Close up of a student with an open book
Students in the library
(Image Credit: Martin Prechelmacher / Graduate Photography Competition)

MSt in Music (Musicology)

About the course

The MSt can serve both as a self-contained course for students wishing to pursue more advanced studies in musicology for one year or as an excellent preparation for doctoral research. Students on the MSt courses in musicology, performance and composition follow a common structure, supported by appropriate individual supervision or tuition in their chosen specialism.

Course structure

The Master of Studies in Music (Musicology) introduces a broad range of current methodologies and approaches in music scholarship. The main MSt teaching and coursework is done in the first two terms and the third is reserved for completion of assessed work.

Core seminars

In the Michaelmas term there are typically six topics:

  • historical musicology
  • current trends in music theory
  • aesthetics
  • the social and cultural study of music
  • performance
  • composition.

 You may participate in as many of these seminars as you wish. Your first summative assessment will be an essay written in response to one of the core seminars in musicology.

Elective seminars

Each year a number of faculty members convene a series of ‘elective’ seminars based on their research interests, to help you prepare for your assessment essays. You are invited to attend as many of these seminars as you wish. Reading lists are sent out before the start of the courses and you are asked to prepare fully and contribute to the seminars. The first of the seminars may well incorporate a lecture given by the faculty member. Most of the electives take place in Hilary term.

Recent seminar series included the following titles:

  • Pitch, Amplitude, Timbre
  • Brazilian Music
  • Distributed Creativity in Composition and Performance
  • Thirteenth-Century Motets
  • Music and (Non) Religion
  • Music and Race
  • Gender and Sexuality in Popular Music Studies
  • Music and Islamic Culture
  • Beethoven between History and Myth.

You may participate in as many of these seminars as you wish. Your second summative assessment will be written in response to an aspect of any one of the courses attended.

Presentation seminars

Presentation seminars are held in Trinity term. Musicologists, performers and composers each prepare a presentation on their own research and are asked to respond to another student’s presentation in another; further feedback on presentation skills is received from the seminar convenor.

Attendance

The course is full-time and requires attendance in Oxford. Full-time students are subject to the University's Residence requirements.

Resources to support your study

As a graduate student, you will have access to the University's wide range of world-class resources including libraries, museums, galleries, digital resources and IT services.

The Bodleian Libraries is the largest library system in the UK. It includes the main Bodleian Library and libraries across Oxford, including major research libraries and faculty, department and institute libraries. Together, the Libraries hold more than 13 million printed items, provide access to e-journals, and contain outstanding special collections including rare books and manuscripts, classical papyri, maps, music, art and printed ephemera.

The University's IT Services is available to all students to support with core university IT systems and tools, as well as many other services and facilities. IT Services also offers a range of IT learning courses for students, to support with learning and research.

The Faculty of Music building includes teaching and lecture rooms, offices, the faculty's library with listening, audio-visual and microfilm rooms, a dedicated Graduate Centre, a common room, the Bate Collection of Musical Instruments, the multimedia resource centre (MRC), an electronic recording studio, computing facilities, an ensemble room, a rehearsal/lecture hall and a suite of practice rooms.

The Faculty of Music is planning to move to the Stephen A. Schwarzman Centre for the Humanities in Autumn 2025. New facilities will include:

  • practice rooms, and a larger ensemble room
  • three music studios
  • access to the Recital Hall
  • The Black Box, a technology-enabled space to use for experimental electronic music compositions, multimedia works, experimental performances, and practice-based research. The space can be rigged in various ways, including with a 56-speaker array to create an immersive sound experience.

Libraries

The University’s Bodleian Library, receives every important British musicological study, in addition to acquiring most major books and editions published elsewhere; it has particularly important collections of printed sources for early music theory and nineteenth-century sheet music. Its manuscript collection contains many important sources for early English and European music, as do several college libraries.

Other significant research collections are held at the Taylorian Library (modern languages), the Bodleian Art, Archaeology and Ancient World Library and the Maison Française.

Oxford’s three important collections of musical instruments are the faculty’s Bate Collection, the Ashmolean Museum’s Hill Collection of old stringed and keyboard instruments, and the Pitt Rivers Museum’s extensive collection of ethnographic materials.

The Music Faculty Library is the University’s main repository for sound recordings and holds DVD recordings of opera, film and classical music. The library’s multimedia resource centre has 11 stand-alone Mac-based composition and research workstations with Sibelius 7 notation software, Pro Tools 10 audio production platform and Max/MSP audio and video modular programming language installed as standard, as well as specialist software for video editing, noise-removal, sound design, graphics editing, audio digitisation and transcription.

Schwartzman Studio facilities

The new Schwartzman studios will be available to use by Music Faculty students for their portfolio work.

Music Studio 1

Will be a professional acoustically designed music composition, production and mixing room, able to accommodate both stereo and the immersive broadcast and recording standard - Dolby Atmos 9.1.4. It will digitally connect to almost all the performance spaces in the Schwartzman building and will be able to simultaneously record up sixty musicians directly in the new Concert Hall.

Music Studio 2

Will be a professionally designed experimental music and acoustics research space, able to accommodate many different listening formats, from stereo to Ambisonics, Dolby Atmos, D&B Soundscape and others. It will have a permanent but adjustable ‘3D’ 22.2 loudspeaker array. The studio will contain a range of experimental electronic music instruments and will be inherently flexible by design, with connections to all performance spaces, but a design bias to working symbiotically with the Black Box.

Music Studio 3

Will be a ‘trad’ recording studio directly connected and adjacent to the ‘Ensemble Room’ and practice rooms on the ground floor. It will house a 32 channel all analogue vintage aesthetic Harrison recording console, with an array of choice microphones for recording small to medium sized ensemble performance: from soloist to quartet, Jazz, Rock and Pop.

Supervision

The allocation of graduate supervision for this course is the responsibility of the Faculty of Music and it is not always possible to accommodate the preferences of incoming graduate students to work with a particular member of staff. Under exceptional circumstances a supervisor may be found outside the Faculty of Music.

 Students can usually expect to meet with their supervisor between two and three times a term, depending on the needs of the student and at the discretion of the supervisor.

Assessment

You will submit an essay or exercise in response to one of the core seminars at the end of Michaelmas term. A second essay responding to one of the elective seminars is submitted at the end of Hilary term. The final assessment is a bibliographic essay relating to the final submission, which will be either a dissertation in musicology or ethnomusicology or an editorial exercise (edition) in Trinity term.

Graduate destinations

Typical graduate destinations include doctoral research in music, teaching, arts management, performance and other music-related or broadly cultural professions.

Changes to this course and your supervision

The University will seek to deliver this course in accordance with the description set out in this course page. However, there may be situations in which it is desirable or necessary for the University to make changes in course provision, either before or after registration. The safety of students, staff and visitors is paramount and major changes to delivery or services may have to be made if a pandemic, epidemic or local health emergency occurs. In addition, in certain circumstances, for example due to visa difficulties or because the health needs of students cannot be met, it may be necessary to make adjustments to course requirements for international study.

Where possible your academic supervisor will not change for the duration of your course. However, it may be necessary to assign a new academic supervisor during the course of study or before registration for reasons which might include illness, sabbatical leave, parental leave or change in employment.

For further information please see our page on changes to courses and the provisions of the student contract regarding changes to courses.

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