P R O S P E C T U S

FACULTY OF

MUSIC

www.music.ox.ac.uk

Welcome to the Faculty of Music

Contents

About the Faculty of Music . . . . . . . . . . . . . . . . . . . . . . . . . .2

Musical Life in Oxford . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Undergraduate Admissions . . . . . . . . . . . . . . . . . . . . . . . . . .4

Undergraduate Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Performance and Composition . . . . . . . . . . . . . . . . . . . . . .8

Organ, Choral, and Repetiteur Scholarships . . . . . . . . . . .10

Graduate Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Electronic Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Library Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Musical Instrument Collections . . . . . . . . . . . . . . . . . . . . . .15

Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Contacting Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Finding Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

The study of music at Oxford University is an exciting andinspiring opportunity. Our aim is to develop yourenthusiasm for music, the breadth and depth of yourunderstanding of the subject, your ability to expressyourself through music and about music, and your skills inparticipating in music – whether or not you ultimately wishto pursue a professional career in musical activities.

The intellectual and musical environment of Oxford, andthe teaching offered by one of the largest and mostexperienced Music Faculties in the country, provide anoutstanding context in which to develop your musical skillsand understanding. Oxford is an international centre forresearch in music (top of the research power rankings acrossall UK music departments in the Government’s most recentResearchAssessment Exercise in 2008) and a meeting placefor musicians of all kinds, and of the highest calibre.TheFaculty offers courses and special tutoring in performingskills, history of music, psychology of music, composition,analysis, ethnomusicology, musical instruments, musicaltheatre, electroacoustic media and other specialisedsubjects and skills.There is an extensive programme ofconcerts – many of which are given by student performers –research seminars, conferences, workshops and other eventsproviding opportunities for a huge range of stimulatingexperiences.Above all, the Faculty is a friendly andsupportive community: we take every individual’s interests,enthusiasms and needs seriously, whether in the Colleges orin the Faculty at StAldate’s.

We want you to be successful in music, and above all wewant you to enjoy and be enriched by the time that youspend studying and making music at Oxford.

Eric Clarke,Heather Professor of Music

Above all, the Faculty

is a friendly and

supportive community:

we take every

individual’s interests,

and needs, seriously

About the Faculty of Music Musical Life in Oxford

Oxford is one of the liveliest places for music-making inthe United Kingdom, home not only to numerousprofessional ensembles and organisations but also tomore than 30 student music societies: orchestras, choirs,chamber groups, opera groups, theatre bands,contemporary music groups, jazz, pop, gamelan and earlymusic groups.The Oxford University Music Societypromotes and co-ordinates many of their activities, and anumber of them benefit from financial and administrativesupport from the Faculty of Music.

Most colleges have a Music Society of their own, whichorganises college recitals, concerts and other activities.University-wide orchestras include the Oxford UniversityOrchestra, the Philharmonia, the Sinfonietta and theOxford University Chamber Orchestra.The University’sprofessional orchestra in residence is the OxfordPhilomusica.The Faculty of Music hosts a number of

internationally renowned ensembles including vocalconsort Contrapunctus, the Orchestra of theAge ofEnlightenment and the Radcliffe chamber musicresidency, and promotes the development ofcontemporary music through Ensemble ISIS (see page 8).

Among the University-based choirs is the renownedSchola Cantorum, and there are several stage andopera companies including New Chamber Opera (aprofessional company with University commitments).The achievements of Oxford’s choral foundations andother college chapel choirs continue to gaininternational recognition.

The Holywell Music Room, administered by the Facultyduring term time, is the oldest purpose-built concert hallin Europe, and is dedicated to recitals, chamber music andother musical events.The SheldonianTheatre (theUniversity’s hall for formal ceremonies), OxfordTown Hall,and the University Church are all used for large-scaleorchestral and choral concerts.The Jacqueline du PréMusic Building at St Hilda’s College presents its ownconcert series and a number of other colleges also havepurpose-built auditoria with regular performanceactivities, alongside the frequent concerts that are given inCollege chapels, and outdoors during the summer.

The NewTheatre is Oxford’s largest theatre, receivingboth theWelsh National Opera and GlyndebourneTouringOpera, both of which perform in Oxford regularly.TheOxford Playhouse is also used by touring companies and isavailable for student performances.The Old Fire StationTheatre is a small studio theatre particularly suitable forcontemporary chamber opera and musicals, and isavailable for student performances during term.

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Music-making and the study of music at the University goback to the twelfth century. As one of the liberal arts,musicwas included in the Medieval and Renaissance curriculum ofthe University of Oxford. A BMus degree was in existence asearly as 1478; the first DMus was awarded – for composition– to Robert Fayrfax in 1511.Other early recipients were JohnBull, John Dowland,ThomasWeelkes andThomas Morley.

