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									            A GUIDE FOR UNDERGRADUATE STUDENTS

                                  CONTENTS
                                                                  Page

    INTRODUCTION                                                    iii

    EQUAL OPPORTUNITIES STATEMENT                                   iv

1   ACADEMIC STAFF AND RESEARCH INTERESTS                            1

2   ACADEMIC YEAR 2008/2009                                          3
    2.1  Dates of Terms etc. (3)
    2.2  Schedule of Weeks (4)
    2.3  Timetable (5)
    2.4  Submission Dates and Deadlines (5)
    2.5  Extension of Deadlines with Penalty (5)

3   THE DEPARTMENT                                                   6
    3.1   Introduction (6)
    3.2   Members of Staff and Department Responsibilities (6)
    3.3   Department Sub-Committees of the Department Board (8)
    3.4   Music Library (8)
    3.5   IT Suite (9)
    3.6   Modes of Teaching (9)
    3.7   Instrumental and Singing Lessons (10)
    3.8   Practice Rooms (11)
    3.9   Instruments (12)
    3.10  North Tower Studios (12)
    3.11  Notices and Communication (12)
    3.12  Complaints (13)
    3.13  Last But Certainly Not Least (13)

4   UNDERGRADUATE DEGREE PROGRAMMES                                 14
    4.1  Programmes (14)
    4.2  Component Course-Units (14)
    4.5  Learning Outcomes (15)
    4.6  Study Abroad (20)

5   ASSESSMENT FOR UNDERGRADUATE DEGREE PROGRAMMES                  21
    5.1  Marks, Honours Classification and Criteria (21)
    5.2  Coursework Marks (24)
    5.3  Assessment (Examination) (25)
    5.4  Visiting Examiners (25)
    5.5  Classification (25)
    5.6  Notification of Results (25)
    5.7  Requirements for Progression (26)
    5.8  Retention of Work (26)

6   REQUIREMENTS FOR ACADEMIC WORK                                  27
    6.1   Attendance and Other Commitments (27)
    6.2   Submission of Coursework (27)
    6.3   Failure to Complete Coursework (28)
    6.4   Presentation and Other Requirements (28)
    6.5   Plagiarism (29)
    6.6   Return of Coursework (30)
    6.7   Student Feedback (30)
    6.8   Ethical Issues (30)




                                          i
7      STUDENT SUPPORT                                                              31
       7.1  Advisors and Other Support (31)
       7.2  Student Representation (32)
       7.3  Careers (32)
       7.4  References (32)

8      PERFORMANCE                                                                  34
       8.1  Administration (34)
       8.2  Orchestras, Choirs and Other Groups (34)
       8.3  Concerts, Recitals, Workshops and Masterclasses (34)

9      UNDERGRADUATE SCHOLARSHIPS AND PRIZES                                        36
       9.1  Instrumental Scholarships (36)
       9.2  Prizes (36)

APPENDICES
Timetable, 2008/09
Undergraduate Programme Specifications and Course Specifications are available at
www.rhul.ac.uk/Music/For-Students/.




                                              ii
INTRODUCTION

This Guide provides basic information about the Music Department, Royal
Holloway, University of London, for its academic, research and administrative
staff, and for its non-established teachers and associates. It contains the
information given to students in the Department Guide for Undergraduate
Students (Sections 1-3, 4A, 5A, 6-8, 9A) and in the Guide for Postgraduate
Students (Sections 1-3, 4B, 5B, 6-8, 9B, 10) together with further information
for staff (Sections 11-19) and Appendices. The Department Guide supplements
rather than replaces the College Regulations and other College handbooks,
codes of practice etc.; you will find many of these on the RHUL website and
should consult them as necessary. In cases of dispute or discrepancy, the
College Regulations etc. will supervene over anything stated (or not) here.

I hope you find this Guide helpful. Every attempt is made to ensure its
accuracy; subsequent changes may well become necessary in order to bring
the Guide in line with developments in College or Departmental policy. In
instances of disagreement between this Guide and current College policy or
Departmental policy agreed by the Department Board, those policies will
supervene.

                                                                James Dack
                                                         Head of Department
                                                            September 2008




                                      iii
              ROYAL HOLLOWAY, UNIVERSITY OF LONDON

                    EQUAL OPPORTUNITIES STATEMENT

The University of London was established to provide education on the basis of merit
above and without regard to race, creed or political belief and was the first university
in the United Kingdom to admit women to its degrees.

Royal Holloway, University of London (hereafter 'the College') is proud to continue
this tradition, and to commit itself to equality of opportunity in employment,
admissions and in its teaching, learning and research activities.

The College is committed to ensuring that:

•   all staff, students, applicants for employment or study, visitors and other persons
    in contact with the College are treated fairly and have equality of opportunity,
    without regard to race, nationality, ethnic origin, gender, age, marital or parental
    status, dependants, disability, sexual orientation, religion, political belief or social
    origins

•   both existing staff and students, as well as, applicants for employment or
    admission are treated fairly and individuals are judged solely on merit and by
    reference to their skills, abilities qualifications, aptitude and potential

•   it puts in place appropriate measures to eliminate discrimination and to promote
    equality of opportunity

•   teaching, learning and research are free from all forms of discrimination and
    continually provide equality of opportunity

•   all staff, students and visitors are aware of the Equal Opportunities Statement
    through College publicity material

•   it creates a positive, inclusive atmosphere, based on respect for diversity within
    the College

•   it conforms to all provisions as laid out in legislation promoting equality of
    opportunity.




                                             iv
                                                    1


1       ACADEMIC STAFF AND RESEARCH INTERESTS

Geoffrey Baker, BA Oxford, MMus PhD London
geoff.baker@rhul.ac.uk; x.3537
(Lecturer): music and society in colonial Latin America; popular music in Latin America, especially
Cuba; Renaissance and Baroque performance practice

Rachel Beckles Willson, GRSM (hons) London, MMus Glasgow, PhD London, LRAM
r.beckleswillson@rhul.ac.uk; x.4451
(Reader): 20th-century music, especially in Hungary: analysis, music and politics, historical
performance

Mark Bowden, BMus Huddersfield, MMus Royal College of Music
mark.bowden@rhul.ac.uk; x. 3948
(Lecturer): composition

Julie Brown, BA Melbourne, MMus PhD London
julie.brown@rhul.ac.uk; x.4143
(Senior Lecturer): early 20th-century music: theory, criticism and history; music and the media

Nicholas Cook, BA Soton MA PhD Cambridge, FBA
nicholas.cook@rhul.ac.uk; x.3290
(Professorial Research Fellow): theory and analysis; performance studies; multimedia; Beethoven;
Schenker; twentieth-century music

James Dack, BA BMus PhD Liverpool
j.dack@rhul.ac.uk; x.3538
(Senior Lecturer): music of the Classical period, especially the music of Haydn; textual criticism and
critical editing

Katharine Ellis, BA DPhil Oxford, ARCM
k.ellis@rhul.ac.uk
(Professor of Music): musical culture in 19th-century France; aesthetics and criticism; historiography;
gender studies

Paul Harper-Scott, BA Dunelm, DPhil Oxon
j.p.e.harper-scott@rhul.ac.uk; x.3949
(Lecturer): Elgar; Walton; Schenkerian theory

Julian Johnson, BA Dartington, MA DPhil Sussex
julian.johnson@rhul.ac.uk; x 3946
(Professor of Music): 19th- and 20th-century music and musical thought, Viennese modernism
(especially Mahler and Webern), aesthetics and sociology of music

Erik Levi, BA Cambridge, BPhil York
e.levi@rhul.ac.uk; x.3535
(Reader): political history of music, especially under fascist regimes; music of exiled composers
during the Nazi period; performance, interpretation and recording history

Brian Lock, BA East Anglia, MPhil Cambridge, PGDip Chopin Academy Warsaw
brian.lock@rhul.ac.uk; x.3231
(Senior Lecturer): composition of film and commercial music; music technology

Anna F Morcom, BA PhD London
anna.morcom@rhul.ac.uk; x.4998
(Academic Fellow): ethnomusicology, especially India and Tibet

Tina K Ramnarine, GRSM (hons) Royal Academy of Music, MMus Edinburgh, DPhil Manchester,
LRAM (violin)
tina.ramnarine@rhul.ac.uk; x.3947
                                                   2


(Professor of Music): ethnomusicology, especially Northern European and Caribbean; music, politics
and identity; performance

John Rink, AB Princeton, MMus London, PhD Cambridge, Concert Recital Diploma GSMD
j.rink@rhul.ac.uk; x.3534
(Professor of Music): 19th-century studies, especially Chopin, Liszt, Brahms; performance studies;
theory and analysis

Stephen Rose, BA York, MPhil PhD Cambridge
stephen.rose@rhul.ac.uk; x.3806
(Lecturer): German music 1500-1750; keyboard music; performance practice; social and material
history of music

Jim Samson, BMus (Belfast), MMus PhD (Wales), LRAM, FBA
jim.samson@rhul.ac.uk
(Professor of Music): 19th- and 20th-century music; Chopin; Liszt; aesthetics; performance and
analysis

Henry Stobart, MPhil PhD Cambridge, ABSM
h.stobart@rhul.ac.uk; x.3533
(Senior Lecturer): ethnomusicology, especially Bolivian music and Surinamese Maroon music;
Renaissance and Baroque performance practice

Shzr Ee Tan, BA, MMus, PhD London
(Postdoctoral Fellow): ethnomusicology, especially music of the Chinese diaspora

The Department also benefits from the contributions of emeritus professors and other honorary
appointments:

Juan-José Carreras, LicHist Madrid, PhD Zaragoza
(Honorary Research Associate): Spanish music in its political, social and cultural contexts

David Charlton, BA Nottingham, PhD Cambridge
(Emeritus Professor): 18th- and early 19th-century French music, especially opéra-comique; aesthetics
and criticism in early 19th-century Germany; performance practice

Geoffrey Chew, BMus London, MA MusB Cambridge, PhD Manchester, FRCO, ARCM
(Emeritus Professor): music analysis, especially theoretical and analytical issues in early music;
Monteverdi; reception history; music of Austria and Czech lands, 1600-1800

Albrecht Dümling, PhD Berlin
(Honorary Research Associate): Music in Nazi Germany

Rosamond McGuinness, BA Vassar, MA Smith, MA DPhil Oxford
(Emeritus Professor): Director of Computer Register of Musical Data in London Newspapers, 1660-1800

Lionel Pike, MA BMus DPhil Oxford, FRCO, ARCM
(Emeritus Professor): symphonic logic and questions of meaning in musical structure; the work of
Robert Simpson and Ralph Vaughan Williams; Peter Phillips

Stephen Roe, MA DPHIL Oxon
(Honorary Research Associate): Head of Printed Books and Manuscripts Division at Sotheby’s, London
and of the Department of Printed and Manuscript Music

Ian Spink, MA Birmingham, BMus London, FTCL, ARCM
(Emeritus Professor): music in England, c1500-1700, especially Dowland and Purcell; English song
                                              3


2     ACADEMIC YEAR 2008/2009

2.1   Dates of Terms etc.

      Term 1                        Monday 22 September – Friday 12 December 2008

      Term 2                        Monday 12 January – Friday 27 March 2009
      Summer Term                   Monday 27 April – Friday 12 June 2009

      Graduation Ceremonies in the week 13–17 July 2009
                                              4


2.2     Schedule of Weeks (Monday–Sunday)

        TERM 1
         Week 1                          Induction                       22 Sept – 28 Sept
         Week 2                MMus Classes; UG Lectures                  29 Sept – 5 Oct
         Week 3                MMus Classes; UG Lectures                   6 Oct – 12 Oct
         Week 4                MMus Classes; UG Lectures                  13 Oct – 19 Oct
         Week 5                MMus Classes; UG Lectures                  20 Oct – 26 Oct
         Week 6                       MMus Classes;                       27 Oct – 2 Nov
                          UG Lectures; UG Core Course Tutorials
         Week 7        MMus Classes; UG Lectures; UG Submissions           3 Nov – 9 Nov
         Week 8                MMus Classes; UG Lectures                 10 Nov – 16 Nov
         Week 9                MMus Classes; UG Lectures                 17 Nov – 23 Nov
        Week 10                MMus Classes; UG Lectures                 24 Nov – 30 Nov
        Week 11                       MMus Classes;                        1 Dec – 7 Dec
                          UG Lectures; UG Core Course Tutorials
        Week 12              MMus Classes; UG Submissions                 8 Dec – 14 Dec
        TERM 2
         Week 1                MMus Classes; UG Lectures                  12 Jan – 18 Jan
         Week 2                MMus Classes; UG Lectures                  19 Jan – 25 Jan
         Week 3                MMus Classes; UG Lectures                  26 Jan – 1 Feb
         Week 4                MMus Classes; UG Lectures                   2 Feb – 8 Feb
         Week 5                       MMus Classes;                       9 Feb – 15 Feb
                          UG Lectures; UG Core Course Tutorials
         Week 6        MMus Classes; UG Lectures; UG Submissions          16 Feb – 22 Feb
         Week 7                MMus Classes; UG Lectures                  23 Feb – 1 Mar
         Week 8                MMus Classes; UG Lectures                   2 Mar – 8 Mar
         Week 9                MMus Classes; UG Lectures                  9 Mar – 15 Mar
        Week 10                       MMus Classes;                       16 Mar – 22 Mar
                          UG Lectures; UG Core Course Tutorials
        Week 11        MMus Classes; UG Submissions; UG Recitals          23 Mar – 29 Mar
      SUMMER TERM

                         Undergraduate Examinations and Recitals      Monday 27 April – Friday
                                                                             12 June
                         Postgraduate supervision continues through
                        term 3 and summer vacation by arrangement
                                                  5


2.3     Timetable

        The timetable can be found on the Departmental website and as an Appendix to this volume.

