Final Year Project, Advanced Desktop Music Production (MA), Postgraduate Research Seminar (MA, MMus, PhD); PhD supervision
Final Year Project (FYP) is a 40-credit module taken in your final year. The module will allow you to focus on a detailed research project of your own devising. The Project may be a dissertation on a single topic or cover any aspect of your studies: composition, production, audiovisual / soundtrack composition, remix, interactive sound design, integration of sound with other digital media etc. For those focusing on composition, the module aims to foster your musical, aesthetic and creative thinking about structuring extended timeframes in music composition and digital media, or, of a mini-album length set of works, or soundtrack portfolio to existing / original images. For those focusing on recording or other technical-based projects the module aims to foster a deep level of understanding of a specific area of study. Remix projects sit between composition and production and need to demonstrate an original compositional voice combined with technical realisation using the potential of the modern DAW. Projects may also combine musicological research with creative practice. Each student is assigned an individual tutor, to whom a project proposal is submitted for approval and who is responsible for overseeing and assessing the outcome of the project.
On this module, you will professionalise techniques in computer-based music production. Focusing on modern approaches to music production, the module will deepen your skills in sound design using original synthesis and sampling as well as recording in a digital environment. This will involve multi-software workflows, the expressive use of hardware controllers and hybrid techniques combining digital and analogue processing that combine both an ‘inside the box’ approach with outboard dynamics and effects units. You will develop advanced skills in digital audio project data management required for collaborative professional work. Furthermore, you will learn sophisticated editing, mixing and mastering techniques unique to digital music production. As a critically informed production expert, you will analyse production concepts using critical listening, and research and apply various in-formation on contemporary music production found in manuals, tutorials, instructional videos and mix-throughs or derived from in-depth case studies.
Desktop Music Production 1, Advanced Desktop Music Production (MA), Postgraduate Research Seminar (MA, MMus, PhD); PhD supervision
This module will introduce you to relevant techniques and technologies for computer-based music production. Areas covered will include the basics of sequencing, sampling and a range of other sound processing techniques, as well as their creative application. You will also explore approaches to arrangement in production. Through practical work, both technical and creative, you will develop your critical listening and production skills. Seminars will support the application of production techniques and ideas.
On this module, you will professionalise techniques in computer-based music production. Focusing on modern approaches to music production, the module will deepen your skills in sound design using original synthesis and sampling as well as recording in a digital environment. This will involve multi-software workflows, the expressive use of hardware controllers and hybrid techniques combining digital and analogue processing that combine both an ‘inside the box’ approach with outboard dynamics and effects units. You will develop advanced skills in digital audio project data management required for collaborative professional work. Furthermore, you will learn sophisticated editing, mixing and mastering techniques unique to digital music production. As a critically informed production expert, you will analyse production concepts using critical listening, and research and apply various in-formation on contemporary music production found in manuals, tutorials, instructional videos and mix-throughs or derived from in-depth case studies.
Technology in the Histories of Popular Music Production. Courses: Popular Music Studies
From Thomas Edison’s phonograph to modern instrument libraries, popular music has been inextricably linked with music technology. This seminar will explore technological advancements and the effects they had on popular music production and genre aesthetics. There will be lecture elements (theoretical, and practical demonstration) on the history of production practices in general and of particular genres like alternative rock, metal, reggae and EDM – from the 1970s to the most recent histories. Open-format, group-centred analyses and joint discussion will look at various technologies and genres based on the group’s interest and expertise. Production within this seminar is defined widely and can comprise live music (i.e. music festivals, dancehalls/sound systems).
Desktop Music Production 1, Desktop Music Production 2, Final Year Project, Advanced Desktop Music Production (MA), Postgraduate Research Seminar (MA, MMus, PhD), PhD supervision
This module will introduce you to relevant techniques and technologies for computer-based music production. Areas covered will include the basics of sequencing, sampling and a range of other sound processing techniques, as well as their creative application. You will also explore approaches to arrangement in production. Through practical work, both technical and creative, you will develop your critical listening and production skills. Seminars will support the application of production techniques and ideas.