In 1627,William Heather established the two posts ofLecturer and Choragus, the latter being designed tostimulate the performance of music.The post of Choraguswas soon called the‘Professor of Music’, and the chair wasofficially established in 1856, followed soon afterwards bya new syllabus which required the candidates to takewritten papers in harmony, counterpoint, history andgeneral musical knowledge.

The present-day Faculty of Music came into existence in1944 when it ceased to be a sub-Faculty of the Faculty ofArts and became a Faculty in its own right. First housed inHolywell Street next to the Holywell Music Room, it movedto its current buildings in StAldate’s in 1981.

Music students at Oxford read for the Bachelor’s degree in theHonour School of Music (BA Hons), or for graduate degreessuch as Master of Studies (MSt),Master of Philosophy (MPhil)and Doctor of Philosophy (DPhil).

The full Faculty comprises Professors, Readers and UniversityLecturers, together with College Lecturers and Fellows, andSenior and Junior Research Fellows (see page 16).

Among recipients of the honorary degrees in music awardedby the University are Peter Maxwell Davies,MichaelTippett,Janet Baker, Joan Sutherland, KlausTennstedt, Simon Rattle,Olivier Messiaen, Felicity Lott, Placido Domingo,DanielBarenboim, Emma Kirkby,Mitsuko Uchida and George Martin.

Oxford is one of the

liveliest places for

music-making in the

United Kingdom

Undergraduate Admissions Undergraduate Study

The Faculty offers a broad based and contemporarycurriculum in the history, analysis and composition ofwestern music (from early polyphony to the music oftoday), in ethnomusicology and the music of traditionaland vernacular cultures, in performance studies,aesthetics and the psychology of music. It provides botha foundation in core subjects and skills, and also theflexibility to follow your own interests and enthusiasms –whether these are in the essay and project-based aspectsof the subject or in the practical and creative areas ofperformance and composition.

During the first year, undergraduates study techniques ofcomposition and analysis, examine a wide range ofmusicological ideas and historical topics, and choose twooptions in areas that particularly interest them.The aimof the first year is to provide a solid grounding in skills

and knowledge, and to teach as broadly as possible toallow all students to focus on what interests them mostin their selection of options for the final examination.

The course in the first year comprises four compulsorysubjects (1-4) and two optional subjects:

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Undergraduates reading music at Oxford come from awide variety of backgrounds.They arrive from every regionof the United Kingdom, from continental Europe and fromaround the world.The Faculty of Music admits studentswithA-Level qualifications from all parts of the secondaryschooling system, as well as students who have sat theInternational Baccalaureate and other equivalentexaminations.The Faculty of Music prides itself on beinginclusive and diverse, and as part of its commitment to abroad recruitment drive, it offers, among other events, asummer schools programme under the auspices of theUNIQ Summer Schools.Whatever your background, ifyou are a promising musician you should considerapplying to Oxford.

Applicants wishing to read music at Oxford will normallyhave taken, or be about to take,A-Level Music, as well as

two otherA-Level subjects.The majority of candidates areA-Level students applying in the autumn preceding theyear in which they hope to begin the course, though theFaculty is equally open to candidates who wish to applyfor deferred entry.The standard offer of a place at theUniversity of Oxford isAAA in threeA-Level (orequivalent) subjects, including Music. Scottish Highers andA-Level equivalents are also acceptable, and applicantswith ‘non-standard’ educational backgrounds will also beconsidered and evaluated on their own merits.

For further information about how to apply to Oxford,including details about interviews and tests, and theFaculty Open Days, please see our website atwww.music.ox.ac.uk and the University’s generaladmissions website at www.admissions.ox.ac.uk/apply

The Faculty of Music

prides itself on being

inclusive and diverse

1 Special Topics(recent examples include Thirteenth CenturyMotet, Music and the Court of Queen Elizabeth I,Schubert’s Last Decade, Sacred Vocal Music afterWorldWar II, and Global Hip Hop)

2 Musical Analysis(tonality and form; introduction to analyticalapproaches)

3 Techniques of Composition(studies in harmony and counterpoint)

4 Keyboard Skills(score reading and figured bass)

5, 6 Two options from:i. Issues in the Study of Musicii. portfolio of compositions;performance (recital of 10-12 minutes);extended essay (4000-5000 words)

Undergraduate Study TeachingAssessment

Various forms of assessment are used in Universityexaminations: three-hour written papers, practical tests,portfolio submissions, essay submission, take-awaypapers and recitals.

