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 email@example.com; 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 firstname.lastname@example.org; x.4451 (Reader): 20th-century music, especially in Hungary: analysis, music and politics, historical performance Mark Bowden, BMus Huddersfield, MMus Royal College of Music email@example.com; x. 3948 (Lecturer): composition Julie Brown, BA Melbourne, MMus PhD London firstname.lastname@example.org; x.4143 (Senior Lecturer): early 20th-century music: theory, criticism and history; music and the media Nicholas Cook, BA Soton MA PhD Cambridge, FBA email@example.com; x.3290 (Professorial Research Fellow): theory and analysis; performance studies; multimedia; Beethoven; Schenker; twentieth-century music James Dack, BA BMus PhD Liverpool firstname.lastname@example.org; 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 email@example.com (Professor of Music): musical culture in 19th-century France; aesthetics and criticism; historiography; gender studies Paul Harper-Scott, BA Dunelm, DPhil Oxon firstname.lastname@example.org; x.3949 (Lecturer): Elgar; Walton; Schenkerian theory Julian Johnson, BA Dartington, MA DPhil Sussex email@example.com; 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 firstname.lastname@example.org; 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 email@example.com; x.3231 (Senior Lecturer): composition of film and commercial music; music technology Anna F Morcom, BA PhD London firstname.lastname@example.org; x.4998 (Academic Fellow): ethnomusicology, especially India and Tibet Tina K Ramnarine, GRSM (hons) Royal Academy of Music, MMus Edinburgh, DPhil Manchester, LRAM (violin) email@example.com; 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 firstname.lastname@example.org; x.3534 (Professor of Music): 19th-century studies, especially Chopin, Liszt, Brahms; performance studies; theory and analysis Stephen Rose, BA York, MPhil PhD Cambridge email@example.com; 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 firstname.lastname@example.org (Professor of Music): 19th- and 20th-century music; Chopin; Liszt; aesthetics; performance and analysis Henry Stobart, MPhil PhD Cambridge, ABSM email@example.com; 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. 35 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. 36 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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