parcours-musical-de-jean-pascal-alagna

French pianist, keyboardist, improviser and composer

born in 1963  

If Jean-Pascal ALAGNA's work first belongs to indeterminate music (Cage, Feldman, Browne, Wolff) , then, the determination of the work itself takes place through the auditor's own hearing mechanism which can recompose so to speak the work... (JPT)

Major works:

Jarama, for flute, timpani, 3 percussion, 2 pianos, electronic organ, harp, strings, computer, synthesizer and tape, choreography by Anne-Marie Chovelon, creation Marseille at the Bompard Theatre in june 1986,

Trace, graphic score and recorded elements, for arghoul (Egyptian clarinet), violin, cello, double bass, computer, synthesizer, and tape, documentary of Charlette Benkalifa +, video film 3/4, Regional Centre for Educational Documentation, Marseille, 1987,

Boustrophedon aei , for piano, solo voice, idiophone, and 3 tapes, electroacoustic spatialization device, graphic score, created at the Conservatory of Bologna (Italy), in December 1988,control of the city of Marseille in the context of the Biennale of Young Creation Europe Mediterranean from a fragment of Canto II Ezra Pound "...Lithe turning of water..." (in French, Souple Revolution de l'Eau)

The Maritime Ode, for tape, from a poem of Alvaro de Campos, graphic score, creation Concert with  Group "Frame"  in the Class of  electro, Marseille, National Conservatory  , june 1989

Monozygotes, for 2 flutes, computer, synthesizer and tape in Marseille, Festival of the Auction (La criée) in June 1989 on a ballet choregraphed by Jean-Claude Lourenço, Barbara Titeux Flute

West for horn, buzzer-instrumentalist and 2 tapes, graphc score and recorded elements Composition Workshop, class Georges Boeuf, Marseille Conservatory, created by the horn player Jean-Marc Dalmasso, January 29, 1990.

Adele  for magnetic tape and voice. Interactive fun game for children of the Municipal Library of Marseille in april 1990, together with the recorded voice of Charlette Benkalifa+

Red wind, for piano, computer and magnetic tape, choreography by Anne-Marie Chovelon, Martigues, Théatre des Salins, July 1990

Pantomime of the Rain Maker, for body-to sounds (organe-à sons) new instrurment in collaboration with the painter Stéphane Dubois, production of the Center for Research in Computer Science and Music, Programming François Giraudon, Marseille, Theatre Gymnasium, March 1991,

Poem of the moon hard-pressed, followed by the Awakening of the birds,  magnetic tape, graphic partition, created at the hearing of the Electroacoustic Music Class, Pascal Gobin, Conservatoire National de region, 19 march 1991, Grade obtained  at the International Competition of ElectroAcoustic Music in Bourges  in 1994,

Lovers of Clear-Obscure, soundtrack and musical design for the theater, directed by Alain Ubaldi, Company Alternative Art Theatre, Marseille, Theatre Lenche, May-June 1991,

News, for magnetic tape,  audio visual creation, 3/4 video of Pierre Laffargue, choregraphy by Jean-Luc Lenoble,Ensad, Paris, creating for the European Media Art Festival Osnabrûck (  Germany ) from 4 to 8 september 1991,

For the wind rises, for disklavier piano, recorded improvisation, collaboration with Jean-Claude Risset (1938-2016), and François Giraudon, Marseille, Theatre Gymanasium, March 1992  Reearch Center in Computer Music and CNRS (National Centre for Scientific Research)

Second Principle, graphic score for percussion, sampler,and tape, Audition Music Class Electro,Marseille, Region national, Conservatory , April 14, 1992

Les Baigneuses,(The Bathers) according to the Fragonard's canvas, for magnetic tape , ballet choregraphy of Anne-Marie Chovelon, Port de Bouc, Semaphore theater, July 1992

If the grain does not die, recalled Tacet ut auscultes from 2009 for main harmonic bass voice and orchestra, class  Georges Boeuf , direction José Cabrita dos Santos at the Conservatory of Marseille,  December 1993

Presence, an hommage to John Cage,graphic score and improvisation scheme carried out by interpreters, trombone, prepared piano and synthesizer, the hearing of the composition class, class of Georges Boeuf, Marseille, National Conservatory of Region, creating 15 december 1993 with Monique Freccero (Piano) Jean-Claude Borowiak (Trombone) and himself (synthesizer)

Listen see, natural sound-path for the 9-12  years old, Nice, Castle Park in collaboration with the schools of port and Castle, Manca festival, Manca Music Current Nice Côte d'Azur, october-November 1994

Resurgence, sound installation for 9 audio-cassettes 8 auto reverse and 7 transducers , made in situ recordings, acoustic ballad for photo gallery with sound in collaboration with photographer Fabrice Ney, Marseille, South Workshop image Territory,in partnership with the Music Group Experimental de Marseille and Nice CIRM (See above),interactive installation which lasted in the gallery from November 23 to December 1994 , or 340 hours.

