UNDERGRADUATE STUDENT HANDBOOK - Music

NUI Maynooth Music Department Undergraduate Handbook 2009-2010 

UNDERGRADUATE 

STUDENT HANDBOOK 

(2009-2010) 

http://music.nuim.ie 

IMPORTANT: 

The information contained in this Handbook was accurate and up-to-date when compiled. The 

Department reserves the right to revise, alter or discontinue programmes of study and to amend the 

regulations and guidance at any time, without notice. In particular, this Handbook should not be regarded 

as a substitute for the University Calendar/Central Guidelines which provide definitive information and 

regulations. Where possible any significant changes to the information contained in this Handbook which 

affect students in relation to such matters as timetabling and assessment will be notified in writing. Dates 

of events given here may change and should be regularly checked at http://www.music.nuim.ie 

1


CONTENTS 

I HEAD OF DEPARTMENT’S WELCOME 4 

II WHERE TO FIND US 5 

III MUSIC DEPARTMENT OFFICE 5 

IV MUSIC DEPARTMENT OVERVIEW: WHAT WE DO 6-7 

1. Expertise, Facilities, Ensembles, Concerts & Events 6 

2. Undergraduate Programmes 6 

3. Undergraduate Modules: an Overview 7 

4. Looking Ahead: Postgraduate Study in the Department 7 

5. Postgraduate Studies Abroad 7 

V SEMESTER DATES (2009-2010) 8 

VI OTHER IMPORTANT DATES INC. EXAMINATION DEADLINES 9 

VII WHO’S WHO 10 

VIII WHO TO ASK 11 

IX COMMUNICATION: KEEPING IN TOUCH 12-13 

1. Matters of Etiquette 12 

2. NUIM Email 12 

3. Moodle 12 

4. Staff/Student Committee [SSC] 12 

5. Term Card 12 

6. Noticeboards 13 

X UNDERGRADUATE MODULES: CODES, CREDITS, CONVENORS 14-15 

1. ‘Long Thin’ Modules (Semesters I & II) 14 

2. Semester I Modules 14 

3. Semester II Modules 15 

XI TIMETABLES 15 

XII MODULE REQUIREMENTS & OPTIONS BY PROGRAMME 2009-2010 16-21 

XIII RULES, PROCEDURES & OFFICIAL FORMS: 22-31 

1. Attendance 22 

2. General Conduct 22 

3. Types of Class 22 

4. Coursework 23 

5. Private Study 23 

6. Submission of Work 23-26 

7. Examination Deadlines 2009-2010 26 

8. Autumn Supplemental Examinations 26 

9. Examination Results 26 

10. Past Examination Papers 26 

11. Marking Criteria: General; Performance; Composition 27-30 

12. Plagiarism & Unfair Practices 31 

XIV STYLE GUIDE 32-36 

1. Presentation, Format & Style 32-33 

2. Some Common Grammatical Problems 33-34 

3. Referencing: Quotations & Sources 34-36 

4. Format for Bibliographies 36 

XV PERFORMANCE MATTERS 37-38 

1. Performance Strand Tuition 37 

2. Practice Facilities 37 

3. Approved Ensembles 37-38 

4. Music Society 38 

2


XVI MUSIC DEPARTMENT: A-Z OF MISCELLANEOUS GENERAL 

INFORMATION 

39-41 

1. Advisors & Student Support 39 

2. Awards and Prizes 39 

3. Equality 39 

4. Fees 39 

5. Health & Safety 39-40 

6. Instrument Storage 40 

7. Language Support 40 

8. Language Skills 40 

9. Mature Students 40 

10. Ensemble Materials Loan Deposit 41 

11. References 41 

12. Scholarships 41 

13. Socrates Study 41 

XVII LEARNING SUPPORT 42 

1. Careers’ Preparation 42 

2. Computers 42 

3. Counselling Service 42 

4. Language Centre: Courses in English Language Skills 42 

5. Library Resources for Music 42 

3

I. HEAD OF DEPARTMENT’S WELCOME 


It is a great pleasure to welcome all our new and returning undergraduate students to 

what promises to be a challenging and exciting year in the Music Department. You will 

find yourself developing as a musician and as a person if you get the best out of what 

we have to offer. This Handbook is an indispensable source of information about all we 

do. Make sure that you read it carefully since there are policy changes and 

improvements to the way things operate which will directly affect you. You should 

regularly check for amendments and updates within our shared space on Moodle: 

https://moodle.nuim.ie/. Useful Department news and information also appears on our 

website: http://music.nuim.ie 

During this academic year we offer you a varied curriculum enriched by our seminar, 

concert, and ensemble activities. Thursdays at 13:10 should find you listening to 

recitals given by visiting and staff/student performers in Riverstown Hall; Fridays at 

15:00 often offer opportunities to hear eminent scholars and debate with them about 

their ideas. Building on our strong performance tradition we introduce two new 

approved ensembles in the Department: the University Chamber Orchestra [UCO] 

(directed by Mr Sebastien Petiet) and the Ladies’ Choir (directed by Mr David 

Connolly). The UCO replaces the University Orchestra and I take this opportunity to 

thank Ms Trini Armstrong for directing and developing that ensemble with such success 

over so many years. The Department is proud to contribute so much to the cultural life 

of the University and local community and I warmly encourage you to become involved 

in one of our six approved ensembles. 

This Handbook is designed to provide basic information about the way the Department 

is run and who to ask if you have questions. I hope you will find the Handbook helpful 

and I wish you every success this academic year. Remember that my colleagues and I 

are here to assist you. If you have any questions, ideas, feedback or problems make 

sure you come and talk to us straight away. 

With every good wish for a challenging and rewarding year ahead, 

Professor Fiona M. Palmer 

4

II. WHERE TO FIND US 


The Music Department is located in Logic House at the southern end of 

the University’s South Campus. Some lectures take place in central 

facilities on the North and South Campuses – see published timetables for 

details. 

Individual Staff Offices and Main Department Office 

Most offices can be found on the first floor of Logic House. For full details refer to 

‘Who’s Who’ below. 

Department Lecture Rooms (Ground Floor, Logic House): 

Bewerunge Room 

New Music Room 

O’Callaghan Room 

Music Technology Laboratory: 

To the rear of Logic House 

Performance Suite: 

To the rear of Logic House next door to the Music Technology Laboratory 

Practice Rooms (including Clavinova Lab): 

To the rear of Logic House: adjacent to the Performance Suite 

Riverstown Hall: 

Ground floor of Riverstown House 

III. MUSIC DEPARTMENT OFFICE 

Personnel 

The Music Department Office is run by Ms Marie Breen (Administrative Officer) & Ms 

Dorena Bishop (Executive Assistant). 

Location 

Room 56D, Logic House (first floor). 

Office Hours (Monday to Friday) 

09:30-13:00 and 14:00-16:30 

Telephone: +353 (0)1708 3733 

Fax: +353 (0)1628 9432 

Email: music.department@nuim.ie 

5


IV. MUSIC DEPARTMENT OVERVIEW: WHAT WE DO 

1. Expertise, Facilities, Ensembles, Concerts & Events 

The Music Department has its home in Logic House on the University’s historic South 

Campus. Headed by Professor Fiona M. Palmer, the Department’s lecturing staff 

includes leading experts in musicology, performance, composition (acoustic and 

electroacoustic) and music technology. Information about the research expertise and 

current projects of each member of staff can be found within the Department’s website: 

http://music.nuim.ie. 

The Department’s facilities include three lecture rooms, a concert venue, music 

technology studio and labs, performance teaching and practice rooms and a Clavinova 

laboratory. 

The Department runs important ensembles including: the Choral Society, Chamber 

Orchestra, Chamber Choir, Ladies’ Choir, Guitar Ensemble and Irish Traditional Group. 

Each of these ensembles is professionally directed and contributes to the cultural life of 

the Department, University and local community. Each semester’s events are 

summarised in the Department’s Term Card. 

Weekly concerts, featuring distinguished visiting performers and the staff and students 

of the University in recital, are held on Thursday lunchtimes at 13:10 in Riverstown 

Hall. Regular research seminars and the hosting of internal and external conferences 

enrich the intellectual life of the Department and all students are encouraged to 

participate fully in these opportunities and activities. 

2. Undergraduate Programmes 

There are three three-year primary degree programmes available in music: 

BMUS (CAO designation MH103): music is studied as the major subject in first 

year (40 credits) with one other arts subject taken as a minor subject (20 

credits). For second and third years music only is taken. 

BA Music Technology (CAO designation MH102): music technology is taken 

together with two other subjects in First Year, and with one other subject in 

Second and Third Year. 

BA Honours Degree (CAO designation MH101): music is studied as an arts 

subject. In first year, music is studied in combination with two other subjects, 

while in the second and third years it is studied in combination with one other 

subject for the BA Degree which is awarded as an Honours Degree. Holders of 

a BA Honours Degree with an award of upper second-class honours in music 

may proceed, subject to successful interview, to a one/two-year MA degree 

course in music. 

Music may also be taken as a subject within the BATh Degree (CAO designation 

MH051) of the Pontifical University of Maynooth. The courses are the same as those 

for the BA Hons Degree. 

A two-year, non-graduate, part-time Diploma in Arts (Church Music) is also available in 

alternate years. For further information please consult Dr John O’Keeffe. 

