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The Western face of the IRCAM building

IRCAM (Institut de Recherche et Coordination Acoustique/Musique) is a European institute for science about music and sound and avant garde electro-acoustical art music. It is situated next to, and is organizationally linked with, the Centre Pompidou in Paris. The extension of the building was designed by Renzo Piano and Richard Rogers.

A center for musical research[link]

IRCAM's machine room in 1989

Several concepts for electronic music and audio processing have emerged at IRCAM. John Chowning pioneered work on FM synthesis at IRCAM, and the real-time audio processing graphical programming environment Max/MSP including many of its derivatives, such as jMax,which were developed there. 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. IRCAM has also developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment.

IRCAM provides classes to train composers in music technology. 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 realize 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 Mask of Orpheus required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.

A cultural center for musical modernism[link]

Apart from electroacoustic programs, IRCAM has programs in contemporary classical music. It has disseminated music of post World War II modernist musicians such as that of Luciano Berio or Pierre Boulez, as well as younger performers and composers. Musical spectralism such as that of Tristan Murail, has also received support from IRCAM. Murail taught at IRCAM for a time.^[1] Kaija Saariaho, whose work has been influenced by spectralism, has also been supported by IRCAM.^[2]

IRCAM has also helped to develop various performance models. A resident ensemble of IRCAM, Ensemble InterContemporain, specialized in contemporary classical music, where each performer could be called upon to perform solo literature or ensemble literature. The Ensemble InterContemporain has been a model for many large ensembles in Europe, for example the Ensemble Modern and Klangforum Wien. Many classical contemporary pieces have been written for the chamber orchestra dimensions of Ensemble InterContemporain.

There are regular concerts at IRCAM.

History[link]

In 1970 president Georges Pompidou asked Pierre Boulez to found an institution for research in music. In 1973 the section of the building underneath Place Igor Stravinsky was finished, and the center opened in 1977. From the outset, Boulez was in charge of the center.^[3] The initial administrators included Luciano Berio, Vinko Globokar, Jean-Claude Risset, and Max Mathews. In 1992 Boulez, who then became honorary director, was succeeded by Laurent Bayle.^[4] In 2002 the philosopher Bernard Stiegler became the new head of the institute. On January 1, 2006, Stiegler became Director of Cultural Development at the Centre Pompidou and was replaced by Frank Madlener.

The creation of IRCAM coincided with the rise of the debates about modernism and postmodernism in culture and the arts.^[5]

Its multimedia library was established in 1996.^[6] It is one of the very first music hybrid libraries to have been created with close to 1000 hours of recorded music and over 2,000 scientific articles available online, in addition to its physical collections of sheet music and books on music and related domains.

Several international conferences have been held at IRCAM:

• ICMC, the yearly International Computer Music Conference, in 1984.
• ISMIR 2002, the 3rd international conference on music information retrieval, in October 2002.
• NIME-06, the 6th International Conference on new interfaces for musical expression, in June 2006.

Research and development teams[link]

• Instrumental acoustics
• Room acoustics
• Music Therapy
• Musical perception and cognition
• Analysis/synthesis
• Music representations
• Free software and software engineering
• Sound design
• Online services

Software developed at IRCAM[link]

Some software is being developed at IRCAM, such as OpenMusic, AudioSculpt, OMax, Spat, Modalys, Antescofo and Orchidée.

Orchidée is developed as a tool to aid in orchestral composition in which musical scores using traditional instruments are generated by imitating a target input sound. It is used in Jonathan Harvey's 2008 piece, "Speakings", a composition based on emulating speech patterns and inflections. Orchidée is capable of computing the complex combinatorial possibilities of an orchestra based on musical attributes such as dynamics and instruments, perceptual attributes such as brightness, and timbre models.^[7]

There are also partnerships with companies such as Cycling 74 (Max/MSP) and Flux:: (Ircam Tools) for the development of proprietary software.

