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Overview

Summary

Research at Ulster in subjects related to performing arts, creative technologies, museum and heritage studies and associated cultural contexts is combined within this unit. PhD research can be pursued in the following individual subject areas: Cinematic Arts(film/moving image practice and associated theoretical/contextual studies), Creative Technologies, Drama, Museum and Heritage Studies and Music.

We are a research–intensive unit, with staff working in a wide range of areas within and across these disciplines. In REF2014, within this unit, nearly 60% of our research outputs and 100% of the impact of our work on policy and creative practice was rated 4* (world- leading) and 3* (internationally excellent). The impact of our research was judged to be 90% 4*, jointly ranked second in the UK, and one of only a handful of Units of Assessment to achieve this score across the whole sector.

The range of subjects within this grouping contributes to a vibrant research culture which encompasses both individual subject areas and interdisciplinary opportunities. In addition to our work within the individual subjects above, the following interdisciplinary themes also support collaborative research:

  • Creative Arts and Health/Wellbeing
  • Creative Arts, Emergent Technologies and the Digital
  • Creative Arts and Engaging with the Past
  • Creative Practice-as-Research

About this course

In this section

About

Doctoral researchers within this unit will have opportunities to develop their profiles both within their own subject areas and disciplines and within broader academic and professional spheres.

Staff are prominent in their disciplines nationally and internationally, taking leadership roles in subject associations, networks and organisations such as Cinesonika, SCUDD (Standing Committee of University Drama Departments), TaPRA (Theatre and Performance Research Association) and ISSTA (Irish Sound, Science and Technology Association). A number also serve on the Peer Review College for the Arts and Humanities Research Council (AHRC) and as assessors for the Europe-wide Horizon 2020 programme.

In addition to our collaborations across disciplines, our unit benefits from its connections with a range of partnerships with key arts and cultural organisations across the UK and Ireland, including the BBC, RTÉ, National Museums Northern Ireland, the Contemporary Music Centre (IE), Sound and Music (UK), Nesta, the Abbey Theatre, the Playhouse Theatre, Cultúrlann uí Chanáin, Void Gallery, the Nerve Centre, FabLab NI, the Walled City Music Festival and City of Derry Jazz Festival. The majority of our researchers are based at Magee campus in Derry/Londonderry, the inaugural UK City of Culture (2013).

A significant proportion of our research students have been awarded scholarships from Northern Ireland’s Department for the Economy (DfE) and the Arts and Humanities Research Council (AHRC).

Attendance

As a full time student, the expectation is that you will work on your project on a daily basis, either on or off campus as agreed with your supervisor. You will be entitled to 40 days holiday per annum.

Part time students are expected to meet with their supervisors on a regular basis, most usually this would be monthly but this is dependent on the project area.

How to apply

Entry conditions

We recognise a range of qualifications for admission to our courses. In addition to the specific entry conditions for this course you must also meet the University’s General Entrance Requirements.

In this section

Entry Requirements

You will need to hold a First of Upper Second Class Honours degree (or equivalent) in an area relevant to your chosen project to be able to apply.

If you have obtained an undergraduate degree from a non-UK institution, we can advise you on how it compares to the UK system.

English Language Requirements

English language requirements for international applicants

The minimum requirement for research degree programmes is Academic IELTS 6.0 with no band score less than 5.5. This is the only acceptable certificate for those requiring to obtain a Tier 4 visa.

Ulster recognises a number of other English language tests and comparable IELTS equivalent scores.

Careers & opportunities

In this section

Career options

Although academia is considered to be the most obvious path for any PhD holder, with around two thirds of our graduates remaining in the Higher Education or Research sectors, the degree also paves way for a career in industries centred on research and innovation.

PhD graduates are recognised by employers to hold valuable transferrable skills, as the nature of the degree trains candidates in creativity, critical inquiry, problem solving, negotiation skills, professionalism and confidence.