6


3. Undergraduate Modules: an Overview 

Modules for the BMus and BA in Music embrace technical and applied studies in 

musical composition of various styles and periods complemented by detailed analytical 

and historical studies. Students with prerequisite attainment in an approved 

instrument/voice pursue first-study performance to an advanced level. Practical skills 

are considered to be an important part of the course and all BMus and BA students are 

required to take an active part in one of the Department's Approved Ensembles. Finalyear 

BMus and BA students have an opportunity of opting for one of three specialist 

strands of specialist study: (1) Composition (2) Musicology (3) Solo Performance. BA 

students have the additional option of a ‘Taught’ strand. BA Music Technology 

students study general elements of music, such as basic theory and notation, as well 

as composition and aspects of popular music. From informatics, students will also 

explore computer programming and signal processing. The course also offers 

specialised modules in sound engineering and computer music. These are taught in 

state-of-the-art studios and computer music laboratories. In addition to the music 

technology-specific modules, students also choose two Arts subjects in First Year and 

continue with one of the chosen subjects from First year in the second and third year, 

to complement their degree. Depending on the student’s interests and abilities, he/she 

will choose to concentrate on audio production, music programming or composition for 

his/her final year. The programme strives to maintain a balance between theory and 

practice to ensure that students gain experience working with the essential concepts 

and skills involved in music technology. 

4. Looking Ahead: Postgraduate Study in the Department 

Our Department has a large and active community of taught and research 

postgraduate students. All of them are actively engaged in further study into areas 

related to the research expertise of academic staff. Popular and carefully-designed 

full- and part-time taught MA degrees are offered in four areas: Composition; Computer 

Music (Music Technology); Musicology; and Performance & Musicology. A Higher 

Diploma qualification in Computer Music is also offered. Applications are invited from 

graduate students normally with a Bachelor degree of 2:1 or above. 

Interviews/auditions are also required as appropriate. See the Department’s website 

for further information. 

The MLitt degree is available for those who wish to take a Master’s Degree by pure 

research in accordance with the general regulations of the Faculty of Arts. The degree 

of PhD is also offered. 

Students wishing to pursue postgraduate study with us should in the first instance 

consult with appropriate staff in the Department and use the PAC system 

(http://graduatestudies.nuim.ie/prospective/) for applications which must be made by 

the published deadline of 31 May 2010. 

5. Postgraduate Studies Abroad 

Students thinking of pursuing postgraduate studies in the United States, Canada, 

continental Europe and the UK should note that the application process has to begin in 

October, in order to meet the January application deadlines. 

7


V. SEMESTER DATES 2009-2010 

See the Music Department’s Term Card for full details of Public Events 

Year 2009-2010 

First Semester 

Week Dates University Event Music Department Event 

0 14-18 Sep Orientation Week UG Induction + Camerata Ireland Residency at Castletown 

1 21-25 Sep 

Start of UG Lectures (see 

next column & sep. 

schedules) 

BA Mus Tech Year 1: lectures commence Mon 21 Sept; 

BA/BMus Year 1: special arrangements for auditions; 

Mus Tech/BA/BMus Years 2 & 3: meetings as sep. schedule, 

lectures commence from Weds; PG induction Friday at 15:00 

2 28 Sep-2 Oct Start of PG Lectures and Year 1 BA/BMus lectures 

3 5-9 Oct 

4 12-16 Oct Group Piano and Keyboard Skills Tuition commence 

5 19-23 Oct 

6 26-30 Oct Study Wk 

7 2-6 Nov 

8 9-13 Nov Tues - Autumn Conferrings 

9 16-20 Nov 

10 23-27 Nov 

11 30 Nov-4 Dec 

12 7-11 Dec 

13 14-18 Dec Last week of Lectures 

21-25 Dec Xmas vacation 

28 Dec-1Jan Xmas vacation 

14 4-8 Jan Study Wk & Exams 8/9 

15 11-16 Jan Exam week 

16 18-23 Jan Exam week 

Second Semester 

Inter Sem Break 

Week Dates Action 

1 1-5 Feb Start of Lectures 

2 8-12 Feb 

3 15-19 Feb 

4 22-26 Feb 

5 1-5 Mar 

6 8-12 Mar 

Reading Week – no Approved Ensembles 

Conferrings 28 Oct/Prizes 29 Oct 

Carol Services: Mon-Weds inc.; Lectures finish Weds 16 

Dec. 

7 15-19 Mar Study Week Reading Week – no approved ensembles 

8 22-26 Mar 

9 29 Mar-2 Apr 

5-9 Apr Easter Vacation 

10 12-16 Apr 

11 19-23 Apr 

12 26-30 Apr Last week of Music Department Lectures 

13 4-7 May Music Department Reading Week 

14 10-14 May Study Wk & Exams 14/15 Performance Strand Examinations Mon-Thurs (UG 1/2/Kbd) 

15 17-22 May Exam week 

16 24-29 May Exam week University Day 24 May 

31 May-5 Jun Exam week? Recital Examinations Thurs-Sat 3-5 June 2010 

8


VI. OTHER IMPORTANT DATES 

• UG Orientation in Week 0: 14-18 September 2009 

• Camerata Ireland Masterclasses and Castletown Residency 18-20 September 

2009 

• UG 1BA & 1BMus further induction Monday 21 and Tuesday 22 September 

• UG lectures 1BA Music Technology commence Monday 21 September 

• UG lectures (Years 2 & 3 BA, BMus & BA Mus. Tech.) commence Wednesday 

23 September 2009. 

• Group Piano and Keyboard Skills tuition commence in week 4: 12 October 2009 

• NUIM Open Days: Friday and Saturday 27 and 28 November 2009 

• Carol Services: 14, 15, 16 December 2009 

• Department PG Research Conference – Friday 5 (pm) - Saturday 6 March 2010 

• MH103 Entrance Test – Saturday 27 March 2010 

• University Choral Society Spring Concert – Sunday 28 March 2010 

• University Chamber Orchestra Spring Concert – tbc 

• Music Department MA Study Day – Wednesday 14 April 2010 

• Women in Music in Ireland Symposium – Saturday 17 April 2010 

• Music Department Study/Reading Week: Week of 3 MAY 2010 (MH103 

Interviews take place Wednesday and Thursday 5 and 6 May 2010) 

• Chamber Choir Concert Sunday 25 April 2010 

• Practical Exams: Years 1 & 2 + Keyboard Skills: 10-14 May 2010; UG/PG 

Recitals: Thursday-Saturday 3-5 June 2010 

• University Consultation Day: Monday 28 June 2010 

Examination Deadlines 2009-2010 

[Submission deadlines for continuous assessments are published in module guides and 

within the Department’s Submission Timeline accessible through Moodle.] 

Practical examinations are planned to commence on Monday 10 May 2010. 

Undergraduate recitals will be held on dates to be confirmed between late May and mid- 

June. See the separate Performance Strand Examination Policy document. 

Third-year composition portfolios, dissertations, and music technology final projects 

and editorial exercises must be submitted by Tuesday 4 May 2010. 

The final deadlines for work submitted with approved mitigating circumstances for 

assessment in 2009-2010 are as follows: 

Semester 1: Monday 18 January 2010 at Noon 

Semester 2: Monday 24 May 2010 at Noon 

Autumn Supplemental Period: Monday 16 August 2010 at Noon 

9

VII. WHO’S WHO 


See http://music.nuim.ie for individual staff webpages giving details of 

research/expertise and interests. 

ROOM PH. EMAIL ADDRESS 

Head of Department: 

Professor Fiona M. Palmer 

Music Department Office 

56C 3733 music.department@nuim.ie 

Ms Marie Breen (Administrative Officer) 56D 3733 music.department@nuim.ie 

Ms Dorena Bishop (Executive Assistant) 

Department Technician 

56D 3733 music.department@nuim.ie 

Dr John Lato 

Full-Time Lecturing Staff 

49 6718 john.lato@nuim.ie 

Professor Barra Boydell 58 3730 barra.boydell@nuim.ie 

Dr Victor Lazzarini (Senior Lecturer) Tech 3545 victor.lazzarini@nuim.ie 

Dr Lorraine Byrne Bodley (Lecturer) 41 4672 lorraine.byrnebodley@nuim.ie 

Dr Antonio Cascelli (Lecturer) 47 6716 antonio.cascelli@nuim.ie 

Dr Gordon Delap (Lecturer) 44 4640 gordon.delap@nuim.ie 

Dr Patrick F. Devine (Lecturer) 57 3754 patrick.devine@nuim.ie 

Dr Alison Hood (Lecturer) 56b 6457 alison.hood@nuim.ie 

Dr Martin O'Leary (Lecturer) 36 3924 martin.oleary@nuim.ie 

Dr Adrian Scahill (Lecturer) 59 4638 adrian.scahill@nuim.ie 

Dr Laura Watson (Assistant Lecturer) 48 6717 laura.watson@nuim.ie 

Director of Choral Groups: Joint Post with St Patrick’s College Maynooth 

Dr John O'Keeffe 

Occasional Lecturers: 

37 3732 jokeeffe@nuim.ie 

Mr Brian Carty Tech 3733 brian.carty@nuim.ie 

Mr Martin Fahy 34 3733 martin.fahy@nuim.ie 

Dr Lisa Parker (Semester II only) 41 3733 lisa.parker@nuim.ie 

Ms Marian McEvoy Tech 3733 panchord@eircom.net 

Mr Patrick McGlynn Tech/34 3733 PATRICK.MCGLYNN@nuim.ie 

Ms Darina McCarthy 34 3733 DARINA.MCCARTHY@nuim.ie 

Mr Ray O’Donnell 

Department Ensemble Contacts: 

34 3733 raymond.odonnell@nuim.ie 

Dr John O’Keeffe (Choral Society) See Above 

Mr Sebastien Petiet (Chamber Orchestra) 34 3733 sebastien.petiet@nuim.ie 

Mr Aengus Ó Maoláin (Chamber Choir) 34 3733 AENGUS.OMAOLAIN@nuim.ie 

Mr David Connolly (Ladies’ Choir) 34 3733 david.a.connolly@nuim.ie 

Dr Adrian Scahill (Irish Traditional Group) See Above 

Mr David Stalling (Guitar Ensemble) 34 3733 david.t.stalling@nuim.ie 

10

VIII. WHO TO ASK 

Study-Related Issues: 


Coordinator of Undergraduate Studies Dr Patrick Devine 

BA Dr Alison Hood (BA Convenor) 

Dr Antonio Cascelli (Deputy BA Convenor) 

BMus Dr Adrian Scahill (BMus Convenor) 

Dr Laura Watson (Deputy BMus 

Convenor) 

BA Music Technology Dr Victor Lazzarini (BA Mus. Tech. 

