Music Technology BA(Hons) 2017-18

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Julian Surma

Julian talks about Music Technology

About the course

You'll have the opportunity to develop advanced sound production and programming techniques from industry-engaged staff alongside developing your computer-based composition and creative skills. This course aims to engage and encourage you by providing you with a solid technical foundation. It will aim to nurture your confidence and your ability to compose, perform and innovate in sound production, experiment with the knowledge you gain and subvert the traditional way of thinking about music technology.

•  Our facilities are professionally-designed and built. We have extensive recording and composition studio space, and are continually upgrading the equipment you use, keeping up-to-date with the industries we're training you to be part of.

•  You'll be at the centre of a hive of creativity. Your fellow students will be aspiring classical and pop musicians, recording engineers, audio electronics experts and interface designers.

•  You'll have plenty of opportunities to learn from the very best; we organise visits from leading practitioners (like producers Charlie Russell and Brad Spence, drummers Mike Heaton, Bill Bruford and Craig Blundell, guitarist Alex Hutchins and jazz saxophonists Snake Davies and Andy Scott), plus video conference advice sessions from the likes of LA-based sound designer and author David Sonnenschein. Our graduates also keep in touch to share their professional experiences.



•  Every year in November you have the chance to see and experience contemporary music in action at the Huddersfield Contemporary Music Festival, the UK's largest contemporary music festival, whose main partner is the University.

•  You'll be joining a large community of music and music technology students in the UK and have the opportunity to enhance your employability by taking a placement year as part of your course, organised by our award-winning placement unit.

This course holds JAMES accreditation - see jamesonline.org.uk for more information

What our External Examiners say: "…feedback quality is, without exception, of a very high standard, pedagogically well focussed, and showing excellent levels of engagement with student work on the part of the staff of the department."
Dr Bennett Hogg "a truly well-rounded education with some students displaying a very high degree of critical thinking and awareness which had been clearly supported by an expansive approach to the curriculum and delivery. The quality of some of the work has been truly outstanding."
Dr Rob Mackay "Assessment was transparent and committed – in all modules there was strong evidence of engagement with student work."
"[The courses are] highly current and therefore of particular use to students seeking careers."
"Staff support for learning seems to be both strong and of high quality, as if both staff and student body were responding to each other."
Dr Mike Jones

See what current Music Technology student Julian has to say about his course.

Course scholarships available – up to £3000. More details.


UCAS code:
HW63

Start date:
18 / 09 / 2017

Duration:

3 years full-time
4 years inc. placement year

Course type:

Full Time inc. placement year

Contact:

Clearing helpline:
03301 232 277

Course content

On this course you will have the opportunity to combine computer music skills with electronic engineering. We will help you focus on producing music through the creative application of the latest hardware and software, using industry-standard and state-of-the-art experimental packages.

The course covers a range of interdisciplinary projects that involve creative, programming and multimedia skills to help further develop your existing proficiency in both music and electronics.

Year 1

Core modules:

Computer Composition 1

In this foundation module you will study composition and technical processes for writing in a range of possible genres, and will have the opportunity to develop a broad understanding of sound synthesis, audio manipulation and music production skills. The module includes tuition on technical fundamentals while introducing composers and genres that constitute the breadth of sound computer-based composition offers. Topics include theory and practice in sound synthesis and sampling, and genres include Musique Concrète, Elektronische Musick, ambient music, and contemporary electronic music artists and styles. Assessment is through coursework: creative exercises, free composition and accompanying written documents.


Recording 1

This module is designed to introduce you to the basic theory and practice of a broad range of techniques and equipment used for studio, concert hall and location recordings. The studio recording part of the module focuses on techniques involved in modern pop/rock music production. The module includes practical recording sessions delivered in our professional quality studios equipped with ProTools HD and a digital mixing desk. The concert hall and location recording content of the module is aimed at providing you with a firm understanding of various stereo microphone techniques for acoustic recording. You’ll also get the opportunity to put your learning into practice by making recordings of a classical ensemble at the University’s concert venue.


