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					University of Nottingham Department of Music POSTGRADUATE HANDBOOK Academic Year 2009/10

It’s a great pleasure to welcome you to the Department of Music at the University of Nottingham. On behalf of all the staff in the Department, may I wish you every success in your studies, and hope that you have a happy and productive time with us. The Department has proven excellence in teaching and research. In the 2008 RAE, 85% of the Department’s research was rated as ‘world-leading’ and ‘internationally excellent’, a result that places us in the top 10 UK music departments. The 2009 Times Good University Guide rates us as one of the three best Music Departments in the country (alongside Oxford and Cambridge). All academic staff in the Department are engaged in research of the highest quality; you can find out more about our areas of expertise in this booklet. Equally, we are completely committed to teaching and the student experience. This handbook contains a variety of information which we hope will prove useful to both taught and research postgraduate students. In addition to reading this guide, you should take time to look through the Department’s Notes on Teaching and Assessment which provides invaluable information on academic standards and assessment for both undergraduate and postgraduate students. Throughout this booklet you will find references to the University website. It is frequently the easiest way to find information about staff, fellow students, academic and administrative Departments, and courses. If you cannot find the information you require in one of the Departmental publications, then do consult the web: Please note that in the Spring Semester my colleague Dr Sarah Hibberd will be taking over from me as Director of Postgraduate Studies. I look forward to getting to know you as your postgraduate career develops.

Professor Mervyn Cooke Director of Postgraduate Studies, Department of Music


CONTENTS Page I II III IV V VI VII Course descriptions Members of staff .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 4 15 25 29 33 35 38

Research environment .. Postgraduate funding ..

Postgraduate opportunities .. Quality assurance Beyond the Music Department .. .. .. ..

Appendix 1 MA Performance Recital: Supplementary Requirements and Guidelines .. Appendix 2 Guidelines for the submission of compositions for the degrees of AMusM and AMusD ..







Appendix 3 Guidelines for the submission of text and composition for MPhil and PhD (in Composition) .. ..



Appendix 4 MA in Music: Procedures for progression, re-examination and the involvement of external examiner .. .. .. Appendix 5 Research student Annual Review procedures Appendix 6 Sources of Help and Support Appendix 7 Practical Department Information .. .. .. .. .. .. .. .. .. .. ..

50 54 56 59

Appendix 8 Department of Music: Important Dates 2009/10






Course descriptions

The following descriptions give basic details for each of our postgraduate courses. Taught postgraduate students will receive more comprehensive details on each module in the MA in Music from module convenors. All students are encouraged to consult the full regulations for their degree on the University website: (click on the ‘Regulations for Higher Degrees’ link).


MA in Music

 MA modules offered by the Department Autumn Semester (30 credits per module)     Research Techniques Topics in Early Music Topics in Historical Musicology Topics in Music Theory and Analysis Spring Semester (30 credits per module)     Cultural Musicology Music and Gender Studies Music on Stage and Screen Analysis Case Study Summer Semester (60 credits per module)   Dissertation Performance Recital

N.B. not all optional modules may run if there is insufficient demand  Options Research Techniques is a compulsory element, as is the final 60-credit project (Dissertation or Recital). You must choose further modules amounting to a total of 90 credits. The Course Regulations stipulate the following restrictions:  a maximum of 30 credits may be taken from Departments other than Music;  a maximum of 30 credits may be taken from undergraduate modules;  a maximum of 75 credits may be taken in any one semester. (Please note that entry to some Undergraduate modules may be subject to prerequisite criteria or other restrictions.)


If you wish to take the Performance Recital module in the final semester you must make this request to the Director of Postgraduate Studies by Tuesday 13 October.  Assessment Assessment details for individual modules are given below. You should also acquaint yourself with the ‘Procedures for progression, re-examination and the involvement of external examiner’ included as Appendix 4 of this booklet.  Modules

TOPICS IN MUSIC THEORY AND ANALYSIS W3D037 Credits: 30 Module convenor: Robert Adlington Module description Theory and analysis have been central elements of musicological practice since the earliest days of the discipline. Yet the institutional status of theory and analysis as critical modes of inquiry has recently come under fire from the so-called ‘new musicology’. This module offers students the chance to reappraise and assess the challenges that face analysts in the current critical context. Seminars will consider a range of recent developments in the field, as well as considering core theoretical texts from new historical and critical perspectives. Repertoire will be drawn largely from the department’s existing research strengths in analytical work, and will centre on nineteenth- and twentieth-century music, though reference may be made to other repertoires as and when appropriate. The module’s aim is ultimately to redress the balance: to reaffirm theory and analysis as valid modes of musicological discourse, and consider new paths for future research. Assessment 1. A short critical report (2000 words) on one of the case studies discussed in class. (30%) 2. An analytical assignment (5000 words) on a subject of the candidate’s choice, demonstrating an awareness of techniques and principles examined during the module. (70%)


TOPICS IN HISTORICAL MUSICOLOGY W3D038 Credits: 30 Module convenor: TBC Module description Historical method in musicology falls into two basic categories: the first focuses on locating and studying documents and establishing ‘facts’; the second takes a more theoretical or philosophical stance, addressing issues of musical style, aesthetics and socio-cultural context. Developments in the field over the past twenty years or so have included an increased engagement with the methodologies of other disciplines. This year our seminars will involve the practical application or exemplification of critical approaches and concepts to a series of critical case studies. The course is aimed at preparing students for further (doctoral) research. Assessment An extended essay of 6000–7500 words demonstrating an awareness of topics examined during the module (100%). RESEARCH TECHNIQUES W3D039 Credits: 30 Module convenor: Mervyn Cooke Module description The advanced study of music requires the mastery of an array of generic and subject-specific skills. This module provides thorough training in a number of these skills, through classes within the Department and compulsory attendance at three courses provided by the Graduate School Research Training Programme (RTP). Classes within the Department address the use of bibliographic tools (including RILM, RISM, RIPM); internet-based resources for music research; giving papers at music conferences; dealing with primary sources; identifying and using libraries and archives; constructing research web pages. Assessment 1. A summary and critique of two of the semester’s Music Colloquia (maximum 3000 words in total), demonstrating engagement with published work in relevant fields of research. (30%) 2. A research statement (2000 words) and detailed, annotated list of relevant resources (circa 50 items) based on a topic of your choice, presented as a simple web page. (70%)


TOPICS IN EARLY MUSIC W34001 Credits: 30 Module convenor: Peter Wright Module description This module will focus on topics draw from the medieval, renaissance or baroque periods, embracing source study, issues of musical style, aesthetics and socio-cultural context. A number of the topics covered will engage directly with the methodologies of other disciplines. The precise topics to be offered in a given year will vary according to the particular expertise of the staff available, but the following list may be taken as a representative sample: authorship and attribution in early music; early music in post-modern culture; imitation and musical borrowing; interpreting late medieval song. The module will include one or more ‘forum sessions’ offering the opportunity for members of the class to present an interim report on the research they have conducted into their chosen essay topics. Assessment An extended essay of 6,000-7,500 words demonstrating an awareness of topics examined during the module. (100%) MUSIC AND GENDER STUDIES W34002 Credits: 30 Module convenor: TBC Module description This module will focus on gender studies in music within the broader context of both cultural history and contemporary cultural studies. This approach treats systems of power and ideology as fundamental to the understanding of issues of music and gender, not in isolation but as embedded within categories of race/ethnicity, class, and sexuality. Strong emphasis is placed on the question of how music as a cultural artefact and phenomenon impacts on issues of social prejudice such as racial discrimination, sexism, misogyny, and homophobia, as well as such historical constructions as authorship, creativity and musical genius. The approach also embraces a strong component of political criticism in drawing attention to musical and cultural phenomena in which exists a possibility of significant shifts in attitudes, understanding, and ultimately, social change. Possible class topics include the musical canon, genre, violence, otherness, opera, the body, genius, virtuosity, gender and sexuality in film, and gender, race, and rock.


Assessment An extended essay of 6,000-7,500 words demonstrating an awareness of topics examined during the module. (100%) MUSIC ON STAGE AND SCREEN W34003 Credits: 30 Module convenor: Mervyn Cooke Module description This module offers a variety of critical, historical, analytical and interpretative approaches to music’s various roles in a variety of genres involving elements of stage and screen, from the beginning of the nineteenth century through to the present day. Such music is considered firmly in the context of the other parameters (for example gesture, dance, photography, mise-en-scene, stage design, lyrics/dialogue and sound effects) contributing to the composite effect of the genres as a whole. The module may include participation in one or more workshops investigating the aesthetics of stage drama, opera and film organised by the Centre for Music on Stage and Screen, as appropriate. It will also include one or more ‘forum’ sessions offering the opportunity for the class to explore in detail the specific topics chosen for coursework submission. Assessment An extended essay of 6,000-7,500 words demonstrating an awareness of topics examined during the module. (100%) ANALYSIS CASE STUDY W34004 Credits: 30 Module convenor: Robert Adlington Module description The Analysis Case Study provides an opportunity for specialist analysts to undertake an extended piece of analytical work, typically using skills developed during the Topics in Theory and Analysis module (W3D037). Tuition will be by individual supervision; this may be supplemented by occasional group classes with others taking the module as appropriate. Assessment An extended analytical project equivalent to 6,000-7,500 words, inclusive of analytical charts and diagrams. (100%)


CULTURAL MUSICOLOGY W34005 Credits: 30 Module convenor: Virginia Anderson Module description This module examines the development of ‘critical’ or ‘new’ musicology. Since the 1970s, approaches to the study of music have emerged that challenge the positivist historical and formalist study that became widespread in the post-war academy. By the start of the twenty-first century, few areas of musicology had remained untouched by these developments. The module will examine a number of significant moments in the history of critical musicology, from its beginnings in cultural studies of the 1970s to its present-day status as academic orthodoxy. The merits and limitations of ‘new’ approaches to the study of music will be assessed, with reference to a wide range of repertoire, from early music to contemporary pop. Assessment An extended essay of 6,000-7,500 words demonstrating an awareness of topics examined during the module. (100%) DISSERTATION W3D034 Credits: 60 Module convenor: Mervyn Cooke Module description The Dissertation (of c.12,000-15,000 words), or equivalent project, will be planned and prepared in consultation with course tutors. The chosen area of study will normally be related to work undertaken in the coursework modules, drawing on expertise acquired during the period of study. Assessment A dissertation of 12,000-15,000 words. (100%) PERFORMANCE RECITAL W3D035 Credits: 60 Module convenor: Philip Weller Module description This module requires the student to take a course of practical study in performance and interpretation, devised in consultation with course tutors, leading to the researching, preparation and presentation of a public recital.