Convenor) 

Composition Strand Dr Martin O’Leary 

Musicology Strand Dr Lorraine Byrne Bodley (Semester I 

[sabbatical Semester II]; Dr Laura Watson 

(Semester II) 

Performance Strand Dr Antonio Cascelli 

Individual Modules Named lecturer for the module 

Disability Issues Dr Martin O’Leary 

Advisors Dr Laura Watson 

Mature Students Dr Martin O’Leary 

Examination Processes Dr Patrick Devine 

International Study Dr Alison Hood 

Library Acquisitions Prof. Barra Boydell 

Communication & Development Issues 

SSC (Staff-Student Committee) Prof. Fiona M. Palmer 

Music Society Liaison Prof. Fiona M. Palmer 

UG Open Days Dr Gordon Delap 

PG Application Process Dr Victor Lazzarini 

Website Dr Gordon Delap 

Health & Safety Dr John Lato 

Concerts, Events and Approved Ensembles 

Concert/Event Coordination Dr Alison Hood 

Research Seminars Dr Lorraine Byrne Bodley (Semester I); 

Dr Laura Watson (Semester II) 

Approved Ensemble Management Dr Antonio Cascelli 

Choral Society Dr John O’Keeffe 

Chamber Orchestra Mr Sebastien Petiet 

Chamber Choir Mr Aengus Ó Maoláin 

Guitar Ensemble Mr David Stalling 

Irish Traditional Group Dr Adrian Scahill 

Ladies’ Choir Mr David Connolly 

Facilities & Equipment 

Room Access Queries Dr John Lato 

Room Booking Queries Department Office 

Studio Issues Dr John Lato 

Instrument Collection Dr Antonio Cascelli 

Organ Practice Facilities Dr John O’Keeffe 

11

IX. COMMUNICATION: KEEPING IN TOUCH 


1. Matters of Etiquette 

• When emailing members of staff remember that you should write formally. 

• Staff will try to respond to urgent matters in a timely manner. 

• Do not depend on a response to an urgent email sent after office hours. 

• Since your undergraduate studies are preparing you for the world of work 

you are expected to manage your time (including deadlines) effectively. 

2. NUIM Email: 

• We use only NUIM email addresses in our contact with you. 

• You should make it your habit to check your NUIM email account on a daily 

basis. 

3. Moodle: 

• Make sure that you are signed up to Moodle! 

• All modules make use of Moodle as a learning tool and for important 

notices: http://moodle.nuim.ie/ 

• This Handbook and other crucial sources of information are also stored on 

Moodle. 

4. Staff/Student Committee (SSC) 

• The SSC meets once per semester to discuss all matters relevant to the 

academic wellbeing of the Department. 

• Any matter of joint concern to staff and students, including the curriculum, 

examinations, concerts, problems with facilities, safety, etc., is appropriate 

for discussion by the Committee. 

• Such matters of joint concern should always be made known to the 

appropriate member of staff as soon as they become apparent. Please do 

not allow a small issue to escalate while you wait for the next SSC meeting 

to take place. See the ‘Who to Ask’ section and keep us informed of any 

problems or concerns (no matter how small) – we will deal with them as they 

arise. 

• Student representatives are normally elected at the earliest opportunity at 

the start of the year. 

• Do talk to your SSC rep. about any issues you want to bring to the attention 

of the Committee. 

• We are keen to do all we can to ensure that your time with us is a positive 

and productive one and we are keen to hear your views. 

Membership of the SSC is as follows: 

• Chair: Prof. Fiona M. Palmer; 

• Secretary: Dr Antonio Cascelli; 

• Representative members of lecturing/technical staff; 

• Elected student representatives as follows: 1BA; 1BMus; 1MusTech; 2BA; 

2BMus; 2MusTech; 3BA; 3BMus; 3MusTech; MA; MLitt/PhD. 

5. Term Card 

See the Term Card for all events and keep checking the Department’s website at 

http://music.nuim.ie/news.shtml 

12

6. Noticeboards 


If you wish to put up a notice you must gain permission from the Department Office first. 

Main Entrance Hall 

• Glass-Fronted Boards: Department ‘Showcase’ – Events/Publications/Courses 

• Free-Standing Board: Department Events/’What’s on this Week’ etc. 

Ground Floor (between the Bewerunge & O’Callaghan Rooms) 

• Glass-Fronted Boards: UG & PG Student Timetables, Examination Results, Lecture 

Notices 

• Open Board: Sign-Up Lists for Academic Tutorials 

Bottom of Stairs (to the right if you are standing facing the stairs) 

• Glass-Fronted Board No. 1: Approved Ensemble Notices (Chamber Orchestra, Choral 

Society, Chamber Choir, Guitar Ensemble, Ladies’ Choir, Traditional Group) 

• Glass-Fronted Board No. 2: Approved Ensemble Notices continued 

• Glass-Fronted Board No. 3: Graduate Student Notices 

• Glass-Fronted Board No. 4: International Student Notices 

Bottom of Stairs (to the left between the O’Callaghan Room & Logic Foyer) 

• Glass-Fronted Board: Music Society Notices (left-hand side), Composers’ Society 

Notices (right-hand side) 

Middle Landing 

• Glass-Fronted Board: Events 

First Floor Landing: (at the top of the stairs directly in front of you) 

• Glass-Fronted Board: Performance Strand and Music Technology Booking and 

Equipment Guidelines 

• Open Board: Performance and Music Technology Room Booking Sheets 

Outside Staff Offices 

• Individual notices 

Performance Suite 

• Main Entrance (left-hand side): Performance Strand Teaching Notices 

Music Technology Laboratory 

• Main Entrance (right-hand side): General Notices 

13

X. UNDERGRADUATE MODULES (2009-2010): 


For module descriptors see: http://www.nuim.ie/courses/ 

For module guides see individual module areas in Moodle 

‘Long-Thin’ Modules: taught across Semesters I & II 

MU144 Composition I Dr O’Leary 5 1&2 

MU145 Performance I Dr Cascelli 5 1&2 

MU251 Recording Engineering Ms McEvoy 10 1&2 

MU253 Performance II Dr Cascelli 5 1&2 

MU254 Ensemble Performance II Dr Cascelli/Dr Hood 5 1&2 

MU341 Analytical Studies Dr Hood 5 1&2 

MU343 Music Therapy Mr Fahy 5 1&2 

MU344 Advanced Original Composition Dr O’Leary 20 1&2 

MU350 Fugue Mr O'Donnell 5 1&2 

MU352 Keyboard Skills Dr Cascelli 5 1&2 

MU357 Popular Music and Jazz Studies Dr Scahill/Dr Watson 5 1&2 

MU358 Approved Ensemble 3 Dr Cascelli 5 1&2 

MU370A Electronic Music Composition Dr Delap 10 1&2 

MU372A Digital Audio Recording Mr McGlynn 5 1&2 

MU379 Final Project Dr Lazzarini/Dr Delap 10 1&2 

MU380 Performance Recital Dr Cascelli 20 1&2 

MU390 Final Dissertation Dr Byrne Bodley(S1)/Dr Watson(S2) 20 1&2 

Semester I Modules 

MU104 Music History I: 18th & 19th Centuries Dr Hood 5 1 

MU105 Music Foundation & Fabric Dr Devine + Tutors 

Dr Delap (Convenor), 

5 1 

MU108 Musical Language & Materials Dr Lazzarini, Dr Hood 5 1 

MU130 Music & Culture I Dr Scahill 5 1 

MU207 Applied Music Techniques Dr Devine 5 1 

MU208 Music Textures & Techniques II Dr Devine 5 1 

MU212 Introduction to Musicology Dr Byrne Bodley 5 1 

MU213 Introduction to Computer Music Dr Delap 5 1 

MU214 Composition II Dr O’Leary 5 1 

MU215 Music & Culture II Dr Scahill 5 1 

MU218 Introduction to Composition Dr O’Leary 5 1 

MU302 Romantic Harmony Dr Devine 2.5 1 

MU310 Issues in Musicology Prof. Boydell 2.5 1 

MU314 20th-century Music Dr Watson 2.5 1 

MU346 Baroque Issues Dr Cascelli 5 1 

MU348 Plainchant Performance Dr O’Keeffe 5 1 

MU356 19th-century Lied 

Dr Byrne Bodley 

5 1 

MU376A Software Sound Synthesis 

Dr Lazzarini 

5 1 

14

Semester II Modules 


MU124 Acoustics of Music Mr Carty 5 2 

MU126 Music History II: 20th Century Dr Watson 5 2 

MU127 Music Textures & Techniques I Dr Devine/Ms McCarthy 5 2 

MU128 Critical Listening & Analysis 

Advanced Harmony & 

Dr Hood/Dr O’Leary 5 2 

MU209 Harmonic Analysis Dr Devine 5 2 

MU221 Music History III: Early Music Dr Cascelli 5 2 

MU223 Analytical Methods II Dr O’Leary 5 2 

MU224 Electronic Music Composition Dr Lazzarini 5 2 

MU225 Music since 1945 Dr Watson 5 2 

MU235 Irish Traditional Music 2 Dr Scahill 5 2 

MU326 The Czech Symphony Dr Devine 2.5 2 

MU328 Women in Music Dr Parker 2.5 2 

MU342 Ethnomusicology Dr Scahill 5 2 

MU347 Music in Ireland Prof. Boydell 5 2 

MU355 Romantic Period Dr Parker 5 2 

MU377A Music Signal Processing Dr Lazzarini 5 2 

XI. TIMETABLES 

The Department’s internally-produced timetable is available within Moodle and is also 

posted in the glass-fronted noticeboard outside the Bewerunge Room. 

