Editing IRCAM (section)

==A centre for musical research==
[[File:IRCAM machine room in 1989.jpg|thumb|right|IRCAM's machine room in 1989]]
Several concepts for electronic music and audio processing have emerged at IRCAM. [[John Chowning]] pioneered work on [[FM synthesis]] at IRCAM, and [[Miller Puckette]] originally wrote [[Max (software)|Max]] at IRCAM in the mid-1980s, which would become the real-time audio processing graphical programming environment Max/MSP. Max/MSP has subsequently become a widely used tool in electroacoustic music. Many of the techniques associated with [[spectral music|spectralism]], such as analyses based on [[fast Fourier transform]]s, were made practical by technological contributions at IRCAM. For instance, researchers at IRCAM have developed a special microphone capable of isolating each of the cello's four strings for separate amplification or electronic treatment. Along with tools for sound synthesis and analysis, IRCAM has played an instrumental role in developing programs for visualization of musical form with the creation of [[OpenMusic]], a Lisp-based visual programming language.<ref>{{Cite web|title = openmusic:home [OpenMusic]|url = http://repmus.ircam.fr/openmusic/home|website = repmus.ircam.fr|access-date = 7 November 2015}}</ref>

IRCAM provides classes to train composers in music technology.<ref>[http://www.ircam.fr/formations.html?&L=1 Software Training Courses] {{webarchive|url=http://arquivo.pt/wayback/20090708015639/http%3A//www.ircam.fr/formations.html?%26L%3D1 |date=8 July 2009 }}, IRCAM</ref> Composers who do not have programming experience to create the technology end of a piece for ensemble and electronics are provided with an assistant who helps them to realise technically intensive parts of the piece. The assistant will follow the conceptual advice of a composer with no technology experience to realize a computer part, or will help a composer who can program in Max/MSP to make their "patch" more efficient and elegant. [[Tristan Murail]]'s ''[[Désintégrations]]'' is an example of a piece realized in this program by a composer with significant technological skill, whereas [[Harrison Birtwistle]]'s ''[[The Mask of Orpheus]]'' required an active and creative role for the technology assistants, such as Barry Anderson and Ian Dearden.