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The author highlights the University of Cambridge's 500th Honorary Degree Ceremony held at the University Senate House in Cambridge, England. She describes the lengthy processions through the streets of Cambridge, with dignitaries and academics wearing full scarlet academic dress. The recipients of the doctorate Honoris Causa include Nelson Mandela, Stephen Hawking, and Archbishop Desmond Tutu.

A personal narrative is presented which explores the author's experiences of bringing the Chapel Choir of Selwyn College in Cambridge, England to the U.S.

The article deals with the continued release of classical music recordings in Cambridge, England in April 2010. It mentions that one of the reasons why choral groups continue to launch music recordings is that most of the choirs in the place do not have sufficient time to polish their performances to attain the full concert standard. Another benefit that choir members get from the recordings is that they learn some important skills like accurate tuning, faultless diction as well as precise ensemble.

The article reports on the legendary shop Brian Jordan Music, Books and Facsimiles located at 10 Green Street in Cambridge, England, whose proprietor Brian Jordan died on December 1, 2010. It says that entering the shop is like stepping back in time as customers are greeted by a Victorian leather-topped desk at the front room without digital bar-code-reading machines, computer and till. According to the author, the legacy of Brian will to continue as his widow and his two sons will run the shop. The other features of the shop are also discussed.

The article focuses on the application for Choral Scholarships in Cambridge, England. Annually, approximately 200 applicants compete for at least six vacancies in each choir in Great Britain. Each applicants are asked to perform vocal exercises, sing a solo piece and endure sight-reading and aural tests. The author reveals that the ability to sing is irrelevant if the applicant do not have the appropriate academic standard to study at Cambridge.

The author discusses the role of the fugue in basic musical education, which the author teaches at Cambridge University in England. The teaching of elements of fugal exposition including dissonance, modulation, and prominent dominants is described. Questions about whether the fugue is still a useful discipline to teach and the kinds of transferable skills to be learned from it are examined. The author also explains why an understanding of a fugue's construction can help a musician in his or her performance.