music technology personal statement

Music Technology Personal Statement

Sample Music Technology Personal Statement

My ambition to pursue a career in Music Technology comes from my desire to bring people joy by helping them to communicate. Having observed Audiologists on work experience, I know that I too want the rewards of making people smile by working in a team to find solutions to their problems, and enabling them to understand the world around them.

I am currently studying an Access to Science course, and particularly enjoy Physics and Biology. I am fascinated by how the human body works and would love to translate this academic interest into a career in the medical profession. Having completed a BTEC First Diploma in Health and Social Care with a Distinction, I have a deep understanding of how the healthcare industry works. I learnt about communication, individual rights and needs and cultural diversity and also covered some medical areas such as anatomy, physiology and the impact of diet. I would love to continue learning about intriguing topics such as these at degree level.

Having researched various medical practice areas extensively, I decided I want to specialise in Music Technology and Audiology. I have read several publications from the British Society of Audiology. I also attended an open day at Swansea University, where the lecture on the different techniques and types of equipment used by Audiologists, such as otoacoustic emission measurements and electropysiologic tests, inspired my desire to learn more.

I have supplemented these academic interests with experience of Audiology in practice. In May 2009 I worked as a weekend ward volunteer in my local hospital, mainly assisting mobile patients with personal care and serving meals. While there I observed the Audiology department and learnt how varied their work was. I was particularly interested by the newborn screening programmes. My ideal future career would be in Paediatric Audiology because of how much I have enjoyed my recent volunteer work in Birmingham Children’s Hospital. I am developing the ability to build positive, close relationships with patients, and learning how to offer the best service and care.

Through these experiences, I learnt that the most important skill for an Audiologist is the ability to communicate effectively, both with other members of the healthcare team and with patients. I have developed my communication and teamwork skills through my Level 2 NVQ in Customer Service, my elected role as class representative on my BTEC and my committed membership of my local football team. I speak five languages fluently: Belien, English, Arabic, Tigrinya and Tigre. This widens the range of people with whom I can communicate and would make me a valuable asset to the NHS in the multi-cultural society in which we live.

I am an extremely enthusiastic and determined student who enjoys close interaction with other people. In my spare time I enjoy socialising with friends, playing sport and reading all kinds of books, particularly science books and journals. I plan to play an active role in all aspects of university life. I am resourceful and have impeccable attendance and punctuality. I know that hard work and dedication are the key to achieving my goals, and have the self-motivation to succeed in my ambition of serving my community by becoming a top Audiologist.

Thank you for taking the time to consider my application , I look forward to hearing from you.

We hope this Music Technology personal statement has provided a good example for your own.

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Music Personal Statement Guide

Personal statements can be a bit of a paradox. On the one hand, they all need to do the same things as each other, namely describe your interest in a subject, your motivation for studying it at university, and your readiness to undertake the course. On the other, they have to be unique to you and to stand out from all the others. It’s little wonder that students struggle to know how and where to begin.

It’s also understandable if the prospect of putting pen to paper is daunting, but the best way to approach it is not to delay but instead to look at the writing of it as you might an essay. There are certain requirements that it must fulfil, it needs to follow a structure, and it should be interesting and entertaining to read.

To dispel any concerns you might have about what to do and not do when writing your statement, this guide will take you through the following steps:

• Why are Personal Statements Important?
• What Should I Include in a Music Personal Statement?  
• What Should I Avoid in a Music   Personal Statement ?  
• Advice on How to Start a Music Personal Statement
• Advice on How to Finish a Music Personal Statement

What Should I Avoid in a Music Personal Statement ?  

Don’t just focus on the one or two aspects you’re most interested in, e.g. playing jazz piano or analysing the works of lesser-known German Romantic composers. As the degree is a broad one, show that you’re willing to learn about other areas and to acquire new skills .

The language of your personal statement should maintain a polite formality and avoid casual language . You should also never rely on banal clichés or other people’s words, i.e. quotations, because this is your chance to talk about you in your own words and way.

Above all else, don’t exaggerate and don’t lie ; tutors can tell when abilities are overstated and books haven’t been read. This is especially important if you’re going for an interview or have to give a performance as questions will be asked.

Register to access our complimentary e-book "So You Want To Go To Oxbridge? Tell me about a banana…"

Advice on How to Start a Music Personal Statement  

One way to open your personal statement is to begin with why you’re compelled to study music at university and talk about how your interest has developed up to this point. It’s not necessary to trace your deep interest in music all the way back to the first piece you ever heard. It’s enough to mention a moment of recognition or realisation in your relationship with music that set you on this path.

If you don't want to begin at the chronological start of your musical journey, you could instead open with the area that most captures your interest. Use this as an opportunity to jump straight into an academic discussion and set the tone for the rest of your statement.

Universities want to see you’re going to maintain your interest and passion, but also that you can develop further as a musician and academic. It's difficult to encompass this in an opening statement, so sometimes it helps to brainstorm ideas around the ‘why’ and ‘how’ of your choice, and only then begin to draft an interesting introduction.

Advice on How to Finish a Music Personal Statement  

A degree in music is going to expose you to so much more than you have encountered up to now in this field, so universities want to know this won’t be lost on you. If you feel so inclined, you can talk about various modules you like the look of (as long as each university in your application offers something similar) and what you think studying those will bring you.

The conclusion to an effective statement brings together your ideas, interests, motivation, and ambition to reiterate your desire to study music to an advanced level and your suitability to do so.

• What are some Tips for Writing a Strong Music Personal Statement?
• How Long Should my Music Personal Statement Be?
• What Kind of Extracurricular Activities Should I Include in my Music Personal Statement?
• How Can I Tailor my Music Personal Statement to the Oxford/Cambridge Course?

