[MLTI-MS] Updated Musique Lab Workshop Schedule

[Jeff Mao]

Dear MLTI Schools,

We apologize again for the last minute announcements, but we just  
received this information. Since the initial announcement, there have  
been a number of requests for workshops on the Musique Lab software.

Lecture on Sound and Music Research at Ircam
Presenters: Olivier Lescurieux and Grégoire Lorieux
Date: Tuesday September 26th, 7 pm
Location: 100 Lord Hall
University of Maine
Orono, Maine

Gorham Musique Lab Workshop
Date: Wednesday September 27th, 1:30 pm
Location: Gorham Middle School
106 Weeks Rd.Gorham, ME 04038

Orono Musique Lab Workshop
Date: Thursday September 28th, 5pm
Location: Design Midi Lab (3rd Floor)
University of Maine
Class of 1944 Hall
Orono, Maine

Old Town Musique Lab Presentation
Friday September 29th, 1:15pm
J.A. Leonard Middle School
156 Oak St. Old Town, Maine

If you would like to attend one of the workshops or presentations  
above please send an email to Mike Scott mscott at umit.maine.edu or  
call 581-4330.

-------------------------------------------
Musique Lab for Mac and Windows

Musique Lab is a suite of six applications created via a joint  
collaboration between Ircam and the French Ministry of National  
Education.

Description
Designed in the scope of the support to multimedia resources driven  
by the Technology Office of the Ministry of Education, these  
applications aim to music teaching in the classroom. They are freely  
accessible in this only context and will be soon
published on CD-ROM by IRCAM.

Each of the first five applications explores a specific field of  
sound design, relying on basic notions of today and past musical  
language (pitch, intensity, duration, rhythm, beat, colour, etc.).  
The sixth application is dedicated to editing
together tracks created in the other applications.

These programs can all together be used as discovery and  
understanding tools of specific processes of music creation as well  
as workshops of invention and elaboration of sound. It is possible to  
use MusicLab punctually to discover or illustrate a
musical notion or through a music project run in the classroom. Used  
by the teacher, it is an original experimentation and demonstration  
tool; used by a student, it offers discovery trails of the basic  
sound language while allowing music creation in
a perfectly controlled context at every moment.

Main Features
Pitch and intensity
This application explores pitch and intensity as evolutional  
continuums and dynamic variations. Its ergonomics bring the student  
to simple manipulations aiming to original music constructions. The  
interface offers from one to four interactive voices
an access to many actions: drawing of the pitch and intensity curves,  
symmetrical process on the curves, duration, timbre, mixing,  
controlling, adjustments and results recording.

Polycycles
This application explores cycles sets and polyrhythmic, repetitive  
systems, isorhythmic and intervals sets. One, two of three voices  
give access to a set of classified sounds organized in three types:  
kept pitch, pitch percussion, percussion with no
fixed pitch. And voice, a maximum cycle of twelve steps can be  
designed and pitch, density, duration, timbre are changeable. Each  
voice has its own tempo. The program is completed with a set of  
global controls or by track: random drawing of each
parameter, sound events speed variation on each track, control of the  
pitch range, pitch filter, transposition of the melodic pattern and  
transposition of the harmonic mode choosed for the pitch filter,  
voice mixing with effects, varied permutations
of the different parameters, etc.

Clouds
This application allows to build textures or evolutional frames  
thanks to various granular type process (exclusively MIDI) and to  
control their dynamic evolutions. It allows to experiment and  
understand the material/form in the sound field. The
obtained results are rich and diversified, certainly atypical in the  
MIDI field.

Scales and Modes
This application allows to discover the scale and modes of old,  
contemporary, tempered,non tempored, oriental or non octavable  
scales. For the first time, this application offers to a non  
specialist the possibility to understand and experiment this
universe known as inaccessible, thanks to a clear and user-friendly  
interface allowing to clearly visualize the scales, to modify them  
and create new ones,to play them with any MIDI instrument, and to  
read and record MIDI files.

Rhythmic construction
This application allows to design rhythmic models on 4 voices. For  
each one, apart from the percussion timbre, the number of beats of  
the tempo and the division of each beat can be modified. Two modes  
allow to work either with a constant beat or
with a duration of constant tempo, the whole set opening to two  
complementary approaches of the rhythmic writing. At first, it's a  
matter of model construction based on tempo, times, accentuations and  
constructions of phrases criteria. Subsequently,
it's a matter of ordering these models horizontally and vertically  
before applying phrasing curves or variations occurring at different  
levels. Once realized, these phrases can be changed along time.


IRCAM (Institut de Recherche et Coordination Acoustique/Musique) is  
one of the most important European institutes for both 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, France. http:// 
www.ircam.fr/?L=1

A Center for Musical Research
Since its conception, IRCAM has been the birth place for many of the  
most important concepts for electronic music and audio processing.  
John Chowning did much of his pioneering work on FM Synthesis at the  
IRCAM, and the real-time audio processing
graphical programming environment Max/MSP and its successor jMax,  
were developed there. Max/MSP has subsequently become one of the most  
widely used tools in electroacoustic music. Many of the techniques  
associated with spectralism, such as analyses
based on Fast Fourier Transforms, were only made practical by the  
technological clout of IRCAM. IRCAM also developed a special  
microphone capable of isolating each of the cello's four strings for  
separate amplification or electronic treatment. While
IRCAM continues to produce many innovations, its role at the world's  
central music laboratory was lessened with the rise of cheaper  
electronics from Japan, which put complex audio computing within the  
reach of smaller institutions.

IRCAM’s objective is to adapt the knowledge, models and prototypes  
resulting from its research activities into software tools and  
environments for music and sound creation and musicological analysis.  
These tools and environments are constructed in
an open and programmable fashion to enable them to be adapted to very  
diverse aesthetic approaches and to be continually updated with the  
latest models growing out of research.
The key activities related to software development are the conception  
and evaluation of man-machine interfaces, the design of communication  
protocols allowing different applications to exchange data and the  
permanent integration of technology
produced by a constantly evolving computer industry.
IRCAM is also the distributor of software and products dedicated to  
sound and visual creation.

Speaker's Bios:
Olivier Lescurieux
Olivier Lescurieux is Industrial Liaison Manager at Ircam, one of the  
leading research laboratories on music and acoustics. He develops and  
promotes research activities, and has also been in charge of creating  
the Hypermedia Studio, dedicated to
prototyping hypermusical authoring environments for music analysis  
and teaching. Olivier is an expert in management of information  
technologies R&D activities, and has developed R&D activities in the  
audiovisual industry (http://www.ina.fr) and the
telecommunications industry (http://www.francetelecom.com). He is co- 
founder and president of Ars Longa Multimedia Cultural Centre in  
Paris (http://www.arslonga.org).

Grégoire Lorieux
Grégoire Lorieux studied Baroque and Renaissance repertoires at the  
Tours Music Conservatory, and devoted to music composition. After  
Mastering in Musicology where he studied the works of the composer  
Kaija Saariaho, he joined the Conservatoire
National Supérieur de Musique de Paris, in the analysis class of Michaël
Levinas, and followed the courses of Philippe Leroux who guided him  
in the composition of electroacoustic pieces. He was awarded in music  
analysis, and was accepted in the Royaumont composition internship.  
He was resident in the LIPM in Buenos
Aires. He currently follows the courses of Marco Stroppa and  
practices electroacoustic improvisation within the Diffraction  
Ensemble. He is musical assistant and teacher at Ircam since 2004.

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