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Solfège and musical culture (History, analysis . . . ).
From 42 € /h
Former student of the Conservatoire National Supérieur de Musique et de Danse de Paris, editor-in-chief of the magazine Avant-Scène Opéra, editor for the Philharmonie du Luxembourg, I offer you the following lessons.
Music theory and musical culture are essential tools for understanding and making music.
Music theory, because it allows you to master the technical tools that allow you to make music, is fundamental for anyone who wants to progress in their instrument.
Musical culture makes it possible to understand what goes on in music beyond the technique. From this knowledge (established over a lot of listening) we can develop an interpretation and go beyond technical issues.
For music theory lessons only, I constantly articulate the different musical parameters (rhythm, intonation, ear, etc.) and draw my training from the repertoire, which has the advantage of making music from the start. Small technical exercises also allow you to focus on one or the other parameter, but the perspective remains mainly that of a global approach placing the music at the center.
As far as musical culture is concerned, I use each of my professional experiences (Musicologist, playwright and music critic) to transmit my knowledge to you.
Thus we will approach the history of music through works (history of forms and languages), interpretation and places of music.
It is mainly through the study of documents (texts of musical criticism, iconography, scores, musical instruments...) that transmission takes place. Knowledge completes and informs this documentary study. Finally the study of document and the erudition have only one goal: to enlighten the listening of the works which I place at the heart of my teaching.
Music theory and musical culture are essential tools for understanding and making music.
Music theory, because it allows you to master the technical tools that allow you to make music, is fundamental for anyone who wants to progress in their instrument.
Musical culture makes it possible to understand what goes on in music beyond the technique. From this knowledge (established over a lot of listening) we can develop an interpretation and go beyond technical issues.
For music theory lessons only, I constantly articulate the different musical parameters (rhythm, intonation, ear, etc.) and draw my training from the repertoire, which has the advantage of making music from the start. Small technical exercises also allow you to focus on one or the other parameter, but the perspective remains mainly that of a global approach placing the music at the center.
As far as musical culture is concerned, I use each of my professional experiences (Musicologist, playwright and music critic) to transmit my knowledge to you.
Thus we will approach the history of music through works (history of forms and languages), interpretation and places of music.
It is mainly through the study of documents (texts of musical criticism, iconography, scores, musical instruments...) that transmission takes place. Knowledge completes and informs this documentary study. Finally the study of document and the erudition have only one goal: to enlighten the listening of the works which I place at the heart of my teaching.
Location
At student's location :
- Around Paris, France
At teacher's location :
- appartements paul, Rue de la Voûte, Paris, France
Online from France
About Me
Musicologist and musician, music critic for l'Avant-Scène Opéra, editor for the Luxembourg Philharmonic, I am constantly looking for new ways to share my musical experience and pass it on.
Teaching thus ideally complements my other activities, constantly enriching my own experience.
To teach I always try to place the student in the posture of the investigator, whether in music theory or in music history. Thus he realizes which tools he must master and why. The investigation begins again with each piece or document studied, these being proposed according to a progression attentive to the facilities and difficulties of the students.
I deeply believe that one learns better by knowing for what reasons one must master the tools of music theory and musical culture, I thus try to first make the student aware of the need to master these tools.
Teaching thus ideally complements my other activities, constantly enriching my own experience.
To teach I always try to place the student in the posture of the investigator, whether in music theory or in music history. Thus he realizes which tools he must master and why. The investigation begins again with each piece or document studied, these being proposed according to a progression attentive to the facilities and difficulties of the students.
I deeply believe that one learns better by knowing for what reasons one must master the tools of music theory and musical culture, I thus try to first make the student aware of the need to master these tools.
Education
● Classes of aesthetics, analysis and history of
music - master of musicology
National Superior Conservatory of Music and Dance // Paris // since September 2017
● Specialized cycle of CONTREBASS Conservatoire Iannis Xenakis // Evry // since September 2017
● Specialized cycle of ORCHESTRA DIRECTION Conservatory Iannis Xenakis // Evry // 2015-2017
● BACHELOR of Music Goldsmiths College - University of London // London // 2012-2015
● KHÂGNE preparatory class Classical Music Specialty // Lycée Fénelon // Paris // 2009-2012
music - master of musicology
National Superior Conservatory of Music and Dance // Paris // since September 2017
● Specialized cycle of CONTREBASS Conservatoire Iannis Xenakis // Evry // since September 2017
● Specialized cycle of ORCHESTRA DIRECTION Conservatory Iannis Xenakis // Evry // 2015-2017
● BACHELOR of Music Goldsmiths College - University of London // London // 2012-2015
● KHÂGNE preparatory class Classical Music Specialty // Lycée Fénelon // Paris // 2009-2012
Experience / Qualifications
ACADEMY OF THE FESTIVAL D'ART LYRIQUE D'AIX EN PROVENCE - ENOA
Summer 2019
Masterclass "Opera and Journalism"
NATIONAL CONSERVATORY OF MUSIC AND DANCE OF PARIS
2018-2019
Trainee in the communication department and publishing of the Conservatory
THE PRE-SCENE OPERA
Since September 2018
Music critic and journal contributor
OPERA NATIONAL DE BORDEAUX PHILHARMONIE DU LUXEMBOURG OPERA ORCHESTRE NATIONAL DE MONTPELLIER FESTIVAL “OSEZ HAYDN” -CONCERT DE LA LODGE BANQUE LAZARD FRÈRES
2017-2020
Writing of program notes, DVD booklet and exhibition mediation
OIA-BRENTANO (Paris)
2012
Intern, biography writing, artist suggestions
Summer 2019
Masterclass "Opera and Journalism"
NATIONAL CONSERVATORY OF MUSIC AND DANCE OF PARIS
2018-2019
Trainee in the communication department and publishing of the Conservatory
THE PRE-SCENE OPERA
Since September 2018
Music critic and journal contributor
OPERA NATIONAL DE BORDEAUX PHILHARMONIE DU LUXEMBOURG OPERA ORCHESTRE NATIONAL DE MONTPELLIER FESTIVAL “OSEZ HAYDN” -CONCERT DE LA LODGE BANQUE LAZARD FRÈRES
2017-2020
Writing of program notes, DVD booklet and exhibition mediation
OIA-BRENTANO (Paris)
2012
Intern, biography writing, artist suggestions
Age
Children (7-12 years old)
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Beginner
Intermediate
Advanced
Duration
60 minutes
The class is taught in
French
English
Skills
Availability of a typical week
(GMT -05:00)
New York
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
Good-fit Instructor Guarantee