The Registrar’s central timetables are available at: http://www.nuim.ie/timetable/ 

15


XII. MODULE REQUIREMENTS & OPTIONS BY PROGRAMME 2009-2010 

The latest date for changing optional modules in Semester 1 is the Friday of Week 3; 

the latest date for changing optional modules in Semester 2 is the Friday of Week 2 of 

Semester 2. No changes are allowed after these dates. It is your responsibility to 

inform the Student Records Office of all changes to your module selection. 

1BA 

20 Credits – All modules are compulsory 

Module name Credits Semester Code 

Music History I: 18 th & 19 th Centuries 5 1 MU104 

Music Foundation & Fabric 5 1 MU105 

Performance I 5 1&2 MU145 

Music History II: 20 th Century 5 2 MU126 

1BMus 



Music History I: 18 th & 19 th Centuries 5 1 MU104 

Music Foundation & Fabric 5 1 MU105 

Music & Culture I 5 1 MU130 

Composition I 5 1&2 MU144 

Performance I 5 1&2 MU145 

Music History II: 20 th Century 5 2 MU126 

Music Textures & Techniques 5 2 MU127 

Critical Listening & Analysis 5 2 MU128 

1BMusTech 



Musical Language & Materials 5 1 MU108 

Computer Music 5 1 CS155 

Acoustics of Music 5 2 MU124 

Sound Synthesis 5 2 CS153 

16


2BA 



Applied Music Techniques 5 1 MU207 

Introduction to Musicology 5 1 MU212 

Introduction to Composition 5 1 MU218 

Performance II 5 1&2 MU253 

Music History III: Early Music 5 2 MU221 

Analytical Methods II 5 2 MU223 

2BMus 



Music Textures & Techniques II 5 1 MU208 

Introduction to Musicology 5 1 MU212 

Introduction to Music Technology 5 1 MU213 

Composition II 5 1 MU214 

Music & Culture II 5 1 MU215 

Performance II 5 1&2 MU253 

Ensemble Performance II 5 1&2 MU254 

Advanced Harmony & Harmonic Analysis 5 2 MU209 

Music History III: Early Music 5 2 MU221 

Analytical Methods II 5 2 MU223 

Electronic Music Composition 5 2 MU224 

Music Since 1945 5 2 MU225 

2BMus.Tech. 

30 credits – All modules are compulsory 


Introduction to Programming 5 1 CS141 

Introduction to Composition 5 1 MU218 

Recording Engineering 10 1&2 MU251 

Multimedia Technology 5 2 CS261 

Electronic Music Composition 5 2 MU224 

17


3BA Composition Strand 

30 Credits 


Compulsory Modules (20 credits) 

You are required to take all compulsory modules 

Advanced Original Composition 20 1&2 MU344 

Additional Compulsory Modules (select at 

least 2.5 credits or maximum 5 credits) 

Romantic Harmony 2.5 1 MU302 

Analytical Studies 5 1&2 MU341 

Fugue 5 1&2 MU350 

Optional Modules (including options 

from other subjects as appropriate) (total 5 or 7.5 

credit from both semesters) 

Issues in Musicology 2.5 1 MU310 

20 th -century Music 2.5 1 MU314 

Baroque Issues 5 1 MU346 

Plainchant Performance 5 1 MU348 

19 th -century Lied 5 1 MU356 

Music Therapy 5 1&2 MU343 

Keyboard Skills (Prerequisite ABRSM Grade 5 piano) 5 1&2 MU352 

Popular Music & Jazz Studies 5 1&2 MU357 

The Czech Symphony 2.5 2 MU326 

Women in Music 2.5 2 MU328 

Ethnomusicology 5 2 MU342 

Music in Ireland 5 2 MU347 

Romantic Period 5 2 MU355 

Irish Traditional Music 2 5 2 MU235 

3BA Performance Strand 

30 Credits 




Performance Recital 20 1&2 MU380 


from other subjects as appropriate) (total 10 credits from 

both semesters) 









Fugue 5 1&2 MU350 









18


3BA Musicology Strand 

30 Credits 


Compulsory Modules (22.5 credits) 



Final Dissertation 20 1&2 MU390 


from other subjects as appropriate) (total 7.5 

credits from both semesters) 













3BA Taught Strand 

30 Credits 





19 th -Century Lied 5 1 MU356 



Optional Modules (including optional 

from other subjects) (total 10 credits from 








Fugue 5 1&2 MU350 



Approved Ensemble 3 5 1&2 MU358 





19


3BMus Composition Strand 

60 Credits 






Advanced Original Composition 20 1&2 MU344 

Fugue 5 1&2 MU350 


from other subjects as appropriate) (total 27.5 credits from 

from both semesters) 















3BMus Performance Strand 

60 Credits 






Performance Recital 20 1&2 MU380 


from other subjects as appropriate) (total 30 credits 








Fugue 5 1&2 MU350 









20


3BMus Musicology Strand 

60 Credits 







Final Dissertation 20 1&2 MU390 

Optional Modules (including optional modules 

from other subjects as appropriate) (total 27.5 credits from 








Fugue 5 1&2 MU350 







3BMus Tech 

30 Credits 


Semester 1 – Compulsory Modules (10 credits) 


Final Project 10 1&2 MU379 


from other subjects as appropriate) (total 20 credits 


Software Sound Synthesis 5 1 MU376A 

Music Programming 1 5 1 CS321 

Signal Image & Optical Processing 5 1 CS356 






Electronic Music Composition 10 1&2 MU370A 

Digital Audio Recording 5 1&2 MU372A 





Music Signal Processing 5 2 MU377A 

Music Programming 2 5 2 CS322 

Audio & Speech Processing 5 2 CS425 

21

XIII. RULES, PROCEDURES & OFFICIAL FORMS: 


1. Attendance 

Students are expected to attend all scheduled classes (lectures, tutorials etc.) in their 

degree programme; these take place during the week between 09:00 on Monday and 

18:00 on Friday in each semester. Ensemble membership involves evening 

commitments. Non-attendance is risky and tends to reduce the students’ potential to do 

well in their modules. Attendance registers are kept at all classes and in the case of 

Approved Ensemble modules are used to generate a mark. In all such cases it is the 

students’ responsibility to ensure that their presence is noted. Registers will not be 

amended retrospectively. Whether or not attendance contributes to assessment marks it 

is continually monitored in all modules. 

Clearly dated medical certificates must be supplied to the Department in the event of 

absence due to illness. Planned absences during the academic year are strongly 

discouraged. Students contemplating taking any absence should write to Prof. Palmer. 

2. General Conduct 

No food or drink is to be consumed in the Department’s rooms. 

Smoking is forbidden. 

Students must turn off mobile phones in lecture, seminar and practice rooms. 

All authorised users of practice rooms (registered Music students only) must sign in 

and out in the logbook at all times. 

Guests are not normally allowed in the music rooms: authorised users only. 

3. Types of Class 

Modules are delivered in a variety of ways. These include: 

Lectures 

These are often large gatherings addressed by a lecturer. The format is generally 

formal. Often the main concepts of a module will be covered and it is vital that you 

attend and absorb as much as possible in order to do well in assessments. Notetaking 

skills are very important: do not try to write everything down – focus on 

keywords. Do not be afraid to ask questions if you do not understand what has 

been covered. 

Tutorials 

Depending on programme and module choices undergraduate students are 

assigned to a practical musicianship tutorial group of five/six, where a range of 

keyboard and aural skills is taught with the aim of sharpening and developing 

musical responses. Support tutorials may also be given in harmony and 

counterpoint writing and in essay writing. Final-year students specialising in original 

composition, recital or dissertation are also given special tutorial supervision. 

Regular attendance at tutorials is regarded as essential. 

Lab Classes 

These operate mainly within the music technology area and are usually taskoriented 

under the supervision of a member of staff. 

Platform and Performance Seminars 

These classes are specific to performance modules and operate in addition to 

instrumental/vocal tuition. Platform involves first- and second-year students in 

performing in front of their peers and having their performances discussed in a spirit 

of constructive criticism. Performance Seminar serves a similar, but more intensive, 

function for final-year recitalists. 

22


4. Coursework 

Many of the modules operated in the Music Department require students to produce 

coursework – a form of ‘continual assessment’. This structuring of assessment profiles is 

designed to give students formative feedback on progress in modules. The Department’s 

rules mean that it is vital that students submit all such work on time. Since students are not 

permitted to repeat coursework it is crucial that all such work is completed and of good 

quality. 

5. Private Study 

Making the transition between school and university can be very demanding. It may seem 

that you have very little ‘contact time’ at university. However, studying at university is often 

described as ‘reading’ a subject; students will find themselves exploring many types of 

learning and study. Music and music technology students undertake a large amount of 

reading, listening, analysing, working on exercises, composing and practising. Students 

who excel generally undertake far more reflective work than is demanded by the modules 

being studied. It helps to make a weekly timetable in which types of studying are allocated 

space. Remember too that some modules will present greater challenges than others. 

6. Submission of Work 

6.1. General Rules: 

6.1.1. Students are required to submit two copies of every piece of work (the 

second copy may be a photocopy); students must also retain a third copy of all 

submitted work for their own records. 

6.1.2. The appropriate Department Submission Coversheet must be attached to 

each copy of work submitted (see 6.2 below). 

6.1.3. Student name, student number and degree programme must be given on all 

assignments. 

6.1.4. Written work must be word-processed and follow the instructions in the 

Department’s Style Guide (see below). Music notation may be written or 

printed in accordance with instructions provided by the module convenor. CDs 

and DVDs submitted by Music Technology students must be uncorrupted (see 

6.4.2 below). 