It’s likely that some of your music degree will involve working as part of groups, as well as independently. This reflects the music industry more widely as, whether it’s in a studio or an orchestra pit, musicians, composers, conductors, and sound technicians all have to work together to produce what you ultimately hear. Your statement should therefore reference the extent to which you’ve collaborated with others to achieve common goals, as well as what your own independent endeavours have produced.

A degree in music relies on a range of skills, many of which you’ll have started to develop at school. Examples of these include problem-solving, analysis, critical thinking, creative invention, an eye for detail, and performance under pressure. It’s not necessary to list all your skills and how you’ve acquired them, but mentioning how you’ve come by some and the ways they could be transferable to the academic study of music will enable you to demonstrate your readiness for the degree.

The personal statement cannot exceed 4000 characters (including spaces), or alternatively 47 lines of the UCAS form. It’s therefore paramount you make the most of all the available limit you’re given by working out in advance what you should include and exclude, based on how important you deem the information to be. When you start writing, it will become easier to work out how best to express your ideas concisely.

Naturally, your extracurricular engagement with music should be given space in the statement, but it’s not enough just to list what you do and to what level. Universities want to see how you’ve learned and grown as a student and musician, and whether you have the potential to develop even further. Over and above your musical competencies, it’s always worthwhile talking about instances where you’ve done something out of the ordinary, which might be leading a youth orchestra, playing the piano in a care home, or teaching music to toddlers. Finally, your reading and thoughts around the subject should always feature in the statement as this is a surefire way of demonstrating intellectual curiosity and independent thinking.

Whilst you cannot be too specific (since the same statement is sent to all your university choices), there are some styles and techniques you can employ to ensure your personal statement is Oxbridge-appropriate.

A main consideration to make is that the Oxford and Cambridge courses are expectedly broad, but give you scope to tailor your path to suit your interests. This means you have free rein, within reason, to choose modules that suit you. That said, the universities will want to see your willingness to learn what might not initially appeal to you, as this is a mark of a dispassionate and intellectually free approach to study. You shouldn’t, therefore, rule anything out either in your statement or interview, but rather maintain an open mind and be prepared to throw yourself into all that the course can offer.

Furthermore, Oxbridge personal statements should be incredibly discerning on content, and should only mention academically-relevant experiences or resources which prove either your interest, motivations, or skills relevant to the music degree course.

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Music Personal Statement Tips Sheet

A musical personal statement is quite important especially for someone who wants to further their studies in the field of music. It will show the selections or admissions committee or team since it sheds light on your career aspirations in this field as well as your character. In a personal statement music technology developments in the music industry are shown to show familiarity with the field of interest.

Steps on How to Write a Music Personal Statement

There are some steps that you should follow in order for you to come up with an exemplary and flawless music statement of purpose, you can use these steps for any ps, including personal philosophy statement . The steps are as follows:

• Begin the music technology personal statement with a catchy opening sentence. It should be original and precise and it should not be copied or regularly used as a cliché.
• Make sure you answer particular questions. This includes explaining who you are, what your goals are as well as the personal reasons for desiring admissions to a specific music program.
• In your music technology personal statement, use logical and concrete examples to demonstrate your statements. You could end the personal statement using very modest language. In the personal statement music technology is given focus.

Dos and Don’ts While Writing a Music Personal Statement

There are a couple of dos and don’ts that you should put into account so that you come up with an exemplary music statement of purpose (as well as for writing a diversity statement ). The don’ts include:

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• Don’t be chatty and unofficial. Considering you are using the personal statement to seek a competitive position, make sure that you avoid using slang and approaching the subject matter casually.
• Famous quotes should be avoided since these will be applied in countless other applications. Many people will be using them equally yet you intend to be as unique and authentic as possible.
• Don’t be tempted to ask another party to write the personal statement for you. You should also avoid rewriting it from another person’s copy. Rather, write it personally from scratch to present the best version of yourself in it.

Some of the Dos That You Should Put into Consideration Include

• Organizing the write-up appropriately. You can make bullet points and also address the issues from the most to the least important.
• Making sure you spare enough time to review and edit personal statement music conservatoire before submitting it. Proofreading gets rid of all mistakes and errors made during writing.
• Being specific while addressing the key points that make up the personal statement about music rather than being general about them.
• In the music personal statement, do a proper show on the subject matter to show you are up to date with the developments in the particular field.

Tips on How to Make Your Music Personal Statement Win

There are a couple of tips that you should put into consideration to make sure that your personal statement music production is winning. The tips are as follows:

• In your music grad school personal statement, you should show your enthusiasm for the subject in whatever you put across to show that you are really interested. You could state the reason for interest as well as anything you are doing differently that’s to do with the subject.
• You should make the graduate music personal statement convincing enough, so make sure to provide the reader with your academic interest and future plans, and how it can change the world in the future.
• Apart from listing your academic qualifications as well as job experiences, you should show evidence you have actually thought about the choice of degree and you are excited about it. You could put out some information or questions you would like answered by the study.
• While expressing yourself be less emotional and organize your thoughts in a logic way, even when you say about your passion for the subject.
• Be specific enough as well, for instance, you can mention some particular books or someone’s activity that inspired you. This will display your awareness of study field you are applying to.
• To stand out, you could make references to sources that are not in the A level syllabus. This depicts some kind of independence in reading.

If you need any form of help with writing your statement about music, make sure to reach out to us and we will be ready to assist you and work with you.

School of Music

Where artistry and innovation share center stage, music & technology portfolio requirements, undergraduate.

The Bachelor of Science in Music and Technology (M&T) is a tri-college degree designed for students who would like to combine and blend their interests in music with electrical and computer engineering or with computer science rather than to pursue conventional majors and degrees in both. To be considered for the M&T program, you must apply and be admitted to the School of Music and show academic credentials that would be admissible to either the College of Engineering for Electrical and Computer Engineering (ECE) or the School of Computer Science (SCS).

