MA
1 year full time, 2 years part time
Starts September 2017

Music and Sonic Media

Develop your creative abilities in composition and sound through practical and theoretical work. Explore theory and practice in the field of music production, focusing on historical contexts and the development of advanced technical skills.

Our MA reflects current developments within and beyond the concert hall, including music for film, media and interactive arts. You will:

  • compose
  • make sound art
  • devise music theatre
  • use music technologies
  • create film music
  • evaluate music and sonic art.

The course is for composers, musicians, sound artists, sound and music practitioners from related fields including theatre, and theorists with interests in music and sound.

“This MA addresses developments in music, connecting advances in sound design and ideas about music and sound in new spaces as well as online.” Professor Ed HughesSenior Lecturer in Music

Key facts

  • 100% of our research was rated as world leading or internationally excellent regarding public impact in the 2014 Research Excellence Framework (REF).
  • The Department of Music is a major international centre for the study of contemporary music, contemporary musical thinking and music theatre, offering a unique range of inter-related research disciplines.
  • We offer expertise in areas from opera and music theatre to composition, allowing you to develop an integrated portfolio of work corresponding to your strengths and interests.

How will I study?

For each module, you can choose between submitting a creative project or an essay. You also submit a supervised extended project or dissertation.

Facilities

You have access to facilities including:

  • the Music Department’s recordings and scores collections
  • the Music Mac Lab
  • the Jonathan Harvey Electronic Music Studio for recording and synthesis
  • recital room
  • practice rooms. 

Full-time and part-time study

You can choose to study this course full time or part time. Find the modules for the full-time course below. 

For details about the part-time course structure, contact us at mfm@sussex.ac.uk

What will I study?

  • Module list

    Core modules

    Core modules are taken by all students on the course. They give you a solid grounding in your chosen subject and prepare you to explore the topics that interest you most.

    • Composing For Media (Practice)

      30 credits
      Autumn Teaching, Year 1

      Music has accompanied the moving image since the inception of cinema. This course examines the aesthetics of screen music, moving through practices in the early years of cinema, to music in auteurist cinema (Hitchcock, Kubrick, Godard, etc) and present-day video work by both individual artists and mainstream practitioners.

      You will consider musical issues such as developing compositional ideas, small and large ensemble writing, working with computers and electronics, and the significance of the voice in composition for screen media.

      In addition, you'll consider historical and technological developments and relate them to current practices in composition for interactive media.

      Your assessed submission will comprise:

      • a direct creative project (composition) in a medium agreed in advance with your tutor, for example a film score or music for a gallery, website or game
      • a critical commentary.
    • Composition (Practice)

      30 credits
      Autumn Teaching, Year 1

      Composition develops understanding and practice of 20th century and contemporary musical methods and resources, but without stylistic restrictions, and with flexible outcomes (eg semi-notated and proportionally-notated work, graphic notation, conceptual/installation sonic work, performance art etc).

      You will focus on developing an extended piece of work through alternating group seminars and workshops. In consultation with the course tutor, you will be encouraged to develop plans for an individual project early on in the course. The seminars will provide disciplinary context and insights into key techniques and examples of recent and earlier creative practice. The workshops will provide the opportunity to make presentations and to receive peer and tutor feedback. The submission will comprise a creative project (composition) in a medium agreed in advance with the tutor, and accompanied by a critical commentary.

    Options

    Alongside your core modules, you can choose options to broaden your horizons and tailor your course to your interests.

    • Activist Media Practice

      30 credits
      Spring Teaching, Year 1

      Social movements have historically struggled to get their message reported clearly, accurately and effectively through the lens of mainstream media. This has lead to the rise of alternative media practices and strategies to break through or unsettle the corporate and state-run media systems around the world. In order to challenge hegemonic discourses, activist media seeks to circumvent and dismantle traditional media's communicative strategies either through a disruptive aesthetic or through a reconfigured mode of civic engagement. Whether through radical leaflets, pirate radio, graffiti, protest music, performance art, activist videos, political documentaries, or social media and the internet, today's media landscape has evolved into a range of complex transnational networks that can be activated by independent counter-hegemonic media practices and expressions.

