IRCAM (French: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 ofavant garde andelectro-acoustical art music.[1] It is situated next to, and is organisationally linked with, theCentre Pompidou in Paris.[2] The extension of the building was designed byRenzo Piano andRichard Rogers. Much of the institute is located underground, beneath the fountain to the east of the buildings.[3]
Several concepts for electronic music andaudio processing have emerged at IRCAM.John Chowning pioneered work onFM synthesis at IRCAM, andMiller Puckette originally wroteMax at IRCAM in the mid-1980s, which would become the real-time audio processing graphical programming environment Max/MSP. Max/MSP has subsequently become a widely used tool in electroacoustic music. Many of the techniques associated withspectralism, such as analyses based onfast Fourier transforms, were made practical by technological contributions at IRCAM. For instance, researchers at IRCAM have developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment. Along with tools for sound synthesis and analysis, IRCAM has played an instrumental role in developing programs for visualization of musical form with the creation ofOpenMusic, a Lisp-based visual programming language.[4]
IRCAM provides classes to train composers in music technology.[5] Composers who do not have programming experience to create the technology end of a piece for ensemble and electronics are provided with an assistant who helps them to realise technically intensive parts of the piece. The assistant will follow the conceptual advice of a composer with no technology experience to realize a computer part, or will help a composer who can program in Max/MSP to make their "patch" more efficient and elegant.Tristan Murail'sDésintégrations is an example of a piece realized in this program by a composer with significant technological skill, whereasHarrison Birtwistle'sThe Mask of Orpheus required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.
Apart from electroacoustic programmes, IRCAM has programmes in contemporary classical music. It has disseminated music of postWorld War II modernist musicians such as that ofLuciano Berio orPierre Boulez, as well as younger performers and composers. Musical spectralism such as that ofTristan Murail, has also received support from IRCAM. Murail taught at IRCAM for a time.[6]Kaija Saariaho, whose work has been influenced by spectralism, has also been supported by IRCAM.[7]
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 theEnsemble Modern andKlangforum Wien. Many classical contemporary pieces have been written for thechamber orchestra section of Ensemble InterContemporain.
In 1970 PresidentGeorges Pompidou asked Pierre Boulez to found an institution for research in music. In 1973 the section of the building underneathPlace Igor-Stravinsky [fr] was finished, and IRCAM opened in 1977.[9] From the outset, Boulez was in charge of the institute.[10] The initial administrators includedLuciano Berio,Vinko Globokar,Jean-Claude Risset, andMax 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 byLaurent Bayle [fr].[10] In 2002 the philosopherBernard 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 byFrank Madlener [fr].
The creation of IRCAM coincided with the rise of the debates aboutmodernism andpostmodernism in culture and the arts.[11]
Its multimedia library[12] was established in 1996.[13] It is one of the first musichybrid 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 ofsheet music and books on music and related domains.
Several international conferences have been held at IRCAM:
Some software is being developed at IRCAM, such asOpenMusic, AudioSculpt, OMax, Spat, Modalys,Antescofo andOrchidée.
Orchidée is developed as a tool to aid in orchestral composition in which musical scores using traditional instruments are generated by imitating a target input sound. It is used inJonathan Harvey's 2008 piece, "Speakings", a composition based on emulating speech patterns and inflections. Orchidée is capable of computing the complex combinatorial possibilities of an orchestra based onmusical attributes such as dynamics and instruments,perceptual attributes such as brightness, andtimbre models.[16]
IRCAM software is distributed via a subscription-based Forum.[17] As of 2011, IRCAM Forum has 534 members including individual artists and art institutions around the world.[18] IRCAM Forum members gather yearly at IRCAM for workshops regarding new technologies developed at IRCAM and elsewhere. IRCAM has also created a music file format,.sf.[19]
In the domain of music and generative artificial intelligence IRCAM has developed a learning framework for generating a neural network model from audio data named RAVE (Realtime Audio Variational autoEncoder) and that allows both fast and high-quality audio waveform synthesis (20x real-time at 48 kHz sampling rate on standard CPU). Models can be used in real time for various applications, audio generativity/timbre transformation/transfer either as aVST plugin or usingMax/MSP.
There are also partnerships with companies such as Cycling 74 (Max/MSP) and Flux:: (IRCAM Tools) for the development of proprietary software.
^Kabal, Peter."Audio File Format Specifications".Audio File Format Specifications. Department of Electrical & Computer Engineering. Retrieved9 September 2023.
Anderson, Julian. 1989. "Désintégrations." Within liner notes toTristan Murail. Montaigne MO 782175.
Dearden, Ian. "The Electronic Music ofThe Mask of Orpheus." Within liner notes toThe Mask of Orpheus by Harrison Birtwistle. NMC D050, 1997.
Machover, Todd (ed.). 1984. "Musical Thought at IRCAM".Contemporary Music Review 1, part 1. London: Harwood Academic Publishers.ISBN3-7186-0272-5 ISSN 0749-4467
Peyser, Joan. 1976.Boulez: Composer, Conductor, Enigma. New York: Schirmer Books.
