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How did people in early medieval England think, feel, and write about the world they inhabited? In what sorts of ways did literature and other forms of texts shape their engagements with landscapes, environments, and the beings – real and imagined – with whom they shared this world? This module will introduce you to the places and spaces of the early Middle Ages from demon-haunted fenlands to crumbling urban wastelands, from dense woodlands to bright open country, and from the plains of paradise to the horrors of the inferno. We will focus on a range of Old English literature in translation, read in the wider context of contemporary textual and material cultures, and consider the ways in which texts from a range of genres constructed ideas about the environments and landscapes of early medieval England, and how these in turn shaped the lives of their inhabitants.

The Sonic Performance Lab is a dynamic and explorative module designed for students to engage deeply with contemporary music performance practices and theories. The module invites students familiar with composition and music technology who are interested in performance, composition and/or technology to develop solo or small ensemble works that incorporate avant-garde or contemporary performance approaches. The module emphasises innovation, collaboration, and the fusion of sound, creative technology and performance.

The Sonic Performance Lab is a dynamic and explorative module designed for students to engage deeply with contemporary music performance practices and theories. The module invites students familiar with composition and music technology who are interested in performance, composition and/or technology to develop solo or small ensemble works that incorporate avant-garde or contemporary performance approaches. The module emphasises innovation, collaboration, and the fusion of sound, creative technology and performance.

The Sonic Performance Lab is a dynamic and explorative module designed for students to engage deeply with contemporary music performance practices and theories. The module invites students familiar with composition and music technology who are interested in performance, composition and/or technology to develop solo or small ensemble works that incorporate avant-garde or contemporary performance approaches. The module emphasises innovation, collaboration, and the fusion of sound, creative technology and performance.

This module builds on the basic concepts of articulatory phonetics introduced in the first year, and introduces theory and methodology of acoustic science for the study of the production and perception of speech sounds.

This module builds on the basic concepts of articulatory phonetics introduced in the first year, and introduces theory and methodology of acoustic science for the study of the production and perception of speech sounds.

This module builds on the basic concepts of articulatory phonetics introduced in the first year, and introduces theory and methodology of acoustic science for the study of the production and perception of speech sounds.

What is a “sustainable” music history? Anything that suggests present accountability towards the future can be called sustainable. The crisis of global heating illustrates what we mean: present convenience is destroying our future. The UN Sustainable Development Goals are a catalog of targets and areas of concern from “no poverty” (SDG 1) to “peace, justice and strong institutions” (SDG 16). The SDGs mean to put care for the future into practice. Thinking with second-year students about musical culture can be a very good way to teach the SDGs. Our starting point is that music has been, and can be, crucial to human well-being and flourishing in any culture. The module engages with material aspects such as energy use and conservation of resources in music history, starting with how the European extraction of natural resources in the Meso and South America from around 1500CE fuelled new styles and forms of music to current questions around the (un)sustainability of music streaming platforms. But it also goes beyond these, to consider the sustainability of past, present and future models of organising musical life by examining questions such as the history of musical labour, current challenges around the impact of technology on musical careers and the future of human music-making in light of the AI revolution. All of these issues demonstrate the relevance in the music classroom of SDGs relating to well-being, equality, decent work, reduced inequalities, sustainable cities, responsible consumption and partnerships for the goals themselves.

What is a “sustainable” music history? Anything that suggests present accountability towards the future can be called sustainable. The crisis of global heating illustrates what we mean: present convenience is destroying our future. The UN Sustainable Development Goals are a catalog of targets and areas of concern from “no poverty” (SDG 1) to “peace, justice and strong institutions” (SDG 16). The SDGs mean to put care for the future into practice. Thinking with second-year students about musical culture can be a very good way to teach the SDGs. Our starting point is that music has been, and can be, crucial to human well-being and flourishing in any culture. The module engages with material aspects such as energy use and conservation of resources in music history, starting with how the European extraction of natural resources in the Meso and South America from around 1500CE fuelled new styles and forms of music to current questions around the (un)sustainability of music streaming platforms. But it also goes beyond these, to consider the sustainability of past, present and future models of organising musical life by examining questions such as the history of musical labour, current challenges around the impact of technology on musical careers and the future of human music-making in light of the AI revolution. All of these issues demonstrate the relevance in the music classroom of SDGs relating to well-being, equality, decent work, reduced inequalities, sustainable cities, responsible consumption and partnerships for the goals themselves.

What is a “sustainable” music history? Anything that suggests present accountability towards the future can be called sustainable. The crisis of global heating illustrates what we mean: present convenience is destroying our future. The UN Sustainable Development Goals are a catalog of targets and areas of concern from “no poverty” (SDG 1) to “peace, justice and strong institutions” (SDG 16). The SDGs mean to put care for the future into practice. Thinking with second-year students about musical culture can be a very good way to teach the SDGs. Our starting point is that music has been, and can be, crucial to human well-being and flourishing in any culture. The module engages with material aspects such as energy use and conservation of resources in music history, starting with how the European extraction of natural resources in the Meso and South America from around 1500CE fuelled new styles and forms of music to current questions around the (un)sustainability of music streaming platforms. But it also goes beyond these, to consider the sustainability of past, present and future models of organising musical life by examining questions such as the history of musical labour, current challenges around the impact of technology on musical careers and the future of human music-making in light of the AI revolution. All of these issues demonstrate the relevance in the music classroom of SDGs relating to well-being, equality, decent work, reduced inequalities, sustainable cities, responsible consumption and partnerships for the goals themselves.