Study a degree which develops your arts practice through the expressive world of creative computation. The Masters provides you with the historical foundations, frameworks and critical skills to produce a series of projects for public exhibition.
Computation consists of all the changes brought about by digital technology. Art is an open set of ways of acting inventively in culture. Mixing the two together in a systematic way gives us computational art. This is a very open field, and one that is set to expand enormously in the coming years. It is where the most exciting developments in technology and in culture can already be found. This degree will place you in the middle of this fast-evolving context.
This degree develops your arts practice through the expressive world of creative computation. Over a two years (full-time) or four years (part-time) you will develop your artistic work and thinking through the challenge of developing a series of projects for public exhibition which will explore the technological and cultural ramifications of computation.
Since computational artworks don’t necessarily involve computers and screens, we also encourage students to produce works across a diverse range of media. Supported by studio technicians in state-of-the-art facilities, our students are producing works using tools such as 3D printers, laser cutters, robotics, wearable technologies, paint, sculpture and textiles.
You will also study contextual modules on computational art and the socio-political effects of technology. Modules provide students with the historical foundations, frameworks, critical skills and confidence to express their ideas effectively. You will have the opportunity to learn the cultural histories of technology, to reflect on computation in terms of its wider cultural effects, and to understand the way in which art provides rigorous ways of thinking.
Through our masterclass series, we regularly invite world-class artists and curators to explain their work and engage in critical dialogue with the students. This allows you to develop a wider understanding of the contemporary art scene and how your work sits within the professional art world.
As well as the MFA, we also offer an MA in Computational Arts. The MA is 1 year (full-time), the MFA 2 years (full-time).
The first year of the MFA is identical to the MA. You take the same classes and you learn the same things. The differences between the two courses is that in the MFA you get a 2nd year in which you take additional courses which help you develop your arts practice further. These courses mean that you get a space to work under a tutor's supervision.
Year 1 shares the same core learning as our MA in Computational Arts programme:
The follwing are core modules:
You may then pick modules of your own choice from the optional modules listed below:
In year 2 you will study the following:
In Year 2 you will be assessed by: self-evaluation report of 2,500 words; essay of up to 6,000 words; viva voce; exhibition of final work.
The programme will equip you with a broad training in the use of creative computing systems that are currently most important in artistic, design and cultural practices and the creative industries, as well as technologies that are yet to emerge.
Find out more about employability at Goldsmiths.
The Master in Arts Management offers a unique learning experience preparing students to embark on a management career in the arts and creative industry. The one-year program aims at developing skills and providing tools to deal with the new challenges of the domains of both the visual and performing arts, with an international perspective.
The main goals of the program are:
● Build and strengthen basic knowledge and understanding of History of Art (visual and performing arts), with particular attention to the contemporary world and the international scene
● Build and strengthen competence in economics and management and as it applies to the cultural industry
● Build and strengthen competence in legislative transmit and reinforce the legislative competences and their application to the cultural field, in an international perspective
● To contribute to the advancement of cultural institutions and companies in Italy and abroad, by fostering interests for Art and its proliferation
The Master’s qualification in Arts Management will open up professional opportunities in the fields of Organization, Marketing and Communications, Accounting, Legal Affairs, Projects and Events Management in cultural institutions and companies. Other professional opportunities are to be found in consulting and service companies in the fields of promotion, communication and management of cultural events, products and services.
The goals of the advanced courses are to build up competencies in specific fields of arts management in order to provide participants with advanced knowledge about how to solve problems and cope with the challenges of the arts field
The goals of team building activities is to help participants know each other and create a collaborative atmosphere in class. Moreover, these activities will introduce participants to Milano and its cultural assets. Team building will include:
● Dinner with the class and the Master Faculty
● Team building experiences to know your class
● Guest speeches from established professionals in the field
To complete the Master in Arts Management, participants are required to carry out a three-months internship in a cultural institutions or company in one of the above mentioned fields. They will have the chance to be included in the Master Curricu- lum Vitae book, that will be transmitted to the major institutions and organizations in Italy and abroad.
Located in the unique city of Milan which contributes to a valuable international perspective. This glowing city allows students to merge the learning experience with the cultural atmosphere of the city. Students will have the opportunity to practice their knowledge through field projects and internships even beyond the classroom.
A national and international academic and professional faculty using teaching methods that foster an interactive and hands-on approach to issues of cultural heritage management.
All scholarships are assigned on a merit basis and will be mostly given to students who apply by the priority deadline. Some scholarships may also target specific geographic regions.
