Music BA
AAB at A level, A in Music; graduates earn a median £23,500 three years on.
Typical A level offer
AAB
A in Music · 90% of entrants came with A levels · 95% stay on after year 1 · York course page, Discover Uni
Year 13 · applying
What do you need to get in?
AABtypical A level offer; if you are not taking a level music we will accept aab in three a levels plus abrsm or trinity grade 5 theory and grade 8 performance. other equivalent qualifications and exam boards may be considered
Typical offer — the grades most applicants are asked for. Contextual offer: BBB, for applicants from under-represented backgrounds.
York course page, read 19 September 2026 · Discover Uni entry profile
- 1A in Music
Who actually got in: 90% with A levels, 10% with other higher education. Based on 40 entrants.
Other qualifications5
| Qualification | Typical offer | Required subjects |
|---|---|---|
| Access | 36 credits from units awarded Distinction and 9 awarded Merit or higher. An addi36 credits from units awarded Distinction and 9 awarded Merit or higher. An additional A Level or equivalent qualification in Music will be required. | — |
| BTEC | DDDDDD in Music. If you are taking a BTEC in a different subject, an additional A Level or equivalent qualification in Music will be required. | — |
| IB | 35 points35 points including 6 in Music at Higher Level | 6 in Music at Higher Level |
| Scottish Highers | BBBB | — |
| Advanced Highers | B in Music plus | — |
Years 1–3
What do you study?
4compulsory modules in year 1, 9 optional
Compulsory modules this year: arts & humanities 69% · transversal skills 13% · language & communication 10% · digital & ict skills 8%.
Module — one course unit, usually a term or a year long; “core” means everyone takes it. One UK credit is about ten hours of study; a full year is 120 credits.
York course page · optional modules vary by year
Year 1 · 4 core, 9 optional · 80 credits ≈ 800 hours
- Listen to This!: Critical Approaches to Music 1
What you learn (5)
- describe musical styles and approaches across historical periods
- identify performance issues by observing experienced musicians
- evaluate fundamental issues in the study of music
- describe different approaches used to study music
- produce written responses to varied musical experiences
- Analyse This!: Critical Approaches to Music 2
What you learn (10)
- explain musical analysis as an extension of critical listening
- identify questions that motivate analytical thinking about music
- identify analytical strategies suited to different musical styles
- apply analytical techniques to selected musical repertoire
- relate chosen analytical techniques to existing scholarship
- present analytical findings clearly in written form
- present analytical findings using diagrams or visual formats
- analyse musical works using appropriate analytical methods
- produce transcriptions of recorded musical sources
- conduct close critical readings of aural musical material
- Creative and Professional Practice 1
What you learn (7)
- perform solo repertoire using secure technical skills
- interpret solo repertoire expressively in performance
- rehearse collaboratively with other musicians to prepare a performance
- perform music effectively as part of an ensemble
- identify challenges encountered as a practising musician
- evaluate personal responses to musical practice challenges
- apply suitable strategies to overcome musical practice challenges
- Core Skills for Musical Study
What you learn (9)
- interpret musical notation to extract relevant details from a score
- operate digital audio workstation software to record audio
- edit recorded audio tracks using digital audio workstation tools
- apply notation software to support musical composition tasks
- use reference management tools to organise musical research sources
- identify key skills required for practical musical performance
- describe techniques for leading a musical ensemble
- participate actively in collaborative musical improvisation
- identify personal strategies to improve improvisation skills
9 optional modules
- The Body in Musical Performance
What you learn (5)
- take part in practical workshops on embodied musical performance
- describe how the body shapes composing, performing or receiving music
- identify key musicological and performance theories relevant to embodiment
- apply theoretical concepts to analyse chosen performance examples
- evaluate critically the role of the body in one's own musical practice
- Introduction to the Psychology of Music
What you learn (8)
- describe how the brain perceives pitch, timbre and timing in music
- explain psychological mechanisms behind musical expectation, emotion and aesthetics
- describe the cognitive mechanisms underlying musical performance skills
- evaluate the research methodology used in music psychology studies
- design an empirical study investigating a music psychology question
- apply music psychology knowledge to inform teaching practice
- apply music psychology knowledge to inform composition practice
- apply music psychology knowledge to inform performance practice
- Musicians' Health and Wellness
What you learn (9)
- define health and wellness in context of musicians
- describe how dysfunction affects musicians' bodies and minds
- explain models of behaviour change
- relate behaviour change models to musicians' health and performance
- identify ethical issues related to music, health and wellness
- identify influences on personal health, wellness and performance
- discuss one's role in influencing other musicians' health and wellness
- assess factors affecting musicians' health and performance
- propose strategies to prevent performance-related health problems