6.1.5. Marks given for work in Semester I are not final until ratified by the External 

Examiner and Department’s External Examination Board in the Summer 

session. 

6.2. Official Coversheets for Submissions 

6.2.1. The Department’s Submission Coversheets require students to confirm 

that they have abided by the Department’s Plagiarism Code. 

6.2.2. The Submission Coversheets can be downloaded from the 

Department’s Moodle space. 

6.2.3. The Music Department’s Submission Coversheet must be used for all 

pieces of assessed work submitted on time, or within the four-and-a-halfworking 

day timeframe (see 6.4.1-3 below), where there are no mitigating 

circumstances for late submission. 

23

[Sample Submission Coversheet:] 


Music Department 

SUBMISSION COVERSHEET 2009-2010 

[You are required to submit two copies of each assignment. This Coversheet must be fully 

completed and stapled to each credit-bearing piece of work] 

Module Code 

Module Title 

Tutor/Lecturer Name 

Published Deadline 

Date of Submission 

SURNAME (in CAPITALS), FORENAME 

Student Number 

Degree Programme (e.g. BMus) & Year (I, II, III) 

Submission Title 

Word Count/Duration 

Plagiarism Declaration: 

I confirm that this work is my own. I have referenced the work of others appropriately, accurately 

and consistently. I have abided by the Department’s Plagiarism Code as stated in the current 

Student Handbook. 

Signed:______________________________________Date:______________ 

6.2.4. The Music Department’s Mitigating Circumstances Late Submissions 

Coversheet must be used for all pieces of work submitted after the 

published deadline and for which the student believes there are 

circumstances which make a marking penalty (deduction of marks/award 

of zero) inappropriate. 

[Sample Mitigating Circumstances Late Submission Coversheet:] 

Music Department 

MITIGATING CIRCUMSTANCES 

LATE SUBMISSION COVERSHEET 

[This Coversheet must be fully completed and stapled to all credit-bearing pieces of work that are 

submitted after the published deadline due to mitigating circumstances] 

Module Code 

Module Title 

Tutor/Lecturer Name 

Published Deadline 

Date of Submission 

SUMMARY OF MITIGATING CIRCUMSTANCES FOR LATE SUBMISSION: 

Do you have date-relevant supporting documentation (medical cert etc.)? Yes/No 

If Yes, please attach it to this form with your assignment. 

If No, please attach an explanatory letter. 

Have you handed in a third copy of your medical certificate to the Office? Yes/No 

SURNAME (in CAPITALS), FORENAME 

Student Number 

Degree Programme (e.g. BMus) & Year (I, II, III) 

Submission Title 

Word Count/Duration 

Plagiarism Declaration: I confirm that this work is my own. I have referenced the work of others 

appropriately, accurately and consistently. I have abided by the Department’s Plagiarism Code as stated in 

the current Student Handbook. 

Signed:______________________________________Date:______________ 

24


6.3. Deadlines & Late Submissions 

6.3.1. Assignment deadlines are absolute and it is Department policy that these 

are set at Noon on the day of the published deadline. 

6.3.2. The Department supplies a summary table containing all UG Submission 

Deadlines within Moodle. This timeline is designed to enable students to plan 

their time effectively. 

6.3.3. Assignment deadlines and weightings are clarified in individual module 

guides. 

6.3.4. Work can be submitted, during Office hours, on any day in advance of the 

published deadline. 

6.3.5. Work submitted after the Noon deadline on the published date is deemed to 

be late. 

6.3.6. All continually assessed work is to be submitted to the Music Department 

Office during published Office hours on or before the published deadline, 

where it will be date/time-stamped as appropriate. Students must also sign the 

relevant Department Register (retained in the Office), as a record that the 

assignment in question has been submitted. Late assignments (see Penalties 

under 6.4 below) should also be submitted to the Music Department Office 

with the relevant documentation. 

6.3.7. Students are reminded that technical exercises, tutorial assignments and 

essays constitute a substantial part of the module assessment. 

6.3.8. Work submitted late with clearly documented, date-relevant, mitigating 

circumstances using the appropriate form will be considered by the 

Department’s Mitigating Circumstances Committee. 

6.4. Penalties & Mitigating Circumstances Policy 

6.4.1. Submission of CDs and DVDs (Music Technology): CDs and DVDs 

should be tested prior to submission to ensure that all necessary data is 

present, and that the disk functions properly. This can be done by 

checking the disk on more than one computer. CDs and DVDs which do 

not work, or which contain projects that cannot be accessed will not be 

marked, and a mark of zero will be awarded. 

6.4.2. Late submissions attract a standard flat-rate deduction of 5% per day from 

the assigned mark, falling to zero after four-and-a-half working days. 

Submissions delivered late on the published Noon deadline date automatically 

lose 5%. A further 5% per day will be deducted for work submitted on the 

following four working days. Thus, if a piece of work scored 65% but was 

submitted late (for example at 16:00 on the day of the deadline) a mark of 60% 

would be recorded. See the following table of automatic penalties: 

DATE OF LATE SUBMISSION PENALTY 

Later than Noon on deadline date Minus 5% 

One working day after deadline date Minus 10% 

Two working days after deadline date Minus 15% 

Three working days after deadline date Minus 20% 

Four working days after deadline date Minus 25% 

6.4.3. Work that is submitted after the published Noon deadline and a further 

four working days will not be awarded any marks unless there are clearly 

proven and documented mitigating circumstances. 

6.4.4. Lecturers/tutors cannot give extensions to students on an individual 

basis, even where these are sought prior to the assignment deadline. 

6.4.5. Mitigating circumstances may include documented short-term 

illness/ongoing medical problems, access office approved circumstances. 

6.4.6. Students who think they have a valid reason (i.e. mitigating 

circumstances) for missing the deadline must: 

25


6.4.6.1. Submit two copies of the work for assessment, each with an 

attached Mitigating Circumstances Late Submission Coversheet, 

together with a letter of explanation and a date-relevant medical 

certificate (if appropriate) 

6.4.6.2. Submit a further copy of the medical certificate to the Office for 

central files. 

6.4.6.3. Submit all of this documentation within two weeks of the expiry of 

the period for which the explanation is offered. Inability to meet this 

requirement should be reported, in writing, to the module lecturer 

immediately. 

6.4.6.4. Retain exact copies of all documentation submitted. 

Documentation will not be returned to students. 

6.4.7. The Department’s Mitigating Circumstances Committee and 

Examination Boards will make formal decisions on the admissibility of 

documented mitigating circumstances. 

7. Examination Deadlines 2009-2010 

[Submission deadlines for continuous assessments are published in module guides and 

within the Department’s Submission Timeline accessible through Moodle.] 

Practical examinations are planned to commence on Monday 10 May 2010. 

Undergraduate recitals will be held on dates to be confirmed between late May and mid- 

June. See the separate Performance Strand Examination Policy document. 

Third-year composition portfolios, dissertations, and music technology final projects 

and editorial exercises must be submitted by Tuesday 4 May 2010. 

The final deadlines for work submitted with approved mitigating circumstances for 

assessment in 2009-2010 are as follows: 

• Semester 1: Monday 18 January 2010 at Noon 

• Semester 2: Monday 24 May 2010 at Noon 

• Autumn Supplemental Period: Monday 16 August 2010 at Noon 

8. Autumn Supplemental Examinations 

Continuous assessment marks are carried forward to the Autumn. 

Dissertations/theses, recitals and composition/music technology portfolios presented 

for the first time in the Autumn Supplemental Examination Session will be capped at 

40% in the absence of fully proven and approved mitigating circumstances. 

9. Examination Results 

Following the release of summer examination results students are invited to attend a 

Consultation Day in the Department (provisionally set for Monday 28 June 2010) for 

examination feedback. It will not be possible to obtain a breakdown of results except 

on this designated day. 

10. Past Examination Papers 

Examination papers from previous years are available on the NUIM Library website at 

http://www.nuim.ie/library 

You are advised that past examination papers may not provide a reliable guide to the 

format or content of future examinations. Programmes and modules are revised 

frequently, so a better guide to the kind of questions you should be able to deal with is 

provided by the homework exercises and class assignments. 

26


11. Marking Criteria 

For detailed information on the University’s examination regulations and processes see 

http://examinations.nuim.ie/ 

Degree Classes 

70%–100% I (First class honours) 

60%–68% II/1 (Second class honours, grade 1) 

50%–58% II/2 (Second class honours, grade 2) 

45%–48% III (Third class honours) 

40%–43% P (Pass) 

25%–38% F (Fail; an examination result in this band allows for potential 

compensation) 

0%–23% F (Fail; an examination result in this band requires the student to 

resit the exam) 

General Points to Note: 

See also: 

• Plagiarism and Unfair Practices 

• Submissions Policy 

• Make sure that you follow the instructions in the Department’s Style Guide (see 

below) 

• Specific instructions within individual module guides must be adhered to in 

order to avoid penalties. 

• Separate guidelines are issued summarizing Performance Strand Examination 

Procedures. 

27

Percentage 

Points 

85–100 

First Class 

70–84 

First Class 

60–68 

2:1 

50–58 

2:2 

45–48 

Third Class 

40–43 

Pass 

25–38 

Fail 

0–23 

Fail 


General Criteria (Written Work) 

An outstanding answer in every respect and in addition casting the 

question/issue in a new light. 

An excellently informed answer demonstrating an extremely wellconstructed 

argument and displaying a sure command of concepts, 

independence of thought and critical judgment. Shows an excellent grasp 

of all the issues involved, originality and evidence of wide reading and 

knowledge beyond course content. 

A well-argued answer demonstrating a comprehensive awareness of the 

issues. Evidence of independent thought together with a good 

understanding of the course material and evidence of reading and 

knowledge beyond course content. 

