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.

The three-year first cycle is the foundation for learning to be a performer and leads to the DNSPM. The teachers, exceptional artists and teachers, guide the students in the development of their practice and their relationship with their instrument. At the end of their studies, students reach a professional level and can perform in a wide range of fields, from solo to orchestral and chamber music. The wide range of fields explored means that they are able to tackle all repertoires, from baroque to contemporary.

Instrumental lessons, which make up a large part of the training, play a central role, enabling each student to develop and express his or her artistic sensibilities. In order to train artists who are open to the world, this teaching takes a broad perspective, combining theoretical aspects (musical training, analysis, history of music) with practical aspects (chamber music and orchestra). Various options can be added to this general curriculum to meet individual aspirations, always with a view to training well-rounded, fulfilled artists. Seminars, lectures and master classes are regularly offered on a wide variety of themes. Performers who so wish can also complete their studies by taking the DE (teacher training) course, or the joint course with Sorbonne University leading to a degree in music and musicology.

Lasting two years, the second cycle offers performers the opportunity to achieve the highest standards in the practice of their art, with autonomy and a critical sense. Through intensive individual and group practice, students are helped to assert and express their artistic personality. The field of exploration is particularly wide-ranging, enabling each student to forge his or her own repertoire, whether as a soloist, chamber musician or orchestral player. The end-of-year recital, the high point of the course, gives each student the opportunity to develop and perform his or her own programme in public. By the end of the course, artists will have the resources they need to continue their development in complete autonomy. The acquisition of essential tools and skills for managing a career and projects is designed to facilitate their professional development.

Orchestral training is also offered through orchestral sessions conducted by guest conductors from the professional world. There is also an introduction to research, including the acquisition of methodology (first year) and personal study work (second year). Various options can be added to this general curriculum, to meet the aspirations of each student, always with a view to training complete and fulfilled artists.

In addition to their studies, instrumentalists can take an introduction to the ancient French horn, providing a stylistic and technical complement to their main discipline.

Organised over 5 days, this module offers an immersion into the issues of musical transmission, to students preparing a ^2nd cycle Diploma in Music Performance (all aesthetics, all instruments or singing), Writing or Musicology. Validation of the "Sciences of Musical Education" cycle in the DE curriculum entails automatic validation of the "Initiation to Pedagogy" module within the ^2nd Cycle Music Performer Diploma.

The transmission here is not understood solely in terms of the "classical" teaching posture, but by drawing on the creative impulse, repertoires and artistic imagination of the students∙es. By not limiting itself to the framework of conservatoire teaching, the 'pedagogy' to which this module proposes to introduce thus intends to help the musician not only to carry out the practical tasks of transmission which are or will be theirs in a professional context, but also to give meaning to their role in society.