      This module asks you to learn about various forms of cultural resistance (through readings, screenings, lectures and discussions) in order to to formulate an effective form of activist media provocation. This piece of activist media may take the form of a video, a website, site-specific performance, series of photographs, media prank, etc. You will also be asked to write a reflective essay that contextualises the finished piece within the conceptual debates of the module.

    • First Person Film (MA)

      30 credits
      Spring Teaching, Year 1

      First Person Film examines the ways in which film can be used as a personal, subjective medium, whether in fiction or documentary. Autobiographical or analytical, abstract or essayistic, professional or amateur, the first-person modality is increasingly present in all filmmaking practices. This module seeks to introduce you to theories of subjectivity whether from psychoanalysis, post-structuralism and/or literary theory considering the multiple theoretical incursions on the unity of the subject from Lacan to Butler and Nancy, and even the outright denial of the author (Barthes). We will explore questions of subjectivity such as: what constitutes a subject? from what position does s/he speak? and what or who is the 'I' that speaks? From this will arise further questions regarding the address: to whom does s/he speak and to what avail? who is being interpellated as audience? and how is identification constructed? The module will survey a range of first-person filmmaking, including the fictional autobiography, artist's experimental films, first-person documentary, the essay film, the home movie and the proliferation of YouTube direct address.

    • Global News Industries A

      30 credits
      Spring Teaching, Year 1

      This module explores the function, impact and current status of international journalism in an increasingly 'deterritorialised' media environment. The module will cover a comparative study of different news media systems in the world, the global news flow, institutional and professional issues in international news reporting, and the transformation in international journalism. It will also investigate the extent to which the audiences of global journalism might constitute alternative news networks and a putative global public sphere. New technologies from blogging to multiplatform television, twitter to online distribution, have also transformed the way news is made, disseminated and consumed. This module provides a critical consideration of the economics, culture, politics and sociology of journalism on a global scale. It examines fundamental issues in theories and practices of journalism and assesses ongoing developments in the area of journalism development, expansion, ethics and policies. The module aims to enable you to understand rapid technological changes and further internationalisation of journalism and the impact and consequences for future of journalism.

    • Interactive Project Development

      30 credits
      Spring Teaching, Year 1

      The module focuses on the methods, processes and research techniques involved in the development of interactive media projects from initial concept to distribution -- with close analyses of how the different stages of a project are related, planned and connected to other media.

      You will learn how to identify original sources and subjects with a view to creating a distinctive style and approach through practical exercises and the creation of a test or pilot project. The module will aid you in the development of the tools required to conceptually frame your interactive practice and help them communicate clearly and critically. During the module you will be given time to explore media projects in a variety of media and to consider the implications of those projects for your own work. You will be asked to study and discuss a number of different methods for the critical appraisal and theorisation of creative media projects across genres and will be expected to show initiative in undertaking a wide range of research to help develop your ideas and skills (viewing, listening, reading, observing, testing of techniques, etc).

      The module is taught through a combination of presentations by the module tutor as well as individual students, group-critiques and one-on-one critiques. 

      The module uses an application form containing questions drawn from industry and research council funding and commisioning calls as a structure for you to focus and present your work. At the end of the module, you will produce a proposal in the form of a contextualising essay answering all the questions on the application form, a work plan, a pilot project demonstrating the style and forms of itneraction in your project and a journal demonstrating how you have thought through you ideas, what has emerged from the discussion and in-class critiques. This combination of essay and pilot will be the framework for you self-directed project.

    • Media Histories and Cultural Change

      30 credits
      Spring Teaching, Year 1

      This module explores key changes in the media over the past 120 years and how these have both reflected and shaped our cultural life in profound ways. 

      By focusing on the emergence of 'new' media, such as radio and cinema in the early 20th century, television in the later 20th century and the internet on the eve of the 21st century, the module looks at key transitional moments in electronic media forms. It assesses how these media were the products of the cultural life of the time and how they subsequently enriched or, arguably, damaged this broader culture. 

