Music Technology BA

Music

Key information

Duration:
3 years full time
Typical A-level offer:
ABB-BBB
UCAS code:
W351
Start date:
September 2018

Focus on creativity, innovation and research on our Music Technology BA. We combine studio recording, music production and electronic music with other creative work, such as building instruments and audiovisual performance systems.

And Sussex is a great place for performance. You have 24-hour access to practice rooms, and use of the newly transformed Attenborough Centre for the Creative Arts.

Entry requirements

A-level

Typical offer

ABB-BBB

Subjects

A-levels must include Music or Music Technology, at least grade B.

Alternatively you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

GCSEs

You should also have a broad range of GCSEs (A*-C), including good grades in relevant subjects.

Extended Project Qualification

We take the EPQ into account when considering your application and it can be useful in the summer when your results are released if you have narrowly missed the conditions of your offer. We do not routinely include the EPQ in the conditions of your offer but we sometimes offer alternative conditions that include the EPQ. If you wish to discuss this further please contact Admissions at ug.enquiries@sussex.ac.uk

Other UK qualifications

Access to HE Diploma

Typical offer

Pass the Access to HE Diploma with 45 level 3 credits at Merit or above, including 24 at Distinction.

Additional requirements

In addition to the Access to HE Diploma, you will need to have either A-level Music (or Music Technology), with at least grade B, or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

International Baccalaureate

Typical offer

30 points overall from the full IB Diploma.

Subjects

You will need Higher Level Music, with at least grade 5. Alternatively, you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Pearson BTEC Level 3 National Extended Diploma (formerly BTEC Level 3 Extended Diploma)

Typical offer

DDM

Subjects

The BTEC Level 3 National Extended Diploma would normally be in Music or Music Technology.

If it is in another discipline, it will need to be combined with either an A-level in Music or Music Technology or with other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

GCSEs

You should also have a broad range of GCSEs (A*-C), including good grades in relevant subjects.

Scottish Highers

Typical offer

ABBBB

Subjects

Highers must include Music with at least grade B. Ideally, you will have Music at Advanced Higher, also grade B. Alternatively, you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Welsh Baccalaureate Advanced

Typical offer

Grade B and BB in two A-levels.

Subjects

A-levels must include Music or Music Technology, at least grade B. Alternatively, you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

GCSEs

You should also have a broad range of GCSEs (A*-C), including good grades in relevant subjects.

International baccalaureate

Typical offer

30 points overall from the full IB Diploma.

Subjects

You will need Higher Level Music, with at least grade 5. Alternatively, you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

European baccalaureate

Typical offer

Overall result of at least 75%

Additional requirements

Evidence of existing academic ability in Music is essential (normally with a final grade of at least 8.0). Alternatively you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Other international qualifications

Australia

Typical offer

Relevant state (Year 12) High School Certificate, and over 85% in the ATAR or UAI/TER/ENTER. Or a Queensland OP of 5 or below.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Austria

Typical offer

Reifeprüfung or Matura with an overall result of 2.2 or better for first-year entry. A result of 2.5 or better would be considered for Foundation Year entry.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Belgium

Typical offer

Certificat d'Enseignement Secondaire Supérieur (CESS) or Diploma van Hoger Secundair Onderwijs with a good overall average. 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Bulgaria

Typical offer

Diploma za Sredno Obrazovanie with excellent final-year scores (normally 5.5 overall with 6 in key subjects).

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Canada

Typical offer

High School Graduation Diploma. Specific requirements vary between provinces.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

China

Typical offer

We usually do not accept Senior High School Graduation for direct entry to our undergraduate courses. However, we do consider applicants who have studied 1 or more years of Higher Education in China at a recognised degree awarding institution or who are following a recognised International Foundation Year.

If you are interested in applying for a business related course which requires an academic ability in Mathematics, you will normally also need a grade B in Mathematics from the Huikao or a score of 90 in Mathematics from the Gaokao.

Applicants who have the Senior High School Graduation may be eligible to apply to our International Foundation Year, which if you complete successfully you can progress on to a relevant undergraduate course at Sussex. You can find more information about the qualifications which are accepted by our International Study Centre at  http://isc.sussex.ac.uk/entry-requirements/international-foundation-year .

 

 

 

 

 

 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Croatia

Typical offer

Maturatna Svjedodžba with an overall score of at least 4-5 depending on your degree choice.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Cyprus

Typical offer

Apolytirion of Lykeion with an overall average of at least 18 or 19/20 will be considered for first-year entry.

A score of 15/20 in the Apolytirion would be suitable for Foundation Year entry. Find out more about Foundation Years.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Czech Republic

Typical offer

Maturita with a good overall average.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Denmark

Typical offer

Højere Forberedelseseksamen (HF) or studentereksamen with an overall average of at least 7 on the new grading scale.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Finland

Typical offer

Finnish Ylioppilastutkinto with an overall average result in the final matriculation examinations of at least 5.5.

Additional requirements

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

France

Typical offer

French Baccalauréat with an overall final result of at least 13/20.

Additional requirements

You will need to have a final mark of 12/20 in Music. Alternatively, you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Germany

Typical offer

German Abitur with an overall result of 2.2 or better.

Additional requirements

Evidence of existing academic ability in Music is essential (normally with a final mark of 12/15). Alternatively you must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Greece

Typical offer

Apolytirion with an overall average of at least 18 or 19/20 will be considered for first-year entry.

A score of 15/20 in the Apolytirion would be suitable for Foundation Year entry. Find out more about Foundation Years.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Hong Kong

Typical offer

Hong Kong Diploma of Secondary Education (HKDSE) with grades of 5, 4, 4 from three subjects including two electives. 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Hungary

Typical offer

Erettsegi/Matura with a good average.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

India

Typical offer

Standard XII results from Central and Metro Boards with an overall average of 75-80%. 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Iran

Typical offer

High School Diploma and Pre-University Certificate.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Ireland

Typical offer

Irish Leaving Certificate (Higher Level) at H1,H2,H2,H3,H3

Additional requirements

Evidence of existing academic ability in Music is essential (normally with at least grade H1 at Higher level). Alternatively successful applicants must have other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Israel

Typical offer

Bagrut, with at least 8/10 in at least six subjects, including one five-unit subject.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Italy

Typical offer

Italian Diploma di Maturità or Diploma Pass di Esame di Stato with a Final Diploma mark of at least 78/100.

Additional requirements

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Japan

Typical offer

Upper Secondary Leaving Certificate is suitable for entry to our Foundation Years. Find out more about Foundation Years.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Latvia

Typical offer

Atestats par Visparejo videjo Izglitibu with very good grades in state exams.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Lithuania

Typical offer

Brandos Atestatas including scores of 80-90% in at least three state examinations (other than English).

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Luxembourg

Typical offer

Diplôme de Fin d'Etudes Secondaires.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Malaysia

Typical offer

Sijil Tinggi Persekolahan Malaysia (STPM). As well as various two or three-year college or polytechnic certificates and diplomas.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Netherlands

Typical offer

Voorereidend Wetenschappelijk Onderwijs (VWO), normally with an average of at least 7.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Nigeria

Typical offer

You are expected to have one of the following:

  • Higher National Diploma
  • One year at a recognised Nigerian University
  • Professional Diploma (Part IV) from the Institute of Medical Laboratory Technology of Nigeria
  • Advanced Diploma

You must also have a score of C6 or above in WAEC/SSC English.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Norway

Typical offer

Norwegian Vitnemal Fra Den Videregaende Skole- Pass with an overall average of at least 4.