Notable works composed at IRCAM[link]

• Hanspeter Kyburz: ΟΥΤΙΣ, music theatre for ensemble and electronics (2000-12)
• Georges Aperghis: Machinations, musical spectacle for four women and computer (2000)
• Clarence Barlow: Çogluotobüsisletmesi, versions for piano (1978), magnetic tape (1980), and piano with tape (1980)
• George Benjamin: Antara for ensemble and electronics (1986–87)
• Luciano Berio: Chemins ex V, for clarinet and 4C computer (1980)
• Luciano Berio: Orpheo II, opera for voice, orchestras, and tapes (1984)
• Luciano Berio: La Voix des voies, spectacle-exposition for tape and diaporama (1977)
• Harrison Birtwistle: The Mask of Orpheus (1986)
• Pierre Boulez: Anthèmes II, for violin and electronics (1997)
• Pierre Boulez: Dialogue de l'ombre double, for clarinet and tape (1985); version for bassoon and electronics (1995)
• Pierre Boulez: ...explosante-fixe..., version for two flutes, midi-flute, electronics, and orchestra (1993)
• Pierre Boulez: Répons, for six soloists, chamber ensemble, electronic sounds, and live electronics (1981–84)
• John Cage: Roaratorio, an Irish Circus on Finnegans Wake (1980)
• Unsuk Chin: Double Bind? for violin and electronics (2006)
• John Chowning: Stria, for magnetic tape (1977)
• Edison Denisov: Sur la Nappe d'un étang glacé, for nine instruments and tape (1991)
• Luis de Pablo: Tornasol (1980–81)
• Michel Decoust: Interphone, for soprano and tape (1977)
• Jacob Druckman: Animus IV (1977)
• Pascal Dusapin: To Be Sung, chamber opera in 43 numbers (1992–93)
• Karlheinz Essl: Entsagung (1993) for ensemble and electronics
• Lorenzo Ferrero: Ombres (1984) for ensemble and live electronics
• Luca Francesconi: Etymo (1994)
• Rolf Gehlhaar: Pas à pas, for tape and spatialization equipment (1981)
• Gérard Grisey: Les Chants de l'Amour, for twelve mixed voices and magnétic tape (1982–84)
• Georg Friedrich Haas: Les temps tiraillés, for 2 violins, bassoon, and electronics (2008)
• Jonathan Harvey: Advaya, for cello and electronics (1994)
• Jonathan Harvey: Bhakti (1982)
• Jonathan Harvey: Mortuos Plango Vivos Voco, for concrete sounds treated by computer (1980)
• Jonathan Harvey: Ritual Melodies, for magnetic tape (1990)
• Jonathan Harvey: String Quartet No. 4 with live electronics (2003)
• Jonathan Harvey: Speakings, for orchestra and live electronics (2008)
• York Höller: Antiphon, for string quartet and tape (1977)
• York Höller: Arcus (1978)
• York Höller: The Master and Margarita, opera in two acts after the novel by Mikhail Bulgakov (1989)
• York Höller: Résonance (1982)
• Jean Michel Jarre: Oxygene (1977)
• Barbara Kolb: Millefoglie (1985)
• Philippe Leroux: M for ensemble and electronics
• Michaël Lévinas: Rebonds (1993)
• Magnus Lindberg: Joy for orchestra and electronics
• Magnus Lindberg: Related Rocks for two pianos, two percussionists, and electronics (1997)
• Magnus Lindberg: Ur (1986)
• Luca Lombardi: Hasta que caigan las puertas del odio, for choir (1977)
• Tod Machover: Soft Morning, City!, for soprano, contrabass and tape (1980)
• Tod Machover: VALIS, opera for six voices, 4X computer, and images (1986–87/1988)
• Mesías Maiguashca: Fmélodies, for ensemble and tape (1982)
• Philippe Manoury: Jupiter for flute and live electronics
• Philippe Manoury: Pluton for piano and live electronics
• Philippe Manoury: En Echo for soprano voice and live electronics
• Yan Maresz: Sul Segno, for harp, guitar, cymbalon, contrabass and electronic equipment (2004)
• Tristan Murail: L'Esprit des dunes, for chamber eensemble (1993-1994)
• Emmanuel Nunes: Lichtung I (1988/1991)
• Emmanuel Nunes: Lichtung II, for chamber ensemble and electronics (1996)
• Michael Obst: Kristallwelt, for Ensemble and Electronics (1983)
• Robert H. P. Platz: Pièce noire, for thirteen musicians and tape (1990)
• Henri Pousseur: Liège à Paris (1977)
• Horaţiu Rădulescu: Incandescent Serene, for contrabass and tape (1982)
• Roger Reynolds: The Angel of Death, for solo piano, chamber orchestra, and six-channel computer-processed sound (2001)
• Roger Reynolds: Archipelago, for orchestra and magnetic tape (1983)
• Terry Riley: Salome Dances for Peace, for string quartet (1986)
• Jean-Claude Risset: Inharmonique, for soprano and tape (1977)
• Jean-Claude Risset: Mirages, for six musicians and tape (1978)
• Jean-Claude Risset: Songes (1979)
• Manuel Rocha Iturbide: Transiciones de Fase, for brass quartet and electronics (1994)
• Frederic Rzewski: Instrumental Studies (1977)
• Kaija Saariaho: Lonh (1995–96)
• Karlheinz Stockhausen: Kathinkas Gesang als Luzifers Requiem, version for flute and 6-channel tape (1985)
• Marco Stroppa: In cielo, in terra, in mare, radiophonic opera on texts by Adolfo Moriconi (1992)
• Jukka Tiensuu: Nemo for ensemble (1992)
• Alejandro Viñao: Epitafios, for mixed choir and electronics (1999)
• David Wessel: Antony (1977)
• David Wessel: Contacts Turbulents, for saxophone and electronics (1986)
• Trevor Wishart: VOX-5, an electroacoustic piece based around extended vocal techniques (1986)
• James Wood: Mountain Language, for alphorn, cow bells, MIDI keyboard and electronics (1998)
• Iannis Xenakis: Psappha, electronic version (1976/1996)
• Frank Zappa: Perfect Stranger (1984)
• Hans Zender: Lo Shu III, for flute and twenty-four instrumentalists (1979)

