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Julia Pajot



Composer, Musician, Music Supervisor, Orchestrator, Other, film producer

pianist and singer

"Music is the organization of sound, its ordering, design, structure etc, in an abstract, emotional, narrative way."
Julia Pajot
DEC 23rd 2015 post:

Award winning concert orchestral and chamber music and film scores composer as well as researcher on the science of music and sound perception with and without visuals.
Professional pianist and dark dramatic/coloratura soprano (C2-D6+).

Former child prodigy with very early, mature and special musical abilities.

As a composer, i earned many prestigious awards, for both of my concert and film music, many Global Music Awards and a Hollywood Music Award among others.

I am a member of the SCL, the ASMAC, AWFC, and the WIA. I am a voting member of Film Independent, ASIA-Hollywood, and was among the 5 judges of the music committee (music in feature animation, and TV/broadcast categories) for the Annie Awards 2017. I am also part of Hollywood Music in Media Awards (HMMA) voting Academy.

This symphony won silver at Global Music awards in 2016, for the composition and innovation in sound. details on the video.
other pieces awarded silver, on

Global Music Awards (GMA) gold medal as film and pictorial music composer as well as awards for composition and concept of many concert works and film scores, including gold for TEMPETE ENSOLEILLEE (2009) commissioned by the London Sinfonietta and Royal Academy of Music London. many awards including for concept, creativity&originality for both my concert and film works.

ASCAP Morton Gould finalist 3 times, including at 19 and 20 years old for an aria (dramatic soprano and symphonic orchestra on ANDROMACHE) and a 45 minutes symphonic opera (metaphor of life with an intro and conclusion and musical narration of the songs of Nietzsche's THUS SPOKE ZARATHOUSTRA).

Among my projects, is development of my research project for which i am working with several artists in different fields from Hollywood (animation, VFX, sound editing and mixing...) and drove interest from researchers at AMPAS sci-tech council, some developing virtual reality (Craig Barron, Robert Coleman). Violinist Anais Ponty develops new sound instrumental EFX with me and Jill Baer and Ken Blackwell (Now at Universal) write scripts for films based on this research. Thanks especially to sound artist Charles Maynes for his contribution to develop all this.

I have been developing a visual approach to sound. I was always thinking in terms lines and shapes in my music. I quickly became aware of Pierre Boulez's approach to musical space-time (smooth, striated and fixed) where harmony are vertical lines, melody are horizontal lines, etc. I was also thinking this way, and further developed his approach, to physical space-time where time is an additional dimension to the surround field.
I cant say much of my concept, but I am developing a new approach of instrumental composition and orchestration based on movement and soundscape, scientific and visual approach to sound, like an animation of sound. A genius sound artist, Gary Bourgeois, created a brilliant orchestral layout which i developed for surround panning and different ensembles, giving the audience the impression of seating in the center of the orchestra which becomes a real surround field, an immersion from the composition itself. The players were reticent when he experimented, i hope they will understand how immersive and important this is.

I also developed with images in our animated short AU FIL DE L'EAU by Dominique Monfery which i scored and produced. Monfery is an Academy Award nominated director, formerly Disney.
We were selected at numerous film festivals, including major ones, and earned many awards of excellence, gold, silver, at some prestigious competitions, for the film production (we shared the wins for creativity/originality, concept etc), as well as for original score and animation. I won Global Music Awards silvers for the score's composition, concept, creative approach, and for an original concept of score in animation, which is soundscape and "traditional" music (emotion-driven). Several AMPAS members and peers thought the animation was created on the music...
From an Academy member, documentary branch - who had switched from the animation branch - wrote to me about the film:

"I watched your film tonight, and I was utterly charmed by it. I especially liked the music, and was very impressed that you were credited for it. When I made short films back in the 1960s I would hire composers to do my scores and it was always wonderful to work with them. I also loved the way that water was animated into characters, so natural and beautiful. I now understand why your film has achieved such success at festivals, and I hope you make the finals for the short animation Oscar. If I were on the selection committee for animated shorts I would have given it a 10 (max score given). It was that good. Unfortunately I'm not on that committee; but if it ends up being nominated I will definitely watch it at one of the animated short screenings and will definitely consider it for my Oscar vote. Thank you for sharing it with me. I'm looking forward to seeing it on the big screen."

Have a US-born citizen brother in San Francisco.
Lived in: Tokyo (2 years, born there), Austin Texas (3 years), Stavanger Norway (3 years), London UK (7 years), Houston Texas (6 years), Oberlin OH (4 years Bmus), London UK (2 years Mmus) Pau France Bearn (1 year), Anglet France Basque country (2 years)
hold both a French Scientific Baccalaureate and an American High School Diploma.

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Julia Pajot


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