This specialist degree enables you to develop the required industry production skills for a career in audio postproduction (film, TV, and animation), radio, and music. We have strong relationships with industry including a recent partnership with the iconic Abbey Road Studios in London. You can participate in workshops with industry professionals at Abbey Road Studios which will form an integral part of your learning and development. Our industry partnerships have led to students securing audio positions with the BBC, Channel 4, Sky, The Church Studios, Pinewood Studios, Fonic, and Sweet Justice Sound, as well as freelance roles.
Underpinned by theory and research, this programme enables you to think critically and creatively about sound alongside gaining hands-on skills in order to prepare you for individual creative practice, further study, or careers in education and research. Previous students have pursued Master's degrees at institutions including the Berklee School of Music.
Teaching staff include a mix of industry-connected professionals and academic researchers who contribute their knowledge and experience to provide a comprehensive understanding of sound as it applies to music, radio, and postproduction industry and culture. You can also benefit from guest lectures and masterclasses delivered by industry experts. Previous guest lecturers include Andy Barlow (producer for U2), Tony Platt (recording engineer AC/DC), and Alannah Chance (producer BBC radio).
You'll be able to develop and hone your skills in our professional industry-standard recording and radio broadcast studios, sound theatre, and edit suites, using industry-standard audio software such as Pro Tools, iZotope, Logic and Adobe Suite. Each student receives their own copy of Avid Pro Tools for the duration of the course enabling them to work on or off campus to develop their skills and portfolio. There may be opportunities to learn official AVID courseware and have the option to become AVID certified through external examinations (subject to availability).
Opportunities are available to volunteer for the University's digital audio platform, as well as potentially secure experience and paid work in live sound through our on-campus performance venue, The Engine Shed.
This specialist degree enables you to develop the required industry production skills for a career in audio postproduction (film, TV, and animation), radio, and music.
Underpinned by theory and research, this programme enables you to think critically and creatively about sound. Our facilities, such as industry-standard recording and radio broadcast studios, sound theatre, and edit suites, allow you to get hands-on experience using industry-standard audio software such as Pro Tools, iZotope, Logic, and Adobe Suite. Previous students have pursued Master's degrees at institutions including the Berklee School of Music.
You can learn from an expert team made up of industry-connected professionals and academic researchers, as well as benefit from guest lectures and masterclasses delivered by industry experts. Previous guest lecturers include Andy Barlow (producer for U2), Tony Platt (recording engineer AC/DC), and Alannah Chance (producer BBC radio).
We have strong relationships with industry including a partnership with the iconic Abbey Road Studios in London. You can participate in workshops with industry professionals at Abbey Road Studios which may form an integral part of your learning and development. Our industry partnerships have led to students securing audio positions with the BBC, Channel 4, Sky, The Church Studios, Pinewood Studios, Fonic, and Sweet Justice Sound, as well as freelance roles.
Music at Lincoln is ranked 1st in the UK for teaching*
Opportunities to gain paid work experience on campus
Learn from staff and guest speakers directly connected to industry
Option to participate in sessions at Abbey Road Studios
Receive your own copy of Avid Pro Tools for the duration of the course
Industry-standard professional studios and edit suites
*National Student Survey 2024 (out of 68 ranking institutions)
On this course, students can develop their knowledge, theory, and practice of sound and music production. This culminates in their own independent projects (two advanced pieces of client-based practice work), along with an extended piece of academic work in the form of a dissertation.
In your first year, you will undertake a selection of core practical and theoretical modules to provide you with a solid foundation in sound as it applies to postproduction, radio, and music production. There will be opportunities for you to book our recording spaces for collaboration with students from film production, animation, journalism, and music.
In your second year, you can focus on your key areas of interest (post, radio, and/or music) through elective modules. Additionally, you will also prepare for your final-year dissertation through design of your major research project.
Your final year will enable you to bring together all of your previous creative, practical, and theoretical studies to produce two major client-based sound project portfolios, as well as complete your dissertation on your key area of interest.
For students who are interested in studying abroad, there may be the option to take part in an exchange programme in the USA. Please note that fees for the placement are included but travel, accommodation, and general living costs are the responsibility of the student.
On this course, students can develop their knowledge, theory, and practice of sound and music production. This culminates in their own independent projects (two advanced pieces of client-based practice work), along with an extended piece of academic work in the form of a dissertation.
