This module introduces some essential in-depth technical skills and knowledge that a modern professional orchestrator or composer must possess. It will provide students with an introduction to sampled instruments, how they work, the numerous technical challenges they present, how to balance the demands of the instruments with the available resources and how to make virtual instruments sound more realistic.

Sampling technology pushes computers and software to their limits and a detailed knowledge of how they work is essential for any cinematic orchestrator hoping to bring scores to life using samples alone. It is a constantly evolving area of professional practice where, through independent research, students may join in the debate with those at the forefront of the field.

This module will cover:

• A basic introduction to sampling using DAWs (Logic & Cubase)
• An introduction to sample players & Kontakt
• Understand how to input music into DAWs
• Deep-dive into Articulation IDs & Expression Maps
• Learn how to layer, build and balance samples in Cubase & Logic

The journey from finished orchestration to final recording is a complicated one involving a combination of musical and technological skills. This module takes students through the complex process of taking a finished arrangement and preparing for the live recording session. This includes producing musician’s parts, conductor’s scores, preparing pre-records, click tracks and Pro Tools sessions.

This module will cover:

• A systematic approach of the strengths and weakness of technology in preparing for orchestral sessions.
• Learn how to prepare session-ready Pro Tools files, scores and parts.

Every great work begins with the creator being intimately familiar with the tools at their disposal and their capabilities. The session orchestra is made up of many individual instruments and musicians that come together to make a whole unit. True Masters of writing for the orchestra have an encyclopaedic knowledge of what each instrument is capable of, both as individual entities and when played as a part of a larger ensemble.

Further to the purely technical possibilities, orchestrators will also know how different techniques, pitch ranges and dynamics affect the tone of an instrument or orchestral section. Aside from the creative practice of orchestration, the cinematic orchestrator also has to contend with a range of practical challenges including last-minute changes, tight deadlines and financial restrictions.

Students will delve deeply into contemporary professional practice to develop a critical awareness of these issues and the innovative technical and creative solutions proposed by those at the forefront of the profession.

In this module, you will learn how to:

• Orchestrate music for live orchestral recording.
• Arrange and/or compose music for orchestra.
• Create a cohesive orchestration using notation software.
• Produce scores that conform to film, games, and television industry standards.

The first step to becoming adept with game music and audio is understanding its nonlinear nature, and the implications of this for composers. In this module we will be discussing some of the fundamental techniques you will be expected to master. From creating seamless loops to writing to a brief.

In this module, you will:

• Learn the basic elements of working in games and the industry itself.
• Understand how to develop an original or distinctive voice as a composer through the creation of musical loops that transition seamlessly.
• Create, adapt, produce, mix and combine audio assets that support the game in the context of the brief, project, genre and/or industry.

The biggest challenge facing game music is technology. The rapidly shifting landscape of software and middleware means that technical requirements are a central part of the creation process for composers. In this module, we will be training you in game audio middleware, as well as taking a look at other topics such as Game Engines. Furthermore, in this module, we will be pushing you down the road of integration and exploring the possibilities of creating adaptive music assets in video games. We will be walking you through the technical and creative challenges with professional sound designer’s and composers. You will be introduced to using a game engine, navigating projects, implementing events, and creating adaptive music.

This module will give you a deep dive into the fundamentals of Audio Middleware technology, training you on specific programs.

Here students will have the option of tailoring the course to their own needs. You can pick one module from the following:

- Unreal and Blueprint
- FMOD
- Composition: Telling Stories
- Contemporary Games Composition
- Advanced Composition
- Orchestration in Practice
- Career Development for Musicians

For more information on these modules, please see the Video Game Composition and Orchestration Module Descriptors and Handbook inside the 'Postgraduate Application Pack'.

Please note, the availability of MA elective modules maybe subject to a minimum enrolment. The choice of electives is provisional and may be subject to change.

Furthering your work in adaptive music, you’ll start tackling branching, and developing compositional skills to allow you to move from passage to passage, according to the needs of the game.


You will be using middleware to game engine integration to test your work in game to enable you to experiment with your music and how it’s constructed.

In this module you will:

• Learn how to adapt your music as the game progresses and changes
• Understand the how to use and the benefits of Stingers.
• Delve into more advanced techniques that combine both horizontal and vertical systems together.

This is your opportunity to take stock and think about what your plan is for your final major project. On the VLE you will find a list of Unity projects that you can download and have a look through to find something that inspires you.


We are also open to you suggesting your own material, but this must be discussed with your Course Manager.


No matter what project you decide to use, you should be highlighting all your best work. From composition, orchestration and implementation, we are looking to see how you have implemented what you have learned over your course into a single final project.


You also have the option of completing a written dissertation if you prefer. The dissertation will represent your research into an area of music intended for or in relation to games. The dissertation is an extended piece of scholarly written work.


You will be asked to write an essay of 12,000 words (+/- 10%), including footnotes, but excluding bibliography. This is substantially longer than any of your other work so far. You will undertake the work as an individual, under the guidance of a supervisor, with whom you will meet regularly in one-to-one sessions.