Thank you for considering making a gift to the Faculty of Music

The Faculty of Music is recognised internationally as a centre of excellence for teaching and research in musicology from medieval times to the present day, composition and performance, and for its world-leading position in evolving academic fields such as ethnomusicology and the psychology of music.

Through its undergraduate and postgraduate programmes, the Faculty offers a highly stimulating environment for students interested in a practical, scholarly and creative engagement with music, supporting their development as musicologists, performers and composers. The Faculty brings together a community of leading academics whose contribution to interdisciplinary research programmes and a wider understanding and appreciation of music has a significant impact on scholarship and performance worldwide. 

Through the support of alumni and friends, the Faculty is hoping to continue to support three key strategic priorities:

  • Student support;
  • Academic teaching, research and performance;
  • Buildings and infrastructure.


If you would like to help support the Faculty, donations can be made in a number of ways:

By post

By phone: call us on 01865 276133


In your will

If you would like to discuss giving support for a specific project, please contact Professor Eric Clarke  on 01865 276133

Support from alumni and friends contributed towards a number of great purchases and projects including:

  •  The Holocaust Memorial Concert as part of our Artist in Residence programme  

‘It was an incredibly starry line-up of players and it felt very special to be able to witness such intimate and wonderful music-making.’ Student, Tom Fetherstonhaugh

  • Chamber music coaching

In Michaelmas term last year, I asked a few friends to study and rehearse the beautiful piano quartets of Schumann and Dvořák with me. We met with the Villiers Quartet at the Faculty of Music for a workshop a couple of weeks before our performance in the Holywell Music Room. The musicians were professional and incredibly friendly, giving us different insights into the music and offering various interpretations. As the pianist of the quartet, I enjoyed responding to the changes my friends made in their playing. Our viola player was unfortunately unavailable for the workshop, but Carmen kindly filled-in for the role, giving us a taste of being part of a professional string quartet. James, Tamaki and Nick offered my friends expert individual guidance on their respective instruments, advising on technique tailored to the music that we were playing. It was great to share our passion for music as we discussed and worked on the quartets. We all thoroughly enjoyed being coached by the Villiers and left the workshop with their encouragements for our upcoming performance.’ Student, Amy Chang

  • Equipment for the electronic music studio to support composition

The electronic music studio has given me an unlimited access to a sound-world I could never have imagined – or perhaps more saliently, afforded – before coming to Oxford. The staff have made this state of the art equipment accessible, exciting, and a real hub for creative freedom and discovery – I could not be a composer without it.’  Student, Tom Kinsella

  • Additional instrumental teaching 

We invited Jane Rogers to coach the Bate Players in a performance of Brandenburg 6 and an arrangement of JS Bach’s third viola da gamba sonata in G minor, entitled ‘the 7th Brandenburg’. Jane is one of the leading historical violists in the world, so it was an incredible privilege to have her share her expertise with us. She taught us so much about the very specific sound-world of these pieces. As a group we learnt so much from having her with us and it has helped to develop the work we do as a group in the future.‘ Student, James Orrell

Bella v1.JPG

When I left the Faculty of Music I did it with very mixed feelings. On the one hand, I was tremendously looking forward to starting a new career – given that I now work in wealth management platforms, many of you may be wondering why! On the other, I was leaving behind what’s been, undoubtedly, my most defining period yet.

It had all started when I arrived in Oxford from provincial Spain with a BA in History and a PGCE. My level of English was appalling, so much so that, applying today’s much stricter language requirements, my application wouldn’t even have been considered. In the MSt in Musicology I immediately had to read and discuss very complex texts under the supervision of people you couldn’t really fool – Suzie Clark, Professor Peter Franklin, Emanuele Senici and Professor Reinhard Strohm.

No less inquisitive were some of my peers. Open debate, stimulating colleagues and the freedom as well as the duty to think and write opened my eyes to a new intellectual world. This was the key to my academic development and a source of happiness, both in my first year and during the DPhil. In the end, I was equipped with a marvellous toolkit (critical thinking, writing and presentation skills and, er, English!) that has since allowed me to develop a new understanding of the world and of myself. In my current profession there hardly goes a day in which I don’t think of something I learnt from my time devoted to music history in the Faculty or the Bodleian. Similarly, as a son, an uncle, a friend and a partner, I’m forever in debt for what I learnt at Oxford. Indeed, the Faculty contributes to society at large by educating people, whatever they may end up doing.

While at Oxford I enjoyed the sponsorship of many, including the Faculty of Music – some paid for my fees, some for my conference and research trips. I feel it now to be my duty to support the institution and the development of the students. Helping out is also a way of being part of it, entertaining the thought that, behind the spreadsheet that awaits me when I stop writing this article, there is another part of me who’s still there in St Aldate’s.

Enrique Sacau
MSt, The Queen’s College
DPhil, St Catherine’s College
Currently Managing Director Europe at FNZ Ltd