In your first year, you will undertake a selection of core practical and theoretical modules to provide you with a solid foundation in sound as it applies to postproduction, radio, and music production. There will be opportunities for you to book our recording spaces for collaboration with students from film production, animation, journalism, and music.
In your second year, you can focus on your key areas of interest (post, radio, and/or music) through elective modules. Additionally, you will also prepare for your final-year dissertation through design of your major research project.
Your final year will enable you to bring together all of your previous creative, practical, and theoretical studies to produce two major client-based sound project portfolios, as well as complete your dissertation on your key area of interest.
For students who are interested in studying abroad, there may be the option to take part in an exchange programme in the USA. Please note that fees for the placement are included but travel, accommodation, and general living costs are the responsibility of the student.
Our students were able to experience a day in the life of some of the world’s most eminent record producers and performers during their time at Abbey Road Studios. Industry professionals on hand to lend their support to the students included Abbey Road engineer Paul Pritchard. Paul has worked with some of the biggest recording artists in history, including Paul McCartney, Elton John and Freddie Mercury.
In this module students are invited to investigate the practices and creative possibilities of working within a desktop music and sound design production environment. This will involve MIDI programming, composition of basic musical and rhythmic arrangements, sound design, sound effects and an introduction to software instruments, synthesis, sampling techniques and digital signal processing.
Key Concepts in Sound introduces ideas, terms and approaches relevant to the study and critical analysis of sound, listening and audio practice. Drawing upon critical and philosophical texts, art practices, and historical accounts, the module takes an interdisciplinary approach to the sonic, situating it in relation to its political, geographical and cultural contexts.
The modules aims to interrogate sound's associations and intersections with other sensory media; the auditory dimensions of identity, power, and technology; and the relationship between sonic experience, time and space.
Key Concepts in Sound also aims to develop students’ critical thinking and research skills, providing them with an opportunity to engage in research-led learning.
This module aims to provide an introduction to the multi-track studio environment in which students can identify and employ digital audio recording, editing and mixing techniques and technologies. The study of listening skills essential to the perception of audio quality will be introduced and can be developed along with the practical and technical elements necessary for studio-based audio and music production.
Practices of Recording is a theory/practice module, designed to introduce students to a variety of approaches to sound recording and their historical, social and political contexts. This module aims to broaden students’ perspectives of what audio recording might entail. Emphasis here is placed on recording practices and techniques that occur ‘beyond’ the studio and music production.
This module is designed to introduce students to the principles and practices of working with sound. The module aims to develop knowledge of the sound wave, acoustics, human hearing, auditory perception, microphones and digital audio standards such as file formats, storage and playback. Basic Pro Tools recording, editing and audio manipulation techniques are also introduced.
This module aims to give students a basic understanding of the practical and technical skills used during radio production. Students are encouraged to think creatively and will work to present audio content for an identified radio audience reflecting current industry practice.
This module is designed to provide an overview of current industry techniques and practices, including an understanding the route from edit platforms to final sound mix; cleaning up and replacing original recorded sound; recording and placing commentary, dialogue, effects and music editing; and the addition of creative elements to create aural landscapes for still or moving images. Music and sound effects library sources, server based libraries and importing and exporting audio files, sourcing, cataloguing and sifting.
This module aims to contextualise students’ production practices by introducing them to the ways in which both media and music institutions within the creative and cultural industries are organised. The module aims to explore and examine key issues in the history and current organisation of, and possible changes in, the cultural industries as institutions and practices. Students have the opportunity to develop an understanding of the legal, ethical, regulatory, and self-regulatory frameworks within which they operate.
This module sets out to explore some of the ways in which we make, sense, and transform ourselves and our worlds through our sonic and auditory cultures. We will focus on a number of important phenomena in our consideration of sonic practices, ways of hearing and contemporary scholarship on the auditory dimensions of media. Designed to engage both Media Studies and Sound and Music Production students in their respective fields, we will move from discussions of sound in relation to the affective capacities of the body through discussion of audition in relation to space and place (focused through the concept of the ‘soundscape’). We will consider discussions of sound and technology and explore concepts and phenomena of ‘noise’ and ‘silence’ in sonic and musical experience. This module encourages collaborative research in the spirit of ‘Student as Producer’, the organizing principle of teaching and learning in the university.