Pakistan

Typical offer

Bachelor (Pass) degree in arts, commerce or science.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Poland

Typical offer

Matura with three extended-level written examinations, normally scored within the 7th stanine.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Portugal

Typical offer

Diploma de Ensino Secundario normally with an overall mark of at least 16/20. 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Romania

Typical offer

Diploma de Bacalaureat with an overall average of 8.5-9.5 depending on your degree choice.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Singapore

Typical offer

A-levels, as well as certain certificates and diplomas.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Slovakia

Typical offer

Maturitna Skuska or Maturita with honours, normally including scores of 1 in at least three subjects.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Slovenia

Typical offer

Secondary School Leaving Diploma or Matura with at least 23 points overall.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

South Africa

Typical offer

National Senior Certificate with very good grades. 

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Spain

Typical offer

Spanish Título de Bachillerato (LOGSE) with an overall average result of at least 7.5

Additional requirements

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Sri Lanka

Typical offer

Sri Lankan A-levels.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Sweden

Typical offer

Fullstandigt Slutbetyg with good grades.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Switzerland

Typical offer

Federal Maturity Certificate.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

Turkey

Typical offer

Devlet Lise Diplomasi or Lise Bitirme is normally only suitable for Foundation Years, but very strong applicants may be considered for first year entry. Find out more about Foundation Years.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

USA

Typical offer

We look at your full profile taking into account everything you are studying. You must have your high school graduation diploma and we will be interested in your Grade 12 GPA. However, we will also want to see evidence of the external tests you have taken. Each application is looked at individually, but you should normally have one or two of the following:

  • APs (where we would expect at least three subject with 4/5 in each)
  • SAT Reasoning Tests (normally with a combined score of 1300) or ACT grades
  • and/or SAT Subject Tests (where generally we expect you to have scores of 600 or higher). 

We would normally require APs or SAT Subject Tests in areas relevant to your chosen degree course.

Subject-specific knowledge

Evidence of existing academic ability in Music is essential. This can either take the form of high level Music studies within formal school examinations or other evidence of advanced musical accomplishment (for example, a pass in grade 7 theory, or a grade 7 instrumental/vocal pass from a certified exam board such as ABRSM, Rockschool or others recognised by Ofqual, or equivalent professional music experience).

Please note

Our entry requirements are guidelines and we assess all applications on a case-by-case basis.

My country is not listed

If your qualifications aren’t listed or you have a question about entry requirements, email ug.enquiries@sussex.ac.uk.

English language requirements

IELTS (Academic)

6.5 overall, including at least 6.0 in each component

IELTS scores are valid for two years from the test date. Your score must be valid when you begin your Sussex course. You cannot combine scores from more than one sitting of the test.

If you are applying for degree-level study we can consider your IELTS test from any test centre, but if you require a Confirmation of Acceptance for Studies (CAS) for an English language or pre-sessional English course (not combined with a degree) the test must be taken at a UK Visas and Immigration (UKVI)-approved IELTS test centre.

Find out more about IELTS.

Other English language requirements

Proficiency tests

Cambridge Advanced Certificate in English (CAE)

For tests taken before January 2015: Grade B or above

For tests taken after January 2015: 176 overall, including at least 169 in each skill

We would normally expect the CAE test to have been taken within two years before the start of your course.

You cannot combine scores from more than one sitting of the test. Find out more about Cambridge English: Advanced.

Cambridge Certificate of Proficiency in English (CPE)

For tests taken before January 2015: grade C or above

For tests taken after January 2015: 176 overall, including at least 169 in each skill

We would normally expect the CPE test to have been taken within two years before the start of your course.

You cannot combine scores from more than one sitting of the test. Find out more about Cambridge English: Proficiency.

Pearson (PTE Academic)

62 overall, including at least 56 in all four skills.

PTE (Academic) scores are valid for two years from the test date. Your score must be valid when you begin your Sussex course. You cannot combine scores from more than one sitting of the test. Find out more about Pearson (PTE Academic).

TOEFL (iBT)

88 overall, including at least 20 in Listening, 19 in Reading, 21 in Speaking, 23 in Writing.

TOEFL (iBT) scores are valid for two years from the test date. Your score must be valid when you begin your Sussex course. You cannot combine scores from more than one sitting of the test. Find out more about TOEFL (iBT).

The TOEFL Institution Code for the University of Sussex is 9166.

English language qualifications

AS/A-level (GCE)

Grade C or above in English Language.

Hong Kong Advanced Level Examination (HKALE)/ AS or A Level: grade C or above in Use of English

French Baccalaureat

A score of 12 or above in English.

GCE O-level

Grade C or above in English.

Brunei/Cambridge GCE O-level in English: grades 1-6.

Singapore/Cambridge GCE O-level in English: grades 1-6.

GCSE or IGCSE

Grade C or above in English as a First Language.

Grade B or above in English as a Second Language

German Abitur

A score of 12 or above in English.

Ghana Senior Secondary School Certificate

If awarded before 1993: grades 1-6 in English language.

If awarded between 1993 and 2005: grades A-D in English language.

Hong Kong Diploma of Secondary Education (HKDSE)

 Level 4, including at least 3 in each component in English Language.

Indian School Certificate (Standard XII)

The Indian School Certificate is accepted at the grades below when awarded by the following examination boards:

Central Board of Secondary Education (CBSE) – English Core only: 70%

Council for Indian School Certificate Examinations (CISCE) - English: 70% 

International Baccalaureate Diploma (IB)

English A or English B at grade 5 or above.

Malaysian Certificate of Education (SPM) 119/GCE O-level

If taken before the end of 2008: grades 1-5 in English Language.

If taken from 2009 onwards: grade C or above in English Language.

The qualification must be jointly awarded by the University of Cambridge Local Examinations Syndicate (UCLES).

West African Senior School Certificate

Grades 1-6 in English language when awarded by the West African Examinations Council (WAEC) or the National Examinations Council (NECO).

Country exceptions

Select to see the list of exempt English-speaking countries

If you are a national of one of the countries below, or if you have recently completed a qualification equivalent to a UK Bachelors degree or higher in one of these countries, you will normally meet our English requirements. Note that qualifications obtained by distance learning or awarded by studying outside these countries cannot be accepted for English language purposes.

You will normally be expected to have completed the qualification within two years before starting your course at Sussex. If the qualification was obtained earlier than this we would expect you to be able to demonstrate that you have maintained a good level of English, for example by living in an English-speaking country or working in an occupation that required you to use English regularly and to a high level.

Please note that this list is determined by the UK’s Home Office, not by the University of Sussex.

List of exempt countries

  • Antigua and Barbuda
  • Australia
  • Bahamas
  • Barbados
  • Belize
  • Canada**
  • Dominica
  • Grenada
  • Guyana
  • Ireland
  • Jamaica
  • New Zealand
  • St Kitts and Nevis
  • St Lucia
  • St Vincent and the Grenadines
  • Trinidad and Tobago
  • United Kingdom
  • USA

** Canada: you must be a national of Canada; other nationals not on this list who have a degree from a Canadian institution will not normally be exempt from needing to provide evidence of English.

Admissions information for applicants

Transfers into Year 2

Yes. Find out more about transferring into Year 2 of this course. We don’t accept transfers into the third or final year.

If your qualifications aren’t listed or you have a question about entry requirements, email ug.enquiries@sussex.ac.uk.

Why choose this course?

  • Tailor your degree with our range of options – including composition, performance, film music, popular music, music for interactive media and music theatre. 
  • Study in a great environment for music making and studies, including masterclasses and concerts in addition to your lectures, seminars and workshops.
  • Develop the skills to define musical practices of the future through our modern approaches to composition, performance and production.

Course information

How will I study?

You examine recording techniques in the modern studio, as well as workflows in mixing and mastering.

You develop your composing and arranging abilities through practical tasks.

You may choose options in related subject areas, including music, or electives.

Modules

These are the modules running in the academic year 2017. Modules running in 2018 may be subject to change.