2A.4    UG Submission Dates and Deadlines

2.4.1   The dates for the formal submission of undergraduate coursework are:

        Term 1           (i)    3.00pm on the Wednesday of week 7       (5 November)

                         (ii)   3.00pm on the Wednesday of week 12      (10 December)

        Term 2           (i)    3.00pm on the Wednesday of week 6       (18 February)

                         (ii)   3.00pm on the Wednesday of week 11      (25 March)


2.4.2   The final deadline for the submission of coursework and special studies for assessment
        (examination) is:

        ALL YEARS and Visiting Students:        3.00pm Wednesday 29 April 2009

        Work may be submitted for up to one week before this date (i.e. from Wednesday 22 April
        2009).

2.5     Extension of Deadlines with Penalty

See Section 6.4.3
                                                   6


3       THE DEPARTMENT

3.1     Introduction

3.1.1   The Music Department at Royal Holloway has grown out of a tradition of musical activity at the
        College going back to its earliest years. The Department has become one of the most
        distinguished in the country; during its development we have striven to maintain the best of its
        characteristic features, including the concern for the welfare and development of each student,
        and an openness to new ideas in all areas of the Department’s activity. In brief, the Department
        aims to give students the opportunity to pursue their studies according to a coherent pedagogical
        framework invigorated by active research of the highest quality, within a congenial atmosphere in
        which they receive full encouragement and support to realise their potential.

3.1.2   The Department is housed in Wettons Terrace, standing to the north of the A30 and approached
        by footbridge from the main College campus. Wettons Terrace contains staff and teaching
        rooms, administrative offices, an IT suite, the Music Library, and student common room.
        Performance teaching and practice rooms are in a neighbouring house, Woodlands; Music IT
        studio and world music facilities are in the North Tower of the Founder’s Building. Wettons
        Annexe, behind Wettons Terrace, provides a large rehearsal space.

3.1.3   Access to Wettons Terrace is by means of the College RCS swipecard. All students receive a
        card as a matter of course; staff should obtain the card from FW43.
        For access to Woodlands, likewise by RCS swipecard, see section 3.8.

3.2     Members of Staff and Responsibilities
                                                            Responsibility 2008/2009                Room
Professors:      Nicholas Cook (Professorial      Chair, Research Committee; Director, CHARM        WT203
                 Research Fellow)
                 Katharine Ellis                  (Director of the Institute of Musical Research)   WT210
                 Julian Johnson                   Director of Graduate Studies, Postgraduate        WT107
                                                  Admissions
                 Tina K Ramnarine                 Deputy Director of Graduate Studies, Outreach     WT204
                 John Rink                        (on leave terms 1 and 2)Director, MMus            WT110
                                                  Performance Studies RCM/RHUL; Associate
                                                  Director, CHARM, Deputy Chair, Research
                                                  Committee
                 Jim Samson                       Deputy Head of Department; Director, MMus
                                                  Advanced Musical Studies; International
                                                  Liaison (Visiting Students)
Readers:         Rachel Beckles Willson           (on leave 2008/09)                                WT205
                 Erik Levi                        Director of Performance; MMus Performance         WT208
                                                  Studies RCM/RHUL (terms 1,2); Careers
Senior           Julie Brown                      (on leave terms 1 and 2)                          WT109
Lecturers:
                 James Dack                       Head of Department; Chair of Undergraduate        WT206
                                                  Sub-Board of Examiners; Director of
                                                  Undergraduate Studies; Library liaison; CPD
                 Brian Lock                       Director of Composition; Equipment and Studio     North
                                                  IT                                                Tower
                                                                                                     201
                 Henry Stobart                    Undergraduate Admissions; Schools Liaison         WT004
Lecturers:       Geoff Baker                      (on leave terms 1 and 2)                          WT209
                 Mark Bowden                      Schools Liaison; Director, Sinfonietta            WT202
                 Paul Harper-Scott                (on leave term 1), Postgraduate Admissions        WT201
                                                  (terms 2 and 3)
                 Stephen Rose                     (on leave term1) Deputy Director of               WT211
                                                  Undergraduate Studies, Deputy Chair,
                                                  Undergraduate Sub-Board of Examiners
                                                  (terms 2 and 3)
                                                 7


Academic          Anna F Morcom                 Deputy Undergraduate Admissions; Schools        WT103
Fellows:                                        Liaison
                  Shzr Ee Tan                                                                   WT200
Instrumental/     Ben Davies                    Cello
Vocal
Teachers:
                  Colin Bradley                  Clarinet
                  Elizabeth Byrne                Singing
                  Anna Cashell                   Violin
                  Elizabeth Drew                 Clarinet
                  Rupert Gough                   Organ
                  Eleanor Hodgkinson             Piano
                  Christian Immler               Voice
                  Emily Jeffrey                  Piano
                  James Kirby                    Piano
                  Cristine Mackie                Piano
                  Glenn Martin                   Saxophone
                  Gerry McDonald                 Recorder and Oboe
                  John Mitchell (Visitor)        Guitar
                  Alison Myles                   Flute
                  Gabrielle Painter              Violin
                  Elaine Pearce                  Voice
                  Eileen Price                   Voice
                  Carla Rees                     Flute
                  Matthew Stanley                Piano
                  Graham Titus                   Voice
Research           Christophe Grabowski (CFEO & OCVE), Elizabeth Robinson (Hofmeister XIX),
Assistants:       Danae Stefanou (CFEO & OCVE), Sandra Tuppen (RISM)
Emeritus          David Charlton, Geoffrey Chew, Rosamond McGuinness, Lionel Pike, Ian Spink
Professors:
Department
Office
Joint             Joan Gregory, Linda Luck      Timetable, Educational Support, Safety and      WT100A
Departmental                                    Fire Marshall
Administrators:
Administrative    Nan Elias                     First Aid; Work Station Assessments             WT100
Assistant (UG
and PG):
Concert
Office
Performance       Vanessa Gordon                Performance; Concert Season                     WT102
Manager:
Concert           Jenifer Raub                  Concert Season                                  WT102
Assistant:
Choral Music      Rupert Gough                  Director of Choral Music and College Organist
Office
                  David Millinger               Choral Music Administrator                      WT005
CHARM             Carol Chan                                                                    WT104
Administrator:
Music Library
Music             Anton Mata                                                                     Music
Librarian:                                                                                      Library
Liaison           Damyanti Patel                                                                Bedford
Librarian:                                                                                      Library
                                                8



3.3     Department Sub-Committees of the Department Board

        Committee members do not attend meetings during terms of leave.

        The first-named member normally takes the Chair of the meeting.

        ADMISSIONS AND SCHOOLS LIAISON COMMITTEE:
        Henry Stobart; Anna F Morcom, Mark Bowden, Stephen Rose (on leave term 1)

        PERFORMANCE AND COMPOSITION COMMITTEE:
        Erik Levi; Mark Bowden, Vanessa Gordon, conductors of RH Choral Music and
        Orchestras, student representatives (Committee of Music Society and representatives of
        year groups and ensembles).

        POSTGRADUATE COMMITTEE:
        Julian Johnson; Tina K Ramnarine, Jim Samson, Brian Lock, Paul Harper-Scott (on
        leave term 1), two student representatives (one MMus, one MPhil/PhD)

        PROMOTIONS COMMITTEE:
        James Dack; Nicholas Cook, Katharine Ellis, Julian Johnson, Tina K Ramnarine, John
        Rink, Jim Samson, Dean of Arts

        RESEARCH COMMITTEE:
        Nicholas Cook; John Rink (on leave terms 1 and 2), Tina K Ramnarine, Julian Johnson,
        Paul Harper-Scott (on leave term 1)

        STUDENT-STAFF COMMITTEE:
        Elected student representatives (two BMus and one BA/BSc from each year, one MMus,
        one MPhil/PhD, one Overseas); Henry Stobart, Erik Levi (College procedure requires
        the election of Chair and Secretary)

        UNDERGRADUATE TEACHING AND ASSESSMENT COMMITTEE:
        James Dack, Jim Samson, Brian Lock, Stephen Rose (on leave term 1) two student
        representatives (one BMus, one BA)

        The Head of Department is a member of all committees ex officio.

3.4     Music Library

3.4.1   The Music Library, which is networked, provides crucial support to the teaching activity
        of the Department through its provision of the books, articles, music, audio-visual
        material etc. specified in the select bibliographies which accompany most courses. Much
        of this material is located on the ‘Restricted Loan’ shelves for the duration of the courses
        concerned; beyond it, however, lies the greater part of the Library’s stock of music,
        books, reference works, periodicals, collection of CDs and records etc. that the student
        is expected to explore and make use of. Some of the large collected editions of music
        are temporarily held in the Founder’s Library. A photocopier is available to students in
        the Music Library: cards are available from the Music Library staff. Further information
        on the Music Library and the College Libraries as a whole is available from the Music
        Library. Students are encouraged to consult the excellent range of electronic resources
        (including many important music journals) available both on- and off-campus.

3.4.2   In addition to the material at Royal Holloway there is the richly stocked library at Senate
        House, University of London, Malet Street, WC2 (nearest Underground stations
        Tottenham Court Road, Goodge Street and Russell Square), a collection of national
        importance to which all RH students have access (a library card will be issued only upon
        presentation of a validated RHUL registration form available from the Music Library or
        Bedford Library). Other libraries in London include the British Library (normally
        accessible only to postgraduate students) and the Westminster Central Music Library.
                                                9



3.5     IT Suite

3.5.1   The IT suite in the Music Library was created with the help of a generous benefaction by
        Miss Agnes Divine, a former member of the College. It contains 18 networked PCs, with
        standard word-processing, database, internet and music-processing software (including
        Finale and Sibelius). The hardware and software is maintained by the College’s
        Computer Centre, to whom all issues and problems should be addressed.

3.5.2   The IT suite is open to all during Music Library Monday–Saturday opening hours; access
        is via the Music Library. Out-of-hours access (via the rear of the Department) is
        available to Music postgraduate students (MMus, MPhil, PhD) by way of a swipe-card
        available from the Department Office. Cards must be treated with the utmost care to
        avoid loss or misappropriation. A lost card cannot be replaced; cards must not be lent to
        others; and cards must be returned to the Department Office at the end of the period of
        issue (failure to do so will incur a penalty charge and therefore a College debt).

3.5.3   Students should observe standard safety procedures when dealing with electronic
        equipment (including taking regular breaks away from the screen and the keyboard).
        Late-night users should also take the normal security precautions when entering or
        leaving the room. The IT suite is not an alternative common room: eating, drinking
        and the use of mobile phones are not permitted. Please respect other users by
        not talking or causing other disturbances. Access will be withdrawn from
        students who consistently disturb others in these ways.

