Overview
The BA (Hons) Music Production provides thorough training in music creation, recording studio engineering, and commercial production. Working with SSL and Neve analogue consoles, high-end outboard processing, and digital audio workstations, you will produce commercial releases across electronic, hip-hop, pop, rock, and acoustic genres while mastering copyright, publishing, and artist development.
BA (Hons) in Music Production is taught as one award, not a list of unrelated modules. The published length is 3 years full-time, and the credit total is 360. Students move from Music Production in Ableton Live & Logic Pro through Music Production in Ableton Live & Logic Pro; Acoustics & Studio Recording Techniques; Music Theory, Harmony & Songwriting for Producers; Synthesis, Sampling & Sound Design; Critical Listening & Frequency Analysis; Introduction to the Global Music Business, and finish on Major Commercial EP / Album Production Capstone.
Each course has a question, a method, and a submission. In this field, students apply the method of the subject to a defined problem and defend the result. Reading is a core text, a case or dataset, and a critique. The artefact a marker expects is a submission that shows the method, the evidence, and the limit of the claim.
The award is built so that a graduate can do the following in practice: Record, edit, and mix commercial-grade multi-track music productions Master sound synthesis, sampling, vocal tuning, and beat arrangement Operate professional analogue recording desks and modern hybrid studio rigs
Teaching assumes the student can read a source, attempt a problem before the seminar, and revise after feedback. Attendance at live seminars is part of the design. The capstone or final course must use the methods of the earlier courses; a project that ignores them does not pass.
The pages for each course name the topics that are examined. Those topics are the syllabus. A brochure line is not a substitute for them.
Who This Programme Is For
- ✦Music producers, beatmakers, and audio engineers
- ✦Songwriters and recording artists wanting technical mastery
- ✦Creative entrepreneurs targeting the modern music industry
Faculty spotlight
Professor Eleanor Vance leads Studio Production & Commercial Mixing; charting producers mentor final portfolio releases.
Programme Structure & Delivery
Coursework
Interactive modules, weekly readings, recorded and live seminars, and collaborative discussions with peers worldwide.
Assessment
Module assignments, proctored examinations, and capstone projects designed to demonstrate mastery of the field.
Learning Outcomes
- ✦Record, edit, and mix commercial-grade multi-track music productions
- ✦Master sound synthesis, sampling, vocal tuning, and beat arrangement
- ✦Operate professional analogue recording desks and modern hybrid studio rigs
- ✦Manage music publishing, streaming distribution, sync licensing, and copyright contracts
Career Pathways
- ✦Music Producer
- ✦Recording Engineer
- ✦Mix Engineer
- ✦Mastering Engineer
- ✦A&R Coordinator
- ✦Sound Designer
Assessment
Modules are assessed through a published mix of coursework, applied projects, and examinations. Exam windows are announced in advance so students in other time zones are not forced into overnight sittings. Alternative arrangements are available where documented.
Curriculum
Year 1 — Studio & Production Foundations
MUS101Music Production in Ableton Live & Logic Pro- MUS101-M1 · The question this course is responsible for — Music Production in Ableton Live & Logic Pro
- MUS101-M2 · The method, and the case or text it is applied to — Music Production in Ableton Live & Logic Pro
- MUS101-M3 · Evidence, sources, and a competing explanation — Music Production in Ableton Live & Logic Pro
- MUS101-M4 · Professional limits and what the conclusion must not claim — Music Production in Ableton Live & Logic Pro
- MUS101-M5 · Revision after feedback — Music Production in Ableton Live & Logic Pro
- MUS101-M6 · The submission: method, evidence, and defence — Music Production in Ableton Live & Logic Pro
20 creditsMUS102Acoustics & Studio Recording Techniques- MUS102-M1 · The question this course is responsible for — Acoustics & Studio Recording Techniques
- MUS102-M2 · The method, and the case or text it is applied to — Acoustics & Studio Recording Techniques
