Pour d’\u00e9ventuelles \u00e9changes, quelques tr\u00e8s bonnes \u00e9coles pour la composition \u00e9lectroacoustique, la\u00a0composition mixte et l’informatique musicale \u00e0 l’\u00e9tranger :<\/p>\n
Haute Ecole de Musique de Gen\u00e8ve<\/a><\/strong><\/p>\n http:\/\/www.hemge.ch\/Departements\/Departement-de-composition-et-theorie.aspx<\/a><\/p>\n Michael Jarrell, Luis Naon, Eric Daubresse<\/p>\n liens avec\u00a0l\u2019ircam, tr\u00e8s bon niveau, bien \u00e9quip\u00e9<\/p>\n Le d\u00e9partement est un p\u00f4le de cr\u00e9ation et d’exp\u00e9rimentation dans le domaine de la composition et de la composition mixte (acoustique et \u00e9lectro-acoustique). Il abrite le Centre de musique \u00e9lectronique (CME), infrastructure d\u00e9velopp\u00e9e dans le domaine de la technologie musicale, de la prise de son, de la composition assist\u00e9e. <\/p>\n Institute of Sonology of the Royal Conservatory At the Hague<\/a><\/strong><\/p>\n http:\/\/www.koncon.nl\/en\/Departments%20%26%20Study%20Programmes\/Sonology\/<\/a><\/p>\n 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.<\/p>\n Some sonologists concentrate mainly on the practical aspects of electroacoustic music; rather than composing \u2018with\u2019 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\u00a0 research in the field of sonology, resulting in publications or computer programmes.<\/p>\n The Institute of Sonology maintains an extensive network of contacts with institutions such as the Technische Universit\u00e4t Berlin, Groupe de Recherches Musicales in Paris, Studio for Electro Instrumental Music (STEIM), the Hochschule f\u00fcr K\u00fcnste 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.<\/p>\n<\/blockquote>\n <\/p>\n Sonic Arts Research Centre at Queen’s University in Belfast<\/a><\/strong><\/p>\n http:\/\/www.sarc.qub.ac.uk\/main.php<\/a><\/p>\n <\/p>\n Sonic Arts at Brunel University in London<\/a><\/strong><\/p>\n http:\/\/www.brunel.ac.uk\/courses\/undergraduate\/sonic-arts-ba<\/a><\/p>\n 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.<\/p>\n 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.<\/p>\n 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.<\/p>\n There is a vibrant student performance culture on campus comprising several ensembles performing contemporary and classical music, improvisation, jazz, and live electronics.<\/p>\n 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.<\/p>\n<\/blockquote>\n <\/p>\n <\/p>\n CNMAT (Center for New Music and Audio Technologies), Univ of Berkeley, California<\/a><\/strong><\/p>\n http:\/\/cnmat.berkeley.edu<\/a><\/p>\n Mission: Outreach: <\/p>\n CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University in California<\/a><\/strong><\/p>\n https:\/\/ccrma.stanford.edu<\/a><\/p>\n Pronouncing \u00ab\u00a0CCRMA\u00a0\u00bb: Areas of ongoing interest: <\/p>\n The CMC (Computer Music Center) at Columbia University in New York City<\/a><\/strong><\/p>\n http:\/\/music.columbia.edu\/cmc\/<\/a><\/p>\n 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.).<\/p>\n 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.<\/p>\n The CMC\u2019s 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.<\/p>\n<\/blockquote>\n <\/p>\n <\/p>\n CIRMMT – Centre for Interdisciplinary Research in Music Media and Technology, \u00a0McGill University, Montr\u00e9al<\/a><\/strong><\/p>\n http:\/\/www.cirmmt.org\/<\/a><\/p>\n CIRMMT<\/strong>\u00a0is 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\u2019Universit\u00e9 de Montr\u00e9al, l\u2019Universit\u00e9 de Sherbrooke Concordia University, Ecole de technologie sup\u00e9rieure, INRS and Marianopolis College. The CIRMMT community also includes administrative and technical staff, research associates, visiting scholars, musicians, and industrial associates. \u00a0CIRMMT 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.<\/p>\n The CIRMMT community<\/strong>\u00a0is 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. \u00a0CIRMMT 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.<\/p>\n<\/blockquote>\n <\/p>\n La composition \u00e9lectroacoustique \u00e0 l\u2019Universit\u00e9 de Montr\u00e9al<\/a><\/strong> http:\/\/www.musique.umontreal.ca\/disciplines_profs\/composition_ea.html<\/a><\/p>\n Depuis sa cr\u00e9ation en 1980, le programme de composition \u00e9lectroacoustique est l’un des secteurs qui ont fait la renomm\u00e9e de la Facult\u00e9 de musique. Au fil des ans, plusieurs de ses \u00e9tudiants sont devenus des compositeurs professionnels qui ont jou\u00e9 un r\u00f4le important dans ce qu’on a appel\u00e9 \u00ab l’\u00c9cole de Montr\u00e9al \u00bb, ici et \u00e0 l’\u00e9tranger.