3.6     Modes of Teaching

3.6.1   We employ a variety of teaching methods in our undergraduate and postgraduate
        courses. Lectures impart essential information on, and aid the understanding of, the
        topic under consideration. Small groups (either seminars or tutorials) develop
        understanding; practical, discursive, interpretative and problem-solving skills; and the
        ability to communicate ideas to others. They also promote mature and professional
        attitudes to study.

3.6.2   There is a higher proportion of lectures in undergraduate first-year classes than in
        subsequent years, but these are complemented by teaching in smaller tutorial groups of
        6–7 students, each of which meets for one hour a week. (The tutor normally continues to
        act as personal advisor to the students of the group throughout subsequent years of
        study.) The tutorial groups focus on any aspect of the programme, and indeed on other
        matters, including techniques of study appropriate to the study of music at degree level.

3.6.3   Seminars play a larger part in upper-level undergraduate courses: here students are
        often asked individually or in a small group to make a presentation before the class
        and/or to lead discussion. It should be noted that the success of a seminar depends as
        much on the contribution of the whole class as on that of the student(s) making the
        presentation.

3.6.4   For final-year BMus/BA special study dissertation, theory and analysis, and composition
        students, there are regular one-to-one tutorials with a supervisor, normally at the rate of
        some 30-45 minutes a fortnight in terms 1 and 2, although the actual pattern and mode
        of supervision may vary according to arrangements mutually agreed by student and
        supervisor; supervision, including the reading of drafts, ceases at the end of term 2.
        Those taking special study performance have individual instrumental and singing
        lessons, and participate in performance seminars. Those taking special study ensemble
        performance participate in performance seminars and have individual lessons if these
        are not taken as part of special study performance.
                                                  10



3.7     Instrumental and Singing Lessons

3.7.1   Individual instrumental or singing lessons are associated with the courses MU1105,
        MU2205 and MU3407; the solo performance courses MU2210, MU3393 and possibly
        the ensemble performance courses MU2211 and MU3402; the MMus courses MU5535
        and MU5551; and for specialists in performance taking the MU5539 within the MMus in
        Advanced Musical Studies.

3.7.2   Admission to performance courses MU2210 Performance and MU2211 Ensemble
        Performance is dependent upon performance in MU1105 or MU2205 as appropriate
        and/or audition. Admission to MU3393 and MU3402 is dependent upon performance in
        MU2210 and MU2211 as appropriate. Admission to MU5535 and MU5539 is by
        audition on application or as soon as possible thereafter. The Department does not
        normally limit registrations for these courses but admission to them has to be selective
        and carefully considered, given the high standards of achievement that are expected.

3.7.3   Tuition is provided on only one instrument or in singing (the ‘study’) as approved by the
        Department in any one course and in any one year. No two of MU2205, MU2210,
        MU3393 and MU3407 with the same study can be taken in any one year. Students
        taking MU2211 Ensemble Performance or MU3402 Special Study Ensemble
        Performance and studying the same instrument in MU2210 or MU3393 receive only the
        lessons associated with the single-study course. A change of study in a subsequent
        year requires the approval of the Department.

3.7.4   The normal programmes of tuition are as follows: for MU1105, 20 lessons of 45 minutes’
        duration, and for MU2205 and MU3407, 16 lessons of 45 minutes’ duration, taken at
        regular weekly intervals during terms 1 and 2 (the practical examination takes place at
        the end of term 2); for MU2210 and MU2211, 20 lessons of one hour’s duration, and for
        MU3393 and MU3402, 22 lessons of one hour’s duration, taken at regular weekly
        intervals during terms 1 and 2 (with a maximum of two lessons taken in the period
        between the end of term 2 and the performance examination in term 3). MMus students
        taking performance courses are expected to follow a regular programme of tuition,
        although not necessarily at weekly intervals. In all cases, lessons may be taken with
        one of the Department’s visiting teachers or with an external teacher, in which case
        special conditions apply (see below).

3.7.5   Lessons with a visiting teacher are arranged at the beginning of term 1 with the
        Performance Manager. Enrolment with a teacher is to all intents and purposes a
        contract, which must be respected: the teacher is committed to teach at the arranged
        time, in the Music Department’s Woodlands or Wettons Terrace buildings by
        arrangement with the Performance Manager and to provide the full complement of
        lessons; and it is expected that the student will attend for what is part of the tuition for the
        course concerned. The Department is committed to the payment of the teacher; a
        student who misses any lesson without good reason will be liable to a charge
        reflecting the cost paid by the Department to the teacher.

3.7.6   Formal arrangements have been established for certain students to receive tuition from
        teachers at the Royal College of Music, subject to satisfactory audition. Other than this,
        and with the approval of the Department, lessons may be taken with an approved
        external teacher. The arrangement of lessons falls in this case to the student, although
        the Department, through the Performance Manager, may be able to assist by suggesting
        possible teachers and establishing contact. The arrangement should take place at the
        beginning of term 1; at the outset students should see the Performance Manager.
        Undergraduates are expected to take the same amount of tuition as that normally taken
        from a visiting teacher and do all they can to ensure that reports from their external
        teacher are sent by the end of each term.

3.7.7   Tuition with an external teacher carries a financial implication: in the case of
        undergraduates, the Department will fund external instrumental or singing lessons only
                                               11


        to the extent that payment would have been made to a visiting teacher. As external
        tuition is generally more expensive, and it is expected that the same amount of tuition
        will be taken as from a visiting teacher, this means that there is usually a financial
        shortfall which must be made up by the student. In this case any charge for missed
        lessons will not be a matter involving the Department, nor will it be payable out of the
        departmental allowance.

3.7.8   Payment of visiting teachers for tuition in connection with MU1105, MU2205, MU2210,
        MU2211, MU3393, MU3402, MU3407, MU5551 and MU5539 is made directly by the
        Department to the teacher. Payment of external teachers for tuition in connection with
        the courses specified above is made in the first instance by the student directly to the
        teacher. The student then claims repayment from the Department against receipts for
        payment for lessons to the external teacher submitted to the Performance Manager.
        Claims for repayment (supported by receipts) should be submitted to the Performance
        Manager on a regular basis, and at least one-third of the appropriate allowance
        must be claimed by the first day of the second term; if it is not so claimed, that sum
        will revert to the Department. All claims must be submitted by the last day of the
        third term; claims submitted later are ineligible. Repayment cheques are normally
        available from the Performance Manager within two weeks of the submission of claims.

3.7.9   The Department does not pay travel expenses incurred through attendance at lessons
        outside the Department.

3.7.10 During the first three weeks of the Autumn Term a student studying with a visiting
       teacher may elect to change teacher, without penalty, subject to permission from the
       Head of Department or delegated personnel, and provided that the change has been
       processed by the Performance Manager. Thereafter should a student wish to leave a
       teacher the student must first seek the approval of the Head of Department or delegated
       personnel, then give the teacher one full week’s notice. The compensation offered to
       teachers on this basis will be limited to payment for one lesson; no further compensation
       will be payable under any circumstances. A teacher may request a termination of the
       agreement to teach a particular student, without penalty, during the first three weeks of
       the first term, and thereafter by agreement with the Head of Department or delegated
       personnel.

        In the case of students studying with external teachers, it is expected that similar
        arrangements will apply. Such students will need to establish with the teacher the terms
        governing their relationship (e.g. the period of notice to be given); any charge levied by
        the teacher for breaking these terms (e.g. payment in lieu of notice) will be a matter
        solely between the teacher and the student; nor will any such charge be payable out of
        the Department allowance. In all cases, it is intended that students may consider
        changing teachers in the course of the year only in the most exceptional circumstances;
        and such changes must first be discussed with, and approved by, the Head of
        Department.

3.7.11 The Performance Manager should be informed of all changes of arrangements with both
       visiting and external teachers, who are required to return reports on attendance and
       progress to the Department. Students learning with an external teacher will be asked to
       ensure that progress reports are sent to the Performance Manager at the appropriate
       time.

3.7.12 Attendance for instrumental and singing lessons in connection with relevant courses
       is viewed in the same light as in attendance in all other courses: students who default
       in attendance may be deemed ineligible for final assessment in the course
       concerned, in accordance with the College Regulations.

3.8     Practice Rooms

        Practice rooms are situated in Woodlands (the house down the drive from the
        Department). A room in Woodlands is available for ensemble rehearsals by way of a
                                                12


        booking system through the Performance Manager. In the interests of security and
        personal safety, access to Woodlands is by means of the student’s RCS card, which
        operates during the hours 08.00–22.30 daily. Full access to the Woodlands practice
        rooms is restricted at present to Music students and Music Department staff, although by
        special arrangement members of certain ensembles may be given off-peak access.
        Almost all rooms contain a piano; and all have mirrors. Please treat the recently
        refurbished premises, the practice rooms and the instruments and equipment they
        contain with care and respect. Pianos and other keyboard instruments should not be
        moved about any of the rooms: this can lead to damage and disturbs the tuning. Eating
        and drinking are not allowed in the practice rooms, nor are students permitted to
        engage in any teaching of their own there (whether of College students or those
        from outside RHUL). Room 001 in Wettons Terrace also acts as a small recital room,
        and is available for some rehearsals by arrangement, but only when it does not clash
        with or disrupt teaching in the Department. The Picture Gallery is not normally available
        for practice.

3.9     Instruments

3.9.1   The Department’s stock of instruments includes the pianos in the staff, teaching and
        practice rooms in the Department and the pianos in the performance venues of the
        Picture Gallery and the Auditorium of the Windsor Building; a harpsichord, a fortepiano
        and an Erard period grand piano. We co-own the Yamaha Disklavier in Woodlands,
        room 4 with the Department of Psychology.

3.9.2   The Department also has a large collection of other instruments and accessories,
        including tuned and untuned percussion, string instruments, ‘unusual’ wind instruments
        (including cor anglais and bass clarinet), plus various historic wind and string
        instruments. The collection of non-Western instruments includes a gamelan and various
        Andean folk instruments. In special circumstances, instruments are available for loan
        with the approval of the Head of Department. It need hardly be said that all
        instruments should be treated with the utmost care.

3.9.3   The organs in the College Chapel are available only to those taking organ lessons.
        Enquiries should be addressed to Mr Gough, Director of Choral Music and College
        Organist.

3.10    North Tower Studios

3.10.1 Specialist studio facilities in the North Tower include audio/video studios for composition,
       film music and ethnomusicology, and two rooms housing a gamelan and a large
       collection of world music instruments. Enquiries about the studio facilities should be
       addressed to Mr Lock; enquiries about the gamelan and instrument collection should be
       addressed to Dr Stobart or Professor Ramnarine.

3.10.2 Access to the North Tower studios and world music rooms is restricted to Music
       students and Music Department staff (contact the Department Office).

3.11    Notices and Communication

3.11.1 The principal means of communication for information about academic and other
       matters in the Department is by email sent to each student’s RHUL address (see the
       Computer Centre website if you wish to arrange for RHUL email to be forwarded to an
       alternative address). All notices (to do with undergraduate and postgraduate courses,
       College scholarships and prizes, national and international awards, postgraduate
       courses both in this country and abroad, and other information of the possibilities which
       may lie within and beyond the first degree) are regularly posted on the appropriate notice
       boards in the Common Room, which is the only place for the posting of notices.
       Notices should not be altered or defaced; and Health and Safety legislation requires that
       notices should not be posted anywhere in public corridors or other spaces (including
       windows and doors).
                                                13



3.11.2 Pigeonholes for the delivery of internal and external post for undergraduates and
       postgraduates are in the Common Room, room 002. Staff pigeonholes are in the glass-
       partitioned area between rooms 003 and 004.

3.11.3 While we will try to keep students informed of changes of schedule, etc., we cannot
       guarantee to do so other than by way of email circulars and the Department notice
       boards; students should not expect us, say, to telephone or e-mail them individually with
       specific information. Accordingly, students should check their College e-mail on a
       regular basis or set up a forwarding mechanism to their private account (see 3.11.1). If
       a student cannot for whatever reason have regular sight of the notice boards, he/she
       should make appropriate arrangements for a fellow student to do so and to
       communicate any important information. We cannot be held responsible for any lapses
       of communication except where a properly posted notice or email is at fault.

