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.

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.

Mastery of tuning (technique, culture, theoretical approach) gives the performer an additional understanding of a work and its aesthetic context. A veritable reading grid, it establishes the state of mind, the emotional environment of a piece or programme, while revealing relief, nuance, light and shade. It is a sensory guide, an inspiration, for the musician and the listener, opening up a world of hierarchical colours where coherence and contrasts, consonance and harshness invite expressive play. Tuning and organological notions will enable students to become autonomous when it comes to minor operations. By refining their perception of instruments, they will question their technique as well as the ideal sound they have of a school of instrument making or a score.

In years 3 and 4, sound recording workshops in partnership with students in the master's cycle of the Jazz and Improvised Music class enable students to master the various aspects of sound recording as part of a jazz or improvised music project. Through these experiences, as well as masterclasses, they acquire method and confidence in the choice and implementation of sound recording devices, in line with both artistic and technical issues.

This course provides the theoretical, analytical, aesthetic and practical fundamentals of any classical music recording project. The course illustrates the issues involved in the artistic direction of a recording, through the choice of takes and the construction of an edit.