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.

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.