3.11.4 All students must ensure that the College has up-to-date contact details. We cannot be
       held responsible for lapses of communication caused by out-of-date information.

3.12    Complaints

        Students are advised to read the ‘Complaints Procedures for Students’ available at
        www.rhul.ac.uk/For-Students/complaints.html. This document sets out a number of
        areas that are not covered by the Complaints Procedures but helpful references are
        given as appropriate (e.g. to the Code of Practice on Personal Harassment in the
        Student Handbook, and to the Code of Practice for the Academic Welfare of
        Postgraduate Research Students). Students who have a complaint about an academic
        matter are advised to try to resolve it informally with: the Director of Undergraduate
        Studies (for undergraduates); relevant MMus Programme Director (for MMus students);
        Director of Graduate Studies (for research postgraduates); Head of Department (if the
        matter concerns one of the above members of staff); or other appropriate member of
        staff (e.g. personal advisor). If in doubt about whom to approach, students should seek
        help from their personal advisor (for undergraduates) or supervisor or advisor (for
        postgraduates). If the complaint relates to an administrative matter, or is about an
        administrative function or a service, students are advised to take it up informally with the
        head of the office or service. It is expected that many complaints will be resolved
        amicably and quickly in this informal way. If the complaint cannot be satisfactorily
        resolved in this informal manner, students may then proceed to the formal stage of the
        procedure. At this stage a complaints form should be completed and sent to the Head of
        Department (regarding academic matters) or other parties listed in the ‘Complaints
        Procedures for Students’ (regarding non-academic matters). Advice on procedures at
        this stage may be obtained from the College Secretary or from the Head of Support and
        Advisory Services.

3.13    Last But Certainly Not Least

        The Administrative staff are the first people to approach with queries about the day-to-
        day running of the Department. Please note that the Department Office is closed
        between 12.00 and 14.00 during term time, except on submission days.
                                                14


4       UNDERGRADUATE DEGREE PROGRAMMES

4.1     Programmes

        For the programmes BMus Single Honours in Music, BA/BSc with Major/Minor in
        Music (‘Music with ...’ / ‘... with Music’ programmes) and BA Joint Honours including
        Music (‘Music and ...’ / ‘ ... and Music’ programmes), see the Programme Specification
        (www.rhul.ac.uk/Music/For-Students/). Note that the terms ‘year’ and ‘stage’ (as in
        ‘first year/stage’, ‘second year/stage’, ‘third/final year/stage’) are used interchangeably
        here and in other College documentation. Music can be read as a single honours subject
        (BMus); as a major subject (BA) with French, German, Italian, Spanish, Management
        Studies, Philosophy, Political Studies, Psychology; as a minor subject (BA) with French,
        German, Italian, Spanish and (BSc) with Economics, Physics; and as a joint honours
        subject (BA) with Drama, French, German, History, Italian, Mathematics. Programmes
        of study are designed to progress from core courses establishing a secure foundation in
        the main fields of the subject to an increasing amount of freedom of choice in the second
        and final years. Programmes also provide a range of intellectual and practical activities,
        of modes of teaching and learning, and of methods of assessment. Courses have the
        value of one unit (1) or a half unit (0.5); a degree programme normally consists of 12
        units taken over three academic years (four years in the case of joint programmes with a
        language involving a year abroad). There is no provision for taking undergraduate Music
        degrees on a part-time basis.

4.2     Component Course-Units

4.2.1   For details of course-units see www.rhul.ac.uk/Music/For-Students/. Students can
        expect, for each course-unit taken, to receive prior to or at the start of the course a
        detailed outline comprising a statement of the course’s rationale embracing specific
        learning outcomes, a list of topics to be covered (according to a lecture timetable where
        appropriate), a bibliography, a statement of assessment requirements, and the
        specification of assignments with timetable for submission. It is a matter of principle that
        all assignment tasks specific to a module or a course-unit are specified at the outset; an
        exception may be made in the case of courses lasting two terms, in which case
        assignments may be specified on a termly basis. In cases where course-units are also
        assessed by a written paper, students can expect guidance on the structure and broad
        coverage of the paper, which may include specimen papers in cases where a course is
        offered for the first time or where the format of past papers is altered.

4.2.2   During the second or third term, information about the course-units to be offered in the
        next academic year is posted in the common room. Students then complete a course
        options form, indicating their choices (with reserves) for the succeeding year. These
        choices are reviewed by the Department with regard for the course profile of the
        individual student and the feasibility of the indicated size of classes. Students are
        required to discuss their proposed course choices with their personal advisors; they may
        also be required to revise their choices on the grounds of inappropriate balance or
        timetabling constraints. Courses may also be withdrawn on the grounds of limited
        recruitment, and limits may be set on class sizes; in the latter case, recruitment will be
        on a strict first-come, first-served basis. Detailed arrangements for the submission of
        course option forms will be posted on the Department notice boards at the relevant time,
        and will be sent to students studying overseas in the year in question.

4.2.3   The succeeding year’s timetable is arranged in consultation with other departments, but
        sometimes clashes do occur. Adjustments may be possible after course choices have
        been made in the Music Department, but only for good reasons (e.g. an unforeseeable
        clash) and only with the approval of the Head of Music. All such changes are subject to
        the limitations of the Music timetable and the size of classes.

4.2.4   Most undergraduate course-units at stages 2 and 3 (and some at stage 1) adopt at least
        two modes of assessment for examination purposes, including work done in-course (e.g.
        an essay, analysis or techniques exercise) and a summative form of assessment (e.g. a
                                                15


        formal written paper, a practical test, a recital): this permits a more rounded assessment
        of a student’s abilities. In most such cases, the two forms of assessment are equally
        weighted. Most stage 1 courses, and all final-year special studies, have only one form of
        assessment taken at the end of the course. Full details of assessment requirements are
        given in the course-unit specifications n www.rhul.ac.uk/Music/For-Students/.

4.2.5   In addition to the coursework required for assessment, most course-units also involve
        formative activity appropriate to the course and task in hand, for example, exercise in the
        retrieval and evaluation of source materials, engagement in complementary e-learning
        programmes, self-reflective evaluation, the class presentation, the acquisition of facility
        in academic writing, the class presentation, class test, preparation for formal
        examination and so on.

4.2.6   Essays are typically required to be some 2,500 words in length unless otherwise
        specified. Other forms of coursework will be of equivalent scope.

4.3     Learning Outcomes

4.3.1   Higher Education Institutions are required to be specific about the aims and outcomes of
        programmes and courses. Any activity undertaken within a degree programme – a
        class, an assignment, an examination, a course – will have an outcome other than just
        the completion of that activity; such outcomes will be either skill-based (learning how) or
        knowledge-based (learning what, where, when and why) or, more likely, a combination
        of the two. Thus writing an essay, say, will develop skills in research, synthesis and
        presentation as well as developing knowledge of the issues raised by the essay title.

4.3.2   While some outcomes will be short-term and task-specific (e.g. learning how to write a
        perfect cadence), most will have wider implications and will emerge cumulatively (e.g.
        understanding the role of cadences for structural articulation in a given style). The
        outcomes of a given activity, then, will very quickly impinge upon the performance of
        other activities both within the same field and across different fields; thus skills and/or
        knowledge gained by way of an activity in analysis will inform a performance, or a
        historical essay. It is the cumulative increase of the skill- and knowledge-base that
        defines one aspect of the educational experience.

4.3.3   Another aspect is defined by the ability to transfer skills and knowledge from one domain
        to another. This requires a high degree of flexibility and imagination on the parts of both
        teacher and student, and in the end is probably more important than cumulative
        increase; hence the common formulation that what matters is not how much one knows
        but how much one can do with what little one knows. This in turn places the emphasis
        less on knowledge than on skills (including learning how to learn). Students often find
        this the most difficult aspect to grasp of their educational development, especially when
        the system appears to place a premium on the accumulation of knowledge and when
        tasks appear excessively focussed. For example, baroque music may not be every
        student’s cup of tea, but writing an essay on baroque music can develop both skills and
        knowledge applicable across a wide range of historical and other areas. Similarly, the
        student who ‘crams’ an accumulation of facts (in an essay or for an examination) without
        knowing how to discern priority, effect synthesis and develop an interpretation with
        respect to those facts is unlikely to do well.

4.3.4   Skills can be transferred both within the subject and outside it. The study of Music in a
        university environment develops social skills, team-working skills, problem-solving skills
        and presentation skills applicable to a wide range of professional and personal
        environments. Thus Music rates highly in so-called ‘transferable skills’ that make music
        students attractive to employers in whatever field. (See the ‘skills matrix’ in 4.3.9 below.)

4.3.5   The knowledge-base within Music is so large that no degree programme can hope to
        cover it completely. The same applies to the repertories, techniques and methods that
        might reasonably be embraced by the subject. This is one reason why degree
        programmes in Music in UK Higher Education Institutions vary so widely, such that it is
                                                16


        becoming increasingly impossible to speak even of a ‘core’ curriculum. If many of our
        courses address the Western art tradition, this is not through any prejudice against other
        forms of music, which students have the opportunity to study in courses in
        ethnomusicology and, say, film music. Inevitably there are gaps within our own
        curriculum, as in any, and equally inevitably the study of Music within our degree
        programmes will embrace only a part of the total musical and other experiences of our
        students. Similarly, students will probably not cover everything even within our own
        curricular offerings given that although our programmes are designed (through core
        courses) to foster breadth of both skills and knowledge, optional elements quite rightly
        permit specialism in different areas.

4.3.6   Students on joint or major/minor combined programmes involving Music face special
        issues, including the need to reconcile competing demands from different departments
        and the difficulties of fostering a synthesis (should it be needed) of the skills and
        knowledge developed within different disciplines. Such issues can be a cause of
        frustration, but they can also generate richness and strength. These students are
        usually placed in dedicated first-year tutorial groups precisely so that such matters can
        be addressed.

4.3.7   Learning outcomes can be specified for any and every type of activity. Outcomes will be
        dependent upon a student’s own skill, commitment and insight. They are likely to
        embrace a number of broad areas that can be expressed in more general terms in the
        statements below. These are classified under four headings, but it is important to note
        that the categories are not mutually exclusive: knowledge and understanding,
        interpretive and creative abilities, the exercise of critical judgement, and facility in the
        techniques of study, organization and presentation are complementary attainments
        which are gained in a reciprocal relationship with one another.

        Knowledge and Understanding

        First-year students should acquire the ability:

        •    to gain access to the ever-growing stock of knowledge about music in the past and
             in the contemporary world;
        •    to understand musical cultures in the context of their time and particular structures
             and practices;
        •    to understand the tonal, rhythmic and notational languages of musical composition
             and the problems involved in formulating their products;
        •    to understand the principles and practices of music in performance, and the
             relationships between performance and other aspects of the discipline.

        Second- and final-year students should progressively develop their ability:

        •    to understand the relationship between music and broader political, social,
             economic and cultural environments;
        •    to understand the concepts of continuity, change, cause and effect in music history
             and the problems encountered in identifying and explaining these processes;
        •    to understand musical works in terms of coherent bodies of theory applied and
             tested analytically;
        •    to know at least one period, problem or theme in depth;
        •    to study the complex linkages between many aspects of a period, problem or
             theme;
        •    to grasp the nature of professional musical and musicological activity at the highest
             international levels.

        Interpretation and Creativity

        First-year students should acquire the ability:
                                                17


        •    to appreciate the changing frameworks of interpretation in music history, music
             analysis and music criticism;
        •    to engage in the composition and performance of musical works;
        •    to evaluate the strengths and weaknesses of evidence and arguments.

        Second- and final-year students should progressively develop their ability:

        •    to define the numerous key terms and analytical concepts that are employed in the
             historical, critical and aesthetic analysis of musical cultures and objects;
        •    to manipulate both words and musical notation in the service of sophisticated
             creative or interpretive tasks;
        •    to evaluate and articulate the advantages and disadvantages of different critical and
             interpretive techniques;
        •    to contribute to the understanding of at least one complex musical work, problem or
             theme by way of independent study.

