Wilko Brouwers of the Netherlands will conduct a polyphony choir at the XXVIII CMAA Summer Colloquium in Chicago, and the Women’s Schola chant choir. He has taught both chant and polyphony at the CMAA Colloquia since 2004. He has also taught courses at other CMAA events, including Summer Chant Intensive 2015 and was one of the directors for the CMAA’s Winter Sacred Music event in January 2016. He will be teaching the Ward Advanced Course this summer June 18-22, 2018 at Duquesne University for the second year.
This year his choir will sing a variety of motets including his own composition O Sacrum Convivium, a falsobordone Responsorial Psalm in Spanish, as well as portions of the two polyphonic Mass ordinaries on Friday and Saturday’s Masses.
Brouwers will also offer a breakout session on Chant conducting and a breakout session on the Ward Method.
Wilko Brouwers has conducted the Monteverdi Kamerkoor Utrecht from 1989 until 2016 and the Strijps Kamerkoor Eindhoven since 2004. He was also the director of the Gregorian Schola of St. Benedictus Abbey in Achel, Belgium, a post he held for the last eight years until its closing in 2013. In 2016 he founded “The Gregorian Circle”, a group of 25 singers who meet in one of Utrecht’s medieval churches to study and sing chant.
Original compositions by Wilko Brouwers have been published and recorded.
As a music educator, Wilko Brouwers teaches choral conducting at the Utrecht Art Center in the Netherlands. Internationally, he has taught workshops on Gregorian chant in Auburn, Alabama, Still River, Massachusetts, and Pamplona, Spain. Brouwers is the author of Stepping Tones, a method of sight reading for elementary schools and children’s choirs based on the Ward Method. His Words with Wings: Gregorian Chant for Children in Twenty Lessons, with both student and teacher’s workbooks and demonstration CDs, and his newest book, Now I Walk In Beauty, have been published by the Church Music Association of America.
Dr. Horst Buchholz, Vice President of the Church Music Association of America, will be directing one of the polyphony choirs at the XXVIII Summer Colloquium. Buchholz’ choir will sing a variety of motets during the week, as well as portions of the polyphonic Mass ordinaries on Friday and Saturday. He will also present a breakout session on the Ambrosian Rite.
Horst Buchholz is Director of Sacred Music at the Cathedral Basilica of St. Louis and the Archdiocese of St. Louis, as well as Artistic Director of St. Louis Cathedral Concerts. Prior to coming to St. Louis, Dr. Buchholz had served as Organist and Choirmaster at the Cathedral Basilica of the Immaculate Conception in Denver, Colorado and Trinity Cathedral in Cleveland.
Buchholz studied organ and sacred music in his native Germany at the Berlin College of Church Music and graduated with degrees and diplomas in Church Music and Music Pedagogy from the University of Arts in Berlin. His organ teachers have included Heinz Lohmann, Peter Wackwitz, and Rudolf Heinemann. Among his conducting teachers were Martin Behrmann, Uwe Gronostay, and Erich Bergel. After receiving his teaching certificate in Music Theory and Composition from the University of Arts in Berlin in 1989, Dr. Buchholz continued his post-graduate studies in the United States, where he received his Doctor of Music degree in conducting from the Indiana University School of Music.
As a chorus member and assistant with the Berlin Philharmonic Chorus, he worked with and performed under such eminent maestros as Claudio Abbado, Seiji Ozawa, Kurt Masur, Lorin Maazel, and Herbert von Karajan. Dr. Buchholz’s other accolades and accomplishments include his service as Music Director of the Denver Philharmonic Orchestra, organist and guest conductor appearances with the Colorado Symphony, and Opera Colorado, as well as with orchestras and operas in Mexico, Japan, Korea, and several European countries. He has performed in major cathedrals and concert halls around the world. In 2009, The Denver Philharmonic named him Conductor Laureate.
As a music educator, Dr. Buchholz has served as a member of the organ faculty at Cleveland State University; Associate Professor of Music and Director of Schola Cantorum at St. John Vianney Seminary (Denver); Assistant Professor of Conducting, Director of Orchestral Studies, and faculty member of organ and church music at Lamont School of Music at the University of Denver.
