Through personal sound projects, informed by the contributions of a wide range of players from the world of live performance, this course aims to master the various aspects of concert sound. The course covers the design of technical control rooms, sound diffusion engineering, the use of network technologies and diffusion processors, 'line source' systems and immersive diffusion. By the end of the course, students will have solid expertise in sound engineering for amplified music and live performance.

There were four types of oboe in use in the 18th century: baroque oboe, oboe d'amore, hunting oboe and classical oboe. During this course, instrumentalists acquired technical mastery of these instruments (ornamentation, improvisation, etc.), so as to be able to switch from one to the other without difficulty, sometimes within the same work, according to the practice of the time. As well as learning the instrument, the oboists are also part of a group, which the ensemble endeavours to shape. A number of instrumentalists and singers gravitate around the students, creating a landscape conducive to chamber music and ensemble playing. To prepare musicians for professional life, curiosity and a sense of initiative are encouraged, both in initiating collective work and in exploring the history of instruments and the context in which works are created.

In addition to studying the modern oboe, an introduction to the baroque oboe enables instrumentalists to complement their main discipline stylistically and technically (working on flexibility, air speed).

Study of vocal and instrumental polyphonic writing, whether free or using advanced contrapuntal techniques (combinatorics, double or triple counterpoint, canon, etc.).

Study of the musical discourse based on given elements (themes, chorale melodies, melodic incises) through short forms (chorale prelude, variation, motet).

Two programmes alternating every other year.

Year A:

• In-house work in three weeks: Motet on a ^{nineteenth-century} author for vocal quartet and keyboard;
• Loge de 17h sans piano: Choral variations in the style of J.-S. Bach;
• Homework in a fortnight: Chorale variation in the style of J.-S. Bach using canonical writing, on the same subject as the lodge.

Year B:

• Homework in three weeks: Motet in the style of J.-S. Bach for vocal quartet and continuo;
• 5 pm lodge without piano: Variations on a ^{nineteenth-century} author for piano;
• Two weeks' homework: A more developed final variation on the same subject as the lodge.

The programme studied during 2024-2025 is the A programme.