Symphonic science: YST's Audio Arts & Sciences programme offers music-centred approach to audio engineering
Great sound can transform an experience – think of how listening to music brightens a dreary commute, an eerie soundtrack heightens the tension in a movie scene, and comfortable conversation amid the natural cacophony of a busy kitchen and full house is possible in a restaurant with good acoustics. All this is thanks to audio engineering, a simultaneously creative and technical field that shapes our lives through music recordings, live sound at events, movie soundtracks, acoustics and more.
At the Yong Siew Toh Conservatory of Music, audio engineering is taught under the Audio Arts & Sciences (AAS) programme, which leverages its strategic positioning in the conservatory to provide a music-centred approach to the discipline. The curriculum includes music studies courses taken by all YST undergraduates, emphasising not just technical skills but also deep musical expertise.
Explained Associate Professor Zhou Xiaodong, who heads the AAS department: “They learn in the same classroom as composers and instrument players, because in their work, they will need to communicate well with musicians and conductors.”
The programme, which celebrates its 15th anniversary this year, takes inspiration from the prestigious audio science programme at the Peabody Institute of the Johns Hopkins University, where Assoc Prof Zhou earned his Master of Arts in Audio Science and Acoustics. Notably, the Peabody Institute formalised an agreement with NUS to support the initial development of the Conservatory back in 2001.
AAS was originally founded as Recording Arts and Sciences with the intention of growing Singapore’s small market for classical music recording, and over the years, it has evolved in response to student feedback and industry changes. The name change to Audio Arts and Sciences in 2018 marked an expansion of its scope from recording to music production, sound design and modern sound technology.
Honing expertise through a hands-on approach
Like other majors in YST, the AAS cohorts are small, with just four to five students admitted each year. Students who apply to AAS need not have audio engineering experience, but are expected to have a strong music background and play at least one instrument.
The first two years of the undergraduate programme focus on the foundations of music production and recording, critical listening and acoustics, after which students deepen their knowledge into the various fields of music post-production, live sound and sound for visuals in their third year. They also complete a compulsory internship in their final year.
Courses are taught by Assoc Prof Zhou, Ms Calla Lim (an AAS alumna from the Class of 2023) and a network of industry professionals, some of whom are regular instructors while others conduct ad hoc masterclasses. Involving industry professionals helps to ensure the skills taught match industry expectations, said Assoc Prof Zhou. Students learn the latest techniques from such instructors, accompany them to work on projects at major venues like the Esplanade and Victoria Concert Hall and get hands-on training with modern technology owned by their commercial recording studios.
Leo Wynn Chan, a Year 4 AAS student who studied audio technology at polytechnic before enrolling in YST, especially appreciates this aspect of the programme. Some valuable connections he has made among the AAS lecturers include his current internship supervisor, Mr Yen Yu Ting, sound editor and designer at music and sound design studio GRYD, who teaches audio for film and television at YST; and Mr Shah Tahir, a veteran sound designer and engineer who served as sound designer for multiple editions of Singapore’s National Day Parade and teaches live sound reinforcement at YST.
“Meeting industry professionals and working with them – seeing how they work – are very rare opportunities. But we get to do this just by going through this programme and the masterclasses,” Leo Wynn said.
Small class sizes create an intimate learning experience and ensure that every student gets plenty of hands-on practice with the equipment, both during lessons and through projects outside the classroom. AAS students work on live sound and archival recordings for YST’s more than 300 music events each year and support requests to use the school’s recording studio, which come from YST students and NUS bands as well as professional musicians and orchestras outside NUS.
Said Ms Lim: “Our teaching adopts a hands-on approach and emphasises the importance of first-handed practice. Nowadays, you can learn a lot from books and information on the internet, and AI can even generate a full personalised lesson plan. But none of this compares to the actual valuable experience of working with musicians”
Aside from technical and musical expertise, the YST experience equips students with soft skills like relationship management that are crucial to succeeding in the industry after graduation. Mr Daniel Wong (BMus 2017), a sound designer, composer and music producer who has designed sound effects for Halloween Horror Nights for Universal Studios Singapore and worked on music arrangements for the 2024 Christmas Wonderland event at Gardens by the Bay, shared that he still finds work with friends he made during his university days at YST.
“This profession is a lot about people – client servicing and connections. While being an excellent engineer is essential, being kind, professional, and having a network of supportive connections can make all the difference in your success.”
Nothing ventured, nothing gained
Beyond the curriculum, the AAS programme at YST can open doors for curious students who take the initiative to broaden their horizons. For example, students can tap YST’s international network of partnerships with other universities and educational institutions around the world for overseas learning opportunities, such as a six-day course on Sound Systems Design and Optimisation offered by the Royal Conservatoire of The Hague in the Netherlands and a three-week training programme on film sound production at the Beijing Film Academy.
Ad hoc projects with external parties can also pave the way to less common career paths, as they did for Mr Conrad Chung (BMus 2014), who currently researches hearing loss in musicians while teaching audiology at the National University Hospital (NUH). Mr Chung discovered his interest in the field when he helped audiology master’s students and speech therapists from NUH to produce recordings for their research and clinical work. The connections he made through these projects helped him to secure an internship with the hospital’s ear, nose and throat department and eventually led to him pursuing further studies to become an audiologist.
His advice to students pursuing audio engineering is to build a diverse skill set and be prepared for a flexible work schedule, which may not always follow a traditional salary structure.
“The good thing about this programme is that you get to try a lot of things – recorded sound, live sound, acoustics and video. There is the potential to go deeper into any of them, but you have to put in the work and make your own education more enriching,” said Mr Chung.
He added: “Working in this field, every day will be different, and you’ll get to meet new people, work on new projects and listen to new music. You’ll be closely in touch with the art scene, which is very dynamic. Don’t expect a 9-5, but it will be fun.”