SYLLABUS

Class 1 | In the beginning was the Word

Theological significance of the act of speaking; daily recitation of the Psalms in personal and public prayer through the ages; cantus obscurior (hidden melody within a word), and dynamics/elasticity of chant as sung speech.

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Applications: comfortable singing pitch, appropriate pauses, relationship of word accent and melodic accent, build —> peak —> release

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Class 2 | Parallelism and the timelessness of the Psalms

Explore timeless imagery employed in the Psalms, and parallelism, a unique poetic device which, once understood, further aids in understanding and interpreting a passage of scripture. Also, division into five larger books, and a look at the imprecatory psalms. 

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Applications: determining operative words for more meaningful delivery of the text; introduction to catharsis, an integral factor of public prayer

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Class 3 | Anatomy of a psalm tone

Essential components of a psalm tone, and relationship to more ancient Hebrew tones. Intonation, reciting tone, mediant cadence, termination, and flex. Key differences between tones composed for use with Latin and use with English texts. Review of pitch and neumes on the four line staff.​

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Applications: sing a text set according to a given psalm tone on the four line staff

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Class 4 | Tones for singing in English

Distinction between literal translations of the Psalms, and translations set for singing. Survey of several psalm tone systems modeled on the Gregorian tones, modified to fit English language cadences. Systems for pointing (indicating when to move to the next pitch up or down in the psalm tone formula). Other kinds of tones (e.g. epistle, canticle, gospel, Gloria Patri, and prayer tones).

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Applications: set and sing a psalm (or other text) according to a tone of choice

 

Class 5 | Introduction to ecclesiastical Latin

First half of class will be devoted to presentation and evaluation of student homework from Class 4. Remainder will be an introduction to the Latin language, which is at the root of 60 per cent of the English language. 

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Applications: principles and typical pitfalls for Latin pronunciation; initiate development of a personal ecclesiastical Latin vocabulary.

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Class 6 | Gregorian psalm tones​

Continuation of introduction to ecclesiastical Latin from Class 5: word order, information contained within one word, and natural stress patterns. Overview of the eight Gregorian psalm tones (as found in the Liber Usualis) and Tonus Peregrinus. Relationship of Latin accents to melodic accents of same tones. Tone terminations, modes, and e u o u a e.

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Applications: sing a psalm or canticle according to a Gregorian tone of choice

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Class 7 | Antiphons

Definition of an antiphon. Relationship of antiphons of the Office/Breviary/Liturgy of the Hours with psalmody of the Office, especially with regard to mode and termination. Also, development of antiphons of the Mass via contraction of text and corresponding expansion of melody. Parallelism in Mass antiphons.

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Applications: choose correct mode and termination for psalmody in the sung Office; emphasis on integral relationship of text and melody in antiphons of the Mass, especially introit, offertory and communion chants.

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Class 8 | Gregorian Chant: a Musical Lectio Divina

Lectio Divina (divine reading) is a meditative way of reading the Bible, in which one’s agenda is set aside to allow the reader to open their mind to what the Holy Spirit is saying. Musical Lectio Divina is a highly interactive exercise wherein a group is guided through a prayerful reflection on the Scriptures, and discovers how a sacred text gives birth to its Gregorian melody.