A broad look at audio-culture from the twentieth century to the present, offering challenge and insight to Film & TV specialists. Vision is often privileged, resulting in a relative paucity of language for discussing sound. This problem is addressed, looking at texts from key theorists and practitioners, considering sound not in addition to vision, but independently, in music, radio, art and daily life.
In this module, we consider research as a process that informs both ‘practice’ (broadly defined) and ‘theory’. This module enables students to engage with methods for researching audiences, institutions and auditory culture; and primary sources such as digital data, film, television and video game soundtracks and archival materials. We will critically reflect on various stages of the research process, including formulating research questions and objectives; developing a literature review; selecting appropriate methods; and considering research ethics. In doing so, this module prepares students for their Level 3 Independent Study Project, as well as their Level 3 Audio Projects and Creative Enterprise/Creative Industries Case Study.
The module is designed to examine and analyse the use of audio and music in the cultural industries. Specifically, the increasing importance of sonic branding in media networks, corporate branding and advertising. Audiences and consumers are mostly aware when they are a target for advertising and/or branding, but equally may have an unconscious understanding of the message.
A number of key questions centre on the cultural effects of advertising and branding for example the salience of music in order to identify with and promote a brand: note the yearly and eagerly awaited John Lewis Christmas ads. Similarly, how does one know one is listening to specific BBC or commercial radio station just from the jingles or station sound?
The module explores these questions in two ways: firstly, by providing the opportunity to understand how these messages are constructed and more specifically how the use of audio and music differentiates a brand from its competitors, and secondly, by researching and understanding the creative process of sonic branding production in an industry context.
Students are encouraged to apply these ideas via the application of branding and audience research in order to pitch a short piece of created audio designed from a specific brief.
This module further develops students’ skills through use of advanced techniques of sound editing and design for all visual media outputs, such as film, television and screen devices. Through this, a deeper understanding of the role of the sound editor/sound designer and the audio post-production processes involved at the later stages of completion is achieved.
Students learn how sound is acquired for film and television productions and what happens to the sound after the picture editing is completed. Students will work with digital audio workstations and software technologies and the sound ‘dubbing theatre’. Areas covered include synchronising sound and picture rushes, import/export of audio files, supplying audio files for the editing process, audio tracklaying using Digital Audio Workstations (DAW’s), Editing dialogue and speech, recording Foley*, ADR* to picture; recording commentary and narration. Creative use of music in sound post-production is also covered, including composer spotting sessions, selecting and using production music and assessing musical requirements. The roles of mixer, assistant and sound editor are explored, in relation to selecting and assembling sound recordings and producing different mixes in preparation for final sound production of a television programme, film or screen based output. Students will understand the distinctive role of the film, television and screen sound editor and the creative sound post-production process for all moving image productions.
(*The art of movement re-recording and using props for sound effects creation to picture)
(*Automated Dialogue Replacement)
Location sound recording is a critical component of the film-making process. Ranging from the practical aspects such as multichannel field recording and microphone types, to understanding on-set etiquette and working with actors, it is a hugely challenging technical and artistic craft.
Students will learn how separate and synchronous sound is utilised in film production and how to effectively capture dialogue for factual and fiction productions. This module will equip students with the essential skills needed to provide filmmakers with high quality production sound.
This module focuses on the development of students’ music mixing and mastering skills to enable the completion and presentation of their music productions in a professional manner. The module builds upon the core production and mix skills learned at level one but places greater emphasis on technical accuracy and sonic contextualisation of their work. Students will be required to mix and master a range of musical material and deliver this as a portfolio of work.
This module enables students to develop a range of music production skills, approaches and techniques that are relevant to the dynamic and challenging environment of the current recorded music industry. The module builds upon the core tracking and production skills learned at level one but places a greater emphasis on sonic aesthetics and overall project delivery. Students will be required to make high quality recordings and then develop the sonic properties of these recording by applying various industry standard music production techniques appropriate to a devised brief.
This module gives you the opportunity to produce and present a radio production and gain a professional industry credit. You can work as part of a small collaborative team to pitch a programme commission for a nominated radio station/online radio platform. As part of the module, you will be expected to research and specialise in one programme-making role where you will develop technical, creative, and production skills.
