Pour d’éventuelles échanges, quelques très bonnes écoles pour la composition électroacoustique, la composition mixte et l’informatique musicale à l’étranger :
Europe :
- Haute Ecole de Musique de Genève
- Institute of Sonology of the Royal Conservatory At the Hague
- Sonic Arts Research Centre at Queen’s University in Belfast
- Sonic Arts at Brunel University in London
USA :
- CNMAT – Université de Berkeley en Californie
- CCRMA – Université de Stanford en Californie
- Computer Music Center at Columbia University, New York
Canada :
- CIRMMT – Centre for Interdisciplinary Research in Music Media and Technology, McGill University, Montréal
- La composition électroacoustique à l’Université de Montréal
- La composition mixte à l’Université de Montréal
Europe :
Haute Ecole de Musique de Genève
http://www.hemge.ch/Departements/Departement-de-composition-et-theorie.aspx
Michael Jarrell, Luis Naon, Eric Daubresse
liens avec l’ircam, très bon niveau, bien équipé
Le département est un pôle de création et d’expérimentation dans le domaine de la composition et de la composition mixte (acoustique et électro-acoustique). Il abrite le Centre de musique électronique (CME), infrastructure développée dans le domaine de la technologie musicale, de la prise de son, de la composition assistée.
C’est également le centre de compétence de la HEM dans le domaine de la théorie de la musique, avec une expertise centrée sur le langage musical occidental, mais s’élargissant également aux traditions non-européennes (ethnomusicologie, musiques du monde).
Institute of Sonology of the Royal Conservatory At the Hague
http://www.koncon.nl/en/Departments%20%26%20Study%20Programmes/Sonology/
In the context of the lengthy history of Western music, electro-acoustic music is still in its infancy. But the importance and potential of this new music practice is growing rapidly with the advances being made in (computer) technology and electronics. Electro-acoustic music is therefore experimental by nature, and teachers, students and alumni of the Institute of Sonology are at the forefront of its development. As sonologists they make an important contribution to the development of electro-acoustic and computer music, for example by giving prestigious concerts, building equipment and interfaces and developing computer programmes.
Some sonologists concentrate mainly on the practical aspects of electroacoustic music; rather than composing ‘with’ sounds as in instrumental music, they compose the sounds themselves in such a way that they express the form. This can be done on the basis of physical principles of sound, on the basis of perception or on the basis of purely compositional motives. Other sonologists focus mainly on theoretical research in the field of sonology, resulting in publications or computer programmes.
The Institute of Sonology maintains an extensive network of contacts with institutions such as the Technische Universität Berlin, Groupe de Recherches Musicales in Paris, Studio for Electro Instrumental Music (STEIM), the Hochschule für Künste in Bremen, the Folkwang Hochschule in Essen, the musical theatre ensemble Veenfabriek, V2, the Nederlands Filmmuseum, TAG Amsterdam / The Hague, DNK Amsterdam, Lokaal 01 Breda and the Netherlands Music Institute.
Sonic Arts Research Centre at Queen’s University in Belfast
http://www.sarc.qub.ac.uk/main.php
Since its founding in 2001 the Sonic Arts Research Centre (SARC), Queen’s University Belfast has become a leading institute for research and creative practice in sonic arts. A purpose designed building with state-of-the-art facilities was opened by Karlheinz Stockhausen in 2004 during the Sonorities Festival of Contemporary Music which is hosted annually by SARC.Key areas of interest include: composition and performance; improvisation, virtual instruments; interactivity and interaction design; spatial audio; hearing and perception; distributed performance; site-specific sound art, critical and cultural theories of sonic arts; history of sonic arts, community engagement in sonic arts; and relationships to the creative industries in local, regional and international contexts.
Sonic Arts at Brunel University in London
http://www.brunel.ac.uk/courses/undergraduate/sonic-arts-ba
This programme is designed for students who wish to extend their understanding of music technology as a creative tool. Starting from a foundation in sound software and hardware and recording techniques, you will progress towards advanced study of sonic arts composition and live interaction. You will also be free to pursue interests in composition, performance, improvisation, and musicology.
For their first year, Sonic Arts students join other music students in a range of studies aimed at establishing a rounded 21st-century musicianship, including both music technology and a broader perspective on music theory and practice. You should therefore be studying Music at A-level or have a pass at least Grade 5 theory to apply for this programme. If not, we will require you to take our online music admissions test.
Facilities include a computer suite fully equipped for sound design and notation, studios for individual work, individual practice rooms and larger spaces for group rehearsals.
There is a vibrant student performance culture on campus comprising several ensembles performing contemporary and classical music, improvisation, jazz, and live electronics.
You will be part of a highly dynamic music department with a strong profile in the Greater London area. The University hosts many recitals and concerts, including new performance work by students, staff and visiting artists, in the newly refurbished Antonin Artaud building.
USA :
CNMAT (Center for New Music and Audio Technologies), Univ of Berkeley, California
Mission:
The UC Berkeley Center for New Music and Audio Technologies (CNMAT) was conceived and established by composer and Professor Emeritus Richard Felciano in the late 1980s — the operating budget officially commenced on July 1, 1989. CNMAT houses a dynamic group of educational, performance and research programs focused on the creative interaction between music and technology. CNMAT’s research program is highly interdisciplinary, linking all of UC Berkeley’s disciplines dedicated to the study or creative use of sound (such as music, architecture, mathematics, statistics, mechanical engineering, computer science, electrical engineering, psychology, physics, space sciences, the Center for New Media, and the Department of Theater, Dance, and Performance Studies). CNMAT’s educational program integrates a Music and Technology component into the Department of Music’s graduate program in music composition – it also supports the undergraduate curriculum in music/technology for music majors and non-music majors.Outreach:
CNMAT’s events program offers a range of concerts, lectures and other events informed by our research and pedagogy efforts. In our Sound Spatialization Theater, we present concerts that cross cultural and musical barriers and provide a forum for diverse lectures and demonstrations for students, faculty and the community.
CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University in California
Pronouncing « CCRMA »:
CCRMA is an acronym for the Center for Computer Research in Music and Acoustics it is pronounced « karma » (the first « c » is silent).Areas of ongoing interest:
Composition, Applications Hardware, Applications Software, Synthesis Techniques and Algorithms, Physical Modeling, Music and Mobile Devices, Sensors, Real-Time Controllers, Signal Processing, Digital Recording and Editing, Psychoacoustics and Musical Acoustics, Perceptual Audio Coding, Music Information Retrieval, Audio Networking, Auditory Display of Multidimensional Data (Data Sonification), and Real-Time Applications.
The CMC (Computer Music Center) at Columbia University in New York City
http://music.columbia.edu/cmc/
The Computer Music Center at Columbia University is an innovative and exciting music and arts technology facility with a long history of creative excellence. The center is housed in two separate facilities: one in Dodge Hall on the main Columbia campus (1 train to 116th St.), and another, larger facility on the third floor of Prentis Hall at 632 W 125th St. (1 train to 125th St.).
There are many opportunities for involvement in CMC activities. Students, researchers and creative artists working at the Center come from many different divisions within Columbia University. The primary mission of the CMC is to operate at the intersection of musical expression and technological development, and as a result the Center has become involved in a broad range of interesting projects. The CMC has also produced events aimed at reaching out to a wider community, both locally in New York and globally in a number of different international venues.
The CMC’s classes are open to qualified undergraduate and graduate students in all departments of the University. In addition, a number of guest composers and researchers have come to the CMC from all over the world to take advantage of our unique expertise and facilities.
Canada :
CIRMMT is a multi-disciplinary research group centred at the Schulich School of Music of McGill University. It unites researchers and their students from several Quebec institutions – McGill University, l’Université de Montréal, l’Université de Sherbrooke Concordia University, Ecole de technologie supérieure, INRS and Marianopolis College. The CIRMMT community also includes administrative and technical staff, research associates, visiting scholars, musicians, and industrial associates. CIRMMT occupies a unique position on the international stage having developed intense research partnerships with other academic and research institutions, as well as diverse industry partners throughout the world.
The CIRMMT community is interested in interdisciplinary research related to the creation of music in the composer’s or performer’s mind, the performance of music, its recording and/or transmission, and the reception of music by the listener. It is also interested in the ways in which vision, haptics and touch interact with music and sound. CIRMMT seeks to develop innovative approaches to the scientific study of music media and technology, to promote the application of newer technologies in science and the creative arts, and to provide an advanced research training environment.
La composition électroacoustique à l’Université de Montréal
http://www.musique.umontreal.ca/disciplines_profs/composition_ea.html
Depuis sa création en 1980, le programme de composition électroacoustique est l’un des secteurs qui ont fait la renommée de la Faculté de musique. Au fil des ans, plusieurs de ses étudiants sont devenus des compositeurs professionnels qui ont joué un rôle important dans ce qu’on a appelé « l’École de Montréal », ici et à l’étranger.
Le réputé compositeur et pédagogue Jean Piché est aujourd’hui le responsable de ce programme unique au Canada qui attire des étudiants venus d’Europe et de toute l’Amérique qui remportent régulièrement des prix sur les scènes nationales et internationales.
L’un des atouts du programme réside dans le fait qu’il vise non seulement à rendre les étudiants compétents et autonomes sur le plan technique, mais aussi à les encourager à développer une pensée artistique personnelle.
En outre, la Faculté dispose d’un laboratoire de création médiatique – le Laboratoire Art & D – qui permet à ses étudiants d’effectuer de la recherche de pointe en composition électroacoustique. Ce projet de recherche explore deux axes majeurs : la spatialisation sonore et la vidéomusique.
La composition mixte à l’Université de Montréal
http://www.musique.umontreal.ca/disciplines_profs/composition_mixte.html
Depuis les années 1930, de nombreux compositeurs-chercheurs ont exploré l’univers de la musique mixte en alliant les sons acoustiques des instruments aux sons électroacoustiques projetés par des haut-parleurs. Au cours des dernières décennies, la conception d’outils informatiques sophistiqués a permis un développement extraordinaire de cette nouvelle branche de la création musicale, faisant évoluer toute la pensée du sonore à travers des œuvres inédites et audacieuses.
À la fine pointe de la recherche, la Faculté de musique a mis sur pied, dès 1999, un programme de composition mixte qui permet aux étudiants de découvrir et d’expérimenter ces deux univers pour les fusionner dans leur travail de composition. La banque de cours offre un environnement privilégié qui s’appuie, entre autres, sur l’apprentissage des logiciels les plus récents d’analyse et de synthèse du son, et d’assistance à la composition. Les étudiants ont en outre accès à des systèmes de diffusion, à des studios et à des salles de concerts de haut niveau sur le plan acoustique.
À la Faculté de musique, les professeurs de composition électroacoustique, de composition instrumentale et de composition mixte font équipe pour offrir une formation aussi complète et rigoureuse que possible aux étudiants.