Current students at CMU may apply for internal transfer into the Music and Technology program. Deadlines for transfer are October 1 for the following spring semester, and March 1 for the following fall semester. For more information about transferring into the program, contact Sharon Johnston , School of Music's Director of Student Services.

Choosing a Specific Track within the School of Music:

The Music and Technology curriculum is split into three concentrations or tracks: the music concentration, composition concentration, and the technical concentration. Candidates must know which track they wish to pursue prior to applying. Students who are qualified for the music or composition concentration have a significant level of training and talent either on a specific instrument or in classical voice, or have exceptional skill for original music composition. This level of talent or skill must be equal to that of the other music majors in the School of Music, as students in the music concentration perform alongside traditional music majors in ensembles, continue private lessons with master faculty, and/or write original musical works that will be performed and recorded. Students who do not play an instrument, sing or compose music at a high level, but who have significant experience with computer music, electronic devices, digital systems and other engineering aspects of music are more appropriately suited for the technical concentration. When completing the School of Music Application, M&T candidates will apply for their desired track by choosing an area of concentration in the program section of the online application.

All Music &Technology or BXA applicants must upload a portfolio containing samples of their creative work to the School of Music. The music application and portfolio are due December 1.

Portfolio contents may include:

• Audio recordings of performances or compositions that you engineered
• Video recordings of performances or compositions that you produced or edited
• Software listings for programs that you have written
• Screenshots of your software or other creative work
• Web pages you have created

The members of the Music & Technology faculty panel will review your portfolio electronically.  You may be contacted by a member of the panel should they have additional questions.  

Additionally , applicants interested in specializing in the music or composition concentrations must also complete the required admission or audition assessment for that particular area:

Instrumental Performance:

Select your instrument from the drop down menu in the online School of Music application, answer the additional questions about your training, and pay the audition fee. M&T candidates who want to specialize in instrumental performance must complete and pass a major level audition. Please read the audition requirements and instructions for your specific studio very carefully.

Vocal Performance:

Select your voice type from the drop down menu in the online School of Music application, answer the additional questions about your training, and pay the audition fee. M&T candidates who want to specialize in classical voice must complete and pass a major level audition.  Please read the audition requirements and instructions very carefully.

Music Composition:

Select composition from the drop down menu in the online School of Music application, answer the additional questions, and pay the portfolio review fee. M&T candidates who want to specialize in music composition must complete and pass a major level review. Please read the requirements and instructions very carefully, as composers must submit a portfolio containing original works that meet specific criteria.

Technology Concentration:

Select technology in the drop down menu in the online School of Music application, then submit the application and portfolio materials.

The Music & Technology panel will submit the results of the portfolio review to the Office of Undergraduate Admission. If your audition or portfolio review is critiqued favorably, you will be recommended for admission to the Office of Undergraduate Admission, and the Office of Undergraduate Admission will respond by reviewing your academic credentials. 

All music & technology candidates are required to complete a portfolio.

Students applying to the Master of Science in Music and Technology must submit application and portfolio materials by December 1st.. After reviewing application and portfolio materials, faculty will select and contact applicants for portfolio review interviews. Decisions are released March 15th, and admitted students will have until April 15th to consider the offer of admission and express intent to enroll.

Application (December 1st) Graduate Music and Technology applicants must first complete the School of Music’s application, along with the application fee.

Application Materials

• Application
• Three letters of recommendation
• Official Undergraduate Transcripts (desired GPA 3.0)
• Official GRE Score Report (if available; test-optional for Fall 2024 applicants)
• Official language scores (TOEFL, IELTS, Duolingo) 
• Personal Statement

list of undergraduate courses in engineering, computer science, math, physics, science

• list of undergraduate courses in music
• list of computer languages studied
• list of instruments played and performance credits (if any)
• intended focus for Masters: engineering; computer science; or music/performance
• intended focus for thesis topic (if available)

In addition to the application, Music and Technology faculty reviews applicant portfolios containing the applicant(s) original work, which may include:

• Audio recordings of performances or compositions or that you engineered
• Video recordings of performances or compositions or that you produced or edited
• Web pages you have created.

It is critical that work be submitted in formats that can be heard on a variety of computers and operating systems. Media choices are limited to: -Standard audio formats: Wave (.wav), AIFF (.aiff), MP3 (.mp3); -Common video formats: Quicktime (.mov), MPEG-4 (.mp4); -Portable document formats: Adobe Acrobat (.pdf), HTML (.htm); -Common image formats: JPEG (.jpg), TIFF (.tif), Portable Network Graphics (.png). -Collections of Files (e.g. a computer program or a stand-alone set of web pages) may be submitted as a ZIP format archive

Throughout the month of January, the Music and Technology faculty will review and critique portfolio submissions and select students for interviews. The faculty will forward the results of their review to candidates in mid January. If you are invited to an interview, your appointment confirmation must be emailed no less than two weeks before the chosen date. After confirming an interview with applicants, faculty will send final confirmations one week before the scheduled portfolio review.

During the portfolio review interview, applicants will meet with a faculty panel to discuss creative process, background, and future goals. Candidates are not required to prepare or to bring materials or additional items to the appointment.

All materials must be received by December 1st .

• Contact Music Admission

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We asked music tutors what they're looking for (and what to avoid) in your personal statement – here's what they told us. For more personal statement advice, see our guide for everything you need to get writing .

What to include in your music personal statement

• Where your musical enthusiasm lies: Dr Kirsten Gibson, music admissions tutor and programme leader at Newcastle University (an academic course), is looking for detailed, engaging examples of your musical experiences, interests, and your academic and musical aspirations. These could lie in performance, composition, music history, analysis, ethnomusicology, or elsewhere.
• Wider reading around music: for academic courses in particular, do mention additional reading you've done around the subject, including what you've learned from it. You should also be prepared to expand on this during an interview .
• Extra-curricular musical activities: rather than reeling off a list of what you've done, try and write reflectively about the insights, skills, and knowledge you've gained from a select few experiences.
• Why music: write clearly and engagingly about the subject and your reasons for wanting to study it at university level – this should naturally lead you to demonstrate your current knowledge, skills, passion, and suitability for the course.
• Teamwork skills: the University of Bristol is also keen to see examples inside or outside of your studies where you've demonstrated your abilities to work well as part of a team.
• Awareness of what different music courses cover: practical or academic, your statement should engage directly with the actual courses you’re applying for. If you're applying to a conservatoire, do refer to the relevant advice on our website .
• popular music
• composition
• performance
• songwriting
• church music
• Make sure your statement highlights some of your skills, knowledge, achievements, or experience that are relevant to that field. Remember to do this in a reflective way, not just with a list of things you've done.

What not to do in your music personal statement

• Clichés: avoid the likes of ‘music is my life' or ‘music is a universal language.’
• Replication: including information on additional music qualifications and grades you have is important, but put these in one of the qualifications boxes on your application form so you don’t have to waste valuable space on it in your statement.
• Ignore the course content: make sure your statement shows you've researched your courses carefully, to ensure that they suit your musical and professional aspirations. If it's a course that focuses on music production or technology, for instance, then your statement needs to talk about your practical and academic interests in these areas.

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Music technology personal statement

More statements will soon be added to this page. YOU ARE ADVISED NOT TO COPY THE TEMPLATE BELOW BUT INSTEAD TO USE IT AS A GUIDE.

“I have chosen to study music technology because I believe that music is something that plays an important part in the fabric of our society and in human culture. To me music can be an expression of a persons emotion at a particular moment in time or a interpretation of their feelings i.e.  romance, love, anger and patriotism.

From a young age it has been a prominent part of my life and I have gained much enjoyment from playing musical instruments and experimenting with the latest technologies. This passion was reinforced within me at college where the teaching was inspirational and the practise very much hands on. I became involved in a college band and started dabbling in music analysis, song writing, audio engineering and designing sound.  All of these experiences left a lasting impression on my mind and inspired me to seek a career in the music and media scene. At the end of my college studies I am proud to claim that I achieved high academic grades and distinctions for the musical research side of my studies.

I consider myself to be a proactive individual who is eager to learn more about music and to thereby progress academically towards my career goals. I want to study those areas of music that I am most enthusiastic about, in particular; history, performance and composition. It is for these reasons that I have submitted my application to your institution. For me one of the best things about studying music technology at university will be the fact I will get to be around people who have similar musical tastes and interests as myself. This will allow me to feed of their knowledge and experience and give me an opportunity to hear different styles and also broaden my horizon.

With all this devotion for music inside me it was only natural that I decided to pursue a career as a professional musician with specialist knowledge of the latest technologies. I am pleased to say that after researching all my career options I quickly saw that this is a rapidly expanding field that offers a multitude of employment opportunities in the recording and broadcasting industries.

Right now I’m looking to start my musical ambitions by going on a music technology course that covers all aspects of the subject and that will widen my academic skills. I want to enrol at a university where the lectures are full of information and where you feel you have learnt something every time you leave one. The academic modules should prepare me for the way of thinking that is needed for academic research, employment or even possible future postgraduate studies.

I have decided to enrol at your university because it’s one of the few academic institutions that focuses exclusively on music technology.  On a visit to your campus I found your staff to be very friendly, approachable and helpful in explaining to me in detail the advantages of your course. In closing I would like to say that I very much hope to be offered a place at your renowned institution and look forward to the day when I enrol on your course.”

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• Music personal statements

Personal Statement:Music technology fashion and costume

Throughout my whole life, I have known two things; the first being that no matter what I want to do, with work, I can achieve it; the second is, that no matter what I do, it will be creative. I have been raised in a family of musicians, and actors, so I naturally knew that I had to do what I loved. Music and Design being the things I love, I sought to find a path - incorporating these subjects - that I would happily follow. Being the first in my family to find pleasure in design, I learned alone; I often found it frustrating as I fought to improve myself but persevered and discovered that the work was completely worthwhile; I learned to practice great discipline. My father has taught me a multitude of things, as I have grown up, from physics through to producing my own music - imparting his own engineering wisdom and helping me to do the work myself. Had it not been for the encouragement of my dad, I would have never had the constant presence of music in my life; witnessing the, as I saw it, "Guitar God" that was my father inspired me to teach myself guitar while dabbling in as many instruments as possible, playing everything from violin to ukulele. Seeing international and local gigs regularly, from the age of 12, delighted me. From my first gig, I wanted to be a part of the music; I knew that sound engineering was a path I wanted to consider. I have always enjoyed costume; I spent a huge part of my childhood dressing up and making costumes myself. Influenced by my love of drama, I spent a great deal of time making clothing inspired by the films and theatre I had been exposed to from a young age. As a child I enjoyed the stories but, soon, I recognised that costume had a huge input in the atmosphere of a film. I wanted to affect people in that way; the ability to work with people's emotions and sway the audience's opinion of a person, simply, by changing the character's clothing was fascinating. Theatre has given me the opportunity to experience working with sound; in rehearsal, I spent my free time working on sound and lighting with my father; watching, and aiding, him as he produced massive soundscapes. My love of theatre encouraged me to take up dancing; over the past ten years I have practiced ballet, training to an advanced level. Although at first I struggled, I managed to overcome my inflexibility and lack of power. This required great dedication and determination to succeed; an attribute I bring to everything I do. This colossal influx of culture led me to languages. Culture roots from word; without it an artist cannot express his emotions through written word or music. If we observe Italian architects, their creations are hugely ornamental, stemming from the floral nature of the language. Studying foreign cultures has allowed me to discover and take inspiration from a huge number of designers and the countries they call home; this has greatly widened my influences. Contrastingly to arts; I have enjoyed physics from the day I was taught how to make a motor. Having an engineer for a father has always helped me in this respect; when I was younger,as opposed to normal punishments, I was to fix my computer. I feel that university will give me the chance to not only extend my learning further, but grow emotionally amongst like-minded people who share the same enthusiasm for the subject. I have found this while doing my advanced highers which, although difficult, are preparing me for university learning. I have decided to use this year to improve my sound engineering in advanced music; though I didn't receive the results expected of me last year, I intend to use this year to improve my qualifications. I am working hard in class whilst preparing the sound for the school's Christmas concert and producing my own album. Having spent the majority of my life in the theatre or watching film, I would ideally aspire to work in these fields but my choice to study is based on sheer enjoyment of the subjects.

Universities Applied to:

• Edinburgh (Fashion) - Rejection - Interviewed
• Edinburgh (Costume) - Rejection - Top 10
• Edinburgh (Music Tech) - Rejection
• West of Scotland (Music Tech) - Offer - Unconditional
• Glasgow of Art (Fashion) - Rejection

Grades Achieved:

• Music (AH) - A
• Music (Higher) - B
• Art and Design (Higher) - A
• English (Higher) - A
• Maths (Higher) - A
• History (Higher) - B
• French (Higher) - A

For Music Tech at Edinburgh, I didn't have the necessary Musical Exams; as for Fashion, also at Edinburgh, I received an interview but found out a week before closing date that I hadn't got it; Costume I got to the top 10 people but only 7 were accepted. I finally got into UWS and I've been really happy there, the course is fantastic! Just remember that these courses are all very hard to get into, let alone without an Advanced Art, so don't be disheartened, just keep trying!

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Music Technology BA (Hons)

• Course detail & modules

Entry requirements

• Fees & funding
• Study & career progression

Start your studies in September 2024 - call our Clearing hotline and find the right course for you.

Clearing lines are now open and have extended opening hours on the following dates:

• Saturday 24 August: 10am - 4pm
• Monday 26 August: 10am - 4pm

Why study at UWL? 

• UWL is the second London modern university for Music, Complete University Guide 2024 .
• In the top 30% of universities nationwide  - The Guardian University Guide 2024 
• University of the Year for Social Inclusion  - Daily Mail University Guide 2024 
• Best university for Student Experience and Teaching Quality in the UK  - The Times and Sunday Times Good University Guide 2024 
• Number 1 London university for overall student satisfaction  - National Student Survey 2024**

This specialist course offers you the chance to apply music technology in creative ways using professional equipment and software. It is our flagship music technology course and is designed to give you the skills the music industry values most.

Our music technology courses are built on two decades of development and experience. As a student on this course, you will have access to one of the largest audio complexes in Europe and learn from highly experienced tutors.

The London College of Music (LCM) is collaborative, and we will encourage you to take advantage of the many opportunities for recording and networking with musicians, producers, gaming, film students and artists.

View some of our students' recent work .

Select your desired study option, then pick a start date to see relevant course information:

Start date:

If your desired start date is not available, try selecting a different study option.

Why study Music Technology with us?

What our students say…

I picked this course because there were none like it in my country. The facilities here are mindblowing. I'd recommend this course to anyone wanting to study music tech.

Course detail & modules

On this music technology specialist course, you will acquire and develop the skills you need to work with contemporary sound and music, both pre-and post-production. In addition, you will learn the theory and techniques that are essential for creating music and audio to a professional standard.

While the course will focus on music production, it will also give you the opportunity to apply your work in a broader context and you will explore the fascinating areas of:

• music production and mixing 
• game audio 
• audio post-production
• surround mixing  
• experimental sound art.

We will also help you to hone your business survival skills – essential for any self-employed specialist. Collaboration is an integral part of this course and there will be scope to join forces with students from LCM and other Schools. You will be able to work with musicians performing in a range of styles, including contemporary, pop, jazz, western and classical. Furthermore, you could expand your horizons by working with students in media, video and film, digital animation and games design. These opportunities will help to enhance your CV even before you have graduated.

Throughout the course, you will learn through traditional and applied methods including lectures, workshops and live sound work. Your recording and live sound work will take place in our dedicated workshops, so there is no need to book sound studios.

Find out about our successful course alumni.

Compulsory modules

Experimental sound.

In this module, you will have to design an experiment that generates an audio experience. You will have the freedom to explore and develop individual ideas and abilities in the context of sound, producing a portfolio that shows confident expression and creative risk-taking, but with technical accomplishment. 

In the final year of your degree course, you will create your own project with a high degree of independence. You will be allocated a supervisor and then given the freedom to create a piece of work, which you feel really represents you as a student. You will be guided and supported, but this is your vision and your chance to show the world what you have achieved while you’ve been at UWL.

Creative Sound for Games

Gaming is a fast growing and lucrative area of the entertainment industry.  By the end of the module you will have a solid appreciation of the power of audio for games, combined with the skills to develop audio assets and implement them in middleware. This in turn will form the basis of a show-reel which can be used for future promotion and collaboration within the gaming industry.

Mixing Music

'Mixing Music' embraces the notion of balance-mixing as an art (form), at the same time celebrating its dependence on a firm technical foundation, repertoire and vocabulary of engineering skills, combined with a refined conceptual understanding of the three-dimensional stage of an envisioned sonic illusion. Focusing on developing and specialising students’ mixing skill to an advanced level, the module provides a practice-based context for the application, evolution and acquisition of advanced mix-techniques.

Taking into account contemporary mixing strategies, musical contexts and professional outputs/formats, the module offers opportunities to approach creative mixing projects over a range of stylistic and technical challenges. As such, this mixing curriculum focuses on genre-specific techniques, and a range of software, hardware and hybrid workflows, encouraging the development of mixing folios that showcase a wide-ranging palette of techno-artistic skills. Ultimately, the module also requires both the critical evaluation of, and reflection upon both mixing practices and end outcomes – framed in the context of the history, culture, technological development and the current aesthetics of the artform.

Live Event Production

Will focus on developing, and specialise on, live music mixing skills to an advanced level. The module provides a practice-based context for the application and acquisition of advanced mixing techniques for a variety of platforms and setting applications to allow the student to manage and troubleshoot technical issues and provide appropriate technical solutions; taking into account contemporary approaches to mixing, professional outputs/formats and also future facing audio consumption requirements.

Audio Post-Production

The module is both practical and theoretical and is designed to give students the opportunity to explore and develop creative techniques to produce sound design, ADR, foley and audio post for a range of post-production requirements.

Music Production

This module offers you the opportunity to develop as a creative user of professional DAW systems. Through the module you will gain fluency in the use of:

• hardware and software
• controllers

You will also grasp the essential concepts required for next level music production.

Audio Principles

Recording theory is a broad module introducing a variety of topics vital to the field of music technology. It also serves as a base for the more practical and technically orientated modules in the music technology degree courses at LCM/UWL. It is a key module designed to equip students with a grounding in the core knowledge and techniques germane to the disciplinary nature of the music technology courses.

The module aims to provide the student with a solid grounding in the theory, techniques and terminology associated with contemporary acoustic and digital recording practice, as well as ensuring a fundamental grasp of the basic physics of sound and sound propagation.

Portfolio Development

This module focuses on the development of your portfolio career. Increasingly, the successful modern freelancer requires a diverse range of skill sets in:

• writing styles
• arrangement
• the ability to expand your client base and income streams.

Workflow demands will be examined in a time managed ethos to allow best practice. The module also explores creative outlets, future facing opportunities and residual income streams to allow you to pursue a career as a music professional whilst developing your portfolio.

Popular Music Analysis

If you understand how other people’s music works, it will help you develop your own creative vision. Different music genres all have their own particular sonic signature and this module is where you learn how to identify and talk about the elements which have defined recorded music, from past to present allowing you to absorb the techniques and mix aesthetics to build them into your tracks.

Studio Recording

Recording Practice will help you develop the required skills needed to operate studio recording technology to a high standard. The module will further the listening skills covered in Recording Theory and will increase your sensitivity to different recording and musical contexts. It covers a comprehensive overview of contemporary studio technology and the recording process.

The module will also extend ear-training techniques and examine each component of studio technology in detail. In addition, it will address how the techniques of recording are coupled to the technology, providing each student with a backbone of knowledge designed to help the recording demands of the second year.

Live Sound Practice

This employability-focused module will provide students with an overview of the technology and techniques required in live-sound engineering. The module focuses on both practical and technical content, providing experience in practical engineering for the performance of live popular music. Learners will also be introduced to the fundamentals of specifying sound reinforcement systems for a range of applications.

Applied Studio Techniques

This module develops the creative engineering skills gained from the Recording Practice module and to then adds session-planning skills, production/mixing skills, modern recording techniques and remixing. Students will be encouraged to take responsibility for complete productions in a professional-standard recording studio. 

Sounds Grooves and Genres

The module looks at the construction, and deconstruction of music. Progressive research and critical review of what makes up a record will allow greater perspective and understanding into the historical, technical, stylistic and cultural contexts surrounding music production and arrangement.

Production and Release Strategies

Traditionally, a business led approach has been a key skill for any freelance music professional. Increasingly music industry professionals are also required to develop an entrepreneurial mindset.  As the boundaries of digital technologies and media converge, the need to understand how new concepts are generated and practically applied looks set to be one of the key tools for future creative-content practitioners. This module will focus on digital pioneers who displayed creative enterprise in the modern music industry, and will also break down and explain how best to utilise: music platforms, digital-design tools, social channels, historical context and revenue streams. 

Research Methods for Music Technology

Academia is all about searching for something new and we use research to do it. Working in the creative arts is very similar, working to find that new sound or production technique, which will set us apart from other artists. In this module these two endeavours are brought together and we will show you how to use the power of research to fuel your creativity.

Sound and Music for Screen

The module is putting the student in the role of a ‘Sound Designer’ and ‘Composer’, an increasingly important role in the life of the audio post-production and music freelancer. This module should serve as a springboard for students to proactively engage in this field. By the end of the module students will have created a body of sound and music to picture work, which can serve as an industry standard tool to promote their work with other film makers and content producers to work to near professional workflow standards and circumstances, reflective of current industry practice.

Optional modules

Live sound production.

This module is focussed on employability and provides you with a deep understanding of the processes involved in musical theatre and play production. The module will focus on the techniques and roles involved within the sound department, from the sound designer through to the sound operators. In addition to this there will also be contextualisation through an introductory study of theatre practice.

LCM Music Factory

LCM Music Factory embraces the network and community available within London College of Music and the University to provide real-life scenarios for the production of original music with a contemporary stylistic focus through collaboration. The fundamental aim of this module is to offer the student an opportunity to experience both the pressure and challenges of producing recorded artefacts to a specific musical brief. There is also a significant research aspect to the module, with assessment based upon both practical and theoretical knowledge in equal measures. 

