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.

Through the comparative analysis of recordings and the creation of basic mixes, this course trains the ear in technical listening. By the end of the course, students will have mastered the vocabulary of sound analysis and its technical characteristics. They will be able to qualify a sound recording objectively in terms of both spectral and spatial representation.

Professionalization training spread over the^1st and^2nd postgraduate cycles, consisting of practical workshops and plenary lectures on the following themes:

APM1: health (prevention of musculoskeletal disorders, hearing risks, sexist and sexual violence, managing performance anxiety)

APM2: audiences and projects (digital issues, mediation, stage presence; designing, building and defending an artistic project)

APM3: rights and finance (public and private funding and the legal framework for the musician's profession)

APM4: solidarity initiatives (working in sectors far removed from music)