Scholarship value: €2500
This course will give you the insight, ideas and skills needed to be an effective leader in arts fundraising. You'll explore topics such as the history of philanthropy, cultural diplomacy, how to manage change, how to build resilience, and how to instil values into fundraising and development activity.
This course is led and co-ordinated by academic staff with significant industry experience, who are assisted by expert freelance tutors and senior arts consultants. Throughout, you'll reflect critically on your work-based learning and learn how to apply relevant theories to your everyday professional practice.
In order to study on this course, you must have completed our Summer School - a week of intensive study and practical activity that provides further opportunities for strategic thinking and planning. This takes place at the 4* hotel and conference centre of Weetwood Hall, a fully modernised 16th century manor house set in nine acres of woodland and gardens located just 4 miles from Leeds city centre. You can find out more about the Summer School here.
This unique course was established in 2014 as part of the Arts Fundraising and Philanthropy Programme, funded by Arts Council England. It brings together a specialised team of academics and practitioners who approach key issues of arts fundraising and leadership from a range of historical, theoretical and practical perspectives. The course also offers access to a wide range of relevant case studies, and is supported by sector-leading online resources which will help you to develop your critical thinking and analytical writing.
This course explores the history of arts and cultural philanthropy. It investigates underlying cultural policy models and debates, and situates arts fundraising within the broader fields of arts marketing and cultural management, whilst exploring the relative utility of strategic management tools, models and principles for leading contemporary arts organisations. The programme critically applies relevant concepts and theories pertaining to cultural entrepreneurship, change management and cultural leadership, and explores the challenges of implementing these ideas in evolving practices of arts fundraising.
The two modules that make up this course are taught in different ways. The Arts Fundraising and Leadership module takes the form of a Summer School, where you'll be taught through a balanced mix of lectures, seminars, tutorials, panel discussions, group activities, individual project work and group presentations. In addition, interactive panels and visits to nearby arts organisations provide a unique opportunity for participants to listen to, question and network with a range of senior arts leaders. The Professional Practice module is delivered online through dedicated webinars and tutorials, as well as individual online supervision.
The Arts Fundraising and Leadership module is assessed through a group presentation (30%) and an individual essay (70%). The Professional Practice module is assessed via an extended reflective work-based learning report.
The MMus in Sonic Arts is an opportunity to explore a wide range of creative approaches to studio-based music, including fixed-media composition, improvisation systems, sound art installation and composition for video/film.
You have full access to the Electronic Music Studios, which offers advanced facilities for electro-acoustic composition, multi-channel work and live/interactive performance.
You develop a rigorous conceptual framework for your creative practice, and engage critically with contemporary ideas and debates in sound art and computer music. As part of your studies you may choose from a range of options that encompass interactive/generative music, film music and film-making.
Studio composers taking this pathway may elect to take options in notation-based composition, providing they have the requisite prior experience.
Collaborative and interdisciplinary projects, in conjunction with other academic departments and/or external organisations, are also facilitated and encouraged.
The pathway is particularly useful for students wishing to pursue studio and computer-based research or professionals seeking to develop their expertise in technology-based creative practice.
You choose two modules from a selection that currently includes:
This course provides an in-depth knowledge of cutting-edge compositional techniques, methodologies and associated aesthetics in creative work that intersects with technology and other artistic or scientific forms. It serves as excellent preparation for a career as a composer working with technology and audio-media, and it provides all the training necessary for embarking on and envisioning novel strands for a PhD in electroacoustic composition, including those informed by other scientific and arts form.
All teaching, research and compositional work is carried out in the NOVARS Research Centre for Electroacoustic Composition, Performance and Sound Art with its state-of-the-art £2.5 million electroacoustic studios. Opportunities for the performance of new works are offered using the 55-loudspeaker sound diffusion system of MANTIS (Manchester Theatre in Sound) and through events such as the Locativeaudio Festival (locativeaudio.org) and Sines and Squares Festival for Analogue Electronics and Modular Synthesis (sines-squares.org). Acousmatic, mixed, live electronic and multimedia works are all possible, with composers able to incorporate the spatialisation of sound and interactive new game-audio media into the presentation of their work.
