The laboratory is structured in seven teams defined by their fields of study and theoretical approaches:
- Sound Systems and Signals: Audio/Acoustics, InstruMents uses applied mathematics (signal, system, control, differential geometry, digital analysis), physics and mechatronics to explore, understand, reproduce, or invent multi-physical systems that produce sound signals (musical instruments, voices, etc.).
- Acoustic and Cognitive Spaces focuses on acoustics, signal processing, cognitive listening psychology, and neurosciences for the capture, analysis, and reproduction of sound fields as well as the understanding of the notion of spatial perception in multisensory contexts.
- Sound Perception and Design addresses the perception of vocal, musical, and environmental sounds, their emotional treatment, and sound design applications via psychoacoustics, physiology, musical cognition, and neurosciences.
- Sound Analysis & Synthesis studies digital sound signals using sound signal processing theories and techniques, statistics, learning, and shape recognition to extract various characteristics, to synthesize sounds according to specified attributes, or the transformation of sounds based on compositional or other needs.
- Sound Music Movement Interaction focuses its research on embodied interaction between humans and sonic and musical medias: motion capture, reactive real-time programming, learning, tangible and multimodal interfaces, sound synthesis techniques.
- Musical Representations investigates the formal structures of music and creative environments for composition, analysis, and human-machine interaction using architectural and language approaches, algebraic formalizations, and artificial intelligence techniques such as learning optimization.
- Analysis of Musical Practices develops interdisciplinary musicology taking into account historical, sociological, anthropological, psychological, and philosophic points of view favoring the use of creative tools, often in connection with other teams at IRCAM.