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In seculum.
The most-used tenor melisma (cantus firmus) of the late 12th century and the 13th. It is drawn from the verse of the Easter Gradual Haec dies (LU, 778; ex.1). It first appeared as an integral part of two early organa, and there are 15 clausulas on this segment, three of which serve as motet sources. 46 separate motet complexes using this tenor survive from the latter part of the period. Particularly interesting are an early Spanish hocket (later made into a motet) and five other instrumental settings, two based on the hocket and one marked ‘In seculum viellatoris’, presumably because it was written by or for a vielle player. Use of the In seculum tenor appears to have been confined mostly to France, and only one of the works based upon it (a motet) is known to be English.
BIBLIOGRAPHY
MGG1 (L.A. Dittmer)
F. Ludwig: Repertorium organorum recentioris et motetorum vetustissimi stili, i/1 (Halle, 1910/R, rev. 2/1964 by L.A. Dittmer); ii, ed. L.A. Dittmer (Hildesheim and New York, 1972)
F. Gennrich: Bibliographie der ältesten französischen und lateinischen Motetten, SMM, ii (1957)
R. Flotzinger: Der Discantussatz in Magnus liber und seiner Nachfolge (Vienna, 1969)
D. Harbinson: ‘The Hocket Motets in the Old Corpus of the Montpellier Motet Manuscript’, MD, xxv (1971), 99–112
K. Hofmann: Untersuchungen zur Kompositionstechnik der Motette in 13. Jahrhundert durchgeführt an den Motetten mit dem Tenor ‘In Seculum’ (Neuhausen-Stuttgart, 1972)
GORDON A. ANDERSON
Institut de Recherche et Coordination Acoustique/Musique [IRCAM].
Music research institute in Paris. In 1970 President Georges Pompidou of France invited the composer and conductor Pierre Boulez to establish a centre for research into new music and associated technologies, to be situated in Paris adjacent to the Centre Pompidou. Seven years later IRCAM became fully operational with Boulez as director, a post he held until 1992 when it passed to Laurent Bayle. Boulez conceived IRCAM as a multi-disciplinary centre, and it was initially organized into five distinct areas – electro-acoustics, computer, pedagogy, instruments and voice – each headed by a specialist. This devolved arrangement proved problematic; a reorganization in 1980 and another in 1984 resulted in a more streamlined structure which, while preserving most of the original objectives, has focussed primarily on two areas, computer music production and computer music research.
Because its management has been able to make policies with few external constraints, IRCAM has fostered a strikingly broad range of musical activities. Artistic aims and objectives have predominated in determining the course of technical research. This climate has brought significant dividends in the form of new tools for computer music composition and new works for the genre. Over the years the development of technical resources has progressed from highly specialized hardware tools such as the 4X digital audio processor, built in the first instance to meet the musical requirements of Boulez for his major work Répons (1984), to more generic systems such as the IRCAM Musical Workstation or, more recently, a range of software tools designed for the modern generation of general-purpose personal computers.
BIBLIOGRAPHY
La musique en projet (Paris, 1975) [pubn of IRCAM]
Contemporary Music Review, i/1 (1984) [IRCAM issue]
L. Bayle, P. Boulez and others: Recherche et création: vers de nouveaux territoires (Paris, 1992)
G. Born: Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde (Berkeley, 1995)
PETER MANNING
Institute for Studies in American Music [ISAM].
Research and information centre at Brooklyn College, City University of New York, founded in 1971 with H. Wiley Hitchcock as director. Its basic function is ‘to provide a suitable academic framework in which to encourage, support, propagate and evaluate research in music’ of the USA, and to this end it publishes monographs, bibliographies, discographies and the lectures of scholars in American music to whom it has granted fellowships. It also presents concerts and colloquia; in 1974, with the Yale School of Music, it held the first international conference on an American composer, the Charles Ives Centennial Festival-Conference. The institute is a principal repository of scores and tapes of music by Cowell. It publishes the biannual I.S.A.M. Newsletter (1971–).
Institute of Jazz Studies.
An archival collection and research centre at Rutgers, the State University of New Jersey, Newark. It was founded in 1952 by the jazz historian Marshall Stearns, and was transferred to the Newark campus in 1967. The collection has greatly expanded through donations and acquisitions and now constitutes the foremost archive of jazz and jazz-related materials under university auspices, with more than 100,000 phonograph records and 3000 books, and extensive holdings of periodicals, record catalogues, research files, photographs, films and jazz memorabilia. The institute also conducts a major programme in jazz oral history. From 1973 to 1980 it published the biannual Journal of Jazz Studies, which was superseded in 1982 by the Annual Review of Jazz Studies.
EDWARD BERGER/R
Institute of Musical Art.
New York conservatory founded in 1905 and renamed Juilliard School of Music in 1924. See New York, §12.
Institute of Renaissance and Baroque Music.
American organization founded in 1944 and in 1946 renamed American Institute of Musicology.
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