The first year ends with the First Public Examination –the Preliminary Examination in Music (‘Prelims’) – whichmust be passed to proceed to further study. In the firstyear, one of the options is a brief solo recital, and twoothers – Composition and Extended Essay – are assessedby portfolio.

The third year ends with the Second Public Examination,the Final Honour School in Music (‘Finals’).A candidatemay choose up to four options (50% of the total) thatare assessed by portfolio submission or take-away paper,or up to two options (25% of the total) that are assessedby recital and practical tests, with the remainder assessedby written paper.

Colleges also set internal exams called ‘Collections’.These are designed to provide a focus to anundergraduate’s studies, to monitor progress, and toprovide practice in examination technique.The forms ofassessment vary from examination to examination, andfrom College to College, and are often quite informal.The results of the Collections do not form part of theUniversity Examinations.

Teaching at Oxford takes two main forms: lectures andclasses given in the Faculty, and tutorials given in yourCollege.This ‘double-track’ approach, with Collegetutorials supplementing and supporting the Facultylectures, is the key to the Oxford learning experience.

Like other University departments, the Music Facultyoffers lecture courses, practical classes, seminars,masterclasses/recital classes and composition workshops.In addition undergraduates are welcome to attend thegraduate research colloquia.

Oxford students benefit from the tutorial system, run intheir own College by their subject Tutor, who will oftenalso be a Lecturer in the Faculty. Sometimes you will begiven individual tutorials, and more often you will be in agroup of two or three.Whatever the case, you will findyourself benefiting from close interaction withestablished scholars and postgraduate teaching assistantsin hour-long tutorials for which you will usually berequired to write an essay, complete a reading or listeningassignment, or produce free or stylistic composition.

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List AThe four core subjects are each examined by a three-hour written paper, and comprise: Topics in MusicHistory before 1750; Topics in Music History after 1700;and a choice of two of the following three subjects:Techniques of Composition I (or Techniques ofComposition II, see List B); Musical Analysis andCriticism; Musical Thought and Scholarship.

For Lists B, C and D the candidate chooses a total offour optional subjects, one from List B, one from List C,one from either List B or List C, and one from Lists B, Cor D.

List BAll List B options are examined by portfolio submissionexcept Solo Performance which is examined by recital.List B options comprise: Analysis Portfolio;Composition; Dissertation; Edition with Commentary;Music Ethnography; Orchestration; Solo Performance;Techniques of Composition II.

List CList C options are examined by either a three-hourwritten paper or the submission of two essays. Topicsvary from year to year; recent examples include:Choral Studies; Dance Music; Tradition, Innovation &Time; Film Music; Handel’s Operas; Music in England,1851-1914; Sounding North – Music in Scandinavia;Mahler; Motets; Music Perception; Music in the IberianWorld; Women Composers; Psychological Perspectiveson Performance; Schubert; Sexuality in MedievalMusical Culture; Strauss; Stravinsky; Opera & MusicTheatre; Before ‘Silence’ and After; Jazz: Ownership,Belonging and Power.

List D (performance-related subjects)All List D options are examined by combinations ofpractical tests and/or portfolio submissions.

One of the following options can be taken:Chamber Music; Choral Conducting;Choral Performance.

The second- and third-year course consists of four coresubjects and four optional subjects, which togetherconstitute the Final Honour School of Music.There isconsiderable flexibility in the combination of options,which may either be spread widely, or be focused on aspecial interest.A student interested in choral music, forexample, can concentrate on this area as an historicaltopic, prepare a critical edition of a piece of choral music,take a choral studies paper and/or the choral

performance option, and offer solo vocal performance.Astudent interested in composition may submit a portfolioof original compositions, take the analysis and/ororchestration options, and focus on twentieth/twenty-first-century topics in the optional historical subjects.Anda student interested in ethnomusicology can write adissertation in that area, take the ethnomusicologyoption, and concentrate on related topics in the coremusicological paper.

Performance and Composition

visiting international musicians, as well as aninstrumental apprenticeship scheme, and commissionsstudent compositions.

The Music syllabus provides the following vocal orinstrumental options in performance:

Performance– first-year optional subject.

Solo Performance(a 40-minute recital) – final-year option.

Choral Conducting(practical assessment plus extended essay) –final-year option.

Choral Performance(practical assessment plus extended essay) –final-year option.

Chamber Music(chamber recital plus extended essay) – final-year option.