Soprano Mary Ann Carr Wilson holds a B.M. and an M.M. in Vocal Performance from San Diego State University. She enjoys a regional career and has appeared as soloist with the San Diego Chamber Orchestra, the San Diego Symphony, and the San Diego Master Chorale. Mary Ann also performs a wide variety of chamber music, including Irish traditional music.
Having trained under experts in Gregorian chant and Renaissance music as well as performed in several early music ensembles, Mary Ann now directs youth and adult choirs at St. Anne Catholic Church in San Diego. The three choirs sing Gregorian chant and sacred polyphony at weekly Sung and Solemn Masses in the Extraordinary Form (Traditional Latin form of the Mass), and by special engagement. Carr Wilson has been teaching children to sing Gregorian Chant for several years in a summer program called “Chant Camp”.
In addition, she will offer private vocal coaching sessions during the week.
On a first-come, first-served basis, individuals may schedule one-on-one vocal lessons with Carr Wilson during registration for the special Colloquium rate of only $30/session. The thirty-minute sessions are limited, so you can pre-register and pay for a session (the session day and time will be assigned to you) or you can register and pay for a session at registration on June 25th. Prepayment is required for vocal sessions, which can be made during conference registration. Our Administrative assistant will manage her teaching schedule and accept payments. To pre-register for a vocal coaching session, please contact us at firstname.lastname@example.org.
Charles Cole will direct the Men’s Schola Chant Choir, as well as a Polyphony Choir at the XXVIII Colloquium in Chicago. Cole’s Polyphony Choir will sing a variety of motets, as well as portions of the polyphonic Mass ordinaries for Friday and Saturday Masses.
An accomplished organist and choral director, he comes to us from the London Oratory (often referred to as “the Brompton Oratory” because of its location in London).
Charles Cole began his musical training as a chorister at Westminster Cathedral. He went on to win a major music scholarship to Ampleforth and organ scholarships at Exeter College, Oxford and Westminster Cathedral. He is Assistant Director of Music at the London Oratory where he directs the London Oratory Junior Choir which, in addition to its liturgical duties, provides the Children’s Chorus for the Royal Ballet’s productions at Covent Garden.
He was appointed Director of the Schola Cantorum at the London Oratory School in 2012. The Schola, for boys aged 8-18, sings polyphony and plainchant at Mass every Saturday at the London Oratory Church. The choir also sings concerts and tours abroad, and is well known for the soundtracks to the Lord of the Rings and Harry Potter films. The boys were recently invited to sing with the Choristers of Westminster Cathedral in a joint performance of the B minor Mass.
He directed the children’s chorus in a 400th anniversary performance of the Monteverdi Vespers with the Monteverdi Choir conducted by Sir John Eliot Gardiner at the Royal Albert Hall as part of the BBC Proms. He was involved in two of the Papal Liturgies on the occasion of Pope Benedict XVI’s visit to London, conducting London Brass in James MacMillan’s Tu es Petrus, commissioned for the Mass at Westminster Cathedral, and playing the organ for the Prayer Vigil at Hyde Park for a congregation of 80,000. Recently he has given organ recitals in St Petersburg (2012), Notre Dame, Paris (2013—the 850th anniversary year of the cathedral’s foundation), the Cathedral of the Madeleine in Salt Lake City (2013) and Jerusalem (2013).
Since 2011 he has been a Gregorian Chant Director for the Church Music Association of America’s annual Colloquia. He was recently invited by James MacMillan to speak about Gregorian Chant at Musica Sacra Scotland’s inaugural conference. In August of 2014, as part of the Palestine Choral Festival, he led a number of choral workshops for children’s and adult choirs in Bethlehem, Nazareth and Jerusalem.
Donelson is an associate professor and the director of sacred music at St. Joseph’s Seminary (Dunwoodie) in New York, where she also teaches sacred music courses in the St. Cecilia Academy for Pastoral Musicians. Donelson has previously served as an Associate Professor at Nova Southeastern University in Fort Lauderdale. Having studied Gregorian chant at the Catholic University of America and Abbey of St. Peter in Solesmes, France, Dr. Donelson has served as the director of music at St. Gregory the Great Seminary (Diocese of Lincoln, NE) and St. Thomas Aquinas Newman Center (UNL). She currently directs the Schola Cantorum of St. Joseph’s Seminary, the Metropolitan Catholic Chorale, and teaches Gregorian chant to children using the Ward Method at Neumann Classical School (Tuckahoe, NY) and Colm Cille Club (Pelham, NY).
