Medieval Campus 2026

Sylvain Dieudonné has won numerous prizes at the CNSMDP, and specializes in the study of Gregorian chant and medieval music.

Much of his research work is devoted to studying and restoring the musical heritage of Notre-Dame de Paris.

His activities as choral conductor and teacher at the Maîtrise de la Cathédrale parisienne (1994-2019) have enabled him to forge partnerships with numerous artists and specialist ensembles. In 2020, he became musical director of the Pérotin le Grand ensemble, and in 2022, he was appointed Professor of Gregorian Chant at the CNSMDP.

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, from solo to collective projects.

Day 1	Afternoon : reception of beneficiaries	Face-to-face reception, with all the participants in the training.
Days 1 to 4	10:30am-1pm/14:30pm-6pm: Group lessons, detailed work on each work, definition of aesthetic and technical specificities 6pm>8pm: Meetings, discussion of ideas, personal time…	Sessions led by supervisors and speakers
Day 5	10:30am-1pm/14:30pm-4:30pm: Group classes, detailed work on each work, definition of aesthetic and technical specificities 6pm-7:30pm: Spotlight on campus: rehearsals open to the public, presentation of the group and the work carried out during the week.	Sessions led by supervisors and speakers

Number of traines minimum / maximum

Minimum: 10 singers/instrumentalists
Maximum: 12 singers/instrumentalists

Educational objectives

Knowledge

• Analyze a work (form, rhythm, harmony…)
• Understand a sung text in its literal meaning as well as its subtext
• Integrate the pronunciation of sung texts in the language of the period

Expertise

• Efficiently repeat a program in a limited amount of time
• Find your musical and human place in a band
• Acquire the technical tools needed to interpret a specific repertoire, and know when and how to use them.
• Take into account the information provided by a musicologist specializing in a given repertoire to fine-tune your interpretation of a work.

soft skills

• Hearing and understanding managers’ requests and musical suggestions
• Share your interpretation with an audience during public performances
• 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…)

Target skills / operational objectives

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

• Interpret repertoires proposed by the trainer
• Explore monodic and polyphonic pieces, as well as their historical context
• Deciphering scores from different medieval periods

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 (or end of the week) 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 :

Rooms are spacious, equipped with music stands (solid or folding), chairs or stools suitable for musicians (without armrests) and, where appropriate, 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 beneficiaries by the principal speaker and the Royaumont Foundation’s educational director

During the course, face-to-face

• Evaluation of the beneficiary’s responsiveness and ability to quickly integrate the suggestions made by the consultant.
• During on-campus presentations: the performance of one or more pieces in real-life situations before an audience of visitors to the monument enables us to appreciate the evolution of interpretation, as well as 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.

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.
A post-training follow-up is established, for which beneficiaries are asked to inform us within six months of the end of the training 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, or get in touch with our disability advisors.

The Foundation has :

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

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