See also[link]

• Elektronmusikstudion
• GRIM
• Spectral music
• STEIM
• WORM

References[link]

• Anderson, Julian. 1989. "Désintégrations." Within liner notes to Tristan Murail. Montaigne MO 782175.
• Anderson, Julian. 2001. "Murail, Tristan". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Born, Georgina. 1995. IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Los Angeles: University of California Press.
• Dearden, Ian. "The Electronic Music of the Mask of Orpheus." Within liner notes to The Mask of Orpheus by Harrison Birtwistle. NMC D050, 1997.
• Machover, Todd (ed.). 1984. "Musical Thought at IRCAM". Contemporary Music Review 1, part 1. London: Harwood Academic Publishers. ISBN 3-7186-0272-5 ISSN 0749-4467
• Manning, Peter. 2001. "Institut de Recherche et Coordination Acoustique/Musique [IRCAM]". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Peyser, Joan. 1976. Boulez: Composer, Conductor, Enigma. New York: Schirmer Books.

External links[link]

• The official site of IRCAM.fr
• Chronological history of IRCAM.fr
• Brahms.IRCAM.fr — a full list of works composed at IRCAM from 1976 until 2006

Coordinates: 48°51′35.64″N 2°21′05.03″E / 48.8599°N 2.3513972°E / 48.8599; 2.3513972

Philippe Manoury

Philippe Manoury (born 19 June 1952) is a French composer.

Biography[link]

Philippe Manoury was born in Tulle. His first composition studies were at the Ecole Normale de Musique de Paris, with Gérard Condé and Max Deutsch. He continued his studies from 1974 to 1978 at the Conservatoire de Paris with Michel Philippot, Ivo Malec, and Claude Ballif.^[1] From 1975 he undertook studies in computer assisted composition with Pierre Barbaud. He joined IRCAM in 1980. He is currently on the composition faculty at the University of California, San Diego where he teaches courses in composition, real-time signal processing, and musical analysis.