- MUS102-M3 · Evidence, sources, and a competing explanation — Acoustics & Studio Recording Techniques
- MUS102-M4 · Professional limits and what the conclusion must not claim — Acoustics & Studio Recording Techniques
- MUS102-M5 · Revision after feedback — Acoustics & Studio Recording Techniques
- MUS102-M6 · The submission: method, evidence, and defence — Acoustics & Studio Recording Techniques
20 creditsMUS103Music Theory, Harmony & Songwriting for Producers- MUS103-M1 · The question this course is responsible for — Music Theory, Harmony & Songwriting for Producers
- MUS103-M2 · The method, and the case or text it is applied to — Music Theory, Harmony & Songwriting for Producers
- MUS103-M3 · Evidence, sources, and a competing explanation — Music Theory, Harmony & Songwriting for Producers
- MUS103-M4 · Professional limits and what the conclusion must not claim — Music Theory, Harmony & Songwriting for Producers
- MUS103-M5 · Revision after feedback — Music Theory, Harmony & Songwriting for Producers
- MUS103-M6 · The submission: method, evidence, and defence — Music Theory, Harmony & Songwriting for Producers
20 creditsMUS104Synthesis, Sampling & Sound Design- MUS104-M1 · The question this course is responsible for — Synthesis, Sampling & Sound Design
- MUS104-M2 · The method, and the case or text it is applied to — Synthesis, Sampling & Sound Design
- MUS104-M3 · Evidence, sources, and a competing explanation — Synthesis, Sampling & Sound Design
- MUS104-M4 · Professional limits and what the conclusion must not claim — Synthesis, Sampling & Sound Design
- MUS104-M5 · Revision after feedback — Synthesis, Sampling & Sound Design
- MUS104-M6 · The submission: method, evidence, and defence — Synthesis, Sampling & Sound Design
20 creditsMUS105Critical Listening & Frequency Analysis- MUS105-M1 · The question this course is responsible for — Critical Listening & Frequency Analysis
- MUS105-M2 · The method, and the case or text it is applied to — Critical Listening & Frequency Analysis
- MUS105-M3 · Evidence, sources, and a competing explanation — Critical Listening & Frequency Analysis
- MUS105-M4 · Professional limits and what the conclusion must not claim — Critical Listening & Frequency Analysis
- MUS105-M5 · Revision after feedback — Critical Listening & Frequency Analysis
- MUS105-M6 · The submission: method, evidence, and defence — Critical Listening & Frequency Analysis
20 creditsMUS106Introduction to the Global Music Business- MUS106-M1 · Position, rivals, and the choice in front of the organisation — Introduction to the Global Music Business
- MUS106-M2 · A financial result and the operational cause — Introduction to the Global Music Business
- MUS106-M3 · The decision, the team, resistance, and the plan — Introduction to the Global Music Business
- MUS106-M4 · Stakeholders and what they can block — Introduction to the Global Music Business
- MUS106-M5 · Ethics and the limit of the recommendation — Introduction to the Global Music Business
- MUS106-M6 · A consulting brief: problem, evidence, recommendation, defence — Introduction to the Global Music Business
20 creditsYear 2 — Advanced Mixing & Production Craft
MUS201Analogue Console Recording & Outboard Processing- MUS201-M1 · The question this course is responsible for — Analogue Console Recording & Outboard Processing
- MUS201-M2 · The method, and the case or text it is applied to — Analogue Console Recording & Outboard Processing
- MUS201-M3 · Evidence, sources, and a competing explanation — Analogue Console Recording & Outboard Processing
- MUS201-M4 · Professional limits and what the conclusion must not claim — Analogue Console Recording & Outboard Processing
- MUS201-M5 · Revision after feedback — Analogue Console Recording & Outboard Processing
- MUS201-M6 · The submission: method, evidence, and defence — Analogue Console Recording & Outboard Processing
20 creditsMUS202Advanced Mixing Techniques & Spatial Audio- MUS202-M1 · The question this course is responsible for — Advanced Mixing Techniques & Spatial Audio
- MUS202-M2 · The method, and the case or text it is applied to — Advanced Mixing Techniques & Spatial Audio
- MUS202-M3 · Evidence, sources, and a competing explanation — Advanced Mixing Techniques & Spatial Audio
- MUS202-M4 · Professional limits and what the conclusion must not claim — Advanced Mixing Techniques & Spatial Audio
