It is rather easy to demonstrate that music entertained from the very beginning of its history a privileged relationship with sciences, thanks to at least three media: arithmetics, the physics of vibrating matter and combinatorial calculation. The relationship is even intimate, since everybody, from the instrument maker to the designer of basilicas (the first concert halls…), including the performer and the composer, was aware, at least intuitively, of those fields of knowledge.
the relationship was deeply modified during the XXth century , mainly because of the mass interference of science and technology in the whole musical territory: composition, instrumentarium, mechanical reproduction, perception, buying, social role…etc.
The dealing of such a subject on television would demand at least six hours of broadcasting and enormous financial means. We found it interesting to devise a formula enabling the production of a kind of prologue to the vast theme of MUSIC AND SCIENCES and presenting in a synthetic way the main datas of the subject.
Now there is in France an institution permitting by its vocation and its structure the encounter of the different above-mentioned issues: the IRCAM, a place where artistic creation and scientific investigation confront each other for the sake of music.
Taken as a paradigm, the IRCAM enables us to recount from the same place the main trends of thinking and experimenting for today’s music. With many sequences shot in Russia, in Glasgow or in Avignon, the film is a journey into the heart of the most advanced technology of modern music.