Statutes and Ordinances of the University of Cambridge
CHAPTER IV
PRELIMINARY EXAMINATIONS AND TRIPOS EXAMINATIONS

The Ordinances contained in this Chapter are Ordinances of the General Board

In this section

TRIPOS EXAMINATIONS

MUSIC TRIPOS

Three Parts.

1. The Music Tripos shall consist of three Parts: Part Ia, Part Ib, and Part II.

Standing of candidates.

2. A student may be a candidate for honours in Part Ia if he or she has kept one term, provided that three complete terms have not passed after his or her first term of residence.

3. A student who has obtained honours in Part Ia of the Music Tripos or in another Honours Examination may be a candidate for honours in Part Ib119 in the year next after so obtaining honours, provided that twelve complete terms have not passed after his or her first term of residence.

4. A student who has obtained honours in Part Ib of the Music Tripos may be a candidate for honours in Part II in the year next after so obtaining honours, provided that twelve complete terms have not passed after his or her first term of residence.

5. No student shall be a candidate for more than one Part, or for any Part and also for another Honours Examination or the Mus.B. Examination, in the same term.

6. No student who has been a candidate for honours in any Part shall again be a candidate for honours in the same Part.

7. Subject to the provisions of Regulation 5, a student who is not eligible to be a candidate for honours may be a candidate for any Part of the Tripos so as to qualify as a candidate for the Mus.B. Examination, provided that he or she has kept four terms at least.

Examiners.

8. There shall be three separate bodies of Examiners, one for Part Ia, one for Part Ib, and one for Part II. The Faculty Board of Music shall nominate such number of Examiners as they shall deem sufficient to conduct the examinations.

Assessors.

9. The Faculty Board shall have power to nominate one or more Assessors to assist the Examiners in any of the subjects of the Tripos. Assessors shall be responsible for setting the paper or papers or other tests in the subjects assigned to them, and shall present to the Examiners such written reports as the Examiners may require. Assessors may be summoned, for the purpose of consultation and advice, to meetings of the Examiners, but shall not be entitled to vote.

Class-lists.

10. There shall be a separate class-list for each Part of the Tripos. In each list the names of the successful candidates shall be arranged in three classes, of which the second shall be divided into two divisions. The names in each of the first and third classes and in each division of the second class shall be arranged in alphabetical order. In each class-list a mark of distinction may be awarded for special excellence.

11. The names of candidates who have satisfied the Examiners under Regulation 7 shall be placed in an alphabetical list headed ‘The following (who are not candidates for honours) have attained the honours standard’.

Scheme of examination.

12. The scheme of examination for Part Ia shall be:

 Paper 1.

Harmony and counterpoint I.

 Paper 2.

Harmony and counterpoint II.

 Paper 3.

Historical subjects.

 Paper 4.

Historical and cultural studies.

 Paper 5.

Analysis.

 Paper 6.

Practical musicianship.

Papers 1 and 3–5 shall be of three hours’ duration. Paper 2 shall consist of a portfolio of written work; the arrangements for submission of the portfolio shall be prescribed by the Faculty Board. Paper 6 shall consist of an aural test of not more than three hours’ duration, together with a separate keyboard test. A candidate for Part Ia shall offer all the papers for that Part.

13. The scheme of examination for Part Ib shall be:

 Paper 1.

Portfolio of tonal compositions.

 Paper 2.

Analysis.

 Paper 3.

Portfolio of free compositions.

 Paper 4.

Dissertation.

 Paper 5.

Advanced keyboard skills.

The Faculty Board shall have the power to prescribe, not later than the division of the Easter Term in the year next before the examination to which they apply, not more than seven additional papers, which will be divided into two sections: (A) Historical topics and (B) Other topics.

Each paper shall be of three hours’ duration, with the following exceptions:

  1. (a)Papers 1 and 3, which shall be submitted in accordance with Regulation 18;
  2. (b)Paper 4, which shall be submitted in accordance with Regulation 19;
  3. (c)Paper 5, which shall consist of a practical test of keyboard skills, candidates being required to play on a variety of keyboard instruments;
  4. (d)in announcing additional papers, the Faculty Board shall have the power, subject to the approval of the General Board, to specify an alternative mode of examination for one or more of those papers.