Music[link]

Manoury's work is strongly influenced by Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, and his early work from 1972–76 combines serial Punctualism with the densely massed elements characteristic of the music of Stockhausen and Xenakis, and the paintings of Jackson Pollock.^[1]

Works such as Sound and Fury are of interest because of the use of computer assisted composition. Sound and Fury also uses a very large orchestra, which is symmetrically disposed, and makes quite extensive use of left-right spatial effects. The Sonus ex machina series of works, which were developed in collaboration with Miller Puckette, are among the first pieces to utilize real-time audio signal processing.^{[citation needed]}

His substantial "Abgrund—pour grand orchestre" was commissioned by the Bavarian State Opera together with the Orchestre symphonique de Montréal and premiered by the Bavarian State Orchestra on November 26, 2007. It has been described as "a work that will neither disturb nor annoy [...] a pleasant and perhaps harmless string of dissonant semi-climaxes, little jolts, and resting phases. It has an invigorating effect, is easy to concentrate on. . . ."^[2] In it "Manoury [...] mercifully knows how to use [the abundance of percussion instruments] in ways far more discriminately than his contemporaries beholden to one bongo-frenzy after another."^[2] "Philippe Manoury hit[s] the right mix between shallow and deep, melodic and dissonant, placating and strident, stasis and progress, simplicity and complexity. The steady run-up—stop—tighten—burst—relax scheme may not be novel at all, but it paid dividends [in 'Abgrund']."^[2]

Writings[link]

• Manoury, Philippe. 1998. La note et le son: Écrits et entretiens, 1981-1998, with a foreword by Danielle Cohen-Lévinas. Musique et musicologie: Les dialogues. Paris: L'Harmattan. ISBN 2-7384-6985-X

• Manoury, Philippe. 2001. Entretiens avec Daniela Langer. Paris : Musica falsa. ISBN 2-9512386-3-0

Selected compositions[link]

Operas

• 60e Parallèle for 9 singers, large orchestra and electronics (1995–1996)
• K… (2001)
• La Frontière, Chamber Opera for 6 singers, 9 instruments and electronics (2003)
• La Nuit de Gutenberg, opera in a prologue and 12 scenes. Premiered at the Opéra national du Rhin, Strasbourg, 24 September 2011

Orchestral works

• Numéro huit, op. 8 (1980, revised 1987)
• Pentaphone, 5 Pieces for large orchestra, op. 24 (1993)
• Prelude and Wait (1995)
• Sound and Fury (1999)

Chamber music

• Numéro cinq for piano and 13 instruments, op. 5 (1976)
• Instantanés (1983)
• Version La Rochelle, op. 10a (1983)
• Version Étude, op. 10b (1983)
• Version Baden-Baden, op. 10c (1985)
• La Partition du Ciel and de l’Enfer, op. 19 (1989)
• Passacaille pour Tokyo for piano and 17 instruments (1994)
• Fragments pour un portrait, 7 Pieces for ensemble of 30 instruments (1998)
• Épitaphe for 7 instruments, op. 29 (1995)
• Portrait of the Artist as a Young Man for 10 instruments (2004)
• Identités remarquables for 23 instruments (2005)
• Strange Ritual for 21 instruments (2005)
• Focus (1973)
• Le Tempérament variable (1978)
• String Quartet, op. 6 (1978)
• Musique I for 2 harps, guitar, mandolin and 2 percussionists (1986)
• Musique II for 7 brass (2.2.2.1) and 2 marimbas, op. 14 (1986)
• Petit aleph (1986)
• Solo de vibraphone (1986)
• Le Livre des claviers, Six pieces for 6 percussionists (1987)
• Deux mélodies (1988)
• Michigan Trio for clarinet, violin and piano (1992)
• Gestes for string trio (1992)
• Métal for sixxens sextett (1995)
• Ultima for clarinet, cello and piano (1996)
• Last for bass-clarinet and bass-marimba (1997)

Live electronics

• Zeitlauf for choir, 14 instruments and electronics, op. 9 (1982)
• Jupiter for flute and live electronics, op. 15a (1987, revised 1992)
• Pluton for piano and live electronics (1988, revised 1989)
• Neptune for 3 percussionists and live electronics, op. 21 (1991)
• En écho for soprano and live electronics (1993–1994); words by Emmanuel Hocquart
• Partita I for viola and live electronics (2006)