- MUS202-M5 · Revision after feedback — Advanced Mixing Techniques & Spatial Audio
- MUS202-M6 · The submission: method, evidence, and defence — Advanced Mixing Techniques & Spatial Audio
20 creditsMUS203Vocal Production, Tracking & Vocal Alignment- MUS203-M1 · The question this course is responsible for — Vocal Production, Tracking & Vocal Alignment
- MUS203-M2 · The method, and the case or text it is applied to — Vocal Production, Tracking & Vocal Alignment
- MUS203-M3 · Evidence, sources, and a competing explanation — Vocal Production, Tracking & Vocal Alignment
- MUS203-M4 · Professional limits and what the conclusion must not claim — Vocal Production, Tracking & Vocal Alignment
- MUS203-M5 · Revision after feedback — Vocal Production, Tracking & Vocal Alignment
- MUS203-M6 · The submission: method, evidence, and defence — Vocal Production, Tracking & Vocal Alignment
20 creditsMUS204Electronic Music Performance & Hybrid Live Rigs- MUS204-M1 · The question this course is responsible for — Electronic Music Performance & Hybrid Live Rigs
- MUS204-M2 · The method, and the case or text it is applied to — Electronic Music Performance & Hybrid Live Rigs
- MUS204-M3 · Evidence, sources, and a competing explanation — Electronic Music Performance & Hybrid Live Rigs
- MUS204-M4 · Professional limits and what the conclusion must not claim — Electronic Music Performance & Hybrid Live Rigs
- MUS204-M5 · Revision after feedback — Electronic Music Performance & Hybrid Live Rigs
- MUS204-M6 · The submission: method, evidence, and defence — Electronic Music Performance & Hybrid Live Rigs
20 creditsMUS205Sync Licensing & Music for Media- MUS205-M1 · Audience, offer, and the evidence for both — Sync Licensing & Music for Media
- MUS205-M2 · Channel choice and what the channel cannot do — Sync Licensing & Music for Media
- MUS205-M3 · Message, proof, and a measure of response — Sync Licensing & Music for Media
- MUS205-M4 · Ethics of persuasion and claims that must not be made — Sync Licensing & Music for Media
- MUS205-M5 · A campaign or content decision with a budget line — Sync Licensing & Music for Media
- MUS205-M6 · A recommendation a client could act on — Sync Licensing & Music for Media
20 creditsMUS206Music Publishing, Streaming & Rights Management- MUS206-M1 · Position, rivals, and the choice in front of the organisation — Music Publishing, Streaming & Rights Management
- MUS206-M2 · A financial result and the operational cause — Music Publishing, Streaming & Rights Management
- MUS206-M3 · The decision, the team, resistance, and the plan — Music Publishing, Streaming & Rights Management
- MUS206-M4 · Stakeholders and what they can block — Music Publishing, Streaming & Rights Management
- MUS206-M5 · Ethics and the limit of the recommendation — Music Publishing, Streaming & Rights Management
- MUS206-M6 · A consulting brief: problem, evidence, recommendation, defence — Music Publishing, Streaming & Rights Management
20 creditsYear 3 — Professional Master & Commercial EP Capstone
MUS301Commercial Mastering & Audio Post-Production- MUS301-M1 · The question this course is responsible for — Commercial Mastering & Audio Post-Production
- MUS301-M2 · The method, and the case or text it is applied to — Commercial Mastering & Audio Post-Production
- MUS301-M3 · Evidence, sources, and a competing explanation — Commercial Mastering & Audio Post-Production
- MUS301-M4 · Professional limits and what the conclusion must not claim — Commercial Mastering & Audio Post-Production
- MUS301-M5 · Revision after feedback — Commercial Mastering & Audio Post-Production
- MUS301-M6 · The submission: method, evidence, and defence — Commercial Mastering & Audio Post-Production
20 creditsMUS302Executive Producer Masterclass & A&R Strategy- MUS302-M1 · Position, rivals, and the choice in front of the organisation — Executive Producer Masterclass & A&R Strategy
- MUS302-M2 · A financial result and the operational cause — Executive Producer Masterclass & A&R Strategy
- MUS302-M3 · The decision, the team, resistance, and the plan — Executive Producer Masterclass & A&R Strategy
- MUS302-M4 · Stakeholders and what they can block — Executive Producer Masterclass & A&R Strategy
- MUS302-M5 · Ethics and the limit of the recommendation — Executive Producer Masterclass & A&R Strategy
