This project is funded by:
This project draws on the research interest of the PIs (Bridges and Melvin) in exploring frameworks for the interaction of sound and space in music/audio composition and related practices.
It will afford the opportunity for a composer or sound designer to advance their practice by exploring space and presence via emerging immersive audio technologies as an active parameter within the creative process. This has particular relevance for developing practices in audio technology and the (related) creation of immersive audio environments as well as to collaborative work with visual media, notably film and gaming.
Applicants should include the following details in their proposal:
Proposals should include reference to the applicant’s previous creative practice within music/audio, including links to portfolio materials within either the proposal, the personal statement, or both.
The project will draw on the expertise of several practice-based researchers within the host unit while benefiting from their local, national and international networks in the field. Meanwhile, the unit’s new ‘Presence Lab’ facility housed within Magee’s Foyle Arts building, along with existing studio spaces will provide a rich working environment within which to explore creative work relevant to the project, including a new octophonic Genelec 8331 speaker array within the department’s ‘black box’ performance studio, and a Sonible IKO higher-order ambisonic beamforming speaker system (20-speaker cluster plus multichannel amplifier).
Initial inquiries to Dr Adam Melvin or Dr. B Bridges at a.melvin@ulster.ac.uk, bd.bridges@ulster.ac.uk
Applicants should hold, or expect to obtain, a First or Upper Second Class Honours Degree in a subject relevant to the proposed area of study.
We may also consider applications from those who hold equivalent qualifications, for example, a Lower Second Class Honours Degree plus a Master’s Degree with Distinction.
In exceptional circumstances, the University may consider a portfolio of evidence from applicants who have appropriate professional experience which is equivalent to the learning outcomes of an Honours degree in lieu of academic qualifications.
If the University receives a large number of applicants for the project, the following desirable criteria may be applied to shortlist applicants for interview.
The University is an equal opportunities employer and welcomes applicants from all sections of the community, particularly from those with disabilities.
Appointment will be made on merit.
This project is funded by:
These scholarships will cover tuition fees and provide a maintenance allowance of £19,237 (tbc) per annum for three years (subject to satisfactory academic performance). A Research Training Support Grant (RTSG) of £900 per annum is also available.
To be eligible for these scholarships, applicants must meet the following criteria:
Applicants should also meet the residency criteria which requires that they have lived in the EEA, Switzerland, the UK or Gibraltar for at least the three years preceding the start date of the research degree programme.
Applicants who already hold a doctoral degree or who have been registered on a programme of research leading to the award of a doctoral degree on a full-time basis for more than one year (or part-time equivalent) are NOT eligible to apply for an award.
Due consideration should be given to financing your studies.
Blesser, B and Salter, L. 2006. Spaces Speak: Are You Listening? Cambridge MA: The MIT Press
Brant, H. 1967: “Space as an Essential Aspect of Musical Composition” In Scwarz, E and Childs, B. (Eds.), Contemporary Composers on Contemporary Music. New Yorl: Holt, Rinchart and Winston. pp 221-242.
Bridges, B. and Melvin, A. 2021. “Mapping Space and Time in the Soundtrack: Embodied Space and the Soundtrack’s Spatiotemporal Contract” in Filimowicz (Ed.) Doing Research in Sound Design. 1st ed. London: Routledge
Emmerson, S. 2007. Living Electronic Music. Aldershot: Ashgate
Grimshaw, M. 2015. “Presence Through Sound” In Wöllner, C. (Ed.), Body, Sound and Space in Music and Beyond: Multimodal Explorations. Abingdon, Oxon and New York: Routledge pp.279-297
Landy, L. 2007. Understanding the Art of Sound Organisation. Cambridge, MA. MIT Press
Smalley, D. 2007. “Space–Form and the Acousmatic Image.” Organised Sound, 12 no. 1 pp.35-58
Sterne, J. 2012. “Sonic Imaginations” In Sterne, J. (Ed.), The Sound Studies Reader. London: Routledge. pp. 1-18
Submission deadline
Thursday 9 January 2025
04:00PM
Interview Date
w/c 17th February 2025
Preferred student start date
March 2025
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