- Composition 1
What you learn (7)
- identify compositional techniques used in key 20th/21st-century works
- apply compositional techniques creatively in own composing
- explain key issues of contemporary composition such as clarity and coherence
- create original compositions reflecting a personal creative voice
- manage own composing work independently
- contribute to group workshop activities as performer and listener
- give constructive critical feedback to peers
- Women Making Music
What you learn (4)
- explain key concepts of gender in nineteenth-century music
- evaluate how music by women was received in the nineteenth century
- describe the works and careers of key female musical figures
- apply critical methodologies from the module to other musicology topics
- Developing Themes: Music in the Long Nineteenth Century
What you learn (11)
- describe musical styles and practices of the long nineteenth century
- analyse musical works to explain their structural construction
- discuss musical works critically within their cultural context
- lead group discussions on nineteenth-century music topics
- contribute actively to collaborative group activities
- produce written work demonstrating independent research findings
- deliver oral presentations communicating research clearly
- deliver a formative seminar on a chosen musical topic
- apply analytical techniques to examine musical works
- transcribe recorded music using critical listening skills
- produce close readings of aural musical sources
- Music’s Meanings
What you learn (8)
- analyse how musical elements relate to emotional or symbolic meaning
- identify how music shapes individual and group identity
- discuss music's role as expression within social and political settings
- illustrate music's influence on cultural development
- explain how music communicates across language barriers
- describe music's role in promoting social cohesion and change
- apply semiotic principles to analyse musical compositions
- explain how music reflects and shapes human behaviour and social trends
- Instrumental Music Education
What you learn (10)
- describe different models of reflective practice
- apply a specified reflective framework to evaluate own teaching practice
- explain different models of the student-teacher relationship
- design creative approaches to instrumental teaching
- trial creative teaching approaches in practice
- evaluate the effectiveness of creative teaching approaches
- identify different contexts in which instrumental teaching takes place
- identify context-specific good practice in instrumental teaching
- select relevant scholarly sources to support written arguments
- communicate critical insights clearly in written work
- Performance and Context
What you learn (5)
- participate in workshops examining links between performances and their contexts
- describe how site and function shape musical composition, performance or reception
- identify key musicological and performance theories relevant to context
- apply theoretical concepts to analyse selected musical practice examples
- evaluate the role of context in one's own musical practice
Year 2 · 2 core, 9 optional · 40 credits ≈ 400 hours
- Critical Thinking and Listening
What you learn (9)
- identify key topics in critical musicology
- evaluate complex musicological ideas
- reflect on personal views about music
- critique processes of musical perception
- respond critically to live musical performances
- describe performance issues observed in experienced musicians
- connect performance practice with musicology theory
- apply transcription techniques to aural sources
- produce close readings of recorded music
- Creative and Professional Practice 2
What you learn (5)
- perform solo repertoire at an advanced technical level
- rehearse effectively within a musical ensemble
- perform collaboratively as part of a musical group
- undertake leadership or supporting roles within a group
- present creative work professionally using a website or similar platform
9 optional modules
- Chamber Music
What you learn (5)
- establish effective collaborative working methods with fellow musicians
- listen attentively to fellow ensemble members during performance
- recognise the parts played by other group members as well as one's own
- plan rehearsals to use time effectively
- apply interpretative techniques suited to the chosen repertoire
- Conducting
What you learn (9)
- apply varied conducting techniques across performance levels
- direct high-level musical performances with confidence
- plan and lead a rehearsal session
- critique own rehearsal leadership constructively
- identify a broad range of musical repertoire
- analyse repertoire using appropriate analytical methods
- explain how conductors' interpretations shape performance practice
- communicate musical intentions clearly to performers
- collaborate effectively within an ensemble team
- Playing with the Past
What you learn (9)
- identify sources of evidence used to inform historical performance practice
- describe methodologies used to historically inform a musical performance
- explain key theoretical debates about historical performance practice
- identify relevant primary and secondary sources for a performance topic
- evaluate source materials to situate a performance in its historical context
- synthesise multiple sources into a coherent interpretive argument
- present a well-supported argument in written or musical form
- apply accurate written conventions of spelling, grammar and punctuation
- demonstrate technical competence in performing chosen repertoire
- History of African American Music
What you learn (8)
- explain key terms used to describe diasporic music aesthetics
- describe political and social histories shaping diasporic music regions
- evaluate theoretical concepts such as diaspora and hybridity
- identify different musical forms within the African diaspora
- describe key aesthetic features of various diasporic music styles
- write critically about race and nationalism in relation to music
- synthesise scholarly perspectives on diasporic music traditions
- construct independent critical arguments using academic sources
- The Uses of Tonality
What you learn (5)
- discuss how tonality shapes expressive meaning in music
- discuss how tonality shapes structural organisation in music
- identify post-tonal works that retain significant tonal elements
- apply post-tonal techniques when composing original music
- imitate stylistic uses of tonality in original compositions
- Sound Studies
What you learn (8)
- explain key concepts and terminology in sound studies
- illustrate sound studies debates with concrete examples
- critique course material to inform written analysis
- apply course material to practical sound projects
- perform critical listening to analyse sound recordings
- relate aural analysis to broader cultural and social contexts
- evaluate major theoretical frameworks in sound studies
- connect theoretical frameworks to personal experience as sound practitioners
- Remix
What you learn (9)
- summarize the historical evolution of remixing practices
- identify techniques associated with different remixing eras
- differentiate between technical methods used in remix production
- analyse the suitability of various remix production methods
- justify personal creative choices when remixing source material
- critically evaluate the effectiveness and quality of a remix
- select suitable audio elements for inclusion in a remix
- produce a remix incorporating substantial elements of source material
- apply purposeful processing techniques to transform source audio
- ‘Dancing about Architecture’: Writing about Music
What you learn (7)
- describe diverse ways music can be discussed in writing
- analyse written approaches to music critically
- explain links between language, sound and listener experience
- produce music writing using varied academic styles
- produce music writing using varied non-academic and artistic styles
- adapt writing style to suit audience and purpose
- evaluate personal choices made when writing about music
- Writing and Producing Songs
What you learn (11)
- identify varied songwriting and production styles across eras
- describe analytical frameworks used to study popular songs
- evaluate personal biases influencing responses to songs
- record songs using studio equipment
- mix recorded songs to achieve desired sound
- write original song lyrics
- analyse lyrical content of songs
- explain how melody and harmony combine to create emotional effect
- explain music production as a form of compositional practice
- demonstrate confident use of studio equipment and processes
- reflect critically on personal creative practice in songwriting and production
Year 3 · 2 core, 8 optional · 60 credits ≈ 600 hours
- Extended Recital or Extended Composition Folio or Extended Solo Project
What you learn (17)
- develop an effective personal practice routine
- plan practice towards specific musical ideals
- take responsibility for own musical judgements
- reflect on personal goals for musicianship development
- demonstrate technical skill at recital performance level
- incorporate tutor feedback into practice and performance
- prepare repertoire to a recital-ready standard
- apply strategies to manage performance anxiety during recitals
- explain issues relevant to planning a performance programme
- select repertoire based on informed decision-making
- collaborate effectively with others on musical projects
- sustain self-motivation throughout a project
- organise work routines to achieve project goals
- critique the effectiveness of personal routines over time
- apply broader subject knowledge to develop practical skills
- demonstrate performance skills in live contexts
- manage anxiety during live performance situations
- Creative and Professional Practice 3
What you learn (10)
- perform complex works in a chosen creative discipline at an advanced level
- lead or direct a group in a creative or community-based project
- produce a curriculum vitae suited to a creative practitioner role
- draft a job application or funding bid for a creative project
- design promotional material to showcase creative work
- evaluate personal career aspirations within the creative sector
- identify transferable skills relevant to employment
- explain how transferable skills apply to varied work contexts
- describe personal strengths and preferences relevant to future work
- describe different professional environments within the creative sector
8 optional modules
- Advanced Composition
What you learn (4)
- analyse compositional techniques used in selected 20th and 21st-century works
- deliver a presentation of original musical work
- explain core compositional issues such as clarity, coherence and unity
- create original compositions applying learned techniques and principles
- Instrumental / Orchestration, or, The Use of Timbre
What you learn (6)
- describe general techniques used in orchestration
- analyse the orchestrational approach used in selected works
- arrange a piece of music for different instrumental ensembles
- produce a clean, professional score and instrumental parts
- perform within varied orchestrations from an instrumentalist's viewpoint
- give constructive feedback to peers on their orchestrations
- History of Film Music
What you learn (8)
- describe the development of film music from the late 19th century to today