Ensemble ISIS offers regular workshops and recordingopportunities to students taking the composition optionat Preliminary Examinations and Final Honour School.Recent composer residencies include Sir HarrisonBirtwistle, Sir Peter Maxwell Davies, John McCabe andHansAbrahamsen.

All students offering performance as an option receiveperformance grants from the Faculty for instrumental orvocal tuition, and students are free to choose whichinstrument to study for first-year and final-year options.Some Colleges offer, in addition, separate instrumental andvocal awards. Performers of orchestral instruments mayapply for an Oxford Philomusica OrchestralApprenticeship.

Those interested in advanced and specialised tuition, orwho wish to attend summer courses or masterclassesoutside Oxford, may apply for a subsidy from the JoanConway Fund.This is a bursary or scholarship of up to£750 annually.

Faculty members are willing to offer advice and support tostudents interested in performing careers, and informationon career opportunities, further performance training,awards and competitions is regularly publicised on theFaculty noticeboards.

8 9

The Faculty encourages student involvement in practicalmusic making (vocal and instrumental) and there arecountless opportunities for this at all levels.Theorchestras, choirs and small ensembles managed by theOxford University Music Society are complemented bycollege music societies and other University groups.Concert venues range from small chamber recital hallsand college chapels to the historic Holywell Music Roomand the SheldonianTheatre.

The Faculty provides financial support for studentperformance through its Performance Committee,which works closely with the student-run PerformanceCouncil. Many public concerts and recitals in which musicstudents appear are subsidised or managed andadvertised by the Faculty.

The Faculty promotes a rich programme of eventsdesigned to stimulate and support performance andcomposition within the curriculum.The Faculty’s ownprofessional performers and composers are available tooffer guidance and there are close links with professionalgroups and institutions. Coaching and masterclasses areoffered by resident ensembles, such as Contrapunctusand the Radcliffe residency. Contact with visitingprofessionals from the world of concert, opera andtheatre is frequent.The Faculty’s own dedicatedcontemporary music ensemble, Ensemble ISIS, consists ofcurrent students. It combines workshops for the Faculty’sstudent composers with exciting performanceopportunities both in the UK and abroad. In addition, theOxford Philomusica, the University’s professionalorchestra in residence, offers regular masterclasses with

The Faculty promotes

a rich programme

of events designed

to stimulate and

support performance

and composition

Organ, Choral and Repetiteur Scholarships

The Faculty of Music has one of the largest and liveliestcommunities of graduate students in the UnitedKingdom, with around 15 doctoral research students and30 masters students entering every year, coming fromcountries all around the world. Graduate students havethe benefit of a team of international experts tosupervise their research (see page 16), access tooutstanding libraries (see page 14), and the stimulus of acommitted group of like-minded students and scholars inmany subject areas.The University, the colleges and thecity of Oxford provide a lively and diverse musical,academic and cultural environment.

Subject areas, approaches and modes of study are veryvaried. Students may concentrate onWestern musichistory (from chant to contemporary film music), sourcestudies, popular music, music theory, aesthetics andcriticism, composition and analysis, psychology of music,musical instruments, ethnomusicology, musicalperformance and interpretation. Many individual researchprojects are unique in their blend of approaches,embracing other academic disciplines such as literature,art history, theatre and film studies, philosophy orpsychology and neuroscience.

The degree of DPhil, with specialisation in Musicology orComposition, is awarded upon successful completion of asubstantial original contribution to these fields preparedover the course of three years. Students embarking onthe DPhil are normally expected to have a Master’sdegree in music or equivalent.

During their first year, students are registered asProbationer Research Students (PRS).As well asembarking on initial work on their research project, theymay undertake some graduate training, depending on

their experience and interests, to prepare themselves forindependent research.At the end of this period, students’fitness to continue is assessed through an examinationcalled ‘transfer of status’, for which they submit aresearch proposal accompanied by a draft chapter and abibliographic essay in the case of Musicology, and aportfolio of compositions and critical writings in the caseof Composition. It is also possible to apply for transfer toDPhil status while enrolled in the MPhil course; thistransfer is dependent upon successful completion of theMPhil.A further examination, called ‘confirmation ofstatus’ and involving discussion of further submittedmaterials (thesis chapters and compositions), usuallytakes place in the third year of the DPhil.

Degrees are awarded on the basis of a research thesisin Musicology (maximum length: 100,000 words, or ofa portfolio of at least three compositions and adissertation or a group of essays relevant to theintellectual and artistic concerns of the candidate inComposition. Submission is required within twelveterms from admission.