Building on the skills and knowledge acquired in Desktop Music Production 1 or AFM1208 Technology for Music, this module will provide further study of the techniques of computer-based music production. Techniques examined in-depth will include synthesis, sequencing, sampling, editing, processing and mixing techniques, as well as their creative application. Issues of pre/post production and arrangement will also be explored. You will also continue to study musical arrangement within a computer-based production context. You will explore these topics through practical technical and creative work that will improve your techno-fluency and abilities in detailed critical listening. Seminars will support the application of production techniques and ideas.
Final Year Project (FYP) is a 40-credit module taken in your final year. The module will allow you to focus on a detailed research project of your own devising. The Project may be a dissertation on a single topic or cover any aspect of your studies: composition, production, audiovisual / soundtrack composition, remix, interactive sound design, integration of sound with other digital media etc. For those focusing on composition, the module aims to foster your musical, aesthetic and creative thinking about structuring extended timeframes in music composition and digital media, or, of a mini-album length set of works, or soundtrack portfolio to existing / original images. For those focusing on recording or other technical-based projects the module aims to foster a deep level of understanding of a specific area of study. Remix projects sit between composition and production and need to demonstrate an original compositional voice combined with technical realisation using the potential of the modern DAW. Projects may also combine musicological research with creative practice. Each student is assigned an individual tutor, to whom a project proposal is submitted for approval and who is responsible for overseeing and assessing the outcome of the project.
On this module, you will professionalise techniques in computer-based music production. Focusing on modern approaches to music production, the module will deepen your skills in sound design using original synthesis and sampling as well as recording in a digital environment. This will involve multi-software workflows, the expressive use of hardware controllers and hybrid techniques combining digital and analogue processing that combine both an ‘inside the box’ approach with outboard dynamics and effects units. You will develop advanced skills in digital audio project data management required for collaborative professional work. Furthermore, you will learn sophisticated editing, mixing and mastering techniques unique to digital music production. As a critically informed production expert, you will analyse production concepts using critical listening, and research and apply various in-formation on contemporary music production found in manuals, tutorials, instructional videos and mix-throughs or derived from in-depth case studies.
Technology in the Histories of Popular Music Production. Courses: Popular Music Studies
From Thomas Edison’s phonograph to modern instrument libraries, popular music has been inextricably linked with music technology. This seminar will explore technological advancements and the effects they had on popular music production and genre aesthetics. There will be lecture elements (theoretical, and practical demonstration) on the history of production practices in general and of particular genres like alternative rock, metal, reggae and EDM – from the 1970s to the most recent histories. Open-format, group-centred analyses and joint discussion will look at various technologies and genres based on the group’s interest and expertise. Production within this seminar is defined widely and can comprise live music (i.e. music festivals, dancehalls/sound systems).
Research Sabbatical (no teaching); MA by Research and PhD supervision
Technology in the Histories of Popular Music Production. Courses: Popular Music Studies
From Thomas Edison’s phonograph to modern instrument libraries, popular music has been inextricably linked with music technology. This seminar will explore technological advancements and the effects they had on popular music production and genre aesthetics. There will be lecture elements (theoretical, and practical demonstration) on the history of production practices in general and of particular genres like alternative rock, metal, reggae and EDM – from the 1970s to the most recent histories. Open-format, group-centred analyses and joint discussion will look at various technologies and genres based on the group’s interest and expertise. Production within this seminar is defined widely and can comprise live music (i.e. music festivals, dancehalls/sound systems).
