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Richard Siegal / Alberto Posadas

What common points are there between the choreographer and the composer, without one diminishing the autonomy of the other? Here, the common language of Glossopoeia (literally fabricating a language) puts formal iterative grammatical systems that structure musical and choreographic writing into play. Using sensors that enable the capture and analysis of movement, the electronics and graphically processed video are intrinsically connected to the dancers' movements.
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Realtime gesture recognition with contact microphones

Mogees is a project that uses microphones to turn any surface into an interactive board, which associates different gestures with different sounds. Users plug any contact microphone onto a surface — be it a tree, a cupboard, a piece of glass or even a balloon. They can then record several different types of touch using their hands or any objects that cause a sound — so one sound could be a hand slap, another could be a finger tap and another could be hitting the surface with a drumstick.
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Voice Transformation

Ircam Snapshots

The first edition in this series focuses on the transformation of a voice, a major research thème for IRCAM’s sound analysis/synthesis team. Film written by Nicolas Rasamimanana and Julien Bloit (Phonotonic), produced by Arnaud Méthivier and Grégoire Ausina (Gisèle productions).
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Science and Technologies for Music and Sound

Encounter on Musical Creation

Hugues Vinet, Scientific Director of IRCAM, explains how art and innovation are sown at IRCAM; artists and engineers work together in a common research process in service of artistic creation. The technological tool is now an integral part of creation and of the techniques of music and sound. Without a doubt, fabricating instruments and writing for music are actions that are dissociable from constantly changing technological possibilities. Hugues Vinet offers a broad view of the research fields in the “Science and Technologies for Music and Sound” laboratory housed by IRCAM: sound signal processing, synthesis via physical models, sound spatialization, computer-assisted composition, and the continuation of issues surrounding interaction with the concept of a musical instrument. Vinet makes the connection between these works and numerous applications in our daily lives. This conference includes several sound examples and provides the opportunity to hear existing or future sounds, from the computer’s first “cry” in 1957 to new pieces composed using algorithms and software, virtual instrument makers. Thursday, February 10, 2011 at UPMC (Université Pierre et Marie Curie). In the framework of the “Sciences à coeur - conférences citoyennes” series, season 3. Production © UPMC/SG-TICE/CPM
Voice TransformationVoice Transformation
Voice Transformation
Science and Technologies for Music and SoundScience and Technologies for Music and Sound
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Access to the reading room is now free. If you want to purchase a library card to borrow materials, please read the terms here : Hours & Access

New resources

Scientific Article SLAM: Automatic Stylization and Labelling of Speech Melody/Nicolas Obin 
Book Music and protest in 1968/edited by Beate Kutschke and Barley Nordon 
Musical score Hidden, for string quartet and electronics, Chaya Czernowin 
Musical score Quid sit musicus, Philippe Leroux 

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