She has given diocesan workshops in Gregorian chant across the U.S., is a co-founder of the annual Musica Sacra Florida Gregorian chant conference, and has served on the faculty of the annual colloquium of the Church Music Association of America. In 2017, Donelson taught the CMAA’s Summer Chant Intensive course at Duquesne University in Pittsburgh, PA. While in south Florida, Donelson directed the scholae cantorum at St. Michael the Archangel and Sts. Francis and Clare parishes in Miami, and taught according to the Ward method in the children’s choirs at the Oratory of Ave Maria, FL.
She has co-edited Mystic Modern: The Music, Thought, and Legacy of Charles Tournemire (Church Music Association of America). Her publications also include articles in the New Catholic Encyclopedia, Sacred Music, Antiphon: A Journal for Liturgical Renewal, the proceedings of the Gregorian Institute of Canada, and Liturgy in the Twenty-First Century (Bloomsbury/T&T Clark). She serves on the board of the Society for Catholic Liturgy as well as the CMAA, is the managing editor of the CMAA’s journal Sacred Music, was a co-organizer of the Sacra Liturgia USA 2015 conference in New York, and a speaker at Sacra Liturgia UK and Sacra Liturgia Milano.
David J. Hughes returns to the Colloquium faculty this year as director of the Refresher Chant Choir. David will also lead the new music seminar again this year. The new music seminar offers composers the opportunity to hone their craft with colleagues in three breakouts during the week. There will also be a New Music Reading Session open to all participants, where the best compositions from the new music seminar will be sung by conference participants. David will also present an organ breakout session on beginning organ repertory and will serve as organist for one of the liturgies during the week.
Hughes will also teach the CMAA’s 2018 Summer Chant Intensive course at Duquesne University in Pittsburgh, PA.
David is Organist & Choirmaster at St. Mary Church in Norwalk, Connecticut, where he oversees a program of seven choirs, including the professional St. Mary’s Schola Cantorum, which specializes in late medieval and early Renaissance polyphony in the context of a weekly Solemn Mass in the traditional rite, and the volunteer St. Mary’s Choir, whose core repertoire is English music of the 19th and 20th centuries. He is founder and director of the St. Mary’s Student Schola, a comprehensive program of musical education for children. The Student Schola sings regularly for Masses and Vespers in Connecticut and elsewhere, including a foray to World Youth Day in Madrid to sing Gregorian propers and polyphonic motets at stadium Masses. He directs Viri Galilaei, an ensemble of men from the tristate New York area who gather weekly to sing Vespers, to explore the singing of medieval polyphony from original manuscripts, and to discuss matters of theology, philosophy, and politics.
In demand as an instructor of Gregorian chant, he frequently travels for workshops, clinics, and recitals. He has written several film scores and a number of Masses and motets. David’s composition teachers have included Ruth Schonthal and John Halle, and he has studied organ with Paul Jacobs and Daniel Sullivan. A native of Stamford, Connecticut, he is a graduate of Yale College.
We are very pleased to have Dr. Ann Labounsky on the faculty of CMAA’s Colloquium XXVIII. As professor of music and chairman of the Organ and Sacred Music degree programs at Duquesne University, she oversees undergraduate and graduate programs in sacred music. Dr. Labounsky will offer two breakout sessions on organ technique and will also serve as organist for the Wednesday Mass and Friday Lauds.
Dr. Labounsky is widely known, both in the United States and in Europe, as a virtuoso performer and improviser at the organ and particularly as a leading American disciple of Jean Langlais. From 1962 to 1964 she lived and studied in Paris as a Fulbright scholar. There, as an organ student of André Marchal and Jean Langlais, she immersed herself in the French organ tradition, studying many of Langlais’s organ compositions with the composer, and playing them for him on the organ at Sainte-Clotilde. In 1964, as Langlais’s student at the Schola Cantorum, she was awarded Diplôme de Virtuosité with Mention Maximum in both performance and improvisation, the first American organist to be so honored.