It is designed for those able to combine the rigour of academic study and intellectual research with the practical skills and stamina required for concert performance. Assessment A public recital of 55-60 minutes in length. (100%) [Further details about programming and presentation are given as Appendix 1 of this document.]



MPhil in Music

Candidates for the degree of MPhil shall be required after the conclusion of their period of directed study to present a thesis of not more than 60,000 words (inclusive of appendices, footnotes, tables and bibliography). Candidates are encouraged to consult the following web pages for further details of the regulations for the MPhil: University Regulations for MPhil degrees: HigherDegreeRegs2.htm#PhD QAA Qualification Descriptions: UNQFAppendixA.htm#mast Guidance for examiners:


PhD in Music

Candidates for the degree of PhD shall be required after the conclusion of their period of directed study to present a thesis of not more than 100,000 words (inclusive of appendices, footnotes, tables and bibliography). Candidates are encouraged to consult the following web pages for further details of the regulations for the PhD: University Regulations for PhD degrees: HigherDegreeRegs2.htm#PhD QAA Qualification Descriptions: UNQFAppendixA.htm#Doc Guidance for examiners:



AMusM (Composition)

A candidate for the degree of Master of Musical Arts shall be required after the conclusion of the period of directed study to submit a composition or compositions displaying originality of imagination, creative ability, technical understanding in usage of instrumental and/or vocal and/or electroacoustic resources, structural control and, where appropriate, calligraphic skill and accuracy with regard to notation and presentation. Submitted compositions should be worthy of public performance. Please note the ‘Guidelines for the submission of compositions for the degrees of AMusM and AMusD’ provided as Appendix 2 of this booklet. Candidates are encouraged to consult the following web pages for further details of the regulations for the AMusM: University Regulations for AMusM degrees: HigherDegreeRegs2.htm#AmusM QAA Qualification Descriptions: UNQFAppendixA.htm#mast I.5 AMusD (Composition)

A candidate for the degree of Doctor of Musical Arts shall be required after the conclusion of the period of directed study to submit a composition or compositions displaying originality of imagination, a high level of creative ability, technical mastery in usage of instrumental and/or vocal and/or electro-acoustic resources, firm structural control and coherence and, where appropriate, impeccable calligraphic skill and accuracy with regard to notation and presentation. Compositions should be worthy of public performance by professional musicians within a professional environment. Please note the ‘Guidelines for the submission of compositions for the degrees of AMusM and AMusD’ provided as Appendix 2 of this booklet. Candidates are encouraged to consult the following web pages for further details of the regulations for the AMusD: University Regulations for AMusD degrees: HigherDegreeRegs2.htm#AmusD QAA Qualification Descriptions: UNQFAppendixA.htm#Doc



MPhil in Composition

A candidate for the degree of MPhil in Composition shall be required after the conclusion of the period of directed study to present a composition or compositions accompanied by explanatory text detailing the candidate’s theoretical premise (as a pre-requisite for original composition), the exploration and original development of that concept as a theory and the direct practical application of that theory in the composition portfolio. The compositions should display originality of imagination, creative ability, technical understanding in usage of instrumental and/or vocal and/or electro-acoustic resources, structural control and, where appropriate, calligraphic skill and accuracy with regard to notation and presentation. Submitted compositions should be worthy of public performance. Please note the ‘Guidelines for the submission of text and compositions for the degrees of MPhil and PhD (in Composition)’ provided as Appendix 3 of this booklet. Candidates are encouraged to consult the following web pages for further details of the regulations for the MPhil: University Regulations for MPhil degrees: HigherDegreeRegs2.htm#PhD QAA Qualification Descriptions: UNQFAppendixA.htm#mast Guidance for examiners:


PhD in Composition

A candidate for the degree of PhD in Composition shall be required after the conclusion of the period of directed study to present a composition or compositions accompanied by a substantial explanatory text detailing the candidate’s theoretical premise (as a pre-requisite for original composition), the exploration and original development of that concept as a theory and the direct practical application of that theory in the composition portfolio. The compositions should display originality of imagination, a high level of creative ability, technical mastery in usage of instrumental and/or vocal and/or electro-acoustic resources, firm structural control and coherence and, where appropriate, impeccable calligraphic skill and accuracy with


regard to notation and presentation. Submitted compositions should be worthy of public performance by professional musicians within a professional environment. Please note the ‘Guidelines for the submission of text and compositions for the degrees of MPhil and PhD (in Composition)’ provided as Appendix 3 of this booklet. Candidates are encouraged to consult the following web pages for further details of the regulations for the PhD: University Regulations for PhD degrees: HigherDegreeRegs2.htm#PhD QAA Qualification Descriptions: UNQFAppendixA.htm#Doc Guidance for examiners:



Members of staff

Dr Robert Adlington Associate Professor Head of Department Director of Research (autumn semester) Undergraduate Admissions Officer Careers Officer Safety Officer Room B3, ext 14765 Dr Nicholas Baragwanath (to join the department in January 2010) Lecturer Postgraduate Recruitment Officer (spring semester) Room B20, ext TBC Professor Mervyn Cooke Professor of Music Director of Postgraduate Studies (autumn semester) Assessment Officer (postgraduate, autumn semester) Director of Undergraduate Studies (spring semester) Room A7, ext 14762 Dr Sarah Hibberd (on research leave autumn 2009) Lecturer Director of Postgraduate Studies (spring semester) Assessment Officer (postgraduate, spring semester) Director of Centre for Music on Stage and Screen (MOSS) Room A9, ext 13139


Professor Adam Krims (on research leave spring 2010) Professor of Music Analysis Postgraduate Recruitment Officer (autumn semster) Room A8, ext 14757 Dr Nanette Nielsen Lecturer Assessment Officer (undergraduate) Room B11, ext 14761 Professor Robert Pascall Professor of Music Room B13, ext 14702 Dr Nicholas Sackman Associate Professor and Reader in Composition (on research leave autumn 2009) Director of the Recording Studio Library Liaison Officer (spring semester) Room B17, ext 14759 Mr Philip Weller Lecturer Convenor of Performance Modules Joint Honours Director Room A6, ext 14758


Professor Peter Wright Professor of Music Director of Undergraduate Studies (autumn semester) Director of Research (spring semester) Room B12, ext 14760 TEACHING FELLOWS Dr Virginia Anderson University Teacher Library Liaison Officer (autumn semester) Convenor of Dissertations Study Abroad Coordinator Room B20 RESEARCH FELLOWS Dr Deniz Ertan Leverhulme Research Fellow Room B13, ext 14702 VISITING ACADEMIC TEACHERS Dr Gavin Wayte EMERITUS PROFESSORS Professor John Morehen Professor Philip Olleson SPECIAL PROFESSORS Professor George Fenton (Film Music) Professor Colin Matthews (Composition)


SPECIAL LECTURER Alex Wilson (Jazz) RILM-UK COORDINATOR Dr Vassilis Vavoulis ADMINISTRATION The Admistration Team is led by Ruth Hickling, and the Academic Admistration Office is open for students enquiries every day between 10.00 am and 1.00 pm. Mrs Ruth Hickling Departmental Administrator Room A5, ext 14755 Mrs Liz Hickling Administrative Assistant Room A5, ext 13609 Ms Sherene Osbourne Admistrative Assistant Room A5, ext 13609 Mrs Jocelyn Allen Administrative Assistant (part-time) Room A4, ext 14767 Mrs Pauline (Polly) Smith Porter Room A20, 0115 9513645, ext 13645


Dr Catherine Hocking Lakeside Music Officer DH Lawrence Pavilion, 0115 9513959, ext 13959 YOUR CONTACT DETAILS It is important that we are able to contact you, and that you keep the Department notified of any changes of address and/or telephone number, including your mobile phone number. You have a responsibility to check your University email account regularly, as this is the means by which we will contact you. (If you have a personal account as well, you can set up an auto-forward of email from your University account: see the Help menu in your University mail.) You should also check regularly your pigeonhole and the Departmental notice-boards outside the General Office. STAFF ROLES Head of Department The Head of the Department of Music answers directly to the Head of the School of Humanities (Professor Stephen Mumford). The Head of Department has responsibility for overseeing and administering all aspects of the Music Department, including academic and administrative staff, undergraduate and postgraduate students, curriculum and degree programs, building, facilities, and equipment. Director of Undergraduate Studies The Director of Undergraduate Studies has responsibility for the undergraduate course as a whole. He chairs the Committee for Undergraduate Studies and the Student-Staff Consultative Committee, which each include student representatives and provide a forum for the discussion of curriculum matters and other issues relating to study. Assessment Officer The Assessment Officer has responsibility for the administration of undergraduate examinations and other forms of undergraduate assessment in the Department. Students should keep her fully informed of any situation which might affect their performance in assessment.


RESEARCH AND VISITING SPEAKERS Research Nottingham is a research-led university; academic staff are active in producing original work which they present regularly at conferences and seminars, and in radio broadcasts, and which is published in books, articles and critical editions, or presented in performances and recordings. The University’s funding depends in part on the quality and quantity of research produced by its staff. In the 2008 Research Assessment Exercise, 85% of the Music Department’s research was rated as ‘world-leading’ and ‘internationally excellent’, a result that places us in the top 10 UK music departments. In order to retain their research output, staff are encouraged to apply periodically for leave (for a semester or for a year) during which to undertake research and writing. This research feeds into teaching, particularly in Level 3 and postgraduate modules. Dr Robert Adlington Music in Amsterdam in the 1960s and 1970s; avant-garde music in the 1960s; Louis Andriessen; Harrison Birtwistle; music and time Robert has written extensively on contemporary classical music. His monograph, The Music of Harrison Birtwistle (Cambridge, 2000), is a comprehensive survey of the output of this major composer; further articles on Birtwistle have appeared in volumes published by Ashgate and Boydell and Brewer. His book Louis Andriessen: 'De Staat', published by Ashgate in 2004, is the first monograph in any language on this influential composer. His current research explores music and politics in Amsterdam in the 1960s, and has resulted in articles in Journal of Musicology, Cambridge Opera Journal, Music and Letters and Musical Quarterly. He is also editor of a volume of essays entitled Sound Commitments: Avant-garde Music and the Sixties, published by Oxford University Press in 2009. Work arising from his doctoral thesis, which examined the relationships between listening, compositional structures and cultural concepts of time, has appeared in Music Analysis, the Berkeley journal Repercussions, the Journal of the Royal Musical Association and the Indiana Theory Review. Dr Nicholas Baragwanath Wagner, Puccini, nineteenth and early twentieth-century music, music analysis, critical theory Nick’s doctoral research examined the influence of Wagner's music upon the Second Viennese School. Current research interests cover a broad range of nineteenth- and early twentieth-century topics. Nick’s publications include articles on analysis, manuscript studies, and musicological theory in journals such as Archiv für Musikwissenschaft, Music Analysis, Music & Letters, Music Theory Online, and Nineteenth Century Music. He was awarded the Jack Westrup Prize in musicology from Oxford University Press in 2006, for his article on Musicology and Critical Theory. He has recently completed a book on Puccini and the Italian Traditions and is currently editing a volume on Adorno’s Theory of Musical Reproduction.