This module expects students to produce an advanced concept-led project using the technologies centred upon audio, music and/or broadcast formats. It provides an opportunity to produce work to an advanced level of creativity and technique, in a practice based medium, and will offer opportunities to undertake interdisciplinary production.
This module expects students to produce an advanced concept-led project using the technologies centred upon audio, music and/or broadcast formats. It provides an opportunity to produce work to an advanced level of creativity and technique, in a practice based medium, and will offer opportunities to undertake interdisciplinary production.
This module aims to prepare students for careers in the music industry by helping to build an understanding of the research approaches and skills for professional communications, marketing, and distribution of sound and music products . Assignments on this module are designed to help students explore working within the sound and music industries and help inform their personal development.
This module will introduce students to a range of professional skills and research approaches relevant to understanding how the sound and music organisations are structured, network, operate and function. The assignments are geared towards exploring the context of working within the sound and music creative industries and to inform their personal development as professionals.
The Audio Independent Study dissertation is the culmination of each student's undergraduate investigation into the structures and debates surrounding cultural production and takes the form of an extended essay. The chosen subject will facilitate involvement with issues relevant to contemporary media practice.
† Some courses may offer optional modules. The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.
In this module students are invited to investigate the practices and creative possibilities of working within a desktop music and sound design production environment. This will involve MIDI programming, composition of basic musical and rhythmic arrangements, sound design, sound effects and an introduction to software instruments, synthesis, sampling techniques and digital signal processing.
Key Concepts in Sound introduces ideas, terms and approaches relevant to the study and critical analysis of sound, listening and audio practice. Drawing upon critical and philosophical texts, art practices, and historical accounts, the module takes an interdisciplinary approach to the sonic, situating it in relation to its political, geographical and cultural contexts.
The modules aims to interrogate sound's associations and intersections with other sensory media; the auditory dimensions of identity, power, and technology; and the relationship between sonic experience, time and space.
Key Concepts in Sound also aims to develop students’ critical thinking and research skills, providing them with an opportunity to engage in research-led learning.
This module aims to provide an introduction to the multi-track studio environment in which students can identify and employ digital audio recording, editing and mixing techniques and technologies. The study of listening skills essential to the perception of audio quality will be introduced and can be developed along with the practical and technical elements necessary for studio-based audio and music production.
Practices of Recording is a theory/practice module, designed to introduce students to a variety of approaches to sound recording and their historical, social and political contexts. This module aims to broaden students’ perspectives of what audio recording might entail. Emphasis here is placed on recording practices and techniques that occur ‘beyond’ the studio and music production.
This module is designed to introduce students to the principles and practices of working with sound. The module aims to develop knowledge of the sound wave, acoustics, human hearing, auditory perception, microphones and digital audio standards such as file formats, storage and playback. Basic Pro Tools recording, editing and audio manipulation techniques are also introduced.
This module aims to give students a basic understanding of the practical and technical skills used during radio production. Students are encouraged to think creatively and will work to present audio content for an identified radio audience reflecting current industry practice.
This module is designed to provide an overview of current industry techniques and practices, including an understanding the route from edit platforms to final sound mix; cleaning up and replacing original recorded sound; recording and placing commentary, dialogue, effects and music editing; and the addition of creative elements to create aural landscapes for still or moving images. Music and sound effects library sources, server based libraries and importing and exporting audio files, sourcing, cataloguing and sifting.
This module aims to contextualise students’ production practices by introducing them to the ways in which both media and music institutions within the creative and cultural industries are organised. The module aims to explore and examine key issues in the history and current organisation of, and possible changes in, the cultural industries as institutions and practices. Students have the opportunity to develop an understanding of the legal, ethical, regulatory, and self-regulatory frameworks within which they operate.
This module sets out to explore some of the ways in which we make, sense, and transform ourselves and our worlds through our sonic and auditory cultures. We will focus on a number of important phenomena in our consideration of sonic practices, ways of hearing and contemporary scholarship on the auditory dimensions of media. Designed to engage both Media Studies and Sound and Music Production students in their respective fields, we will move from discussions of sound in relation to the affective capacities of the body through discussion of audition in relation to space and place (focused through the concept of the ‘soundscape’). We will consider discussions of sound and technology and explore concepts and phenomena of ‘noise’ and ‘silence’ in sonic and musical experience. This module encourages collaborative research in the spirit of ‘Student as Producer’, the organizing principle of teaching and learning in the university.