The MSt in Music offers an introduction to the broadrange of current methodologies and approaches in musicscholarship. Students choose on application to specialisein either musicology, composition or performance.Allstudents take part in the Graduate Seminars which coverissues in methodology and attend a series of discipline-specific seminars in Historical Musicology, Compositionand Performance.There is also an extensive programmeof elective seminars each term. Detailed informationabout the assessment process can be found on theFaculty website’s admission pages.

10 11

Choral and organ awards are a significant part of themusical fabric of Oxford University, reflecting itscommitment to the performing arts and its excellenceand international reputation in this sphere.The careers ofmany former choral and organ scholars from Oxforddemonstrate the value of the training and experiencethey have received in the University. Detailed informationon vacancies, duties, and method of application and thescheme in general can be found on the Faculty website.An annual Open Day, at the end ofApril, offers anopportunity to sample the richness of the College Chapelmusic tradition in Oxford.

In all, 14 colleges offer choral awards, covering the wholerange of voices: sopranos, contraltos, countertenors,tenors, baritones and basses.The basic duties of choralscholars are to sing at chapel services, but theirinvolvement in College and University music goes furtherthan this, extending to solo work, chamber groups andchoruses.A number of Colleges offer singing lessons aspart of the award.The commitment at the choralfoundations (Christ Church, Magdalen and New College)is the most substantial.These and several of themixed-voice choirs undertake concerts, tours, andrecordings, some of these activities falling within thevacation periods.

Organ scholarships are available at almost all Colleges.The organ scholar is responsible for running the chapelmusic where there is no music Tutor or other director ofchapel music involved, and also for playing a leading partin the College’s musical life in general.The experience isinvaluable for musicians interested in directing andorganising musical activities across a wide spectrum.Colleges normally assist in the cost of organ lessons.

A Repetiteur Scholarship is offered to pianists jointly bySt Catherine’s College and New Chamber Opera.Thisoffers the possibility of extensive experience as arepetiteur in opera and music theatre. More informationabout New Chamber Opera can be found atwww.newchamberopera.co.uk, and about St Catherine’sCollege at www.stcatz.ox.ac.uk

Graduate Study

Lecture rooms are used for teaching throughout term-timeduring the day, and a number of rooms are also used forrehearsals and other functions in the evenings. Out of term,the rooms are sometimes booked for summer schools andconferences. Despite a busy timetable, there are manyopportunities for students to book lecture rooms forcourse-related purposes.

All teaching rooms are fitted with audio-visual equipmentand pianos.

The DenisArnold Hall is the largest room in the Faculty andis used for lectures, Research Seminars, workshops, recitals,masterclasses and conferences.The Hall is equipped with aSteinway model C grand piano.

The practice facilities at the Faculty have recently beenrefurbished and consist of eight ‘practice pods’with pianos,contemporary fittings and acoustic insulation, and a largerEnsemble Room equipped with a Disklavier grand pianowhich provides students with a modern white space inwhich to work as musical groups, and where small scaleperformances and workshops can take place.The practicepods at the Faculty are accessible to music studentswithout having to book.

In addition particular orchestral instruments, such astimpani, can be borrowed by students. Historicalinstruments in the Bate Collection – or good copies of them– can be played in the Collection or, in some cases,borrowed for practice and public performance.

There is a common room available for use by all studentsand staff which contains a kitchen.There is also a dedicatedGraduate Centre, comprising teaching rooms, a commonroom, and a kitchen.

The Recording Studio is available to all music students,although those undertaking courses in composition havepriority.The studio comprises a live room,a small acousticallydead room,and a control room.The studio has been designedand acoustically treated with several applications in mind,including electracoustic composition, live recording, and film-music composition.

The Faculty uses Sibelius and Finale music desktopprocessing systems for producing professional-qualityprinted scores. Sibelius is available in the Studio, the MusicLibrary, and the Graduate Centre. Recording and soundprocessing resources are available in the Studio (includingsoftware such as ProTools, Logic Studio,Max/MSP, SoundLoom,Bias Peak, and Native Instruments Komplete).Moredetails, and a guide to music technology at the Faculty, canbe found on the Faculty website.

Video,DVD and listening facilities are available to students inthe Library.The Faculty has a substantial collection of soundand video recordings,which can be borrowed and which areused for lectures and seminars.

The Multimedia Resource Centre is equipped with 11 stand-alone Mac-based composition and research workstations,with Sibelius 7 notation software, the ProTools 10 audioproduction platform and Max/MSP audio and video modularprogramming language installed as standard, as well asspecialist software for video editing, noise-removal, sounddesign, graphics editing, audio digitisation and transcription.

General computing facilities are available to individualstudents in three locations: the Students’Common Room,the Music Library, and the Graduate Centre.