Professor Mervyn Cooke Benjamin Britten; early 20th-century music; ethnic music; composition; film music and jazz Mervyn’s primary research interests are the music of Benjamin Britten, jazz, and film music. He is the author of a handbook on Britten's War Requiem (CUP, 1996) and the monograph Britten and the Far East (The Boydell Press, 1998), and editor of The Cambridge Companion to Benjamin Britten (CUP, 1999); he also co-edited (with Philip Reed) an Opera Handbook on Billy Budd (CUP, 1993) and works for The Britten Estate as co-editor (with Donald Mitchell and Philip Reed) of the ongoing edition of Britten's correspondence. He edited The Cambridge Companion to Twentieth-Century Opera (CUP, 2005), to which he contributed a chapter on opera and film. He has authored two books on the history of jazz for Thames & Hudson (The Chronicle of Jazz, 1997, and Jazz (World of Art), 1998) and co-edited with David Horn The Cambridge Companion to Jazz (2003). His books have variously been translated into French, Spanish, Czech, Chinese and Korean. He is the author of the New Grove article on film music, and has written book chapters on the film music of Bernard Herrmann and Duke Ellington. His substantial History of Film Music was published by CUP in 2008, and he is currently editing a two-volume Film Music Reader for Oxford University Press. Dr Sarah Hibberd 19th-century opera; French musical culture; the melodramatic aesthetic; music in silent and early sound film Sarah’s research interests focus primarily on French musical culture, nineteenth-century opera, and other forms of music theatre including melodrama, pantomime and ballet. Her monograph French Grand Opera and the Historical Imagination (Cambridge, 2009) demonstrates opera’s role in bringing the Revolutionary past alive during the July Monarchy, and illuminates the contested nature of political meaning at this time. She has contributed articles to the Cambridge Opera Journal, Music & Letters and the Journal of the Royal Musical Association, and chapters to a number of musicological and interdisciplinary publications. She is currently editing a volume of collected essays for Ashgate entitled Melodramatic Voices, which comes out of a year-long AHRC-funded project (in partnership with Opera North and the British Silent Film Festival). New interests include the French sublime, and the relationship between opera, theatre and painting. Sarah is also director of the Department’s Centre for Music on Stage and Screen (MOSS), which hosts guest lectures, workshops and study days relating to music theatre and film. Professor Adam Krims Urban geography, critical theory, political economy Adam specialises in music theory, urban geography, and Marxism. He has also published on critical theory, cultural theory, and African-American musics, including hip-hop. He is author of Music and Urban Geography (Routledge, 2007) and Rap Music and the Poetics of Identity (Cambridge


University Press, 2000). He has contributed to Music Analysis, NineteenthCentury Music, and numerous other journals and essay collections. Dr Nanette Nielsen Music and philosophy, especially ethics and aesthetics of twentieth-century music; Opera and music theatre in the Weimar Republic; Paul Bekker; Scandinavian music and culture. Nanette's principal research interests are music and philosophy (primarily music and ethics), and German music, culture, and critical thought during the first half of the twentieth century. She has other strong interests in opera, film music, popular music, melodrama, and music in Scandinavia. She has recently published an article commissioned by Opera Quarterly, and is currently writing a monograph on the Weimar critic, theorist, and opera producer Paul Bekker. She is co-author, with Marcel Cobussen, of a second book, entitled Music and Ethics, and a contributor to Hibberd (ed.), Melodramatic Voices: Understanding Music Drama (Ashgate, 2011). Other current and future projects include an article on Ernst Krenek's Jonny spielt auf, and a book on modernism and morality in twentieth-century opera and music theatre works based on the fairy tales of Hans Christian Andersen. Professor Robert Pascall Analysis, history, editing, performance practice (nineteenth and earlytwentieth century music) Robert first joined the Department of Music at Nottingham University in 1968, serving as Professor and Head of Music, 1988-98. In 1998 he was appointed Professor of Music and Head of the School of Music at Bangor University, retiring in 2005, since when he has had part-time chairs at both universities. He founded the International Conference on 19th-century Music, directing the First and Ninth at Nottingham (1978, 1996); was Chair of the Editorial Board of the Journal Music Analysis 1989-2002, President of the Society for Music Analysis 1996-2000; is Corresponding Director of the American Brahms Society, and Vice-Chair of the New Johannes Brahms Complete Edition) 1991-. He founded the series Papers in Musicology (Nottingham 1991-) and Bangor Monographs in Musicology (Bangor 2003-). He has written on music from J. S. Bach to Arnold Schoenberg, with primary focus on the music of Brahms. Recent publications include editions of Brahms Symphonies 1-3 for the Brahms Complete Edition (Henle), and pioneering studies on Czerny, Franz Lachner, Schoenberg, Franz Schmidt. He advises conductors and soloists on 19th-century performance practice and he is Honorary Professor of Music Philology at Cambridge University. Dr Nicholas Sackman Composition; contemporary music and notation; ensemble direction and orchestral conducting Nick is a composer whose works have received critical acclaim both nationally and internationally. Recordings of his compositions are available on the NMC and Metier labels with his piano concerto Meld released on


NMC099 in March 2005. An entire CD of chamber compositions has recently been released on the Metier label. Recent compositions have included Cross hands for piano (commissioned by Sarah Nicolls) Puppets for percussion quartet (commissioned by Drumstruck) and Concerto in black (commissioned by the Birmingham Contemporary Music Group and premiered in November 2007). A setting of 'Maiden in the Moor' (for tenor and percussion) was recently recorded for the NMC Songbook. A new Violin Sonata will be premiered in March 2010 by Ruth Palmer. Besides composition he is actively involved in sound-recording technology and is Director of the Recording Studio at the Department of Music. Mr Philip Weller 18th century opera and aesthetics; Lassus; late 19th- and early 20thcentury song; music and language Philip’s research specialisms include French music of the 17th and 18th centuries (especially the history of opera from Lully to Gluck) and the French contribution to early modernism, centred on opera and aesthetics. This specialism extends to Olivier Messiaen and his relation to broader currents of twentieth-century music history. He has also researched and published on historiographical topics and on the music of the late Middle Ages and Renaissance (from Binchois to Lassus). Other interests include music and language and the idea of 'voice'; musical performance in theory and practice; the string quartet; the relation of music criticism to cultural history; and the reonstruction of incomplete works (his reconstructions of fifteenth-centuiry motets have been performed internationally by the Binchois Consort). Professor Peter Wright Medieval and Renaissance music; Trent codices; contemporary music; Michael Tippett; composition Peter’s main research interests lie in English and continental music of the late Middle Ages and early Renaissance, with a particular focus on source study. Central to his work are the Trent codices, the most important surviving collection of early and mid-fifteenth-century polyphony, on which he has published a monograph (The Related Parts of Trent, Museo Provinicale d'Arte, MSS 87 (1374) and 92 (1379), Garland 1989) and several articles and has edited a set of international conference proceedings (I codici musicali trentini Trent 1996). He has contributed to many journals, including Early Music History, Journal of Musicology, Plainsong & Medieval Music and Music & Letters, and collections of essays. He also works on the music of Michael Tippett and was a contributor to Tippett Studies (CUP 1999). He is engaged long-term in a series of critical editions of fifteenthcentury Mass music for the British Academy series Early English Church Music, the first of which (Early Fifteenth-Century Liturgical Music, V: Settings of the Sanctus and Agnus dei) was published in 2006. As director of a major three-year AHRC project he co-authored (with Ian Rumbold) the commentary volume to the facsimile of the St Emmeram Codex (Reichert 2006) and a monograph, Hermann Pötzlinger's Music: The 'St Emmeram' Codex and its Contexts (Boydell, 2009).'


TEACHING FELLOWS Dr Virginia Anderson Virginia is interested in the philosophy and aesthetics of experimental music, especially experimental indeterminacy and postmodern experimentalism. Her master's thesis, British Experimental Music: Cornelius Cardew and His Contemporaries (published in 1999 by the Experimental Music Catalogue under the same title) was the first independent full-length study of British experimental music. Her doctoral dissertation, 'Aspects of British Experimental Music as a Separate Art-music Culture' examines experimentalism within its own cultural values and 'insider' knowledge. She has been published in Contact, The Journal of Musicological Research, among others. Currently, Virginia has an article on experimental instruments in preparation for The Galpin Society Journal and is writing a book, provisionally titled Experimental Music in Britain. Until the mid-1990s, Virginia was also a clarinettist specialising in avant-garde, experimental and postmodern music. She has also recorded, both in reading ensembles and as an improvising musician. Virginia is the editor of the peer-review Journal of Experimental Music Studies and is on the board of the Experimental Music Catalogue. Her other interests include popular music, world music, and film studies, as well as unusual and/or neglected music of the past. RESEARCH FELLOWS Dr Deniz Ertan (Leverhulme Research Fellow) Deniz received her PhD from the University of Manchester in 2005. Her research interests are American music, interdisciplinary aspects of music, twentieth-century music and Turkish music. Her research in Ottoman music has resulted in an article for Journal of Asian Music. Her book on the French-American composer Dane Rudhyar is published by Boydell & Brewer. She was a Short-Term Fellow at the Newberry Library of Chicago in 2007, research from which has led to her next monograph project, Bearing News, Born Music, which is funded by the Leverhulme Trust and the Newberry Library’s Short-Term Fellowship Award. Deniz has given guest lectures at the RNCM and at the Universities of Leeds, Bristol, York, Manchester, Nottingham, and De Monfort. She was musicologist in residence at the Third Icebreaker Symposium-Festival in Seattle in 2006 (funded by the Music & Letters Trust award). Much of her teaching at Nottingham has focused on twentieth-century music, American music, world music, aesthetics, and nineteenth-century music.


