updated 4 April 2023

Ariadna Alsina Tarrés

Spanish composer born 6 October 1980 in Figueres.

Ariadna Alsina Tarrés studied violin at the Conservatori Superior de Música del Liceu and sonology at the Catalonia College of Music (ESMUC), where she focused on composition, studying with Luis Naón and Gabriel Brnčic. She then went to Paris to study composition with José Manuel López López, Horacio Vaggione, Christine Groult, Hèctor Parra (2011), and Martin Matalon (2012-2015). She took part in the IRCAM Cursus of 2015-16 while also earning her masters in multimedia composition at the Geneva Haute École de Musique, working with Pascal Dusapin, Luis Naón, Eric Daubresse, and Michael Jarrell. She has also taken masterclasses with Kaija Saariaho, Franck Bedrossian, Marco Stroppa, Philippe Manoury, Francesco Filidei, Luca Francesconi, and Daniel Teruggi.

She is currently researching the notation of time in mixed music for a doctorate at the Université Paris-VIII, directed by Makis Solomos and Alain Bonardi.

Influenced by the spectro-morphology theory, Alsina Tarrés is interested in the malleability and the transformation of sound material and the exploration of timbre in her compositions.

Her music has been performed in many European countries and in the United States by Ensemble Sillages, Ensemble Taller Sonoro, and Barcelona Modern Project, and by musicians including Shao-Wei Chou, Takao Yakutomé, Thibaut Trosset, Esther Lafebvre, Ana María Villamizar, and Sarah Lefeuvre.

In 2015, she received a Special Mention from the jury of the Prix Russolo for her composition Dis-Till-Action, recorded for the Studio Forum label.

Working with Emmanuelle Lizère, Alsina Tarrés designed Le son au bout des doigts, a musical creation for three interactive children’s installations exhibited at the Pompidou Center in June 2017 for the Festival ManiFeste.

© Ircam-Centre Pompidou, 2019


Ariadna Alsina Tarrés.


Lien Internet

(liens vérifiés en avril 2023).


  • Ariadna ALSINA TARRÉS, Alain BONARDI, « Proposition pour une écriture du temps des interactions entre musique électroacoustique et corps en mouvement », Journées d’Informatique Musicale, Albi, mars 2016, disponible sur HAL (lien vérifié en avril 2023).
  • Ariadna ALSINA TARRÉS, Pratiques, techniques et enjeux de l’écriture du temps dans la musique mixte, thèse sous la direction de Makis Solomos et de Alain Bonardi, soutenue le 9 décembre 2021.
  • José L. BESADA, « La prise de l’IRCAM? Spanish Composers Facing New Technologies », Contemporary Music Review, 2019, Vol. 38, Nos. 1–2, p. 206–224.


  • Ariadna ALSINA TARRÉS, Dis-Till-Action, dans « Luigi Russolo Contest 2015 » avec des œuvres de Hayashi Kyohei, Paul Ramage, Edwin Kenzo Huet, Alessandro Ratoci, Florent Colautti et Oil Texture, 1 cd Studio Forum, 2015.