Interactive Sound Design 1

This is a creative module using the software Max, a graphical programming language used to develop digital instruments and audio processing algorithms. You will be introduced to the software and learn its basic programming techniques, gaining experience working creatively with these techniques. Though no previous programming experience is required, you need to be interested in the technical side of the creative use of music technology (an aptitude for maths would be an advantage). The learning curve is quite steep, but Max offers you a unique and highly flexible way of manipulating sound unavailable in any other commercially available software. The assessment is solely practical, through a submitted portfolio of work. 


Grooves, Glitches and Crackles (Foundation Studies in Popular Music and Electronica)

This module traces both the developments and practical applications of technology in compositional practice as well as aesthetic issues in sound technology and practice. It will help you embrace theoretical writings concerning the proliferation of popular genres in contemporary culture as well as ways in which the computer and other technologies have challenged the definitions of sound and music. Key topics include: the history of early recording and electronic instruments, music and ethnicity, mixers, DJs and turntablism, club culture, electronica and sampling practice. The module is assessed through coursework, including two essays and an album review.


Audio Technology 1

This module aims to provide an overview of the technologies found in a modern audio recording environment. You will be introduced to audio principles such as signals, acoustics, hearing, basic electronics and digital audio processing fundamentals. You’ll be supported in using these principles to develop an understanding of audio technologies found in music production, such as microphones, mixing desks, amplifiers, audio processors and speaker systems.

Option modules:

Choose one from a list which may include-

Popular Music Performance Skills

This module introduces pop ensemble playing to you in the first year of your course. You will have the opportunity to perform with your fellow students in a small, acoustic group and also have a choice of more focussed tuition on either keyboard, pop singing (in a choir) or Brazilian, African and Latin percussion. You will be assessed via a learning journal (coursework) of your journey through the module and a practical assessment consisting of an un-plugged style performance.


Object Orientated Programming for Music Technology

This module gives you the opportunity to explore the use of computer programming languages (specifically C/C++ language) for music technology applications. You’ll have the chance to study program language features, including an introduction to classes and objects to design, code, test and document software appropriate for MIDI and audio applications.


Introduction to Digital Media and the Internet

Serving as an introductory module, you'll study how the web can be harnessed by the music industry. The module covers how to create a content managed website with a wide range of functions including: blog, picture sliders, embedding video and social networking widgets, and adding your Soundcloud and other music-related content directly in to the pages. You'll explore the importance of interconnectivity between your hub website and your various music/social platforms, optimising each to suit your purposes. You'll also study how to plan and create digital videos and incorporate special effects. The portfolio of work you're expected to create provides an excellent tool for landing a great placement and is a springboard for further self-promotion to the world.

Year 2

Core modules:

Computer Composition 2

Building on the skills and knowledge acquired in Computer Composition 1 or Technology for Music, this module provides further study of the techniques of computer music including synthesis, sequencing, sampling, editing, processing and mixing, and an exploration of the creative potential of these techniques. The module is based around the subversive use of software, focusing on helping you to become a critical and creative user of the technology, in order to go far beyond the user manual. Assessment is mostly practical, based around two compositions created throughout the year with the support of the tutors, and a reflective commentary on the process.


Recording 2

This module will cover advanced concepts around the theory and practice of recording and mixing sound. It will review some of the current ideas about recording and production, and place techniques and technologies in a historical context. In combination with the content delivered during the lectures for the module, you’ll have the opportunity to gain practical experience of sound recording and mixing to a high commercial standard in our digital recording studios, where a series of in-depth workshops are delivered.


Electronic Music in Context

The module will examine a number of contexts in which electronic technologies play a significant role in the production of music. The implications of aesthetics and perception in new media and performance situations will be discussed along with the similarities/divergences between a number of trends and in current creative practice.