14. A candidate for Part Ib shall offer five papers in all: Papers 1 and 2; and three other papers chosen from Papers 3–5 and from the additional papers prescribed by the Faculty Board, provided that at least one paper shall be from Section A of the additional papers. At least two of the papers must be from among those examined by a three-hour written examination.

15. A candidate for Part Ib shall be allowed to present a recital either on an instrument or of singing. Such a recital, if of sufficient merit, may be taken into account by the Examiners.

16. The scheme of the examination for Part II shall be:

 Paper 1.

Dissertation.

 Paper 2.

Advanced tonal composition.

 Paper 3.

Portfolio of free compositions.

 Paper 4.

Analysis portfolio.

 Paper 5.

Notation portfolio.

 Paper 6.

Test of performance.

 Paper 7.

Fugue.

The Faculty Board shall have the power to prescribe, not later than the division of the Easter Term in the year next before the examination to which they apply, not more than ten additional papers.

Each paper shall be of three hours’ duration, with the following exceptions:

  1. (a)Paper 1, which shall be submitted in accordance with Regulation 19;
  2. (b)Papers 2–5, which shall be submitted in accordance with Regulation 18;
  3. (c)the examination for Paper 6 which shall consist of a recital either on an instrument or of singing;
  4. (d)Paper 7, which shall be of four hours' duration;
  5. (e)in announcing additional papers, the Faculty Board shall have the power, subject to the approval of the General Board, to specify an alternative mode of examination for one or more of those papers.

17. A candidate for Part II shall offer six papers in all: these shall include at least one and not more than four from Papers 1–5, and at least two from Papers 6–7 and the additional papers announced by the Faculty Board under Regulation 16. A candidate must offer a combination of papers that is examined by at least six hours of written examination.

Portfolio of compositions.

18. A candidate who offers either Paper 1 or Paper 3 in Part Ib, or Papers 2–5 in Part II, shall submit a portfolio to the Chairman of Examiners so as to arrive not later than the following dates: for Paper 3 in Part Ib or Paper 3 in Part II, the fourth day of Full Easter Term in which the examination is held; for Paper 4 in Part II, the eleventh day of Full Easter Term in which the examination is held; for Paper 1 in Part Ib or Papers 2 and 5 in Part II, the fifteenth day of Full Easter Term in which the examination is held. The compositions, analyses, or transcriptions contained in such a portfolio shall be written by the candidate during the current academical year; each separate item shall be initialled by the teacher under whose direction it was written, as an indication that the teacher approves the submission. Candidates will be required to declare that the contents of the portfolio are their own work and that they do not contain material already used to any substantial extent for a comparable purpose.

Dissertation.

19. (a) The examination for Paper 4 in Part Ib and Paper 1 in Part II shall consist of a dissertation on a musical subject of the candidate's own choice approved by the Faculty Board which falls wholly or substantially outside the subject or subjects chosen by the candidate for any other papers. A candidate who wishes to offer such a dissertation shall submit the proposed title to the relevant Chairman of Examiners so as to arrive not later than the division of Michaelmas Term preceding the examination.

(b) Each candidate must obtain the approval of the proposed subject by the Teaching Committee of the Faculty Board not later than the division of the Lent Term.

(c) A dissertation for Part Ib shall be of not less than 5,000 words and not more than 7,000 words (excluding bibliography and appendices but including footnotes). A dissertation for Part II shall be of not less than 7,000 words and not more than 10,000 words (excluding bibliography and appendices but including footnotes). Dissertations shall be in typewritten form, unless previous permission has been obtained from the Chairman of Examiners to present the dissertation in manuscript.

(d) Each candidate shall submit two copies of her or his dissertation to the appropriate Chairman of Examiners so as to arrive not later than the eighth day of the Full Easter Term in which the examination is to be held. The Examiners shall have power to request an electronic copy of the dissertation in addition.

20. Each candidate will be expected to sign a declaration indicating that the work submitted for Paper 2 of Part Ia, a dissertation under Regulation 19, or an essay for any other paper, is her or his own work, unaided except as may be specified in the declaration, and that it does not contain material that has already been used to any substantial extent for a comparable purpose.