A broad look at audio-culture from the twentieth century to the present, offering challenge and insight to Film & TV specialists. Vision is often privileged, resulting in a relative paucity of language for discussing sound. This problem is addressed, looking at texts from key theorists and practitioners, considering sound not in addition to vision, but independently, in music, radio, art and daily life.
In this module, we consider research as a process that informs both ‘practice’ (broadly defined) and ‘theory’. This module enables students to engage with methods for researching audiences, institutions and auditory culture; and primary sources such as digital data, film, television and video game soundtracks and archival materials. We will critically reflect on various stages of the research process, including formulating research questions and objectives; developing a literature review; selecting appropriate methods; and considering research ethics. In doing so, this module prepares students for their Level 3 Independent Study Project, as well as their Level 3 Audio Projects and Creative Enterprise/Creative Industries Case Study.
The module is designed to examine and analyse the use of audio and music in the cultural industries. Specifically, the increasing importance of sonic branding in media networks, corporate branding and advertising. Audiences and consumers are mostly aware when they are a target for advertising and/or branding, but equally may have an unconscious understanding of the message.
A number of key questions centre on the cultural effects of advertising and branding for example the salience of music in order to identify with and promote a brand: note the yearly and eagerly awaited John Lewis Christmas ads. Similarly, how does one know one is listening to specific BBC or commercial radio station just from the jingles or station sound?
The module explores these questions in two ways: firstly, by providing the opportunity to understand how these messages are constructed and more specifically how the use of audio and music differentiates a brand from its competitors, and secondly, by researching and understanding the creative process of sonic branding production in an industry context.
Students are encouraged to apply these ideas via the application of branding and audience research in order to pitch a short piece of created audio designed from a specific brief.
This module further develops students’ skills through use of advanced techniques of sound editing and design for all visual media outputs, such as film, television and screen devices. Through this, a deeper understanding of the role of the sound editor/sound designer and the audio post-production processes involved at the later stages of completion is achieved.
Students learn how sound is acquired for film and television productions and what happens to the sound after the picture editing is completed. Students will work with digital audio workstations and software technologies and the sound ‘dubbing theatre’. Areas covered include synchronising sound and picture rushes, import/export of audio files, supplying audio files for the editing process, audio tracklaying using Digital Audio Workstations (DAW’s), Editing dialogue and speech, recording Foley*, ADR* to picture; recording commentary and narration. Creative use of music in sound post-production is also covered, including composer spotting sessions, selecting and using production music and assessing musical requirements. The roles of mixer, assistant and sound editor are explored, in relation to selecting and assembling sound recordings and producing different mixes in preparation for final sound production of a television programme, film or screen based output. Students will understand the distinctive role of the film, television and screen sound editor and the creative sound post-production process for all moving image productions.
(*The art of movement re-recording and using props for sound effects creation to picture)
(*Automated Dialogue Replacement)
Location sound recording is a critical component of the film-making process. Ranging from the practical aspects such as multichannel field recording and microphone types, to understanding on-set etiquette and working with actors, it is a hugely challenging technical and artistic craft.
Students will learn how separate and synchronous sound is utilised in film production and how to effectively capture dialogue for factual and fiction productions. This module will equip students with the essential skills needed to provide filmmakers with high quality production sound.
This module focuses on the development of students’ music mixing and mastering skills to enable the completion and presentation of their music productions in a professional manner. The module builds upon the core production and mix skills learned at level one but places greater emphasis on technical accuracy and sonic contextualisation of their work. Students will be required to mix and master a range of musical material and deliver this as a portfolio of work.
This module enables students to develop a range of music production skills, approaches and techniques that are relevant to the dynamic and challenging environment of the current recorded music industry. The module builds upon the core tracking and production skills learned at level one but places a greater emphasis on sonic aesthetics and overall project delivery. Students will be required to make high quality recordings and then develop the sonic properties of these recording by applying various industry standard music production techniques appropriate to a devised brief.
This module expects students to produce an advanced concept-led project using the technologies centred upon audio, music and/or broadcast formats. It provides an opportunity to produce work to an advanced level of creativity and technique, in a practice based medium, and will offer opportunities to undertake interdisciplinary production.
