The aim of the fugue and forms class is to deepen the practice of counterpoint by writing fugues in the styles of Bach and Beethoven, and to compose large-scale musical forms using models from the repertoire. The various components of the musical discourse are studied, using a variety of forms, principally the sonata allegro in the styles of Bartók, Beethoven and Brahms.

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.

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.

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.

Works of art are not silent. If you listen carefully, music and sound resonate throughout the painting, its figures, motifs and landscapes. It is this exploration that forms the basis of this teaching, which is a special feature of the Paris Conservatoire, which is convinced of the rich links between the eye and the ear. Like a red thread, the origins of the instruments are put into perspective by a journey through several thousand years of art history, encompassing sculptures, paintings and archaeology from prehistory to the twentieth century. An invitation to discover the history of art, this course aims to awaken instrumentalists as citizens of the world, aware of the profusion of languages and art forms across the centuries and civilisations.