Core modules

Options


Customise your course

At Sussex, you can choose to customise your course to build the sort of degree that will give you the knowledge, skills and experience that could take you in any direction you choose.

Explore subjects different to your course – electives and pathways allow you to complement your main subject. Find out what opportunities your course offers

Gain programming skills and apply them to areas such as digital media, business and interactive design. Find out about our Year in Computing

How will I study?

You develop an understanding of, and abilities in, computer music, programming and creating interactive audiovisual music.

Year 2 focuses on innovative use of music technology for your own creative work, including options in sound design and engineering. 

You may choose options in related subject areas, including music, or electives.

Modules

These are the modules running in the academic year 2017. Modules running in 2018 may be subject to change.

Core modules

Options


Customise your course

At Sussex, you can choose to customise your course to build the sort of degree that will give you the knowledge, skills and experience that could take you in any direction you choose.

Explore subjects different to your course – electives and pathways allow you to complement your main subject. Find out what opportunities your course offers

Gain programming skills and apply them to areas such as digital media, business and interactive design. Find out about our Year in Computing

Study abroad (optional)

Apply to study abroad – you’ll develop an international perspective and gain an edge when it comes to your career. Find out where your course could take you.

Placement (optional)

A placement is a great way to network and gain practical skills. When you leave Sussex, you’ll benefit from having the experience employers are looking for. Find out more about placements and internships.

Please note

If you’re receiving – or applying for – USA federal Direct Loan funds, you can’t transfer to the version of this program with an optional study abroad period in any country or optional placement in the USA. Find out more about American Student Loans and Federal Student Aid

How will I study?

You build on the knowledge and techniques gained in previous years to conduct your own individual research, both theoretical and practical.

You achieve this through specialist options and one-to-one tutorials with faculty members.

This culminates in your personal portfolio of creative work.

Modules

These are the modules running in the academic year 2017. Modules running in 2018 may be subject to change.

Core modules

Options

The Attenborough Centre for the Creative Arts at the University of Sussex

My research focuses on how we make music with new digital technologies. This work feeds equally into my teaching and my artistic practice at various international music festivals and conferences.
Thor Magnusson
Senior Lecturer in Music

Fees

UK/EU students:
Fees are not yet set for entry in the academic year 2018. The University intends to set fees at the maximum permitted by the UK Government (subject to continued satisfaction of the Teaching Excellence Framework). For the academic year 2017, fees were £9,250 per year.

The UK Government has confirmed that if you’re an EU student applying for entry in September 2018, you’ll pay the same fee rate as UK students for the duration of your course, even if the UK leaves the EU before the end of your course. You’ll also continue to have access to student loans and grants. Find out more on the UK Government website

Channel Islands and Isle of Man students:
The University aligns fees for Channel Islands and Isle of Man students with fees for UK/EU students. These fees are not yet set for entry in the academic year 2018. We intend to set fees at the maximum permitted by the UK Government (subject to continued satisfaction of the Teaching Excellence Framework). For the academic year 2017, fees were £9,250 per year.
International students:
£19,200 per year
Study abroad:
Find out about grants and funding, tuition fees and insurance costs for studying abroad
Placement:
Find out about tuition fees for placements

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

Find out about typical living costs for studying at Sussex

Scholarships

Our focus is personal development and social mobility. To help you meet your ambitions to study at Sussex, we deliver one of the most generous scholarship programmes of any UK university.

Careers

Graduate destinations

93% of Department of Music students were in employment or further study six months after graduating. 

(HESA EPI, Destinations of Leavers from Higher Education Survey 2016)

Your future career

At Sussex, you learn how to use industry-standard software and develop real-world skills in:

  • recording and music production
  • electronic music and programming
  • interactive audio-visual music.

You can also join a band or musical society and produce a portfolio of creative work to show to potential employers. This means you’re prepared for jobs in the music industry, music and sound design for film and theatre, and the multimedia and gaming industries.

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

History and Practice of Electronic Music

  • 15 credits
  • Autumn Teaching, Year 1

This module explores what technology can offer in the way of composing tools and materials. It is taught through practical exercises, supported by listening assignments and readings. The module involves an introduction to the basic skills needed for the creation of music using current sequencing and audio software, in a creative and critical context. It encourages an open and questioning approach to composition with technology. How did both the material of music and our compositional approaches change in the 20th and 21st centuries as a result of developing technologies? What resources are available to you now as a composer that were not available to earlier musicians? What is our creative interaction with technology and software, and how much are our compositional expectations and desires influenced by the technology itself?

Practical tuition will be set in context through the study of electronic musical set works and discussion of the aesthetics of the medium from the early 20th century to the present day. Various compositional and aesthetic approaches will be considered, such as musique concrète, electroacoustic music, electronica, soundscapes and sound installations. You will develop your work through the techniques of both analogue and digital synthesis, and explore the creative uses of both electronic instruments and recorded sounds.

Studio Recording

  • 15 credits
  • Autumn Teaching, Year 1

This two-fold module examines recording techniques in the modern recording studio. Microphone types and recording strategies are considered alongside a thorough introduction to both analogue and digital mixing. You'll explore different historical styles of recording across a range of genres and engage in hands-on exploration of practical approaches to multi-track recording.

The module aims to introduce you to studio production techniques from preparation to post-production, emphasising appropriate workflow, and covering basic mixing and mastering techniques for finalising tracks for distribution. You will record and mix a musical piece of your choice as part of this module's assessment.

Creative Music Technologies

  • 15 credits
  • Spring Teaching, Year 1

This module introduces you to the core methods of electronic music composition and production through software environments aimed at flexible sound synthesis and musical composition. The module provides you with a grounded understanding of the key concepts in digital signal processing and acoustics as applied in the digital computer. Max/MSP, Pure Data, Ableton Live and SuperCollider are amongst the music software used to explore concepts of synthesis, sampling, and generative composition. You'll get to know key work by pioneers in electronic music and understand the techniques developed by them in the context of modern musical production environments.

You will develop your own musical systems as part of this module, using creative coding environments for audio production. The module provides a preparation for the second year modules ‘Interactive Music Systems’ and ‘Digital Music Cultures’.

Music Production

  • 15 credits
  • Spring Teaching, Year 1

This module builds upon the knowledge gained in the Studio Recording module, but the focus here is on composition and music production in modern recording studios. The module will introduce techniques used in typical digital audio workstation software, such as ProTools, Ableton Live and Logic, as applied in musical composition that includes composition for film. The workflow using software with open architecture digital mixers is introduced and practiced. Virtual instruments, sound effects, outboard effects and mastering tools will be used to gain high quality and professional sound in the recordings. 

In this module you will do weekly exercises in diverse techniques of music production and make a creative project where you put the learned skills into practice.

Creative Production: Communication Design

  • 15 credits
  • Autumn Teaching, Year 1

This module introduces you to using desktop publishing and interactive media applications whilst also encouraging critical reflection on issues of form and representation in relation to the work they produce. You will learn key processes and techniques involved in the production of digital media:

  • research
  • development
  • image editing
  • composition and manipulation
  • information and communication
  • layout design and presentation.

You will work individually to realise set exercises in and out of class and produce a completed set of digital artefacts to a project brief.

Creative Production: Documentary Video

  • 15 credits
  • Autumn Teaching, Year 1

This module introduces you to narrative using the moving image and encourages you to reflect critically on issues of form and representation in relation to your own work. You will learn key processes and techniques involved in video production: research, scripting, camera, sound and editing. You will work in a team to complete set exercises both in and out of class and produce a video project to a set brief.

Creative Production: Photography

  • 15 credits
  • Autumn Teaching, Year 1

Please note: space on Media Practice modules is very limited. Only students for whom a practice module is a requirement of their home institution's programme will be considered for a place on these modules, and only then if places are available.