Students are given an introduction to all of these resources atthe beginning of the academic year, and can attend specialsessions run by arrangement with the Studio Manager.

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The MPhil is a two-year course restricted to studentsalready undertaking the one-year MSt.

Teaching is offered by the Professors, Readers andLecturers in the Faculty of Music who hold Universityappointments. Other Faculty members, such as CollegeFellows and Lecturers and Senior Research Fellows, mayalso assist with graduate teaching and supervision.Allgraduates have an academic supervisor in the Faculty andan advisor in their College. Seminar tutors are availablefor advice on individual seminar topics, and specialsupervision in particular research skills is also available ifneeded.The Faculty offers several series of public lecturesand musical events, as well as research colloquia, run bythe graduate students themselves, which are held withinvited speakers every week during term time.There arepapers on a diverse range of musical topics, some offeredby distinguished visitors from around the world, others byOxford academics and graduate students.

All applicants are required to submit written work, andmay be invited to attend an interview.Those wishing tostudy composition will also need to submit examples oftheir work and similarly, those wishing to pursueperformance studies will be required to submitrecordings. Overseas DPhil applicants may be interviewedelectronically (via Skype). Places are awarded first andforemost by the University, and secondly by a College.Full information may be found in the current edition ofthe University’s Graduate Studies Prospectus(www.ox.ac.uk/admissions/ postgraduate_courses)

The graduate studies pages of the Humanities Division(www.humanities.ox.ac.uk/graduate_study) provide linksto information on funding for students from the UK, the

European Union, and other countries, as well as ontraining, support, and much more.

Those wishing to apply for funding need to have appliedfor their degree by the January deadline. Graduates mayalso obtain research grants from their Colleges, theFaculty, or the University, to carry out fieldwork, travel toresearch collections or to give papers at conferences inBritain and abroad.

The Faculty ofMusic has

one of the largest and

liveliest communities of

graduate students in the

UnitedKingdom

FacilitiesGraduate Study Electronic Resources

The Bate Collection (www.bate.ox.ac.uk), located withinthe Faculty, is the most comprehensive collection inEngland of European classical woodwind, brass andpercussion instruments. It also houses important earlykeyboards, a unique bow-maker’s workshop and acollection of bows. Over a thousand instruments can beseen on permanent display. Philip Bate gave hiscollection to the University in 1968 to form a resourcethrough which scholars and students could study musicon original instruments, a number of which can beborrowed by students during their time at Oxford.A complete Javanese gamelan, ‘Kyai Madu Laras’(‘Venerable Sweet Harmony’), is available for use inthe Faculty’s Seminar Room.

TheAlfred andArthur Hill collection of stringedinstruments in theAshmolean Museum is a substantialcollection of violins, violas, cellos, guitars, viols and otherstringed instruments, including the violin known as ‘LeMessie’ made byAntonio Stradivari in 1716.When thisinstrument was acquired, it had rarely been played; asinstrument makers and restorers, the Hills knew thedamage caused by normal use.Thus they requested thattheir instruments be preserved unplayed for the purposesof research and study.The Hill collection now stands asan inspiration to each successive new generation ofinstrument makers.

Described as ‘the world’s music collection’, the Pitt RiversMuseum now has over 6,000 musical instruments fromall parts of the world and all periods of history. Severalhundred musical instruments were given to theUniversity in 1884 by General Pitt Rivers. Otherinstruments came to Oxford from collections made byexplorers, archaeologists and anthropologists.Thecollections include such diverse musical instruments as aprehistoric deer bone whistle, sixteenth-century Italianvirginals, a Siberian shaman drum, a French musette, anda Swedish nyckelharpa.

More information about these collections can be found atwww.ox.ac.uk/museums

14 15

The Faculty reference and lending library has exceptionalholdings for the study ofWestern classical music frommedieval times to the present day, as well as substantialholdings in a wide variety of other musical fields, and ispossibly the largest dedicated music library of its type inthe UK.Along with the Bodleian Library it forms theleading music research library in the country and is amuch-valued resource for students and internationalscholars.The Faculty library provides undergraduate andgraduate students with the books, scores, sound andvideo recordings they need for their coursework andresearch. Unlike the Bodleian Library, which is a referencelibrary from which borrowing is not permitted, most ofthe Faculty library stock is available on open-accessshelving, and while some of the materials are restrictedto reference use, the great majority of stock can beborrowed by Faculty members.

