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Around the Codex Ivrea


The Codex Ivrea (Ivrea, Piedmont, northern Italy, Biblioteca Capitolare, 115) is one of the most important Ars Nova manuscripts, copied during the second half of the 14th century. It contains over 80 pieces of French vocal music, including motets, rondeaux, ballades, virelais and excerpts from the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus). The Codex was conceived as an object for musical practice: it has come down to us in very worn condition, containing annotations on modality, on “conjointes” (musica ficta), with numerous corrections that provide valuable insights into the difficulties encountered by singers in contact with this repertoire.

The Royaumont Foundation’s professional training program will examine this manuscript in the light of the historical practices described in the medieval treatises (notation, solmization, counterpoint, ornamentation), as they can be rediscovered today thanks to the help of the Royaumont Foundation. digital humanitiesby comparing them with a living oral tradition, the music of North India, around parallel themes: modes of transmission, repertoires, improvisation, modality, pole notes, melodic motifs, vocal agility, ornamentation, intonation, rhythm and notation.


David Chappuis conductor, orchestra and choir
Chloé Loneiriant, singer, flautist


David Chappuis, orchestra and choir conductor

* 2019-2020: research seminar on Philippe de Vitry. 2020: Chanter l’ars nova français training course. 2022-2023: Arborescence ensemble residency on Philippe de Vitry’s Motets.

A specialist in medieval and contemporary music, David Chappuis founded Le Miroir de Musique in 2004. With this ensemble, he carries out a fundamental work of returning to the sources and putting into practice historical practices (notation, solmization, counterpoint, ornamentation, declamation) around the French vocal music repertoires of the 13th and 14th centuries. This work led to two applied research projects at the Haute école de musique de Genève, in collaboration with the Fondation Royaumont: “Interpréter la musique polyphonique entre Ars antiqua and Ars nova ” and “Chanter les motets de Philippe de Vitry”, as well as the creation and direction of the ensemble Arborescence

David Chappuis divides his time between composition, performance, research and teaching (HEM Geneva and CNSMD Lyon).

Chloé Loneiriant, singer, flautist

Of the 7 years Chloé Loneiriant spent in India, she trained on the Bansuri flute with the legendary Hariprasad Chaurasia for 5 years, residing in his traditional school with him. She holds a Master’s degree in Hindustani bansuri music. She also trained in Khayal singing with Tulika Gosh, obtaining a diploma in Hindustani singing from the University of Mumbai. Chloé holds a Bachelor’s degree in classical flute from Montreal, and has performed with numerous international ensembles throughout India and Canada. Since September 2022, she has been teaching Indian instrumental music and Hindustani singing at Montpellier’s Cité des Arts-Conservatoire à Rayonnement Régional.

* previous collaborations with Royaumont


  • 12 singers and instrumentalists

Terms and conditions



Monday, April 15 to Saturday, April 20, 2024 at Royaumont

Training duration: 6 days, 42 hours
Training schedule: see program sheet below.

The participants formally commit themselves to follow the entire curriculum.

All Royaumont Foundation training programs have a minimum access time of 11 working days.
For example, if the Royaumont Foundation validates the application on June 14, it can offer the beneficiary a course that begins on June 29.

Public presentation

Fenêtre sur cour(s) on Saturday, April 20, 2024 at 6pm


Selection on file

Elements to be provided

For the application and selection process, you will need to provide the following:

  • letter of motivation
  • biography (imperative: 600 characters including spaces)
  • CV
  • picture
  • 1 or more video files related to the chosen course (please note that WeTransfer links will not be uploaded)

Closing date for applications

Sunday, October1, 2023 at midnight

Fiche programme

version n°1 of 07/13/2023

Number of traines minimum / maximum

Minimum number of singers: 10
Maximum number of singers: 12

Pre-requisites and conditions of access to the course

Young professional singer in the final stages of higher education
Participants formally undertake to complete the entire 6-day course.
The conditions of access are transmitted during the training.

Targeted competencies / operational objectives

At the end of the training, the beneficiary will be able to :

  • Performing the Codice Ivrea repertoire
  • Explore pieces for soloist or for two or three accompanied voices, as well as the historical context

Educational objectives


  • Analyze a work (form, rhythm, harmony…)
  • Acquire the technical tools needed to interpret a repertoire, and know when and how to use them.
  • Understand a sung text in its literal meaning as well as its subtext
  • Integrate the pronunciation of sung texts in one’s mother tongue as well as in foreign languages
  • Defining the dramaturgical content of a work
  • Memorize musical works to detach oneself from the score
  • Identify the specific characteristics of the professional network in which the beneficiary wishes to pursue a career


