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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.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.


This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.


This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.


This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.

An early flute sits silently behind glass in a museum, grouped with others of its type to show changes in instrument manufacture through the ages. Fans flock to the childhood house of a former Beatle, hoping to achieve a new form of intimacy with a legendary pop icon. In an exhibit about World War I, the soundtrack includes rousing patriotic songs amid the noise of bombs exploding. Music features in all these museum contexts, but how and why? When is music used to interpret objects and spaces in cultural heritage, and how does the heritage industry shape the ways we understand music? How are concepts of cultural value created or maintained through musical museums and museum music?

This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.


This module explores the place of music in heritage theory and practice, investigating how heritage creates cultural value and what role music may play in the process. We will consider museums and collections specifically devoted to music: these will include musical instrument museums and collections (such as the Cité de la Musique in Paris), popular music museums and exhibitions (such as the Pink Floyd exhibition at the V&A), and composer and musician houses (such as Handel& Hendrix in London). We will also investigate the use of music to interpret objects and create narratives on topics other than music itself, including in history museums (for example, on the Holocaust), art museums, and/or science and technology museums. We will ask how sound and music figure in new understandings of the sensory museum and how music can support or enhance storytelling in museum contexts. This module is suitable for both Music students and other students from all areas of the humanities; a prior study of music is helpful but not essential for successful completion.