The most recent Ulster survey of PhD graduates found that 92% had secured employment within the first year since graduation (HESA Destination of Leavers Survey 2015).

Apply

Ulster University welcomes applications from all sections of the community and from persons with disabilities. It is University policy to assess all applications using academic criteria and on the basis of equality of opportunity and you should be assured that reasonable adjustments will be made should you require them.

Once you have selected your chosen project from the lists available on the Faculty pages, you are advised to make contact with the named supervisor on the project as they will be able to guide you in writing your research proposal.

You should then apply using our online application system: ulster.ac.uk/applyonline

How to apply

Fees and funding

A number of funded scholarships are available across the University each year for PhD projects. Applications for studentships will be considered on a competitive basis with regard to the candidate's qualifications, skills, experience and interests.

Sources of funding

Fees (per annum)

Full Time:

Home and EU £4195

Overseas £13760

Part Time:

Home and EU £1490

Home and EU (with External Sponsor paying fees) £2130

Overseas £7840

Distance Research Study (Home and EU) £6390

Research facilities and groups

Doctoral researchers are provided with designated office facilities within the Foyle Arts Building on the Magee campus, alongside students on other doctoral programmes.

Additional technical and performance resources include:

2 computer labs, each featuring 25 Apple Intel iMacs (upgraded in 2015 and 2017 respectively) for a range of media and music technology applications: Avid, Adobe Creative Suite, Logic Pro, Max, etc.

2 drama studios and 1 dance/physical theatre studio. The bigger drama studio is a ‘black box’ space, 18m x 6m , and is a fully equipped performance venue with moving truss, a broad range of stage lanterns with 512 DMX Channel Lighting Control and a 16 Channel Sound desk, with an audience capacity of 100 (tiered). The second drama studio is 12m x 6m, also fully equipped, and has a capacity of 50.¯

1 colour grading suite for Cinematic Arts.

2 recording studios: one ‘traditional’ stereo studio (Genelec monitoring, Quad Core Mac Pro, Logic Pro, Mackie Control, with outboard from TC Electronics, Focusrite, TL Audio, Drawmer; microphones from DPA, Neumann, AKG, Soundfield, Beyerdynamic, Sennheiser, Rode, Sure); one spatial audio studio (monitoring based on KRK speakers and subs).

Electronic instruments: a vintage EMS Synthi (classic semi-modular from 1971); Patchblocks (modular audio devices), various MIDI controllers.

A chamber music recital room.

Our instrument collection includes a harpsichord, chamber organ, and 2 grand pianos.

2 3D printers and various physical computing devices (multiple Arduino boards, sensors, etc.)

Campus facilities include an extensive library stock (including a large CD and DVD collection), with well-developed collections of books and electronic resources. The University libraries also have extensive specialist resources, including the TransGender Archive, CAIN (materials relating to the NI Troubles period), and the John Hewitt Collection, amongst others. A new £11million teaching block will also house the Doctoral College on the campus. The campus is also a train or bus journey from the Linenhall Archives and PRONI in Belfast, and the National Library and National Archives in Dublin, and research students are able to avail of the SCONUL library access scheme to gain access to other UK and Irish research libraries.

Staff research areas

Cinematic Arts

Cinematic Arts at Ulster University is a new and vibrant area of research that combines theory and practice of moving image arts in the new digital media age. Applicants can propose practice-based research topics, cinema studies related research questions or focus on the uses of alternative media practices that involve moving image.

Proposals are welcomed in a wide range of areas relating to staff research interests. Current priority topics are listed below:

  • Contemporary Filmmaking Practice
  • Modern and Contemporary Cinema
  • Alternative, Amateur and Resistance Media

Applications for practice-based research are especially welcome, as are interdisciplinary projects. The MRes (Arts) is offered in Cinematic Arts for students wishing to undertake a preparatory year before commencing the doctoral programme.