Option modules:

Choose three from a list which may include-

Explorations in World Musics 1

This module will introduce you to styles of music popular around the world in the past and in the present, such as Vietnamese Pop, Baltic folk music and Aboriginal country music. It will also have a local focus, and one piece of assessment will ask you to work with musical group in the Huddersfield area, whether through musical collaboration, ethnographic research, or recording them. This course will also introduce analytical tools that will help you conceptualise these styles of music and place them within their cultural and political contexts.  It will draw on a wide range of disciplines, including ethno-musicology, musicology, anthropology, popular music studies, post-colonial studies and history.


Empirical Musicologies 1: Data-Driven Approaches to Musical Study

You'll be introduced to a range of approaches in empirical musicology – a branch of musicology concerned more with objective knowledge and evidence than with subjective judgement. The module will help you to develop understanding and skills in handling empirical data systematically – in such fields as music analysis, music psychology, musical creativity research and music data encoding/storage/retrieval, among others – in order to address music-related questions. It will also help you to understand the nature and range of music-related research-problems which can be addressed by empirical approaches


Music for the Moving Image B

This is a film music composition module that explores the relationship between the soundtrack and moving image. You will aim to develop an understanding of the historical context of the soundtrack from silent film to the present day through composition work. In this way the module encourages you to develop a practical understanding of the functions that music and sound have on film, whilst teaching the elements of film composition, arrangement and orchestration. Creating believable mock-ups with sampled instruments is a core skill to develop here. While there is a strong focus on film, the module also looks at games music, TV idents, animation and music video.


Live Sound Year 2

You will have the opportunity to work with industry-relevant equipment on a variety of systems from different manufacturers (Digico, Yamaha, Meyer). Key principles of routing and mixing (both front-of-house and monitors) will be covered in lectures, with regular practical workshops supporting theoretical content. You will learn to handle all aspects of the production of full-band events including lighting. You can take this module in either your second or final year. Assessment comes in the form of an in class test, report and portfolio of live sound activities.


Interactive Sound Design 2

This module follows on from Interactive Sound Design 1 in developing skills for working with sound interactively using the graphical programming language Max. The module deals with more advanced programming techniques including the use of frequency domain processing and granulation, as well as exploring more sophisticated creative uses. As with ISD1 it does involve some technical skill but also offers great flexibility in terms of musical and creative potential, especially for live electronics. Assessment is by coursework.


Scoring the Silver Screen: the Musicology of Film and Television

Scoring the Silver Screen introduces you to a range of analytical, critical, and theoretical approaches to music and sound in film and television. You will explore the evolving relationships between technology, economics, and aesthetics in the history of moving images media, with case studies ranging from 'silent' films and classic Hollywood musicals to art-house cinema, contemporary blockbusters, and television serials.


Experimental Music 1

In this module you will explore and gain understanding of the defining elements of experimental music. Weekly lectures will introduce new ideas, composers and musical works, which will be explored through performances, group activities, discussions and presentations. No performing experience is required – just an open mind and willingness to experiment! Assessment will be a combination of practical and coursework, including the choice of a performance of an experimental work, a composition, or a seminar presentation.


Audio Electronics

The module concentrates on the analysis, design, build and test of audio circuits and systems. Using electronic theory, practical examples, data sheets and application notes you will gain a working knowledge of audio transistor amplifiers, integrated circuit (IC) audio amplifiers, audio filters, audio equalisation networks, valve amplifiers, direct inject units and effects units. Assignment work will be undertaken to develop your basic understanding and practical electronic skills with a focus on audio systems. You’ll be supported in developing the skills associated with analysis, design, build, test, measurement and report writing.


The Music Industry and the Internet

In this module, you'll be expected to harness the internet to drive real traffic to a real website you will produce for you or your band. You'll be supported in creating professional social media accounts, linking music uploading accounts, using search engine optimisation, making screencasts and using special effects for videos relating to your digital profile. The model also explores money-business models for musical artists including advertising, videos, e-commerce and merchandise. The aim is that at the end of this module you will have an integrated digital footprint with an e-commerce website selling (or with the potential) real (or designed) products.