      The module is arranged in three sections that:

      1. Explores the emergence of broadcasting and cinema between the 1890s and the 1930s, and discusses them in the context of new ideas in America and Europe about communication, mass culture and social psychology, and in the context of new artistic ideas such as modernism.
      2. Explores the rise and spread of television between the 1940s and the 1990s, and discusses it in the context of wider debates about visual culture, the consumer society, the Cold War, the witnessing of global media events, national identity and globalisation
      3. Tackles the spread since the 1990s of internet and social media, discussing them in the context of fierce international debates about the changing nature of knowledge and literacy and in particular the alleged creation of a 'distracted' mindset and a superficial and banal popular culture 

      In drawing on specific case studies at each stage, the module aims to enhance your skills in using historical evidence, including written and audio-visual archives and oral history testimony, to develop arguments about media.

    • Media, Culture and Communication

      30 credits
      Spring Teaching, Year 1

      The module offers you the chance to explore at an advanced level a number of principal theories and methods within a cultural studies approach to media studies, and to consider how these shape the ways we might think about and research particular media industries, forms and issues. The module begins with a focus on questions concerning media production, distribution and consumption. In the latter part of the module, we pay attention to a variety of methodological approaches which draw attention in particular to different ways of conceptualising the relation between the media and concepts like subjectivity, identity, perception and experience.

      The theory element aims to introduce you to the key thinkers, traditions and debates in media and cultural studies and contributing disciplines. You will investigate media as institutions and systems of representation and explore problems of production and consumption in a variety of social and geo-political contexts. You will be encouraged to prepare informal presentations and to engage in discussion with other members of the seminar group. Each week there will also be a short introduction to the following week’s topic in the lecture given by members of the Media and Film faculty. The research element aims to develop a systematic and critical understanding of the practical, epistemological and ethical issues involved in conducting different kinds of media and cultural research. It also aims to make you methodologically self-conscious in your own research and written work.

    • Music and the Media of Performance (Practice)

      30 credits
      Spring Teaching, Year 1

      During the past fifty years the parameters of musical performance have expanded enormously. For John Cage all musical performance was inherently theatrical since it engaged both eye and ear. The visual aspect of musical performance, and the relationship of music to the spatial and to the embodied, has often been overlooked, and has led composers such as, eg, Cage himself, Mauricio Kagel and Heiner Goebbels to explore the extended theatricality of musical performance in directions beyond opera. Other artists like Meredith Monk, Philip Glass and Robert Wilson have restored the term 'opera' to refer to music theatre works that reconfigure the traditional media of opera (music, language, voice, sound, body, space, image) in new ways. More recently muscians such as Michel van der Aa have incorporated sonic and visual media in a live performance context.

      The module will examine both theories and practices of experimental music theatre and multi-media performance through critical and practical engagement with the ideas that lie behind such practices. The module will be assessed by an essay, through which you will demonstrate your knowledge and understanding of key theories and practices in experimental music theatre or multi-media performance.

    • Music and the Media of Performance (Theory)

      30 credits
      Spring Teaching, Year 1

      During the past fifty years the parameters of musical performance have expanded enormously. For John Cage all musical performance was inherently theatrical since it engaged both eye and ear. The visual aspect of musical performance, and the relationship of music to the spatial and to the embodied, has often been overlooked, and has led composers such as, eg, Cage himself, Mauricio Kagel and Heiner Goebbels to explore the extended theatricality of musical performance in directions beyond opera. Other artists like Meredith Monk, Philip Glass and Robert Wilson have restored the term 'opera' to refer to music theatre works that reconfigure the traditional media of opera (music, language, voice, sound, body, space, image) in new ways. More recently musicians such as Michel van der Aa have incorporated sonic and visual media in a live performance context.

