| 2024 |
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| Isaac Gibson |
Individualised listening experiences to improve the mental health, well-being, and quality-of-life for service users within a palliative care context: a feasibility study |
| Damian Mills |
Accessible virtual reality musical instruments: facilitating inclusion and accessibility in design |
| Georgios Varoutsos |
Sounding Covid-19: understanding the pandemic through sonic experiences |
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| 2023 |
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| Barry Cullen |
DIY electronic musical instruments - editions, versions, and physical remixing |
| Richard Davis |
Performing the extended voice: the role of the body, movement, technology, improvisation and collaboration. |
| Alex Lucas |
Exploring and cultivating connections within ecosystems of inclusive musicking: Moving towards sustained access to music |
| Christopher McCann |
Portfolio of original compositions: the organised improvisation: approaches to instrumental, electronic and multimedia composition |
| Thomas McConville |
Release: a portfolio of original compositions |
| Michael McKnight |
Designing space and place in auditory virtual environments |
| Adam Pultz Melbye |
A continually receding horizon: making, performing, and improvising with semi-autonomous double bass feedback instruments |
| Michael Whitten |
Social distinction and reflexivity in creative labour: composers and the demands of composition |
| Peter Wilson |
The songwriter's version: translation as creative response |
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| 2022 |
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| Elen Flügge |
Listening practices for urban sound space in Belfast |
| Liam McCartan |
Composing in and out of the (Post-)Club: Resynthesis of club music and the personal past |
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| 2021 |
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| Ciara Conway |
Acquiescence and resistance in the comic operas of John O’Keeffe for the London stage |
| Jill Rose Jacobs |
The high barre: An investigation of barre for the performing arts in higher education |
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Barry O'Halpin
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A Portfolio of original compositions (Barry O'Halpin) |
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Amy Rooney
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Judith Wiemers
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| 2020 |
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Alan Barclay
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Hadi Bastani
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Anselm McDonnell
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A Portfolio of Original Compositions (Anselm McDonnell) |
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| 2019 |
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| Paula Guzzanti |
The experience of affect in collaborative performance-making: an analysis of a dance improviser's practice |
| Ben Holmes |
Guitar Effects-Pedal Emulation and Identification |
| Hyeon Min Kim |
"ALTERNATIVE” STORYTELLING : spoken voice and narrative in sound-based works |
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| 2018 |
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| Pablo Sanz |
Environmental Composition Approaches. A Portfolio of Works |
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Juan Manuel Loaiza Restrepo
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Aonghus McEvoy
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| 2017 |
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Stefanos Kalonaris
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| Matilde Meireles |
Extended phonography: expanding field recording through a multi-sensorial practice |
| Robin Renwick |
Topologies for Network Music |
| Bryan Whitelaw |
Franz Liszt's Piano Sonata in B Minor: Context, Analysis and Hermeneutics |
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| 2016 |
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| Diogo Alvim |
Music Through Architecture - Contributions to an Expanded Practice in Composition |
| Robert D Bentall |
Genre Hybridisation in Electroacoustic Composition |
| John D'Arcy |
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Declan Keeney
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Andrew Cavan Fyans
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Spectator Understanding of Performative Interaction: The influence of mental models and communities of practice on the perception and judgement of skill and error in electronic music performance ecologies |
| Miguel Cerdeira Marreiros Negrão |
Parameter Field Spatialization: The development of a technique and software library for immersive spatial audio |
| Eduardo Patricio |
Spatial referentiality and openness: A portfolio of environmental sound compositions |
| Niall Rea |
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| Tullis Rennie |
Composition and Identity: A portfolio of context-based sound works following interdisciplinary ethnographic methods |
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Emily Diane Robertson
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| Koichi Samuels |
Enabling Creativity: a study of inclusive music technology and practices at The Drake Music Project NorthernIreland |
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Nathan David Surgenor
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| 2015 |
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Isobel Anderson
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| Michael Dzjaparidze |
A Portfolio of Original Compositions using a Physically Inspired Sound Synthesis Approach |
| Fionnuala Fagan-Thiébot |
The Sound of Memory: An artistic exploration of personal and cultural narratives in post-conflict communities |