Staff profiles:

Dr Murat Akser

Lecturer in Cinematic Arts at the School of Arts and Humanities. Between 2006 and 2013 he was Associate Professor of Cinema and Media studies, Chair of the New Media department and the founding director of the Cinema and Television MA program at Kadir Has University Istanbul, Turkey. He has his MA in Film and PhD in communication and culture from York University, Canada. He works extensively on political economy of film festivals, film genres and has recently published a book length study of Turkish cinema from Lambert: Green Pine Resurrected: Film Genre, Parody, and Intertextuality in Turkish Cinema. Also an independent filmmaker, Dr. Akser has directed short films, music videos and is a member of International Cinematographers Guild and Academy of Canadian Film and Television.

Dr Victoria McCollum

Lecturer in Cinematic Arts, Victoria McCollum is from Coleraine (Northern Ireland) and holds a PhD in Film and a BA (Hons) in Media Arts from Ulster University, and an MA in Film Practice from Queen’s University (Belfast). She has previously held positions at the BBC and ITV in Northern Ireland, where she worked as an investigative researcher on current affairs programme Insight and as a co-producer on documentary Kings: From the Bogside to the Bright Lights. In 2014, Victoria joined HBO, Time Warner Inc. at their headquarters in New York, developing, marketing and promoting HBO’s licensed products both within the U.S. and internationally. Victoria has been involved in events associated with the Writers Guild of America, New York Writers Workshop, Lecture Series at the MoMA and New York Film Academy. She has frequently attended pre-Oscar screenings at Tribeca Film Festival and the HBO Theater in Manhattan. Victoria joined Ulster in 2015 as a Lecturer in Cinematic Arts. Her first book, Post-9/11 Heartland Horror: Rural Horror Films in an Era of Urban Terrorism, was published by Ashgate in 2016 as part of a new series dedicated to a renewed engagement with culture. She is currently working on an edited collection for Routledge entitled Make America Hate Again: Trump-Era Horror and the Politics of Fear. Victoria’s research centres on contemporary film, particularly horror, analysing the relationship of the genre with fears surrounding events like the global ‘War on Terror’, exploring the films’ engagement with political repercussions and the ways in which traces of traumatic events leave their mark on cultures. Her most recent work examines how horror films, including some of its most transgressive sub–genres, deal with memory, ideology, and the often competing claims of nationalism, American exceptionalism and cultural sorrow.

Staff research areas:

Contemporary Filmmaking Practice

Projects will investigate an aspect of one or more of the following areas of professional practice in filmmaking: Screenwriting; directing, documentary narration, and digital storytelling. Under this heading we would particularly encourage projects that seek to generate knowledge with a potential application to the Creative Industries. Projects

undertaken will combine both traditional PhD thesis and a practice-based response to ideas surrounding emerging modes of digital filmmaking. For this area applicants should have experience in Film Production and a background in practice-based research.

Modern and Contemporary Cinema

Proposals are sought which investigate any aspect of 20th- or 21st-century film practice. Areas of staff expertise include in particular: MENA cinemas, cinemas of the global south, film historiography, post-9/11 horror film, otherness, marginalization and rurality, representations of the US heartland. Enquiries and applications are welcome in any aspect of the field.

Horror: Theory, Practices and Cultures

Proposals are sought around 'nightmares', 'nations' and 'innovations’. For example:

  • Studies located at the intersection of horror film, politics, and culture and society
  • The ways in which the horror genre functions in all its multifarious forms (i.e. dark festivals, escape rooms, immersive horror experiences, theme parks)
  • Practice-led approaches to exploring horror (through the lens of cinematography, directing, editing, production design, scoring and/or special effects)

Alternative, Amateur and Resistance Media

Alternative and resistance media is an interdisciplinary area of study attracting interest from areas such as social media, digital technologies, cultural studies, and international

politics. At the moment we are especially interested in applications in the following subject areas: alternative media use, social movement media, radical media mobilization, diasporic use of social media mobilization, anti-globalisation/occupy movements and media, amateur media in conflict and reconciliation, citizen journalism, alternative technologies of masking (Zello, VPNs), soccer fan media, hacktivism, temporal control, visibility and immediacy in social media protests, and digital protest art.