III Research environment
III.1 Music Colloquia

The regular Music Colloquia on Tuesday afternoons (4:30–6:00 p.m.) are central to the research ethos of the Department. The Colloquia are given by a mixture of guest speakers from other universities and Nottingham staff, and the series is partly administered by postgraduate students. Nottingham postgraduate research students are also encouraged to offer papers or presentations as part of the series. The Colloquia are open to all staff and students at the University. Students taking the MA in Music are expected to attend, as the Colloquia form an important part of the Research Techniques module. Following the lecture, discussion and debate usually continues at a local watering hole or restaurant.


Academic conferences at Nottingham

Nottingham has regularly been the venue for major musicological conferences. Most recently, Sarah Hibberd has run a conference on Music and the Melodramatic Aesthetic as part of her AHRC-funded Melodrama project within the Centre for Music on Stage and Screen (MOSS). In July 2006, Sarah Hibberd and Daniel Grimley hosted the 42nd Annual Conference of the Royal Musical Association here at Nottingham. This fourday event carried the theme ‘Music and Visual Cultures’ and attracted speakers from around the world. Other recent conferences at Nottingham have included the Fifth Biennial International Conference on Music in Nineteenth-Century Britain, held in July 2005, and the Third Biennial International Conference on Twentieth-Century Music, held in June 2003. Graduate students have regularly arranged their own research events: recent meetings have included the RMA Study Day, Music and (Con)text: Interdisciplinary Challenges, and the Midlands Musicology Forum, hosted by Nottingham Postgraduates in May 2008. The Department is organising two international conferences in the near future. The first is titled ‘Correspondances: exchanges and tensions between art, theatre and opera in France, c.1750-1850’ and will be held at the National Gallery in London on 26-27 March 2010. The second, ‘Red Strains: Music and Communism outside the Communist Bloc, 1945-1990’ will be held in the British Academy in London in January 2011.


Research Centre for Music on Stage and Screen (MOSS)

The Research Centre for Music on Stage and Screen (MOSS) is an exciting initiative set up in 2006-7 to help consolidate and complement existing


activities in the Music Department (among staff and students), but also to foster relationships with other Schools and Departments in the University and beyond; it is also intended to encourage the interaction of history, theory and practice. Activities in the first years included a series of lectures delivered by distinguished visiting speakers (in the ACLT), a year-long AHRC-funded Workshop on the melodramatic aesthetic culminating in a major conference (5-7 September 2008), an Opera North workshop, a study day on Stephen Sondheim, a series of screenings (films, operas, music videos) with pre-event talks, and trips to see performances in Nottingham. In the longer term we hope to develop our relationship with Opera North; to establish similar partnerships with other organisations; to stage an annual performance; to host further study days and conferences; and to attract significant funding for bursaries and studentships (at postgraduate and postdoctoral levels). Above all, we hope that staff and students will get involved, attending events and making suggestions for further activities. 'Music on Stage and Screen' should be understood in its widest sense! Please feel free to contact Sarah Hibberd, the Centre’s Director, with any questions and/or suggestions. For an up-to-date list of activities, see:


Music researchers in other Schools

There is considerable interest in music in other Departments and Schools throughout the University. Contact details for all the following researchers can be found through the University website. The School of American and Canadian Studies was recently home to the Criss-Cross Research Project. This large-scale project, which was funded by the AHRC, examined the role of music in African-American culture, with a particular focus on the ways in which that role is represented in visual art and literature. David Murray and Graham Taylor were the principal researchers in this project, with Mervyn Cooke contributing an essay to a volume arising from it. The School of Geography contains a number of researchers working on music. David Matless has published work on the interdependence of music and place. Andrew Leyshon has written about the digital music industry. Throughout the University there is considerable cross-disciplinary interest in opera. In the Department of Hispanic and Latin Studies, Jean Andrews has done substantial work on the representation of Spanish subjects in nineteenth-century opera. Cynthia Marsh in the Department of Russian and Slavonic Studies has interests in Russian music theatre and has worked as a producer of opera. Julie Sanders in the English Department has written on musical settings and adaptations of Shakespeare, including the role of music in cinematic representations of his plays.


This list is not exhaustive, but gives an indication of the rich potential at Nottingham for interdisciplinary research projects involving music.


Postgraduate Research Events

The postgraduate community has in the recent past run a reading group and research seminars, and arranged screenings and concert visits. Events are usually advertised on notices in the PG Room and on the departmental website, and suggestions for new events are always welcome. The postgraduates also write and edit their own newsletter, overseen by the Director of PG Studies, which serves as an informal record of postgraduate achievements, research presentations, and other activities (including performance). Every year the Department holds a Postgraduate Study Day, usually in May or June, which normally comprises a mixture of short research papers from current postgraduate students, a buffet lunch, a forum to discuss postgraduate issues, and an evening meal and/or drink in town. Further details of dates will be announced in due course. Other research days involving postgraduates may be run during the year: full details will be advised by the Director of PG Studies as appropriate.


Postgraduate Room (B9)

The Department houses a dedicated Postgraduate Room (B9) for use by postgraduate students only. On a few occasions this room might be needed for MA teaching: notice of times will be posted on the door in advance. The room offers desk space and wireless internet connection for laptops, four networked computers, a printer and wall-mounted shelves. Desks may be leased to individual research students intending to spend a large amount of time in the Department; other desks will be made available on a ‘hotdesk’ basis, and are subject to availability. Please treat the room considerately (keep surfaces clean and clear of paper, cups, etc.) and be mindful of other people’s work. Further information about the Postgraduate Room will be circulated at the Postgraduate Welcome Day.


RMA Research Students’ Conference

The Department takes out student membership of the RMA for all PG students, entitling PGs to reductions on conference fees, RMA publications, and other benefits. Visit the RMA website ( for full details. All students are encouraged to submit proposals for and to attend the annual RMA Research Students’ Conference. The next Conference will be held at the University of York in January 2010; full details will appear on the RMA website in due course. Students speaking at the Conference may


apply for a small contribution from the Department towards their travel expenses.


Denis Arnold Music Library

The Department houses the Denis Arnold Music Library, which contains most of the University Library’s music collections. Postgraduate students are able to make suggestions for purchase of items for the Library; please ask the Librarian for further information. An invaluable inter-library loan (ILL) system is operated by the Library: MA students may request up to 20 inter-library loan items over the year, and research students may request up to 40 items per year.



Postgraduate funding

Funding is perhaps the major challenge for postgraduate study. The majority of postgraduate students in the UK fund their own course, often from a package made up of personal savings, family loans or contributions, bank loans and support from a trust or charity. Financial support and competitive scholarships are available and we encourage applicants to explore all funding opportunities at least a year in advance of the start date. Information and basic details about the main sources of funding open to postgraduate students wishing to study in the University of Nottingham can be found on the university website, which also lists a number of schemes specifically tailored for students in the School of Humanities. The University also has a database which you can search at: postscholarship.php.

IV.1 AHRC grants AHRC grants ( are among the most lucrative and prestigious awards that you may receive as a postgraduate student. AHRC grants are, however, extremely competitive, and only a small minority of applicants receives them. Students are therefore advised to form alternative plans for financing their study, no matter how qualified they may feel that they are for an AHRC grant, in case they are not successful. The Department of Music, as a matter of practice, encourages the most qualified applicants to its postgraduate programmes to consider applying for AHRC grants (consult the AHRC website for qualification guidelines); they exist for study at both the Masters and the Doctoral levels. However, in common with other UK institutions, the University of Nottingham has shifted to a new Block Grant partnership with the AHRC which severely restricts the number of awards for which we may apply. As a result, we expect to support only a single application per year: applications thus require a good deal of advance planning, combined with the need for strict punctuality. Further details about procedures for applying for the 2010 AHRC scholarships within the Department will be announced during the autumn. Other sources of funding which are worth investigating include:


IV. 2 University of Nottingham bursaries The School of Humanities offers Fee Bursaries for those undertaking postgraduate study in the Department of Music. Full-time fee bursaries are £1500 for UK/EU students and £2200 for non-EU International students (pro rata for part-time study). The award cannot be deferred. Taught and research postgraduate students are welcome to apply. The Department also offers an MA Studentship to UK/EU students applying for a place to study the MA in Music. To be eligible for the award you must have a fee status of either UK or EU and have an offer of a place to study full-time confirmed. Again, the award cannot be deferred. School PhD Studentships are available for research study in the Departments of Archaeology, Art History, Classics, Music, Philosophy or Theology. These studentships, for new research students classed as UK or EU for the purpose of fees, cover the payment of tuition fees and a maintenance grant each year for a maximum of three years' full-time doctoral study (subject to evidence of satisfactory progress). The maintenance grant is expected to be £13,200 in 2009-10 and will rise in line with national levels. Note that applying for a bursary and applying for a place to study are separate procedures—it is essential that you hold an offer of a place to study before you apply for a fee bursary or studentship. Full details are available on the department website at IV. 3 Funding for international students The University of Nottingham's International Office has many scholarships for students with either an 'overseas' or EU fee status, including the following:
       

alumni of the University siblings, children or spouses of a student who attended or is attending the University of Nottingham new route PhD candidates scholarship for students from specific countries research student scholarships MA student scholarships EU and Accession State Scholarships Friends of the University of Nottingham: America Scholarship


  

Overseas Research Scholarships (ORS) British Chevening Scholarships Commonwealth Scholarships

For details of each scheme, consult the relevant entry in the university prospectus (online at postscholarship.php) Information about Overseas Research Scholarships is available from the Graduate School at IV. 4 Other sources There are other more specialised sources of funding, which may offer smaller amounts of money or have more rigid application criteria. These include: The Society for Music Analysis offers MA bursaries worth between £1000 and £2000 to students pursuing a course with a strongly analytical or music-theoretical focus (for example, the Theory-Analysis pathway). Nottingham students have enjoyed considerable success with this scheme in the past. Applications are normally submitted in August and details are available at the SMA web pages ( Edison Fellowship Programme The National Sound Archive's Edison Fellowship Programme is designed to encourage scholarship devoted to the history of recordings of classical music and music in performance through creating the conditions for concentrated use of the British Library's collections of discs and tapes. Proposals will be considered which treat any aspect of the history of recording and the performance of western art music. Contact: Timothy Day, The British Library Sound Archive, 96 Euston Road, London NW1 2DB RVW Trust The Trust assists with the cost of first Master's Degrees (MA or AMusM) in musical composition only for British students or those of British residency. Contact: RVW Trust, 16 Ogle Street, London, W1W 6JA More general sources of funding include: Charities and Grants Trusts and charities award grants to students undertaking postgraduate study. The following reference books should be available at university careers services: Awards to Women for Graduate Research; Directory of


Grant-making Trusts; LEA Discretionary Awards for PG Courses; The Grants Register. Revis Fund The University can award small grants to students who are unemployed or on a low income to cover some of the cost of tuition fees. Further information is available from the Student Support Office website. Financial aid packages/Scholarships

US/UK Fulbright Scholarships (funding for US students to support study at postgraduate level outside the US) US students can bring their Federal Stafford loan to the UK. This is currently $18,500 / year (about £9,000 / year) which is offered at a very low interest rate. Nottingham is a FAFSA approved UK institution - our code is G08920. For more go to


Career Development Loans Available nationally through a partnership arrangement through the DfES and Barclays, Clydesdale, Co-operative Bank and the Royal Bank of Scotland. More information is available from your Careers Service or by telephoning 0800 585505. The loan has to be repaid when you start work. Entente Cordiale Scholarships A scholarship scheme for outstanding British and French postgraduate students in the arts, humanities and sciences, who wish to undertake research for one year on the other side of the channel. Candidates must be either British or French nationals. The application deadline for French students wishing to study in the UK is usually early February. For further information please go to The British Council's website.