| Peter Stitt |
Ambisonics and Higher-Order Ambisonics for Off-Centre Listeners: Evaluation of Perceived and Predicted Image Direction |
| Eduard Zatriqi |
Portfolio of compositions |
| Lawrence Zazzo |
"Not local beauties": Handel's bilingual oratorio performances,1732-1744 |
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| 2014 |
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| Patricia Alessandrini |
Composition as interpretation through performative electronics |
| Robert Casey |
Embodied Music: A Portfolio of Original Composition |
| Niall Fredrick Coghlan |
Physiological Correlates of Emotion as Interaction Channels with Artistic Applications: Artwork and Experiments |
| Gerard Gormley |
Microsound: A Portfolio of Original Compositions |
| Mark Rossi |
Abstracted Materials: A Composition Portfolio |
| Lilian Lima Simones |
The roles of gesture in piano teaching and learning |
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Justin Yang
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| 2013 |
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| Rui Chaves |
Performing sound in place: field recording, walking and mobile transmission |
| Felipe Hickmann |
Territories of Secrecy: Presence and Play in Networked Music Performance |
| Javier Jaimovich |
Emotion Recognition from Physiological Indicators for Musical Applications |
| Adnan Marquez-Borbon |
Working Through: Characterising and Evaluating Skill with Digital with Digital Musical Interactions |
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Masahiro Niitsuma
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Sarah Orr
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| Nicholas Ward |
Effortful Interaction: A new paradigm for the design of digital musical instruments |
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| 2012 |
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Dionysios Athinaios
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Sarah Jane Bass
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Andrés Cabrera
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Fernando Augusto Marinho de Franca Gualda Dantes
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Liam Gorry
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Christopher Haworth
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Donal T O’Brien
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Robin Michael Price
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| Giovanni de Sanctis |
In-System Parametric Calibration for Two-Microphone Wave Separation in Acoustic Waveguides |
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Andrea Santini
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| |
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| 2011 |
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| Andrew Dolphin |
A portfolio of original compositions |
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Grant Davidson Ford
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| Matt Green |
In and Out of Context: Field Recording, Sound Installation and the Mobile Sound Walk |
| Eoin Mullan |
Physical Modelling Sound Synthesis by Digital Waveguide Extraction with Application to Computer Games and Virtual Environments |
| Imogene Newland |
The Piano and The Female Body: the Erotic, the Seductive and the Transgressive |
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Damian Ryan
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| |
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| 2010 |
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| Peter Bennett |
The representation and control of time in tangible user interfaces (designing musical instruments for the manipulation of temporal media) |
| Vasileios Chatziioannou |
Forward and inverse modelling of single-reed woodwind instruments with application to digital sound synthesis |
| Brian Cullen |
A Portfolio of Audiovisual Compositions for the ‘new media everyday’ |
| Florian Hollerweger |
The Revolution is Hear! Sound Art, the Everyday and Aural Awareness |
| Miguel Ortiz |
Towards an Idiomatic Compositional Language for Biosignal Interfaces |
| Matthew Rodger |
Musicians' Body Movements in Musical Skill Acquisition |
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| 2009 |
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| Alain Renaud |
The Network as a Performance Space: Strategies and Applications |
| Philip Noel George Strain |
The Design and Evaluation of an Assistive Multimodal Interface |
| Henry Vega |
A portfolio of original compositions |
| |
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| 2008 |
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| Tom Davis |
The Ear of the Beholder: Ecology, Embodiment and Complexity in Sound Installation |
| Konrad Kowalczyk |
Boundary and medium modelling using compact finite difference schemes in simulations of room acoustics for audio and architectural design applications |
| Ravi Kuber |
Developing an assistive haptic framework for improving non-visual access to the web |
| Chui Chui Tan |
An adaptive architecture to support web graphics exploration for visually impaired people |
| |
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| 2007 |
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| David Fee |
Dereverberation of acoustic signals via adaptive filtering |
| Jason Geistweidt |
A portfolio of original compositions |
| Martin Kuster |
Inverse Methods in Room Acoustics with Under-Determined Data and Applications to Virtual Acoustics |
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| 2006 |
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| Mevlut Evren Tekin |
Intelligent Multi-Agent Systems in Polyphonic Score Following |
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| 2005 |
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| Rachel Hosltead |
Portfolio of original compositions |