Creative Technologies

Creative Technologies encompasses creative utilisation of new and emerging technologies within artistic projects, along with the combination of technologies and design to support creative projects and engagement with cultural materials.

Proposals are welcomed in a wide range of areas relating to staff research interests. Current priority topics are listed below:

  • Embodied Models in Interaction
  • Embodied Models in Digital Music (or Digital Arts) Interaction and/or Performance

Supervision is also available in the following areas:

Technology and the Arts/Technological Arts Practices/Digital Arts; Interaction Design; Online Learning Environments; Intelligent Multimedia; Data-mining in context of Arts Organisations; see also various topics under Music (Electroacoustic Composition and Sonic Arts/ Sound Art; Digital Musical Instruments)

Drama

Research interests in Drama focus collectively on performance in a post-conflict environment, particularly applied performance, and gender, conflict and performance; methodologies of theatre practice, and Irish drama. Individual specialisms are indicated below, but recent staff research projects include: Theatre for Young Audiences; Rape and Performance; Applied Theatre and Post-Conflict Societies; Theatre and Ritual; Storytelling.

Applications for practice-based research are especially welcome, as are interdisciplinary projects. The MRes (Arts) is offered in Drama for students wishing to undertake a preparatory year before commencing the doctoral programme.

Current and most recent research theses supervised in Drama:

  • Interactive online dramaturgy / Digital Storytelling and Border Areas;
  • Storytelling and Conflict in Contemporary Northern Ireland;
  • Community theatre in Northern Ireland since the Good Friday agreement;
  • Site-Specific Performance and Community Performance in Post-Conflict Northern Ireland

Staff profiles:

Dr Giuliano Campo

Lecturer in Drama, would welcome practice-based theatre projects in particular. My work is in actor training; the legacies of Stanislavsky and Grotowski; theatre history and theories: theatre anthropology; Commedia dell’arte; European theatre; art as vehicle.

Dr Tanya Dean

Lecturer in Drama, current research interests are dramaturgy, playwriting, structures for new writing in Irish and British theatre, contemporary and modern Irish theatre, performance practice, and popular theatre. I would welcome applications in these areas.

Dr Lisa Fitzpatrick

Senior Lecturer in Drama, current work is on violence in representation, which addresses the following issues: violence and subjectivity; strategies for performing violence; ethics of spectatorship; staging vulnerability; gender and violence. I work mainly in contemporary Irish theatre and Canadian theatre. I would particularly welcome applications in topics relating to gender and performance, and violence and drama/ theatre/performance.

Dr Matt Jennings

Lecturer in Drama, current work is concerned with Community Arts and Conflict Transformation; Applied Drama, Community Development and Cultural Policy; Arts and Management; Arts and Health; Performance and Disability, and Applied Drama in Nursing and Community Care. I would welcome applications in these areas.

Dr Tom Maguire

Head of School of Arts and Humanities and Senior Lecturer in Theatre Studies. My current work is focused primarily on Theatre for Young Audiences, and includes projects alongside professional practitioners and my own practice. I continue working more broadly on contemporary British and Irish theatre and drama and specifically on storytelling and performance. Much of my work connects performance analysis and applications of drama processes, including enabling spectators with disabilities and promoting well-being and health.

Heritage and Museum Studies

The heritage and museum studies subject at Ulster University has been established since 2001 and has maintained a vibrant research culture ever since. Current research focuses around the theme Engaging the Past, which considers issues of memory, interpretation, representation, identity and political context of notions of heritage. We take an interdisciplinary approach and, depending on the research topic, the supervisory team is drawn from individuals with specialisms in museum and heritage studies, performance, sociology, policy studies, cultural geography, education, art and design, and history.