Interview.

21. For the purpose of drawing up the class-list the Examiners for Part II shall have the power to call a candidate for interview on matters arising from the examination, but they shall take account of such an interview only if it would be to the candidate's advantage.

Supplementary regulations.

22. The Faculty Board may issue from time to time supplementary regulations defining all or any of the subjects of the examination, and may modify or alter such supplementary regulations as occasion may require, due care being taken that sufficient notice is given of any alteration.

Notice of variable subjects.

23. Before the division of the Easter Term in each year the Faculty Board shall give notice of the subjects to be set for Papers 3 and 4 of Part Ia for the examination to be held in the academical year next following, provided that the Board shall have the power of subsequently issuing amendments if they have due reason for doing so and if they are satisfied that no student's preparation for the examination is adversely affected.

Not less than two weeks before the start of the examination by written papers, the Board shall notify candidates of the works prescribed for Paper 5 of Part Ia and Paper 2 of Part Ib.

SUPPLEMENTARY REGULATIONS

Amended by Notice (Reporter, 2009–10, p. 21)

Part Ia

Paper 1. Harmony and counterpoint I

The paper will consist of an exercise on sixteenth-century counterpoint and the completion of a song accompaniment.

Paper 2. Harmony and counterpoint II

Candidates will be required to prepare a fugal exposition, a set of variations (either for piano or on a ground), and complete a passage for string quartet from a given opening. The paper will be made available between 10 a.m. and noon on the fourth Monday of Full Easter Term and is to be returned by noon on the following day (i.e. after a period of 24 hours).

Paper 3.  Historical subjects

The paper will be divided into two sections. The first will contain questions on a subject in Western music; candidates will be required to answer two questions. The second will include questions on the principles of editing, using materials related to the period or repertory prescribed for the first section; candidates will be required to answer one question.

Paper 4. Historical and cultural studies

The paper will be divided into two sections. The first will contain questions on a subject in Western music. The second will include questions on Western music, ethnomusicology, music and science, or notation. Candidates will be required to answer three questions, at least one from each section.

Paper 5.  Analysis

The paper will be divided into two sections. In the first section, compositions, or extracts from compositions, either from the period 1700–1780 or from the period 1780–1830 will be provided for analysis. In the second section, compositions or extracts from compositions from the period not represented in the first section will be provided for analysis. The compositions or extracts examined in the second section will be drawn from a repertoire prescribed by the Faculty Board at the beginning of the academical year in which the examination takes place. Candidates will be required to answer two questions, one from each section.

Paper 6.  Practical musicianship

Aural tests will include: a memorization test (rhythms); dictation exercises (melodies and three-part counterpoint); a mistake-spotting test; timbre recognition and scoring exercises; recognition of set pieces; and aural analysis.

Keyboard tests will include: reading the score of a string quartet; transposition of a chorale; harmonization of a melody (in a style from the period before 1830); realization of a figured bass at the keyboard; and reading three-part sixteenth-century counterpoint using C3, C4, and F4 clefs.

Part Ib

Paper 1.  Portfolio of tonal compositions

Candidates will be required to submit a portfolio comprising two tonal compositions and a fugue in three or four parts, together with a recording, on conventional instruments, of one of the two compositions. The compositions shall be in different forms chosen from the following: binary, ternary, scherzo and trio, ritornello, rondo, theme and variations, sonata. The fugue must demonstrate knowledge of invertible counterpoint, and may be scored for any traditional combination of instruments; it should not exceed seventy bars in length.

In place of one of the two compositions, candidates may submit a through-composed song or group of songs, each of which must possess a clear and appropriate formal structure, for solo voice and piano accompaniment, or for solo voice and accompaniment by a group of instruments. One of the two non-fugal compositions shall be of not more than about eight minutes’ duration, excluding repeats, and the other two compositions shall be of not more than about five minutes’ duration, excluding repeats. Each composition or group of songs shall be for an ensemble of not more than five players. One composition may be for solo keyboard (including organ) or other polyphonic instrument, but melody instruments may be used only in ensemble. The fugue may also be for a keyboard instrument. Candidates will be responsible for providing a recording of an acceptable quality, but the quality of recorded sound will not contribute to the final mark.