Modern Music Genres and their Music Production Approaches and Aesthetics. Courses: Sound Studies und auditive Kultur
The digitalisation of music production brought about significant changes to popular music, and it is not to be expected that this development will abate soon. Through digitalisation, artists were in a better position to realise their aesthetic visions. It also helped overcome previously existing technical limitations, which led to the diversification of genres into different subgenres and pushed the boundaries of what was technically and creatively possible. This seminar explores the affordances of digital music production and its use in shaping the sound of modern popular music. Practice-oriented research approaches are discussed, experienced and critically evaluated inspired by the relatively young research tradition of the art of record production and the gradual practical turn in music technology and popular music in the Anglophone world. By means of introductory presentations of real-world research projects (e.g., on contemporary metal music production, progressive instrumental music, modern electro pop and EDM) and student-centred theoretical and/or practical projects on genres and research questions of their own choice, the strategies and aesthetics of producing modern popular music will be examined.
Desktop Music Production 1, Desktop Music Production 2, Popular Music Studies, Critical Approaches to Recorded and Electronic Music, Individual Project, Postgraduate Research Seminar (MA by Research, PhD)
This module will introduce you to relevant techniques and technologies for computer-based music production. Areas covered will include the basics of sequencing, sampling and a range of other sound processing techniques, as well as their creative application. You will also explore approaches to arrangement in production. Through practical work, both technical and creative, you will develop your critical listening and production skills. Seminars will support the application of production techniques and ideas.
Building on the skills and knowledge acquired in Desktop Music Production 1 or AFM1208 Technology for Music, this module will provide further study of the techniques of computer-based music production. Techniques examined in-depth will include synthesis, sequencing, sampling, editing, processing and mixing techniques, as well as their creative application. Issues of pre/post production and arrangement will also be explored. You will also continue to study musical arrangement within a computer-based production context. You will explore these topics through practical technical and creative work that will improve your techno-fluency and abilities in detailed critical listening. Seminars will support the application of production techniques and ideas.
Final Year Project (FYP) is a 40-credit module taken in your final year. The module will allow you to focus on a detailed research project of your own devising. The Project may be a dissertation on a single topic or cover any aspect of your studies: composition, production, audiovisual / soundtrack composition, remix, interactive sound design, integration of sound with other digital media etc. For those focusing on composition, the module aims to foster your musical, aesthetic and creative thinking about structuring extended timeframes in music composition and digital media, or, of a mini-album length set of works, or soundtrack portfolio to existing / original images. For those focusing on recording or other technical-based projects the module aims to foster a deep level of understanding of a specific area of study. Remix projects sit between composition and production and need to demonstrate an original compositional voice combined with technical realisation using the potential of the modern DAW. Projects may also combine musicological research with creative practice. Each student is assigned an individual tutor, to whom a project proposal is submitted for approval and who is responsible for overseeing and assessing the outcome of the project.
On this module, you will professionalise techniques in computer-based music production. Focusing on modern approaches to music production, the module will deepen your skills in sound design using original synthesis and sampling as well as recording in a digital environment. This will involve multi-software workflows, the expressive use of hardware controllers and hybrid techniques combining digital and analogue processing that combine both an ‘inside the box’ approach with outboard dynamics and effects units. You will develop advanced skills in digital audio project data management required for collaborative professional work. Furthermore, you will learn sophisticated editing, mixing and mastering techniques unique to digital music production. As a critically informed production expert, you will analyse production concepts using critical listening, and research and apply various in-formation on contemporary music production found in manuals, tutorials, instructional videos and mix-throughs or derived from in-depth case studies.
Technology in the Histories of Popular Music Production. Courses: Popular Music Studies
From Thomas Edison’s phonograph to modern instrument libraries, popular music has been inextricably linked with music technology. This seminar will explore technological advancements and the effects they had on popular music production and genre aesthetics. There will be lecture elements (theoretical, and practical demonstration) on the history of production practices in general and of particular genres like alternative rock, metal, reggae and EDM – from the 1970s to the most recent histories. Open-format, group-centred analyses and joint discussion will look at various technologies and genres based on the group’s interest and expertise. Production within this seminar is defined widely and can comprise live music (i.e. music festivals, dancehalls/sound systems).
