Pascale Criton (Paris, 1954) studied composition with Ivan Wyschnegradsky, Gérard Grisey and Jean-Etienne Marie. For her interest in ethnomusicology will participate in the activities of the research group on oral tradition to Abidjan in 1979.
During that period Pascale Criton runs several workshops creation: 1979-1981 at the University Paris VIII, at the Avignon Festival from 1977-1978 and between 1981-1982 at the Conservatoire of Pantin. From 1975 to 1980 was a member of the Compagnie de Théâtre Musical des Ulis, with Michel Puig, Michael Lonsdale, Catalin and Edit Dasté Scob. Her experience in the world of the scene is still under production Transcenic: dance, theater, music, audiovisual, and in particular with the Black screens project created in 1982.
In the field of musical research, in 1980 Pascale Criton explores the micro-intervals and its organization. In her writing she uses scordatura —specific chords to of stringed instruments, of the guitars, of the piano— associated with the instruments of the orchestra and digital synthesis.
Fascinated by the work on the sonor continuum, she meets Gilles Deleuze (1978-1987) and enrolls in the course of Daniel Charles (University Paris VIII, 1987). Her doctoral research was in Music and Musicology of the twentieth century, carried out at IRCAM under the direction of Hugues Dufourt.
In 1999, the Ensemble 2e2m dedicated a monographic concert and a publication (collection à la ligne (Ensemble 2e2m): Pascale Criton, univers them microtempérés). Her works are published by Jobert and interpreted both in France and abroad.