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IRCAM is a French institute dedicated to the research of music and sound, especially in the fields of avant garde and electro-acoustical art music. It is situated next to, and is organisationally linked with, the Centre Pompidou in Paris. The extension of the building was designed by Renzo Piano and Richard Rogers. Much of the institute is located underground, beneath the fountain to the east of the buildings.
Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments. It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 20th century.
Mario Davidovsky was an Argentine-American composer. Born in Argentina, he emigrated in 1960 to the United States, where he lived for the remainder of his life. He is best known for his series of compositions called Synchronisms, which in live performance incorporate both acoustic instruments and electroacoustic sounds played from a tape.
Karlheinz Essl is an Austrian composer, performer, sound artist, improviser, and composition teacher.
Gérard Pape is a composer of electronic music, author, and Lacanian psychologist. He is a former student of David Winkler, George Cacioppo, William Albright, and George Balch Wilson. He became the director of Les Ateliers UPIC in 1991 and in 2015 authored a French-English bi-lingual book Musipoesc: Writings About Music that was published by Éditions Michel de Maule. Pape has lived and worked in France since the early 1990s.
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Hans Tutschku is a German composer.
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Michael Obst is a German composer and pianist.
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Javier Álvarez Fuentes was a Mexican composer known for compositions that combined a variety of international musical styles and traditions, and that often utilized unusual instruments and new music technologies. Many of his works combine music technology with diverse instruments and influences from around the world. He taught internationally, in the UK and Sweden, and back in Mexico later in his career.
James Harley is a Canadian composer, author, and professor of music born in Vernon, British Columbia. His creative output consists of orchestral, chamber, solo, electroacoustic, and vocal music.
James Dashow is an American composer of electro-acoustic music, instrumental music and opera.
Nicolas Vérin is a French composer and professor of music. His many influences, from jazz to electronics, from American to French music, give him an unusual style, apart from the main trends of French contemporary music, combining energy and subtleness.
Georgia Rodgers is a composer and acoustician from the United Kingdom, currently based in London.
Michael Barrie Gordon Anderson, known as Barry Anderson, was a New Zealand-born composer, teacher, and pioneer in the dissemination of electroacoustic music in the United Kingdom. Internationally, his best-known work is his realisation of the electronic music for Harrison Harrison Birtwistle's opera The Mask of Orpheus.
References
- Ten Hoopen, Christiane (1992), 'Simon Emmerson', entry in Contemporary Composers, Chicago: St James Press, pp. 267–268.
- Chapman, Jane (2000), ‘Points of Departure: An Interview with Simon Emmerson’, Contemporary Music Review 19(4), pp. 39–47.
- Montague, Stephen (2001), ‘Emmerson, Simon’ entry, The New Grove Dictionary of Music and Musicians (Stanley Sadie, ed.), Vol.8 (Egypt to Flor), London: Macmillan Publishers, pp. 188–189.
- Gibbs, Tony (2007), ‘Simon Emmerson’, in Chapter 2 (‘Artists and their work’), The Fundamentals of Sonic Art & Sound Design, Lausanne: AVA Publishing, pp. 62–65.
- Palmer, John (2009), ‘Spaces and Places: an Interview with Simon Emmerson’, Tempo Vol. 63 (No. 247) (January 2009), pp. 19–23.