        Criticism and the Use of Sources

        First-year students should acquire the ability:

        •    to understand the concept of primary and secondary sources;
        •    to explore the relationship between written and non-written musical practices;
        •    to test the interplay between composition and performance and issues arising from
             the study of musical criticism and/or sources.

        Second- and final-year students should progressively develop their ability:

        •    to analyse the context, form and content of primary and secondary sources, both of
             musical works and of other materials relating to the study and criticism of music in
             all its aspects, and to test their interplay;
        •    to expose the epistemological issues encountered in the study of such materials;
        •    to understand in depth the criticism and/or sources for one or more given musical
             works, problems or themes.

        Study, Organization and Presentation Skills

        First-year students should acquire the ability:

        •    to assimilate and comprehend complex bodies of information perceived through
             both the eye and the ear;
        •    to plan and write lucid and relevant essays on given questions, using all appropriate
             methods;
        •    to produce analyses, transcriptions and/or compositions in response to given
             questions, using all appropriate methods;
        •    to cultivate practical musical skills in response to given tasks;
        •    to organize and to take responsibility for their learning environment;
        •    to work to strict timetables and deadlines within defined constraints.

        Second- and final-year students should progressively develop their ability:

        •   to participate in collective debate and analysis of given works, problems or themes;
        •   to plan and produce a body of work based on independent research and/or creative
            activity.
4.3.8   Any educational experience requires a contract between teacher and student. Teachers
        have a responsibility to be well-informed, articulate, and sensitive to students’ needs.
        Students have a responsibility to be prepared for, and receptive to, the teaching they
        encounter and to look beyond the classroom to enrich their learning. In the end, it is
        students, not teachers, who pass or fail exams; in the end, only the individual student
        can be responsible for his or her development.
                                              18


4.3.9   Learning outcomes to be gained from the BMus programme and the Music
        component of combined major/minor and joint programmes with respect to intellectual
        and transferable skills and other attributes cannot be associated with particular
        courses to the exclusion of others; rather, skills and attributes identified in the first
        column from the left in the skills matrix below (and other skills) are developed across
        the entire programme, even if there is a greater emphasis on a certain skill or
        attribute in one area than in another. In Year 1 of the matrix, therefore, the courses or
        activities identified are the principal and not the only place for the acquisition of the
        particular skill or attribute. In Year 2 and the Final Year of the matrix the principal
        locations are indicated A-D according to the broad categories of study or activity into
        which the upper-level courses of programmes can be considered to fall: A) analytical,
        technical and creative; B) historical, critical, cultural and ethnomusicological; C)
        performance; and D) (music) technological. In addition, final-year Special Studies
        facilitate the acquisition of most, if not all, of the transferable skills and attributes
        identified; and performance activities outside the programme encourage the
        development of a number of valuable skills, including powers of collaboration,
        organization and presentation, and social skills.
                                                                      19


Skill             Year 1                          Place      Year 2                             place   Final Year                      place
Information and   Students should begin or        1102       Students should continue to        B       Students should have            B
IT Skills         continue to develop the         1103       develop the ability to gain                gained an advanced ability      prepar-
                  ability to find different       1105       access to a variety of                     to handle a wide range of       ation of
                  forms of information in         1106       sources of information, both               information accessible          Special
                  various sources in the          IT         traditional and electronic; to             through traditional and         Studies
                  Library and elsewhere,          tutorial   exercise initiative in finding             electronic means; to make
                  including electronic            group      sources of information; to                 independent use of
                  sources (on-line cata-                     control the results of inquiry;            primary sources; and
                  logues etc.); to control                   and to develop a refined                   critical and perceptive use
                  information according to                   sense of the nature and use                of secondary sources.
                  standard scholarly                         of primary and secondary
                  practices and procedures;                  sources.
                  and to develop an aware-
                  ness of the distinction
                  between primary and
                  secondary sources.
                  Students without basic
                  computer literacy (word-
                  processing) should acquire
                  it through the College
                  Basic Information Techno-
                  logy Skills (BITS) course.
Reading Skills    Students should begin or        1102       Students should continue to        AB      Students should have            AB
and Note-         continue to develop the         1103       develop the ability to read                gained an advanced ability      prepar-
Making            ability to read texts           1105       critically and selectively, with           to read a wide variety of       ation of
                  critically and selectively;     1106       a view to what is pertinent to             texts quickly and critically;   Special
                  and to make efficient notes     tutorial   the purpose and the making                 to evaluate the arguments       Studies
                  with regard for standard        group      of critical notes.                         and evidence presented;
                  scholarly practices and                                                               and to make relevant and
                  procedures.                                                                           succinct notes.
Analytical,       Students should begin or        1104       Students should continue to        ACD     Students should have            ACD
Technical and     continue to develop these       1105       develop analytical and                     gained an advanced ability      prepar-
Creative Skills   skills, in particular in        1107       technical concepts and to                  to deal with analytical and     ation of
                  connection with non-verbal      tutorial   gain confidence in their                   technical concepts; and to      Special
                  modes of thought.               group      application; and to develop                think imaginatively,            Studies
                                                             powers of imagination and                  creatively and with some
                                                             creativity.                                originality.
Expressive        Students should begin or        1102       Students should further            B       Students should have            B
Skills: Written   continue to develop the         1103       refine skills of written                   gained advanced powers          Special
                  ability to write planned and    1105       expression to produce                      of written expression,          Studies
                  coherent essays and other       1106       essays and other                           correct in matters of style
                  assignments, presenting         1107       assignments which show                     and technique and
                  information and argument        tutorial   powers of analysis and                     demonstrating some
                  according to standard           group      argument; appropriate                      maturity of argument and
                  scholarly practices and                    scholarly style; and the                   interpretation.
                  procedures. Spelling,                      accurate use of standard
                  syntax and punctuation                     scholarly apparatus.
                  should be correct.
Expressive        Students should begin or        all        Students should gain               ABC     Students should have            ABC
Skills: Oral      continue to develop the         courses    confidence in the oral                     gained a secure                 prepar-
                  ability to express ideas        tutorial   expression of ideas and                    confidence in the oral          ation of
                  confidently and coherently;     group      arguments in classes and                   expression of ideas and         Special
                  and to engage effectively                  seminars; presentations                    arguments; the ability to       Studies
                  in discussion.                             should be clear and                        give well-structured and
                                                             effective.                                 effective presentations,
                                                                                                        perhaps employing A/V
                                                                                                        aids; and the ability to deal
                                                                                                        with questions.
Collaborative     Students should begin or        1103       Students should gain facility      BC      Students should have            BC
Skills            continue to develop the         1104       in group working for classes       per-    gained effective powers of      perform-
                  ability to work together in a   1106       and seminars; and in               form-   collaboration across a          ance
                  group or ensemble.              per-       ensembles.                         ance    range of scholarly and
                                                  form-                                                 performance activities;
                                                  ance                                                  and perhaps experience of
                                                                                                        management and
                                                                                                        administration.
Time              Students should begin or        all        Students should gain               A-D     Students should have            A-D
Management,       continue to develop the         courses    increased skills in time           per-    acquired the ability to plan    prepar-
Organization      ability to manage time          per-       management and                     form-   and carry out extended          ation of
Skills and        across various study and        form-      organization through the           ance    programmes of private           Special
Independence      other commitments; and to       ance       greater proportion of private              and independent study;          Studies
                  meet deadlines.                            study required; and the need               and to balance the              per-
                                                             to balance multiple                        requirements of short- and      form-
                                                             deadlines.                                 long-term deadlines.            ance
                                                                    20


Self-              Students should begin to      all        Students should gain an          A-D     Students should have          A-D
Assessment         develop their self-           courses    increased awareness of their             gained the power of           prepar-
                   assessment of their                      strengths and weaknesses;                mature and objective self-    ation of
                   strengths and weaknesses                 and with tutorial help                   assessment, thus enabling     Special
                   through, for example, close              develop their strong points              continuous improvement.       Studies
                   attention to tutorial marks              and rectify their weak points.
                   and feedback.
Self-              Students should begin or      tutorial   Students should gain             A-D     Students should have          A-D
Confidence,        continue to develop           group      increased maturity in these      per-    acquired ease and             perform-
Self-              appropriate self-             per-       respects through greater         form-   maturity in these respects.   ance
Presentation       confidence, self-             form-      participation in classes,        ance
and Social         presentation and social       ance       seminars and other aspects
Skills             skills.                                  of the programme or
                                                            activities connected with it.




           4.4        Study Abroad

           4.4.1 The European Commission's Education and Training Programme provides a number of
                  schemes for student mobility at both undergraduate and postgraduate levels. Of
                  these, the ‘Socrates’ programme, designed to support and encourage mobility
                  between universities and other European higher education institutions, is particularly
                  relevant to the Music Department. Under the provisions of this scheme, the period
                  spent abroad (a minimum of three months and a maximum of twelve months) must
                  normally be an integral and recognised part of the student's degree studies.
                  Participating students receive modest grants to assist with mobility costs. Students
                  may wish to consider taking advantage of the scheme, given the rich intellectual,
                  cultural and linguistic opportunities that it offers. Further information is available from
                  the member of staff in charge of international liaison in the Department and the
                  Education and International Liaison Office in the College Registry.

           4.4.2      The College offers other opportunities for study-abroad schemes at New York
                      University and various other institutions in the USA, Canada, Korea and Japan,
                      whether as part of or in addition to an undergraduate degree programme. Further
                      details will be posted as available.
                                                  21


5       ASSESSMENT FOR UNDERGRADUATE DEGREE PROGRAMMES

        The following should be read in conjunction with the appropriate sections of the College
        Regulations.

5.1     Marks, Honours Classification and Criteria

5.1.1   The Music Department marks on a percentage scale that correlates with degree-class
        boundaries as indicated below. We have established general criteria for the assessment
        of achievement within these boundaries in an attempt both to standardise marking within
        and across the disciplines and to give students a clearer sense of the standard their
        work reaches and why. It is impossible to generate explicit criteria covering each and
        every element taken into account in assessing each and every piece of work.
        Nevertheless, it is important that general principles are established in order for
        assessment to be fair and objective, and for standards to be comparable across the
        broad range of disciplines involved in the degree-level study in Music.

5.1.2   In the following criteria, ‘submission’ means essay, analysis, techniques exercise,
        composition, recital or examination answer. In the case of the main honours boundaries
        (III, II/ii, II/i, I), criteria have been further defined for different disciplines/tasks (essays,
        technical work/composition, performance): these criteria supplement, rather than
        supplant, the general criteria, and for the most part only elaborate upon them in
        discipline-specific ways. Some submissions may cut across the disciplines in terms of
        these criteria: for example, an analysis assignment might according to its nature be
        judged by criteria applied to essays or to technical work, or to both. All these various
        criteria, then, should not be regarded as mutually exclusive. They also define targets for
        which students should aim in achieving a certain standard in their work.

5.1.3   It is important to note that the mark according to these criteria will probably be inflected
        downwards for excessive brevity and stands to be penalized for excessive length in
        accordance with College policy. Submissions that are poorly conceived, styled or
        presented (e.g. in terms of linguistic expression, citation styles, notational clarity,
        performance media, the non-use of standard formats, etc.) will always be penalized,
        regardless of their content. A balanced, sympathetic view will be taken of students for
        whom English is a second language, but significant flaws arising therefrom cannot be
        ignored. Any student with Special Educational Needs (e.g. dyslexia) should consult the
        Educational Support Office as early as possible.

5.1.4   Plagiarism is never condoned and will automatically be dealt with according to the
        College Regulations.

5.1.5   The criteria are as follows:

                 0
                 A submission that is invalid or a submission made for the purposes of
                 completion (as in paragraph 5.1.8 below) but judged not to merit marking and
                 therefore ‘incomplete’.

                 1-19             Low fail
                 A submission seriously flawed by excessive brevity or incoherence, or with no
                 serious attempt to deal with the matters at hand. There is minimal intellectual,
                 technical or musical command.