We support researchers in developing their academic interests in teaching and publication. Phd researchers with professional experience of the heritage, museums or arts sector have opportunity to run seminars on the Master’s courses in heritage and museum studies at Ulster.

Current and most recent research theses supervised in this area include:

  • Material culture
  • Collections interpretation and collection history
  • Conflict testimony in museum interpretation
  • Interculturalism and the museum
  • Museums and the everyday
  • Digital heritage interpretation
  • Dark Tourism

Staff Profiles:

Prof Elizabeth Crooke

Professor of Heritage and Museum Studies. My research considers the significance, purpose and politics of display of objects and interpretation in the museum. I draw upon material culture studies, memory studies and heritage and museum studies to interrogate how display is made meaningful. This research is wide ranging and I have supervised students working on interpretation and display of contested histories in museums, museum histories and museum policy, community engagement and participation, interculturalism and material culture studies.

Music

Music at Ulster is firmly committed to creative practice as an integral part of its research activity. Recently submitted and ongoing doctoral studies include:

  • the music of Rachmaninov
  • contemporary jazz piano, percussion and guitar performance
  • techniques in musical theatre
  • creative applications of technology in solo electric guitar performance
  • technological interfaces for disabled musicians
  • contemporary works for prepared piano
  • Highland piping traditions
  • rhythmic perception in language-impaired children
  • music in film
  • sound art practices and auditory cultures in Northern Ireland
  • the history of show bands
  • issues of cultural heritage in opera
  • microtonality in jazz
  • Traditional fiddle music from Co. Donegal
  • Safe Trad – Performance related injusry prevention for traditional musicians
  • Irish harp performance and practice

Priority Topics and Staff Research Areas:

Music and the Visual

Proposals are sought for practice-based (composition, performance) or musicological projects that investigate the relationship between music and the visual world e.g. visual arts, visual media, visual/visualized objects and environments. Of particular interest are project proposals exploring interdisciplinarity and collaborative practice, music and moving image, site-specificity and music and architecture.

Traditional music practice and research

Proposals are sought in the field of Irish traditional music. These may involve traditional music in a research context or in a practice as research context. Topics considering Irish traditional music alongside other related traditions e.g. Scottish, Cape Breton are also welcomed and proposals in the Irish language are also an option.

Music Composition for Instruments and Live Electronics

Projects may focus on the investigation of solo and/or ensemble interaction with a wide range of compositional methodologies using live electronics in the production of a portfolio of original music.

Electroacoustic and Experimental Music Composition

Proposals are sought for projects which address contemporary music composition through an exploration of perceptual, structural, aesthetic and/or stylistic issues in the incorporation of a broad range of contemporary approaches to sonic materials. Areas of creative exploration may include one or more of the following genres/approaches: noise music, glitch/post-digital music, electroacoustic music, drone music, sound-based installations, spectral music, microtonal/alternate tunings.

Design of Music Performance Systems/Digital Musical Instruments

Proposals are sought for a project which focuses on design, technological development and theoretical aspects underpinning the creation of digital musical instruments (DMI) or performance systems. Potential topics could encompass either technologically augmented instruments in combination with digital systems or the design of purely digital musical instrument systems.

Microtonal Music

Proposals are sought for a project which covers an aspect of microtonal music in the domains of music theory, composition or the development of performance strategies and practices. Projects which examine the use of just intonation approaches to tuning and scale construction are particularly welcome.

New York 'Downtown' Music/American Experimental Music

Proposals are sought for a project which engages with theoretical/contextual studies or creative practice based on experimental/exploratory musics in New York's 'Downtown' scene or in the wider American contemporary music scene.

Jazz Performance

Proposals may consider the development of original improvisatory concepts and/or innovative technical approaches in jazz instrumental or vocal performance.

