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Performing Arts and Music Departments. (Tenured position) In the Performing Arts Dpt, classes on Film Music, Opera dramaturgy and Computer Music. I was head of the Centre Primus (Tonmeister curriculum)in 1994-2000, and responsible in part of the funding for the cursus ($100 000/year) and of relationship with industry and research. I carried classes on musical analysis and composition. Beforehand (starting 1988) Instructor in the Primus Center and the Music Dpt and Visiting professor at CFMI (Center for Children Music Pedagogy).

I was head of the Sound Department of Conservatoire national supérieur de musique de danse de Paris (CNSMDP in short) between 2009 and september 2013. The department gives classes in musical acoustics and, mostly, is home of the FSMS.

• FSMS goes for Formation supérieure des métiers du son, and is the name of the Tonmeister curriculum in the Sound Department of CNSMDP. It caters for some 35 students. It provides a unique mix of high-level musical instruction, scientific knowledge and in-depth practical experience of sound-engineering technology.
• Former FSMS students held positions in sound recording, P.A. systems jobs, studio and arraging jobs, etc.
• Outside of the Sound Department, I was instrumental in the creation of a of curriculum of Music Composition for Films, opened to advanced composers with a sound technical level in harmony and orchestration (doctoral level), which started in January 2013. I also carried on a cross-department reflection on the practices of improvisation in its relationship to music writing practices.

Master ATIAM The master Acoustics, DSP and Computer Science Applied to Music (ATIAM in French) is a very selective curriculum on technology applied to music. It is a joint venture of Université Pierre et Marie Curie in Paris, and Ircam. I started teaching in ATIAM in 2000. Many alumni now hold top positions in the industry.

• I succeeded Jean-Claude Risset as head of the music part of the Program and as a member of the Doctoral team.
• Classes in Music and technology, Music history since 1945.
• I also invite composers who have an experimental use of technology.