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

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.

One of the aims of harpsichord teaching is to teach students the art of playing the harpsichord, so dear to François Couperin (1668-1733): in other words, not only the art of playing the instrument well, but also the art of touching and moving today's audiences with this marvellous repertoire spanning several centuries. Baroque music is plural; the musical idioms of each country are highly distinctive, more so than in later periods. The course aims to reflect this variety of languages. Thus, the art of touching the harpsichord is also the art of touching harpsichords, because different instruments bring out different works of astonishing beauty and topicality. This diversity is made possible by the incredible richness of the range of keyboards in our instrumental repertoire.

As part of a dual course in harpsichord and basso continuo, this course trains harpsichordists to interpret the full range of styles in the ensemble music repertoires of the seventeenth and eighteenth centuries. Theoretical sources, treatises, early texts and facsimiles help students to understand the thinking of the period, and even to learn the partimento technique as a first step towards improvisation. By the end of the course, instrumentalists will be able to give a historically informed interpretation of any type of text. This learning is a real professional asset, whether as part of a concert activity or as a teacher. In this course, which covers the various aspects and development of the basso continuo of the seventeenth and eighteenth centuries, performers acquire the fundamental skills needed to tackle these repertoires on any type of keyboard instrument (organ, fortepiano).