First Asian Ircam Forum Workshop Program

At Hanyang University, Seoul (South Korea)

from April 29th to May 1st

Art Council Korea LogoLogo IFC_fr_RGB IF_Logo-RVBHappy Virus OrchestraHanyang University Ambassade de France Corée naaf media design logo

Tuesday, April 29th

Tuesday, April 29th

Plenary Hall

Plenary Morning Session

Time Title Speaker
9:15 – 9:30 Welcome Richard Dudas, Jongwoo Yim, Paola Palumbo and Arshia Cont
9:30 – 10:15 Art/Science Interaction at IRCAM:From artistic imaginary to scientific discovery & vice versa Arshia Cont (IRCAM)
10:15 – 11:00 Music Technology at CREAMA Richard Dudas, Jongwoo Yim (CREAMA, University of Hanyang)
11:00 – 11:30 Break

Parallel Sessions

Time Title Speaker
11:30 – 12:30 From the Studio to Industry @ IRCAM Frédérick Rousseau and Jean Lochard (IRCAM)
12:30 – 13:00 The Artistic cooperation France-Korea Jacques Soulillou (Institut Français de Seoul)
13:00 – 14:30 Cocktail buffet Welcome (in presence of Institut Français and sponsors)
14:30 – 15:00 Sichuan Conservatory of Music (China) Prof. Yao Qi (Sichuan Conservatory)
15:00 – 15:30 KEAMS (Korea Electro-Acoustic Music Society) Prof. Bumki KIM (University of Seoul)
15:30 – 16:00 Production and Composition Process at IRCAM Arshia Cont (IRCAM)
16:00 – 16:30 Break
16:30 – 17:30 Cycling’74 NEWS-Focus on Gen Graham Wakefield (Cycling 74)

Time Title Speaker
11:30 – 12:30

A Monome 256 is a customizable backlit grid (16 X 16 size) of keypad and a arc 4 is a series of
encoders (4 encoders) and LED rings. They can be operated as both input and output devices and
also interacted with a performer.
I created a Max patch regarding a Monome to operate as an instrument (like acoustic instrument)
and it was my priority programming intention. Playing with the Monome with this project, because
the Monome can be both controller and display unit, after the initialization process with a computer,
the performer can concentrate on the playing just with the Monome devices without distractions (of
course, there will be a minimal amount of control in computer for keeping the simplicity of the
Monome as an instrument). This project can be played by performer or can have full automation for
the sound installation environment.
Prof. Kiyoung Lee
(Department of Music,
School of Arts,
Dankook University)
12:30 – 13:00

We have been building an electronic timbre dictionary as a support tool for sound creators, which
provides them with sound materials from environmental sound database. Since in the previous system
sub-modules were written independently in multiple languages, we restructured and integrated the
subsystems in C++ to improve the processing speed and usability.
The main browser has several lines, where each line represents one sound stream. This has not only
the classification of sound generation, but how it is heard and at present written using onomatopoeia.
This makes it easy to search from how it is heard, which we call inverse look up of timbre.
Other GUI includes 3D sound sphere display. A single sound stream object is represented as a sphere
and all the sound data are graphically displayed in 3D space. The distances among spheres are
proportional to the timbre difference.
We have prepared two types of the system. One is Server-client system, and the other is
standalone system. Both are downloadable. We will demonstrate the total system and how it works
when you search sound from onomatopoeia.
This demonstration is firstly done in ICMC 2013 (Perth, Austratlia) [1]
1. Yoshitada Yamada, HIromich Tsuda, naotoshi Osaka,
“Construction of lectronic Timbre Dictionary in C++ on muti-platform,”
The Proceedings of ICMC 2013, Perth
Yoshitada Yamada and Prof. Naotoshi Osaka (Tokyo Denki University)
13:00 – 14:30 Cocktail buffet Welcome (in presence of Institut Français and sponsors)
14:30 – 16:00 Hands-on Workshop MAX Jean Lochard (IRCAM)
16:00 – 16:30 Break
16:30 – 17:30 Workshop Ircamax Frédérick Rousseau and Jean Lochard (IRCAM)

Olympus HALL


Time Title Speaker
19:30 – 19:55

Philippe Manoury will discuss his work on Partita II with Grégoire Lorieux, professor and computer-music designer at IRCAM.
composer Philippe Manoury and violinist Hae-sun Kang
20:00 Manoury / Haesun Kang – CREAMA & IRCAM Concert

