Accordion

These objectives are broken down into three groups:

In-depth knowledge of instrumental technique and the use of imagination and inventiveness in musical interpretation

• In-depth knowledge of keyboards and fingering combinations on the 5 rows
• Development of expression through technical mastery: variety of attacks and note endings, articulations (finger, bellows), bellows/key release relationship, diversity of touches, playing modes, timbres, phrasing, dynamics, flexibility of the bellows line, sound research and experimentation.
• Awareness of form, interpretative analysis
• Awareness of anatomy, breathing and body movements in playing

Repertoires

• Knowledge of the repertoires specific to the instrument, in the diversity of arrangements (solo, chamber music, orchestra, concertos, etc.) and in the diversity of repertoires (French, European, non-European, from the Renaissance to the present day).
• New technologies
• Approaching the problems associated with transcribing and adapting non-original repertoires and developing appropriate techniques (basso continuo, ornamentation, treatises, etc.)
• Opening up to orality and improvisation
• Development of knowledge of the stylistic and cultural languages and issues specific to each repertoire
• A critical approach to the relationship with the text, through the study of sources and traditions of interpretation (mainly in the^2nd cycle)

Preparation for the stage

• Development of personal learning and working methods and strategies
• Development of interpersonal skills associated with public performances
• Diversification of professional contexts, particularly by taking into account the diversity of audiences (mediation)
• Support for the realisation of artistic projects
• Building coherent musical programmes (mainly in the^2nd cycle)

In line with the objectives set, the subject is structured around the following teaching content:

Deepening of instrumental technique, mobilisation of the imagination and inventiveness in musical interpretation

• Technical exercises
• Body and breathing warm-up exercises (with or without an instrument)
• Coaching students in the interpretation of works: musical intention in relation to gesture, interpretative analysis, narrativity, study of different interpretative traditions
• Developing the sound imagination through invention, improvisation, experimentation, etc.

Repertoires

• Suggesting repertoires and assisting students in their choice of works, with due respect for instrumental progression and the specific features of each cycle of higher education and the objectives set with the student.
• Organisation of the different sections of the year
• Introductory workshop in contemporary techniques, improvisation and new technologies
• Introduction to basso continuo, ornamentation and treatise reading (C.P.E. Bach, Couperin, Quantz, etc.)
• Discovery of chamber music, ensemble and orchestral repertoire and work on accordion parts
• Development of cultural knowledge

Preparation for the stage

• Auditions and class concerts
• Preparation for competitions, exams and recitals
• Support in combining repertoires to create a concert programme

^1st HIGHER CYCLE

DNSPM 1

Duration: 20 min. maximum

1. a compulsory original work, posted two months before the exam
2. one work (or a selection of movements) composed before 1750, practised during the year
3. one work of your choice

DNSPM 2

Duration: 25 min. maximum

1. one compulsory original work, displayed two months before the exam
2. a work (or a selection of movements) composed before 1800, worked on during the year and different from that chosen in DNSPM 1
3. a free programme (10 min. maximum)

DNSPM final examination

Public recital

Duration: 30 minutes maximum

1. a compulsory original acoustic or mixed work (8 min. maximum), possibly a new work, posted two months before the examination
2. a free programme, including at least one transcription or adaptation

^2nd HIGHER CYCLE

^1st year

Non-audience recital

Duration: 45 minutes maximum

1. an original compulsory work composed after 1980, posted two months before the examination
2. a concertante work of the student's choice, with a small ensemble organised by the student (approximately 15 minutes) or a chamber music work of the student's choice (maximum 15 minutes)
3. a free solo programme, including a transcription and/or adaptation
4. an oral commentary by the jury after deliberation

^2nd year

Public recital

Duration: 50 minutes maximum

Free programme

Throughout the course