This module introduces you to the still image and encourages you to reflect critically on issues of form and representation in relation to your own work. You will learn key processes and techniques involved in digital imaging: research, composition, exposure, and editing. You will work individually to complete set exercises both in and out of class, and produce a series of images to a set brief.

Creative Production: Sound Design

  • 15 credits
  • Autumn Teaching, Year 1

This module introduces you to sound production, and will encourage you to reflect critically on issues of form and representation in relation to your and others' work. You will learn key processes and techniques involved in sound design, such as research, acoustics, voice recording and editing. You will undertake exercises in and out of class, and produce a completed sound design piece to a set brief.

Film Analysis: Hollywood Narrative and Style

  • 15 credits
  • Autumn Teaching, Year 1

This module explores the diverse ways that filmmakers use key techniques of cinematic expression, such as narrative, cinematography, mise-en-scene, editing, sound, performance and special effects.

You explore how such techniques are accomplished (i.e. the creative choices available to filmmakers) but also the potential they have for generating meaning and pleasure when combined together to produce filmic texts.

The module is based around a series of reading assignments, which will be discussed in seminars along with the week's set film and extracts from other films. In particular, we examine one of the most influential and most pervasive models of cinema: the classical narrative film produced during the era of the Hollywood studio system (from approximately 1915 to 1960).

You will consider several films from this era, as well as films produced subsequently, in the light of influential propositions by David Bordwell and other film scholars regarding the systematic organisation of stylistic and narrative norms within classical Hollywood storytelling.

Instrumentation, Voicing and Orchestration

  • 15 credits
  • Autumn Teaching, Year 1

During this module you will deepen your knowledge and understanding of the western musical repertoire over the past 500 years in ways that are relevant to all modern musicians. You will survey works for voices and instruments by examining a case study from a different time period each week of the module. The aim is not a standard history of music, rather the focus is on voicing and instrumentation, giving you the chance to understand and link technical changes to historical contexts through close study and to gain vital skills in music's practice and craft. Each week you will start a practical exercise in class, which will help you to complete your assessments (an exercise and a creative project). Your survey will include works by Josquin, Tallis, Palestrina, Monteverdi, Bach, Beethoven, Debussy, Ruth Crawford Seeger, Judith Weir and Unsuk Chin.

Having taken this module you will have consolidated and improved your competence in reading scores and further developed your technical understanding of and practical abilities in orchestration. You will also have gained insights into the structures and internal organisation of music for a wide range of vocal and instrumental ensembles from 1500 to the present day.

Introduction to Music Studies

  • 15 credits
  • Autumn Teaching, Year 1

Introduction to Music Studies relates repertoires and areas of study in music to compositions and performances across many styles and periods, connecting contemporary insights with historical studies. You will discover and develop a command of issues in contemporary musicology. You will also learn to evaluate and compare sources and texts. Many questions relevant to musicians working today are opened up and debated during our seminars. You will be taught how to interpret and connect examples of music ranging from the 12th century to today. You will demonstrate your command of the ideas and techniques inscribed in these examples through practical exercises and an essay.

Popular Music Cultures

  • 15 credits
  • Autumn Teaching, Year 1

This module will provide you with an introduction to the critical discourses regarding jazz and popular music. This module will broaden your historical awareness and critical understanding of different traditions in jazz and popular music, although it is not designed to be a historical overview.

Likewise, while some technical understanding is required, the primary focus is not on minute analytical distinctions between different styles or practical instruction in song-writing, production or performance. Rather, we will concentrate on the social and cultural functions and meanings of the popular music cultures studied and the reasons why they exert such a powerful hold on audiences and practitioners alike.

Every week we will focus on a critical issue that has been central in discussions about popular and jazz music. Deliberately, these issues transcend the boundaries of style (or 'genre') and historical period. Thus, rather than honing in on the minutiae of individual styles, we will seek to contextualise them more broadly and see what, perhaps surprisingly, they have in common and what historical lineages connect them. It is the intention that this wider awareness of historical, social and cultural contexts will also enable those of you who are musicians to reflect more critically on their own artistic practice, thus enriching their work.

Approaches to Composition and Performance

  • 15 credits
  • Spring Teaching, Year 1

This module examines the intersection between composition, improvisation and live performance through a range of different contemporary approaches explored through practical experiment and criticial reflection.

The emphasis is on creative work explored through discussion and group and individual composition, improvisation and performance (using instrumental and vocal, and conventional and improvised/experimental 'instruments' and techniques). A number of set works in a variety of styles will provide focus and suggest developments of basic techniques, appropriate to individual interests.

You will engage in critical evaluation of these practices, and of each others work. You do not need to be an established instrumental or vocal performer or have prior experience of composition or improvisation to participate fully in the module.

Creative Production: Communication Design

  • 15 credits
  • Spring Teaching, Year 1

This module introduces you to using desktop publishing and interactive media applications whilst also encouraging critical reflection on issues of form and representation in relation to the work they produce. You will learn key processes and techniques involved in the production of digital media:

  • research
  • development
  • image editing
  • composition and manipulation
  • information and communication
  • layout design and presentation.

You will work individually to realise set exercises in and out of class and produce a completed set of digital artefacts to a project brief.

Creative Production: Documentary Video

  • 15 credits
  • Spring Teaching, Year 1

This module introduces you to narrative using the moving image and encourages you to reflect critically on issues of form and representation in relation to your own work. You will learn key processes and techniques involved in video production: research, scripting, camera, sound and editing. You will work in a team to complete set exercises both in and out of class and produce a video project to a set brief.

Creative Production: Photography

  • 15 credits
  • Spring Teaching, Year 1

Please note: space on Media Practice modules is very limited. Only students for whom a practice module is a requirement of their home institution's programme will be considered for a place on these modules, and only then if places are available.

This module introduces you to using the still image and encourages you to reflect critically on issues of form and representation in relation to your own work. You will learn key processes and techniques involved in digital imaging: research, composition, exposure, editing. You will work individually to on set exercises in and out of class and produce a completed series of images to a set brief.

Creative Production: Sound Design

  • 15 credits
  • Spring Teaching, Year 1

This module introduces you to sound production and will encourage you to reflect critically on issues of form and representation in relation to your and others' work. You will learn key processes and techniques involved in sound design, such as research, acoustics, voice recording and editing. You will undertake exercises in and out of class, and produce a completed sound design piece to a set brief.

Culture and the Everyday

  • 15 credits
  • Spring Teaching, Year 1

Explore 'doing culture' in everyday life.

If the 'everyday' refers to the mundane, the unremarkable – to the forms of life routinely taken for granted – it is also through the practices of everyday life that we experience who we are, how our lives are invested with meanings, and how we engage with change.

In the modern world (especially in the developed north), it's difficult to think about cultures of everyday life without also considering the media and its contribution to the structuring of daily life, its varied use in daily life, and its discursive construction and engagement with aspects of everyday life. We introduce you to critical approaches to everyday life, including those engaging with media, before concentrating on a series of case studies.

Topics are likely to be organised around 'embodiment' and 'mobility' and could include getting dressed, meal times, time for love, driving and shopping. We provide historical and cross-cultural material and encourage study of other cultures. You'll also have the opportunity to reflect on your own experiences.

Music and Society A

  • 15 credits
  • Spring Teaching, Year 1

Music does not exist in isolation from society. Many cultures in the world have no word for music conceived as an entity distinct from the contexts in which it takes place; contexts such as social or religious ritual, dance or performance. Only in modern western culture has the idea of art music as something autonomous and removed from the everyday world evolved.