Postgraduate opportunities
Research student entitlements

Research students are entitled to request financial assistance with necessary copying and printing costs. The Department offers bursaries of £50 p.a. in each category (non-transferable) to full-time research students and £25 p.a. to part-time research students to assist with such expenses; payments will be made in the form of credit placed on your Library card. Please contact the administration team during the opening hours of 10am to 1.00pm if you require this assistance. Research students may also request assistance with the cost of inter-library loans. The Department offers vouchers up to a maximum of £50 p.a. to full-time research students and £25 p.a. to part-time research students. Research students delivering papers at national or international conferences may request a small bursary to assist with travel expenses. You should approach Mervyn Cooke with any such requests.


Other sources of financial assistance for postgraduate students

Various sources of financial assistance for research expenses are available to postgraduate students. Royal Musical Association: offers Student Research Grants of up to £150. See Music and Letters Trust: offers grants to support music research; applications from students particularly welcomed. Deadlines in May and November. See pg_funding_introduction.php Music Analysis Development Fund: bursaries available for students engaged on analytical projects. See musadevelopmentfund.htm University of Nottingham Graduate School: Travel Prizes available for research students on a competitive basis. Four deadlines through the academic year. See gradschool/travelprizes.phtml



Teaching opportunities for research students

It is Department policy to provide research students with teaching opportunities wherever possible, subject to curriculum requirements and suitable expertise. Such opportunities will mostly be offered to second- and third-year research students, and appropriate training courses will be arranged with the University’s Staff and Educational Development Unit. Payment is made in accordance with University pay guidelines. If you are interested in being considered for teaching, speak to your supervisor and to the Director of Postgraduate Studies.



Quality assurance
University Regulations

The University is bound to operate according to its official Regulations. These may be found on the University web site at


Quality Manual

The Quality Manual is a central source of information for policies and procedures which support the University in its aim to assure the quality of its learning, teaching and supervision. Admissions, Taught Courses, Research Students, Examinations, External Examiners, Appeals, Career Development, Training and Staff Development are all covered. Some of the pages of the Manual will be directly relevant to students, others only relevant to staff, whilst a third category will be useful to all. The Manual is easier to navigate than the Regulations pages and is a good first port of call if you are doubtful about your entitlements and responsibilities as a student. The Quality Manual may be found on the University website at


Committees and Student Representation

The Committee for Postgraduate Studies (CPGS) is the formal decisionmaking mechanism for postgraduate-related issues in the Department. It is made up of members of staff and two postgraduate representatives, one for MA students and one for research students. Representatives are elected at the beginning of each academic year. The Committee meets at least once a term, and its remit includes course development, student facilities, monitoring of student progress, and assessment issues. If you have suggestions about changes that could be made to improve your or your fellow students’ experience, you should talk to your representative who will raise the matter at the next meeting. The terms of reference for the Committee are displayed on the postgraduate notice board in the foyer area outside the General Office. The Postgraduate Student-Staff Feedback Committee (SSFC) reports to the Committee for Postgraduate Studies, and meets at least once a semester, usually about a week before CPGS meetings. The committee consists of the Director of Postgraduate Studies, PG Student Reps, and other PG students. The purpose of the PG SSFC is to discuss matters of concern in greater detail than is possible at CPGS meetings, in order to address PG concerns effectively and efficiently. The PG student reps are responsible for chairing the meeting, collecting feedback from their fellow students, representing those views at meetings, and disseminating feedback from the meetings.


Members of the committee are asked to be sensitive to the nature of issues under discussion. In particular, discussion about individual members of staff will not be entered into at SSFC meetings; such concerns should be raised privately with the Director of Postgraduate Studies, or the Head of Department.


External examiners

External examiners from other institutions are involved in all assessment of postgraduate students. An external examiner is appointed specifically for the MA in Music; the examiner may attend MA examination board meetings, view a sample of work, and attend performance recitals in the summer. The current External Examiner for the MA in Music is Dr Ken Gloag from the University of Cardiff. (For further details see Appendix 4 of this booklet, ‘MA in Music: procedures for progression, re-examination and the involvement of external examiner’.) External examiners are also appointed individually for the assessment of every MPhil, PhD, AMusM and AMusD submission.


Annual Review for research students

A crucial part of the guidance offered to research students in the Department takes the form of an Annual Review. Research students are engaged on large, long-term projects, and it is essential that progress is monitored regularly in order that the completion and submission of the thesis can be approached with confidence. Accordingly, at yearly intervals research students will be required to submit a sample of their work for assessment by a member of the teaching staff other than their supervisor. This is a valuable opportunity to share ideas with and receive feedback from a fellow academic, as well as providing useful interim goals for ongoing research. Research students must take responsibility for ensuring that their Annual Reviews take place at the appropriate stage of their studies, and should liaise closely with their supervisor to this end. A full description of the Annual Review procedure is included as Appendix 5 of this booklet.


Director of Postgraduate Studies

The Director of Postgraduate Studies (Mervyn Cooke during the Autumn Semester and Sarah Hibberd during the Spring Semester) oversees all postgraduate-related academic matters in the Department. If you have a query or problem regarding your studies, feel free to contact them straight away ( If you have a more practical problem, for instance concerning Department


facilities and access, your first port of call should be Liz Hickling (, who has particular responsibility for postgraduate matters.


VII Beyond the Music Department
The University is a complex institution, and you will come into contact with many parts of it during your time here. Below you will find an introduction to some other bodies within the University; for fuller details, explore the University website.

VII.1 Graduate School The University’s Graduate School is an administrative body which provides a focus for postgraduate education and represents the needs of postgraduate students within the University. One of the most important functions of the Graduate School is the provision of an extensive Research Training Programme (RTP). All students on the MA in Music will take three units from the RTP as part of the Research Techniques module; AHRCfunded research students are also obliged to follow a programme of RTP units, and other research students are encouraged to make use of the service. The RTP contact person in the Graduate School is Pauline Harris, who is always happy to advise students on any aspect of their research training. A recent development is the creation of a new Graduate Centre in the Trent Building which will serve as the home of the Research Training Programme and broaden the Graduate School’s ability to support the postgraduate research community. The Graduate School also offers Travel Prizes to research students (for which there are four deadlines throughout the year), and co-ordinates events and conferences for the postgraduate community. For more details, see The Graduate Centre has recently created an Arts Hub, organised by Rebekah Smith McGloin and Sarah Kerr, whose remit is specifically tailored to meeting the needs of PG students in the Arts and Humanities. They run a dynamic series of meetings and symposia throughout the year, offer a series of internships within the university and beyond for students seeking professional work expertise, and welcome suggestions for future events and initiatives.

VII.2 School of Humanities The Department of Music is one of six Departments contained within the School of Humanities (the others are the Departments of Archaeology, Art History, Classics, Philosophy and Theology). The School guides policy within each of the Departments, not least in regard to postgraduate studies. A range of postgraduate awards is provided by the School,


including PhD studentships. The School also co-ordinates a series of social activities for postgraduate students, and is an invaluable source of information on questions of finance. At some stage you are likely to encounter some or all of the School administrative staff: Professor Stephen Mumford (Head of School), Deb Booler (School Manager), and Helen Smith (School Administrator). Further information about the School may be found at

VII.3 Information Services Information Services is the collective name for a range of University services including the University Library and computer provision. The University Library is split across a range of sites on a number of campuses. Those of principal interest to Music students are the Denis Arnold Music Library on the ground floor of the Department of Music, and the Hallward Library. The Hallward Library is situated in the centre of the University Park campus and stocks the majority of other humanities and social science texts. Information Services also manage IT provision across the University. They maintain the Computer Laboratory in the Department of Music, plus a number of open-access computer areas throughout the campus. To get access to the software provided on the machines, you need to register: go to any IS-maintained computer (including those in the Department Computer Lab or Postgraduate Room) and follow the instructions. IS provides help lines for any IT-related difficulties you may encounter. For full information on Information Services, see

VII.4 Concerts and Music-Making Lakeside Concerts A wide range of concerts is presented in the Djanogly Recital Hall (DRH), other venues on the campus, and also in the City of Nottingham. Full details of these, and of the regular lunchtime concerts promoted by our student music societies, are published in the Lakeside Brochure, which is available at the beginning of each term (and online at All music students are eligible for a limited number of free and reduced-price tickets for Lakeside concerts: enquire at the Box Office in the DH Lawrence Pavilion for details.