- MUS302-M6 · A consulting brief: problem, evidence, recommendation, defence — Executive Producer Masterclass & A&R Strategy
20 creditsMUS303Artist Branding, Digital Marketing & PR- MUS303-M1 · Audience, offer, and the evidence for both — Artist Branding, Digital Marketing & PR
- MUS303-M2 · Channel choice and what the channel cannot do — Artist Branding, Digital Marketing & PR
- MUS303-M3 · Message, proof, and a measure of response — Artist Branding, Digital Marketing & PR
- MUS303-M4 · Ethics of persuasion and claims that must not be made — Artist Branding, Digital Marketing & PR
- MUS303-M5 · A campaign or content decision with a budget line — Artist Branding, Digital Marketing & PR
- MUS303-M6 · A recommendation a client could act on — Artist Branding, Digital Marketing & PR
20 creditsMUS304Creative Industry Entrepreneurship & Grant Funding- MUS304-M1 · Position, rivals, and the choice in front of the organisation — Creative Industry Entrepreneurship & Grant Funding
- MUS304-M2 · A financial result and the operational cause — Creative Industry Entrepreneurship & Grant Funding
- MUS304-M3 · The decision, the team, resistance, and the plan — Creative Industry Entrepreneurship & Grant Funding
- MUS304-M4 · Stakeholders and what they can block — Creative Industry Entrepreneurship & Grant Funding
- MUS304-M5 · Ethics and the limit of the recommendation — Creative Industry Entrepreneurship & Grant Funding
- MUS304-M6 · A consulting brief: problem, evidence, recommendation, defence — Creative Industry Entrepreneurship & Grant Funding
20 creditsMUS305Major Commercial EP / Album Production Capstone- MUS305-M1 · The question this course is responsible for — Major Commercial EP / Album Production Capstone
- MUS305-M2 · The method, and the case or text it is applied to — Major Commercial EP / Album Production Capstone
- MUS305-M3 · Evidence, sources, and a competing explanation — Major Commercial EP / Album Production Capstone
- MUS305-M4 · Professional limits and what the conclusion must not claim — Major Commercial EP / Album Production Capstone
- MUS305-M5 · Revision after feedback — Major Commercial EP / Album Production Capstone
- MUS305-M6 · The submission: method, evidence, and defence — Major Commercial EP / Album Production Capstone
40 creditsAdmission requirements
Academic entry
- A-levels BBB (or equivalent) in relevant subjects, or an Access to HE Diploma with Merit profile
- International Baccalaureate 28 points, or high school diploma with GPA 3.0/4.0 minimum
English language
- English proficiency: IELTS 5.5, TOEFL 46, or equivalent (waived for prior English-medium study)
Documents
- Personal statement (400–600 words) explaining your academic interests and career goals
- One academic reference from a teacher, tutor, or school counsellor
Research & interview
- Optional: portfolio or interview for creative and professional programmes
Programme questions
How long is the BA (Hons) in Music Production?+
The published duration is 3 years full-time. Teaching language: English. Actual time-to-complete depends on mode and any recognised prior learning.
Can I study this from my country?+
This is a fully online award. You study from your country. No student visa and no campus relocation are required.
What does it cost?+
Degree tuition for this award is published as £0 / tuition-free on the online pathway. Examination or administrative fees may apply at checkout — never an annual tuition invoice. Check the Fees page for any extras.
What are the entry requirements?+
Requirements are grouped on this page (academic, English, documents). Equivalent qualifications are considered. English may be waived after prior English-medium study.
How is the programme assessed?+
Assessment is typically a mix of coursework, projects, and examinations. Doctoral awards include a thesis or dissertation and an oral examination. Details sit in the programme specification and module outlines.
Will this award be recognised where I live?+
Recognition of the award for local employment, professional licence, or ministry attestation is decided by your employer or regulator. Durham University publishes verification pages for certificates. We do not claim automatic equivalence in every country.
How do I apply?+
Start an application on this website. Progress is saved from the first step. Admissions: admissions@durhm.co.uk.