But in its production, distribution and reception music is always influenced by social forces: new technologies, economic conditions, the maintenance of social and cultural distinctions and value systems, changes in patterns of employment and leisure, even modes of transport. And as the world around us changes, so music itself responds to those changes.

How can we come to understand the intimate connections between music and society? Why is music meaningful to us, and how can we understand how music has meaning at all? What is the function of art music in cultures dominated by commercial values? How can we grasp the relationships between the multiplicity of musical forms that are available in a modern globalised culture? How can we evaluate the impact of the different media and technologies by which music is disseminated and consumed?

These are some of the questions that this module seeks to address. The module also aims to introduce you to different intellectual approaches to these questions, and to broaden your engagement with the issues through independent research.

Working with Film

  • 15 credits
  • Spring Teaching, Year 1

This module is designed to help you to develop your study skills in preparation for working with film in more advanced ways in years 2 and 3 of your degree. The skills we will work on in particular include those of detailed, scholarly, film analysis and interpretation, critically, historically and theoretically informed film studies research, and multimedia forms of academic presentation and writing.

By focusing on a single set film [in 2012-13, this is intended to be Los olvidados/The Young and the Damned (Luis Bunuel, Mexico, 1950)], the module will offer the space and guidance to enable you to develop your own critical case study. Weekly lectures will introduce you to the film, its production and reception contexts, as well as to a wide range of potentially relevant issues to consider when establishing how you will go on to work with it. The lectures will also introduce you to a range of film studies skills and methods, including ways of conducting and presenting film research afforded by multimedia technology. In seminars you will analyse the set film, and its possible connections with other films, and explore your ideas and research methods under the close supervision of a tutor, as well as present your work in progress.

Interactive Music Systems

  • 30 credits
  • Autumn Teaching, Year 2

Yoou will explore the use of interactivity in performance contexts with strong technological components. The topics of live electronics, hyper-instruments, sound art installations, audiovisual performance systems and multi-channel spatial sound will be covered through practical exercises and projects. The relationship between acoustic instruments and live electronics, as practiced over the past decades, will be studied together with 20th century notation practices. The concepts of embodiment, improvisation and collaboration in performance contexts are explored through theoretical and practical seminars and workshops. 

The module includes a hardware-building component using the popular Arduino technology amongst others. You will learn the basics of electronics together with soldering and hardware hacking. You will create an instrument or an interactive live electronics system for musical expression, focussing on the performance element of electronic music.

Digital Music Cultures

  • 30 credits
  • Spring Teaching, Year 2

You will engage with current practices in contemporary musical media as relating to the production, distribution and consumption of digital music. You will explore the history of musical media from the perspectives of such approaches as musical materialities and media archaeology, tracing the development of musical ideas as expressed through technological means and the related effects upon the music industry. Engaging critically with the contemporary situation of sonic media through both theoretical investigation and practical experimental projects, you will investigate topics of sampling, collaboration, copyright and licensing, phonography, plunderphonics, glitch, field recordings, oral histories and the post-digital situation.

You will investigate the significant changes caused by online and interactive media, and learn how to compose and promote your work in the new media landscape. The topics explored in the module will be expressed through the experimental online sonic media you develop. Whilst the theoretical strand looks at the role of technology in contemporary music culture from various perspectives, the practical aspect aims to equip you with the technological skills needed in digital music, including interactive programming, audiovisual composition and performance system design. 

American Cinema B

  • 15 credits
  • Autumn Teaching, Year 2

An awareness of how Hollywood cinema was shaped, how it acquired its position of dominance, and the forms and aesthetic conventions that characterise it, is essential to an understanding of cinema more generally. Accordingly, this module will focus on the formation of Hollywood in the 1910s through to the post-World War 2 era, with particular emphasis placed on the development of the 'studio system' and Hollywood's 'golden age' of the 1920s to 1950. You will view a range of representative Hollywood films made during the period and analyse them in relation to the industry and its practices. You will also situate Hollywood cinema within the political and social life of the United States in the period.

Ensemble Performance

  • 15 credits
  • Autumn Teaching, Year 2

You prepare with ensemble conductors/coaches, for an ensemble recital at the end of the module. Additionally, performers are asked to prepare course notes for your recital. Throughout the module critical perspectives on good ensemble recital practice are fostered through contribution to, and attendance at, weekly lunchtime recitals and occasional workshops in addition to regular attendance at university. You are examined on your performance practice and programming skills.

From Opera to Film

  • 15 credits
  • Autumn Teaching, Year 2

This module is split into two five-week units and will examine the history of musical narrative from classical opera to film music. Its focus will be the audio-visual study of musical 'texts', uncovering the technical means by which music creates metaphors of linear plot and development. The module concentrates on opera and film, although it also considers some more abstract instrumental music, such as the symphonic poem.

The work of Richard Strauss, for example, occupies a space between the language of late romantic opera and 20th century film music, made more explicit in the work of Eric Korngold, whose operas lead directly into his film scores of the 1930s and 1940s.

You will also consider post-war scores in which the role of music is more complex than the mere ghosting of visual action. The 'psychological' music motifs in Hermann's scores for Hitchcock's Psycho and Vertigo are cases in point; these works have operatic links, with the 'irrational' music of Schoenberg's Erwartung and Berg's Lulu. Essays are balanced with regular aural analysis training in opera and film music. No prior technical knowledge of music is needed to study this module, nor an ability to read music; the objects of study are audio-visual, not written scores.

Media, Memory, History

  • 15 credits
  • Autumn Teaching, Year 2

This module examines the relationship between history, memory and media. Its starting points are; (i) The media are historical artifacts, forged and developed in historical contexts that they also influence. (ii) Access to history is mediated through various technical and cultural systems e.g. television, print, and networked and mobile media. Media systems capture, store, and re-disseminate material that may be returned to us as collective or individual memories for instance through family photographs, or through the annual collective commemoration of official memorial days. The relationship between history and memory is thus bound up with how media systems become embedded cultures. (iii) New media in particular, produce new kinds of artificial memory and thus may intervene in new ways in the making of history.

The module will address some of the questions arising around media, history and memory through sessions including explorations of prosthetic memory, war memories and memorials, the history of the invention of the media, memory damage and the politics of omission, family histories and migration patterns as photographic record, race and mediated memory, and questions of the convergence of the archive and the network which mean media records of events are simultaneously stored and represented.

Professional Practice

  • 15 credits
  • Autumn Teaching, Year 2

This module is organised around a work placement in the creative sector. The placement will normally be arranged by yourself and will usually be approximately 20 hours in duration. The aim is to use the experience as an opportunity to develop and reflect upon your personal and social skills in the work place; the demands of time management; technical, organisational and/or creative achievement as appropriate.

The module will enable you to compile necessary documentation in relation to work, such as a portfolio containing CVs and development plans, as well as help you to assess your skills and perform SWOT analyses and a Key Skills Audit.

On this module you will also be encouraged to reflect upon your work experience through an online journal and a synthesis paper which will draw both on the 'hands on' knowledge gained during the placement and, where appropriate, your academic study.

Screenwriting

  • 15 credits
  • Autumn Teaching, Year 2

This module develops your understanding of the art and craft of screenwriting.

Your group will undertake a thorough investigation of plot structure, and develop a sophisticated understanding of character development and theme. You also consider other screenwriting concepts including subtext, scene design and cinematic juxtaposition.

The practical dimension of the module involves you writing a script for an 8-10 minute short film. Through guided writing exercises and viewings, you will work through a script development process that guides you from initial conception to the completion of a fully revised draft.