Audio Plug-ins and Web Audio

This module provides an overview of advanced programming techniques. You'll be supported in gaining programming experience in computer languages such as C/C++ and HTML/Javascript/Web Audio/Canvas, resulting in the production of audio/MIDI processing routines, audio plug-ins and graphical user interfaces.


Popular Music Directed Ensembles 1

In this module you are coached as a fully formed band in more advanced groups. The ensembles you could be in are: Folk, Blues, Funk, Reggae/ska, Prog Rock, Jazz, Laptop Ensemble, Frank Zappa Band, Guitar Orchestra, Guitar Improvisation, A Capella Choir, Samba Band plus the opportunity to create original bands. Assessment comes in the form of two practical gigs through the year and a reflective report tracking your experience in the module.


Music in Educational Contexts

This module explores the role of the musician in a range of informal and formal music education contexts. You will have the chance to develop the knowledge and skills to plan and evaluate music education activities, and enhance your understanding by undertaking a work shadowing placement.

Year 3 - optional placement year

Industrial Placement

This work placement module is designed to help you develop social and personal skills through work based activities appropriate for registration in the initial stages of professional institutions. You will be able to develop an understanding of the operating environment, in industrial and commercial terms, and of the roles and responsibilities of its staff. You will have the chance to develop an understanding of the significance of your work within the commercial operation of the company. You will have the opportunity to get involved in the planning of work and projects from the initial investigation through to conclusion, selecting appropriate methods and data. This is a pass/fail module. The criteria for success in this module depends on an employer appraisal, a technical logbook and a company profile report.

Final year

Core module:

Computer Composition 3

Building on the experience you have gained in Computer Composition 1 and 2, you will produce a composition using multi-channel sound, with or without video, or interactive sound design (ISD1 and 2 prerequisite for the latter option). You will be introduced to new techniques including the use of spatialisation, video, interactive or mixed media work. You will be supported through the creative process through weekly tutorials over one term only, where you will be helped to develop your ability to work with such techniques creatively, and you will have extensive access to the studios. The assessment is mostly practical, based on a work submitted with an accompanying reflective commentary.

Option modules:

Choose one from a list which may include-

Researching Music, Technology and Performance

Research is often seen as something that other people do but we are all engaged in the process of researching music all the time as we make, perform or listen to music. The module takes as its basis the idea that research is something that you do and researching involves a wide range of skills and abilities, not just text-based academic research. You are therefore encouraged to think creatively in terms of what you do as a researcher and so research is seen as an integral part of your development as a musician, as a composer, analyst, historian, performer, producer, DJ, or any other musical activity you participate in. You will be assessed on a fieldwork project, a research poster and an extended research project of your own choice.


Music Media and Markets

You will explore different aspects of musical practice in contemporary culture. The selected case studies will introduce some of the different ways in which music is produced, distributed and represented both globally and within contemporary British society. Examples: the music business and money – who makes it and how they get it; music as software – the death of the recording industry?; music and audiences – who’s listening and how are they listening?; elitist or populist? - the politics of music in Britain. These topics will be discussed in class where lively debate is encouraged. You will be assessed via an open paper exam and an essay.


Music in the 21st Century

This module explores the major issues and materials of current musical thought and practice. We will draw on a wide range of styles and genres to examine the diversity of music in the early 21st Century, and will focus in particular on some of the aesthetic challenges and debates raised by this diversity. Assessment is through coursework, including a final project that provides opportunities for you to develop your own creative ways of demonstrating the findings from your independent research, including performance, composition, installations, multimedia presentations, blogs, websites and podcasts.

And choose up to four from a list which may include-

Sound for Image B

You will aim to develop a practical understanding of fundamental skills for producing sound for film, television, computer games and mobile devices. You will be introduced to a variety of sound production professions, and the processes of sound production within various media contexts. We will offer practical training in location recording, dealing with equipment, making sound effects and sound design, and preparing layers of audio for post-production, and study post-production skills for soundtrack compilation. Assessment is through coursework: touching up rough sound materials, producing original sound and creating your own soundtrack and a portfolio of accompanying technical documents.