Contact: 01865 276148; www.bodleian.ox.ac.uk/music

The 400-year-old Bodleian Library is the University’smain research library with over six million volumes on allsubjects. Its vast musical holdings range from medievalchant manuscripts through Elizabethan madrigals andfirst editions of Beethoven to substantial holdings of jazzand popular music.The Bodleian is an unrivalled resourcewithin which students can consult books and journals inrelated fields such as aesthetics, anthropology, genderstudies, literature, psychology, or history alongside thoseconcerning music itself. Increasingly, the Oxford librariessystem makes a wide variety of electronic resourcesavailable (e-journals, e-books and databases) to thecomputers of all students and staff who are registeredwith the University’s IT Services.

Provision of books on music, and especially of musicalscores, varies widely between college libraries: some haveextensive collections, you may wish to enquire aboutlibrary resources when being interviewed at a college.

There are considerable advantages in having access to awell-stocked college collection, since colleges make theirlibrary collections available only to their own students,while the Faculty library caters for all music students,irrespective of college.

In common with all counties in Britain, Oxford supportspublic libraries whose collections are available for loanto those living and/or working in the county.The OxfordCentral Library has an excellent collection of books onmusic, scores, and sound and video recordings, as wellas a collection of orchestral parts which are availablefor hire. It is also a useful source of popular and worldmusic recordings.

The library’s contact details are 01865 815388 andwww.oxfordshire.gov.uk

Over a thousand

instruments can be seen

on permanent display

Musical Instrument CollectionsLibrary Resources

Staff

DANIEL HYDE, MA (Cantab), FRCO.Informator Choristarum, Organist andTutorial Fellow at Magdalen College;Lecturer in Music. Freelance Organistand Conductor. Research interestsinclude Baroque choral and organperformance practice; harmony,counterpoint and fugue studies.

Professor ELIZABETH EVA LEACH, MMus(Lond), MA, DPhil (Oxon). UniversityLecturer; Fellow andTutor of St Hugh’sCollege; Lecturer at Exeter College.Musicologist and music theorist.Research interests in songs,counterpoint, and singing with aparticular focus on medieval secularlyrics in French. Other interests includemusic and philosophy, ideas of musicalmeaning, music analysis (especially ofpre-tonal repertoires), music and gender,and music in literature.

Dr OWEN REES, MA, PhD (Cantab),ARCO. Reader in Music; Fellow,Tutor andOrganist of the Queen’s College; SeniorResearch Fellow at Somerville College.Research interests in music of the 15thto 17th centuries, particularly in Spain,Portugal, and England.

Professor ROBERT SAXTON, MA(Cantab), BMus, DMus (Oxon), FGSM.University Lecturer; Fellow andTutor ofWorcester College. Composer. Researchinterests in the relationship betweenlong-range harmonic/pitch function andtime-scale/ proportion inWesternArtMusic; the use of texts (liturgical andsecular) by 20th-century composers;20th-century composers’ diverseapproaches to tradition and innovation.

Dr JASON STANYEK, BM City Universityof NewYork, MA, PhD California at SanDiego. University Lecturer; Fellow of StJohn’s College. Research interests inBrazilian music, sound studies, musictechnology, hip hop, posthumous duets,jazz, music and diaspora, ethnography,critical theory, and improvisation.

Professor REINHARD STROHM, MA(Yale), PhD (T.U. Berlin), FBA. EmeritusFellow ofWadham College. Researchinterests in late medieval music; 17th-and 18th-century music, especiallyItalian opera; history of opera;historiography.

Professor SUSANWOLLENBERG, MA,DPhil (Oxon). Reader in Music; FellowandTutor of Lady Margaret Hall; Lecturerat Brasenose College. Research interestsin 18th- and early 19th-century music,keyboard music, performance practice,social history of English music, and thestudy of women composers.

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Dr ROGER ALLEN, BA, BMus (Liverpool),MA, DPhil (Oxon),ARCM. Research Fellowof St Peter’s College; Lecturer at StEdmund Hall. Organist, pianist andconductor. Research interests inWagner,music analysis and associated issues in theaesthetics of music.

Dr SUZANNE ASPDEN, BA, MMus(Victoria University ofWellington, NZ),DPhil (Oxon). University Lecturer; FellowandTutor of Jesus College; Lecturer atLincoln College. Research interests in 18th-century opera, nationalism, identitypolitics, aesthetics and dance.

Professor GEORGINA BORN, BSc, PhD(Lond). Professorial Fellow of MansfieldCollege. Research interests in theanthropology and sociology of music andculture; music in the late 20th and 21stcenturies; music, digital media andmediation; social and cultural theory;ethnography; cultural production andcultural institutions; public servicebroadcasting, television, cultural andmedia policy; interdisciplinarity.

