Music for listening

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Les médias liés à cet évènement

Joreg. vvvv gamma - a new take on visual programming - Joreg

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Présentation des projets du Sound Lab de Taïwan - Chia Hui Chen, Cécile Huang

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Sangeet Shankh / Indian Snail - Mandar Karanjkar, Robert Piéchaud, Floy Krouchi

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De Tintinnabulis - Expérience esthétique et sonorité des cloches

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Entering the musician’s world: the use of VR to heighten emotions in music - Rita Theresa Al Alam

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iZotope : L'intelligence artificelle dans la production musicale - Dan D'Ascenzo, Jürgen Wirtz

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Fraction / Éric Raynaud. Présentation du Spat4Sat

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Présentation de l’installation interactive Translanguaging - Aaron Liu-Rosenbaum

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Point sur MacIntel et les logiciels du Forum - Carlos Amado Agon, Riccardo Borghesi, Karim Haddad, Nicholas Ellis

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Nouveautés AudioSculpt 2.7 et SuperVP 2.91 - Xavier Rodet, Alain Lithaud, Niels Bogaards, Axel Roebel

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Nouveautes OpenMusic - Gérard Assayag, Jean Bresson, Carlos Amado Agon, Karim Haddad

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Point sur le Spatialisateur - Olivier Warusfel, Rémy Muller, Terence Caulkins

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Nouveautés Modalys - Joël Bensoam, Nicholas Ellis, Jean Lochard

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Mlys - une interface de contrôle de Modalys dans Max/MSP - Manuel Poletti

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Accueil - Andrew Gerzso

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Développements récents de l'équipe applications temps réel - Diemo Schwarz, Riccardo Borghesi, Norbert Schnell

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With electronic music composition, curiosity, improvisation, and intuition are essential elements for creating interesting and conversational music. In addition to one's musical medium, having a “feel” for its use gives rise to expressiveness. Yet, similarly to how people are attracted to playing certain instruments over others, the tools an electronic musician chooses can greatly influence the music they will produce.

The conceptual framework of musical livecoding is an abstraction through which we improvise, compose, and interact with the finest details of musical content. It is an intriguing way of developing an emotive sense of linear, text-based programming. To make livecoded music, one simultaneously exerts precise control over musical phenomena while abstracting that knowledge to develop an intuitive sense of control. Somewhere in-between is found the “glue” which unites these musical ends into a sort of Möbius strip, and when finished, you have a complete object: a piece of music.


An inventor at heart, Ashlae Blūme is a musician, composer, and technologist with a penchant for the unknown. She uses sound and polymedia to explore social constructs and deconcept conventional notions of "should."

intervenants

informations

Type
Ensemble de conférences, symposium, congrès
Lieu de représentation
Ircam (Paris)
durée
30 min

IRCAM

1, place Igor-Stravinsky
75004 Paris
+33 1 44 78 48 43

heures d'ouverture

Du lundi au vendredi de 9h30 à 19h
Fermé le samedi et le dimanche

accès en transports

Hôtel de Ville, Rambuteau, Châtelet, Les Halles

Institut de Recherche et de Coordination Acoustique/Musique

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