A reasonably-argued answer showing an awareness of the main issues. A 

satisfactory understanding of course material but limited reference to 

outside reading. 

An adequate answer with weak to fair understanding of course material. 

No outside material presented. Arguments generally not strong. 

An adequate answer but weak in material and understanding of course 

content. Many omissions and inaccuracies. 

An answer which recognizes the aim of the question and has some 

relevant material but is generally inaccurate and limited in understanding. 

Some recognition of the meaning of the question but little understanding. 

Knowledge is vague. The bulk of the answer is either irrelevant or 

misunderstands the material. 

28


Performance Strand Criteria 

• Performance strand criteria should be read in conjunction with the relevant current 

module guides and examination regulations. 

• It is understood that demands increase as students move through the programme. 

• Examiners awarding a mark of 62% in first year take into account the normal 

expectations for the level. Thus, third-year recital 

students are assessed against more demanding technical, repertorial and 

interpretative expectations in order to achieve the same mark. 

• Chamber music assessment marks may either be the same for all members of the 

ensemble or split to reflect different levels of attainment at the discretion of the 

examiners. 

Percentage 

Points 

85–100 

First Class 

70–84 

First Class 

60–68 

2:1 

50–58 

2:2 

45–48 

Third Class 

40–43 

Pass 

25–38 

Fail 

0–23 

Fail 

An outstanding and highly memorable performance displaying a 

professional level of interpretative command. 

An outstanding, assured and memorable performance demonstrating 

considerable technical, interpretative and communicative command in a 

range of styles. 

A confident and effectively communicated performance demonstrating 

interesting interpretative ideas underpinned by a generally fluent and 

reliable technique in a range of styles. 

A solid performance, showing some technical competence but rather 

limited musical understanding. 

Sufficiently secure technically for the performance not to break down yet 

a generally unimaginative performance with problems of fluency. 

A technically inconsistent and generally unimaginative performance 

revealing very little evidence of interpretative understanding and 

problems of fluency. 

Insecure technique resulting in a hesitant performance lacking in 

communication and musical and stylistic awareness. 

Insecure technique resulting in a very hesitant performance devoid of 

communication and musical and stylistic awareness. 

29


Composition Criteria 

Compositions submitted to the Music Department will be assessed with regard to 

three main areas: 

1. Compositional technique 

2. The use of forces /resources 

3. Notation and presentation issues/ technical quality 

These criteria will not necessarily apply with equal weight, subject to the nature of 

the submission. 

The following table presents a summary of the criteria governing each band of 

marks, given the difference of emphasis mentioned above. 

Mark Compositional 

Technique 

70 – 

100% 

First 

Class 

60-68% 

2:1 

50-58% 

2:2 

45-48% 

Third 

Class 

40-43% 

Pass 

25-38% 

Fail 

0-23% 

Fail 

An innovative, 

confident piece 

demonstrating great 

fluency and 

coherence. Musical 

structures are 

clearly articulated. 

Strong overall 

control. Good 

development, clear 

structure and sense 

of proportion. 

Adequate overall 

control with some 

sense of formal 

issues. 

A limited number of 

ideas within a loose 

structure. 

Limited in terms of 

invention and 

structure within the 

parameters set. 

Level of control fails 

to delineate musical 

materials. Little or 

no evidence of 

structure. 

Incoherent in terms 

of invention and 

structure. 

Use of 

Forces/Resources 

Idiomatically written 

throughout, with 

excellent sensitivity 

towards control of 

forces. 

Solid command of the 

medium, with good 

attention to practical 

issues. 

Competently written, 

with some exploration, 

and understanding of 

practical issues. 

Competent but lacking 

any idiomatic sense. 

Shows basic 

understanding of 

forces but little more. 

Lack of understanding 

of resources to the 

point where resources 

are impractical, 

unidiomatic, or 

misjudged 

Too impractical or illconsidered 

to be 

realised in 

performance to a large 

degree. 

Presentation, 

Notation, Technical 

Quality 

Professional standard 

in production of 

scores, parts, and/or 

audio output. 

High standard in the 

production of scores, 

parts, and/or audio 

output. 

Production of scores, 

parts, and/ or audio 

output is competent. 

Accurate, but low 

standard of scores, 

parts, and/or audio 

outputs. 

Score, parts, and 

audio outputs provide 

only the most basic 

means necessary for 

realisation. 

Presentation is of a 

low standard. Audio 

may contain errors, 

and notation may be 

illiterate or poorly 

detailed. 

Score is largely 

illiterate or illegible; 

Audio has severe 

technical errors. 

30


12. Plagiarism & Unfair Practices 

Your work will be judged on its accuracy and cogency, but also on its independence of 

thought. With the pressure of work and time, it will sometimes be tempting to lose that 

independence and become over-reliant on someone else’s thoughts or writings. This is 

a dangerous practice and can lead to severe penalties. The overall term for such 

dependence on others’ work is plagiarism. In its most obvious form, this consists of 

straightforward, unacknowledged copying of texts or music from one or more sources. 

The unacknowledged use of material from books and articles in student essays (and 

similarly, the copying of other composers’ material in composition exercises and 

portfolios) is a dishonest practice and is viewed in an extremely serious light since it 

masks the identity of the author(s) and obscures the assessment process. 

It is equally unacceptable to summarise a sequence of points, observations or ideas 

made by another without acknowledgement or showing adequate independence of 

thought on your part. Close paraphrase of sources often occurs when you make notes: 

you must acknowledge the sources of your ideas and avoid recycling literal quotations 

as your own work. Collusion (usually the result of work prepared in consultation with 

another student) is also unacceptable. 

The penalties for plagiarism and collusion range from the failure of the relevant piece of 

work to more severe measures for persistent infringements. The table below outlines 

marking guidelines for different levels of plagiarism. These penalties are imposed 

irrespective of an intention to cheat. 

For minor instances of plagiarism, the University Calendar (2009–2010) states that: ‘In 

instances where an element forming part of an assignment (from a phrase or sentence 

up to a paragraph or two) is found to be plagiarised, marks will be deducted for that 

assignment, there will be no possibility of submitting a “makeup” assignment, and 

previous and subsequent work submitted in connection with the course may be subject 

to particular scrutiny. While the amount of marks deducted will be proportionate to the 

extent of the plagiarised material, the deduction may be severe.’ 

Mark Description 

Although predominantly written in your own words and with sources of information 

30–35% 

individually referenced (i.e. footnoted including page nos or other precise source 

information), there is some plagiarised material (unreferenced and/or more-or-less 

exactly copying the original wording of the source used). 

A significant portion of the essay (a paragraph or more) has been directly copied 

20–25% 

from other sources irrespective of whether these have been referenced; or a larger 

proportion of the essay is based closely on known sources which have been 

somewhat paraphrased or recast in own language but without adequately detailed 

source-reference footnotes. 

For major instances of plagiarism, the University Calendar (2009–2010) states that: ‘In 

instances where a significant part or all of an assignment is found to be plagiarised, 

zero marks may be awarded for that assignment, there may be no possibility of 

submitting a “makeup” assignment, and previous and subsequent work submitted in 

connection with the course may be subject to particular scrutiny. In serious cases the 

plagiarism will be reported to the Supervisor of Examinations and the Committee of 

Discipline.’ 

Mark Description 

10% 

Work wholly or substantially directly copied from other sources but with at least 

some indirect mention of sources (e.g. no footnote source references but sources 

listed in general terms in the Bibliography). 

0% 

Work wholly or substantially directly copied from other sources and without any 

form of acknowledgement or indirect listing of sources (e.g. bibliography absent). 

31

XIV. STYLE GUIDE 


1. Presentation, Format and Style: 

The more you read, the more you will find that there are different styles adopted by 

different authors, universities, and publishing houses. The most important thing to 

remember when writing and referencing is to be consistent. Presentation, format and 

referencing will be taken into account when assessing your work, and are therefore 

extremely important skills for you to develop as early as possible in your degree. 

For further information please consult the MHRA Style Guide which is fully available 

online at http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml and 

Music in Words: A Guide to Researching and Writing about Music by Trevor Herbert 

(London: ABRSM, 2001). 

All written assessments must be word-processed on A4 paper, double-spaced, and on 

one side of the paper only. The font used should be one that is easily readable such as 

Times New Roman and the font size should be 12 point. See also separate 

information on Submission Cover Sheet policy. 

(i) The following formatting guidelines should be adhered to: 

• Number pages in the top right-hand corner of each page. 

• The left-hand margin should be 4cm wide, the right-hand margin 3cm. 

• Your essay should be organized into clear paragraphs, each arguing a different 

topic of your essay. Paragraphs should be indicated by leaving a blank line in 

between paragraphs. 

• Do not underline or italicize headings. 

• British spelling should be used throughout, e.g., ‘colour’. 

(ii) Full stops should be used: 

• in abbreviations such as e.g., et al., ibid., i.e., no. 

• in contracted forms of words, e.g., anon., ed., etc. 

• in personal initials, e.g., J.S. Bach 

Full stops should not be used: 

• after headings 

• after contracted forms of words which end with the same letter as the 

full form, e.g., Dr, Ltd, Mr, Ms and St (exception: ‘No.’ for ‘Numero’) 

• after shortened forms, for example, c (as in c1850) and MS 

• after acronyms that denote well-known journals, institutions, 

combinations and items such as JAMS, NUIM, SATB and CD 

(iii) Dates: 

• Dates should adhere to the following layout: 8 January 1994. 

• Decades should not use apostrophes, e.g., 1980s. 

• Approximate dates are directly preceded by the abbreviation c (circa), 

e.g., c1500. 

• Centuries should be written out in full, e.g., the sixteenth century or 

sixteenth-century music. 

(iv) Numbers: 

• Arabic numerals should be used for chapter, part, page and example 

numbers. 

