Atelier-Concert Cursus 1 -IRCAM. April 15, 2016. Centre Georges Pompidou.
Marina Ruiz (soprano). Grégoire Lorieux (encadrement pédagogique Ircam).
À l'origine pour 8 canaux, reduction binaural.  Photo :  © Hervé Véronèse-Centre Pompidou. 



[...] il y aura toujours un reste, un supplément, un lapsus, un non-dit qui se désigne lui-même : la voix.
Roland Barthes, « La musique, la voix, la langue »

Une voix persiste au travers. Mais au travers de quoi? De la gorge de la chanteuse qui essaie d’aller vers sa propre voix microscopique ? Des sons des paroles que lit la poète quand elle récite son texte traduit dans différentes langues étrangères ? Ou est-ce la voix de la machine, qui persiste à s’immiscer dans la traversée de ces différentes vocalités ?

C’est la rencontre inattendue avec la poète Irène Gayraud, dont le poème "À l’enfant du crépuscule" m’a intéressé notamment pour ses sonorités et rythmes, qui a ouvert la porte à la recherche constituant cette pièce. À cela s’ajoutent les différentes propositions de traduction homophonique (traduction du son et non du sens) du texte original (français) en trois langues (espagnol, anglais, italien) réalisées par le groupe Outranspo (Ouvroir de translation potencial). C’est finalement la découverte, puis l’utilisation du laryngophone (microphone pour larynx) lors des improvisations vocales de la chanteuse Marina Ruiz sur le texte multilingue final, qui ont suscité les matériaux définitifs avec lesquels cette œuvre a été imaginée. Elle est la première version d’un projet à mi-chemin entre une pièce vocale et une pièce de théâtre radiophonique, dont le protagoniste est finalement la voix elle-même, la réalisation de sa propre corporalité – le grain de la voix dirait Barthes – et ses résonances, décuplées par l’électronique.


Une voix persiste au travers (2015-2016) (Binaural version, headphones only)

Masahiro Aogaki (b.1991) is a Japanese composer currently based in Paris. In his recent compositional process, Aogaki has demonstrated a keen interest in redefining the identities and the integrities of instruments, voices, and texts, while also recontextualizing existing musical languages. Inspired by the poetry of Romanian surrealist Ghérasim Luca, he particularly explores the phenomenon of “stuttering” that characterizes Luca’s works, influencing his musical compositions.
In 2017, he obtained his Master’s degree in Composition from Tokyo University of the Arts under Ichiro Nodaira, and later graduated with highest honors unanimously from the Paris Conservatory (CNSMDP) in 2022, where he worked with Stefano Gervasoni, Luis Naón, Yan Maresz, Grégoire Lorieux, Yann Geslin, and Oriol Saladrigues. In 2022-23, Aogaki participated in the IRCAM Cursus led by Pierre Jodlowski and Simone Conforti. His first portrait concert took place in Paris in July 2023, and his piece Dé-monologue –Cinq poèmes de Ghérasim Luca– was nominated for Le Tremplin Musical of the Fondation Prince Pierre de Monaco in the same year. From 2023 to 2025, he was appointed composer-in-residence at the Conservatoire Claude Debussy in Paris’ 17th arrondissement, collaborating with Ensemble Court-circuit.
His works have been performed by various ensembles such as Orchestre de Picardie, Orchestre de Caen, Ensemble Intercontemporain, Ensemble Court-circuit, Ensemble Fractales, loadbang, Ensemble Reconsil, Ensemble Eins, Ensemble Muromachi, Ensemble Next, Collettivo_21, and Duo Jeux d’Anches, among others. Aogaki has participated in numerous masterclasses and received guidance from composers and ensembles including Tristan Murail, Allain Gaussin, Philippe Manoury, Thierry De Mey, Jean-Luc Hervé, Marco Momi, Jaime Reis, Sivan Eldar, Joji Yuasa, Misato Mochizuki, and Diotima Quartet.
He has been awarded grants from institutions such as the Meiji Yasuda Cultural Foundation, the Nomura Foundation, the Agency for Cultural Affairs of Japan, the Kakehashi Foundation, and the Centre International Nadia et Lili Boulanger.
Some of his works are published by BabelScores.

Fernando Munizaga (Santiago, 1986) is a Chilean composer, sound artist and guitarist, based in Stuttgart, Germany. He  studied at the Universidad Católica de Chile, Conservatoire National Supérieur de Musique et de Danse de Paris and HMDK-Stuttgart. He attended the Cursus I: Practical Training in Composition and Computer Music at IRCAM-Centre Pompidou. Currently, his work focuses on the conceptual exploration and analysis (prosodic, phonetic, structural, etc.) of different poetic texts (from different languages and cultures) and on the integration of the materials resulting from these research in the field of the musical composition (instrumental and electronic).

Naviar is a music community and label. Through regular publications, open projects and events, we explore the connection between experimental music and traditional Japanese poetry.

To join the Haiku challenge, visit https://www.naviarrecords.com/about/naviar-haiku

Flora is a violinist, voice artist, teacher and composer. She operates with creative processes around vocal and instrumental poetics and their intersections with experimental and electroacoustic music. Flora has experience as a performer, researcher and composer in music events in Brazil and abroad, such as “Monaco Eletroacoustique Festival” (2013), “FIME (International Festival of Experimental Music)” (2016), “Festival Música Estranha” (2016), “RUMOR” (2017), “IMPRÔ” (2019), and “Frestas Telúricas” (2020). She organized the international conference “Sonologia 2019-I/O”, together with NuSom - USP. Currently, Flora is an Associate Professor in Musical Technology at the Department of Music - DMU, of Universidade do Estado de Santa Catarina (UDESC), Brazil. 
Her articles and creative work can be found at: soundcloud.com/flora-holderbaum and https://usp-br.academia.edu/FloraHolderbaum
FB: https://www.facebook.com/flora.holderbaum 
IG: https://www.instagram.com/floraholderbaum/