Explorations in World Musics 2

This module will introduce you to styles of music popular around the world in the past and in the present, such as Vietnamese Pop, Baltic folk music and Aboriginal country music. It will also have a local focus, and one piece of assessment will ask you to work with musical group in the Huddersfield area, whether through musical collaboration, ethnographic research, or recording them. This course will also introduce analytical tools that will help you conceptualise these styles of music and place them within their cultural and political contexts.  It will draw on a wide range of disciplines, including ethno-musicology, musicology, anthropology, popular music studies, post-colonial studies and history.


Empirical Musicologies 2: Data-Driven Approaches to Musical Study

You'll be introduced to a range of approaches in empirical musicology – a branch of musicology concerned more with objective knowledge and evidence than with subjective judgement. The module will help you to develop understanding and skills in handling empirical data systematically – in such fields as music analysis, music psychology, musical creativity research and music data encoding/storage/retrieval, among others – in order to address music-related questions. It will also help you to understand the nature and range of music-related research-problems which can be addressed by empirical approaches.


Live Sound Final Year

You'll work with industry-relevant equipment on a variety of systems from different manufacturers (Digico, Yamaha, Meyer). Key principles of routing and mixing (both front-of-house and monitors) will be covered in lectures, with regular practical workshops supporting theoretical content. You will learn to handle all aspects of the production of full-band events including lighting. You can take this module in either your second or final year. Assessment comes in the form of an in class test, report and portfolio of live sound activities.


Vision and Sound

This module aims to develop your skills in audio recording/editing and writing music for film. You’ll have the opportunity to record audio and to compose original and unique music for a short film. Your lectures focus on sound design, creation of ambiences, synchronisation, Foley, automatic dialogue replacement (ADR), audio editing, track laying and film music composition techniques. Workshops are designed to be highly practical and will allow you the freedom to experiment with techniques covered in the lectures.


Experimental Music 2

In this module you will explore and gain understanding of the defining elements of experimental music. Weekly lectures will introduce new ideas, composers and musical works, which will be explored through performances, group activities, discussions and presentations. No performing experience is required – just an open mind and willingness to experiment! Assessment will be a combination of practical and coursework, including the choice of a performance of an experimental work, a composition, or a seminar presentation.


Popular Music Directed Ensembles 2

In this module you are coached as a fully formed band in more advanced groups with the expectation that you will take a leading role in the group. The ensembles you could be in are: Folk, Blues, Funk, Reggae/ska, Prog Rock, Jazz, Laptop Ensemble, Frank Zappa Band, Guitar Orchestra, Guitar Improvisation, A Capella Choir, Samba Band plus the opportunity to create original bands. Assessment comes in the form of two practical gigs through the year and an audio report tracking your experience in the module.


Work and Professional Practice in Music

In this option, you will have the opportunity to develop skills relevant to the world of work by studying aspects of professional practice in a number of music-related professions (for example, teaching, performing, composing, journalism, studio management, editing, recording company), followed by a suitable work placement. Teaching is in the form of guest lectures from professionals. Assessment is through coursework relating to your career research and placement.


Individual Project

This module gives you the opportunity to develop an extended creative project or written dissertation. It gives you the chance to focus on one of the key areas of your degree course. The module is assessed through coursework, including a written report and extended project. Project topics include work on composition, musicology, computer programming, mixed-media work or performance. Classes involve weekly one-to-one tutorials with your academic supervisor.

At any year of study, one module outside the named degree programme, but offered within the School of Music, Humanities and Media, may be taken as an alternative to any of the option modules listed above where feasible and subject to timetabling restrictions and the approval of your Course Leader.

Important information

We will always try to deliver your course as described on this web page. However, sometimes we may have to make changes as set out below.

We review all optional modules each year and change them to reflect the expertise of our staff, current trends in research and as a result of student feedback. We will always ensure that you have a range of options to choose from and we will let students know in good time the options available for them to choose for the following year.