Sound, Culture & Society B

  • 15 credits
  • Autumn Teaching, Year 2

This module introduces you to the role of sound in human culture and society. It seeks to foster an understanding of aurality in the past and present and the relationship of sound to various modern media. It provides you with interests in film, television, radio, music and journalism with a solid and wide-ranging introduction of the main historical, theoretical and practical thinking around the subject of sound. It encompasses music and speech but places them in the context of sound and listening more broadly. The approach is global and interdisciplinary combining historical perspectives with textual analysis of contemporary films, programmes and soundscapes with emerging work on auditory cultures and online media in both 'Western' and 'non-Western' parts of the world.

Subjects covered would include:

  • Hearing and the senses (including perception, mood, and memory)
  • The concept and history of the 'soundscape'
  • Sound before and after modernity (including the concept of 'oral culture', the role of sound in political and social struggles through history, the electrification and recording of sound)
  • Sound and ethnography (eg sound in everyday life in varous cultures)
  • The voice (including styles of speech and the ways in which 'personality' is supposedly revealed through voice and gender)
  • Cinema and sound (including film sound design in the past and present)
  • Music and new media (including new forms of music production and reception, and the production of taste).

You will also be introduced to some of the key terms and concepts used in analysing sound, both in the study of soundscapes and in the study of soundtracks.

Studio and Live Engineering

  • 15 credits
  • Autumn Teaching, Year 2

This module builds on fundamental principles established in Studio Recording (a prerequisite for taking this module) and Music Production at level four. It aims to further develop your understanding of the studio and related recording and engineering environments.

Through engagement with contemporary and historical practices, and critical and contextual exploration of the subject area, you will consider advanced approaches to:

  • mixing
  • mastering
  • dynamics processing.

You will work in and out of the box with a view to develop a professional workflow. You also develop engineering skills outside of the studio environment through recording and live sound engineering – establishing transferable skills in an ever developing engineering and production industry.

The Rise of Classical Music B

  • 15 credits
  • Autumn Teaching, Year 2

Combining cultural history and analysis of scores, this module looks at the establishment of a 'classical' repertoire in concert-hall, opera-house and the home, from the first decades of the 19th century. You will examine of the authoritative influence exerted by such figures as Bach and Beethoven throughout this period and the varieties of 'neo-classical' response during the 20th century.

Theory Taste and Trash B

  • 15 credits
  • Autumn Teaching, Year 2

This module aims to introduce students to two related issues, namely:
a) a historically-rooted account of how the study of popular culture came to be established in British higher education and of some of the key theoretical approaches that helped to shape those studies
b) an exploration of how the bringing together of popular culture and ‘the academy’ has and continues to pose intriguing problems around hierarchies of taste, questions of value, and definitions of educational worth.

A series of lectures will offer students both a historical overview of those issues and an introduction to the influence of key writers, theorists and approaches, while the module seminars would help students to engage with particularly significant and talismanic texts (from writers such as Hall, Bourdieu and Bakhtin) in the field and also to test out the interpretive frameworks they offer by undertaking some case study analyses of contemporary popular cultural texts and practices (in fields such as television, popular music, the leisure industries and youth culture).

Advertising and Social Change B

  • 15 credits
  • Spring Teaching, Year 2

The module engages with the historical development of advertising and opens up a critical understanding of its contemporary place within media economies, culture and society. In the 21st century, advertising has been transformed by the rise of branding, the maturing of the internet and the emergence of new media forms like social media. Traditional advertising forms and the funding model for media which advertising has provided are under threat.

It asks questions about advertising in relation to (social) change, considering whether it is quite the conservative force it is sometimes believed to be reproducing 'dominant ideologies', trading in 'stereotypes', blocking or hiding change, and whether it is perhaps scapegoated when blamed for causing undesirable social changes, such as obesity. To think of advertising in another way, we explore how advertising as an institution and commercial tool is tied into the dynamics of capitalist modernity so that it also trades in the 'new': forever trying to capture the 'mood' of the moment or articulate the current 'state of play'. We consider how some scholars argue that advertising can be therapeutic, managing change and resolving the tensions of modern life rather than simply inciting anxieties for which capitalism has the remedy: go shopping.

We also explore the contradictions of advertising, as both commercial tool for capitalism helping to sustain consumer expansion and a cultural communicative artefact, offering pleasures and irritations, provoking memories, constructing multiple identities and like other cultural output contributing to how we feel, think, talk and culturally connect and disconnect from others.

Through lectures and seminars, group work and independent study, the module engages with these questions and issues through the study of historical and contemporary ad examples, scrutinising both commercial ads and those geared to social marketing, eg. charity ads. It equips you with the tools of analysis to engage with the 'work' of ad campaigns and the broader phenomenon of branding and promotion. But it also provides you with knowledge of the ad industry and the work that ad agencies do. Through engagement with a wide scholarship, you will be introduced to theorisations which give you ways to understand why and how advertising has changed and how it can be thought about in relation to broader developments in society.

American Popular Music

  • 15 credits
  • Spring Teaching, Year 2

This module examines the historical, social and cultural contexts of American popular music, focussing predominantly on the USA. Emphasis is placed on popular genres and styles of the twentieth century, the period in which the USA took on a dominant role in the creation and spread of popular culture across the globe.

As well as charting this growth in dominance, the module analyses popular music as representative ‘people’s music’. Genres and styles – including the blues, jazz, country, soul, funk, punk, disco, hip hop and grunge – are used to read aspects of change and continuity in the American twentieth century. Rather than providing a simple chronological history of musical styles in the USA, the module uses the music to examine concepts of race, place, tradition, commerce and authenticity. The music industry is analysed in terms of American business models, and recording and revival are explored as ways of thinking about representation, commercialization and exceptionalism.

Vital socio-historical moments, such as the emergence of rock and roll and the use of music in the civil rights era, are studied alongside the ‘invention’ of the teenager and the rise of a counterculture. The module concludes with a series of reflections on the various soundscapes associated with America and with the notion of multiple Americas audible through the myriad of non-Anglophone genres that exist within North America.

British Cinema B

  • 15 credits
  • Spring Teaching, Year 2

The module begins by examining critical approaches to a history of British cinema and the dominant ways this cinema and its characteristics have been understood. We then examine British cinema from the 1920s to the contemporary era beginning with the factors which shaped it, in particular the debates about the social and cultural importance of a specific British cinema against the background of the massive influence of Hollywood, and the representations of ‘Britishness’ this produced. The later weeks of the module examine in more detail British cinema’s attempts to deal with the various forms of ‘otherness’, which it has sought both to define and to contain in the changing cultural and political climate of the post-war years and with the different ‘British cinemas’ this produced.

Chinese Cinema B

  • 15 credits
  • Spring Teaching, Year 2

This module looks at Chinese-language film from the PRC, Hong Kong, Taiwan and beyond. Since 1949, China has been divided between two competing centres of ideological and cultural legitimation: the People’s Republic of China, and the Republic of China on Taiwan. This division, combined with the influence of Hong Kong and diaspora cultural production, means that Chinese-language cinema is an excellent case study through which to explore the limits of the ‘national cinema’ model of Film Studies.

This module does so by considering how Chinese cinemas have responded to social, political and industrial change across and between their three key sites of production, in ways that both intersect with, and often complicate, the concerns of ‘national cinema’ studies. A variety of material will be covered, both historical and contemporary, potentially touching on issues of representation, genre, form and style, and industrial and policy challenges.

Debates in Screen Documentary B

  • 15 credits
  • Spring Teaching, Year 2

This module will introduce you to the major debates in documentary film studies, a burgeoning field within the discipline of film studies. The documentary is notoriously difficult to categorize or define, but John Grierson’s provisional definition as ‘the creative treatment of actuality’ is as good a place as any to start the investigation of this shapeshifting form.

Gaining in popularity and expanding in form well beyond its traditional televisual format, documentary studies has become an exciting area of research with a literature that is expanding exponentially. A survey of the field will include (but is not limited to) interrogations into questions of:

  • representation of reality
  • documentary authorship
  • objectivity and subjectivity
  • the essayistic and experimental modes
  • other key themes.

