Simultaneus translation : Fabrice Adam.

The music of the Occident was deeply marked by the practice of the writing, the score became a genuine instrument of research for the composer, trying indefatigably to push back the limitations and the representations of them. Are we very close to these limits? And how would we react in front of a virtual white sheet in three dimensions, could we increase our capacities of writing? If we think of a musical field where the three-dimensional score is essential, that will be the space writing: composing space as well as the other components of the musical writing. Trajectories representations, modeling a network of virtual loudspeakers, it is what we will present today. Based on results from IRCAM’s Acoustic and Cognitive Spaces team’s research, SPAT Revolution developed by the company Flux::, is a software dedicated to the treatment of spatialization in real-time of aural signals in the contexts of musical creation, post-production, and in concert situations. It will be presented in interaction with the IanniX software, inspired by Iannis Xenakis’work, based on the writing of a spatial score and the representation of the temporal structures in a three-dimensional graphical space. For the occasion, the presentation of a short electroacoustic piece “fissures” will let us test the interactions between the 3D spatial score (IanniX) and the 3D sound from the audio engine (SPAT Revolution). “One can say that in the future the music will become space. I believe that the movement of the sounds in space will be as important as the melody, the harmony, the rate/rhythm, dynamics, the stamp”. Karlheinz Stockhausen