We will only change core modules for a course if it is necessary for us to do so, for example to maintain course accreditation. We will let you know about any such changes as soon as possible, usually before you begin the relevant academic year.

Sometimes we have to make changes to other aspects of a course or how it is delivered. We only make these changes if they are for reasons outside of our control, or where they are for our students’ benefit. Again, we will let you know about any such changes as soon as possible, usually before the relevant academic year. Our regulations set out our procedure which we will follow when we need to make any such changes.

When you enrol as a student of the University, your study and time with us will be governed by a framework of regulations, policies and procedures, which form the basis of your agreement with us. These include regulations regarding the assessment of your course, academic integrity, your conduct (including attendance) and disciplinary procedure, fees and finance and compliance with visa requirements (where relevant). It is important that you familiarise yourself with these as you will be asked to agree to abide by them when you join us as a student. You will find a guide to the key terms here, where you will also find links to the full text of each of the regulations, policies and procedures referred to.

The Higher Education Funding Council for England is the principal regulator for the University.

Placements

This course offers you the opportunity to take an optional one-year (48 week) work placement after your second year, in the UK or abroad. This provides an opportunity for you to relate theory to practice and to develop skills in a real work environment. Our teaching staff have developed excellent links with local employers and will help you to find a suitable placement if necessary. Previous placemnt providers have included Warner Music, Pinewood Studios (Avid), WigWam, Angel Studios, Shoot Productions, the Institute for Music/Acoustic Research and Co-ordination (IRCAM) in Paris, as well as schools, audio electronics companies, radio stations and various media and production houses.

Disability should not prevent you from securing a placement and we encourage all students with a disability to aim to do a placement. We can offer support and advice on overcoming any perceived challenges.

Career opportunities

85% of graduates from this course go on to work and/or further study within six months of graduating. Previous graduates have gone on to work in a range of careers including studio managers, post-production, freelance engineers, programmers, sound design and professional audio sales. A selection of companies that have employed Huddersfield graduates in recent years include Abbey Road Studios, Calrec Audio, ITV, BBC, Kiss FM, British Grove Studios and Metrophonic. Source: Linked In

There is also support available after you graduate from our 3M Buckley Innovation Centre where you can get advice on starting your own business. The university also supports students to progress to postgraduate and research study.

Professional links and accreditations

This course holds JAMES accreditation. This is an internationally recognised accreditation which endorses relevance, quality and continuing innovation throughout the student curriculum in audio recording and music production courses. Visit their website for more information.

Teaching and assessment

21.3% of the study time on this course is spent in lectures, seminars, workshops etc. Teaching is split between large group lectures and computer and studio based seminars, workshops and masterclasses. Final year studio tutorials are in small groups of one to six students and there's a welcome community of peer evaluation and feedback that is nurtured at all levels across all degree courses.

Study and assessments will be based on your choice of modules; which can include performances, composition presentations, examinations, learning journals, portfolios, recitals, essays and technical documents. The final year large project is based on your choice of specialism. Your module specification/course handbook will provide full details of the assessment criteria applying to your course.

Feedback (either written and/or verbal) is normally provided on all coursework submissions within three term time weeks – unless the submission was made towards the end of the session in which case feedback would be available on request after the formal publication of results.Feedback on final coursework is available on request after the publication of results.

Huddersfield is the UK's only university where 100% of the permanent teaching staff are fellows of the Higher Education Academy.*

*permanent staff, after probation: some recently appointed colleagues will only obtain recognition in the months after their arrival in Huddersfield, once they have started teaching

