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.

中文翻译：

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La Prize de l'IRCAM？西班牙作曲家面临新技术

自 1977 年开业以来，IRCAM 一直是国际作曲家的重要聚会点。尽管如此，西班牙人在法国机构的存在在 20 世纪相当罕见。我们需要等到 21 世纪才能发现大量西班牙人在 IRCAM 开发他们的创意项目。在简要概述西班牙电声音乐的历史后，我将研究西班牙人在 IRCAM 的存在的演变——从参加课程、到委托和制作，再到与教学团队的接触——愿意发现任何可能的趋势或时尚时间。特别是，我将关注两个不同的时刻：我将观察 José Manuel López López 在 1990 年代初期作为法国学院第一个西班牙学生的作品，我将展示一些西班牙年轻作曲家最近的一些事业蒸蒸日上的项目。双方将展示过去 25 年来“在 IRCAM 制造”的技术创新的快速发展。