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ircam
IRCAM (', or Institute for Research and Coordination Acoustic / Music in English) is a French institute for science about music and sound and avant garde 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.
==A centre for musical research==
Several concepts for electronic music and audio processing have emerged at IRCAM. John Chowning pioneered work on FM synthesis at IRCAM, and Miller Puckette originally wrote Max at IRCAM in the mid-1980s, which would become the real-time audio processing graphical programming environment Max/MSP. Max/MSP has subsequently become a widely used tool in electroacoustic music. Many of the techniques associated with spectralism, such as analyses based on fast Fourier transforms, were made practical by technological contributions at IRCAM. For instance, researchers at IRCAM have developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment. Along with tools for sound synthesis and analysis, IRCAM has played an instrumental role in developing programs for visualization of musical form with the creation of Open Music, a Lisp-based visual programming language.
IRCAM provides classes to train composers in music technology.〔(Software Training Courses ), IRCAM〕 Composers who do not have programming experience to create the technology end of a piece for ensemble and electronics are provided with an assistant who helps them to realise technically intensive parts of the piece. The assistant will follow the conceptual advice of a composer with no technology experience to realize a computer part, or will help a composer who can program in Max/MSP to make their "patch" more efficient and elegant. Tristan Murail's ''Désintégrations'' is an example of a piece realized in this program by a composer with significant technological skill, whereas Harrison Birtwistle's ''The Mask of Orpheus'' required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.
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