Movements and trends in documentary will be covered including a range of practices that have spurred heated debate, such as the mockumentary, the interactive documentary, and the incursion of documentary into the art world. Case studies from international documentary will be integrated into the module, depending on the specialism of the convenor.

Digital Cultures B

  • 15 credits
  • Spring Teaching, Year 2

This module examines interactive leisure forms and practices based on digital technologies. It understands digital media as a significant and expanding new media formation; one that is transforming both the content and economics of the culture industries. The module will consider the cultural, political and social implications of new forms of interactive media designed for leisure and entertainment. Areas covered will include computer gaming, networked new media such as networked games, networked social spaces, pornography and other on-line entertainment. In addition the module will consider new forms of convergence between previously discrete media forms - for instance Net-TV collaboration and net-served films.

Film Music after 1950

  • 15 credits
  • Spring Teaching, Year 2

This module examines issues relating to how music is used on stage and screen and other theatre environments. It complements material studied in the autumn term ‘Music, Stage and Screen 1’ in such a way that the module is free-standing. (MSS1 is not a pre-requisite to MSS2). The module is divided into 2 Units.

  1. Opera on Stage after WW2
  2. Film Music: Beyond the Hollywood Model
Unit 1 : Opera on Stage after WW2

This unit looks at one aspect of music for the stage in a particular context – opera as theatre in Europe from 1945 to 2000. This focuses on the dynamic northern European opera scene, and the German-speaking world in particular, through the remarkable reconstruction of opera after the European cataclysm of the war, through some of its creative practice on stage.
Firstly, it looks at the immediate post-WW2 scene, to consider how key interpretive artists (stage directors and designers) brought new perception and new readings of existing canonical work to mainstream opera platforms. Secondly, it reviews some creative responses by post-war composers across Europe to the same context. It also considers a small sample of avant-garde opera and looks briefly at some instances of translation of opera into another key medium during this period, such as Felsenstein's/Offenbach's Les Contes d'Hoffmann; and Hans-Jürgen Syberberg's/Wagner's Parsifal.

Unit 2 Film Music: Beyond the Hollywood Model

The second unit in this module explores alternative and non-narrative solutions developed in examples taken from European and contemporary cinema. The module examines how the music relates to the visual action and what this conveys about the works' cultural, gender and socio-historical identities. We round off the unit by looking at Lost Highway, a film by David Lynch, which was made into an opera by composer Olga Neuwirth, allowing us to reconsider the relationship between film and opera. In this regard we will also briefly examine the phenomenon of using video in live multi-media stage productions.

Issues which will be touched upon regarding different roles of music in screen media will include:

  • the fragmentation/(de)construction of narrative and identity in contemporary forms
  • the creation of meaning using expressive materials involving sound and sight
  • different interpretations of the 'real'
  • issues to do with 'live' performance and different interpretations of what is 'live'.

French Cinema B

  • 15 credits
  • Spring Teaching, Year 2

This module provides a historical, critical, and theoretical survey of developments in French cinema. It focuses on key historical issues (aesthetic, social, political) that have shaped French cinema over the last century, examining the intersections of film with French politics, culture and identities. A range of directors (possible examples: Godard, Franju, Denis) and types of film (popular genres, art cinema, avant-garde) will be studied, with films ranging from the 1920s to the present day. The module will combine close attention to textual analysis with contextual study of the period in which films were produced, and with comparative readings of critical approaches to films.

Gender, Space and Culture

  • 15 credits
  • Spring Teaching, Year 2

Why is space important to our understanding of communication? How do subjects travel through space in order to construct narratives of identity? How are spaces moralised, sexed and gendered? How do they accrue significance or symbolism?

In the last decade there has been a convergence across many academic disciplines to comprehend spatiality. Social spaces are never empty or static, they are full of the shifting dynamics of power and politics. On this module you will study to what extent gender is articulated in public and private spaces, so that they may be considered to be predominantly feminine, masculine, queer or transgendered. You will also examine how spaces and places are dynamic, unstable and mutable in relation to competing social differences. We will look at a variety of sites of the everyday, from the domestic to the visual, from bodies to landscape and virtual realities using key theoretical concepts such as 'performativity', 'representation' and 'transectionality' to interpret how our culture is thoroughly imbued with gendered and spatialized assumptions.

Topics may include: thinking about gendered journeys such as package holidays or migration; the boundaries and borders of the self; the national and the global; social inclusion and exclusion; and representations of the feminized underclass, or the masculinized professional. We will also consider queer cultural geographies as represented in films; 'freaky bodies' and transexuality online; and the spatial politics of protest on the streets and in the home.

Journalism in Crisis B

  • 15 credits
  • Spring Teaching, Year 2

This module offers a diversity of approaches for studying journalists and journalism around the world, and charts the opportunities, challenges and crises facing journalism in an increasingly global field.

The module examines the impact of developments in journalism that have resulted in it becoming an international phenomenon operating in global networks as opposed to within national or cultural borders. It looks at journalism in crisis (as a practice) and journalism as it responds to and communicates crises in the world. It explores the blurring between entertainment and news, as well as the formerly clear division between journalism, public relations and business communication. The module draws on specific examples of global media events to examine these issues and enables you to creatively and critically explore the challenges of consuming and producing globalised stories.

Making Opera

  • 15 credits
  • Spring Teaching, Year 2

Making Opera explores contemporary approaches to music theatre and opera, through an investigation of current examples, their relationship to earlier approaches, and practical exercises you will create in response.

Their material is in turn fashioned into a music theatre piece for presentation at the end of the module under the guidance/direction of the tutor. You are assessed through an initial group presentation, followed by a creative portfolio which will document your final performance through video, photographs and recordings, and a critical and reflective essay.

Screenwriting

  • 15 credits
  • Spring Teaching, Year 2

This module develops your understanding of the art and craft of screenwriting. 

Your group will undertake a thorough investigation of plot structure, and develop a sophisticated understanding of character development and theme. You also consider other screenwriting concepts including subtext, scene design and cinematic juxtaposition. 

The practical dimension of the module involves you writing a script for an 8-10 minute short film. Through guided writing exercises and viewings, you will work through a script development process that guides you from initial conception to the completion of a fully revised draft.

Solo Performance

  • 15 credits
  • Spring Teaching, Year 2

You prepare with your instrumental teacher, for a recital at the end of the year. Additionally, performers are asked to prepare programme notes for their recital and undertake a repertoire survey for their instrument/voice. Throughout the module critical perspectives on good recital practice are fostered through contribution to, and attendance at, weekly lunchtime recitals and occasional workshops. You are examined on your performance practice and programming skills.

Sound Design in Context

  • 15 credits
  • Spring Teaching, Year 2

You engage with the fundamental principles of sound creation and manipulation. You do this through exploration of sound design practices in a range of contexts including game sound, virtual reality and other interactive media, film, TV, radio, theatre, and live sound applications. 

By examining the work of influential sound design practitioners we support you in practical exploration of sound design methodologies and techniques. This includes:

  • field recording
  • synthesis
  • multichannel spacialisation
  • Foley
  • the manipulation of sound recordings using DAWs and analogue recording devices to achieve a desired aesthetic.

The History of the Modern B

  • 15 credits
  • Spring Teaching, Year 2

By combining analysis of scores and social history, this module examines the establishment from the early 19th century to the present day, of counter-cultures that subvert the authority of the 'classical', both within the concert-hall and beyond. It considers the consequences of modernism's estrangement from the aspirations of the concert-going public, the aesthetic re-alignments prompted by the emergence of a popular mass culture, and the impact of electronic and digital technology.