                 20-39            Fail
                 A submission demonstrating little evidence of study or application, generally
                 failing to address the matters at hand. The attempt is misconceived and/or
                 marred by irrelevance, vagueness, errors or misunderstanding. Technical
                 weaknesses prompt embarrassment and discomfort.
                                22


A mark at the upper end of this band (33 or higher) will reflect a submission
perhaps containing some evidence of study and/or invention but with serious
weakness in putting either or both to effective use. Although there may be some
grasp of basic issues, and a limited sense of understanding projected, the result
will be seriously marred by a lack of coherence, a failure to develop ideas,
marked over-dependence on existing models, misuse of resources, an
inadequate selection and use of source materials, significant and persistent
technical errors and/or distracting mannerisms.

40-49              Third-Class Honours (III)
A submission with some sense of design and containing evidence of thought,
but somewhat limited in its demonstration of intellectual, technical and/or
creative ability. The treatment of the material appears flawed or ill-balanced, and
there are elements of irrelevance or misunderstanding, with a significant but not
overwhelming number of technical or similar errors.

         Essays: There is some attempt to deal with the issues but the result is
         one-sided and unsubstantiated, relying on over-generalisation. Poor
         use is made of source materials, for example by extensive
         paraphrasing without extension or support.
         Technical work or Composition: Some technical control is apparent, but
         techniques are not always used appropriately and/or consistently, and
         this use reflects a limited understanding of their operation or
         significance. There are some hints of creativity, but these are impeded
         by a lack of control of, or a failure to develop, the material. The results
         may be impractical or dull, or too dependent on existing models.
         Performance: The recital produces some musical results, but is based
         on a weak programme or one focussing just on the hollow
         demonstration of technical prowess. The performer has a plausible
         platform manner and reaches some level of achievement, if limited, in
         at least four of the following areas: technical control; accurate
         intonation; articulation; tone quality; expressive range; stylistic
         awareness; musical understanding and projection.

50-59              Second-Class Honours, Lower Division (II/ii)
A submission based on a workable design permitting the demonstration of some
intellectual, technical and/or creative ability and holding some interest. The
material is dealt with tidily and efficiently, and in a manner largely devoid of
crude or glaring mechanical or similar errors. However, awareness of the issues
is incomplete and their treatment is restricted and/or unbalanced, relying on
convention rather than consistently demonstrating significant critical perception
or real creative flair.

At the lower end of this band, the more positive of these qualities may be
demonstrated in only part rather than all of the submission, or the overall
submission may be let down by weaknesses in specific areas. At the upper end
of this band, and just below the II/ii–II/i borderline, there may be significant signs
of II/i potential which remains unrealised because of the treatment of the
material, the inconsistency of the approach, and/or a general lack of fluency.

         Essays: The main thrust of the question will have been recognised,
         although arguments may be limited or lack detail, and/or the evidence
         may be of dubious relevance. Answers reflect inadequate knowledge of
         the secondary literature and may rely to too great a degree on
         paraphrase, or offer too simple descriptions of primary sources.
         Technical work or Composition: There is some evidence of technical
         competence and consistency, and an awareness of larger-scale
         structural issues and of integrating various elements. Interesting ideas
         are starting to emerge, but these may be patchily realised, and a lack of
                              23


        mastery over techniques and idioms produces a sense of sometimes
        losing control of the material. Intended effects may not always be
        properly notated or articulated.
        Performance: The programme demonstrates a reasonable range of
        technical and musical abilities, some attempt is made to communicate a
        sense of occasion, and the performance is adequate in most of the
        following areas: technical control; accurate intonation; articulation; tone
        quality; expressive range; stylistic awareness; musical understanding
        and projection.

60-69             Second-Class Honours, Upper Division (II/i)
A submission based on a well-developed and well-structured design permitting
the demonstration of a wide range of intellectual, technical and/or creative
abilities and sustaining the interest throughout. There are few if any mechanical
errors, and issues are handled imaginatively and even at times with originality,
reflecting careful thought, preparation and reflection.

At the lower end of this band, a poor performance in one part of the submission
may mar an otherwise successful outcome. At the upper end of this band, and
just below the II/i–I borderline, there may be significant signs of first-class
potential but the handling of the issues may not appear challenging enough, and
the overall outcome might be a little lacklustre, while worthy.

        Essays: The adduced evidence reflects intelligent research and has
        been subjected to critical analysis. Creativity and originality or breadth
        and depth of response could compensate for some weakness in style
        or some incoherence of argument. Alternatively, a well-written,
        thoughtful answer could compensate for a narrowness in the range of
        issues addressed. However, there will be little or no irrelevant material.
        Technical work or Composition: There is significant evidence of
        technical competence and consistency, and a control of larger-scale
        structural issues, plus signs of an original voice. Material is expanded,
        developed and sustained in a coherent manner, and resources are
        precisely controlled. Creativity and originality could compensate for
        some weakness in technique – or technical fluency could compensate
        for some lack in imagination – but any such weaknesses do not
        significantly impede the overall result.
        Performance: The programme permits the demonstration of a wide
        range of musical and technical abilities and sustains audience interest
        throughout. The performer appears assured and calm, acknowledging
        the audience and communicating well. The performance is strong in
        most of the following areas: technical control; accurate intonation;
        articulation; tone quality; expressive range; awareness of style and
        structure; musical understanding and projection.

70+              First-Class Honours (I)
A submission based on an excellent design rich in challenge and variety, and
ordered in such a way as to convince and enlighten (e.g. by revealing familiar
objects/ideas in a new light by their association and/or juxtaposition, or by
genuine innovation). The candidate demonstrates a mature technical assurance
and an awareness of appropriate ways of handling the chosen issues or
repertories in a clear, fluent, focussed and elegant way that instructs and
persuades.

   At the lowest end of the band (70–74) a submission will demonstrate all or
   most of the above characteristics but might be less assured in one or two
   of them, while clearly indicating a class of achievement beyond that of the
   highest II/i.
                                                24


                   In the middle of the band (75–79) a submission will present a full
                   demonstration of the characteristics of a first-class performance.
                   A mark in the range 80–85 (and potentially higher) will be awarded when
                   the submission reaches well beyond the expectations of an undergraduate
                   response in its depth, range and originality, attaining a postgraduate or
                   professional standard in highly exceptional and significant ways.

                         Essays: The answer expresses arguments of significant originality or
                         creativity, reflecting a thorough knowledge of the secondary literature
                         and a willingness and ability to move beyond it.
                         Technical work or Composition: Technique becomes an effective
                         instrument of creativity – moving far beyond the mechanical – and the
                         submission bears marks of significant originality. A thoroughly
                         sustained argument is precisely conceived and notated.
                         Performance: The programme is well chosen in terms of breadth,
                         variety, focus and challenge (whether within a single piece or across a
                         range of pieces), and the performer is not only confident but manages
                         to create an atmosphere of warmth, enthusiasm and excitement, and
                         appears in control of all aspects of the recital, able to interact with the
                         audience’s appreciation and expectation. The performance exhibits a
                         significant degree of originality and creativity, and moves the audience
                         both intellectually and emotionally.

5.1.6   These criteria are applied, mutatis mutandis, to work at all stages; the distinction
        between stage 1, stage 2 and stage 3 courses will lie primarily in the nature of the task in
        hand rather than the standard achieved. A single course-unit taken by undergraduate
        students of more than one stage (e.g. a half-unit option taken by second- and final-year
        students) will not have different assessment tasks for each stage or have work marked
        on different scales; potential advantage or disadvantage is compensated by year-
        weightings.

5.1.7   Work is marked according to its perceived standard rather than by reference to profiles
        or statistical norms (which are, however, considered in annual monitoring procedures).
        The average of all the marks awarded by the Department in a given examination period
        tends to fall at the II/ii–II/i border, which reflects a perfectly reasonable achievement in
        degree-level terms.

5.1.8   Work submitted in course is subject to the tutor's judgement that it not admissible for
        marking because it does not satisfy the general criterion of ‘completeness’. This
        guards against the intentional submission of incomplete work, by the in-course
        deadline, simply to gain a full record of coursework. Any assignment regarded as
        'incomplete' will be invalid for eventual submission as part of the final assessment; it
        must nevertheless be completed by the final deadline in order to satisfy the
        coursework requirements for the course in question. If the work resubmitted by the
        final deadline is still judged not to be ‘complete’, the coursework requirements will
        remain unfulfilled. If the resubmission, due by the final deadline, is submitted earlier
        than that, it will be retained in the Department Office; no tutorial feedback will be
        given, nor will the work be returned to the student or a further chance given to satisfy
        the requirement.

5.2     Coursework Marks

        The mark awarded by a tutor for coursework during the course is not the final
        assessment mark. Such a ‘tutorial mark’ is intended as an indication of the quality of a
        piece of work and a guide to progress, but a given tutorial mark can (and often does)
        change when work is formally assessed by two or more examiners working in a different
        context. Thus students should be aware that all marks and grades communicated to
        them for items of coursework or other in-course assessments are advisory, for guidance
        only, and have no formal status for examination purposes. The only marks that count in
        those terms are those considered and agreed by the Sub-Board of Examiners.
                                               25



5.3     Assessment (Examination)

5.3.1   Assessment methods used in the Department draw on portfolios of coursework (essays,
        technical exercises etc.), unseen 2- and 3-hour papers, practical examinations and
        special studies as appropriate for each course. Assessment is carried out in accordance
        with the College Regulations and relevant Guidelines. Students’ assignments are
        marked anonymously, i.e. without candidates’ identities being made known to markers.
        All work is subject to scrutiny by the Visiting Examiner(s). Any disagreements between
        Internal Examiners are referred to an internal moderator and/or the Visiting Examiners
        via the Chair of the Sub-Board of Examiners in Music, which is the body (consisting of
        academic staff and Visiting Examiners) constituted to conduct examinations for course-
        units in Music, and to recommend the award of the classified degrees of BMus and BA
        with Major in Music (the award of joint degrees is the concern of the College Sub-Board
        for Joint Degrees in Arts, to which the Department makes recommendation on the basis
        of performance in the Music component). Viva voce examination in the presence of a
        Visiting Examiner may exceptionally be used for various purposes, e.g. to clarify a mark
        in a given course-unit; however, a viva cannot be used to disadvantage a candidate, e.g.
        by lowering marks already gained.

5.3.2   Students are not permitted:
        (i)      to present work already examined in a lower-level course for examination in a
                 higher-level one;
        (ii)     to present the same or equivalent piece of work for two separate examinations;
        (iii)    to present for assessment in one examination the same or equivalent piece of
                 work completed as (assessed or unassessed) coursework in the same or
                 another course-unit.
        Any work so presented will be discounted, with a corresponding effect on the mark.
        Thus, and for example, students should not repeat a work performed in a lower-level
        practical test or recital in a higher-level one; should not submit the same piece for
        examinations in orchestration and composition; and should not reproduce in substantially
        the same form a coursework essay in a written paper. A student who repeats a course
        is required to satisfy all coursework requirements afresh, in accordance with the College
        Regulations.

5.3.3   Examination recitals for MU2210, MU2211, MU2323 and MU3393 will be open to the
        public, although photography and the making of private recordings are not permitted.

5.3.4   Students are required to meet the specified requirements for all examinations; this
        includes meeting the terms of the rubric of any written paper and adhering to the timings
        of recitals.

5.4     Visiting Examiners

        The Department recommends (and the College appoints) Visiting Examiners (normally
        two) from other UK Higher Education Institutions to moderate and sample students’ work
        presented for examination, and to monitor the Department’s examination practices. One
        of these Visiting Examiners may be an Intercollegiate Examiner from another School of
        the University. Their primary role is to ensure comparability of standards across the
        Higher Education sector in Music; they also advise on matters of course design, delivery
        and assessment. Visiting Examiners have access to all examination materials and will
        inspect a good deal of students’ work during their visit to College. However, they cannot
        be expected to see/hear everything by every student. Nor are they a court of appeal
        except when called upon by the College according to its guidelines.

5.5     Classification

        See ‘Consideration for the Award’ in the College Regulations.

5.6     Notification of Results
                                                 26



5.6.1   The Sub-Board of Examiners in Music can only make recommendations to the College
        Boards of Examiners, which may accept or reject those recommendations. On the
        completion of the examination process, the Department is normally empowered to post a
        pass-list, indicating (by candidate number) which students have passed which course-
        units. A list of classified results (again, by candidate number) is normally posted in the
        Department after ratification by the College Board of Examiners.