Facilities

Music Technology studios

One 24 I/O Pro Tools based recording studio, with two recording booths. Equipment includes:
 •  12-core Mac Pro
 •  C24SSL AWS924 Analogue production console and DAW controller
 •  SSL Alpha Link AD/DA convertor
 •  RME MADIFace USB
 •  UAD-2 DSP Accelerator card c/w Plug-ins
 •  A stereo pair of calibrated Genelec 8260As
 •  Eight channels of headphone amplification
 •  A selection of preamps (DAV, Avalon, Manley, API)
 •  Outboard EQ and Compression (Avalon and UA)
 •  Soundfield processor SPS 422B
 •  Custom Matamp 1224 mk2 all tube guitar amp with two 212 cabinets
 •  Custom Matamp G200 mk2 tube bass amplifier and cabinet
 •  Yamaha Studio Drum kit
 •  A selection of microphones (see below)
 •  A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)

Four 5.1 composition and mixing studios with plasma screen for post-production 
 Equipment includes:
 •  12-core Mac Pro 
 •  RME Fireface UFX interface
 •  UAD-2 DSP Accelerator card c/w Plug-ins
 •  Mackie Control
 •  Midi Keyboard controller PCR-500
 •  Calibrated 5.1 Genelec 8040s with sub
 •  Widescreen LED Screen
 •  A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)

Three Pro Tools based overdub, composition and Foley studios, each with a small recording booth 
Equipment includes:
 •  12-core Mac Pro
 •  UAD-2 DSP Accelerator card c/w Plug-ins
 •  RME Fireface UCX interface
 •  Calibrated stereo Genelec 8040s with sub
 •  Four channels of headphone amplification
 •  Mackie control
 •  Various preamps (Focusrite, Avalon and/or SPL)
 •  M-Audio Axiom Air 61 Midi Keyboard and Pad controller 
 •  Calibrated 5.1 Genelec 8040s with sub
 •  A selection of DAWs (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Max, Max for Live)

One Interactive Sound Design and new interface laboratory, with adjacent workshop
 Equipment includes:
 •  Stereo pair of Genelec 1037s
 •  5.1 8020s with sub
 •  Various custom and commercial sensor interfaces, controllers and actuators with MIDI and/or OSC
 •  24" Imac
 •  RME Fireface UFX interface
 •  Yamaha 01v desk
 •  A selection of sound design and performance software including Max, Max for Live, Ableton Live, Ircam Tools 

 One eight-channel composition and mixing studio
 Equipment includes:
 •  12-core Mac Pro
 •  8 Genelec 1032 A with sub
 •  SPL 8.1 channel volume control-model 260
 •  8 Ultra match pro AD/DA converter-model SRC 2496
 •  Mackie control
 •  Focusrite Octopre Midi Keyboard controller PCR-500
 •  RME Fireface UFX audio interface
 •  UAD-2 DSP Accelerator card c/w Plug-ins
 •  2 x Analogue Roland studio system -synthesiser
 •  2 x EMS VCS III Synthesiser
 •  Studer B 67 tape Machine



One Spatialization and Interactive Research lab (SPIRAL)
A striking 6m2 cube containing a 25-channel Digital Loudspeaker array 
Equipment includes:


•  25 x (Networked) Genelec 8240AP loudspeakers in a 3 x 8 vertical array – see below:
The SPIRAL Array
 •  4 x (Networked) Genelec 7270 subs
 •  1 x RME ADI 6432 64 channel MADI interface
 •  A selection of DAW's (Logic, Ableton Live, Nuendo, Digital Performer, Reaper) and plugins (Altiverb XL, Flux, NI Komplete, etc.) Ircam Sound design software, Max, Max for Live

 The loudspeakers are phase/time aligned using Genelec's GLM system. All connections in the studio are digital with analogue (Mic and Line) inputs being catered for via a Yamaha O1V with 16 channel Digital I/O card (MY16AE). All connections are connected to The ADI 6432 through a digital (AES) patch bay. The studio is used for research into the development of new control mechanisms for the spatialization and diffusion of sound in performance and composition. Additionally the studio is used for composing multi-channel electro-acoustic pieces to be played in concert and installation environments.



