La prise de l'Ircam? Spanish Composers Facing New Technologies
Bibliographic Data
| ID | 3858720 |
|---|---|
| Authors | José L Besada (0000-0002-8469-2889, corresponding author) |
| Year | 2019 |
| Volume | 38 |
| Issue | 1-2 |
| Pages | 206-224 |
| Publication date | 2019-03-04 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2019.1578131 |
| OpenAlex | W2928624114 |
| Language | EN |
| Citations received | 1 |
| References cited | 10 |
Since opening in 1977, IRCAM has been a prominent meeting point for international composers. Nevertheless, the Spanish presence at the French institution was rather rare during the twentieth century; we need to wait until the twenty-first century to detect a larger number of Spaniards developing their creative projects at IRCAM. After a succinct overview of the history of Spanish electroacoustic music, I will study the evolution of the presence of Spaniards at IRCAM—from attending courses, to commissions and productions, to engagement with the pedagogical team—willing to detect any possible tendencies or fashions over time. In particular, I will focus on two different moments: I will observe José Manuel López López’s work as the first Spanish pupil at the French institute in the early 1990s, and I will showcase some recent projects by young Spanish composers with rising careers. Both sides will demonstrate the rapid evolution of technological novelties ‘made at IRCAM’ within the last 25 years
Art · Humanities · Visual arts · History · Music and Audio Processing · Music Technology and Sound Studies · Musicology and Musical Analysis
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,25 |
| Citation span | 2022 - 2022 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |