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Audio Signals & Psychoacoustics - MUS00098M

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  • Department: Music
  • Credit value: 20 credits
  • Credit level: M
  • Academic year of delivery: 2024-25
    • See module specification for other years: 2023-24

Module summary

To be both artistically and technically accomplished, music producers and sound engineers need to acquire fundamental knowledge in sound science and experiential knowledge in audio technology. This module is designed to enhance students’ creative uses of our facilities and foster their technical freedom. Its integrated pedagogy will allow them to make appropriate sound choices for a large range of aesthetics and audio formats when pursuing a career in music and sound production.

Module will run

Occurrence Teaching period
A Semester 1 2024-25

Module aims

This module provides you with an in-depth understanding of the measurement, capture, and processing possibilities of acoustic, electric, and digital audio signals. It will also introduce you to the Fourier analysis and digital audio theory that underpin the functioning of Digital Audio Workstations and multi-site production facilities.

You will apply knowledge about the physics and psychoacoustics of sound waves, room acoustics, microphone technology, and the properties of analogue and digital synthesizers in the recording studio. Also, you will learn to build your own electronic audio devices and manipulate specific technologies such as the EMS VCS3 and modular synthesisers, and the Kemper digital guitar amplifier and effect processor under the guidance of expert users. Assessment will include a recording and analysis task, and the production of a stereo-sound piece based on creative uses of innovative combinations of existing audio technologies.

Module learning outcomes

By the end of the module you should be able to:

  • use empirical measurements to assess and improve audio productions, room acoustics and monitoring systems

  • troubleshoot analogue and digital signal flow and routing problems in the recording and production facilities

  • design and apply innovative combinations of existing technologies

  • identify, analyze and creatively adapt to artifacts in the signal chain that affect the sound quality

  • develop your own learning strategies to adopt new and unknown audio technologies

Indicative assessment

Task % of module mark
Essay/coursework 100

Special assessment rules

None

Additional assessment information

This assessment has two parts:

30% Recording and analysis task following instructions.

70% Stereo sonic production (3-5min) based on creative uses of innovative combinations of existing audio technologies with a commentary (1000 words).

Submissions should require all project files and samples/audio materials to be submitted.

Indicative reassessment

Task % of module mark
Essay/coursework 100

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

Indicative reading

Gaston-Bird, L. (2020). Math Fundamentals for Audio. A-R Editions.

Howard, D., & Angus, J. (2017). Acoustics and psychoacoustics (5th edition). Routledge.

Ouzounian, G. (2020). Stereophonica: sound and space in science, technology, and the arts. The MIT Press.

Perez, C. C. (2019). Invisible women: Data bias in a world designed for men. Abrams.

Roginska, A., & Geluso, P. (2017). Immersive Sound. Focal Press.

Further reading

Borwick, J. (1990). Microphones: Technology and technique. Focal Press.

Chowning, J. M. (1973). The synthesis of complex audio spectra by means of frequency modulation. Journal of the audio engineering society, 21(7), 526-534.

Corey, J. (2016). Audio production and critical listening: Technical ear training. Routledge.

Cox, T. J., & D'Antonio, P. (2003). Engineering art: the science of concert hall acoustics. Interdisciplinary science reviews, 28(2), 119-129.

Everest, F. A. (2007). Critical listening skills for audio professionals. Course Technology/ Cengage Learning.

Hall, D.E. (2002). Musical acoustics. Brooks/Cole Pub Co.

Lynn, P. A., & Fuerst, W. (1998). Introductory digital signal processing with computer applications. John Wiley & Sons.

Moore, B. C. (2012). An introduction to the psychology of hearing. Brill.

Pickles, J. (1998). An introduction to the physiology of hearing. In An Introduction to the Physiology of Hearing. Brill.

Roads, C. (1996). The computer music tutorial. MIT press.

Watkinson, J. (2013). Introduction to digital audio. Routledge.


The information on this page is indicative of the module that is currently on offer. The University constantly explores ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary. In some instances it may be appropriate for the University to notify and consult with affected students about module changes in accordance with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.