      The module will examine both theories and practices of experimental music theatre and multi-media performance through critical and practical engagement with the ideas that lie behind such practices. The module will be assessed by an essay, through which you will demonstrate your knowledge and understanding of key theories and practices in experimental music theatre or multi-media performance.

    • Music Production in Context

      30 credits
      Spring Teaching, Year 1

      This module will introduce you to a broad set of skills in modern music production including issues such as pre-production, studio production, mix and final mastered product. These issues will be discussed in the context of analysis of current and historical practices in music production referring to writer/practitioners such as Mick Brown, John Borwick and Bruce Bartlet. The importance of planning will be stressed but technical aspects such as microphone placement, drum recording and vocal recording will also be considered.

      The module will critically examine the balance between interpretation and constraints placed on production and creativity by industry. You will produce a musical work in recorded form that gives evidence of knowledge of production methods as well as embodying a creative and critical response to the particular constraints of a music production brief. You are required to write a 1,500-word commentary as part of your portfolio demonstrating advanced understanding of theories and practices of music production.

    • New Developments in Digital Media 1a

      30 credits
      Spring Teaching, Year 1

      This module critically surveys developments in the expanding field of new media and explores the dynamics driving digital convergence, which is viewed as an industrial, political, social, economic and technological process. You will consider what drives convergence between previously discrete industries, technologies, and contents, and what limits convergence processes. You will explore key developments in the field of new media, including phenomena such as social networks, pervasive and locative technologies, new forms of knowledge organization and gathering.

      The module is both theoretical and practical, with seminars exploring the areas outlined above through critical reading, while a series of workshops provide you with an understanding of core technologies underlying contemporary developments, and help you gain literacy in approaches to content development in this field.

    • New Developments in Digital Media 1b

      30 credits
      Spring Teaching, Year 1

      This module critically surveys developments in the expanding field of new media.  You will explore the dynamics driving digital convergence, viewed as an industrial, political, social, economic and technological process. You will ask what drives convergence between previously discrete industries, technologies, contents, and what limits convergence processes. You will also explore key developments in the field of new media, including phenomena such as social networks, pervasive and locative technologies, new forms of knowledge organisation and gathering. This version of the module is theoretical; seminars explore the areas outlined above through critical reading, seminar discussion and presentation, and you will also write a 5000-word term paper.

    • Photography: Documentary, Landscape, Politics

      30 credits
      Spring Teaching, Year 1

      This module introduces you to a wide range of work in the documentary and landscape genres, both historical and contemporary, but with an emphasis on `conceptual documentary' and contemporary politicised landscape photography. You will also focus on the problematics of documentary and photojournalism, such as ethical issues and questions of efficacy, and the use of text and sound in documentary publications, gallery installations and websites.

      The module will be taught through tutor-led discussion in seminars, and regular `group crits' of student work-in-progress in the lab. Early on in the module you will conceive and research your own idea for a photographic project, and start producing images for class viewing. The module will equip you with the necessary production & critical skills to continue working independently on your projects during the Easter vacation before the assessment deadline in early Summer.

    • Queering Popular Culture

      30 credits
      Spring Teaching, Year 1

      This module offers you the chance to explore lesbian, gay, bisexual and queer contributions to, and perspectives on, the key fields of popular culture, including film, television, the press, popular music, fashion and style. Topics for detailed study will include lesbian representation in mainstream television genres; cinematic homosexualities and their historical context; lesbian and gay 'community television'; contemporary lesbian and gay magazines and newspapers; queer pop from David Bowie to the Pet Shop Boys and beyond; sexuality and style politics; and the pleasures and problematics of camp.

      You will investigate issues of representation, consumption and interpretation; unravel debates over stereotyping, subcultures and sensibilities; and ask whether a specifically 'queered' critique of the existing academic discourses used in the study of popular culture is conceptually feasible and/or politically desirable. You can expect to sharpen and deepen your skills in interdisciplinary cultural analysis, and there will be a particular emphasis on a self-reflexive examination of (y)our own popular cultural tastes and practices, exploring the connections and contradictions between theoretical accounts of popular images and forms and our experiential investments in them as consumers located in (or interested in) sexual minorities.

