe project is now developing through a second residence in March 2023, with a clear goal to expand its emotional content, develop its concept and present it in front of a wider audience. Also, placing the family (or the apartment in which the family lives) in the center of the art piece implies a potential radical change in the way we as a society consider our ties to what we could call our inner and outer lives, maybe by joining them – at least for some time.\r\n\r\nTo be noted the installation was created using a specific recording technique developed during three years of artistic research ('Absurd Sounds', JAR edition 23), which will be presented with examples. It was finally rendered to dynamic binaural sound using sensors combined with SPAT Revolution, allowing its audience to become ghosts in a living – yet invisible – family, or to witness memories flying around them. Here SPAT was used to prototype, test, document and finally transpose the piece to new spaces.","31 min",{"id":93,"slug":94,"title":95,"description":36,"duration":68,"type":31,"timestamp":35},"330f188e-e7e4-482e-843b-e8a47f10d113","xf8f46e_conclusions","Conclusions",{"id":97,"slug":98,"title":99,"description":100,"duration":38,"type":31,"timestamp":35},"40da8f20-56bb-49ee-903d-08c3a90fe1b6","xad43fb_shallow-steps-spatial-cognitive-sonifica","Shallow Steps - Spatial Cognitive Sonification of Generative Visuals","‘Shallow Steps’ is an audiovisual installation/performance that explores the synaesthetic space between sound, vision, audience, and infinity. The technique and software for the translation of the visuals to sound is created through the composer’s research on ‘Cognitive Audiovisual Transformation’- an approach to synaesthetic art that prioritizes cognitive elements instead of mathematical correspondences. The self-repeating structure of fractals, especially mathematical fractals such as the Mandelbrot set, is the starting point of the work. Applying certain mathematical formulae on a visual plane creates a specific, self-repeating shape. Zooming into this shape creates more intricate patterns. Theoretically these patterns continue until infinity, ever-changing and yet always unique. In this work it is this pattern that is transformed into sound and given an audiovisual form, as an automata entity.",{"id":102,"slug":103,"title":104,"description":105,"duration":106,"type":31,"timestamp":35},"3c0f016b-cdf0-44cb-9efd-076931bf449b","x76547c_go-to-the-park","Max/MSP Spat library, sensors, and Unreal Engine: a workflow for a real-time generative VR project","his project is a poetic discussion about the relationship between people, parks, and space. Whenever I go to the park, as I look around, I always wonder why people go to the park? What do parks really mean to us? What do people feel in the park? Are there any similarities? How would people think if I presented my feelings about Hyde Park in a different form in another place? I will use video, sound and projection to present my experience of Hyde Park in a place other than Hyde Park, giving the audience an immersive experience","32 min","public",["Reactive",109],{"$si18n:cached-locale-configs":110,"$si18n:resolved-locale":116,"$snuxt-seo-utils:routeRules":117,"$ssite-config":118},{"fr":111,"en":114},{"fallbacks":112,"cacheable":113},[],true,{"fallbacks":115,"cacheable":113},[],"en",{"head":-1,"seoMeta":-1},{"_priority":119,"currentLocale":123,"defaultLocale":124,"description":125,"env":126,"name":127,"url":128},{"name":120,"env":121,"url":122,"description":120,"defaultLocale":122,"currentLocale":122},-3,-15,-2,"en-US","fr-FR","Ressources IRCAM est une plateforme de ressources musicales et sonores, développée par l'IRCAM, pour les artistes, les chercheurs et les passionnés de musique.","production","Ressources IRCAM","https://ressources.ircam.fr",["Set"],["ShallowReactive",131],{"/media/x1dd707_ai-networked-performance-and-aesthetic-ju/":-1,"flat pages":-1},"/en/media/x1dd707_ai-networked-performance-and-aesthetic-ju"]