Piano

• Sonate for 2 pianos (1972, revised 1994)
• Cryptophonos (1974)
• Puzzle (1975)
• Toccata (1998) from de « Passacaille pour Tokyo »
• La Ville (…Première sonate) (2001–2002)

Vocal

• Aleph for 4 singers and orchestra (1985–1987)
• Xanadu for soprano and clarinet (1989); words by Samuel Taylor Coleridge
• Chronophonies I and II for mezzo-soprano, baritone-bass and large orchestra (1994)
• Douze moments for mezzo-soprano and large orchestra (1998)
• Slova for choir (2001–2002)
• Fragments d'Héraclite for choir (2003)
• Noon for soprano, choir, large orchestra, and electronics (2003)
• Blackout, Melodrama for alto and 13 instruments (2004)
• On-iron for choir, electronics and video (2005)

Discography[link]

• Quatuor à cordes – Quatuor Arditti MFA, Harmonia Mundi, C 5139, 1984
• Cryptophonos – Claude Helffer (pno) MFA Harmonia Mundi, C 5172, 1986
• Petit Aleph – Pierre-André Valade (Flute), ADDA, 581 075, 1988
• Zeitlauf – Groupe Vocal de France, Ensemble Intercontemporain, conducted by Peter Eotvös, Erato, ECD, 75552, 1990
• Le livre des claviers – Les percussions de Strasbourg, Philips Classics, 444 218-2, 1993
• Epitaphe – Ensemble FA, conducted by Dominique My, MFA 216007, 1995
• Jupiter and La Partition du Ciel et de l'Enfer – Sophie Cherrier (flute) and Ensemble Intercontemporain. Conducted by Pierre Boulez. In Compositeurs d'aujourd'hui, Adès, 206 062, 1996
• Pluton – Ilmo Ranta, piano, Technique Ircam Ondine Records, ODE 888-2, 1996
• 60ème parallèle – Orchestre de Paris, conducted by David Robertson, Naxos 8.554249/50, 1997
• En écho and Neptune – Donatienne Michel-Dansac (soprano); Roland Auzet, Florent Jodelet, and Eve Payeur (percussion), Technique Ircam ACCORD, 465 526-2, 1998
• Complete Chamber Music – Ensemble Accroche Note, Assai 222052, 2002

References[link]

Bibliography[link]

• Boulez, Pierre, and Patrick Greussay. 1988. "Entretien avec Philippe Manoury". Traverses, nos. 44–45:128–37
• Poirier, Alain. 2001. "Manoury, Philippe". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.

External links[link]

• http://www.philippemanoury.com
• http://www.durand-salabert-eschig.com/formcat/catalogues/manoury_philippe.pdf (in French)
• (French) A biography of Philippe Manoury, from IRCAM's website.
• http://mediatheque.ircam.fr/articles/textes/Brindeau97a/ (in French)
• Profile at UCSD (in English)
• Excerpts from sound archives of Manoury's works.

This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (December 2007)

Frederick Rousseau (born 1958, Paris) belongs to the generation that witnessed the beginning of New Age music and the explosion of technologic applications to the entertainment world. His musical research is based on electronic sounds that he mixes with ethnic instruments, classical orchestras and to voices of all tones, colours and provenances.

Biography[link]

During his adolescence, after a piano training in classical music, he tried every pop instrument (including bass guitar, drums, electric guitar and percussions) and finally chose the keyboards.

After completing his studies in electronics, he was hired by the Defense Nationale in 1978 to work on the final tests of the neutronic head, the detonator for the French atomic bomb. His playful and undisciplined personality did not fit into this austere and rigid environment. After two years, he quit.^{[citation needed]}

In 1980, he met Francis Mandin, a young enthusiastic electronic music fan, who convinced him to become a partner in Music Land, a music store in Paris and a laboratory for future electronic instruments.