This module expects students to produce an advanced concept-led project using the technologies centred upon audio, music and/or broadcast formats. It provides an opportunity to produce work to an advanced level of creativity and technique, in a practice based medium, and will offer opportunities to undertake interdisciplinary production.
This module aims to prepare students for careers in the music industry by helping to build an understanding of the research approaches and skills for professional communications, marketing, and distribution of sound and music products . Assignments on this module are designed to help students explore working within the sound and music industries and help inform their personal development.
This module will introduce students to a range of professional skills and research approaches relevant to understanding how the sound and music organisations are structured, network, operate and function. The assignments are geared towards exploring the context of working within the sound and music creative industries and to inform their personal development as professionals.
The Audio Independent Study dissertation is the culmination of each student's undergraduate investigation into the structures and debates surrounding cultural production and takes the form of an extended essay. The chosen subject will facilitate involvement with issues relevant to contemporary media practice.
† Some courses may offer optional modules. The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.
We want you to have all the information you need to make an informed decision on where and what you want to study. In addition to the information provided on this course page, our What You Need to Know page offers explanations on key topics including programme validation/revalidation, additional costs, and contact hours.
We want you to have all the information you need to make an informed decision on where and what you want to study. In addition to the information provided on this course page, our What You Need to Know page offers explanations on key topics including programme validation/revalidation, additional costs, and contact hours.
Students recently visited London's Abbey Road Studios where best-selling albums have been recorded by artists including The Beatles.
Students have the opportunity to hear from those working in the industry on optional field trips
Assessment on this course is by a range of practical production projects both individually and within groups, and includes presentations and essays, reports, and case studies. The way students are assessed on this course may vary for each module.
The University of Lincoln's policy is to ensure that staff return assessments to students promptly.
Assessment on this course is by a range of practical production projects both individually and within groups, and includes presentations and essays, reports, and case studies. The way students are assessed on this course may vary for each module, but there are no exams across the course.
The University of Lincoln's policy is to ensure that staff return assessments to students promptly.
Students on this course have access to a range of specialist equipment, including two multi-channel recording studios for music and drama production; two dubbing theatres for audio post-production for film, TV, games, and animation; the University's digital audio platform; three radio production studios; music rehearsal rooms; and several audio edit suites with an extensive range of editing and audio processing software. High-end mobile kit is available for sound and field recording on location. All Sound and Music Production students can currently use Pro Tools software and have access to Ableton Live Suite and Adobe Creative Cloud software, including Audition, for the duration of their studies.
There may be opportunities throughout the course to volunteer for the University's digital audio platform, as well as potentially secure experience and paid work in live sound through our on-campus performance venue, The Engine Shed.
Find out more on the Film and Media subject webpage.
What I enjoyed the most was learning both theoretical concepts and professional practices. Each assignment allowed a personal approach where I collaborated creatively with students on other courses and outside the University, which helped with developing professional relationships.
Helena Spychala
BA (Hons) Sound and Music Production
This course aims to equip graduates for a wide range of roles in music production, radio, film, and TV, games, animation, mobile and web applications, audio engineering, and audio event management. Lincoln graduates have gone on to work for the BBC, Channel 4, The Church Studios, Fonic audio post production, Sweet Justice Game Audio, Pinewood Studios, and Sky.
Congratulations to graduate Dan Hibbert for winning the ‘Outstanding Achievement in Sound Editing' Verna Fields Award at the 70th Motion Picture Sound Editors Golden Reel Awards, for his work on the National Film and Television School graduate film 'Brutal'. Dan specialised in Sound Post-Production and went on to study this subject at postgraduate level at the National Film and Television School following his time at Lincoln.
104 UCAS Tariff points from a minimum of 2 A Levels or equivalent qualifications.
BTEC Extended Diploma: Distinction, Merit, Merit.
T Level: Merit
Access to Higher Education Diploma: 45 Level 3 credits with a minimum of 104 UCAS Tariff points.
International Baccalaureate: 28 points overall.
GCSE's: Minimum of three at grade 4 or above, which must include English. Equivalent Level 2 qualifications may be considered.
The University accepts a wide range of qualifications as the basis for entry and do accept a combination of qualifications which may include A Levels, BTECs, EPQ etc.
