Audio Signals & Psychoacoustics - MUS00098M
Module summary
To work effectively across music production, sound for film and sound design, practitioners need both a scientific understanding of audio signals and hands-on fluency with studio technologies. This module develops that foundation, exploring digital audio principles, psychoacoustics, room acoustics, microphone technique, signal processing and synthesis through a combination of lectures, studio workshops and listening seminars. You will gain the technical knowledge and critical listening skills to make informed creative decisions across a wide range of production contexts.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 1 2026-27 |
Module aims
This module provides you with an in-depth understanding of the measurement, capture, and processing possibilities of analogue and digital audio signals. It introduces the digital audio principles that underpin the functioning of Digital Audio Workstations and modern production facilities.
You will apply knowledge about the physics and psychoacoustics of sound waves, room acoustics, microphone technology, signal processing, and synthesis in the studio. Through a combination of lectures, workshops, and listening seminars, you will learn to analyse, capture, and transform audio signals, developing both technical fluency and critical listening skills in relation to musical and sonic practice. Assessment includes a recording and analysis task and the production of an original sound work exploring the creative potential of audio technologies encountered in the module.
Module learning outcomes
By the end of the module you will be able to:
- apply the principles of digital audio, Fourier analysis, and psychoacoustics to audio production contexts
- demonstrate informed use of a range of studio technologies, including microphones, signal processors, and modular synthesis environments
- use empirical measurements and critical listening to assess and evaluate audio productions, room acoustics and monitoring systems
- capture, analyse, and transform audio signals creatively using appropriate tools and techniques
Indicative assessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 70.0 |
| Essay/coursework | 30.0 |
Special assessment rules
None
Additional assessment information
This assessment has two independent parts:
- 30% - Technical report based on recording and analysis.
- 70% - Sound work (~3-5 minutes) demonstrating creative and
informed use of audio technologies encountered in the module, with
accompanying commentary and documentation (~1500 words).
Indicative reassessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 70.0 |
| Essay/coursework | 30.0 |
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.