Authenticity in Modern Rock and Metal Productions. Courses: MAS Pop & Rock
This workshop explores and discusses notions of authenticity in modern rock and metal productions. After introducing theories on authenticity exemplified by three case studies within the genres of rock, alternative rock and indie rock (U2, Foo Fighters, Arctic Monkeys), the workshop will focus on production practices in rock and metal since the 1980s. This includes issues such as the ‘loudness war’, heaviness, rhythmic and harmonic complexity, artificiality and staging, as well as extended range of instruments and the sonic spectrum. Four case studies of modern rock and metal (Meshuggah, The Dillinger Escape Plan, The Contortionist, Periphery) serve to demonstrate modern hyper-real production practices which give rise to questions around authenticity. Finally, two songs (Architects – Gone With The Wind, 2016; Between The Buried And Me – Millions, 2018) will be analysed in smaller groups to experience production practices of modern rock and to enhance interest in this form of music.
Desktop Music Production 1, Computer Composition 2, Popular Music Studies, Musicology of Production, Researching Music, Technology and Performance, Individual Project, Postgraduate Research Seminar (MA by Research, PhD)
This module will introduce you to relevant techniques and technologies for computer-based music production. Areas covered will include the basics of sequencing, sampling and a range of other sound processing techniques, as well as their creative application. You will also explore approaches to arrangement in production. Through practical work, both technical and creative, you will develop your critical listening and production skills. Seminars will support the application of production techniques and ideas.
Building on the skills and knowledge acquired in Computer Composition 1, this module will provide 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. Throughout the year students will be introduced to:
In parallel, throughout the year students will develop creative projects using the above techniques and aesthetic reflections.
The module aims to enable you to develop an understanding of popular music within specific cultural and musical contexts, encouraging you to respond imaginatively and intellectually to the study of various examples. You will study a range of popular music genres, focusing on various case studies. These will be used to explore the interface between popular music and several disciplines within musicology, such as music technology, philosophy, critical musicology and gender studies, synthesising theoretical, technological and philosophical approaches.
This module will introduce you to the study of music production from a musicological perspective. The focus of the module will be on understanding the ideas that circulate in the study of production. Teaching and learning concentrates on three main areas of study including the technological contexts and repertoire, analysis techniques appropriate to production and critical writings on the subject.
This module will develop knowledge and understanding of approaches to research in the area of popular and contemporary music practice (including music technology and music performance) to a high level by introducing key issues, themes and approaches to research. The course will introduce a variety of research and approaches which will provide the basis for investigating students’ own topics of research. The module concentrates on four main areas of study including ethnomusicology, analysis of music, performance studies and music production.
The Individual Project is a 40-credit module taken in final year. The module will allow you to focus on a detailed research project of your own devising. The Individual Project may be a dissertation on a single topic or cover any aspect of your studies: composition, production, interactive sound design, integration of sound with other digital media etc. For those focusing on composition, the module aims to foster your musical, aesthetic and creative thinking about structuring extended timeframes in music composition and digital media. For those focusing on recording or other technical-based projects the module aims to foster a deep level understanding of a specific area of study. Each student is assigned an individual tutor, to whom the Project Proposal is submitted for approval and who is responsible for overseeing the assessment of the outcome of the project.
Technology in the Histories of Popular Music Production. Courses: Popular Music Studies
Music technology and popular music are inextricably linked. Even though music technology has been integrated into various music curricula and examination regulations for some years, there is still a gap between formal regulations and concepts for educational practice. Within German-speaking countries respective research has been neglected, so that practice-based lesson material by researchers and practitioners is still scarce, limited in scope, and not systematically covering all areas of the field. This seminar deals with the opportunities, chances and challenges of integrating music technologies into popular music education. In addition to the discussion of existing methods and approaches in German literature, we will get acquainted with concepts and curricula in the UK, US, Australia and Scandinavia – all being countries with an established tradition of teaching music technology and popular music. Collectively we will experience teaching approaches from those countries and discuss how these might be adopted to a different educational context. The seminar finally aims at refining the approaches of the different national curricula, manuals and class books to create concepts for the individual educational contexts at Swiss schools and music schools.
