Faculty of Music
About this community
Faculty of Music, University of Cambridge
With its 17 academic staff, 9 affiliated lecturers, approximately 200 undergraduates and 75 graduate students, the Faculty of Music lies at the heart of a vast network of musical study, research and practice. We offer wide-ranging and stimulating courses at both undergraduate and graduate level, as well as tremendous opportunities for all levels of practical music-making; and through the college teaching system we give students a unique chance to study intensively and in small groups with internationally distinguished scholars.
The outcomes of the 2014 REF (Research Excellence Framework) have confirmed that the Cambridge Faculty of Music has one of the largest concentrations of high-quality music research in the country. The Faculty's submission included all aspects of our research – music history and analysis, popular and world music, composition, performance studies, and music and science – and it was ranked among the top three of all UK music departments in terms of the quality and amount of research. We host the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP), the purpose of which is to bring together academic study and practical music-making. And our facilities are among the best in the country, including a fully professional concert hall, a music library, and the Centre for Music and Science with its purpose-built studio and music computing facilities. Period instruments and a Javanese gamelan are available for student use. All this is complemented by the libraries, practice rooms and other facilities available in colleges, as well as by the University Library.
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Samuel Howard and the Music for the Installation of the Duke of Grafton as Chancellor of Cambridge University, 1769 Samuel Howard (?1710–1782) has long been a familiar inhabitant of the diligent footnotes of Handel biographers. A choirboy in the Chapel Royal, he was a member of Handel’s chorus and the composer of much theatre music of ...
Notwithstanding recent discoveries of big, textless hockets from the late thirteenth century, there remains a pervasive uncertainty as to how hockets should be defined and identified on the small scale at which they ...
(2017-07-01)“An Omnivorous Ear - The Creative Practice of Field Recording” offers new insights into the history of recording outside of the studio in North America, challenging the various working definitions of field recording in ...