Paper 2.  Analysis

The paper will be divided into two sections. In the first, compositions, or extracts from compositions, either from the period 1830–1914 or from the period 1914 to the present day will be prescribed not less than two weeks before the start of the examination by written papers. The choice of period for the prescribed works will be at the Examiners’ discretion. Candidates will be permitted to bring unmarked copies of the relevant scores into the examination, and will be required to answer questions on the works. In the second section, compositions or extracts from compositions from the period not represented by the prescribed works will be provided for analysis. Candidates will be required to answer two questions, one from each section.

Paper 3.  Portfolio of free compositions

Candidates will be required to submit a portfolio of three compositions. One should be a setting of words, and one should include either fugal elements or incorporate the techniques of groundbass and/or chaconne. Normal staff notation will usually be expected, but electro-acoustic submissions are also acceptable. In addition, each candidate must submit a recording of at least one of the three pieces.

Paper 5.  Advanced keyboard skills

The examination will consist of five components. Three will be examined after a total of ten minutes’ preparation by the candidate: (i) harmonization of a melody; (ii) orchestral score-reading; and (iii) vocal score-reading (C1, C3, C4, and F4 clefs). The other two components – (iv) figured bass and (v) transposition of a song accompaniment – will be given out two days before the examination. The instrumentalist and singer with whom to perform, respectively, (iv) and (v) will be supplied by the Examiners.

Recital

The examination will consist of a recital of not more than ten minutes’ duration either on an instrument or of singing. Candidates should inform the Chairman of Examiners not later than the division of the Michaelmas Term next preceding the examination of the instrument chosen or the type of voice (this information must be supplied in written form, and initialled by the candidate's Director of Studies). Candidates must provide an accompanist or page turner (or both) if required.

Part II

Paper 2.  Advanced tonal composition

Candidates will be required to submit a portfolio comprising one substantial composition, which should be either an instrumental work in four movements or an extended song cycle. The tonal idiom should be that of the mid to late nineteenth century; the duration of the composition should be between thirty and forty-five minutes. Candidates will be required to submit a recording of the composition on conventional instruments. The composition should be scored for a maximum of five performers (including a singer, in the case of a song cycle). The instruments are to be chosen from the following: flute, oboe, clarinet, bassoon, French horn, piano, violin, viola, cello, double bass. Melody instruments may be used either in a duo with piano or in an ensemble of at least three instruments; the piano may be used on its own.

Paper 3.  Portfolio of free compositions

Candidates will be required to submit a portfolio of three compositions. One should be a setting of words, and one should include fugal elements and/or incorporate the techniques of ground bass and/or chaconne. One piece should be for orchestra (with or without voices) or ensemble of no fewer than ten players. One piece should be no shorter than eight minutes in duration. Normal staff notation will usually be expected, but electro-acoustic submissions are also acceptable. In addition, each candidate must submit a recording of at least one of the three pieces.

Paper 4.  Analysis portfolio

Candidates will be required to submit two essays involving the use of analytical techniques, to a maximum total length of 8,000 words.

Paper 5.  Notation portfolio

Candidates will be required to submit three projects involving the study of notations and of original source material, to a maximum total length of 6,000 words in addition to transcriptions.

Paper 6.  Test of performance

The examination for this paper will consist of a test of performance.

The test of performance, which may take place before an audience consisting of staff, students, and others, including External and Internal Examiners, will consist of a recital of not more than twenty-three minutes’ playing time, on an instrument or in accompaniment of an instrument or of singing. Details of the complete programme must be sent to the Secretary of the Faculty Board for approval by the Faculty Board, so as to arrive not later than the fourth day of Full Lent Term next preceding the examination. Candidates must provide an accompanist or page turner (or both) if required. Candidates must provide the Examiners with two copies of each piece they are performing, in the edition being used. In addition candidates should provide the Examiners with two copies of a programme setting out the pieces in the order in which they are to be performed.

Paper 7.  Fugue

Candidates will be required to compose a fugue in not more than four parts from a choice of subjects.

Footnotes

  1. 119. See also the regulations for Affiliated Students.a