Paris is preparing for a unique intersection of classical training and cutting-edge technology as the Concert du Parcours musique mixte returns to the Ircam stage. Scheduled for Friday, April 17, 2026, at 7 p.m., this performance serves as the culmination of a rigorous pedagogical journey where student musicians merge their instrumental mastery with the complex world of electronic sound.
The event is a concert-restitution featuring students from the Pôle supérieur d’enseignement artistique Aubervilliers – La Courneuve – Seine-Saint-Denis – Île-de-France, commonly known as Pôle Sup’93. By collaborating with the Ircam (Institut de Recherche et Coordination Acoustique/Musique), these students explore the specific challenges of “mixed music”—a genre that blends live acoustic performance with electronic processing and composition.
For those attending, the concert will take place in the Salle Stravinsky, located at 1 place Igor-Stravinsky, 75004 Paris. Admission is free, though seating is limited to the available capacity according to official event details.
A Bridge Between Tradition and Technology
The partnership between Ircam and Pôle Sup’93 is designed specifically for students in the musician-performer track (DNSPM). The “musique mixte” pathway is not merely about playing along to a recording; it is an immersive educational experience that allows performers to work directly with sound engineers and musical informatics creators from Ircam. This collaboration ensures that the musicians understand the technical architecture of the electronics they are interacting with.
The curriculum is structured across several months, typically running from October through April. Students engage in a series of specialized sessions that include the initial discovery of the Ircam facilities, the detailed study of instrumental and electronic scores, and extensive rehearsals with electronic components. This process prepares them for the unique synchronization and sonic demands of mixed music, where the boundary between the human performer and the machine often blurs.
In addition to the traditional mixed music track, a newer program has been introduced for a select group of students. This secondary axis focuses on improvisation and electronic music, challenging performers to build collective improvisation sequences. In these sessions, students explore how “on-the-fly” sampling, sound transformations, and the diffusion of samples can create a dynamic environment of interaction between the musicians and the electronic sounds as outlined by the Pôle Sup’93 project.
Program and Featured Performers
The April 17 concert will showcase a diverse repertoire of contemporary works, punctuated by improvisational segments that separate the main pieces. The scheduled program includes:
- Sasha J. Blondeau: Sortir du noir
- Natasha Barrett: Liquid Crystal
- Eric Maestri: Rittrato Voce
- Tom Birton: Excerpts from Pan Box
The performance features a dedicated distribution of talent from the Pôle Sup’93 musician track, including Yoko Okubo on clarinet, Capucine Picard on cello, Thomas Rivière on violin, and Gabriel Saro providing vocals. These performers, alongside those from the improvisation and electronics track, will demonstrate the results of their year-long engagement with Ircam’s technical expertise via the Ircam event listing.
Key Event Details
| Detail | Information |
|---|---|
| Date | Friday, April 17, 2026 |
| Time | 7:00 PM (19h) |
| Venue | Ircam, Salle Stravinsky |
| Address | 1 place Igor-Stravinsky, 75004 Paris |
| Admission | Free (Limited capacity) |
Why Mixed Music Matters in Modern Education
The integration of electronic music into the DNSPM (Diplôme National Supérieur Professionnel de Musicien) curriculum represents a shift in how contemporary music is taught. By moving beyond the traditional score, students are forced to confront the “challenges of interpretation” inherent in mixed music. This includes managing the latency of electronic responses, understanding spatialization, and adapting their acoustic timbre to complement synthetic sounds.
This educational model ensures that the next generation of performers is not intimidated by technology but rather views it as an extension of their instrument. The collaboration with Ircam’s sound engineers is critical here, as it bridges the gap between the artistic intent of the composer and the technical execution of the software.
The final public concert is more than just a recital; it is a “concert-restitution,” meaning it serves as a formal presentation of the knowledge and skills acquired during the academic year. It validates the students’ ability to navigate the complex interplay between live performance and digital manipulation.
For those interested in attending or learning more about the intersection of electronic music and academic performance, the event remains open to the public on a first-come, first-served basis. The next confirmed milestone for this program is the live performance on April 17, 2026.
Do you have experience with mixed music or electronic performance? Share your thoughts or questions about the integration of technology in classical music in the comments below.