\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},{"personMedias":25},{"firstName":26,"resume":11,"lastName":27,"medias":28},"Zubin","Kanga",[29,37,43,49,56],{"id":30,"slug":31,"title":32,"description":33,"duration":34,"type":35,"timestamp":36},"738a671e-178c-4345-bc9d-6383fc76f2be","x500cd5","Introduction : Inventions du geste Musical - Nicolas Donin, Zubin Kanga","","11 min","video","2015-06-08",{"id":38,"slug":39,"title":40,"description":41,"duration":42,"type":35,"timestamp":36},"4cad8f41-176a-4b56-885e-da8bfe472be6","xe6976a","\u003Ci>Sculpting the Air\u003C/i>: a conversation with Jesper Nordin and Marc Desmons on building and performing gestural instruments - Marc Desmons, Jesper Nordin, Zubin Kanga","In this conversation led by Dr Zubin Kanga, Swedish composer, Jesper Nordin and French conductor, Marc Desmons discuss their collaboration on Nordin’s new work Sculpting the Air, to be premiered by Ensemble TM+ at ManiFeste on 13 June. The work is a concerto for conductor, featuring several technological approaches (both mechanical and electronic) to harnessing Desmons’ conducting gestures in order to create sounds that extend and rival the sounds of the ensemble. The discussion will also focus on Nordin’s gesture-controlling programs “Gestrument” and “ScaleGen”, that make gesture-controlled electronics possible on a phone or tablet as well as Desmons’ wide ranging work as a performer and collaborator with other innovative composers.","36 min",{"id":44,"slug":45,"title":46,"description":47,"duration":48,"type":35,"timestamp":36},"cc7cf17a-5bfc-4fd4-9cf8-51dac295d0be","x07703d","Building virtual instruments: case studies of gestural innovation in works for piano and electronics - Zubin Kanga, Patrick Nunn","This presentation examines three works for piano and electronics, recently performed by Zubin Kanga, a concert pianist that feature diverse approaches to composition as ‘building an instrument’ (following Lachenmann’s definition of composition). In Piano Hero (2012) by Belgian composer, Stefan Prins, the performer uses a keyboard to control a video avatar of a pianist, creating gestural complexity from the contrast between the live performer’s gesture and the resultant ‘performing’ video. Australian composer Benjamin Carey’s work _derivations (2013) is a program that functions as a duetting partner for an improviser.\r\nThis software functions as a creative environment that directs the performer towards specific types of musical and gestural material, creating play in the ambiguity between embodied and disembodied sound. British composer, Patrick Nunn wrote Morphosis (2014) in close collaboration with Kanga using 3D sensors attached to his hands to control the electronics and extend the relationship between the performer’s gestures and resulting sounds.\r\nUsing interviews, score excerpts and video documentation of workshops, Zubin Kanga will examine how a score, a piece of technology and the gestural language of the performer are formed simultaneously and symbiotically. These systems function as virtual instruments that foster new approaches for gestural approaches to music, while also imposing their own new limitations. The presentation concludes with a performance of Patrick Nunn’s Morphosis.","55 min",{"id":50,"slug":51,"title":52,"description":53,"duration":54,"type":35,"timestamp":55},"ecd0693d-5ebf-410b-bc10-67ed411264e5","x513af7","Sounding Bodies: Embodiment and Gesture in the Collaborative Creation and Realisation of works for Piano and Electronics - Zubin Kanga","This paper examines works for piano and electronics that use technology to expand and subvert the body and pianistic technique of the pianist. It draws upon the fledgling research field of auto-ethnographic examination of composer-performer collaboration and builds upon the author’s doctoral thesis, Inside The Collaborative Process: Realising New Works for Solo Piano, which examined collaborations between the author and 30 composer on new piano works to track and analyse the catalysts and pressures that affect the process, such as differences of age and seniority, the goal of virtuosity, the use of graphic notation and the cumulative effects of long-term collaborations. However, new approaches to gesture have been only fleetingly explored in these case studies, and the use of electronics was not explored at all – this paper is thus a vital keystone in both fields.\r\n\r\nAs a study of composer-performer collaboration, work also builds upon the work in this field of Östersjö (2008), Roche (2012), Hayden/Windsor (2007), Clarke/Cook/Harrison/Thomas (2005), Heyde/Fitch (2007), Heyde/Bayley (2014), Clarke/Doffman/Lim (2013) and Hooper (2013) who all use ethnographic (or autoethnographic) documentation of collaborations as a research tool. The author examines the process of creating or realising each of these works, allowing the formation of new approaches to gesture through multimedia to be observed, tracked and analysed. This type of examination will allow the role of the performer in creating, refining and controlling the innovative gestural aspects of the work to be revealed. It also allows the author to test the effects on the collaboration process of these interactions between body and technology.\r\nThe three new works are by Belgian, Australian and British composers, with two of the works written specifically for the author (a concert pianist). Each explores and subverts the relationship between the pianist’s body and the instrument but each does so using different musical and technological means. The process of creative collaboration was documented (through filming of workshops, collection of sketch materials and interviews) creating a body of data that can be analysed and compared. By studying a group of similar cases, trends and strategies can be tracked across multiple cases, allowing the specific interaction between technology and collaborative process to be assessed.