In addition to the final portfolio, all electroacoustic music and interactive media composition students take the compulsory course unit Composition Project and the further compulsory taught course unit,Fixed Media and Interactive Music . Optional course units normally include Aesthetics and Analysis of Organised Sound, Interactive Tools and Engines, Contemporary Music Studies, Advanced Orchestration, and Historical or Contemporary Performance. There are also choices outside the MusM Composition (subject to course director approval), such as Computer Vision, Mobile Systems, Mobile Communications, Ethno/Musicology in Action: Fieldwork and Ethnography , and Work Placement (Institute of Cultural Practices).
For more information visit the NOVARS website .
SALC Placement offers students the opportunity to spend a minimum of 20 days over a period of up to 12 weeks with an arts and cultural organisation, business or service provider. Placements will be established in Semester 1 to take place early in semester 2; they will be supervised by a work-based mentor and overseen by an academic staff member. The placement may take the form of an investigation of a specific business idea, development strategy or management proposition to resolve a problem or particular issue, and will result in a placement report, proposal or essay.
This programme aims to:
The NOVARS studio complex supports a broad range of activities in the fields of electroacoustic composition and new media. The studios incorporate the newest generation of Apple computers, Genelec, PMC and ATC monitoring (up to 37-channel studios) and state-of-the art licensed software (including Pro Tools HD, Max MSP, GRM Tools, Waves, Ircam's Audiosculpt and Reaper and, for Interactive Media work, Oculus Rift, Unreal Engine 4, Unity Pro and open-source Blender3D). Location and performance work is also supported by a new 64-channel diffusion system.
Postgraduate students at the NOVARS Research Centre play an active role in the planning, organisation and execution of performance events such as the Sines & Squares Festival and MANTIS Festival (over 20 editions since 2004), and projects such as LocativeAudio and our regular Matinée presentations. Relevant training, including rigging and de-rigging the MANTIS system, health and safety, sound diffusion workshops, organisation of Calls for Works when needed, etc., is an important part of the course.
There are a number of internal composition opportunities offered to MusM students, allowing them to compose for our world-leading ensembles in residence and association. For more information, see ourComposition at Manchester site .
The MusM degree consists of 180 credits in total, made up of four 30-credit taught course units and a 60-credit portfolio. Full-time students take two course units per semester; part-time students take two course units but across the two semesters. Most course units are delivered via regular seminars and/or tutorials, supported where appropriate by practical workshops. The portfolio is supported by one-to-one supervision and is submitted at the beginning of September. (Part-time students may submit in either September or December following their second year of study.) Members of the academic staff are also available for individual consultation during designated office hours.
Alongside their taught units, students have access to a range of non-assessed seminars, workshops and training sessions offered by the Graduate School of the School of Arts, Languages and Cultures. All postgraduate students are expected to undertake their own programme of self-directed learning and skills acquisition. This may also involve wider reading, language work, computer training and attendance at research seminars in other parts of the university.
There are no formal examinations. Taught course units - all of which must be satisfactorily completed - are assessed by compositions or other coursework tasks, normally submitted at the end of each semester (January and May). Assessments may involve the premiere of new compositions, oral presentations of repertoire, musical analysis or essay topics in the field. The portfolio is created over the entire duration of study and is submitted at the end of the academic year (after the summer vacation). Topics and focus are to be discussed with project supervisors and can include compositions involving fixed or interactive media, locative and game-audio technologies. All work is double-marked internally and moderated by the External Examiner.
This MA gives practitioners and theorists the opportunity to research and develop the new boundaries of image-making made possible by technological change within the context of post-industrial culture.
This programme joins theory and practice, equipping you to develop and achieve highly effectively in the new image media culture. Practice uses both digital and analogue technology, still and durational as well as the study and production of interactivity.
The programme allows for specialisation in photography and/or electronic arts – which, in addition to still photography, can include interactive, durational and internet work – but encompasses a broader interpretation of practice.
You'll look at the meaning, production and distribution of images, and the relationship between theory and practice in the context of debates about post-modernism and beyond.
You also participate in enabling sessions in photography:
and/or in electronic arts:
There is an MRes which follows the MA into a second year, in order to develop your work/voice. This will count as the first year of a PhD. Find out more about the MRes.
This programme uniquely joins theory and practice in a way that will equip you with the tools and the vision to develop and achieve highly effectively in the new image media culture. Practice uses both digital and analogue technology, still and durational as well as the study and production of interactivity.
You will study
The programme draws on a broad range of cultural references and technical practices. It offers the opportunity to take stock of evolving practices and developments in image media culture, and is structured to develop the intellectual imagination within each individual student. This is achieved through a combined study of practice and theory, with extensive instruction through ‘enabling sessions’ which engage technical familiarity; core tutorials; secondary tutorials; Issues in Media and Culture and additional theory course options.
