This course offers an introduction to the electroacoustic field through the acquisition of fundamental theory, such as music theory and the grammar of electroacoustic music, as well as practical skills, such as the appropriation of tools and an introduction to writing in real time. This is achieved by producing works in a wide variety of forms in real concert conditions. The first year is devoted to short works and an electroacoustic study. In the second year, the student can choose between a large-scale electroacoustic piece, a mixed work for soloist or a work combining chamber music and electronics. In the third year, the student is required to develop his or her own project for a large-scale mixed/interactive piece for soloist or small instrumental ensemble, or a multi-channel electroacoustic piece. At the end of the programme, in the 4th and 5th years, seminars and master classes enable students to tackle issues as varied as concert production, the durability of works, self-analysis and the analysis of electroacoustic works. The students then produce an ensemble work with electronics, an interactive work and/or installations, as well as a mixed work, culminating in the composition prize.

Combining practice and analysis, the instrumentalists give one or more presentations, as well as a commentary on works, playing according to their instrumental practice, as well as a rhetorical analysis of a work from the repertoire of their instrument.

Each course is divided into three parts: theory - practice on the instrument or singing - written exercises to help memorise the essential material. The subjects covered are as follows: Theoretical and musical sources (works) - research methods, ancient publishing techniques and their limitations, notation and its evolution, terminology, basso continuo and its notations, prosody, the foundation of the French vocal and instrumental style, inequalities, their birth, evolution and disappearance, the various early solfeggios and their development, basso continuo notation and its development, aggregmentation and its development from 1600 to 1800 (all the agréments are studied, one by one), the art of the double and of variation, the forms of the instrumental suite, the forms of lyric theatre and, finally, articulations and vibratos. For each subject, students are given a documentation booklet.