Labounsky has been a frequent concert performer on two continents, including a number of recitals on the organ at Sainte-Clotilde. Her performances have been broadcast over the French National Radio, as well as public radio stations in the United States. Her undergraduate and graduate degrees in organ were earned at the Eastman School of Music and the University of Michigan. She also holds the degree of Doctor of Philosophy in Musicology from the University of Pittsburgh. She is the author of a biography of Langlais, Jean Langlais: The Man and His Music, (Amadeus Press, 2000). In celebration of the centennial of Jean Langlais in 2007, the Los Angeles Chapter of the American Guild of Organists produced a DVD entitled Life and Music of Jean Langlais for which she was the narrator and performer at the Pasadena Presbyterian Church in Pasadena, California.
Labounsky holds the position of Organ Artist in Residence at First Lutheran Church in Pittsburgh. For more information about Dr. Labounsky, visit her website.
Graduate and undergraduate music students may receive credit for their attendance at CMAA Colloquia and Summer Chant courses through the Duquesne University Mary Pappert Department of Music.
William Mahrt is Associate Professor and Director of Early Music Singers in the music department at Stanford University, President of the Church Music Association of America, and editor of Sacred Music, the oldest continuously published journal of music in North America.
Dr. Mahrt grew up in Washington state; after attending Gonzaga University and the University of Washington, he completed a doctorate at Stanford University in 1969. He taught at Case Western Reserve University and the Eastman School of Music, and then returned to Stanford in 1972, where he continues to teach early music. Since 1964 he has directed the choir of St. Ann Chapel in Palo Alto, which sings Mass and Vespers in Gregorian chant on all the Sundays of the year, with masses in the polyphonic music of Renaissance masters for the holy days.
His research interests include theory and performance of Medieval and Renaissance music, troubadours, Machaut, Dufay, Lasso, Dante, English Cathedrals, Gregorian chant, and Renaissance polyphony. He has published articles on the relation of music and liturgy, and music and poetry. He frequently leads workshops in the singing of Gregorian chant and the sacred music of the Renaissance.
At this year’s Colloquium, Dr. Mahrt will conduct a course of chant improvisation, focused primarily on study (this course will include singing two chant propers during the week), as well as delivering one of the plenary addresses entitled (details forthcoming). He will also teach two breakout sessions on chant modes, as well as one breakout session on Chant Analysis. He will also offer a breakout session on Guidelines for Sacred Music in the Liturgy.
Widely recognized for his broad skill set and musicianship, conductor-composer Timothy McDonnell has earned a reputation for creativity and leadership on and off the podium. Dr. McDonnell has led several distinguished ensembles, including the Naples Philharmonic Orchestra, the Southwest Florida Symphony Orchestra, and the Collier County Sinfonietta, in works from across the repertoire. In 2016, McDonnell was appointed Director of Choral Activities at the Benjamin T. Rome School of Music at The Catholic University of America.
Equally at home in the orchestral and choral idioms, McDonnell’s performances have gained critical acclaim and national distinction. Dr. McDonnell is an enthusiastic musical collaborator, and his choral-orchestral partnerships include not only standard works such as the Symphony No. 9 of Beethoven and Carmina Burana, but also extend to less frequently performed masterpieces such as Mahler’s Symphony No. 2 and Franck’s Psyché. He has worked with some of the most renowned conductors in the world, including Andrey Boreyko, Carlos Miguel Prieto, Cristian Macelaru, and Robert Page. McDonnell has served as the Music Director of the Schola Nova Ensemble, Studio Lirico Opera Program, Elysium Concert Opera, the Symphonic Chorale of Southwest Florida, the Ars Laudis Festival Chorus & Orchestra, the choirs of Ave Maria University, and the North American College in Vatican City.
Dr. McDonnell’s performances with University ensembles have won national recognition. In 2013 McDonnell was a finalist for the American Prize in choral conducting for his performance of Mozart’s Requiem, and in 2014 he took third place in the 2014 American Prize for his performance of Brahms’ Ein deutsches Requiem.
McDonnell’s compositions and arrangements have been performed by leading and regional ensembles, including the Chamber Orchestra of Philadelphia, the Yale Repertory Orchestra, and the Southwest Florida Symphony Orchestra. Mr. McDonnell was a finalist for the 2014 American Prize in composition. A successful crossover and recording artist, McDonnell has arranged and conducted tracks released on Rob Hyman’s Monocle label.
McDonnell has prepared numerous performance editions. Through his work as conductor of the Schola Nova Ensemble, he has cultivated a sub-specialty in music for chamber ensemble drawn from every era. His arrangements of works by Gustav Mahler, Lehár, Bruckner, and Sibelius have increased the chamber orchestra repertory, and have been praised for their innovative use of limited instrumental forces.