Desktop Music Production 1, Desktop Music Production 2, Popular Music Studies, Critical Approaches to Recorded and Electronic Music, Individual Project, Postgraduate Research Seminar (MA by Research, PhD)
This module has been designed to provide training in the use of computer music software within a computer music context. You will be learning: software for composition, sequencing and production, studying audio and synthesis theory, and listening to historic and contemporary works. You will then demonstrate the development of your knowledge and skills through a number of formative and summative tasks.
Building on the skills and knowledge acquired in Computer Composition 1, this module will provide 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. Throughout the year students will be introduced to:
In parallel, throughout the year students will develop creative projects using the above techniques and aesthetic reflections.
The module aims to enable you to develop an understanding of popular music within specific cultural and musical contexts, encouraging you to respond imaginatively and intellectually to the study of various examples. You will study a range of popular music genres, focusing on various case studies. These will be used to explore the interface between popular music and several disciplines within musicology, such as music technology, philosophy, critical musicology and gender studies, synthesising theoretical, technological and philosophical approaches
The Individual Project is a 40-credit module taken in final year. The module will allow you to focus on a detailed research project of your own devising. The Individual Project may be a dissertation on a single topic or cover any aspect of your studies: composition, production, interactive sound design, integration of sound with other digital media etc. For those focusing on composition, the module aims to foster your musical, aesthetic and creative thinking about structuring extended timeframes in music composition and digital media. For those focusing on recording or other technical-based projects the module aims to foster a deep level understanding of a specific area of study. Each student is assigned an individual tutor, to whom the Project Proposal is submitted for approval and who is responsible for overseeing the assessment of the outcome of the project.
The Art of Record Production: Technologies, Practices and Styles of Popular Music Production. Courses: Popular Music and Media, Media Studies
Popular music is much more characterised by music technology than most other music. As early as in the 1960s, musicologists such as Carl Belz, Wilfried Mellers and Hermann Rauhe stressed the relevance of studio technology for popular music. Despite this finding, little research was done on music production, partly due to the lack of a common platform. Since 2005 however, with the establishment of the „Association for the Art of Record Production“, this new field of cross-disciplinary research began to flourish.
This postgraduate seminar deals with the production of popular music from a music and media analysis perspective. As a starting point, we reconstruct the historical development of phonography. In this context, we also focus on the change of the recording studio and respective professions. Subsequently, we will analyse musical, technical and aesthetic characteristics of specific production styles, concentrating on influential producers and sound engineers, famous studios and record labels plus genre-specific production practices and circumstances. We will not only observe these influences but also analyse the interrelation of the musical material with their socio-cultural and economic contexts.
Please note: Since mainly academic music professionals determine this field of research, participants should have practical experience as a musician, producer, sound engineer, or in another music industry profession.
Heaviness in Modern Metal Music: A Production-Technological Approach to a Genre-Specific Quality Criterion. Courses: MAS Pop & Rock
This workshop explores and discusses notions of authenticity in modern rock and metal productions. After introducing theories on authenticity exemplified by three case studies within the genres of rock, alternative rock and indie rock (U2, Foo Fighters, Arctic Monkeys), the workshop will focus on production practices in rock and metal since the 1980s. This includes issues such as the ‘loudness war’, heaviness, rhythmic and harmonic complexity, artificiality and staging, as well as extended range of instruments and the sonic spectrum. Four case studies of modern rock and metal (Meshuggah, The Dillinger Escape Plan, The Contortionist, Periphery) serve to demonstrate modern hyper-real production practices which give rise to questions around authenticity. Finally, two songs (Architects – Gone With The Wind, 2016; Between The Buried And Me – Millions, 2018) will be analysed in smaller groups to experience production practices of modern rock and to enhance interest in this form of music.
