Programme outcomes

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The outcomes of the programme fall into several categories, as follows:

Knowledge and understanding

On completing the programme students should be able to

  • advise on the applicability of sound in a professional design context
  • critically evaluate digital technologies and their applicability to sound design
  • analyse requirements and derive design solutions for a wide range of sound design contexts
  • demonstrate understanding of the cultural context in which sound design is developing

Subject-specific skills

On completing the programme students should be able to:

  • apply techniques of recording, audio production and post-production, sound synthesis, digital signal processing, multimedia, video editing and programming of dynamic [interactive] systems
  • design effective multimedia presentations
  • develop audio for games and/or with communication opportunities such as podcasting
  • program interactive behaviours using a graphical programming language
  • create sound components to formats such as film, games, animation and multimedia
  • relate technological options to considerations of practice
  • develop and respond to  argument on cultural issues relating to the use of sound and technology
  • operate in a digital sound production studio

Key skills

On completing the programme students should be able to:

  • use information technology creatively in solving problems
  • put together presentations and installations using a range of digital media, especially sonic tools
  • assess the value and applicability of developments in digital technology as they emerge
  • critically assess the popular and academic literature that accompanies the promotion sound technologies and sonic arts
  • manage time and prioritise work tasks
  • follow an independent programme of study through to completion
  • present themselves as sound designer and demonstrate the ability to work in a professional context, in particular following and/or setting a brief


Our overall objective is not to produce highly skilled technicians or programmers, but to encourage the development of rounded sonic artists with a wide appreciation of the issues of sound design in the contemporary world. This is a one-year programme, and as such has certain limitations. It may be taken, for example, by designers, computer specialists, sound theorists and musicians. It aims to inform any of these about the others, to allow them to understand each other’s points of concern, and to work together in teams. It cannot, in most cases, directly convert students from any one of these specialisms into another, e.g. designers into computer specialists, or vice versa. It should, however, equip those who wish to pursue conversion with a solid foundation from which to move forward in the desired direction.

Students who begin at an advanced level in any area are encouraged to exploit and share their skills, but cannot expect dedicated tuition to cater to their further development. In assessment, credit is given for advanced performance, but also for grappling with, using and benefiting from material outside an area of original specialisation. In assessment, we seek especially to acknowledge sensitive and effective team working with fellow students from a diversity of backgrounds, both academic and cultural. We endeavour to offer and support recent and highly-specified versions of the software we use; however, these are never crucial, and we aim to promote a flexibility that includes addressing projects by making appropriate use of whatever tools are available.