In 1981, after working on the finalization of the first polyphonic sequenser by MDB, he met Jean Michel Jarre, who was looking for a musical programmer capable of manipulating this instrument for his China Tour. With the help of this new technology, Rousseau was able to reproduce on stage all the sequences that had taken months to record, without having to use playback tapes. This unforgettable experience marked a turn in his career. Returning to Paris, his adventure continued with his participation in the recording of the live album Concerts en Chine.^{[citation needed]}

Later, during this memorable year, he met Vangelis who was recording Friends of Mr Cairo at Studio Davout in Paris. Not only did he witness the debut of the mythical duet of Jon and Vangelis, but he also became friends with another young talented musician, Jean-Philippe Rykiel. This was the birth of a long lasting musical partnership.

The following year, Rousseau was called back to London by Vangelis for the recording of the music score of Ridley Scott's Blade Runner. It was the start of a complementary work relation that was to last for over 20 years.

Returning to Paris in 1984, he collaborated in Jean-Michel Jarre's Zoolook album.

In 1987, in association with Thierry Rogen, he created Studio Mega considered to be the last French great recording studio.^{[citation needed]} During the next four years, he record with many of the leading French artists of the time including Mylene Farmer, Jean-Louis Murat, Louis Bertignac, Indochine and Kassav.

In 1990, Jean Michel Jarre used Rousseau again to rewrite all the intros of the music for La Défense Concert. On stage, his job was to synchronize the sequences and to reproduce live, all the special effects characteristic of Jean-Michel's music. This concert made it into the Guinness book of world records as having the largest audience ever (2,500,000 people).

The year after, 1991, Vangelis moved to Paris and recorded the album The City at Studio Mega. This difficult production took more than 6 months. Rousseau followed the Greek composer to Holland for Eureka, the European community project initiated by François Mitterrand on the theme of Industry and Transport. This imposing concert took place on the Rotterdam docks of the industrial port and with 800,000 people in attendance. The Show was transmitted by satellite to all European countries.

In 1992, Vangelis convinced Rousseau to leave Studio Mega in order to create Astron Studio in Neuilly and definitely seal their artistic collaboration. They consecutively record the music scores of La Peste by Luis Puenzo, Lunes de Fiel by Roman Polanski, and 1492: Conquest of Paradise by Ridley Scott.

After Vangelis moved back to Greece, Rousseau traveled back and forth to Athens for the production of the shows : Antigone (1993), La Nuit des Poètes (1994) and Tribute to El Greco (1995).

In spite of a very busy life, Rousseau always found time to work on his own compositions and he released MÖ in 1994, an album marked by its originality and its Asian inspiration. This music opened the way to what will be referred to as Ethno-Lounge music.

Following that was Spirit in the Woods (1995), a CD dedicated to trees, then Abyss (1996), a concept that Rousseau refers to as "no music," an experience realised with neurologists specialised in musicotheraphy. In 1997, he released Woods, an electro-wood fusion with voices from forest people and tribal rhythms.

Again, in 1997, Rousseau joined Vangelis in Athens for the opening ceremony of the world championship of athletics. The show is presented in the antique stadium of Panathanaikos in front of 75,000 people and transmitted by satellite to an audience of 820,000,000 throughout the world. With its originality and its references to antique sports, the show thrilled the Greek public.

Meanwhile, Rousseau composed the soundtracks for 40 ethno-zoological documentary films and released in 1999 the collection of 5 albums Terres de Légendes.

Vangelis' project Mythodea initiated in 1993, was finally completed in 2001. Rousseau coordinated the electro-orchestral show starring Jessye Norman and Kathleen Battle and performed by the London Metropolitan Orchestra, directed by Blake Neely. This music was chosen by NASA for the 2001 mission "Mars Odyssey."

In 2002, Rousseau released Travels a musical Travelog, and in 2003, Recall an exclusive release by Nature et Découvertes.

2004 was marked by Oliver Stone's Alexander in which Vangelis composed the soundtrack and Rousseau added a new string to his bow as musical editor. This massive project lasted over a year and represented an exceptional experience and a monumental work.

In 2005, Rousseau signed with Milan-Universal and came out with a very personal album Tears which foretold a new turn in his artistic career.