Staff Profiles:

Dr Brian Bridges

Research Director: Music, Drama, Dance and Performing Arts, Brian Bridges is a composer and researcher with interests in the interaction between theories of auditory perception and creative practice within the fields of microtonal and electroacoustic music, sound art and performance systems design. His pieces have been programmed at festivals and events in the UK, Ireland, Denmark, Cuba, Ecuador and China. He has undertaken composition studies in Ireland with Donnacha Dennehy, Roger Doyle and Jürgen Simpson (Trinity College Dublin) and Victor Lazzarini (Maynooth), in addition to private studies in the US with Glenn Branca and Tony Conrad. He is currently Vice-President of ISSTA: the Irish Sound, Science and Technology Association and is a member of the editorial board of Interference: a Journal of Audio Culture (TCD). He is also a founder-member of the Dublin-based Spatial Music Collective, a group supporting the performance of new electroacoustic and mixed-media works by Irish and international composers. In addition to composition and technology, Brian also has interests in contemporary American experimental music and the New York Downtown scene.

Dr Liz Doherty

Lecturer in Irish Traditional Music, Liz Doherty is a fiddle player from Buncrana, Co. Donegal with particular research interests in the fiddle music of Cape Breton Island, Nova Scotia, Canada. She lectured in Irish traditional music at University College, Cork 1994-2001 and has been a guest lecturer and research fellow at various universities and institutions throughout Europe, North America and Australia; in 2001 she was Edwards Distinguished Visiting Professor of the Arts at Marshall University, West Virginia. As a performer she has toured the world as a solo artist and as a member of various band (Nomas, Bumblebees, Riverdance, String Sisters) as well as having several CD recordings to her credit. She acted as Traditional Arts Advisor to the Arts Council of Ireland/An Chomhairle Ealaíon 2005-2007 and continues to work in a consultancy capacity in the area of traditional arts and with various boards and institutions (ITMA, Cultúrlann Uí Chanainn, etc.). Liz has served as chair of the International Council for Traditional Music (Ireland: www.ictm.ie) and as director of the biggest ever edition of the North Atlantic Fiddle Convention (Derry and Donegal, 2012).

Dr Linley Hamilton

Lecturer in Music, Linley Hamilton is one the foremost jazz trumpeters in the UK and Ireland. He has appeared on over 100 albums and has recorded or performed with among others Paul Brady, Foy Vance, Van Morrison and Jacqui Dankworth. His particular area of research is the implementation of harmonic and rhythmic tension devices in jazz improvisation and the methods to resolve them. He is a regular trumpet tutor with the Sligo International Jazz Project and has his own jazz show on BBC Radio Ulster, ‘Jazzworld with Linley Hamilton’. He studied for his Masters in Jazz Performance at the DIT Conservatory of Music in Dublin, where he achieved 100% in his performance and was awarded the prestigious Student Academic Medal, before going on to attain his PhD in Jazz Performance from Ulster University. He has been the guest soloist with the Ulster Orchestra and is currently on the committee of the Ulster Orchestra Music Room Project. He has given research papers on the thematic development of motifs within jazz improvisation and is currently in the process of recording his latest research project, Linley Hamilton with Strings, which will demonstrate the impact of harmonic anticipation and intervallic patterns on solo construction.

Professor Frank Lyons

Associate Dean for Research and Impact and Professor of Music, Frank Lyons has developed an international profile as a composer and researcher with performances of his works having been given in Australia, Japan, China, the United States, South Africa, and Europe, and broadcast by the BBC, RTÉ and ABCFM by artists such as the Ulster Orchestra, Smith Quartet, Ensemble Noszferatu, Darragh Morgan, Mary Dullea and Carlos Bonell. He has been invited Composer-in-Residence at the Share Music Summer School in Hjo, Sweden and the Shell Darwin International Guitar Festival in Darwin, Australia. A groundbreaking piece, Rush, for violin and live electronics featuring the Wired Ensemble and Darragh Morgan, was shortlisted for a British Composer Award. In 2005 the Australian guitar virtuoso Alan Banks brought out a CD which included Frank’s Mnemonics for solo guitar, and 2008 saw the release of Frank’s own new CD, featuring the works Blitzed, Dazed by the Haze and Rush, all for violin and electronics, performed by Darragh Morgan. Recent and current research projects have included large-scale installations; other areas of interest include more traditional composition, improvisation with live electronics, music technology and disability, late 20th and 21st century music and popular music performance.