Wednesday, April 30th

Wednesday, April 30th

Parallel Sessions

Time Title Speaker
9:30-11:00 Hands-on Workshop SPAT Jean Lochard (IRCAM)
11:00 – 11:30 Break
11:30-13:00 Hands-on Workshop OpenMusic Jean Lochard (IRCAM)
13:00 – 14:30 Buffet
14:30-16:00 Hands-on Workshop Modalys Richard Dudas (CREAMA, Hanyang University) and Jean Lochard (IRCAM)
16:00 – 16:30 Break
16:30-17:30 Hands-on Workshop Najo I: Synthesis in NMI Jean Lochard (IRCAM)

Time Title Speaker
10:00-10:30 Compositions works Dr. David Coll
(composer, CREAMA, Hanyang University)

As an ecological approach in digital instrument design, I present an audio feedback instrument
which depends on acoustic characteristics of environment. Musical interfaces using digital system
mostly map specific gestures of performers or external data to musical parameters. Ecological approach,
however, considers music as a result from complex relationships between various agents; for example,
performer, environment, physical body and even virtual system. Based on the ecological approach,
I designed an instrument for interaction with sonic environment using Max/MSP and openFrameworks.
Concept is that the instrument emits sound to a space and confirms self-existence by perceiving the
reflected own sound, and repeats over and over. Three room acoustics features (ambient noise level,
acoustic response, and reverberation) are used to augmenting feedback sound. In presentation, I will
show a demo after explaining the concept and the technology.
Seunghun Kim
(Ph student at Graduate School of Culture Technology,
KAIST/Audio & Interactive Media Lab)
11:00 – 11:30 Break

Tai-chi 42 Postures as Interactive Performance  In the recent 10 years I have practiced Tai-chi-quan
(also Hoomer singing) , I dream combining the beautiful movement to trigger, to generate music,
through sensor’s motion tracking, through interactive performance arts I have created!
Tonight Performance I use 8 channels sensor, 4 bends, 3 buttons, 1 accelerator,  4 bends control  the
continues data changing , the rest sensors as a trigger.  4 bends attach on the crooks of the arm,
knees, 2 botton on the right shoe and right thumb, 1 accelerator on the right fist, 1button on the
left thumb.All the piece is constructed by 7 scenes :  Scene 1 :Simple FM I – Bend1: carrier
freq – Bend2: modulation index – Effekt Reverb (yafr)  Scene 2 : Simple FM II  – Effekt Harmonizer
Scene  3 Granular Synthesizer – with rog~ program of IRCAM to generate a Chinese instrument Shen sound file.
Scene 4   Hoomei (Overtone) singing by performer.
Scene  5 as Scene 3.  Scene  6 as Scene 2 but with Delay Effect instead of Harmonizer.
Scene  7  as Scene 1   Coda- bow down  (Scene  8 ) Only use  filter glissando.
Thanks to Goetz Dipper, Ludger Bruemer and  Yoichi Nagashima for their supports and the piece is
dedicated to them!
Prof. Shing kwei Tzeng
(Kai-nan University)

In Asia, musical instruments in the string family including the Morin Khuur, a two-stringed
Mongolian fiddle with a horse’s head, the Shamisen, a three-stringed Japanese musical instrument,
and the Guqin, a seven-stringed Chinese ancient zither, use multiple strings to produce their
distinctively oriental sounds. For instance, the increasing C major scale is C-D-E-F-G-A-B.
In contrast, I am here concerned with more natural scales influenced by the forms of nature.
I created a novel string instrument named the tree guitar that is strung with a branching-string
from the perspective of biological morphogenesis which has interest in formative phenomenon,
and imitate fractals of nature such as tree and blood vessel is learning from the growth process
of branching development that is computational simulated. The original performance is playing the
tree guitar within a forest such as Japanese crowding trees or bamboos.
Yuto Hasebe
(artist designer)
12:30-13:00 compositions works
Dr. Richard Dudas
(composer, Professor of
electroacoustic music, CREAMA)
13:00- 14:30 Buffet

I will provide an overview of the IRC project “alarm/will/sound,” highlighting the research
methods and technologies employed, as well as the nature of the unique collaboration between
the IRCAM Sound Perception and Design (SPD) research team, product designer Matthias Megyeri,
and myself. Audio examples and experimental results will be presented. Future directions for
the project will be outlined.
Alexander Sigman
(Assistant Professor of Composition
at Keimyung University in Daegu)