Compositions[link]

Albums[link]

• Music Land (with Jean-Philippe Rykiel) Promo single for the Music instrument shop
• FR2 (with Francis Rimbert) - April Orchestra vol 48
• Earth - April orchestra vol 61
• Overview - Koka Media
• Illustrator series (1990–1992)
• Mö (1994)
• Spirit in the Woods (1995)
• Abyss (1996)
• Woods (1997)
• Terres de Légendes series (1999–2000)
• Travels (2002)
• Recall (2003)
• Tears (2005)

Compilations[link]

• Harmonia (1997)
• World Voices (1998)
• Buddha Bar III - IV - V (2000–2004)
• Private Lounge (2002)
• Asian I & II (2000–2002)

Collaborations[link]

• Jean-Michel Jarre :
  • Les Chants Magnetiques (1980)
  • China Concert Tour (1981)
  • Concerts en Chine (live album 1982)
  • Musique pour supermarché / Music for supermarket (One copy only LP 1983)
  • Zoolook (1984)
  • Le Défense concert (1990)

• Vangelis :
  • Blade Runner (film by Ridley Scott 1983)
  • Friends of Mr Cairo (1984)
  • Themes (1990)
  • Oceanic (1998)
  • La Peste (film by Luis Puenzo 1991)
  • Rotterdam concert (1992)
  • 1492, Conquest of Paradise (film by Ridley Scott 1992)
  • 1492, (album 1992)
  • Opening Show IAFF (1997)
  • Mythodea (Concert with Jessye Norman 2001)
  • Alexander (film by Oliver Stone 2004)
  • Blade Runner Trilogy (album 2007)
  • El Greco (album 2007)
  • Paris May 1968 (album 2008)

• • Operation Cornet de Beef
  • Les Visiteurs I
  • les Visiteurs II
  • Les Anges Gardien
  • La vengeance d'une blonde
  • Les Filles du Botaniste

References[link]

• http://www.frederick-rousseau.com
• http://frederick-rousseau.viabloga.com
• http://www.frederick-rousseau.com/forum/

Steve Lehman
Background information
Born	1978
Genres	Jazz Experimental music
Instruments	Alto saxophone Sopranino saxophone electronics
Website	www.stevelehman.com

Steve Lehman (born 1978, New York City)^[1] is a composer and saxophonist in the genres of jazz and experimental music. His compositions have been performed by a number of international performers and orchestra. As a performer, Lehman leads a number of his own ensembles and performs frequently as a sideman. His recording Travail, Transformation & Flow (Pi 2009) was chosen as the #1 Jazz Album of the year by The New York Times.^[2] Lehman’s work has received good reviews in Artforum, Down Beat magazine, The New York Times,^[3][4][5] Newsweek, and The Wire,^[6] National Public Radio,^[7][8][9] and the BBC. Lehman was a Fulbright scholar from 2002-2003.^[1] He holds a B.A. and M.A. in Composition from Wesleyan University^[1] and is currently working on a PhD at Columbia University.

Discography[link]

• Dialect Fluorescent (Pi Recordings, 2012)
• Kaleidoscope and Collage (Intakt, 2011)
• Dual Identity (Clean Feed, 2010) (with Rudresh Mahanthappa)
• Travail, Transformation and Flow (Pi Recordings, 2009)
• Door (Pi Recordings, 2008)
• On Meaning (Pi Recordings, 2007)
• Manifold (Clean Feed, 2007)
• Demian as Posthuman (Pi Recordings, 2005)
• Simulated Progress (Pi Recordings, 2005)
• Interface (Clean Feed, 2004)
• Artificial Light (FSNT Records, 2004)

References[link]

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Mari Kimura (木村 まり, Kimura Mari^?) is a Japanese violinist and composer best known for her use of subharmonics, which, achieved through special bowing techniques, allow pitches below the instrument's normal range.^[1] She is credited with "introducing" the use of violin subharmonics,^[2][3] which allow a violinist to play a full octave below the low G on the violin without adjusting the tuning of the instrument.^[4]

She studied violin with Joseph Fuchs, Roman Totenberg, Toshiya Eto, and Armand Weisbord. She also studied composition with Mario Davidovsky at Columbia University, and computer music at Stanford University. Kimura holds a doctorate in performance from The Juilliard School. Since September 1998, she has been teaching a graduate class in Interactive Computer Music Performance at The Juilliard School.^[5]

Compositions[link]

Kimura has been composing for violin solo and violin with various media since 1991.^[6] Her works for solo violin (without computer) showcase subharmonics: ALT (three movements), 1992, Gemini, 1993, Six Caprices for Subharmonics, 1997, Subharmonic Partita, 2004.