Dr Adam Melvin

Lecturer in Popular and Contemporary Music, Adam Melvin is a composer, saxophonist and researcher. He studied music at Queen’s University Belfast and composition at the Guildhall School of Music and Drama and the Royal Academy of Music, London. His work has been performed throughout the UK, Ireland, mainland Europe, the United States and Japan by artists including the Composers’ Ensemble, Psappha Carla Rees, Duo X, Kathryn Tickell, Kuljit Bhamra, Tom Arthurs and the Juice vocal trio, and has been broadcast on BBC Radio 3. A great deal of his recent practice has involved collaborative work with the visual arts, including projects for Glasgow’s Mackintosh Gallery and a residency at CESTA in the Czech Republic. He was previously Manson Fellow in Composition at the Royal Academy of Music and Musician-in-Residence at the Yehudi Menuhin School. He has given research papers on music and moving image, site- specific performance and collaborative practice at major conferences in the UK and America.

Dr Laurence Roman

Lecturer in Composition, Laurence Roman studied composition at the University of Birmingham, the Franz Liszt Academy in Budapest and the University of York. He lectures predominantly in Composition and Orchestration. His research interests include the combining of music with other performance media; he worked for eight years in West End theatre and still occasionally freelances in this area. His compositions for the stage and concert hall have been performed internationally, his opera Isabella and the Pot of Basil featuring at the 2006 Buxton Festival. His orchestrations have been recorded by leading symphony orchestras and are available on general release. In 2008 Laurence’s Concertino for Viola and Orchestra was premiered by the South Bank Sinfonia and 2009 saw his opera Ulysses premiered in London by the combined forces of Ulster University and the broader Derry and Donegal communities.

Shaun Ryan

Senior Lecturer in Music, Shaun Ryan completed his doctoral work (on the piano music of Gershwin) at Ulster University. He has a national reputation as a choral conductor, having worked with the Trinity College Dublin Chapel Choir, the Dublin Gospel Choir, Larne Choral Society, Donegal Youth Choir, and the Ulster Youth Choir. He has also given papers at various conferences; his research interests include the 19th and 20th century piano literature, choral music, community music, and the Kodály method.

Contact

Cinematic Arts

Dr Murat Akser (m.akser@ulster.ac.uk)

Creative Technologies

Dr Brian Bridges (bd.bridges@ulster.ac.uk)

Drama

Dr Lisa Fitzpatrick (l.fitzpatrick@ulster.ac.uk)

Heritage and Museum Studies

Prof. Elizabeth Crooke (em.crooke@ulster.ac.uk)

Music

Dr Brian Bridges (bd.bridges@ulster.ac.uk)

Testimonials

This uniquely flexible programme allowed me to explore cross-disciplinary interests in music technology within the context of more traditional areas of music performance, and to engage with academic research at the highest level. This was a unique opportunity to work with some of the brightest minds in academia throughout the island of Ireland, and to attend a series of exciting research conferences across Europe. I completed and successfully defended my doctoral thesis in 2012. The same year I acquired an academic position in the United States.

I am now a tenure-track Assistant Professor of Music and Technology at Stevens Institute of Technology in the greater NYC area. I work with exceptional industry and academic faculty that have collaborated with the likes of David Bowie, Iggy Pop and Alicia Keys. I now engage in academic research with graduates from Ivy League institutions on the door-step of the greatest city in the world.

To put it simply, I’m in my dream job, and I have the postgraduate programmes in Music at Ulster University to thank for it.

Ricky Graham