5.6.2   Final marks for each course-unit are communicated to candidates only by the College
        Registry, usually in the summer vacation following the examinations. Department staff
        are not authorised to disclose or discuss individual marks in detail, or any other aspect of
        the examination process.

5.6.3   Examination marks and degree classifications are to be regarded as final and are not
        open to dispute except where College appeal and complaints procedures are
        legitimately invoked; the criteria permitting appeals are limited and do not include
        matters of academic judgement. See the appropriate sections of the College
        Regulations.

5.6.4   Candidates who are in debt to the Department and/or to other bodies in the College are
        not entitled to any College services: e.g. they will not receive a transcript of their results
        or be able to request a reference.



5.7     Requirements for Progression

        In broad terms, a student must pass three units or the equivalent from the four units of
        any one year of a programme in order to progress to the next year of the programme.
        See the appropriate sections of the College Regulations.

5.8     Retention of Work

        Work submitted for examination purposes will not be returned to the student but will
        normally be retained until the completion of a student’s degree, whereafter it will be
        securely disposed of at the appropriate time; examination scripts are not returned.
                                               27


6       REQUIREMENTS FOR ACADEMIC WORK

6.1     Attendance and Other Commitments

6.1.1   Attendance at lectures, seminars, tutorials, practical sessions, supervisions etc., is
        compulsory; records of attendance and absence are held by the Department Office.
        Should absence from a lecture (etc.) be unavoidable, every possible step should be
        taken to notify the member of staff concerned (preferably in writing), and the
        Departmental Administrators. In turn, students are entitled to expect that members of
        staff should notify them of alterations to the lecture (etc.) schedule in good time.

6.1.2   Absence from College at any time during the term is not approved. The College is
        under obligation to notify any fee- or grant-awarding body if attendance at College has
        been in any way unsatisfactory; the awarding body may then decide to make a pro rata
        reduction in the award or to take other action.

6.1.3   Undergraduate lectures or core course tutorials take place during every week of terms 1
        and 2 with the exception of term 1, week 1 (induction week) and week 12 (submissions
        week); and term 2, week 11 (submissions week and certain examination recitals).

6.1.4   The Department considers attendance at lectures, tutorials and other course-related
        sessions, and at tutorial groups compulsory. Further, the Department expects that
        students will honour their commitments to rehearsals and performances of the
        orchestras, choirs and other performing groups of which they are members; and
        encourages students to attend concerts and other performances both in their own
        interests and in those of their fellows.

6.1.5   The Department is sympathetic to the financial needs of students, which often force
        them to undertake part-time employment. The College has clear regulations on the
        number of weekly hours of part-time work that full-time students are permitted to
        undertake during term. Both the College and the Department must ensure that part-time
        work of whatever kind (and to whatever extent) does not interfere with the demands of
        full-time study in terms of attendance at class and other departmental activities, and of
        access to library and other resources.

6.1.6   The College asks us to draw to the attention of students the need to complete enrolment
        formalities promptly. Normally enrolment will take place before or during the first week of
        the academic year, and students will be informed well in advance of the relevant
        procedures. This should not therefore pose significant difficulties, but late enrolment
        does have potentially high costs for the College (and thus for the Department), and
        under the College’s Disciplinary Regulations it is an offence for students (other than
        new postgraduate students) to fail to enrol within 28 days of the beginning of the
        academic year. Students who experience difficulty in fulfilling this requirement are
        advised to discuss the matter with the Head of Department at the earliest opportunity.

6.2     Submission of Coursework

6.2.1   All undergraduate coursework for assessment and MMus coursework should be
        submitted to the Department Office, where its receipt will be formally registered. It
        should not be handed to the course tutor or left in staff pigeonholes. Submission of
        coursework by post, email attachment or fax is not permitted except in very
        exceptional circumstances and by special prior arrangement with one of the
        Departmental Administrators.

6.2.2   All undergraduate coursework for assessment and MMus coursework should be
        submitted in two copies, each copy with the appropriate cover sheet (a copy for
        photocopying can be obtained from the Music Library or downloaded from the Music
        Department website). Submissions not supplied with a cover-sheet and/or not formally
        submitted in the manner described above will be deemed not to have been submitted.
                                                28


6.2.3   The coursework cover-sheet should bear the student’s candidate number for the current
        year and not the student’s name; this will help to safeguard students’ anonymity during
        the marking process.

6.2.4   There may be further coursework within a course (‘formative’ coursework) that is not for
        assessment; such coursework should be submitted directly to the course tutor as the
        course tutor directs.

6.2.5   In the case of illness or other extenuating circumstance, an extension may be granted in
        undergraduate programmes by the Director (or Deputy Director) of Undergraduate
        Study, in MMus programmes by the Director of MMus (AMS) or Director of MMus
        (Performance Studies) as appropriate, who will take into account relevant individual
        circumstances. Requests for extensions must be made in advance of the deadline;
        requests on grounds of illness should, if possible, be supported by appropriate
        certification. Only exceptionally will requests for extensions on other grounds be
        considered. Failure to obtain reading matter is not acceptable; nor is the failure close to
        the deadline of computing hardware or software; nor is a conflict with other
        commitments; nor are unexpected personal circumstances, other than the most severe.

6.2.6   The Department takes a draconian view of all deadlines: it is the only way to be fair to all
        students.

6.2.7   Students who have failed to submit coursework for assessment by the in-course
        deadline, the 24 hours’ late deadline or sanctioned extension during the year will still be
        eligible to enter the examination for the course concerned, provided that the
        coursework concerned is completed by the final deadline and is judged to be a
        ‘complete attempt’ (see 5.1.8 above). Even with work submitted by the final deadline
        to satisfy completion, a student may still not have coursework eligible for submission for
        assessment in that course and thus will receive 0 for that element of the assessment.

6.3     Failure to Complete Coursework

6.3.1   Failure to complete the coursework required for assessment by the final deadline
        for submission will mean that the student will not qualify for final consideration by
        the examiners in the course-unit(s) concerned, in accordance with the College
        Regulations. This also applies to MMus courses.

6.3.2   Students who have not completed and submitted the coursework required for
        assessment by the final deadline will normally be permitted to sit the unseen 2- or 3-hour
        paper(s) or take other examination(s) in the unit(s) concerned, should evidence of
        examination performance be needed in case of appeal, but any mark gained therein,
        and in the unit as a whole, will be discounted for the purposes of calculating the
        student’s year average or final result.

6.4     Presentation and Other Requirements

6.4.1   All work submitted, whether or not for assessment, should exhibit appropriate standards
        of presentation. Technical work (involving notes on staves) should follow professional
        standards of format and appearance. Essays, etc., must be word-processed or typed
        using double spacing, and should be supplied with the usual scholarly apparatus
        (footnotes, bibliographies, etc.). Poor presentation diminishes the quality of a piece of
        work; moreover, it is a discourtesy to the reader.

6.4.2   Two models for bibliographical referencing are contained in Trevor Herbert, Music in
        Words: a Guide to Researching and Writing about Music (London: ABRSM Publishing,
        2001), which is available in the Music Library. Students are advised to follow or adapt
        the one that best suits their needs.

6.4.3   The College has issued the following standard policy on late submission of work with
        penalty.
                                              29



        All coursework should be submitted by the specified deadline. You should ensure
        that you are aware of the deadlines set by your Department(s). Work that is
        submitted after the deadline will be penalized as follows:

        •   For work submitted up to 24 hours late, the mark will be reduced by ten
            percentage marks* subject to a minimum mark of a minimum pass;

        •   For work submitted more than 24 hours late, the maximum mark will be zero.

        *eg: a mark of 65% awarded would be reduced to 55%

        If you have had extenuating circumstances which have affected your ability to submit
        work by the deadline these should be submitted in writing, accompanied by any
        relevant documentary evidence, to your Department(s). (See 6.2.5 above)

6.4.4   The College has issued the following standard policy on penalty for the exceeding of
        word length.

        All over-length work submitted on undergraduate and taught postgraduate
        programmes will be penalized as follows.

        •   For work which exceeds the upper word limit by at least 10% and by less than
            20%, the mark will be reduced by ten percentage marks*, subject to a minimum
            mark of a minimum pass.

        •   For work which exceeds the upper word limit by 20% or more, the maximum mark
            will be zero.

        *eg: a mark of 65% awarded would be reduced to 55%

        In addition to the text the word count should include quotations and footnotes. The
        following are excluded from the word count: candidate number, title, course title,
        preliminary pages, bibliography and appendices.

6.5     Plagiarism

6.5.1   The College Regulations define plagiarism as follows:

                'plagiarism' means the presentation of another person's work in any quantity
                without adequately identifying it and citing its source in a way which is
                consistent with good scholarly practice in the discipline and commensurate
                with the level of professional conduct expected from the student. The source
                which is plagiarised may take any form (including words, graphs and images,
                musical texts, data, source code, ideas or judgements) and may exist in any
                published or unpublished medium, including the internet.

        Plagiarism must be rigorously avoided, with particular care in coursework and essays
        and reports written in students’ own time. Deliberate plagiarism in coursework is as
        serious as deliberate cheating in an examination. Direct quotations from the
        published or unpublished work of others must always be clearly identified as such by
        being placed inside quotation marks, and a full reference to their source must be
        provided in the proper form. A series of short quotations from several different
        sources, if not clearly identified as such, constitutes plagiarism just as much as does
        a single unacknowledged long quotation from a single source. Use of another’s
        musical exercises or compositions without acknowledgement also constitutes
        plagiarism. Equally, a summary of another person’s ideas or judgements, must be
        referred to and the work referred to included in the bibliography. Failure to observe
        these rules may result in an allegation of plagiarism. Students should therefore
        consult their tutor or course director if they are in doubt about what is permissible.
                                               30



6.5.2   The Department applies the same principles to all coursework submitted as part of a
        course, not just that counting for assessment, and automatically follows College
        procedures for dealing with plagiarism, which are laid out in the appropriate section of
        the College Regulations.

6.5.3   Plagiarism also extends to unwarranted collusion between students. Students are
        certainly entitled to discuss their work with each other but should take particular care to
        avoid collaboration in a given piece of work except where it is required by the course
        tutor. Unusual and unwarranted levels of similarity in content, structure and/or wording
        between two or more pieces of work by two or more students will be investigated as
        prima facie evidence of plagiarism.

6.6     Return of Coursework

6.6.1   It is in everybody’s interest for coursework to be marked and returned as soon as
        possible; members of staff make every effort to ensure this. At the same time, other
        staff commitments in the areas of teaching, administration and research, the varying
        pressures of the academic year and different class sizes make it impossible to set a
        uniform period for the return of coursework. In general, we aim to return undergraduate
        coursework within three weeks of submission or by the beginning of the succeeding term
        as appropriate, although this may not always be possible. MMus coursework will
        normally be returned to students within four in-term weeks of submission, having been
        marked by two internal markers.

6.6.2   Returned coursework is usually made available for collection from identified boxes in the
        Student Common Room, room 002, or from other place of collection outside the room of
        the member of staff concerned. It is not returned by way of the student pigeonholes.

6.7     Student Feedback

6.7.1   Student feedback is a valuable guide to the effectiveness of courses and an aid to their
        improvement and development; comments (to the course tutor concerned) are always
        welcome while a course is in progress.

6.7.2   Furthermore, the College requires a formal system of student feedback by way of a
        questionnaire completed at the end of each course (normally in the last class). This
        feedback questionnaire is particularly important and should be treated seriously: for the
        procedure to be effective, we need responses from everyone. Please offer constructive
        comments (both positive and negative) on a given course: this will permit us to evaluate
        our activities and, where necessary, to improve things for the future. Questionnaires are
        completed anonymously and will not provoke repercussions against respondents of any
        kind.