The administration of concerts is the responsibility of the Lakeside Arts Centre team, led by Dr Catherine Hocking. The team is based in the DH Lawrence Pavilion opposite the Music Department. Societies Lakeside also works closely with the award-winning student-run societies Mussoc and Blowsoc, which administer a wide range of orchestras, choirs and ensembles, offering performance opportunities to all students. For more information, see the booklet A Guide to Musical Life at the University of Nottingham (also available on the Department website), and the society websites: and

VII.5 Beyond the PhD - Careers for Music Postgraduates Postgraduates who have studied at Nottingham are in considerable demand across a wide range of different professional and practical vocations. Recent graduates have pursued careers in music publishing, broadcasting, the legal profession, accountancy, teaching and arts administration, as well as becoming academics and professional performers. The critical skills developed by music postgraduate students are transferable and highly prized by employers, while the Nottingham PhD also provides an ideal grounding for a postdoctoral research career. For students who wish to continue their work in academia, there are a number of options at postdoctoral level. The British Academy offers a small number of postdoctoral scholarships (details at The Leverhulme trust operates a similar scheme, called ‘Early Career Fellowships’, which are similarly competitive. Other fellowship opportunities which may be offered as part of individual academic-led research projects at UK institutions are usually advertised in specialist journals (the RMA newsletter) and relevant sections of the national press—particularly the Times Higher Education Supplement (published on Fridays) and the Higher Education pages of the Guardian newspaper (Tuesdays). You should also consult the standard online academic jobs pages,,, and the RMA/AMS websites. Colleges at Oxford and Cambridge also offer their own postdoctoral positions, normally called Junior Research Fellowships—these are advertised in local papers (the Cambridge Reporter and Oxford Gazette) and sometimes in the national press. They are highly competitive, and normally require the submission of a large amount of written work from the thesis before the interview stage. Getting that first university job, if you are keen to pursue a career in academia, can be hard work and dispiriting at times, but it is not an impossible task. Consult the sources listed above for vacancies, and talk to your supervisor about preparing your CV and gaining appropriate teaching experience and publications as you enter the final year of your PhD. Most universities seeking junior appointments are looking for a balance of


potential and academic expertise - taking advantage of the teaching opportunities at Nottingham and presenting and conferences both here and elsewhere are a useful way of building up your portfolio but the bottom line (in most cases) remains the quality and importance of your research. Your supervisor is normally best placed to advise about career options, but you may also consult the Director of Postgraduate Studies, and other members of staff are often happy to share their own thoughts and experience.


Appendix 1 MA Performance Recital: Supplementary Requirements and Guidelines The formal requirements for the module Performance Recital (W3D035) are given in the current edition of the Catalogue of Modules, which is available on-line ( module catalogue). These additional notes set out the supplementary requirements for the recital examination, which is a public recital given in the University’s Djanogly Recital Hall. The recitals are intended to avoid, as far as possible, the artificiality of examination conditions, and seek to establish true performance conditions with appropriate audience response. Accordingly, all Performance Recital students are strongly encouraged to gain performing experience by participating in the Music Society's series of lunchtime concerts held throughout the academic year. Lessons Students receive 22 hours of tuition on their chosen instrument/voice, spread across the whole year (for full-time students) or two years (for part-time students). The Department will permit a student to receive lessons from a teacher other than those who are employed by the Department only in exceptional circumstances. The Department will not normally permit a student to change his/her tuition-instrument during the academic year. Performance students will be examined only on the instrument or voice for which they have received University-funded tuition. Lessons for students who wish to study a second instrument/voice may be arranged privately at the student’s own expense. The Department will charge any student who misses an instrumental lesson, without good cause, the full cost of that lesson. Date of recitals The recital examination will take place at or near the end of September. Dates will be arranged in consultation with candidates and subject to the availability of examiners and the Djanogly Recital Hall. Duration of recitals The length of the recital examination is 55-60 minutes. Any significant shortfall or overrun of this limit will be penalised. The total playing time of the programme should be somewhat less than the total time allowed, in order


to accommodate short pauses between items and audience applause. In addition, wind players and singers are permitted to take a short off-stage break. The exact calculation of the playing time will therefore depend on such factors as the number of items, the opportunities for applause, and whether a break is to be included. Candidates are entirely responsible for all aspects of the stage-management of their recitals, including stage layout, the operation of the lighting and airconditioning controls, provision of page-turners, etc. Programme notes Each candidate must write short original programme notes (two sides of A4) to accompany his or her recital. It is important to note that the University’s policy on plagiarism applies to programme notes as well as to essays and coursework. All programme notes must be word-processed, and a printed final-copy must be submitted to the Departmental Administrator by 4:30 p.m. one week in advance of the recital date. Late submission of the programme notes will be subject to the same mark-penalties as for coursework; thus, if your hard copy is delivered one day late then your recital mark will be lowered by 5 percentage points. Accompaniment and ensembles Performers are responsible for finding an accompanist (if required), and are (within reason) responsible for the quality of the accompaniment and of the general ensemble. The Department is not able to assist with the cost of hiring professional accompanists, though several local pianists are regularly hired by students to assist in this capacity. Accompaniment by an instrumental ensemble is not permitted except where performance conventions require the provision of additional continuo instruments (e.g. in baroque works) or a jazz rhythm section and/or front line. Performers may elect to be examined as duos, trios or quartets rather than as individual candidates. In such cases, the convenor of the module must be notified no less than four months before the recital date. Programme content Candidates are expected to perform at a standard equivalent to the Associated Board of the Royal School of Music's FRSM examination, and are advised to consult the FRSM syllabus for indications of the appropriate level of repertoire. Full details of the relevant syllabuses are given in the ABRSM’s web site (


Quality of programme planning is vitally important. Recitalists may choose to represent the repertory of their instrument or voice-type in a balanced way or to present programmes of more specialised content. All recital programmes should be well-proportioned as to style and mood, containing perhaps one or two larger-scale works which can serve as centres of focus. Transcriptions and arrangements are permitted. Presentation Although performances are judged primarily on technical and interpretative merit and on period style and attention to detail, all aspects of recital presentation – including general comportment on the platform – are taken into consideration by the examiners. Recitalists are strongly urged to attend as many DRH/evening concerts as possible to gauge the presentational qualities of professional concerts. Credit may be given for performance from memory. Jazz performance Candidates presenting themselves for assessment in a jazz idiom that involves improvisation should observe the following: 1. The examiners must be supplied with a fully notated copy of the head melody or melodies on which the performance is based, including chord symbols (preferably in a format comparable to that adopted in the published volumes of The Real Book housed in the Music Library), together with a brief verbal description of the outline structure of the performance (e.g. ‘Head – 1 x Piano chorus – 2 x Sax choruses – Trading fours – Head’). Programme notes must be provided, and candidates are encouraged to take the opportunity to use them to outline their approach to the raw material on which their improvisations are based, and their thoughts on relevant stylistic issues. The provision of a rhythm section or front line, where required, is the sole responsibility of the candidate. As in recitals featuring music in other styles, the performance will be assessed partly on the basis of general considerations such as competency of technique, efficient presentation, stage manner, communication with the audience and awareness of contrasting idioms. Assessment of the content of improvisations may include consideration of the following factors, as appropriate to the style of performance:


3. 4.



(a) (b) (c) (d) (e)

overall shape and pacing; relationship between pitch choice and underlying harmonic changes; motivic content, both within the improvisation itself and with relation to the head melody; rapport with rhythm section or front line (as appropriate); expressive use of timbre.

For jazz arrangements that do not involve improvisation on the part of the soloist (e.g. interpretation of a transcribed solo), the examiners must be provided with a fully notated copy of the score. In cases where the arrangement is only partially notated, the examiners must be provided with as complete a skeleton score or lead sheet as possible. Singers Vocal items should be sung in the language in which they were composed, and appropriate care should be given to matters of pronunciation. When performing early music, consideration should be given to matters of embellishment and other performance conventions appropriate to the relevant historical period. Singers are actively encouraged to explore different languages and idioms; however, there is no requirement to tackle a broader range of repertoire than for a comparable instrumental recital. Jazz songs may be performed in any key, but the examiners must be provided with sheet music or a melody/chord chart (including full lyrics) in the same key as the performance. Copies of recital music All recitalists are required to supply, for the use of the examiners, one copy of each piece in the edition to be used. Careful consideration should be given to the choice of edition, and Urtext editions should be used wherever possible. Copies of all music should be handed in to the Administrative Assistant (Jocelyn Allen) no later than two working days before the date of the recital, and collected from her within a week after the recital. If you are intending to submit photocopied material, you should note the following: 1 Please make every effort to obtain a genuine second copy of each score, as photocopies are both inconvenient and potentially noisy when turning pages; If you decide that you must submit a photocopy, you will be responsible for the preparation of the material and meeting any costs involved; All photocopies must be bound in a manner that facilitates silent page-turning;





All photocopied material will be retained by the examining panel and destroyed immediately after the recital concerned.

Assessment The broad criteria used in the assessment of recital examinations are as follows: Distinction (70%-100%) The performance displays a very high level of technical mastery and musicality, combined with scrupulous attention to detail and (where appropriate) to period style. Pass (50%-69%) The performance displays a high level of technical mastery and musicality, combined with some attention to detail and (where appropriate) to period style. Fail (0%-49%) The performance is inadequate for a student who has undertaken the prescribed course of study. Feedback Students taking the Performance Recital module will receive a short written report; this will normally be sent by post a few days after the recital. General advice and queries Any questions concerning matters such as the date/timing of your recital, illnesses, programme content, etc., should be brought to the attention of Prof Cooke (Director of Postgraduate Studies) or Philip Weller (Convenor of Performance Modules) at the earliest opportunity.


Appendix 2 Guidelines for the submission of compositions for the degrees of AMusM and AMusD 1 2 The Music Department does not adhere to any particular stylistic orthodoxy. Normally, an AMusM portfolio submission should contain composition amounting to approximately 40 minutes in duration. Normally, an AMusD portfolio submission should contain composition amounting to approximately 60 minutes in duration. It is helpful (though not a formal requirement) if the submission is accompanied by a succinct written commentary outlining the compositional aesthetic that has conditioned the nature of the submitted compositions. Although this commentary is intended to be purely informative (and does not constitute a formal part of the submission) candidates should take care not to make statements within the commentary which are contradicted within the compositions. The submission should be presented within a clearly-labelled box-file that neatly holds all the submitted material. The binding of the individual scores should be secure and reliable and care should be taken to ensure that the binding does not in any way encroach on the manuscript. If performance-recordings exist of any of the submitted compositions then these should also be submitted in the same box-file. It is understood and accepted that such recordings may be slightly deficient in terms of performance-accuracy (especially if the performers were not professional musicians) and may also be slightly deficient in terms of the aural quality of the recording. These aspects of any submitted recordings will not form any part of the examination adjudication. If compositions have been revised in the light of a recorded-performance but no recording of the revised score is available, then it is better if the recording of the first version is submitted together with both versions of the score. The duration of the composition should not, in this circumstance, be counted twice. The absence of performance-recordings will not be taken to indicate any weakness of compositional ability. Performance-recordings of manuscript compositions and/or submissions of purely electronic or electro-acoustic compositions should be made on recorded Compact Disc, DAT (Digital Audio Tape) or compact cassette (with or without Dolby B noise-reduction encoding). Submissions on Betamax tape will not be accepted.







All CDs and tapes must be clearly labelled and identified. The precise duration of each recorded composition in the portfolio must be provided. It is strongly recommended that, for tape-recordings a) b) c) a separate tape is used for each composition. all 'record-permit' tabs are placed in their 'prevent' position. all unused portions of each tape are entirely silent.