• Capital Roman numerals should be used for movement numbers. 

32


• Lower-case Roman numerals should be used for volume and 

introductory page numbers. Journals and series take arabic numerals. 

• Numbers up to and including one hundred should be written as words. 

• Opus numbers should adhere to the following layout: Op. 59 No. 2. 

(v) Italics should be used: 

• for real titles of operas, oratorios, sections of the Mass, collections, 

etc., e.g., A Child of Our Time and Agnus Dei, but not where a title 

indicates genre, e.g., Beethoven, Symphony No. 5 

• for titles of books, periodicals, anthologies, dictionaries, CDs/albums, 

etc. (including abbreviations), e.g., Man and His Music, The Musical 

Times; PRMA, New Grove 

• for Latin terms and abbreviations such as ibid. and passim 

• for foreign loan words which are not commonly used in English 

• for expression marks, e.g., crescendo, adagio and forte. Italics are not 

used for movement titles, e.g., Mendelssohn’s Andante and Scherzo, 

which should begin with an uppercase letter. 

(vi) Normal/Roman case should be used: 

• for genre names, e.g., Symphony No. 9 

• for nicknames in quotes, e.g., 'Tempest' Sonata 

• for names of organisations, ensembles, bands 

• for song titles, in which case single quotation marks should be used, 

e.g., ‘My Way’ 

(vii) Pitches and keys: 

• Specific pitches should be indicated according to the following 

illustration using the Helmholtz system: 

C’ B’ C B c b c' f# ' b' c'' b'' c''' c'''' 

• Otherwise capital letters should be used, e.g., horn in F, the key 

of C sharp minor. 

• In tables etc. minor keys are indicated by lower-case letters. 

2. Some Common Grammatical Problems: 

• The correct use of apostrophes: 

The genitive (or the possessive case) is indicated by an apostrophe in English: 

The composer’s works (meaning one composer). 

The composers’ works (meaning more than one composer). 

The plural is not marked by an apostrophe: 

Composers work very hard (plural). 

33


Please note ‘it’s’ means ‘it is’. The genitive its does not use an apostrophe. Both 

are indicated in the following example: 

‘It’s in sonata form, but its shape is not clear’. 

• Please note the difference between ‘there’, ‘their’ and ‘they’re’: 

It can be found over there. 

Their courses are easier than ours. (=correct use of the genitive) 

They’re (as in ‘they are’) good students. (= an abbreviated form) 

• Semicolons: these are used between independent clauses not joined by 

a conjunction. 

Beethoven was a great composer; not everyone, however, would agree with 

this statement. 

• Colons: these are used to introduce lists or to answer the question 

‘what?’ or ‘which?’ 

The programme contained two works by Beethoven: the Egmont 

Overture and Symphony No. 5. 

3. Referencing: Quotations and Sources: 

(a) You must reference the following using footnotes: 

• All quotations 

• Ideas or opinions from another author (even when not directly quoting) 

• Extracts from scores 

• Tables, musical examples, etc. 

• You do not need to reference known facts such as composers’ dates, keys of 

works, etc. 

(b) Quotations: 

• Short quotations should be enclosed in single quotation marks ‘like this’. 

• Long quotations should be indented, single spaced and without quotation 

marks. 

• If you omit words from a quotation use an ellipsis with square brackets like this: 

[…]. 

• If you add words to a quotation use square brackets [like this]. 

(c) Format for Footnotes: 

• Footnote numbers should appear at the end of the sentence or paragraph to 

which they refer and they should be in superscript. 1 

• The first reference to a book, article or any other publication should be cited in 

full. Any later references to the same source can use an abbreviated form. 

• Footnotes should always include page numbers (where possible). 

1 Like this. 

34


Examples to follow when citing the following sources: 

(i) Single or joint-authored books: 

Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of Oration 

(Cambridge, Mass. and London: Harvard University Press, 1991), p. 59. 

Donald Jay Grout and Claude V. Palisca, A History of Western Music, 5th edn (London: 

Dent, 1990), pp. 21–24. 

(ii) Edited Volumes: 

Gerald Abraham (ed.), The Age of Beethoven, 1790–1830, New Oxford History of 

Music 8 (London: Oxford University Press, 1982), p. 45. 

(iii) Single-author book in more than one volume: 

Curt von Westernhagen, Wagner: A Biography, trans. Mary Whittall, 2 vols 

(Cambridge: Cambridge University Press, 1978), ii. pp. 65–68. 

(iv) An essay by one author in a book edited by someone else: 

John Rink, 'The Profession of Music', in The Cambridge History of Nineteenth-Century 

Music, ed. by Jim Samson (Cambridge: Cambridge University Press, 2001), pp. 55–86. 

John Rink, ‘Authentic Chopin: History, Analysis and Intuition in Performance', in Chopin 

Studies 2, ed. by John Rink and Jim Samson (Cambridge: Cambridge University Press, 

1994), pp. 214–44. 

(v) An article in The New Grove Dictionary: 

Colin Timms, ‘Steffani, Agostino’, in The New Grove Dictionary of Music and 

Musicians, ed. by Stanley Sadie, 29 vols, 2 nd edn (London: Macmillan, 2001), xxiv, pp. 

315–21. 

(vi) An article in a journal/periodical: 

Nicholas Cook, 'At the Borders of Musical Identity: Schenker, Corelli, and the Graces', 

Music Analysis, 18 (1999), pp. 179–233. 

Note: In referencing articles from JSTOR, Sage, Project Muse etc., use the 

same format as above, including author, article title, journal title, and year. 

(vii) An article in a newspaper or magazine: 

Michael Schmidt, ‘Tragedy of Three Star-Crossed Lovers’, Daily Telegraph, 1 February 

1990, p. 14. 

(viii) Concert reviews: 

Robert Thicknesse, review of Handel, Alexander Balus, dir. Laurence Cummings, The 

Times, 2 May 2003, p. 23. 

(ix) An unpublished thesis or dissertation: 

Frank Samarotto, ‘A Theory of Temporal Plasticity in Tonal Music: An Extension of the 

Schenkerian Approach to Rhythm with Special Reference to Beethoven's Late Music’ 

(PhD. dissertation, City University of New York, 1999), p. 80. 

35


(x) A recording: 

Ralph Vaughan Williams, Symphony No. 5; Concerto for Two Pianos, Royal 

Philharmonic Orchestra, dir. Sir Yehudi Menuhin (Virgo, 7243 5 61105 2 6, 1993). 

Talking Heads, Fear of Music (Sire 7599-27428-2, 1979). 

(xi) A single song/track: 

Talking Heads, 'Electric Guitar', Fear of Music (Sire 7599-27428-2, 1979), track 10. 

(xii) Notes accompanying a recording: 

Joachim Kaiser, ‘Three Days with Vladimir Horowitz’, in Vladimir Horowitz, The Studio 

Recordings: New York 1985 (Deutsche Grammophon, 419 217-2, 1986). 

(xiii) Online Article: 

Steve Sohmer, ‘The Lunar Calendar of Shakespeare’s King Lear’, Early Modern 

Literary Studies, 5.2 (1999) 

[accessed 28 January 2000] (para. 3 of 17). 

Note: Take care to follow the format of the URL exactly. 

(xiv) Online Database: 

Kent Bach, ‘Performatives’, in Routledge Encyclopedia of Philosophy 

[accessed 3 October 2001] 

(xv) Later References: 

Once you have cited a reference in full, you can abbreviate it as shown: 

John Rink, 'The Profession of Music', pp. 55–86. 

4. Format for Bibliographies: 

Your bibliography should be arranged alphabetically by the surname of the 

author or editor. Here is an example: 

Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of 

Oration (Cambridge, Mass. and London: Harvard University Press, 1991). 

Clark, A., ‘Is Music a Language?’, The Journal of Aesthetics and Art Criticism, 41 

(1982): pp. 195–204. 

Goodman, Nelson, Languages of Art: An Approach to a Theory of Symbols 

(Indianapolis, 1968; London: Oxford University Press, 1969). 

Langer, Susanne K., Feeling and Form: A Theory of Art developed from Philosophy in 

a New Key (New York: Charles Scribner’s Sons, 1953). 

Narmour, Eugene, The Analysis and Cognition of Basic Melodic Structures: The 

Implication-Realization Model (Chicago: University of Chicago Press, 1990). 

36

XV. PERFORMANCE MATTERS 


1. Performance Strand Tuition 

Where appropriate, eligible students take first-study instrumental/vocal lessons or 

Group Piano tuition from fully-qualified tutors approved by the Department. Lessons 

are provided for eligible students studying approved instruments/voice only. The 

Department arranges for a number of tutors to give lessons on campus. 

A portion of the annual degree course fee for qualified and eligible BMus and BA(Hons) 

students may be assigned to instrumental/vocal tuition. Instrumental tuition fees are 

paid only to teachers who complete appropriate forms available from the Department’s 

Office. Students taking lessons at DIT or the RIAM will be reimbursed fees to a 

maximum sum of €740 on production of an official receipt from the institution. 

Students are required to ensure that they follow the regulations and requirements given 

in current Performance Strand documentation. Full details of the Performance Strand 

modules and related regulations are published separately in module guides which are 

available on Moodle and from Dr Cascelli. 

2. Practice Rooms 

Our practice rooms, available for use in semester time only, contain valuable 

equipment and are monitored by cctv cameras. The swipe card system in place means 

that usage is tracked. The rooms are available for use by registered music students 

only. Rooms may be booked according to the official booking system. Food and drink 

are strictly forbidden in practice rooms. Anyone found breaking these rules will be 

denied access. Maximum booking time is one hour starting on the hour. If you are 

more than 5 minutes late, or you vacate the room during a booked slot, access can be 

given to another student. No student may return to a room within one hour of vacating 

it. Students must vacate rooms when asked to do so by an instrumental teacher or 

lecturer. Students studying the organ may avail of practice on the College organs by 

arrangement with Dr John O'Keeffe. 

