14h30 à 18h
Ircam, Salle I. Stravinsky
1, place I. Stravinsky 75004 Paris
(Entrée libre dans la mesure des places disponibles)
Cette séance conclusive de la neuvième saison du Séminaire MaMuX est consacrée à la musique algorithmique dont on présentera à la fois quelques éléments historiques mais aussi des applications récentes en composition. L’enjeux de cette séance du séminaire, organisée dans le cadre du projet PEPS Interactions Maths/ST2I " Géométrie de l’Interaction et Musique " est également d’arriver à discuter l’actualité de cette approche au sein des orientations compositionnelles contemporaines, en se concentrant sur les rapports entre la dimension logique sous-jacente, l’utilisation des technologies (en particulier des dispositifs informatiques) et le rôle de l’intuition dans le processus compositionnel.
As formalization and intuition are often regarded as quite oppositional aspects, the application of algorithmic procedures seemingly demands a "personal" alteration of the output in order to maintain the overall creative character of the compositional process - a necessary approach?
Do certain paradigms or strategies of Algorithmic Composition demand a stronger modification of the output? I would like to juxtapose some approaches in regard to their creative potential and illustrate my experiences with students' works as well as mine.
Finally a short demonstration of "Patterns of Intuition" will be given. This project (in collaboration with various composers) aims to analyse and/or grasp aspects of the creative compositional process by means of Algorithmic Composition.
By 'algorithmic' I don't mean 'computer-aided' but 'algorithmically determined'. It is the aim of "Project Two" to establish an instrumental score (or a sco-file for Csound) by using selection functions applicable to data lists (both to be indicated by the composer). The selection functions are mostly based on aleatoric decisions; the parameters refer to one another according to a user-defined hierarchy. The composer is free with respect to the number of parameters, which can be added to the composition process one by one in an experimental setup.
Sound spatialization poses considerable challenges to music composition and performance art. Recent technological advances in multi-channel sound reproduction add a new dimension to contemporary musical praxis: the notion of periphony is extended to pluriphony, i.e. the projection of three-dimensional sounds from a variety of positions in space. Consequently, sound can be spatialized on multiple time scales, from the macrostructure of a composition to the world of microsounds (sound particles and grains). This poses many music-related questions and gives rise to a paradigm shift, a new way of thinking about old problems.