Recognising the rapidly changing definitions and context of these practice areas,and the value/positioning of traditional practices, these categories may also be understood through a variety of practices which involve image construction and presentation both still and durational, including: film/video, animation, interactivity, installations, motion graphics, and hyperspace constructs, as well as evolving new exploratory categories.
The programme provides an opportunity to develop and/or research aspects of visual style, and draw on a broad range of cultural references as well as aesthetic and technical approaches engaged through ‘Practice Theory Sessions’, visiting lectures and the Issues in Media and Culture course. Fundamental to the programme is the space that it creates to make it possible for you to explore, question, change and consolidate your work and your ideas.
Original portfolio submission; coursework and essays.
This course is interested in the development of the individual voice. To this end, there are two types of tutorial:
You'll develop specific practice skills to a high level, and the articulation/understanding of the pleasures of media consumption.
Graduates from the programme are extremely successful, with finalists working commercially, developing as artists or continuing to enlarge their academic knowledge. During the course particular attention is given to the development of the individual voice. This, plus students' exposure to a range of technologies, means that our graduates can step into the arena of their choice, or sometimes of their making.
Here are just some examples of the sorts of careers graduates have gone onto:
Find out more about employability at Goldsmiths.
In the MA for Sound Arts you will explore sound as a creative medium at an advanced level, and focus on the areas that interest you most. We’ll help you develop the technical skills you need, but the course is about sound more than technology, and values lo-tech and no-tech as much as the latest technological developments.
You can work in any music genre, and/or cover areas such as soundscape recording and sound design, interactive audio (for applications such as live performance, gaming, VR, immersive environments and installations), spatial audio, hardware/software (instrument) design and interdisciplinary practice incorporating other media.
The course caters for those working in a wide variety of music genres, and at the same time also covers areas of practice such as soundscape recording and sound design, interactive audio, spatial audio, hardware/software design and interdisciplinary practice incorporating other media. Most students won’t cover all of these areas, but will use the course to develop an individually-tailored portfolio of skills, experience and top-level work across them.
Most students won’t cover all of these areas, but will use the course to develop an individually-tailored portfolio of skills, experience and top-level work across them. We believe this to be appropriate to the current employment landscape where many combine traditional roles in music with broader practice in sound and other media. The course also provides the breadth necessary for FE and HE teaching in this field, and provides a basis where required for PhD research and beyond.
In trimester one, you'll gain the skills you’ll need to fulfil the rest of the course. The Skills Portfolio module is built on the idea that you’ll already have technical skills in this area. It therefore allows you to choose a handful of skills projects from a large number of options – these cover skills right across the Sound Arts, Sound Design and Sound Production pathways and include (optional) elements of multimedia.
The Research Methodology and Context module develops skills in postgraduate-level research and writing.
In trimester two, you'll study the Sonic Architecture module. This is intended as an expansion of traditional music composition teaching, where the aesthetic aspects of individual work will be examined and developed.
Alongside this core module, you’ll be offered a wide range of options.The Visual Music module explores the idea that musical thinking can be extended to the visual. Intertextuality in Sound Production, from the Sound Production pathway, explores the overlap between Urban Music production. Post Production, from the Sound Design pathway, explores an industry-level workflow for Audio Post for picture.
There are also choices in Composition, Performance, Musicology and Professional Practice.
In trimester three, you'll complete the course with a independent research project, compromising of a large-scale practical project. Allowing you to develop your own individual and original research area.
For detailed information on modules, please visit the course webpage: https://www.bathspa.ac.uk/courses/pg-sound-arts/
Most modules are taught through small-group seminars and workshops, where you’ll benefit from close interaction with tutors and peers. The Major Project and parts of the other modules are taught through individual tutorials where the focus will be entirely on your own practice.
You’ll be assessed entirely on coursework. The majority of this will be practical and creative work, including the dissertation-equivalent Major Project. Some practical projects are accompanied by short informal written assignments, and for the Research Methodology and Context module you’ll produce a more substantial paper.
Our graduates have range of successful careers in production, composition, music for film and TV, sound design for moving image and games, sound art, software development, engineering, further education, higher education and research.
MA Sound is a new course – this is based on MMus Creative Sound and Media Technology, which is its predecessor.
For information on facilities and resources, please go to our website: https://www.bathspa.ac.uk/courses/pg-sound-arts/