TV: Fictions and Entertainments B

  • 15 credits
  • Spring Teaching, Year 2

This module focuses on the textual and contextual study of television's key fiction and entertainment genres - soap operas, sitcoms and other styles of comedy, game shows, lifestyle television, daytime television, and music television among others. You will be encouraged to explore the defining generic characteristics of these televisual categories, their representational strategies, their ideological implications, their particular pleasures and their relationship with audiences. The primary focus will be on British television, although material from other broadcasting contexts will be used where appropriate for comparative purposes. Most of the primary material will be drawn from current or recent TV, but students will also be required to investigate the history of popular TV genres to understand their evolution over time.

Advanced Music Technology Studies

  • 30 credits
  • Autumn Teaching, Year 3

Advanced Music Technology Studies is a core module that gives you the chance to conduct critical research on a topic that leads to your final practical project in the spring term.

This module gives you the theoretical foundation to support your practice-based research through a structured series of seminars, leading towards a presentation of your research, and production of an extended essay.

You will be guided throughout the term by weekly in-depth two-hour seminars affording insights to how to research music technology related topics, with relevant historical, social, cultural, political issues introduced by the tutor.

The module will develop your intellectual abilities and nurture creative insights within a particular topic of your choice, preparing you equally for the Studio Project or the optional Music Dissertation in the spring term.

Advanced Composition and Arrangement

  • 30 credits
  • Autumn Teaching, Year 3

This module develops advanced practices in musical composition and orchestration techniques, and allows you to work on small-scale compositions and/or arrangements that reflect your own creative interests. Through a range of case studies from the birth of the orchestra to contemporary ensemble music, the seminars focus on practical and aesthetic issues and are geared towards assessed projects as well as helping lay the foundations for larger-scale work. The seminars provide you with peer and tutor feedback, as well as guidance on your assessed projects.

Advanced Music Studies

  • 30 credits
  • Autumn Teaching, Year 3

This module offers you the chance to study an in-depth musical topic specially devised by the module convenor, in order to pursue music theoretical concerns through a structured series of seminars, leading towards the research and production of an extended essay. You will be guided throughout the term by weekly in-depth two-hour seminars affording insights to the topic and relevant historical, social, cultural, political issues led by the tutor, with support through the Study Direct forum and additional contact time through office hours. The module will develop your intellectual abilities and nurture creative insights within a particular topic, thus giving you supportive insight into approaches appropriate to a broad range of advanced musical studies. This is an ideal choice for those seeking insights into the practice and conduct of research in music and as a preparation for individual dissertations and independent research in the Music Dissertation module of the spring term of the third year.

Film Music and Audiovisual Project

  • 30 credits
  • Autumn Teaching, Year 3

Film Music and Audiovisual Project is a composition module with a special emphasis on the skills, knowledge and understanding needed to complete successful scores and soundtracks to screen-based media. Success in this context is deemed to include demonstration of a critical understanding of the nature of screen media and the demands placed on music in this context.

The module is assessed through Presentation (PRE 30%) and Portfolio (POF 70%). You demonstrate your critical understanding through an oral presentation and by completing a portfolio of between 5-10 minutes of original composition/s, with commentary, which engage meaningfully with screen media and articulating your research, principles and practical approach. It is important to absorb key concepts used in debates on the qualities and values of film and screen media music, debates which date back to the beginning of the 20th century. At the same time it is your responsibility to develop a viable and focused project in an area of your choosing which demonstrates how you have built on these critical foundations.

Generative Arts and Musical Machines

  • 30 credits
  • Autumn Teaching, Year 3

This module explores the creative application of generative systems in software and hardware, culminating in the creation of a robot orchestra.

Through exploring key topics of generative art (stochastic processes, rule based systems, automata, intelligent systems, physical computing, hacking, circuit bending, data art and robotic art), you will gain the necessary skills required to build your own physical or audiovisual system that contributes to the robot orchestra.

The module will base the practical work on a historical study of artistic and creative use of systems, processes and algorithms in musical composition and generative arts. Historical practices and techniques will be introduced in a mix of lectures and hands-on workshop sessions.

The module has a strong practical component. Ideas and methods will be introduced in Pure Data and Max/MSP, but you will be supported in carrying out your personal projects in a range of languages including, SuperCollider, Processing, JavaScript, Web Audio, etc.

You will also learn more advanced electronics and hardware-building using microcontrollers, such as Arduino, including the use of motors, and the Arduino audio processing audio library, Mozzie. The module's assessment is individual, but you will be working with a group of fellow students from week 4 in building a robotic band, of which your piece is a component.

Prerequisite: CMT or equivalent experience and knowledge of Max/MSP or Pure Data.

Advanced Performance

  • 30 credits
  • Spring Teaching, Year 3

If you decide to take Advanced Performance, you will prepare, with your instrumental teacher, for a public recital at the end of the year. Group seminars are held in the spring term, in which a variety of performance-related topics are considered, including authenticity, performance psychology, and the concert ritual. The seminars also provide an opportunity for performance workshops aimed at preparing you to feel relaxed and look professional when performing.

In this module, you prepare for two assessements: i) a performance recital lasting 30 minutes at the end of the module; and ii) a presentation outlining details of and rationales behind your chosen recital along with some performed examples of performance issues arising from the module.

Music Dissertation

  • 30 credits
  • Spring Teaching, Year 3

Drawing on recent developments in the field, this module will introduce you to the methodological and theoretical knowledge and understanding as well as the research, writing and presentation skills required for advanced musical studies. The group seminars will also: a) introduce you to advanced use of the electronic library and bibliographic software for undertaking a literature review of your chosen dissertation topic; b) guide you in how to adapt current musicological approaches to your chosen dissertation topic; c) prepare you for your assessed presentation and outline plan for your dissertation.

Through tutorials with your dissertation supervisor, you will identify a case study to base your dissertation on an appropriate methodological approach. You will be guided in how to present your research effectively in a written dissertation.

Music Project (Spring)

  • 30 credits
  • Spring Teaching, Year 3

This is an option for students to undertake either an industry placement or a special project, which otherwise falls outside of the remit of the other modules.

In both cases, it is your responsibility to present a compelling, music-related placement or project proposal to the module convenor for approval in the preceding academic year. If approved, you will be responsible for setting up and conducting the project and will receive four 30-minute supervisions with an allocated supervisor throughout the term to monitor progress and help with providing the critical reflection or guidance required to fulfil the agreed project aims.

Sound for Interactive Media

  • 30 credits
  • Spring Teaching, Year 3

This module investigates the history of non-linear audio from a media archaeological perspective and explores sound in its multiple contexts, of which music is one possible outlet. Sound games, sound design, sound installations, sound apps are examples of areas in which you will create work. Generativity, interactivity, re-mixing and sharing are key concepts of this type of musical work.

The module responds to recent changes in the production, dissemination and consumption of sound and music in the contemporary media landscape. Composers and musicians are now able to create music in the form of interactive systems, disseminate or perform their work using online communication channels and the listener is increasingly given an active role in the process of listening. The module contextualises these developments with focus on future trends in the increasingly democratic sonic media. You will explore and invent potential media forms for musical expression and sound art.

Studio Project

  • 30 credits
  • Spring Teaching, Year 3

This module is a combination of seminars and individual or small-group supervision/tutorials for developing individual portfolio projects.

Ensure that you complete reading and listening in time for each seminar, and build on this work by compiling your own bibliography and discography, relevant to your project.

The module is delivered through a series of seminars, followed by tutorials to advise and assist on the development of your final project. The outcome of the module is an extended (five minute) studio composition either in the form of a sound file, interactive work using Max/MSP or Pure Data, or, for example, a soundtrack for games.

The final portfolio should illuminate the relationship between the musical ideas, their development, and the studio techniques in your piece.

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