6.8     Ethical Issues

6.8.1   Students whose dissertations and/or other research projects involve the collection of
        data from human subjects by means of observations, interviews, questionnaires,
        group discussions, recordings, videos etc. should complete the ‘Ethical Approval
        Form’ which is available from the Chair of Research Committee. This form should be
        discussed and completed jointly by both student and supervisor with each keeping a
        signed copy of the form.          The supervisor will recommend whether the
        completed/signed form and any supporting material requires further consideration by
        the Department or by the Ethics Committee, whose approval must be obtained in
        advance for any experiment/study involving human subjects which might give
        rise to ethical problems.
                                                31


7       STUDENT SUPPORT

7.1     Advisors and Other Support

7.1.1   Undergraduate students are each allocated a personal advisor. First-year students see
        their advisor weekly in one-hour tutorials. Second- and final-year students normally see
        their advisors at least once a term.

7.1.2   Postgraduate students are each allocated a supervisory team of supervisor and advisor.
        In the case of MPhil/PhD students, the supervisor will obviously be the main contact for
        much of a student’s work, and similarly for MMus students preparing their special study.
        The advisor is also available to discuss both academic matters (he/she may have some
        useful alternative perspectives to offer) and personal ones.

7.1.3   All members of staff post outside their individual staff rooms two separate and regular
        ‘office hours’ each week when they are available to see students without appointment on
        any matter. Excepting emergencies, students are asked make an appointment via email
        if they wish to see a member of staff outside these hours.

7.1.4   Personal advisors and supervisors/advisors will offer advice about work, help overcome
        academic or personal difficulties and discuss course choices, and they should ultimately
        be the members of staff best equipped to write references for jobs or for further study.
        The Director of Undergraduate Studies, relevant MMus Director, Director of Graduate
        Studies and/or Head of Department also will see any student who wishes to discuss
        matters academic or personal.

7.1.5   Students with a serious case for a change of personal advisor (undergraduate) or
        supervisor/advisor (postgraduate) should approach the Director of Undergraduate
        Studies, relevant MMus Director, Director of Graduate Studies and/or Head of
        Department as appropriate.

7.1.6   Students in financial difficulty should contact their personal advisor, Director of
        Undergraduate Studies, relevant MMus Director, Director of Graduate Studies and/or the
        Head of Department for details of College schemes to provide aid in terms of loans or
        additional grants. Although the Department has no funds for such purposes, we may be
        able to provide advice on and assistance with applications to appropriate College or
        external bodies.

7.1.7   Any student facing health, financial or other difficulties is strongly urged (a) to keep the
        Department informed of such circumstances as fully as possible, and (b) to submit to the
        Department Office a written record (e.g. by a GP, counsellor or other qualified individual)
        attesting to the nature of these circumstances and their possible impact on the student’s
        work. This is particularly important in the case of circumstances affecting
        coursework submission and examination performance, where appropriate and
        fully documented evidence (e.g. from a qualified practitioner) will be required for
        the Sub-Board of Examiners to take the circumstances into account. Failing
        appropriate documentation, such matters cannot be considered; nor (apart from the
        most exceptional circumstances) can any evidence that is provided retrospectively.

7.1.8   The College also has a number of support services helpful to students in various needs,
        notably the Counselling Service, the Educational Support Office and the Chaplaincy. In
        line with College policy, the Department identifies a member of staff with responsibility
        for Educational Support, whom any student should contact with respect to concern about
        any incapacity or disability.

7.1.9   As a matter of principle, appropriate confidentiality is preserved between students and
        any professional (Department staff, counsellors, GPs) from whom advice and/or
        treatment is sought. In accordance with College rules, the Department cannot report or
        comment on individual students to third parties outside the College (even including close
        family, unless the student has provided express written permission) except for the
                                                32


        purpose of writing references. This principle is overridden in only the most extreme
        cases, e.g. if a student is considered to be in danger of physical or psychological
        damage and immediate help is needed, or where there is a legal obligation to provide
        information.

7.2     Student Representation

7.2.1   The Student:Staff Committee meets regularly to discuss academic and practical matters
        in the Department. All students in the Department are entitled to attend the meetings,
        although the committee is formally constituted of elected representatives from each year
        of the BMus and BA/BSc students, plus elected representatives of the MMus and
        MPhil/PhD programmes and of overseas students, plus members of staff. Students are
        encouraged to approach their representatives or the Head of Department with matters
        for the agenda of these meetings. Minutes of each meeting are published by way of
        posting on the appropriate Department notice board and inclusion in the Department
        Annual Review.

7.2.2   One BMus and one BA/BSc student representative from each year, attend meetings of
        the Department’s Undergraduate Teaching and Assessment Committee (UTAC), which
        approves new course proposals and reviews existing courses and degree programmes.
        One student from each MMus programme and one MPhil/PhD student representative
        attend meetings of the Department’s Postgraduate Committee, which approves new
        postgraduate course proposals, reviews existing courses and degree programmes and
        in general considers matters of relevance to postgraduates. Such representatives have
        voting rights where appropriate but will be excluded for ‘reserved’ business when
        confidential matters are to be discussed. Students are also represented on the
        Department’s Performance and Composition Committees.

7.2.3   The Department’s student representatives may represent their respective constituencies
        on various College bodies. It is possible also to hold occasional plenary meetings with
        representative groups of students to discuss matters of general concern.

7.3     Careers

        In line with College policy, the Department identifies a member of staff with responsibility
        for fostering the relationship between the Department and the College Careers Service
        and for coordinating careers activities in the Department.

7.4     References

7.4.1   A student’s personal advisor (for undergraduates) or supervisor/advisor (for
        postgraduates) and the Head of Department will normally write references on behalf of a
        given application (provided that students are not in debt to the Department and/or to
        other bodies in the College). Adequate notice that a reference is needed, details of the
        position etc. for which the application is made, and a copy of the relevant application
        form and/or an up-to-date curriculum vitae should be provided to referees, along with a
        stamped addressed envelope where required.

7.4.2   Referees have a duty to be accurate in the recording of fact and honest in the offering of
        opinion. References are normally provided on a confidential basis, i.e. the student does
        not have sight of it. Students may request an ‘open’ reference (i.e. which they may
        see); it is likely, however, that any such open reference will be less detailed than one
        supplied in confidence. Students should note that employers tend to prefer confidential
        rather than open references.

7.4.3   Students are advised to complete each year a self-report of activities both within and
        outside the Department; this report is kept in the student’s file and provides useful
        information for the purpose of compiling a reference.
                                               33


7.4.4   Any reference will probably seek to present a broader picture of a student than is offered
        by the bald detail of degree results. Referees are usually invited to comment on a
        student’s general contribution to the Department and other bodies (whether inside or
        outside the College) and to offer an opinion on competence, teamwork skills,
        commitment etc. There is more to a student than a simple degree classification: a
        student gaining, for example, a II/ii can receive a more positive reference than one
        gaining a II/i if other considerations weigh in that student’s favour.

7.4.5   If there is any information which a student would prefer not to be released to potential
        employers (e.g. a given health condition), please make sure that the referee is aware of
        it. Referees will not collude in the perpetration of deceit but have a responsibility of
        confidentiality to the student; if any request for non-disclosure places the referee in an
        untenable position, the referee will refuse to write a reference rather than break the rule
        of confidentiality.

7.4.6   A student’s relationship with the Department and the College continues long beyond
        graduation: we will normally continue to write references (but obviously the up-to-date
        relevance of what we are able to say diminishes with time; it can be helpful if we are kept
        abreast of changing circumstances) and we look forward to hearing about the progress
        of our former students’ careers. All graduating students should make sure that the
        College has a current contact address.
                                                34


8       PERFORMANCE

8.1     Administration

8.1.1   The focal point of administration of all performance which takes place under the
        auspices of the Department is the Performance Manager, Concert Office, room 102. In
        the interests of the efficient and successful running of performance, all administrative
        matters and other arrangements concerning performance should be channelled through
        the Performance Manager.

8.1.2   Students are able to contribute to administration of performance through membership of
        the Performance Committee and the Music Society. Student opinion is sought and
        welcomed on performance-related matters, including programming. Wherever possible
        student conductors are also given opportunities to direct the Department ensembles
        during the year.

8.1.3   The Music Society also provides an opportunity for students to gain valuable experience
        in various aspects of Administration and prospective employers will clearly view
        involvement here in a positive light. The committee is elected annually, part in June and
        (to include incoming first-year students) part in October.

8.2     Orchestras, Choirs and Other Groups

8.2.1   There is a large number of performing groups on campus: those operating under the
        direct auspices of the Department or in close association with it include the Royal
        Holloway Symphony Orchestra, Chamber Orchestra, Sinfonietta, Royal Holloway
        Chorus, Chamber Choir, Andean Band, Gamelan Ensemble and Big Band. Interest and
        initiative lead to the formation of other ad hoc groups which meet on an occasional or
        regular basis for chamber music. The Chapel Choir is a College foundation,
        independent from the Department, and is under the control of the Director of Choral
        Music.

8.2.2   Auditions are held for orchestras and choirs early in the first term. Every effort is made
        to include players of appropriate ability in at least one ensemble. Auditions are open to
        all students of Royal Holloway. It is necessary to apply for orchestral audition times on
        the first day of the autumn term, as auditions are scheduled later that week.

8.2.3   The Department offers opportunities to its students to perform concertos with one or
        other of its orchestras. Auditions are normally held towards the end of the second term
        for the following academic year.

8.2.4   We expect a high degree of involvement from all Music students in these various
        activities: such involvement is important for studies and for the musical health of the
        Department and of the College. Failure to attend rehearsals without good reason may
        lead to exclusion from the performing group concerned.

8.3     Concerts, Recitals, Workshops and Masterclasses

8.3.1   The Concert Office manages concerts, recitals and workshops involving students and
        visiting professional performers. Attendance at workshops and relevant concerts/similar
        events is required for students on performance courses and recommended for students
        on courses relating to the event.

8.3.2   In addition to the orchestral and choral performances, other concerts and recitals etc. (all
        advertised in the Concert Calendar ‘A Guide to Music Events’) there are likely to be
        performance and composition workshops, sometimes with associated concerts. Music
        students are expected to take full advantage of the educational and musical experience
        that all these events add to academic musical studies.
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8.3.3    All students enrolled for a degree in Music at Royal Holloway are automatically
        members of the Music Society, in order to facilitate attendance at college campus
        concerts beneficial to their studies. Membership brings the benefit of FREE admission
        to most concerts.
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9       UNDERGRADUATE SCHOLARSHIPS AND PRIZES

9.1     Instrumental Scholarships

        Department instrumental scholarships are awarded to incoming and existing
        undergraduate students on a competitive basis.

9.2     Prizes

9.2.1   The Department awards five prizes annually:

        The First-Year Prize: for the best all-round performance by a first-year student taking at
        least two course-units in Music, with ‘best’ not defined just in terms of examination
        results but also taking into account profile and contribution where appropriate.

        The Pompilia (Pompey) Legge Musical Scholarship: for the best first-year Music student
        intending to enter a specialist performance course in his or her second year. The award
        will be made at the end of the academic year on the basis of achievement in first-year
        performance examinations, although other evidence (other performance activities, etc)
        will be taken into account. It is intended to be used towards the cost of instrumental or
        singing lessons and/or masterclasses.

        The Edward and Florence James Prize: for the undergraduate student who, at the
        beginning of his or her final year, is, in the opinion of the Music Department, most
        deserving; the choice is made not solely on academic achievement or potential, but also
        on progress and more general qualities, such as reliability, tenacity of purpose and
        contribution to the life of the Department. This prize was established in 1987 by a gift
        from Dr Kenneth E. James, a postgraduate student in the Music Department of Royal
        Holloway College from 1973 to 1975 and from 1981 to 1983, in memory of his parents.

        The Driver Prize: for excellence in instrumental or vocal performance. This prize is
        available to any student taking course-units in Music.

        The Brian Dennis Memorial Prize in Composition: this prize is awarded to the best
        undergraduate student composer who has taken MU2213 (Composition) or MU3394
        (Special Study: Composition). This prize is named after Brian Dennis (1941–98),
        Lecturer in Music at Royal Holloway from 1971 to 1998.

        The Alice Dougherty Chaplin Prize for Excellence in Performance: this prize is awarded
        for the most outstanding final-year solo recital. This prize was established in 2006 by Mr
        and Mrs R Woodward in memory of the mother of Mrs Woodward.

9.2.2   The College also awards certain annual prizes for undergraduate achievement.

								
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