The Music Computing Lab
PhD Places - doing a PhD at the Open UniversityPhD Topics
I am very happy to talk with people considering undertaking a PhD. Please get in touch by email (s.holland at-sign-here open.ac.uk), or write, or telephone my secretary. Fully Funded full-time PhD scholarships are highly competitive, but there are typically opportunities every year. We are experienced in, and successful at, supervising part time PhD students.
Current Research StudentsMatt Bellingham
Matt’s PhD research is investigating user interface design for the democratisation of end-user algorithmic software.
Matt is a Lecturer in Music Technology a the University of Wolverhampton and has worked as an engineer and producer since 1996, engineering and producing recordings for both major and independent labels. As a guitarist he has signed recording and publishing contracts and has toured the UK and northern Europe.
Tom is a doctoral student in the Music Computing Lab looking at ways in which dynamical systems can be employed in HCI, and more specifically, how they might alter engagement with digital musical instruments.
Tony is a first year PhD student in the Music Computing Lab investigating the sonification of EEG and physiological data to better support therapeutic and diagnostic interventions. Tony has a first class degree and numerous publications. He has worked as a Research Assistant at Imperial College London, a Research Fellow at Goldsmiths, and as a freelance researcher/technician consultant with other universities including Graz Tech University, Hertfordshire and Barcelona Pompeu Fabra.
Graduated PhD StudentsVassilis Angelis
Vassilis Angelis was awarded his PhD in 2014. His research focuses on validation and analysis of a computational model of gradient frequency neural network, which is also used to model human perception of musical rhythm. http://mcl.open.ac.uk/MusicLab/58 .
Katie was awarded her PhD in 2014. Katie is researching the use of conceptual metaphors as a means to evaluate and inform the design of innovative and intuitive music interactions. Her research interests include cognitive understanding of musical concepts, embodied cognition and HCI. Katie's Research.
PhD 2010 ‘New User Interfaces for Musical Timbre’.
The user interface of most synthesisers tends to be expressed in system (i.e. engineering) terminology, obliging the user to become fluent with the synthesis method employed. This causes problems for many users.The New User Interfaces for Musical Timbre Design Project involves the design, implementation , and evaluation of a prototype of a new kind of user interface for controlling musical timbre that addresses this problem in a principled way.
PhD 2007 ‘Aspect Oriented Music Representation(AOMR)’.
AOMR investigates ways in which Aspect Oriented Programming (AOP) and Multi-Dimensional Separation of Concerns (MDSOC) approaches can be applied to the organization of musical materials for the purposes of music composition and musical analysis.
PhD 2002 ‘The Use of Electronic Media in Teaching’.
PhD 2002 ‘An Evolutionary Design Interaction Approach to Computer Aided Colour Design’.
PhD 1998 ‘Knowledge Mentoring Framework for Supporting Musical Composition Learning‘.
A theoretical framework, called the Knowledge Mentoring framework (KMf), was developed to investigate how studies of dialogue and interaction can be exploited in a practical way by designers of computer-based teaching agents. The KMf provides a taxonomy and definitions of the pedagogical goals involved in a 'mentoring' style of teaching. Mentoring is an approach to teaching that aims to support learners' creative, metacognitive and critical thinking, these being essential to musical composition and other open-ended, problem-seeking domains.
Knowledge Mentoring for Supporting Musical Composition Learning
PhD 1995 ‘Artificial Intelligence, Melody and Education'.
Smith’s constraint-based learning tool MOTIVE is designed to support beginners to explore the composition of melody. In order to achieve this aim, Smith developed an engine within MOTIVE which remains the most complete computational model of Narmour’s (1989) cognitive theory of melody, Artificial Intelligence, Melody and EducationArtificial Intelligence, Melody and Education