This September, the very first group of students will begin the brand-new Master track in Immersive Audio (MIA). This master focuses on immersive audio: spatial sound that fully surrounds the listener - an experience that goes far beyond stereo.

The Master Immersive Audio is a two-year programme in which students dive deeply into both the artistic and technical sides of 3D sound. They work across genres and departments on innovative projects and develop into creative professionals with a personal vision in a rapidly changing musical landscape. Working in 3D audio is not just a technical challenge, but above all a musical one: it requires thinking, arranging and composing in layers, and the ability to coach and inspire musicians.

We spoke with Attie Bauw, initiator and teacher in the programme, about the vision behind this new master’s, the curriculum, and the need for interdisciplinary exchange.

What inspired the development of the Master Immersive Audio (MIA)?

A few years ago, the studio of the Conservatorium van Amsterdam was renovated. Since then, it’s become clear that it's not just a space for recording, but a powerful educational environment. It’s not a purely technical facility, but a place where students can truly explore and shape their craft.

That’s where the Master Immersive Audio was born - also with the rise of AI in mind. We didn’t want to sit back, but rather take a proactive approach: to embrace the technology in part, and especially to learn how to use it consciously. That long-term mindset is at the heart of this programme.

AI is already transforming the music and arts landscape. Take voice-overs, for example - a field increasingly being taken over by AI-generated voices. That shift is, in part, unfortunate, but also inevitable. So it’s important to learn how to navigate that reality.

This master offers insight into what it really means to work in three-dimensional sound. With hands-on experience and craftsmanship, students can add depth and continue to make a difference - even in an AI-driven world - by working in a skilled, intentional way.

What can students expect during the programme?
The common thread throughout the programme is immersive audio - spatial sound in all its forms. 
In the first year, students take modules that each focus on a different genre, such as classical, jazz, or pop. Each musical style demands its own approach to immersive audio, in which both technical and artistic aspects come into play. In the second year, students begin with a VR module and choose a specialisation: composition or production. They end the year with a major project that brings everything together.

The programme includes a strong focus on group learning and project-based work. There are also thematic modules, such as immersive storytelling and immersive theatre, that explore the question: how can spatial sound be used to convey a story, whether musical or theatrical?

Immersive audio invites listeners to fully dive into sound. That sense of involvement offers composers and producers unique creative opportunities. And because 3D audio is still relatively new, there are few fixed rules - which means students don’t just learn how to do things, but develop their own approach.
 They explore their own musical identity, collaborate with musicians and artists, and discover new possibilities together.

Who is this programme for?
This master’s is for people with an interest in - and experience with - audio and/or music production. That might mean a background in art of sound, studio work, or significant independent experience. We’re especially looking for curious students who want to explore what’s possible with 3D audio, both in terms of sound itself and how it engages the listener.

The programme brings these curious minds into contact with experienced professionals. That mix of curiosity and expertise makes the MIA a shared journey of discovery.

Why is this programme relevant today?
Conservatories are traditionally structured in distinct departments. But that division no longer fits the times. As a musician or composer today, you benefit from being versatile: collaborating, thinking technically and production-wise, and crossing stylistic boundaries.
 Interdisciplinary work has become essential. Most musicians today are also expected to think like a composer or producer.

At the same time, working with immersive audio requires specialised knowledge. How do you use space and sound to enhance the listening experience? Where’s the best place to perform in a room? These choices have a major impact - both on the audience and on your own musical enjoyment.

This programme is for those who want to go deeper, for those who are curious about spatial sound and its creative potential.
It’s not just about technology, but about awareness: of acoustics, of presentation, of collaboration across genres and disciplines.

Hopefully, the programme will also spark broader awareness and lead to fruitful exchanges between students, teachers, and departments. Even if not everyone specialises in immersive audio, it touches on themes that are becoming increasingly important throughout the music world.