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Last modified: 02 Jun 2026 11:46
Any sound, to be heard, needs space. To think about, write, and perform music, you need to consider the space or place where it is to be played. In this course – taught by a team of researchers in musicology, composition, performance, and sound art – you will explore ways in which to investigate, imagine, design, and realise sound-in-space.
| Study Type | Postgraduate | Level | 5 |
|---|---|---|---|
| Term | Second Term | Credit Points | 30 credits (15 ECTS credits) |
| Campus | Aberdeen | Sustained Study | No |
| Co-ordinators |
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In this course, you will survey a range of historical and contemporary case studies that highlight spatial thinking in different artistic and cultural contexts. You will study basic theories and techniques in immersive sound design, a form of practice gaining popularity in contemporary music and art as well as in the entertaining industry. In addition, you will compose and perform pieces that explore and thematise space and place in imaginative and provocative ways. By the end of this course, you will not only acquire a keen understanding of spatial approaches in the history of music, but you will also be able to demonstrate compositional and performance techniques that make creative use of space and place, which will be further enhanced by a strong technical knowledge in immersive sound design.
Information on contact teaching time is available from the course guide.
| Assessment Type | Summative | Weighting | 10 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback |
Students’ participation in and contribution to the workshops/seminars. Feedback will be given verbally during the class. |
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Conceptual | Understand | Students will acquire an in-depth understanding of a broad range of historical and contemporary case studies that highlight spatial thinking in different artistic and cultural contexts. |
| Procedural | Create | Students will be able to compose and perform pieces that explore and thematise space and place in imaginative and provocative ways. |
| Reflection | Create | Students will gain knowledge in immersive sound design, a form of practice gaining popularity in contemporary music and art, and be able to apply them to their theoretical and creative portfolio |
| Reflection | Evaluate | Students will acquire an understanding of spatial approaches in the history of music and form critical perspectives on how contemporary music and sound practices engage with them |
| Assessment Type | Summative | Weighting | 70 | |
|---|---|---|---|---|
| Assessment Weeks | 41 | Feedback Weeks | 44 | |
| Feedback |
1. The project should implement at least two out of the four modes of spatial approaches (composition, performance, sound art and technology, sound studies (musicology) (10-12 minutes long for creative outputs, or an essay (4,000 words)). 2. The creative project should include a critical commentary of the project (2,500 words). 3. The essay should include a showcase of creative examples. Students can work alone or in collaboration. The submission format will differ by the type of the submission, but generally, it should include the video documentation as well as the score/sound file, etc. Feedback will be given in writing. |
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Conceptual | Understand | Students will acquire an in-depth understanding of a broad range of historical and contemporary case studies that highlight spatial thinking in different artistic and cultural contexts. |
| Procedural | Create | Students will be able to compose and perform pieces that explore and thematise space and place in imaginative and provocative ways. |
| Reflection | Create | Students will gain knowledge in immersive sound design, a form of practice gaining popularity in contemporary music and art, and be able to apply them to their theoretical and creative portfolio |
| Reflection | Evaluate | Students will acquire an understanding of spatial approaches in the history of music and form critical perspectives on how contemporary music and sound practices engage with them |
| Assessment Type | Summative | Weighting | 20 | |
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback |
The student will develop the concept for the final project and explore ways in which it is to be realised. The student will present their final project proposal via video recording. Feedback will be given in writing. |
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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There are no assessments for this course.
| Assessment Type | Summative | Weighting | ||
|---|---|---|---|---|
| Assessment Weeks | Feedback Weeks | |||
| Feedback |
Instructor’s written feedback. |
Word Count | 3500 | |
| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
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| Knowledge Level | Thinking Skill | Outcome |
|---|---|---|
| Conceptual | Understand | Students will acquire an in-depth understanding of a broad range of historical and contemporary case studies that highlight spatial thinking in different artistic and cultural contexts. |
| Reflection | Create | Students will gain knowledge in immersive sound design, a form of practice gaining popularity in contemporary music and art, and be able to apply them to their theoretical and creative portfolio |
| Procedural | Create | Students will be able to compose and perform pieces that explore and thematise space and place in imaginative and provocative ways. |
| Reflection | Evaluate | Students will acquire an understanding of spatial approaches in the history of music and form critical perspectives on how contemporary music and sound practices engage with them |
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