- explain the significance of the Golden Era in shaping film music
- explain how music interacts with visual narrative in film
- identify stylistic changes in film music across historical eras
- explain the causes behind stylistic shifts in film music
- describe the basic workflow of composing music for film
- explain the working relationship between composers and film studios
- apply knowledge of film music history and composition in independent study
- Solo Voice Ensemble Singing
What you learn (6)
- perform repertoire fluently from start to finish without interruption
- situate the repertoire within its historical context
- describe the melodic and harmonic features of the repertoire
- describe the expressive qualities of the repertoire
- apply acoustically pure intonation where the repertoire allows
- explain the basic grammatical structure of foreign-language song texts
- Sonic Fictions: Technology, Culture & the Future of Music
What you learn (3)
- identify a wide variety of electronic and computer music styles
- evaluate electronic and computer music within its cultural context
- explain key techniques and technologies used in electronic and computer music
- Analysing Classical Sonatas
What you learn (8)
- analyse compositional structures in classical-period works
- examine compositional processes used in classical-period music
- apply analytical techniques to musical repertoire
- expand detailed knowledge of selected musical works
- apply music-theoretical writing to analyse musical works
- evaluate the use of theoretical approaches in music analysis
- present analytical findings through written text
- present analytical findings through musical composition or performance
- Music Education and Social Justice
What you learn (5)
- discuss key debates on social justice in music education
- explain how social inequalities shape access to music education
- analyse case studies using critical thinking skills from the module
- propose actions to address inequalities in music education
- communicate complex ideas clearly using appropriate formats
- Musical Borrowing
What you learn (3)
- identify distinct techniques of musical borrowing across historical periods
- recognise key theoretical frameworks explaining borrowing in music and related disciplines
- apply borrowing theories to analyse specific musical works
“What you learn” restates each module’s published learning outcomes in our own words, as short skill statements in the same form as the GCSE and A level curriculum, with the help of an AI model; fields of knowledge follow the twelve fields of the knowledge sphere. The university’s module page, linked from each title, is the authoritative description.
After graduating
Where does it lead?
£23,500median pay three years after graduating
Lower quarter£17k
Median£24k
Upper quarter£26k
Median — the middle earner: half earned more, half less. Pay is for graduates of this subject at this university who finished in 2016-18, not adjusted for inflation; based on 60 graduates.
Discover Uni dataset (HESA and Office for Students, CC BY 4.0, contains HESA data); earnings from the Longitudinal Education Outcomes data (Department for Education) · aggregation level 14, 23
Half of graduates earned between £17,000 and £25,500. Five years on, the median is £26,000. 75% were in work or further study 15 months after finishing; 50% of those in work were in professional or managerial jobs.
All outcome figures7
| Measure | Value | Based on |
|---|---|---|
| Continue after year 15% left | 95% | 30 |
| In work or study, 15 months on5% studying | 75% | 20 |
| Professional or managerial job | 50% | 10 |
| Pay 15 months on, median | £27,000 | 15 |
| Pay 3 years on, median | £23,500 | 60 |
| Pay 5 years on, median | £26,000 | 55 |
Money
What does it cost?
£10,050a year for UK students, 2027/28 entry
Tuition fee loan — paid straight to the university; repayments start the April after you leave, at 9% of income above the threshold. UK fees are capped by government and rise with inflation; placement and study-abroad years are usually charged at a lower rate.
York fees page · source
About £30,150 in fees over 3 years, covered by a tuition fee loan you repay only when earning above the threshold. International students: £27,800 a year (2027/28).
National Student Survey 2025-26
What do students say?
91%agreed the course was good overall (question 26)
NSS — a yearly survey of final-year students at every UK university; 85% of this course’s final year answered. Small groups can swing a lot year to year.
National Student Survey, via Discover Uni · 25 students answered
Highest: 100% agreed on question 1; lowest: 68% on question 18.
All questions26
| Question | Agree |
|---|---|
| Question 1 | 100% |
| Question 2 | 96% |
| Question 3 | 87% |
| Question 4 | 83% |
| Question 5 | 87% |
| Question 6 | 74% |
| Question 7 | 87% |
| Question 8 | 70% |
| Question 9 | 87% |
| Question 10 | 78% |
| Question 11 | 78% |
| Question 12 | 83% |
| Question 13 | 83% |
| Question 14 | 70% |
| Question 15 | 91% |
| Question 16 | 91% |
| Question 17 | 78% |
| Question 18 | 68% |
| Question 19 | 87% |
| Question 20 | 100% |
| Question 21 | 96% |
| Question 22 | 96% |
| Question 23 | 87% |
| Question 24 | 70% |
| Question 25 | 70% |
| Question 26 | 91% |
Question texts are published by the Office for Students; the dataset carries only the question numbers.
Modules, entry requirements and fees are facts read from University of York’s course page on 2026-09-19 and may change; the university’s page is authoritative. Descriptions are not reproduced. Outcome figures are from the Discover Uni dataset. University of York is a trade mark of the university; sch.today is independent of it.