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| Summer term 2017 | |
| Paderborn University | Running with the Devil: Current Trends in Metal Music Cultures. Courses: Popular Music and Media, Media Studies, Music Education |
| Bielefeld University | Producing Backing Tracks with Freeware Software. Courses: Music, Art and Aesthetic Education |
| Introduction to Art and Music Education. Courses: Music, Art and Aesthetic Education | |
| Basics in Musical Performance. Courses: Music, Art and Aesthetic Education | |
| Film Music. Courses: Music Education | |
| Informal Learning in Popular Music. Courses: Music Education | |
| Research Colloquium for Written Theses. Courses: Music, Art and Aesthetic Education | |
| Popular Music and the City. Courses: Europe Intensive | |
| Winter term 2016/17 | |
| Paderborn University | History of Popular Music I. Courses: Popular Music and Media, Media Studies, Music Education |
| "Wired for Sound." Developments, Analyses and Meanings of the Pop Sound. Courses: Popular Music and Media, Media Studies | |
| "Bridging the Gap." Webinar with Professor Philip Tagg (UK). Courses: Popular Music and Media, Media Studies | |
| Bielefeld University | Introduction to Art and Music Education. Courses: Music, Art and Aesthetic Education |
| Basics in Music Performance for Artists. Courses: Art Education | |
| Folk Music. Courses: Music Education | |
| Improvisation. Courses: Music, Art, Aesthetic and Sports Education | |
| Research Colloquium for Written Theses. Courses: Music, Art and Aesthetic Education | |
| Summer term 2016 | |
| Bielefeld University | Introduction to Art and Music Education. Courses: Music, Art and Aesthetic Education |
| Music between Inter- and Transculturality. Courses: Music and Aesthetic Education | |
| Original and Cover Version. Courses: Music Education | |
| Methods of Interdisciplinary Teaching in the Arts. Courses: Music, Art, Aesthetic and Sports Education | |
| Research Colloquium for Written Theses. Courses: Music, Art and Aesthetic Education | |
| Winter term 2015/16 | |
| Muenster University | Music Theory and Analysis 1. Courses: Popular Music and Keyboard & Music Production |
| Music Theory and Analysis 2. Courses: Popular Music and Keyboard & Music Production | |
| Ear Training and Transcription 3. Courses: Popular Music and Keyboard & Music Production | |
| Bielefeld University | Introduction to Art and Music Education. Courses: Music, Art and Aesthetic Education |
| Musical: Advanced Project in Music Education. Courses: Music Education | |
| Basics in Musical Performance. Courses: Music, Art and Aesthetic Education | |
| Basics in Music Performance for Artists. Courses: Art Education | |
| Research Colloquium for Written Theses. Courses: Music, Art and Aesthetic Education | |
| Paderborn University / University of Music Detmold | |
| Summer term 2015 | History of Popular Music II. Courses: Popular Music and Media, Media Studies, Music Education |
| Winter term 2014/15 | History of Popular Music I. Courses: Popular Music and Media, Media Studies, Music Education |
| Summer term 2014 | Sound Innovations: Trends, Developments, Prognoses. Courses: Popular Music and Media, Music Education, Musicology, Media Studies |
| Winter term 2013/14 | Applied Music Theory I: Computer-Based Arrangements. Course: Popular Music and Media |
| Summer term 2013 | Applied Music Theory II: Genres and Styles of Popular Music. Course: Popular Music and Media |
| Winter term 2012/13 | Applied Music Theory I: Computer-Based Arrangements. Course: Popular Music and Media |
| Summer term 2012 | Applied Music Theory II: Genres and Styles of Popular Music. Course: Popular Music and Media Sound: Analysis & Production. Courses: Popular Music and Media, Music Education, Musicology |
| Winter term 2011/12 | Applied Music Theory I: Computer-Based Arrangements. Course: Popular Music and Media |
| 2023 - | Steve Kayiranga: Exploration of the Recording Studio as an Instrument in the Making of the 'Dream Pop' Music Genre, University of Huddersfield |
