Caroline Marçot is a French composer and performer of vocal music, in ensemble and as soloist. She is also artistic director of vocal and instrumental ensembles.

Her productions, generally focused on vocality, including when the author uses instruments, quite frequently develop a polychorality treated in a contemporary manner, while drawing on various elements, particularly medieval and Renaissance polyphony, but also Gregorian chant and spectral music, as well as other musical references, sometimes traditional. These influences are not limited to Europe, especially when they come from the Mediterranean.

( But the scores also live on through the qualities of the different languages chosen. Because of their tendency towards universality, and the importance given to meaning as much as to their more purely sensitive contribution, in connection with the sounds, the texts chosen take on a very special importance in the process of elaboration and creation. )

Caroline Marçot first received her instrumental and theoretical training at the École nationale de musique et de danse d’Orsay, where, from 1989 to 1995, she was awarded the first medals in musical training, piano, chamber music, analysis and composition. She then entered the Conservatoire à rayonneent régional de Paris. There, she was unanimously awarded first prizes in harmony and counterpoint in Bernard de Crépy’s class, as well as a second prize in orchestration and a certificate in ancient solfeggio.

Admitted to the Conservatoire nationale supérieur de musiqe et de danse de Paris in 1996, she won first prizes in analysis and Renaissance counterpoint, as well as prizes in aesthetics, 20th-century composition, harmony, orchestration and musical acoustics.

In 2000, she also obtained a degree in musicology from the Université de Paris-Sorbonne.

This training has also enabled her to teach musical analysis and vocal ensemble conducting at the ARIAM Île-de-France regional conservatory in Aubervilliers and for the Maîtrise de Nôtre-Dame de Paris.

Trained as a pianist, she made her name as a singer and composer. In 2000, she began writing her first pieces. She is particularly interested in the various aspects of sound phenomena, and her predilection for singing naturally leads her to compose mainly vocal works. Throughout her catalog of works, we note the importance she attaches to the choice of texts: their anointing appears primordial on several levels. The text not only conveys its own meaning, but also enables a purely musical sense to be developed. The composer thus explores the aural richness of French, Italian, German and Arabic, as well as regional languages such as Breton, Corsican and Creole.