Drums of Rainwater for Marimba, creation by Frederic Daumas April 4, 1995,in Aubagne, Théatre Comoedia, Takeover by Alex Grillo at the Contemporary Music Centre of Documentation, 30 Novembre 1995,at a conference of Daniel Charles,musicologist (1935-2008). Replayed March 9,1997 as part of the festival Workshops Mouans Sartous, directed by Jerome Joy and interpreted by vibraphonist Alex Grillo

The Ring ,renamed Palimpsest, for bass clarinet,  cello , soprano, Villeneuve-les -Avignon, workshop Centre Acanthes in 1994 by the Accroche-Notes Ensemble, audio recording, Concert in Marseille at the Contemporary Art Museum by Ensemble Telemaque 1995. Recording discography published by Sonpact CD Company with the soprano singer Elisabeth Aubert, direction Raoul Lay in july 1995 audio recording.

Hymnounton, Doxology in ancient greek: for 2 percussions and mixed choir in ancient greek: creation Summer Festival of Calaceite (Spain) by the musical Ensemble Contemporain de Lavaur, Conductor Himself in july 1995 audio recording

From the Ashes, for Accordion and magnetic tape, creating at the Musee Cantini in Marseille by Pascal Contet , accordion. The Music Festival at Experimental Music Group of Marseille, in May 1996.

Musical Studies

Jean-Pascal Alagna has studied Improvisation with Peter Bastiaan, Georges Petit, Jeff Gilson+, and Pascal Gobin, Piano harmony,  jazz  arrangement with Jeff Gilson+, classical harmony with   Maryanick Charpin,. Rythm  solfeggio,, ear -training and guitar with Michel Barrot, Glenn Ferris and Jean-Pierre Martinez, romantic and jazz singing with Luce pelon Surribas and Joy Kane,

He studied  Electroacoustic music  with Marcel Frémiot, Pascal Gobin, Jacques Barreau ,  Alain Savouret and Vincent Risch.  Musical Composition with Melainie Ruth Daiken †(Morley College London),Georges Boeuf ( First prize in composition of the National Conservatory of Marseille), Terry Riley (Musiques Actuelles Nice Cote d'Azur) and Pascal Dusapin (Centre Acanthes Villeneuve lez Avignon),  Music Analysis with Gérard Grisey(+) (Conservatory of Paris) and Georges Boeuf. He learned  History of Music, with Nicole Salabert, Musicology with Bernard Vecchione,  zoomusicology with François Bernard Mâche, (in School of High Studies in Paris). He approached  the Soundscape with Raymond Murray Schafer and Ray Gallon in Paris in 1996 (School of Architecture). He ended up in the direction of choir at the Musical Contemporary Lavaur Ensemble, in the Calaceite Annual Festival (Spain) in 1994.

Research Area and Professional Activities

Since then, he began to seek the origins of music in mediterrannean and paleo-african  cultures (Ethiopia, West Africa, Palestine, from Asia (Ancient China, Vietnam)  as well as in  the  european continent , but also through   the american  jazz and blues.. As he often goes to Italy  and in Haute-Provence as a folkorist, where  he tirelessly  peels old manuscripts, he asks to monks, to nuns, to country women and people of travel. He visited Jerusalem in 2000. After taking functions of keyboardist and vocal coach with various congregations, and communities, he became organist, in 2001 and  Chief liturgical choir in 2003,He then divides his time between the realisation and the interpretation of sacred offices and accompanying liturgical and secular choirs of students.

His project today

Depending of projects and artistic meetings, he takes care to give back to his first ever works new faces revisiting themes according to styles  from different eras he prefers to call recomposition rather than composition so that the partitions can be redistributed in different ways from an original take. or brand.

In 2009 he wrote a work entitled "The Memory and the Rite, insighs into the musical symbolism" that attemps to provide a solution to the crisis of our time in liturgical music and sacred art in general.  By feeding his reflection, he emerges from archeological, and historical elements of traditional cultures, some new concepts the first concept he calls concept of ethno-syllable.  Then following his study of traditional music he releases another concept, that of musical word (and not just considering music  as phenomenon but also as a spiritual source, ready to reemerge  from the distant past in the fracture of today, .   This work raises the question of the unity of the language , history, memory and time  by means of reconstruction by proposing the concept of  trans-hyperform  and graphonic.  He is an adjusted musician, participating in the renewal of the French music of today with an universal vision of the resurrection of  Art, path towards the infinite.

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