\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},{"worksByCompositionYear":25},[26,88,99,115,131,230,274,308,414,443,477,488,607,632],{"label":27,"works":28},"A",[29,38,43,48,53,58,63,68,73,78,83],{"title":30,"titleFr":31,"slug":32,"composers":33,"orderField":37},"McKonkey’s Ferry 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3","quatuor-a-cordes-n-3-12",[67],{"firstName":35,"lastName":36},{"title":69,"titleFr":31,"slug":70,"composers":71,"orderField":37},"Songs of Experience","songs-of-experience",[72],{"firstName":35,"lastName":36},{"title":74,"titleFr":31,"slug":75,"composers":76,"orderField":37},"Hot-Time Dance","hot-time-dance",[77],{"firstName":35,"lastName":36},{"title":79,"titleFr":31,"slug":80,"composers":81,"orderField":37},"Prélude","prelude-18",[82],{"firstName":35,"lastName":36},{"title":84,"titleFr":31,"slug":85,"composers":86,"orderField":37},"American Dance Suite","american-dance-suite",[87],{"firstName":35,"lastName":36},{"label":89,"works":90},"E",[91],{"title":92,"titleFr":11,"slug":93,"composers":94,"orderField":98},"Ouvertüre zu einem Lustspiel","ouverture-zu-einem-lustspiel",[95],{"firstName":96,"lastName":97},"Hanns","Eisler","Eisler 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cordes","premiere-suite-pour-cordes",[138],{"firstName":139,"lastName":140},"Lou","Harrison","Harrison Lou",{"title":143,"titleFr":31,"slug":144,"composers":145,"orderField":141},"Homage to Milhaud","homage-to-milhaud",[146],{"firstName":139,"lastName":140},{"title":148,"titleFr":31,"slug":149,"composers":150,"orderField":141},"Suite #2","suite-2",[151],{"firstName":139,"lastName":140},{"title":153,"titleFr":31,"slug":154,"composers":155,"orderField":141},"Cupid and Psyche","cupid-and-psyche",[156],{"firstName":139,"lastName":140},{"title":158,"titleFr":31,"slug":159,"composers":160,"orderField":164},"Symphonie n° 4","symphonie-n-4-5",[161],{"firstName":162,"lastName":163},"Karl Amadeus","Hartmann","Hartmann Karl Amadeus",{"title":166,"titleFr":31,"slug":167,"composers":168,"orderField":164},"Symphonie n° 3","symphonie-n-3-4",[169],{"firstName":162,"lastName":163},{"title":171,"titleFr":172,"slug":173,"composers":174,"orderField":178},"Das Wundertheater","Le théâtre magique","das-wundertheater-1",[175],{"firstName":176,"lastName":177},"Hans Werner","Henze","Henze Hans Werner",{"title":171,"titleFr":172,"slug":180,"composers":181,"orderField":178},"das-wundertheater",[182],{"firstName":176,"lastName":177},{"title":184,"titleFr":31,"slug":185,"composers":186,"orderField":178},"Kammersonate","kammersonate",[187],{"firstName":176,"lastName":177},{"title":189,"titleFr":31,"slug":190,"composers":191,"orderField":178},"Whispers from Heavenly Death","whispers-from-heavenly-death-1",[192],{"firstName":176,"lastName":177},{"title":194,"titleFr":31,"slug":195,"composers":196,"orderField":178},"Chor gefangener Trojer","chor-gefangener-trojer",[197],{"firstName":176,"lastName":177},{"title":189,"titleFr":31,"slug":199,"composers":200,"orderField":178},"whispers-from-heavenly-death",[201],{"firstName":176,"lastName":177},{"title":203,"titleFr":31,"slug":204,"composers":205,"orderField":178},"Apollo et 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Bœuf","la-flute-du-boeuf",[273],{"firstName":246,"lastName":247},{"label":275,"works":276},"K",[277,285,293,298,303],{"title":278,"titleFr":31,"slug":279,"composers":280,"orderField":284},"Piano Sonata","piano-sonata-1",[281],{"firstName":282,"lastName":283},"Leon","Kirchner","Kirchner Leon",{"title":286,"titleFr":31,"slug":287,"composers":288,"orderField":292},"Sonate pour piano n° 4","sonate-pour-piano-n-4",[289],{"firstName":290,"lastName":291},"Ernst","Krenek","Krenek Ernst",{"title":294,"titleFr":31,"slug":295,"composers":296,"orderField":292},"5 Petites pièces pour cordes","5-petites-pieces-pour-cordes",[297],{"firstName":290,"lastName":291},{"title":299,"titleFr":31,"slug":300,"composers":301,"orderField":292},"Sonate pour violon solo n° 2","sonate-pour-violon-solo-n-2",[302],{"firstName":290,"lastName":291},{"title":304,"titleFr":31,"slug":305,"composers":306,"orderField":292},"Sonate pour alto et 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