The following paper outlines and evaluates the implementation of the use of peer assessment in higher education (HE), using the BA in music course at Kingston University as a case study. The rationale of the peer assessment systems introduced into two curriculum areas is examined, and the operation of the scheme is evaluated, by the use of lecturer interviews, attitudinal questionnaires completed by the participating students, and the assessments and feedback produced. Conclusions drawn are that the introduction of peer assessment seems to improve students' critical faculties and gives them a greater ownership of the whole assessment process.

Peer assessment is a relatively new approach, especially in music higher education where there seems to be a resistance to changes which give more control of the assessment process to student and, apparently, less to lecturers. At Kingston University peer assessment has been introduced into a number of modules on the BA (Hons) in music and also the BEd (Hons-music specialism) courses. These include: performance; music, performance and communication (a community based performance project); music and business; and composition. The latter is the main focus of this paper, although some of the observations are applicable to other curriculum areas. The main purposes of the study have been to evaluate student attitudes towards peer assessment, to identify features which have been successful, and to identify features which could be improved. The Pilot Scheme Peer assessment was introduced in the Autumn of 1992, initially as a way of cutting down on the time staff spent marking compositions, but also to get feedback to students more quickly, as this was a matter of concern for both staff and students. A framework for the introduction of the new method was established in consultation

The stylistic changes in György Ligeti's music since 1960 have in some ways mirrored those in the wider contemporary music world. In his music of the 1960s he displays an experimental and systematic approach to the exploration of sound matter which can also be seen in the contemporaneous music of composers such as Xenakis, Penderecki and Stockhausen. In the 1970s his music shows a more eclectic approach, particularly the opera Le Grand Macabre (1974–7) in which there is much plundering of past styles – such as allusions to Monteverdi, Rossini, and Verdi. From this work onward there would appear to be a complete break from the approach in his works on the 1960s.

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