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.

Collections in this community

Recent Submissions

  • Vernacular Song and the Folkloric Imagination at the Fin de Siècle 

    Cole, Ross Graham
    This article foregrounds discrepancies between vernacular singing in England and the work of London’s Folk-Song Society during the 1890s. Figures such as Lucy Broadwood, Kate Lee, and Hubert Parry, I show, acted as gates ...
  • An Uncrossable Rubicon: Liszt’s Sardanapalo revisited 

    Trippett, David John
    In 1850, after five years of planning, Liszt began composing music for his Italian opera, Sardanapalo, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project half ...
  • String Quartet no. 3 

    Lee, Jae-Moon (2018-04-28)
    This composition consists of four movements. In the first and third movements, the sound of rain drops and images of light through stained glass are explored. The second and fourth movements effect a structural metamorphoses ...
  • Scale-Free Spaces for flute, guitar, viola and cello 

    Lee, Jae-Moon (2018-04-28)
    I drew compositional ideas from the video installation, $\textit{Irreversible}$, by artist Norimichi Hirakawa. This quartet was composed of brief fragments of dots, lines and movements. Various fragments were structured ...

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