Major Project

In the final year of your degree course you will undertake a major project. This module is your chance to create your dream project with a high degree of independence.

You will be allocated a supervisor and then given the freedom to create a piece of work, which you feel really represents you as a music technology student.

You will be guided and supported, but this is your vision and your chance to show the world your achievements.

Mixing for Screen and Broadcast

This module will develop on and off specialisms in mixing to an advanced level, the module provides a practice-based context for the application, evolution and acquisition of advanced mixing techniques for a variety of platforms and format-setting applications, to allow the student to manage and troubleshoot technical issues and provide appropriate technical solutions for the master mix. 

• Requirements: UK
• Requirements: International

These can include:      

• A Levels at grade B, B and C, or above      
• BTEC Extended Diploma with Distinction, Merit, Merit      
• Access to HE Diploma

You also need GCSE English and Maths (grade 9 - 4 / A* - C) or Level 2 equivalents.

Candidates without a level 3 Music Technology qualification are required to provide a portfolio. 

Looking for BA (Hons) Music Technology with Foundation Year?

Mature applicants (aged 21+): If you do not hold the qualifications listed but have relevant work experience, you are welcome to apply. Your application will be considered on an individual basis.

Level 5 (year 2) entry To directly enter the second year of this course you will need to show appropriate knowledge and experience. For example, you are an ideal candidate if you have 120 undergraduate credits at Level 4 or a CertHE in a related subject area.

Level 6 (year 3) entry To directly enter the third year of this course you need to show appropriate knowledge and experience. For example, you are an ideal candidate if you have 240 undergraduate credits (at Levels 4 and 5), a DipHE, Foundation Degree or HND in a related subject area.

You need to meet our English language requirement - a minimum of IELTS 5.5 for each of the 4 individual components (Reading, Writing, Speaking and Listening). Visit our English language requirements page  for information on other English language tests we accept. 

You also need academic qualifications at the same level as UK applicants. In some countries where teaching is in English, we may accept local qualifications. Check for local equivalents . 

We offer pre-sessional English language courses if you do not meet these requirements.

Find out more about our English Language courses .

Fees & funding

• Funding: UK
• Funding: International

The fee above is the cost per year of your course.

If your course runs for two years or more, you will need to pay the fee for each academic year at the start of that year. If your course runs for less than two years, the cost above is for your full course and you will need to pay the full fee upfront.

Government regulation does affect tuition fees and the fees listed for courses starting in the 2025/26 academic year are subject to change.

If no fee is shown above then the fees for this course are not available yet. Please check again later for updates.

Funding your studies

You may be eligible for a student loan to cover the cost of tuition fees, or a maintenance loan. Additional funding is available to some types of students, such as those with dependants and disabled students.

We offer generous bursaries and scholarships to make sure your aspirations are your only limit. In recent years, hundreds of students have received our Full-time Undergraduate Student Bursary.

Additional scholarships specifically for music students are also on offer.

View full details, including conditions and eligibility.

International students - funding your studies

We offer scholarships for international students including International Ambassador Scholarships. 

Further information about funding and financial support for international students is available from the UK Council for International Student Affairs .

Teaching staff

I am a Senior Lecturer in Music Technology, specialising in sound design and production for media. I compose for advertisements, computer games and film, and bring this experience into my teaching practice at the London College of Music.

Dr Daniel Pratt

Study & career progression

Pauly Maskal

Once you graduate, you could find work as a:

• Record producer
• Audio post-production
• Sound for games 
• Audio/Live engineer
• A&R manager.

You may also choose to advance your studies, please see our postgraduate courses .

How to apply

Find out more about Clearing

• How to apply: UK
• How to apply: International

Head to the UCAS website where you can apply using:

• our institution code - W05
• the UCAS course code (below)

Want to ask us a question first? We would love to hear from you. Contact us free on:

• 0800 036 8888
• [email protected]

We may invite you to an interview at the university and ask you to submit a portfolio of work. Find out more about music technology portfolios and the interview process .

Apply for this course

Next steps after making your application.

We aim to make a decision on your application as quickly as we can. If we need any more information about your qualifications, we will be in touch.

In the meantime, come and visit us and find out more about what studying at UWL is like. Sign up for an  open day  or join a campus tour .

• Applying for an undergraduate course
• Applying for a postgraduate course
• Our Admissions Policy

Visit us and see for yourself

Talk to our tutors and find out about our courses and facilities at our next open day or join a campus tour.

Our prospectus

All of our courses in one place - download now or order a hard copy.

We're here to help

Any questions about a course or studying at UWL? We're here to help - call us on 0800 036 8888 (option 2, Monday – Friday 10am-4pm) or email us on [email protected].

You can apply online at any time by following the link below.

Our application form will ask you for some information about what you want to study, your previous qualifications or experience, and how we can contact you.

Want to ask us a question first? We would love to hear from you. Contact us free on: 

You can apply to us in two ways:

• on the UCAS website – you will need our institution code (W05) and the UCAS course code (at the top of this page)
• directly on our website – follow the ‘apply now’ link below

Want to ask us a question first? Our dedicated international students’ team would love to hear from you.

• Contact the team:  [email protected]

We may ask you to submit a portfolio of work and invite you to an interview at the university - or online, if you aren't able to travel here. Find out more about music technology portfolios and the interview process .

More information about international student applications

Related courses

Bmus (hons) music performance.

BA (Hons) Music Management

BSc (Hons) Sound Engineering

BA (Hons) Recording, Mixing and Production

BA (Hons) Electronic Music Production

Search for courses

Find out more about the work our students produce and view some of their recent work by visiting our Music Technology ARTSFEST page.