\r\n\r\nDark Twin (2015) by Australian composer, Julian Day, utilises a tape part to create the effect of a pianist accompanied by a distorted doppelgänger. The perception of the relationship between the pianist’s sound and physicality is gradually altered and subverted, creating the illusion of a complex interaction between pianist and technology. In Piano Hero (2012) by Belgian composer, Stefan Prins, the performer uses a keyboard to control a video avatar of a pianist, creating gestural complexity from the contrast between the live performer’s gesture and the resultant ‘performing’ video. Although this work was not composed for the author, the gestural aspects of the work still required workshopping, with discussions focussing on the managing the many different roles that gesture plays in the work. British composer, Patrick Nunn’s Morphosis (2014) uses 3D sensors, attached the pianist’s hands to control the electronics (programmed with Max). The movements of the pianist are not choreographed, yet the specific parameters of control programmed into the electronics part create a 3D landscape for the pianist to explore. In addition, Nunn sets up different parameters for each section, creating a game for both performer and audience of continuously attempting to discover the limits of control.\r\n\r\nThese works all require explore new approaches to the interaction between performative gesture and electronics and all require many stages of collaborative creativity and experimentation. In addition, considerable creative input is required from the performer at all stages from the process, in calibrating the electronics parts, exploring the constraints and controls of both the notation and the electronics as well as choreographing movements around the piano. In some cases, the electronics and choreography are tailored to the pianist’s natural gestural approach to the piano, and in others, the electronics and choreography are made to challenge the technique of the pianist in a prime example of resistance as a creative tool (a term coined by Sennett (2008) and explored further in Heyde/Callis/Kanga/Sham (2014)). The process of collaborative creation of works for piano and electronics has not been examined before, and the insights of this comparative exploration will be of significant importance to both the field of the study of new approaches to gesture, the research into new approaches to composition for the piano as well as the field of study of composer-performer collaboration.","28 min","2015-10-08",{"id":57,"slug":58,"title":59,"description":60,"duration":61,"type":35,"timestamp":62},"66d282ff-ce01-4f84-8a6f-2288c6c94769","xa0722e","Fergal Dowling, Zubin Kanga : Fake, for piano and Antescofo - Fergal Dowling, Zubin Kanga","FAKE (for piano and Antescofo) examines the idea of authenticity in musical performance by presenting an ambiguous relationship between a ‘real’ live piano performance and a parallel computer-based performance. FAKE uses anticipatory score following and generative computer music to create a series of variations on contrasting interaction types: simple score following; ‘inverted’ score following (whereby the pianist ‘follows’ generative passages; and a combination of these paradigms, using tempo-synched loops, to suggest the ‘performers’ might follow each other. This changing relationship permits the pianist to respond in a fluid, partially extemporised interaction with computer. In this presentation we describe the composition and collaboration process and give a full performance of the work. FAKE was commissioned by Zubin Kanga with funds from the Arts Council of Ireland. A second work, DOUBLE, for flute and computer, which elaborates on these techniques, is in progress.\r\n\r\n - - \r\nFergal Dowling is a composer and music group director. His compositions combine acoustic forces, computer-based interaction and sound spatialisation. His works have been performed widely at festivals and conferences, including: Sonorities, Música Viva, Japan Electroacoustic Festival, ISCM World Music Days, Future Sonic; and by performers including: Garth Knox, Xenia Pestova, Concorde, and notes inégales. He studied composition at Trinity College Dublin (BMus, 2000, MLitt, 2002) and York (PhD, 2006), and has received many awards, including the Elizabeth Maconchy Composition Fellowship and Arts Council Bursaries and Commissions. He directs the new music project group Dublin Sound Lab since 2008, and Music Current Festival, Dublin, since 2016. He has curated and produced many collaborative projects, including: a real-time composition workshop with Karlheinz Essl (2011); Re- Sounding Dublin (2012); Mirrors of Earth, Kaija Saariaho's MAA and new video artworks (2013); Places and Responses with Peter Ablinger (2014); and Perisonic, an immersive audio-visual installation (2017).\r\n\r\nZubin Kanga is a pianist, composer, improviser and technologist. Over the last decade he has established his reputation in Europe and Australia as a leading innovator of new approaches to the piano. His work in recent years has focused on new models of interaction between a live musician and new technologies, using film, AI, motion capture, 3D modelling, animation and virtual reality.","29 min","2020-03-05",["Reactive",64],{"$si18n:cached-locale-configs":65,"$si18n:resolved-locale":33,"$snuxt-seo-utils:routeRules":71,"$ssite-config":72},{"fr":66,"en":69},{"fallbacks":67,"cacheable":68},[],true,{"fallbacks":70,"cacheable":68},[],{"head":-1,"seoMeta":-1},{"_priority":73,"currentLocale":77,"defaultLocale":77,"description":78,"env":79,"name":80,"url":81},{"name":74,"env":75,"url":76,"description":74,"defaultLocale":76,"currentLocale":76},-3,-15,-2,"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",84],{"/person/Zubin-Kanga":-1,"flat pages":-1},"/fr/person/Zubin-Kanga"]