The Aesthetics class studies musical repertoires by linking them to the discourse they generate, to the currents of ideas of their time, or to other art forms with which they interact, adopting the threefold point of view of composition, performance and reception. This class is aimed at musicologists, performers and composers who wish to deepen their understanding of music. At the end of their course, students can move into teaching and research, as well as musical practice and mediation.

How do you get an audience to see a score? That's the whole point of the stage work course, which teaches how to tell stories using the sung voice and music. The game is to take the audience into the writing not only of the notes, but also of the poem. Each year, the students take part in an opera or a show written for the occasion. Combining practice (performance accompanied by piano) and theory (applied dramaturgy course), the teaching encourages students to sharpen their critical thinking and provides them with stage tools adapted to all the repertoires sung: opera, oratorio, lied, chanson, operetta, vocal ensemble, etc.

What makes a good stage presence? How does the audience believe, or not, in a story? Expression, movement, occupation of space and singing combine to bring characters to life. Exploring these different parameters, not forgetting aspects of dramaturgy and analysis of the works, the performers learn to share the stage with their partners to bring out a common energy, as well as understanding and reacting to a director's request. Becoming aware of the effects produced by one's performance enables them to play freely with it. By working on improvisation and stage expression, drawing on a wide variety of disciplines (drama, dance, Alexander technique, etc.), they are introduced to the notion of addressing an audience. Each year, the course leads to the creation and public performance of a show.

Through exploration of the instrument's repertoire, historical perspective and in-depth technical work, this course aims to develop mastery of the instrument and a critical approach to interpretation. Particular attention is paid to listening to one's body, in order to prevent the aches and pains associated with playing the instrument. The face-to-face teaching approach allows for personalised learning, helping each student to reach his or her full potential.

Two disciplines are offered for the regular training of dancers on the second cycle of the Master's degree: classical dance and contempoiraine dance.

Working through works from the classical and neoclassical dance repertoire is an essential part of dancers' training, not only to develop their choreographic culture through practice and their experience of the body, sensation and intention, but also to make the link from the outset between the classes and the technical difficulties they encounter during their course and their possible applications in a variety of aesthetic and artistic contexts and styles.