Professor MICHAEL BURDEN, BA, MA(Adelaide), PhD (Edinburgh). Dean, Readerin Music, and Fellow in Opera Studies atNew College. Opera Producer. Researchinterests in opera and theatre history,music theatre, and English and Italian18th-century music.

Professor ERIC CLARKE, BA, MA (Sussex),PhD (Exeter), FBA. Heather Professor ofMusic; Professorial Fellow ofWadhamCollege. Research interests in varioustopics in the psychology of music,including expression in performance andrhythm production and perception; thehistory and analysis of recorded music;musical meaning; music andconsciousness.

Professor JONATHAN CROSS, BA(Bristol), DLitt (Oxon), PhD (Lond).University Lecturer; Student andTutor atChrist Church. Research interests in 20th-and 21st-century music, especiallyStravinsky and Birtwistle; modernism;theory and analysis.

Dr STEPHEN DARLINGTON, MA, DMus(Oxon) FRCO. Choragus; Organist, StudentandTutor at Christ Church; Lecturer inMusic. Conductor, with research interestsin early 20th-century music.

Professor LAURENCE DREYFUS, BA(Yeshiva), DLitt (Oxon), PhD (Columbia),Diplôme supérieur (Brussels), Hon RAM,FBA. University Lecturer; Fellow andTutorof Magdalen College. Musicologist and violplayer. Research interests in 18th- and19th-century music, especially JS Bach andWagner; English consort music; theories ofanalysis; performance studies.

Professor PETER FRANKLIN, BA, DPhil(York). Fellow andTutor of St Catherine’sCollege. Research interests in late 19th-and early 20th-century European musicand culture (especially opera and thesymphony), in modernism, critical theoryand music in mass-entertainment film.

Dr DANIEL GRIMLEY, MA, PhD (Cantab).University Lecturer; Fellow andTutor ofMerton College; Lecturer at UniversityCollege. Research interests in music andlandscape in late 19th- and early 20th-century music; representations ofnationalism in Scandinavian music; criticalmusicology and analysis; Elgar andimperialism; contemporary performance.

Dr MARTYN HARRY, MA (Cantab), PhD(City). University Lecturer; Fellow andTutor of StAnne’s College; Lecturer atSt Hilda’s College. Composer. Researchinterests inAmerican, German andRussian contemporary music,electroacoustic composition andinstrumental music theatre.

Professor EDWARD HIGGINBOTTOM,MA, DPhil (Oxon), BMus (Cantab), FRCO.Organist, Fellow andTutor at New College;Lecturer in Music. Research interests inFrench and Italian baroque repertory(particularly sacred music), performanceissues of the 17th and 18th centuries,choral practice (both historical andmodern) and techniques.

University Lecturers andCollege Fellows

For Undergraduate Admissions:UndergraduateAdmissions OfficeUniversity OfficesWellington SquareOxford OX1 2JD+44 1865 288000

For Graduate Admissions:GraduateAdmissions and FundingUniversity OfficesWellington SquareOxford OX1 9FB+44 1865 270059

University’s website:www.ox.ac.uk

For the Faculty of Music:Faculty of MusicStAldate’sOxfordOX1 1DB

Telephone: +44 1865 276125Fax: +44 1865 276128Email: office@music.ox.ac.ukWebsite: www.music.ox.ac.uk

On foot:The Faculty is a 5-minute walk from the City Centre,10 minutes from the bus station, and 15 minutes fromthe railway station (see map).

By car:While there are car parks nearby, they are expensive andyou are advised to travel by public transport if possible.There is no car parking available at the Faculty building.If you need to travel by car, please note that Oxford hasa Park and Ride scheme.

By coach:If travelling by coach from London (the ‘OxfordTube’ andthe ‘Oxford Express’ both leave from Grosvenor GardensnearVictoria Station), or from Heathrow or Gatwickairports (on the X70 or X80), get off on the High Street,outside the entrance toThe Queen’s College, ratherthan travelling all the way to the bus station inGloucester Green. Buses offer a 24-hour service,leaving at 10-minute intervals during peak hours.

Contacting Us Finding UsR

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Broad St

Botley Road Park End St

Hythe Bridge St George St

New Rd

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Holywell St

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Cowley Rd

St Clements

St Aldates

Beaumont St

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Police Station

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Queens Lane

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Theatre

ThePlayhouse

High St

Faculty of Music

Speedwell St

Christ Church

HolywellMusic Room

SheldonianTheatre

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Photography: Rob Judges / Peter Mays / Gary Ombler / Anna Söderblom