Campus 2026: Lied and Melody

version n°1 dated 05/2025
Validity of version n°1: 1 year renewable

Course description/content of the training

This new one-session program will combine theoretical and practical approaches, in the form of experimental workshops, creative phases, seminars, meetings, lectures and role-playing situations, with the main theme of this second edition: From solo form to collective project.

Number of traines minimum / maximum

Floor: 4 piano duets & vocals
Ceiling: 5 piano duets & vocals

Educational objectives

Knowledge

• 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

Expertise

• 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 information provided by an art historian to refine your interpretation of a work of art
• Define one’s own interpretation of a work, based on advice from supervisors

soft skills

• Hearing and understanding managers’ requests and musical suggestions
• Clearly express musical intentions and justify them
• Adapt to the demands of a repertoire (pronunciation, musicality of a language…)
• Share your interpretation with an audience during the final performance

Targeted competencies / operational objectives

• Learn the specific repertoire of French mélodie and German Lied.
• Learn more about German and French prosody…
• Analyzing poetic texts
• Learning to design a mediation

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.
  Courses are given in English, German or French.
• A public presentation at the end of the training course, in the form of a masterclass, a presentation of the entire body of work performed, etc.
  All participants are invited to attend, without 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 :

• Pre-selection on the basis of an application file (via the platform…) by the educational director, using a questionnaire to identify the needs of the beneficiary.
• Assessment of professional level through biography, copies of awards and diplomas, and audio and/or video file.

During classroom training :

• During face-to-face training: Evaluation of the beneficiary’s reactivity and ability to quickly integrate the trainer’s proposals.
• During the presentation at the end of the training: performance of one or more works in a real-life situation in front of an audience enables you to appreciate the evolution of your interpretation, as well as your emotional and physical postures.

The interview is used to evaluate and guide career choices.
The following are some of the observations made by 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.

At the end of training

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.

Qualitative assessment methods

The beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
Concerts outside the training programme enable us to monitor the development of the beneficiary’s career after the training, and in particular to assess the quality of the performance and the number of concerts given.
A post-training follow-up is established, for which beneficiaries are asked to inform us within six months of the end of the training programme of any 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.

The Foundation has :

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

Contact