      The approach on this module is unrepentantly interdisciplinary - there is no overarching theoretical model to which you will be obliged to subscribe. Students with or without backgrounds in cultural studies will be made equally welcome.

    • Sound Environments (Practice)

      30 credits
      Spring Teaching, Year 1

      This module examines sonic media creations and sound architectures – physical, digital or hybrid – through alternating seminars and workshops.

      Seminars provide interdisciplinary context and review a range of practices, while workshops afford a space for you to develop your ideas through practical work and theory.

      You will consider the rapid development of sound creation beyond the concert hall. Urban spaces as venues are considered alongside creative, curatorial and critical practices arising from networked sound technologies (streamed radio, distributed performance works, podcasts, etc).

      We also consider architectures where performance is integral. Earlier examples of the integration of architecture, space and organised sound include Semper's Fespielhaus in Bayreuth. Today, digital processing opens up new performance possibilities including new notions of "performative architectures". You will create a practical project and critical commentary in response to these ideas.

    • Sound Environments (Theory)

      30 credits
      Spring Teaching, Year 1

      This module examines sonic media creations and sound architectures, which may be physical, digital or hybrid, through alternating seminars and workshops.

      Seminars will provide interdisciplinary context and review a range of practices, while workshops afford a space for you to develop your ideas through practical work and theory.

      You will consider the rapid development of sound creation beyond the concert hall. Urban spaces as venues are considered alongside creative, curatorial and critical practices arising from networked sound technologies (streamed radio, distributed performance works, podcasts, etc).

      You'll also consider architectures where performance is integral. Earlier examples of the integration of architecture, space and organised sound include Sempers Fespielhaus in Bayreuth. Today, digital processing opens up new performance possibilities including new notions of "performative architectures". You will write a term paper of 5,000 words in response to these ideas.

    • The Cinematic Body

      30 credits
      Spring Teaching, Year 1

      This module examines the interplay between body and cinema. This includes not only the representation of the body in films but also how the body of the spectator and cultural formations of the body influence and shape cinema itself. You will draw on a wide range of theoretical frames (including film studies, psychoanalysis, gender studies, philosophy, feminism and cultural theory) to consider a variety of themes including: the body as resistance and force; notions of beauty and the sublime; the hysterical body; discipline and punishment; the body as desire. The module will also consider recent developments in film, including the idea of cyber-cinema and its impact on the body.

    • The Politics of Promotional Culture

      30 credits
      Spring Teaching, Year 1

      This module is not about advertising per se or the marketing 'tools' usually suggested by the term promotion but an exploration of 1) how advertising has crossed over into domains beyond the commercial with an alleged collapse of boundaries, and 2) how branding seems increasingly to take over aspects of the lifeworld. According to Andrew Wernick, from whom the term promotional culture is borrowed, advertising 'has come to shape not only culture's symbolic and ideological contents, but also its ethos, texture and constitution' (1991: viii).

      The module is about understanding contemporary promotional culture via a grasp of historical developments. These include the development of the capitalist market, the rise of a sign-culture and women as key consumers.

      The module opens up theoretical ideas and debate via a series of case studies which may include 'the department store', 'spin', 'celebrity politics', PR journalism, 'the spectacular university', 'the branded self'. The questions it is concerned with include: does it matter that commercial advertising has been overtaken by branding and promotion extending into politics, public services, the arts and charity organisations? Does this mark a problematic undermining of a 'public sphere'? Or can the 'inauthenticity' of promotional culture be democratically enabling in so far its practices lay open the malleability of social life? Do the developments of other modernities (eg. South/East Asia) suggest we should think about the rise of the market, branding and promotion in different ways than is suggested in a Western literature?