We may also consider applicants with extensive and relevant work experience and will give special individual consideration to those who do not meet the standard entry qualifications.
Non UK Qualifications:
If you have studied outside of the UK, and are unsure whether your qualification meets the above requirements, please visit our country pages https://www.lincoln.ac.uk/studywithus/internationalstudents/entryrequirementsandyourcountry/ for information on equivalent qualifications.
EU and Overseas students will be required to demonstrate English language proficiency equivalent to IELTS 6.0 overall, with a minimum of 5.5 in each element. For information regarding other English language qualifications we accept, please visit the English Requirements page https://www.lincoln.ac.uk/studywithus/internationalstudents/englishlanguagerequirementsandsupport/englishlanguagerequirements/
If you do not meet the above IELTS requirements, you may be able to take part in one of our Pre-sessional English and Academic Study Skills courses.
For applicants who do not meet our standard entry requirements, our Arts Foundation Year can provide an alternative route of entry onto our full degree programmes:
https://www.lincoln.ac.uk/course/afyafyub/
If you would like further information about entry requirements, or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on 01522 886097, or email admissions@lincoln.ac.uk
104 to 112 UCAS Tariff points.
This must be achieved from a minimum of 2 A Levels or equivalent Level 3 qualifications. For example:
A Level: BCC to BBC
BTEC Extended Diploma: Distinction Merit Merit
T Level: Merit Overall
Access to Higher Education Diploma: 104 to 112 UCAS points to be achieved from 45 Level 3 credits.
International Baccalaureate: 28 points overall.
GCSE's: Minimum of three at grade 4 or above, which must include English . Equivalent Level 2 qualifications may be considered.
The University accepts a wide range of qualifications as the basis for entry and do accept a combination of qualifications which may include A Levels, BTECs, Extended Project Qualification (EPQ).
We may also consider applicants with extensive and relevant work experience and will give special individual consideration to those who do not meet the standard entry qualifications.
Non UK Qualifications:
If you have studied outside of the UK, and are unsure whether your qualification meets the above requirements, please visit our country pages
https://www.lincoln.ac.uk/studywithus/internationalstudents/entryrequirementsandyourcountry/ for information on equivalent qualifications.
EU and Overseas students will be required to demonstrate English language proficiency equivalent to IELTS 6.0 overall, with a minimum of 5.5 in each element. For information regarding other English language qualifications we accept, please visit the English Requirements page
If you do not meet the above IELTS requirements, you may be able to take part in one of our Pre-sessional English and Academic Study Skills courses.
If you would like further information about entry requirements, or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on 01522 886097, or email admissions@lincoln.ac.uk
Going to university is a life-changing step and it's important to understand the costs involved and the funding options available before you start. A full breakdown of the fees associated with this programme can be found on our course fees pages.
For eligible undergraduate students going to university for the first time, scholarships and bursaries are available to help cover costs. To help support students from outside of the UK, we are also delighted to offer a number of international scholarships which range from £1,000 up to the value of 50 per cent of tuition fees. For full details and information about eligibility, visit our scholarships and bursaries pages.
Project costs can vary depending on the nature of the practical work chosen by the student. Students are asked to consider costs when proposing a project. There are funds currently available within the School to students at all levels to provide support with such projects.
Students are responsible for travel, accommodation, and general living costs while undertaking work experience, study abroad, or internships.
Going to university is a life-changing step and it's important to understand the costs involved and the funding options available before you start. A full breakdown of the fees associated with this programme can be found on our course fees pages.
For eligible undergraduate students going to university for the first time, scholarships and bursaries are available to help cover costs. To help support students from outside of the UK, we are also delighted to offer a number of international scholarships which range from £1,000 up to the value of 50 per cent of tuition fees. For full details and information about eligibility, visit our scholarships and bursaries pages.
Project costs can vary depending on the nature of the practical work chosen by the student. Students are asked to consider costs when proposing a project. There are funds currently available within the School to students at all levels to provide support with such projects.
Students are responsible for travel, accommodation, and general living costs while undertaking work experience, study abroad, or internships.
The best way to find out what it is really like to live and learn at Lincoln is to visit us in person. We offer a range of opportunities across the year to help you to get a real feel for what it might be like to study here.