Whilst every reasonable care will be taken with submitted recordings the University cannot accept responsibility for the loss of – or any damage to – the submitted material. Candidates should not submit Master recordings. Video (VHS) or DVD recordings of compositions in which the visual element is fundamental (eg an opera) are helpful but, again, a copy of the original video/DVD should be submitted. The quality of the video/DVD will not form part of the examination adjudication. For all candidates, both AMusM and AMusD, two complete boxed copies of their portfolio should be submitted. After the viva voce examination, and after any alterations and before the degree can be awarded, one boxed copy must be submitted to the Arts Faculty Office for the Hallward Library.




Appendix 3 Guidelines for the submission of text and composition for MPhil and PhD (in Composition) 1 2 The Music Department does not adhere to any particular stylistic orthodoxy. Normally, an MPhil submission should contain text not exceeding 30,000 words together with composition amounting to approximately 25 minutes in duration. Normally, a PhD submission should contain text not exceeding 60,000 words together with composition amounting to approximately 45 minutes in duration.

Presentation of the submission of compositions should follow the guidelines given for the AMusM/AMusD degrees. Presentation of the text should follow University and Faculty guidelines on the presentation of theses.


Appendix 4 MA in Music: Procedures for progression, re-examination and the involvement of external examiner Progression and re-examination 1 These guidelines are based upon and complement the University Regulations for Higher Degrees, the Supplementary Regulations for the MA in Music, and the general guidance provided by the University Quality Manual ( The Supplementary Regulations for the MA in Music state that ‘Students must complete the taught element of the course before proceeding to the writing of their dissertation or final preparation of their performance recital.’ The Supplementary Regulations also state that ‘Candidates who achieve an overall average of 50% for the taught element of the course and who pass the dissertation (or performance recital) will be awarded the degree of MA in Music.’ The practical consequence of these regulations is that marks for the taught element of the course must be agreed by internal examiners and confirmed by the external examiner by the time of the Postgraduate Exam Board at the end of the spring semester (usually early June). Even if a student fails one or more of the taught modules, they ‘may, at the discretion of the Examiners, be deemed to have passed the taught element of the course if (i) they have no taught module mark of less than 40% and if (ii) they achieve an overall average of 50% or more for the taught elements of the course’ (Supplementary Regulations). In cases where the overall average is lower, the Supplementary Regulations state that candidates ‘may be re-examined in those modules in which they failed to achieve 50%. Coursework essays will be resubmitted at a date to be determined by the examiners, and in any case not later than 1 June of the year following the first submission.’ In cases where re-examination allows progression, the date for dissertation submission or recital performance will be set back by the amount of time given for re-submission of coursework. Candidates who fail their re-examination or do not wish to be reexamined ‘may, if their work is of sufficiently high standard (normally 40% or more overall average), be awarded a Postgraduate Diploma in Music’ (Supplementary Regulations).









Involvement of external examiner 1 The Duties and Powers of the external examiner are laid out in some detail in the University Quality Manual ( For the MA in Music, the relevant duties include:  moderating a sample of scripts. The sample should include distinctions for taught masters degrees, borderline, and failed scripts;  reviewing the marking and classification to determine if they are of an appropriate standard;  attending the relevant Examinations Board at which the final assessment is made of candidates in the subject(s) for which they were appointed;  being satisfied that written School procedures for marking and classification are observed;  being influential in cases of disagreement over marking and classification, when the External Examiner's views carry particular weight;  providing an annual written report in compliance with the standard requirements outlined in the report form. In the case of the MA in Music, there is an additional important duty:  attending the end of course performance recitals, which usually take place towards the end of September. In order that the duties listed under (2.) can be fully carried out, it is necessary that the external examiner should have access to marks and scripts for coursework for the whole academic year prior to the spring semester Exam Board. The external examiner must be able to confirm marks and offer comments and observations for this Exam Board. It is not necessary for the external examiner to attend this Exam Board in person, although s/he may choose to do so. Given the small number of students generally involved, it is normal to send coursework scripts for all students plus internally agreed marks to the external examiner a week in advance of the spring semester Exam Board. The external examiner may ask to see autumn semester work and marks in advance of the end of the spring semester. As the external examiner may not see autumn semester work until the end of the spring semester, marks agreed at the autumn semester Exam Board (normally in January) must remain provisional until the spring semester Exam Board. No coursework marks will be fed into Saturn, the university’s online record system, until after the spring Exam Board.





6 7


MA Learning Outcomes and Marking Criteria On successful completion of the MA in Music programme, students should be able to demonstrate the following: Knowledge and Understanding Knowledge and Understanding of:     A1. Research approaches, critical debates and methodologies in current musicology A2. Historical and contemporary contexts of musical and cultural production A3. Relevant research tools, such as databases and electronic sources A4. Comparative methods and modes of interpretation and/or critical thinking

Intellectual Skills     B1. The ability to engage in close study and/or analysis of musical texts or critical research in historical musicology B2. The ability to research, assess and interpret evidence from a range of different historical, analytical or musical sources B3. The ability to evaluate current research and scholarship in the field B4. Innovation and creativity in the application of knowledge to the field of musicological research

Professional/Practical Skills  C1. The ability to articulate knowledge and understanding of historical, cultural and theoretical contexts for musicological research C2. The ability to construct, execute and communicate sustained interpretation or analysis of texts and critical arguments to a high standard of accuracy in both content and presentation C3. The ability to perform independent research, using appropriate scholarly resources C4. The ability to evaluate and integrate new knowledge and new research methodologies


 


Transferable/Key Skills     D1. The ability to communicate research efficiently in written and oral presentations D2. The ability to conduct self-directed research and study D3. The ability to write clearly and comprehensively D4. The ability to interpret complex sources of data both systematically and creatively, with due regard to issues of critical judgement and ethics as appropriate

Marking Criteria (for written work) Marks will normally be awarded based on the following criteria: Grade 70+ (Distinction) 60-69 (Merit) 50-59 (Pass) Criteria Excellence in the majority, if not all, of the learning outcomes, with outstanding attention to detail, presentation and research and substantial evidence throughout of originality and independence of critical thought. A fine performance in many of the learning outcomes, with some areas of outstanding achievement and close attention to detail and presentation. There must be consistent evidence of originality and independence of critical thought. A satisfactory performance in many of the learning outcomes, with no areas of significant weakness. Careful thought must have been given to matters of presentation and detail, with some evidence of originality and independence of critical thought. Satisfactory performance in some of the learning outcomes, but significant weaknesses in others. Poor presentation and attention to detail, and only intermittent evidence of originality and independence of critical thought. Unsatisfactory performance in the majority of learning outcomes, with substantial weaknesses in many areas. Poor presentation and attention to detail, and little evidence, if any, of originality and independence of critical thought.

40-49 (High Fail) 0-39 (Low Fail)


Appendix 5 Research student Annual Review procedures The University’s Quality Manual requires academic units to operate a robust annual review system to monitor the progress of postgraduate research students. The purpose of this document, which is based on the guidance provided by the Quality Manual, is to outline how these procedures are to be implemented in the Department of Music. Timing The first Annual Review should take place between 9 and 12 months (and no later than 15 months) after the student has registered, with subsequent reviews taking place at 12 month intervals beyond that. This applies equally to full-time and part-time students. Students may be permitted to transfer from MPhil to PhD (or from AMusM to AMusD) status following satisfactory performance at the first Annual Review (full-time students) or the second Annual Review (part-time students). Such transfer may also be delayed to later Annual Reviews. Material to be submitted The Quality Manual suggests that Annual Reviews for part-time students should follow the same format as for full-time students. However, there is good reason to expect a less substantial submission from a part-time student at their first Annual Review, and arguably also at subsequent oddyear Reviews. Therefore, a distinction is made between full Annual Review submissions (every year for full-time students, every second year for parttime students) and ‘interim’ Annual Review submissions (intervening years for part-time students). For MPhil/PhD: Full submissions will normally comprise: a detailed thesis plan (1000–1500 words); a bibliography; a completed chapter or other substantial piece of writing or research with appropriate critical commentary (minimum 10,000 words); a timetable for the remaining period of registration. Interim submissions will normally comprise: a detailed thesis plan (1000– 1500 words); a portfolio containing all written work from the preceding year. For AMusM/AMusD: Full submissions will normally comprise: 2 completed scores with a textcommentary; a plan for the remaining period of the course. Interim submissions will normally comprise: 1 completed score with a textcommentary; a plan for the remaining period of the course.


Examination procedure Full submissions will be assessed by two staff members, one of whom will be the student’s supervisor. Interim submissions will be assessed by one staff member who is not the student’s supervisor. It is the responsibility of the supervisor to oversee the preparation of materials for submission. Copies of the submissions (two copies for Full submissions, one copy for Interim submissions) should be delivered to Elizabeth Hickling no later than two weeks before the examination. AHRC-funded students must also submit their research-training portfolio, containing proof that they have completed the programme of research training agreed with the supervisor. These materials will be passed immediately to the assessors. The examination itself will normally last between 30 minutes and an hour. A written record of the examination must be made on the approved Annual Review report form (see Quality Manual). This form also allows recommendations to be made regarding transfer to PhD or AMusD. The form is then passed to the student and subsequently to the student’s supervisor for their comments. The supervisor returns the completed form to Elizabeth Hickling. The outcome of each Review will be reported at meetings of the Postgraduate Studies Committee. Outcomes Following Annual Review, recommendations may be as follows: (a) Progress is satisfactory. Existing registration may be confirmed, or upgrade to PhD/AMusD registered (as appropriate). (b) Progress is unsatisfactory. In this case, students will be required to resubmit within a month of the Review, the resubmission to be examined by the same assessors. The Annual Review report form will give advice on how the submission may be improved. If the resubmission is unsatisfactory, then downgrading or termination of the student’s course may be necessary.