  • Build a coherent concert program with a given timing
  • Efficiently repeat a program in a limited amount of time
  • Findyour musical and human place in a band
  • Acquire the technical tools needed to interpret a repertoire, and know when and how to use them.
  • Work and search in the music library: find a specific work or search for lesser-known works to perform, identify an edition and its relevance to a composer’s work.
  • Take into account the information provided by a musicologist specializing in a given repertoire to fine-tune your interpretation of a work.
  • Define one’s own interpretation of a work, based on advice from supervisors
  • Affirm your career plan by defining the various stages and a development strategy
  • Publicize your work to the public, the press and professionals

soft skills

  • Hearing and understanding managers’ requests and musical suggestions
  • Clearly express musical intentions and justify them
  • Communicating with kindness to the artists with whom we play the difficulties we may encounter in our relationships.
  • Share your interpretation with an audience during the final performance
  • Exchanging musical ideas with artists with whom we play and defining a common discourse
  • Adapt to the demands of a repertoire (pronunciation, musicality of a language…)
  • Benefit from the learning of other training participants
  • Identify all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist…
  • Identify the various contacts in a professional sector and know how to approach them to develop your artistic projects.

Course description/content of the training

The entire program is designed around an immersive, co-constructed pedagogy.
This new program, organized in one session, will combine theoretical and practical approaches, in the form of experimental workshops, creative phases, seminars, meetings, conferences and role-playing situations, with the common thread for this third edition: from solo form to collective project.

DAY 1 10 a.m.: welcome and tour de table
11am-1pm/14.30pm-6.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificities
Face-to-face reception, with all the participants in the training.
DAYS 2 to 510am-1pm/14.30pm-6.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificitiesSessions facilitated by the speakers.
DAY 610am-1pm/14.30pm-4.30pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificities
6pm-7.30pm: Fenêtre sur cour(s) (Window on the courtyard): rehearsals open to the public, presentation of the group and the work carried out during the week.
Sessions facilitated by the speakers.

This sample schedule can be adapted to suit the needs of the course and its participants.

Methods used

Teaching aids :

Practical, face-to-face teaching in the form of performance classes given by the main instructor in small groups or collectively, depending on the repertoire covered.
A public presentation at the end of the course can take the form of a masterclass, a presentation of the entire body of work performed or other…
It brings together all beneficiaries and does not give rise to remuneration.

Technical resources available :

The rooms are spacious, equipped with music stands (solid or folding), chairs or stools suitable for musicians (without armrests) and the instruments required for training.
Beneficiaries bring their own instruments and scores, which are not supplied.
Outside lesson times, rehearsal spaces can be made available free of charge, on request and subject to availability.
The abbey monument in its entirety (rooms and gardens)
Documentation via private Drive

Monitoring and evaluation methods

Before training :

Selection of trainees by the pedagogical managers of the CRRs in the Ile-de-France region
Registration only with the partner CRR establishments. No registration on Royaumont website

During the course, face-to-face

  • Evaluation of the beneficiary’s responsiveness and ability to quickly integrate the suggestions made by the consultant.
  • During the presentation at the end of the training: the interpretation of one or several works in a real situation in front of an audience allows to appreciate the evolution of the interpretation, as well as the emotional and physical postures.

The interview is used to evaluate and guide career choices.
In particular, the following are observed for the beneficiary :

  • the quality of physical and gestural ease,
  • the relevance of interpretation in relation to historical and musicological analysis,
  • accuracy and coherence within the ensemble,
  • the relevance of work techniques,
  • taking into account the spatial and acoustic configuration of the site,
  • the quality of the relationship with the public.

The beneficiaries sign a sign-in sheet for each half-day.

End course :

A certificate stating the objectives, nature and duration of the course, and the results of the training assessment, is given to the beneficiary, along with the certificate where applicable.
The beneficiary fills in a qualitative evaluation form in order to assess the training’s achievements from an artistic, pedagogical, human and material point of view.
Concerts outside the training framework enable us to monitor the development of the beneficiary’s career after the training courses, and in particular to evaluate the quality of performance and the number of concerts given.
A post-training follow-up is established, for which the beneficiaries are asked to inform during the six months following the end of the training of the contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register.

  • Rooms accessible by elevator.
  • Screen equipment and amplified speakers.
  • Catering on the first floor.

Pedagogical manager

François Naulot, artistic director of the Voix et Répertoire division

Administrative referent

Catherine Huet, administrator of the Voix et Répertoire division

Disability referents

Samuel Agard and Doriane Trouboul

La Fondation Bettencourt Schueller est le mécène principal du pôle Voix et répertoire de la Fondation Royaumont.

The Etrillard Foundation supports the Royaumont Foundation’s programs of professional training, research, residency and artistic dissemination, which aim to give new influence to medieval music.

La certification qualité à été délivrée au titre de la catégorie d’action suivante :