Kimura's compositions for violin and interactive computer make use of the Max/MSP software. Recently, she has been developing with and took part in introducing "Max for Live", which integrates Max patches with Ableton Live, at the AES (Audio Engineering Society) Meeting on October 9, 2009.^[7]

She has premiered works by composers Jean-Claude Risset, Toshi Ichiyanagi, Frances White, Tania León, Robert Rowe, and Yoshihiro Kanno. She has performed with a range of avant-garde performers such as Robert Dick, Elliott Sharp, and Henry Kaiser.^[8]

Awards[link]

In Japan, Kimura was awarded the Kenzo Nakajima Music Prize in 1995, in recognition of her creative activities in the country.^{[citation needed]} Her commissions include PluckLand for Shamisen and Violin with interactive computer (for Music From Japan Festival 2009),^[9] InterAct Sweet for orchestra (for Chautauqua Regional Youth Symphony 2008),^[10] GuitarBotana commissioned by Harvestworks,^[11] Violin Concerto for violin and interactive computer system with orchestra (for Orqesta Sinfonica de Guanajuato, Mexico), Kivika for dance (for AmDAT dance),^[12] Arboleda for viola and electronics (for violist Liuh Wen Ting), Bucknerian for voice and electronics (for baritone Thomas Buckner) and Descarga Interactive for violin and electronics (2000 ICMC Commission Award).^[13]

She was selected as a 2010 Composer in Residence in musical research at IRCAM in Paris, as one of the two winners among 117 applicants.^[14] She worked on her ongoing collaboration with the Real Time Musical Interactions Team at IRCAM on bowing gesture follower, the “Augmented Violin System”. Kimura was awarded the 2010 Guggenheim Fellowship in Music Composition.^[15] Her composition "I-Quadrifoglio" for the Cassatt String Quartet, from a 2010 Commission Award from the Fromm Foundation, was premiered at Symphony Space in NYC on October 13, 2011.^[16]

Performances[link]

Kimura has been invited as an artist in residence at Banff Center for the Arts, Headland Center for the Arts, Harvestworks, among others. A winner of 2006 Artist Fellowship from New York Foundation for the Arts (NYFA), her works have been supported by grants including Jerome Foundation, Arts International, Meet The Composer, Japan Foundation, Argosy Foundation, and the New York State Council on the Arts (NYSCA). Her international appearances include the Agora Festival at IRCAM in Paris; Spring in Budapest, Hungary; ISCM World Music Days in Hong Kong; Internacíonal Festival Cervantino in Mexico; International Bartók Festival in Hungary; St. Christopher festival in Lithuania, Asian Contemporary Music Festival in Korea. Her radio and TV appearances include CNN’s Headline News, NY1 News, NHK radio in Japan, Radio France, WNYC-FM’s “Around New York”, among others.

Discography[link]

This article or section contains a list of works that does not follow the Manual of Style for lists of works (often, though not always, due to being in reverse-chronological order) and may need cleanup.

Albums[link]

References[link]

External links[link]

• Official website
• New York Times feature article by Matthew Gurewitsch, May 15, 2011
• / Scientific American feature article by Larry Greenemeier, May 30, 2011
• NY1 News interview/segment aired on May 23, 2011
• Mari Kimura, Tradition/E-Novation. By Suzanne Thorpe. March 4, 2009. Ars Electric.
• Mari Kimura: faculty portrait.
• Mari Kimura on Subharmonics: The violinist continues to explore the world below G. By James Reel. Strings Magazine.
• Mari Kimura, interview by David Bündler. Appeared in 20th-Century Music in January, 1999.
• Violinist.com receives instruction from Kimura on how to play subharmonics