Appendix 6 Sources of Help and Support Many useful items of documentation such as course and module details, working practices, regulations, studentships, the students’ union, the library, academic computing services, language centre, welfare and support services are available through the University’s website ( Student Services Centre The first port of call for information and support throughout your student life on the following range of services:           Student Loans & Grants University Bursary Scheme Access to Learning Funds A range of Financial Support Funds Payment of Fees IT support sessions Production of documentation (letters and transcripts etc.) Disability support Academic Support (Study support, dyslexia support, ACCESS Centre) Student Portal and ‘Ask Nottingham’: on-line information and selfservice facilities

B floor, Portland Building, University Park Campus. Tel: 0115 9513710 Fax: 0115 8232083 Email: Individual Services (in no particular order): 1 Accommodation Services Cherry Tree Hill, University Park, Nottingham, NG7 2RD Monday—Friday, 9.00am-5.00pm (except on Tuesdays, close at 4.30pm) Tel: +44 (0)115 951 3697, Fax: +44 (0)115 951 3670. Email: ugaccommodation 2 Chaplaincy (, tel 0115 951 3931, There are a number of University Chaplains of various faiths. You can expect to find at least one in the offices during office hours in term time. 3 University Counselling Service (ext 13695 and tel 0115 9513695) The University Counselling Service is a confidential service open to all University students. Appointments can be made between 9.00 am and 12.30 pm and between 2.00 pm and 4.30 pm, Monday to Friday


4 Hall Wardens & Tutors: If you are living in Hall, you will be assigned a Hall Tutor, and both the Hall Tutor and the Hall Warden will be concerned to look after your welfare and happy to discuss any problems that you may have. 5 Nightline (ext 14985 and tel 0115 9514985) This is a confidential telephone advice and counselling service. It is usually open every night in term time between 7.00 pm and 8.00 am, except during Week One when it is open between 5.00 pm and 8.00 am. Nightline also provides information such as bus and train times, and telephone numbers for 24-hour plumbers, doctors and chemists. 6 The Samaritans (tel: 08457 90 90 90) A nation-wide charity which provides confidential emotional support to anyone in crisis. They are available 24 hours a day, 7 days a week. 7 Focusline (tel: 08000 272127) A 24-hour telephone support service for people experiencing mental distress. The service offers confidential support and information to people with mental health problems and their carers. They offer telephone support 24 hours a day, 365 days a year. 8 NHS Direct (tel: 0845 4647) Offers medical advice and health information. 9 Student Union (tel 0115 935 1100.) More information on all the University welfare services can be obtained directly from the Students' Union in Portland Building. The Students' Union Students with Disabilities Association exists to represent the interests of students with disabilities at The University of Nottingham. Its aims are to promote equality of opportunity and to ensure that students with disabilities can participate in all aspects of University life. The association also provides information, support and advice as well as organising a range of social, sporting and other activities during the year. If you would like further information, want to join or get involved please contact us at: Tel: 0115 846 8771 Ext: 68771 (internal) email: 10 University Health Service (ex. 68888; external tel. 846 8888) The Health Service is located at Cripps Health Centre. 11 The International Office offers advice about issues such as immigration, work permits, finance, personal and academic problems as well as helping students from other countries adjust to living and studying in the UK. Any student from outside the UK may consult the adviser. The University also has an International Students’ Bureau (ISB), which is part of the Students’ Union. The Bureau organises events for international students and also publishes a magazine, The Voice. The ISB office is on the B floor of the Portland Building.


12 University Card Enquiries Security Office, Rear of the Hallward Library, University Park, Nottingham, NG7 2RD. Tel: 0115 95(15759). Email: DISABILITY The Music Department, the School of Humanities, and the University are all committed to promoting access for students who have a disability, dyslexia and/or a long-term medical condition. We aim to enable students to fulfill the requirements of the course as independently as possible. The University’s Disability Plan for Students and disability statement (below) can also be accessed from the Disability Policy Advisory Unit: What we need you to do …. It is your responsibility to ensure that the University is aware of your individual requirements. If you have a disability, specific learning difficulty (such as dyslexia) or long-term medical condition, you are strongly recommended to make an appointment with Academic Support who can provide specialist support and advice. They will also ensure that your requirements are assessed and recommendations are made to the School to ensure that the level of support you receive throughout your course is adequate. If you do not wish information regarding your requirements to be shared, eg you wish only to disclose to your personal tutor or other member of staff, then the School will have difficulty in providing the level of support you require. What we can offer you ….. Academic Support, in Student Services, includes the Disability and Dyslexia Support teams, and offers a range of academic and practical support for all students. It incorporates a recognised ASSESSMENT Centre for those who wish to apply for Disabled Students’ Allowances, carrying out the assessments required by your LEA or funding body. In addition to making recommendations to the School for adjustments to study support, Academic Support is also responsible for making recommendations for alternative arrangements such as those required in examinations, assessments and for timetabling. Assistance can also be given with regard to queries about adapted accommodation and University provision of accessible transport. School Disability Liaison Officer (DLO) The DLO for the School of Humanities is Helen Smith. Tel: +44 (0) 115 951 4766 Email:


Appendix 7 PRACTICAL DEPARTMENT INFORMATION AUDIO-VISUAL ROOMS The Department’s video archive is in room B7; the DVD collection is in the Music Library. Videos and DVDs may be viewed in B7. Keys for B7 can be signed out from the Administration Office. BUILDING ACCESS The Music Department is normally open between 9.00 am and 6.00 pm during term-time. Entrance is possible outside these hours by the use of your University Card. COMPUTER ROOM There is a Computer Room for use by Music single and joint-honours students in room B1. Please read notices about access to the room, and observe the rules that are posted on the notice board. This facility is maintained by Information Services, not the Department of Music; therefore, any technical problems should be reported to the Information Services student IT helpline on ext 13325, or at The helpline is staffed between 08:00 and 21:30, Monday to Friday (although the service level is reduced outside 09:00-17:15). Students are required to pay for printing costs. First-year students wishing to receive basic instruction in wordprocessing have an opportunity do so at the Cripps Computing Centre. DJANOGLY RECITAL HALL (DRH) AND REHEARSAL HALL (RH) The Djanogly Recital Hall and Rehearsal Hall may each be booked for private practice and ensemble rehearsals during those times when it is not otherwise required. See instructions on the Lakeside noticeboard outside room A4. DRINKS AND FOOD Drinks machines are located in the Anstey Room, which is the Student Common Room. Food and drink are not allowed elsewhere in the Music Department, as we wish to keep our equipment in good order, and our surroundings pleasant for all. E-MAIL AND I.T. All students should register to use the computer services provided by the University's Information Services. This can be done using the selfregistration option on the computers in the Department's Computer Room or elsewhere on campus; you need only your student registration number. Once you are logged in you can access the University e-mail system. Firstyear students wishing to receive basic instruction in word-processing have an opportunity do so at the Cripps Computing Centre.


EMERGENCIES The University's internal telephone number for fire, health or other emergencies is 8888. FIRE ALARM Fire alarms are located throughout the Lakeside Arts Centre. Please make sure that you are familiar with the notices posted on what to do if you discover a fire, or hear the alarm. On hearing the alarm you should vacate the building immediately and assemble in the car park by the rear door. FIRST AID The First Aid box is located in the General Office, Room A4. You should contact the porter if you require first-aid attention. All accidents must be reported using the on-line Accident Report Form available at and must include any accidents to people visiting the Department, or using conference facilities. ILLNESS Should you be unable to come into the Department because of illness, or other reasons, you should notify one of the Administration team or a member of academic staff. LOCKERS A number of lockers are available in the student common room. These are suitable for small instruments and personal items. If you wish to use a locker, contact one of the Administration team. There is a £10 refundable charge for lockers. LOST PROPERTY If you have lost any personal possessions you should first contact the Porter, Mrs Pauline (Polly) Smith ext 13645. Items of lost property which are not claimed within 24 hours are passed on to the University Lost Property Office. Please hand in any items of lost property to the porter. MUSIC LIBRARY The Music Library (ext 14596 and tel 0115 9514596) is usually open at the following times: 9.00 am - 9.00 pm 1.00 pm - 5.00 pm 9.00 am - 12.30 pm 1.45 pm – 4.45 pm Monday to Friday Saturday Monday to Friday Monday to Friday Term-time Term-time Vacations Vacations


NOTICEBOARDS Notices may only be posted on the official noticeboards, and there should be no more than one notice for each event/advertisement. Outside General Office: Undergraduate and Postgraduate noticeboards: Details of courses, examinations and official University notices. Students should look at their noticeboard frequently as it will contain important information on modules, exams, etc. Outside Student Common Room: Music Society noticeboard It is not permitted to post notices on the windows in the Foyer or elsewhere in the building. PHOTOCOPYING Photocopying facilities are available in the Music Library. Postgraduate students are only permitted to use the photocopier in the general office for material required for seminar presentations and must request access from the Admistration team during the opening hours of 10am to 1pm. PIGEONHOLES Pigeonholes are located outside the General Office (A4). Do check your pigeonhole frequently. It is one of the most important channels of communication between staff and students. PRACTICE FACILITIES The Practice Rooms are on the ground-floor corridor, opposite the Student Common Room. A sign-up booking system controls access to all the practice rooms, including the Rehearsal Hall. The Endsleigh Room and the Seminar Room may not be used for practice. Practice on the organ in the Foyer is restricted and students wishing to practise on it should contact one of the Administration team. Students wishing to practise on any of the other campus organs should speak to the Lakeside Music Officer. RECORDING STUDIO Keys to the Recording Studio (B19) are issued only to students who have been authorised to use the room by Dr Nicholas Sackman and can be obtained from the Admistration Office. They must be used at the time specified and returned promptly. RELIGIOUS OBSERVANCE The University respects the rights and religious views of its students. Full information on the University’s Protocol relating to the absence from an examination because of religious observance can be found at


SAFETY MATTERS The Music Department Health and Safety Officer is Mrs Ruth Hickling. Please bring matters of concern regarding building or personal safety to her attention. SECURITY It is important that you do not leave instruments and other belongings unattended and that all your personal possessions are clearly marked and properly insured. The Department and University are not responsible for damaged, lost or stolen instruments. The back door to the Department should never be left open. SMOKING The Music Department, and most of the University, is a smoke-free area.


Appendix 8 DEPARTMENT OF MUSIC: IMPORTANT DATES 2009/10 Autumn Semester (1) Monday 21 September Monday 28 September Friday 11 December Friday 11 December Monday 11 January Monday 11 January Monday 11 January, 1.00pm Friday 22 January Spring Semester (2) Monday 25 January Monday 25 January Thursday 1 April Tuesday 4 May Friday 7 May Thursday 13 May, 1.00pm Friday 18 June TBC TBC TBC Spring semester begins Teaching begins Spring term ends Summer term begins Teaching ends Final deadline for submission of MA coursework for spring semester Session ends Deadline for submission of MA dissertations MA Recitals MA Examiners’ Board Meeting Session begins Teaching begins (Music Department) Teaching ends Autumn term ends Spring term begins Examinations begin Final deadline for submission of MA coursework for autumn semester Autumn semester ends