<\/p>\n Le r\u00e9put\u00e9 compositeur et p\u00e9dagogue Jean Pich\u00e9 est aujourd’hui le responsable de ce programme unique au Canada qui attire des \u00e9tudiants venus d’Europe et de toute l’Am\u00e9rique qui remportent r\u00e9guli\u00e8rement des prix sur les sc\u00e8nes nationales et internationales.<\/p>\n L’un des atouts du programme r\u00e9side dans le fait qu’il vise non seulement \u00e0 rendre les \u00e9tudiants comp\u00e9tents et autonomes sur le plan technique, mais aussi \u00e0 les encourager \u00e0 d\u00e9velopper une pens\u00e9e artistique personnelle.<\/p>\n En outre, la Facult\u00e9 dispose d’un laboratoire de cr\u00e9ation m\u00e9diatique \u2013 le Laboratoire Art & D \u2013 qui permet \u00e0 ses \u00e9tudiants d’effectuer de la recherche de pointe en composition \u00e9lectroacoustique. Ce projet de recherche explore deux axes majeurs : la spatialisation sonore et la vid\u00e9omusique.<\/p>\n<\/blockquote>\n <\/p>\n La composition mixte \u00e0 l\u2019Universit\u00e9 de Montr\u00e9al<\/a><\/strong><\/p>\n http:\/\/www.musique.umontreal.ca\/disciplines_profs\/composition_mixte.html<\/a><\/p>\n Depuis les ann\u00e9es 1930, de nombreux compositeurs-chercheurs ont explor\u00e9 l’univers de la musique mixte en alliant les sons acoustiques des instruments aux sons \u00e9lectroacoustiques projet\u00e9s par des haut-parleurs. Au cours des derni\u00e8res d\u00e9cennies, la conception d’outils informatiques sophistiqu\u00e9s a permis un d\u00e9veloppement extraordinaire de cette nouvelle branche de la cr\u00e9ation musicale, faisant \u00e9voluer toute la pens\u00e9e du sonore \u00e0 travers des \u0153uvres in\u00e9dites et audacieuses.<\/p>\n \u00c0 la fine pointe de la recherche, la Facult\u00e9 de musique a mis sur pied, d\u00e8s 1999, un programme de composition mixte qui permet aux \u00e9tudiants de d\u00e9couvrir et d’exp\u00e9rimenter ces deux univers pour les fusionner dans leur travail de composition. La banque de cours offre un environnement privil\u00e9gi\u00e9 qui s’appuie, entre autres, sur l’apprentissage des logiciels les plus r\u00e9cents d’analyse et de synth\u00e8se du son, et d’assistance \u00e0 la composition. Les \u00e9tudiants ont en outre acc\u00e8s \u00e0 des syst\u00e8mes de diffusion, \u00e0 des studios et \u00e0 des salles de concerts de haut niveau sur le plan acoustique.<\/p>\n \u00c0 la Facult\u00e9 de musique, les professeurs de composition \u00e9lectroacoustique, de composition instrumentale et de composition mixte font \u00e9quipe pour offrir une formation aussi compl\u00e8te et rigoureuse que possible aux \u00e9tudiants.<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":" Pour d’\u00e9ventuelles \u00e9changes, quelques tr\u00e8s bonnes \u00e9coles pour la composition \u00e9lectroacoustique, la\u00a0composition mixte et l’informatique musicale \u00e0 l’\u00e9tranger : Europe : Haute Ecole de Musique de Gen\u00e8ve 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\u00a0: CNMAT … Continuer la lecture de Etudes \u00e0 l’\u00e9tranger<\/span> \n
\nC’est \u00e9galement le centre de comp\u00e9tence de la HEM dans le domaine de la th\u00e9orie de la musique, avec une expertise centr\u00e9e sur le langage musical occidental, mais s’\u00e9largissant \u00e9galement aux traditions non-europ\u00e9ennes (ethnomusicologie, musiques du monde).<\/p>\n<\/blockquote>\n\n
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USA\u00a0:<\/h3>\n
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\nThe 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 \u2014 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\u2019s research program is highly interdisciplinary, linking all of UC Berkeley\u2019s 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\u2019s educational program integrates a Music and Technology component into the Department of Music\u2019s graduate program in music composition – it also supports the undergraduate curriculum in music\/technology for music majors and non-music majors.<\/p>\n
\nCNMAT\u2019s 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.<\/p>\n<\/blockquote>\n\n
\nCCRMA is an acronym for the Center for Computer Research in Music and Acoustics it is pronounced \u00ab\u00a0karma\u00a0\u00bb (the first \u00ab\u00a0c\u00a0\u00bb is silent).<\/p>\n
\nComposition, 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.<\/p>\n<\/blockquote>\n\n
Canada :<\/h3>\n
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