The aim of this course is to refine ear training and knowledge of styles, as well as developing an inner ear and learning how to construct a musical discourse, with its spelling, grammar and syntax. Focusing on writing techniques in harmony and counterpoint, this approach can then lead to the introductory writing class B, which prepares students for entry to the advanced writing cycle.

At the crossroads between music training, chamber music, instrumental and orchestral classes, the sight-reading class gives instrumentalists the essential solfeggio, musical and instrumental reflexes they need when faced with a new score. Once they have grasped the musical theme, they are in a position to give their own interpretation. This apprenticeship also forms the basis of collective playing, through ensemble sight-reading, which requires attentive listening to one's partners. Whether individual or collective, the course emphasises the concepts that are essential to all instrumental playing: intonation, rhythmic precision, nuances, flexibility of tone and the ability to construct a coherent musical phrase from reading.

Consisting of individual or paired mixing lessons, and exercises based on productions, this course aims to acquire the method and confidence to carry out a post-production and mixing project, in keeping with the aesthetic of the recorded repertoire. At the end of this course, the musician-engineers will be able to prepare and manage a work session with musicians and to prioritise the artistic and technical issues, using different technologies.

The two-year natural trumpet syllabus is designed to broaden the horizons of future orchestral trumpeters, who will be required to play 'historical' instruments as they progress with certain conductors. In the first year, the student is introduced to a natural instrument with no system (valves, slides, keys, holes, etc.) and acquires a degree of autonomy in the classical and pre-romantic orchestral repertoire on copies of a nineteenth-century French instrument quite similar to the present-day trumpet. In the second year, the aim is to deepen mastery of this type of instrument and to incorporate stylistic elements specific to the Baroque repertoire into his playing, by tackling pieces by composers of the period on copies of 18th-century German trumpets that are slightly further removed from our current standards.

The Conservatoire prepares its students to reach a very high level of practice. Dance classes are the central element in the training of dancers, but they also need to enrich their practice with other disciplines.

Physical preparation is part of this and will focus on two aspects: the quest for physical performance and injury prevention in order to preserve their physical integrity.

This is all the more important when working with growing bodies. Dancers' specialisation begins very early on. At a very young age, they are required to repeat specific movements over a large volume of classes.

If you want to dance for a long time and be in good physical and mental health, the Conservatoire offers physical preparation tailored to your technical, physical and physiological level. This discipline will work closely with the teachers and the health centre to ensure that it is as adapted as possible to the demands of dance.

We cover a range of topics, including warm-ups, recovery and the organisation of work throughout the year and during the holidays.

The aim is to support the students as early as possible so that they integrate routines into their work at a very early stage. The earlier this work is done, the easier it is to integrate effectively into professional practice because it will have been tested and understood.

Physical preparation is covered in dedicated lessons but can also be integrated into general training outside lessons at the request of teachers or students.

It must respect the overall workload and allow time for recovery.

We aim to develop qualities such as cardio-respiratory endurance, strength, power, flexibility and coordination.