    • Creative Project

      60 credits
      Summer Teaching, Year 1

      Creative Project will comprise individual supervisions with a tutor who will be allocated to you once your proposed project has been agreed. You will complete a creative project title proposal form at the end of the Spring term and this will be considered and agreed by the MA convenor in consultation with the appropriate tutor. Your choice of creative project will stem from your specialisms and interests as defined by the pathway you have taken in earlier semesters. Within the terms of the Creative Project, you can, subject to agreement by your tutor, undertake a portfolio of musical compositions; a portfolio of film and/or media compositions; a portfolio of studio compositions; a music theatre project; a sound environments project; or an independent project. The Creative Project must constitute a substantive example of creative practice; many such projects integrate an element of public performance and/or display; however, proposed materials for assessment must be agreed at the time of completing the creative project title proposal form (for example in the form of musical scores, sound/video files etc).

    • Dissertation (Music MA)

      60 credits
      Summer Teaching, Year 1

      This dissertation module will comprise individual supervisions with a tutor who will be allocated to you once your proposed topic has been agreed.

      You will complete a dissertation title proposal form at the end of the spring term and this will be considered and agreed by the MA convenor in consultation with the appropriate tutor. Your choice of topic will stem from your specialisms and interests as defined by the pathway you have taken in earlier semesters. The dissertation must be 18,000 words long and it should demonstrate critical thinking and the ability to evaluate and analyse scholarship and music and sonic practices. It should articulate advanced insights into music and/or sonic art, and its wider context.

University of Sussex postgraduate student Danny Bright talks about his Music and Sonic Media MA

Entry requirements

An upper second-class (2.1) undergraduate honours degree or above in music, theatre, sonic arts or audio-visual media. Applicants with relevant professional experience will also be considered.

English language requirements

Standard level (IELTS 6.5, with not less than 6.0 in each section)

Find out about other English language qualifications we accept.

English language support

Don’t have the English language level for your course? Find out more about our pre-sessional courses.

Additional information for international students

We welcome applications from all over the world. Find out about international qualifications suitable for our Masters courses.

Visas and immigration

Find out how to apply for a student visa


Fees and scholarships

How much does it cost?

Fees

Home: £7,700 per year

EU: £7,700 per year

Channel Islands and Isle of Man: £7,700 per year

Overseas: £17,000 per year

Note that your fees may be subject to an increase on an annual basis.

How can I fund my course?

Postgraduate Masters loans

Borrow up to £10,280 to contribute to your postgraduate study.

Find out more about Postgraduate Masters Loans

Scholarships

Our aim is to ensure that every student who wants to study with us is able to despite financial barriers, so that we continue to attract talented and unique individuals.

Chancellor's Masters Scholarship (2017)

Open to students with a 1st class from a UK university or excellent grades from an EU university and offered a F/T place on a Sussex Masters in 2017

Application deadline:

1 August 2017

Find out more about the Chancellor's Masters Scholarship

Sussex Graduate Scholarship (2017)

Open to Sussex students who graduate with a first or upper second-class degree and offered a full-time place on a Sussex Masters course in 2017

Application deadline:

1 August 2017

Find out more about the Sussex Graduate Scholarship

Sussex India Scholarships (2017)

Sussex India Scholarships are worth £3,500 and are for overseas fee paying students from India commencing Masters study in September 2017.

Application deadline:

1 August 2017

Find out more about the Sussex India Scholarships

Sussex Malaysia Scholarships (2017)

Sussex Malaysia Scholarships are worth £3,500 and are for overseas fee paying students from Malaysia commencing Masters study in September 2017.

Application deadline:

1 August 2017

Find out more about the Sussex Malaysia Scholarships

Sussex Nigeria Scholarships (2017)

Sussex Nigeria Scholarships are worth £3,500 or £5,000 and are for overseas fee paying students from Nigeria commencing a Masters in September 2017.

Application deadline:

1 August 2017

Find out more about the Sussex Nigeria Scholarships

Sussex Pakistan Scholarships (2017)

Sussex Pakistan Scholarships are worth £3,500 and are for overseas fee paying students from Pakistan commencing Masters study in September 2017.

Application deadline:

1 August 2017

Find out more about the Sussex Pakistan Scholarships

How Masters scholarships make studying more affordable

Living costs

Find out typical living costs for studying at Sussex.