| 2023 - | Cameron Conner: Sonic Signature: The Creative Ownership of Person or Project?, University of Huddersfield |
| 2023 - | Bryan Day: An Analysis of the Later Recorded Works of Jimi Hendrix and the Progressive Development of his Understanding of Harmony and Composition, University of Huddersfield |
| 2023 - | Ruth Parker: Chaos Magic and Metal Subculture: An Exercise in Creative Thinking, University of Huddersfield |
| 2022 - | Joseph Zbos: Changing Dynamics in the Role of Drummers, and How Higher Education is Interpreting and Implementing these Changes, University of Huddersfield |
| 2021 - | Alexander Vallejo: Genre in Progressive Rock Guitar, University of Huddersfield |
| 2020 - | Eirini Lagkouvardou: Approaches and Innovative Practices for Songwriting and Performing within a Popular Music Ensemble or Creative Project, University of Huddersfield |
| 2020 - 2024 | Dr Yan Yang: Metal Music Production: Clarity and Cohesion, University of Huddersfield |
| 2020 - 2024 | Dr Seyed MohammadReza Beladi: Neyanban, and Its Role in the Music of Bushehr, University of Huddersfield |
| 2015 - 2022 | Dr Grace Healy: “There is no authority but yourself”: Tracing first-wave British punk philosophy, from Nietzsche to Rotten, University of Huddersfield (download) |
| 2014 - 2020 | Dr Paul Wolinski: Decomposition Theory: A Practice-Based Study of Popular Music Composition Strategies, University of Huddersfield (download) |
| 2019 - 2021 | Joel Felix: Diss Track, Deconstructing YouTube’s Emergent Diss Culture and Its Economic and Cultural Impact on Independent Music within the Platform, University of Huddersfield (download) |
| 2018 - 2021 | James Boddington Jordan: Harmonic Structures in 21st Century Metal, University of Huddersfield (download); resulting publication: Metal Music Studies Journal |
| 2019 - 2021 | Reuben Swallow: Defining Consonance and Dissonance in Metal Music, University of Huddersfield (download); resulting publication: Metal Music Studies Journal |
| 2019 - 2021 | Yan Pietrzak: Music Collaboration in an Online Environment: Technologies, Roles and Creativity, University of Huddersfield (download) |
| 2019 - 2021 | Alexander Vallejo: Development, Mechanics and Compositional Uses of Virtuosic Electric Guitar Techniques, University of Huddersfield (download) |
| 2019 - 2021 | Cohen Hale: How Cocaine Influenced British Rock and Metal Culture from 1964-1980, University of Huddersfield (download) |
| 2018 - 2020 | Calum Bowling: Recording Skint: How Recording with Limitations and a Low Budget Can Influence the Recording Process Between Producer and Artist, University of Huddersfield (download) |
| 2017 - 2020 | Joseph Sage: The Changing Landscape of Modern Music Production: A Study into the Role of the Mix Engineer in a Changing Industry, University of Huddersfield (download) |
| 2017 - 2019 | Martin Quinn: The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980: A Musicological Exploration of the Musicians and their Use of Technology, University of Huddersfield (download) |
| 2017 - 2019 | Joshua Robins: Barrier Determination Framework for Video Game Analysis Regarding Users with Visual Impairments, University of Huddersfield (download) |
| 2018 | Federica Kramer: Filmmusik-Didaktik für den Musikunterricht an der Grundschule: Ansätze für die Heranführung an klassische Musiks, University of Bielefeld |
| 2017 | Silvia Reichert: “Wie klingt ein Gedicht?” Zur Gestaltung eines Gruppenprozesses im Musikunterricht der Grundschule, University of Bielefeld |
| 2017 | Erwin Voth: Entwurf einer Kompetenzmodellierung zur Erarbeitung von Klanggedichten, University of Bielefeld |
| 2017 | Angelika Götz: Keine Lust auf Klassik!? Eine empirische Untersuchung der Wertzuschreibung von Grundschulkindern eines 4. Jahrgangs zu klassischer Musik, University of Bielefeld |
| 2017 | Tim Albrecht: Die Arbeitsrealität professioneller Sessionmusiker in der populären Musik, University of Paderborn; resulting publications: IASPM Journal and Finnish Journal of Ethnomusicology |