Since the first substantial work on temperaments in the 1950s, knowledge of keyboard tuning and, more generally, of the conception of intonation in past centuries has grown steadily, to the point where it is no longer possible to approach historical repertoires without taking them into account, in terms of both performance and understanding of the compositional process.

Over and above the theoretical and acoustical aspects that are essential, and always linked to the reality of live sound, this course explores an essential aspect of musical thought, and aims to guide today's musician, whether a high-level practitioner or a future scholar, towards a more enlightened attitude.

This class offers a specific approach to improvisation for organists, in line with the French tradition of organ improvisation. Drawing on a wide range of experiences - collective improvisation, free improvisation, improvisation on a theme, improvisation based on given elements, or improvisation in relation to silent films, theatre, dance, circus, electronics, etc. - instrumentalists acquire a freedom of play and a capacity for invention in a wide range of styles. Rhythmic, harmonic and melodic forms and languages of the past are studied and practised in depth. At the same time, cross-disciplinary projects and public sessions with guest artists provide the class with an eminently contemporary approach, echoing a wide variety of aesthetics and expressions.