This study proposes a timbre changing musical interface by transforming traditional frequency spectrum
into interactive media. Through the interface, users can participate in the music during listening
activities. Users can amplify or minimize a certain frequency range of music through a frequency
spectrum. As a result users can change the timbre of music by touching the frequency spectrum or
creating virtual objects that deform the frequency spectrum. The new interface provides more hedonic
experiences compared with ordinary sound equalizers and drives explorative uses. Intuitiveness and
connection with music are also increased with a new interface. Moreover, according to the unexpectedness
of different interaction methods, hedonic and pragmatic experiences are changed. This interface, however,
cannot provide the precise inputs and new domain of control that professional musicians need. Nevertheless,
for novice users, this interface provides a new possibility to participate
 in music and enhances their experience in activities of music listening.
Seungki Kim
(Ph.D. candidate. in Desing Media Lab in ID KAIST
16:00 – 16:30 Break
 16:30-17:30 3209 Patches: Compositional Experimentation in OpenMusic Dr. Peter Edwards

Olympus HALL

Time Title Speaker
19:00-19:35 Pre-Concert Presentation Grégoire Lorieux (Ircam Computer Music Designer & Composer)

Thursday, May 1st

Thursday, May 1st

Parallel Sessions

Time Title Speaker
9:30 – 11:00

Each piece by Philippe Manoury has been a significant step forward in the musical research process at ircam. This conference is an inspiring insight into Serge Lemouton’s long-time collaboration with the composer. Mr. Lemouton, computer music designer at ircam, will highlight the electronic technologies and writing processes developed for Manoury’s pieces since the 1980’s.
Serge Lemouton (IRCAM)
11:00 – 11:30 Break
11:30 – 12:15 Ircam Sound Technologies Users Perspectives Frédérick Rousseau (IRCAM)
12:15 – 13:00

The aim of our proposed presentation is to share and disseminate the innovative teaching
and learning experiences that have occurred in a non-classroom-setting. While running
this interdisciplinary multimedia team within a university system has provided sustenance
for our growth, it has also posed many challenges for the faculty and students.
For example, the organizational plan has involved intricate coordination of practicing
artists and musicians from different countries.The following questions will be addressed
in this presentation:What key steps need to be taken to allow the project coordinator, faculty, and students
to work together seamlessly? How does a transnational project keep communication venues open
and effective among three disciplinary areas and project sponsors from two countries?
What things can be done when unexpected spending occurs and the budget is not adequate?
Besides gaining more professional experience and knowledge, what does innovative teaching
and learning mean in an interdisciplinary collaboration?The operation of transArt NCTU team imparts many dimensions of innovative teaching and
learning experiences, which include a full range of concerns from budget management,
team coordination, technological integration, publicity, to intrapersonal and interpersonal
relationship development. All of the above teaching and learning opportunities are manifested
in a unique context of various interdisciplinary and transnational collaborative projects.
The faculty and students have learned communication skills and knowledge from other team members
with specialties as diverse as musical composing, performing arts, architecture, dance,
psychology, visual communication, and visual arts.
Chao-Ming Tung, Chi-Min Hsieh, Wen-Shu Lai
(Institute of Applied Arts /
National Chiao Tung University)
13:00 – 14:30 Buffet
14:30 – 16:00  Asian Studio reports

16:00 – 16:30 Break
16:30 – 17:30 Art/Science in Asia, Concluding Remarks CREAMA, IRCAM and Asian Studio Representatives

Time Title Speaker
9:30-11:00 Hands-on Workshop AudioSculpt I: Effects on the Sonogram Jean Lochard (IRCAM)
11:00- 11:30 Break
11:30-13:00 Hands-on Workshop AudioSculpt II: Time Stretch, Transposition, BPF Editor Jean Lochard (IRCAM)

Time Title Speaker
9:30-11:00 Hands-on Workshop Antescofo Arshia Cont (IRCAM)
11:00- 11:30 Break

Works for instrument and electronics will be run and fully explained. These works, composed in the ircam cursus, show a specific relationship between the instrumental world and electronic sound processing.
Grégoire Lorieux (IRCAM)
13:00- 14:30 Buffet

Analysis and recomposition of the processes developed in this masterpiece (played at the TIMF concert).
An insight into how a composer works within the environment of several pieces of software, through very accessible examples.
Grégoire Lorieux (IRCAM)

Last updated April 29th