Project Outline
Sound and acoustics of spaces strongly interact. Yet little is known about how this interaction influences musical learning and the experience of young people learning to play. What are beneficial characteristics of spaces for musical learning? Do certain spaces promote or inhibit learning, enjoyment and playing with expression? Is this different for different learners? Does it help learners to get feedback about their performance in space?
This project investigates the role of space for music performance learning. It works with Harmony Works, a renovation project that repurposes Canada House in Sheffield for music education and is creating varied spaces for teaching, practicing and performing. It also works with Delft University of Technology in the Netherlands, who bring extensive experience in developing applications for spatial sound and wellbeing.
Further project information
The central aim of this project is to advance insight into how the acoustics of spaces contribute to music performance learning. This is investigated by looking at the influence of space acoustics on subjective experiences of learners and measurable performance outcomes. Additionally, ways to improve learners’ experiences are investigated, for example using multimodal feedback.
The project is organised into three strands:
- Measure and characterise the acoustics of spaces using a set of fixed musical stimuli. This establishes the basic understanding of how space acoustics interact with produced sounds.
- Investigate the effects of the acoustics of spaces on music learners’ subjective experiences and performance characteristics. This involves designing experimental set ups where learners perform a set of performance tasks in different acoustics. Cognitive load, subjective enjoyment and performance outcomes are measured, for example using a simulated teaching context.
- Co-design feedback tools and ways to improve the learners’ experience of playing in different spaces. Feedback and input is solicited from music teachers and learners in all three phases, but will inform strand 3 in particular.
The project takes into account that enjoyment is an important driver for learning and a multifaceted construct, relating to confidence and performance demands. Similarly, performance outcomes are multidimensional, including the projection of sound, technical accuracy and creative expression. The precise choice of measures will be decided as the project develops, making use of existing procedures, and choosing the area of innovation based on the interest and experience of the doctoral candidate.
Subject Areas
- Music psychology
- Music technology
- Music computing
- Musical acoustics
Required technical skills/academic qualifications/experience
A minimum 2.1 or higher in an undergraduate degree or a relevant master’s degree in a relevant subject (e.g., psychology, music, computer science, acoustics or engineering).
Applicants with experience or interests in music, psychology, acoustics or computer science are encouraged to apply. We welcome candidates keen to develop skills across these fields, and relevant experience need not come only from formal degree study.
We particularly encourage applications from women and other groups under‑represented in research. All appointments will be made on merit.
Mode of attendance
Successful applicants are expected to register as full-time students. However, eligible UK home fees applicants may request to be considered for part-time mode of attendance by the supervisory team.
Supervisors
Project Partners
This project will be hosted at the University of Sheffield with support from Harmony Works.