3. Approved Ensembles 

• Choral Society 

• Chamber Orchestra (auditioned) 

• Chamber Choir (auditioned) 

• Guitar Ensemble (auditioned) 

• Irish Traditional Group (auditioned) 

• Ladies’ Choir 

The Department is renowned for its long and proud tradition of communal music 

making. Our concert life is underpinned by the steady rhythm of rehearsals and 

concerts supplied our diverse ensembles. Six ensembles are professionally directed 

within the Department and each of these contributes to the Approved Ensemble 

programme. In 2009-2010 the Choral Society will supply the focus of the programmes 

for the three annual Carol Services and also perform a Mozart-centred programme in 

the spring. The newly-formed Chamber Orchestra will explore a variety of repertoire 

leading to its debut concert in the spring. Another new initiative, the Ladies’ Choir 

provides an opportunity for first-year unauditioned female singers to work together. The 

Chamber Choir, Guitar Ensemble and Irish Traditional Group each have University 

concerts in their schedules. More about all six ensembles can be found on our 

website. 

37


Membership of one of the approved ensembles listed above is a requirement for all 

first- and second-year BA and BMus students (MU145/MU253). For some third-year 

students, MU358 offers the opportunity to be assessed as an ensemble member. 

written Ensemble Reports attracting 20% each. For full details of the assessment 

models used please consult the Approved Ensemble Module Guide (published 

separately). 

The Music Department also encourages the formation of smaller ensembles, vocal and 

instrumental, where students may indulge their performing abilities across a wide range 

of repertoire. 

4. Music Society 

The Music Society is run by students for the benefit of students both from within and 

outside the Department. As an undergraduate student studying music you should join 

the Music Society. This Society is the umbrella organisation for the Department’s 

ensembles, collectives and social events. In 2009-2010 the Society’s President is 

Maureen Doris. See the Society’s website and publicity for more information about its 

activities. 

38


XVI. MUSIC DEPARTMENT: A-Z OF MISCELLANEOUS GENERAL INFORMATION 

1. Advisors & Student Support in the Music Department and University 

General Remarks 

• Both the Department and University have systems in place to support students 

throughout their degree. Students experiencing problems may avail of 

assistance from Departmental Advisors or University Services (see below). 

• Should personal issues leading to long absences or other difficulties arise, it is 

recommended that the student inform the Department (ideally via the Advisor). 

• It is not the responsibility of individual lecturers to pursue issues of nonattendance 

at lectures or non-submission of module work with particular 

students. 

Advisors in the Music Department 

• Each undergraduate student is assigned to a staff member in the Department 

who acts as his or her general advisor. Advisors are available for consultation 

on all academic and other matters upon request. See the list of advisors under 

the ‘All staff and students’ section in Moodle and on notice boards. 

• Dr Martin O’Leary acts as Mature Student Academic Advisor for Music. 

Useful Contacts in the University: 

• Academic Advisory Office 

o This Office functions as a convenient first point of contact for students 

who wish to seek advice on general issues that may arise from their 

relationship with the University. 

o The office is located in Room 59, Arts Annex and can be contacted at 

(01) 708 3368 or advisory.office@nuim.ie. 

• Counselling Service 

o The Counselling Service at NUI Maynooth offers a free and confidential 

counselling service to all students attending the University. 

o Contact reception to make an appointment at (01) 708 3554. 

• Mature Student Office 

o Emer Sheerin is the Mature Student Office. Contact her at 

emer.sheerin@nuim.ie / access.office@nuim.ie or (01) 708 3307/6025. 

2. Awards & Prizes 

Prizes are awarded to the students gaining first place in the respective year of each 

undergraduate annual examination. An award of not less than second-class honours 

Grade I in the second- and third-year examinations, and an award of not less that 65% 

in first-year examinations must be obtained. 

3. Equality 

The department is committed to providing an environment free of sexual harassment 

and one in which relations between staff and students are friendly but strictly 

professional in nature. Any student with a complaint is invited to discuss the matter with 

Professor Fiona M. Palmer or Ms Marie Breen. 

4. Fees (EU Nationals) 

See http://fees.nuim.ie/ 

5. Health & Safety 

The University has legal obligations to implement its health and safety policies. 

Students are obligated in the same way as any member of the workforce and are 

required to: 

39


• take reasonable care of their safety and that of any person who may be affected by 

their activities 

• co-operate with the University 

• report defects 

• under no circumstances interfere with anything provided to secure the safety, 

health and welfare of persons on the premises 

The Department has a Safety Statement, which may be obtained from the Department 

Office. A list of the University’s occupational first aiders is also available in the 

Department Office. 

In the event of the fire alarm sounding while you are in class, or on any business in 

Logic House, evacuate the building and proceed to one of the prescribed assembly 

points. Logic House Assembly Point is located in the car park in front of Logic House. 

Under no circumstances should you attempt to return to the building until the all clear is 

announced. 

Smoking is not permitted in any University buildings. Do not smoke in the 

doorways of Logic House. 

6. Instrument Storage 

Musical instruments may be stored (on a short-term basis only) in a special facility in 

the Department. Details are available from the Music Department Office. 

7. Language Support 

Úsáidtear Béarla mar ghnáth-theanga oibre na Roinne; bíonn na léachtaí, na nótaí 

agus na ceachtanna as Béarla. Ach ní hionann sin agus a rá nach bhfuil fáilte agus 

fiche roimh úsáid na Gaeilge, agus fonn orainn cur leis an úsáid más féidir. Ar ndóigh, 

níl mórán cumais sa teanga ag cuid den bhfoireann, agus caithfear glacadh leis sin. 

Cuirfidh na léachtóirí in iúl duit má tá siad toilteanach gnó a dhéanamh leat sa teanga. 

Tout les cours sont en anglais. Certains professeurs parlent francais, et pourraient 

vous aider s'il y a des problèmes. Renseignez-vous au bureau. 

Cada curso es en Inglés. Algunos professores hablan el Castellano, y pueden ayudarle 

si encuentras problèmas. Pida al oficina. 

Die Vorlesungen werden auf Englisch gehalten. Einige Dozenten können Deutsch 

sprechen und werden Ihnen helfen, wenn sie Schwierigkeiten haben. Bitte fragen sie 

im Büro nach. 

Tutti le lezione sono in Inglese. Qualche professore parla Italiano, e può aiutarlei. 

Chiedere al ufficio. 

V_echny moduly jsou u_ené anglicky. Je-li problém, budeme zkusit Vám pomoci; 

zeptejte se prosím u kanzelá_e Dr Devine. 

8. Language Skills 

Knowledge of foreign languages is very important to musicians. Singers should be able to sing in 

a variety of languages; instrumentalists, composers, technologists and musicologists will often 

work with musicians and scholars of other nationalities. The University’s language centre offers 

courses to students. See http://www.nuim.ie/language/index.shtml 

9. Mature Students 

The Mature Student Staff Link Tutor in the Music Department is Dr O’Leary, who is 

available to help mature students with any enquiries or problems. 

40


10. Ensemble Materials Loan Deposit 

There is a refundable charge of €50 to cover the loan of ensemble materials. Cheques 

should be made payable to the ‘Music Department, NUIM’. 

11. References 

Staff are generally happy to write references for students. Please note that at least one 

week's notice should be given. A copy of an up-to-date curriculum vitae must 

accompany any reference request. 

12. Scholarships 

The Governing Authority appoints a Music Scholar who is elected annually on the 

recommendation of the Professor and Head of Department. The stipend attaching to the 

scholarship is currently €2,000 and the Scholar may be required to perform certain 

duties as determined by the Professor of Music. The Scholarship is awarded to the 

student gaining highest marks at the end of second year across the three degree 

programmes. In 2009-2010 the Music Scholar is Aoife Cuddihy (3BA). 

13. Socrates Study 

Selected students with an appropriate knowledge of French or German may spend a 

period of study at the Universities of Louvain, Louvain-La-Neuve, Belgium or Université 

Jean Monnet, Saint-Étienne, France, University of Keele in the UK, or University of 

Wuppertal, Germany and University of Florida. Interested students should seek further 

information from Dr Alison Hood. 

41

XVII. LEARNING SUPPORT 


1. Careers’ Preparation 

In conjunction with the University Careers’ Office the Department arranges occasional 

Career Seminars. Topics include Career Planning and How to design a Graduate C.V. 

A full list of Careers Events is available via http://careers.nuim.ie/ and on our 

noticeboards. 

2. Computers 

All students are expected to become computer literate. All written submissions must 

be word-processed and conform to the Department’s standards. The University 

Computer Centre http://computercentre.nuim.ie/ provides facilities and appropriate 

courses; students are advised to register with the Centre as soon as possible. 

3. Counselling Service 

The Counselling Service http://counselling.nuim.ie is a confidential professional service that is 

provided to all students of NUI Maynooth. 

4. Language Centre: Courses in English Language Skills 

The Language Centre http://www.nuim.ie/language/ offers a course in English 

Language Skills for students who wish to enhance their writing skills. Focusing on 

English grammar, punctuation and syntax, and on essay and thesis presentation, 

source citing and bibliography, this course is highly recommended for students who 

lack confidence in these areas. Details are available from the Language Centre (Room 

51, Arts Building). 

5. Library Resources for Music 

• Music Librarian Regina Richardson 

Tel: +353 1 708 3897 ( 09.30.–13.00) 

E-mail regina.richardson@nuim.ie 

• Website: http://library.nuim.ie/ 

• Key websites are listed at: 

http://library.nuim.ie/subjects/resources/music/keywebsites.shtml 

• Professor Barra Boydell is the Department’s academic contact for issues 

relating to Library resources. 

42

UNDERGRADUATE STUDENT HANDBOOK - Music

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