This course aims to provide an in-depth knowledge of sound and acoustic phenomena, with a view to mastering all the mathematical and physical tools required to think about room acoustics.

After a brief theoretical approach that presents the context in which today's filmed music projects are produced (resources, human and technical organisation, production constraints, etc.), in order to shed light on the difficulties and issues involved in working together to produce a successful music recording, the course is based on a series of exercises that are highly representative of the difficulties involved in producing a filmed music project. These exercises, taken from complex, real-life projects, explore all the stages involved in producing a project.

This discipline trains pianists in the specific techniques of accompanying classical and contemporary dance. Depending on their musical background, performers are introduced to or perfect improvisation based on a body shape or suggestion. They also learn to use percussion instruments and electronic instruments, particularly to accompany contemporary dance classes. Accompanying pianists forge their own personal musical aesthetic, and learn to decipher movement as a musical pattern, exploring in depth the relationship between music and dance. Far from limiting themselves to the specific ballet repertoire, pianists learn to adapt the entire musical repertoire to the demands of accompanying movement. The Conservatoire's dance classes and performances are a valuable resource in this respect.

This discipline trains pianists in the specific techniques of accompanying classical and contemporary dance. Depending on their musical background, performers are introduced to or perfect improvisation based on a body shape or suggestion. They also learn to use percussion instruments and electronic instruments, particularly to accompany contemporary dance classes. Accompanying pianists forge their own personal musical aesthetic, and learn to decipher movement as a musical pattern, exploring in depth the relationship between music and dance. Far from limiting themselves to the specific ballet repertoire, pianists learn to adapt the entire musical repertoire to the demands of accompanying movement. The Conservatoire's dance classes and performances are a valuable resource in this respect.

Classical dance is approached at the Conservatoire, as part of the contemporary curriculum, as one of the fundamental techniques, a common thread that will run through each year. The aim is not for students to master all the technical and artistic aspects covered in depth in the classical curriculum, but to learn, practise and grasp a vocabulary and a grammar that they will be called upon to use in their professional careers, in auditions and in certain contemporary works.