BA (Hons) Music Technology alumni

The London College of Music stands at the forefront of the academic study of music technology and record production. On graduation, you will join the ranks of our successful alumni, including:

• Rhiannon Mair - producer, songwriter, sound engineer and Executive Director of the Music Producers Guild. Nominated for breakthrough producer of the year at the 2019 MPG Awards.
• Ben Baptie - Producer and mix engineer. Has worked with: U2, Lady Gaga, The Strokes, Moses Sumney, Jamie T, London Grammar, Tom Odell. Nominated for producer of the year at the 2019 MPG Awards.
• Robert Orton - mix engineer. Has worked with: Sting, Lady Gaga, Charli XCX, Mumford and Sons, Lana Del Ray, Bruce Springsteen, Enrique Iglesias, Robin Thicke. Has won three Grammys with Lady Gaga.
• John Webber - mastering engineer at Air Studios. Has worked with: David Bowie, Nina Simone, Ray Charles, Miles Davis, MF DOOM, Primal Scream. Worked on the scores for Marvel's Loki, Alien: Covenant, Doctor Who, and the Oscar-nominated Loving Vincent.
• Tom Williams - TV and film sound mixer and ADR recordist. Has worked on: Star Wars Rogue One, Star Wars Episode VII: The Force Awakens, Spectre, and more, and has worked with artists like Amy Winehouse, The XX, Laura Marling, and George Clinton. AMPS TV Award winner and BAFTA Television Craft award winner on Killing Eve. BAFTA-nominated for The Crown.
• Tim Siddall - film sound editor, mixer, and dialogue editor. Has worked on: The Gentlemen, Hitman's Wife's Bodyguard, Aladdin, Tomb Raider, The Wolf of Wall Street, Jack Ryan: Shadow Recruit, and Skyfall.
• Thomas Blazukas - Motion picture sound designer and re-recording mixer. Has worked on: House of Gucci, Ron's Gone Wrong, Belfast, Artemis Fowl, Four Kids and IT,  and Last Christmas.
• Josh Adam Bell - sound design: games. Has worked on: Star Citizen.
• Gareth Johnson - studio owner/producer, Stand Alone Productions.
• Daniel Kapuscinski - movie sound designer and dubbing supervisor. Has worked on: Pearl of Indie, Blood Society, Barun Rai and the House on the Cliff.
• Dominic Butler - music producer. Has worked with: The Stanton Warriors.
• Ryan Wilkins - CEO of Raw London. Has worked with: Florence and the Machine, Lily Allen, Beverly Knight, Babyshambles, Keane, Katy Perry, The Drums, Hot Chip, Sigur Ros and The Kooks. Has also worked with companies such as Twitter, Vodafone, Save the Children and Marie Curie.
• Oliver Kadel - founder and head of audio at 1.618 Digital. Clients include: Ford, HSBC, Google, PWC, FIFA, JC Decaux, O2 Academy. Has two Emmy nominations for Micro Monsters with David Attenborough.
• Steve Massey - audio engineer, composer and owner of Freezabox Records. Has worked with Robbie Williams, Primal Scream, Beady Eye and Jarvis Cocker. Clients include BBC.
• Laura Beck - sound engineer at British Grove Studios. Has worked with: Robbie Williams, Anne Dudley, Paloma Faith. Grammy nominated with Prince of Egypt. 

You could join their ranks as a qualified and confident music technology specialist.

Performance spaces

Our flexible, professionally-equipped performance spaces include Lawrence Hall, a 200-seat black box studio theatre, and Vestry Hall, a classical music performance space featuring a Steinway B Concert Grand piano, concert tuned percussion and seating for up to 150 

Production studios

We have four black box production rooms featuring performance dance floors, ballet barres, wall mirrors and ¾ drapes. All rooms have PA and AV support in all rooms. The digital stage pianos are by Roland.

One-to-one teaching pods

We have five acoustically isolated teaching pods featuring Roland and Korg digital pianos and mirrors to facilitate one-to-one teaching in voice.

Music performance rooms

All music performance rooms feature drums and backline plus PA support.

• Drums by Roland and Pearl.
• Backline by Marshall, Orange, Line 6, Fender and Gallien-Kruger
• Stage pianos by Korg and Roland
• Synths by Roland and Kurzwiel
• PA by Yamaha, ABT and Nexo.

Basement practice rooms

• All LCM practice rooms benefit from LCM’s All Steinway School status to bring you the very best instruments.
• Three percussion practice and teaching rooms.
• Percussion rooms feature Pearl kits with recording and playback systems.

Media Resource Centre

At our Media Resource Centre (used by all subject areas) you'll find extensive portable audio recording systems, including up to 24 track digital HD recording and portable Focusrite RedNet systems.

There is also video-camera and accessory support, including LED and tungsten lighting systems, track and dolly systems and stedi-cam rigs.

Student life at UWL

• Seven reasons to study with us
• Accommodation
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• Our campus and sites

Important notes for applicants

* Modern universities  - defined as higher education institutions that were granted university status in, and subsequent to, 1992.

** The National Student Survey 2023 and 2024 -   Average of answers to all questions by registered student population. Excludes specialist institutions.

Testimonials - our students or former students provided all of our testimonials - often a student from the course but sometimes another student. For example, the testimonial often comes from another UWL student when the course is new.

Optional modules - where optional modules are offered they will run subject to staff availability and viable student numbers opting to take the module.

Videos - all videos on our course pages were accurate at the time of filming. In some cases a new Course Leader has joined the University since the video was filmed.

Availability of placements - if you choose a course with placement/internship route we would like to advise you that if a placement/internship opportunity does not arise when you are expected to undertake the placement then the University will automatically transfer you to the non-internship route, this is to ensure you are still successful in being awarded a degree.

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