SACEM University Colluquium

What is the Future of Musical Creation? Sound Processing, Spatialization, Indexation, Orchestration

A center for research and musical creation, IRCAM brings together artists (composers, sound designers, sound engineers, performance designers, and performers) and scientists to work on common and federating projects, cultivating the art of innovation. Together, they create the musical languages of today and the sound technologies of tomorrow. At the intersection of a laboratory, an art school, and a production workshop, IRCAM is also a venue for training and transmission via its Forum (IRCAM software users’ group) and its classes intended for professional artists.

In 2015, IRCAM and the SACEM have come together during the ManiFeste festival, to organize an exceptional day during which professionals can discuss the future of musical creation. What will the role of the composer be tomorrow? How will new technologies impact musical writing and studio production? Sound processing, spatialization, indexation, orchestration: IRCAM will present its latest innovations for music and sound. Discover the tools of today and to come; take part in a debate on music of the future.

The vocation of SACEM University is to inform the public about the issues and values of culture, music, and copyrights.

Studio 1 - Ircam © Laforgue

Studio 1 – Ircam © Laforgue

2pm | Welcome

by Frank Madlener, Director of IRCAM,
Louis Diringer, Director of the SACEM,
Claire Giraudin, Director of SACEM University

2:10pm | Introduction

by Hugues Vinet, Research and Development Director, IRCAM

2:25pm | High-Quality Sound Processing

by Frédérick Rousseau, Head of Industrial Relations at IRCAM and Musician

The development of tools to work on the very heart of sound material, to “sculpt” the sound visually and to apply numerous processing techniques is one of the most dynamic findings from IRCAM’s research. Presentation of a selection of cult software programs!
Mains functions: Transposition with preservation of the spectral envelope, time stretching with transient preservation, voice transformation….
Software: AudioSculpt, Ircam-TS, Ircam Lab Collection, Trax – Ircam Tools Collection, IrcaMax (modules for Ableton’s Live software program)

3:10pm | Sound Spatialization

by Olivier Warusfel, Head of IRCAM’s Acoustic and Cognitive Spaces team

The ambition of the research on spatialization is to provide models and tools that enable composers to include the placement of sounds in a specific space from composition to concert, making spatialization another compositional parameter. In the artistic domain, this research also applies to post-production, to interactive sound installations, and to dance through interactive sound/space/body systems.
Mains functions: Parametric multi-source mixing, advanced systems for capture and reproduction (binaural, ambisonic, etc.)
Software: The latest version of Spat – Ircam Tools Collection

3:55—4:15pm | Break

4:15pm | Music Databases

Metadata in Works: What is the Importance for Artists?
by Louis Diringer, Director of the SACEM

The identification of works that are broadcast or reproduced has become a major issue for authors’ licensing societies. This is an obvious condition essential to the quality of their transactions. With the arrival of online usage and the management of colossal volumes of data, the identification of works has become, in a highly competitive environment, a crucial phase in reclaiming the rights they manage. The quality of the metadata used for these transactions was addressed by authors’ licensing societies as early as 1994. The strategies developed in this domain by licensing societies have made them major players in the domain of standardizing data or testing new solutions intended to facilitate and improve the processes of recognition and identification of works.

Automatic Analysis of Metadata from Recordings
by Geoffroy Peeters, Indexation Project Leader, IRCAM

Faced with the current inflation of multimedia data, being able to categorize music, pieces and notes, and being able to do it automatically, is a real issue for the music industries, for composers and the general public alike.
State of the art research for automatic analysis of musical descriptors: classification (genres, moods, instrumentation), tempo and rhythmic structures, tonality, representative excerpt, sound and structure summary.
Application to databases that are representative of the current music distribution market.

5:15pm | Computer-Assisted Orchestration

by Yan Maresz, composer

Hitherto limited to empirical, hardly formalized or shared, practices, orchestration, or the art of combining instrumental timbres, has become, over the past decade, a central theme in IRCAM’s research. The joint advances in knowledge of aural perception and in the technologies for sound databases, modeling all the sounds of an orchestra’s instruments, have made it possible for a computer to calculate the perceptive characteristics of their combinations, offering composers new methods for orchestral writing.
Presentation of the new system Orchids
that offers new orchestral combinations to reach a musical target using databases of instrumental samples.

6:00pm | Debate

What is the Impact of Technologies for Music Composition and Distribution?
with Yan Marez, Frederick RousseauWally Badarou, composer and administrator of the SACEM and Léonore Mercier, composer
led by Arnaud Merlin, Producer at France Musique

7:00pm | End

8:30pm | Isabelle Faust Recital Violins at Centre Pompidou

Premiere of Michael Jarrell and Heinz Holliger.
More informations about this concert.