Equipment available for all studios

•  2 Analog Roland System 100m synthesiser with keyboard
 •  2 EMS VCS III Synthesiser and EMS Synthi Sequencer 256
 •  Studer B 67 tape Machine with Dolby A
 •  wide-reaching microphone list
 •  ribbons (Coles, Royer)
 •  wide-diaphragm (Neumann u87/u89)
 •  tube (Telefunken, Neumann M147/M149, C12) 
 •  small diaphragm (dpa 4006, Neumann km104)
 •  shotgun microphones for location recording
 •  Numerous HD cameras (Cannon, Sony) with tripods
 •  2 Nikon D3300 SLR camera Plus lens kit
 •  Various handheld digital audio recorders (Tascam, Roland, Sony, Zoom)
 •  3 multichannel field recorders (Tascam DR680)
 •  Numerous acoustic guitars (Guild, Fender, Ibanez) Yamaha Electro-Acoustic, electric guitars (Gretsch, Schecter, Fender) electric basses (Ibanez, Fender, etc.) •  a wide selection of outboard gear and recording interfaces.

How much will it cost me?

The full-time undergraduate tuition fee for 17/18 entry is £9250.

Tuition fees will cover the cost of your study at the University as well as charges for registration, tuition, supervision and examinations. For more information about funding, fees and finance for UK/EU students, including what your tuition fee covers, please see Fees and Finance. Please note that tuition fees for subsequent years of study may rise in line with inflation (RPI-X).

If you are an international student coming to study at the University of Huddersfield, please visit the International Fees and Finance pages for full details of tuition fees and support available.

Please email the Student Finance Office or call 01484 472210 for more information about fees and finance.

Course scholarships available – up to £3000. More details.

If you decide to apply for a course that includes a work placement, a Disclosure and Barring Service (DBS) check may be required to enable you to undertake that placement in settings with children (e.g. within a School). Should the organisation you are going to be working in require one to be undertaken, the School will support you to apply for a check. Please note that there is a charge for the DBS check which is approximately £44.

Further study

Progression to a postgraduate course is dependent on successful completion of your undergraduate studies, there may also be minimum qualification requirements such as a first class or higher second (2.1) degree. Please check the course details to confirm this.

International

If you're an international student (including EU) you can check if you meet our entry requirements (both academic and English language) by visiting our country pages.

If you do not meet the entry requirements you can consider completing a degree preparation programme (if you are from a country outside of the EU) at the University's International Study Centre (ISC). You can call the ISC on +44 (0) 1273 339333 to discuss your options. You can also complete the online application form or to ask a question please fill in the enquiry form and talk to one of our multi-lingual Student Enrolment Advisers.

If your English language is not at the required level (IELTS 6.0 overall), we have a range of Pre-Sessional English programmes that you can enrol on before starting your degree course. You will not need to take an IELTS test after completing one of our Pre-Sessional English programmes.

Research community

The University of Huddersfield is home to a vibrant, diverse, international, and innovative group of music researchers. Our staff are recognised as leading figures in their fields, as evidenced by major commissions, performances, recordings, and publications. Our international postgraduate student community includes early career researchers who are already making significant contributions as composers, performers, technicians, engineers, and musicologists.

In the 2014 REF, 85% of music research at Huddersfield was judged to be Internationally Excellent, with 44% of the overall submission ranked as ‘World-Leading'. In addition to a strong profile of individual research outputs, Huddersfield's research environment for music was tied for 7th in the sector, alongside Edinburgh, Southampton, Royal Holloway and Cambridge. The impact of Huddersfield's music research was judged to be 5th among the 84 submissions in music, drama, dance and performing arts, receiving the second highest possible score. The ranking for impact acknowledges the breadth and reach of research at Huddersfield, with impact case studies encompassing innovations in music technology and audio software, historically-informed performance practice in early music, and intercultural exchange in music composition as a model for social change.

There are five research centres in Music Technology; the Centre for Research in New Music (CeReNeM), the Huddersfield Centre for Performance Research (HuCPeR), Centre for the Study of Music, Gender and Identity (MUGI), the Sound.Music.Image Collaboration Research Centre (SMIC) and the Popular Music Studies Research Group.

For more information, please see our research pages.

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