Faculty

Composition

We engage in research through practical composition in acoustic, electro-acoustic, electronic/computer and film music media.

Works are regularly performed and produced at a variety of prestigious international venues from major opera houses and concert platforms to state-of-the-art electronic venues such as IRCAM, contemporary music festivals and international film festivals. 

Critical musicology

Critical theory and interdisciplinary research methods underpin the critical thinking about music undertaken at Sussex.

There is a focus on the sociology and aesthetics of 20th- and 21st-century contemporary music and popular music cultures. But, our research may also look at the historical interpretation of music in other centuries. 

Opera and music theatre

The Centre for Research in Opera and Music Theatre (CROMT) focuses on issues of music theatre such as:

  • theories and practices of opera
  • experimental music theatre
  • related multimedia forms.

The Centre’s activities involve historical research into opera and music theatre, often in collaboration with partner institutions in the Sussex region (e.g. Glyndebourne Opera) and elsewhere in the UK and Europe. CROMT also organises seminars, and conferences on opera and music theatre. 

  • Faculty profiles

    Prof Martin Butler
    Professor of Music
    M.C.Butler@sussex.ac.uk

    Research interests: Musical Performance

    View profile

    Dr Evelyn Ficarra
    Lecturer in Music
    E.J.Ficarra@sussex.ac.uk

    Research interests: Collaborative Projects, Composition, experimental film music, Installation, Music, Music Technology, Music Theatre, Sound Art

    View profile

    Mr Tim Hopkins
    Research Fellow
    T.Hopkins@sussex.ac.uk

    Research interests: Intermedia, lyric theatre, Making New Works, Opera Production

    View profile

    Prof Ed Hughes
    Professor of Composition in Music
    E.D.Hughes@sussex.ac.uk

    Research interests: Composition, ensemble music-making, ensemble performance with technology, music and silent film, the orchestra

    View profile

    Dr Thor Magnusson
    Senior Lecturer in Music
    T.Magnusson@sussex.ac.uk

    Research interests: Composition, Computational Creativity, Computer Music, Creative Coding, History Of Music, Human computer interaction, Live Coding, Music, Music Technology, Notations and visualisations, Performance, Performance And Live Art, Philosophy, Philosophy of Technology, Software Engineering

    View profile

    Prof Sally-Jane Norman
    Professor of Performance Technologies
    S.J.Norman@sussex.ac.uk

    Research interests: Embodiment and Technologies, Performing Arts, Practice-based research, Scenography, Sonic Arts, Theatre History

    View profile

    Prof Nicholas Till
    Professor of Opera & Music Theatre
    N.Till@sussex.ac.uk

    Research interests: art practice, Critical Theory and Marxism, Cultural History, experimental art, historical musicology, opera and music theatre, Opera Production, practice as research, Scenography, Sound Art

    View profile

Careers

Graduate destinations

100% of students from the Department of Music were in work or further study six months after graduating. Recent graduates have gone on to jobs including:

  • performing arts technician, Brighton College
  • teacher, British and Irish Modern Music Institute
  • exam invigilator, Sussex County Council.

(HESA EPI, Destinations of Post Graduate Leavers from Higher Education Survey 2015)

Your future career

You will have built up a substantial portfolio of compositions and creative projects during the course.

Our course emphasises and encourages skills in technology, communication, IT, evaluation, analysis, collaboration and organisation, and enables you to go on to compose, arrange, perform, produce, record and engage in sound design.

With these skills and experiences, our graduates go on to work in an amazing range of careers, such as:

  • freelance professional musicians and composers
  • work in the arts sector
  • in publishing
  • arts administration
  • producing events
  • radio broadcasting
  • writing and lecturing.

You also gain the skills to go on to do research, teaching in schools, music journalism, writing music for video games and running your own music production company.

Working while you study

Our Careers and Employability Centre can help you find part-time work while you study. Find out more about career development and part-time work

Contact us