Maestro McDonnell holds degrees from Yale University and the University of South Carolina.
“McDonnell’s conducting was admirably guided by the longer musical arcs …”, David Patrick Stearns, The Philadelphia Inquirer
“Timothy McDonnell is a first rate composer, and … we will be hearing more of his work in the future.”, The American Prize
Dr. MeeAe Cecilia Nam will conduct our Beginning Polyphony Choir and will also offer three breakout sessions on vocal pedagogy, including a session on “changing voices” at the upcoming Colloquium for 2018. In addition, Private vocal coaching with Dr. Nam will again be made available at the CMAA Colloquium this year.
For several years, Dr. Nam has been on the faculty of the CMAA Colloquium, sharing her expertise in vocal pedagogy, vocal performance and directing techniques. She has also served as a plenary speaker and as a director of polyphonic choirs. Once again she will offer to assist participants on a personal basis with individual vocal coaching.
On a first-come, first-served basis, individuals may schedule one-on-one vocal lessons with Dr. Nam during registration for the special Colloquium rate of only $30/session. The thirty-minute sessions are limited, so you can pre-register and pay for a session (the session day and time will be asssigned to you) or you can register and pay for a session at registration on June 19th. Prepayment is required for vocal sessions, which can be made during conference registration. Our Administrative assistant will manage her teaching schedule and accept payments. To pre-register for a vocal coaching session, please contact us at email@example.com.
Soprano MeeAe Cecilia Nam has extensive performance experience as soloist in recitals, oratorio, sacred music, chamber and orchestral concerts, and operas in the United States, Germany, Austria and South Korea. She has gained a fine reputation for her musical interpretations with her numerous concerts in recent years.
Dr. Nam gained a Doctor of Musical Arts degree from the University of Colorado at Boulder. Before joining the faculty of Music at Eastern Michigan University in 2009 she taught voice at the Metropolitan State University of Denver, where she served as chair of the vocal studies program for 5 years. She also founded and directed the annual “Vocal Arts Competition for Young Colorado Musicians.”
Since 2000 with her husband, Dr. Horst Buchholz, organist and conductor, she has given numerous recitals for organ and voice in Germany and Austria. She has collaborated with world-class musicians including Krista Bennion Feeney, Joseph Robinson, James Buswell and sung under the direction of Horst Buchholz, Joseph Dorfman, Adam Flatt, Michael Christie and Martin Isepp among others.
Her excellent understanding of works by Mozart has led her to perform many of his sacred works including Exsultate jubilate, Grand Mass in C minor, and the Requiem performed with the members of the Mozarteum Orchestra in the 250th anniversary year of Mozart’s birth in Salzburg, Austria. She has given many performances of works such as Bach’s Cantatas, Easter Oratorio, Handel’s Messiah, Haydn’s Masses, Schubert’s Masses, Gounod’s St. Cecilia Mass, Mahler’s Gloria, R. V. Williams’ Dona Nobis Pacem and Orff’s Carmina BuranaDue to her great interest in contemporary music she has premiered, in her region, many living composers’ works including Joseph Dorfman’s one act opera Shulamith for soprano and percussion, Voice of River Han by David Mullikin (won distinguished composer by MTNA), James Mobberly’s Words of Love, Georgy Kurtag’s Kafka Fragmente for soprano and violin, Tan Dun’s Silkroad for soprano and percussion.
Dr. Nam is a frequent guest recitalist and lecturer for the Music Teacher’s Association of America and recently gave presentations at the conferences of the College Music Society and the American Liszt Society. She served as a faculty member and performer at the Vianden International Summer Festival and school in Luxembourg in 2011.
As lecturer and vocal clinician Dr. Nam frequently travels throughout the United States, Europe and South Korea giving vocal workshops and master classes at Universities.
Her students have been and are active in national and international competitions and music festivals. Recently Dr. Nam appeared as advisor and guest artist clinician in the first annual “Seoul International Opera Festival,” where three of her students performed lead roles in Mozart’s “Magic Flute.”
She is currently undertaking a project of a CD publication of “Forgotten Songs of Thódore Gouvy”. She has been giving a lecture recital of Gouvy’s songs at various places including “Hans Eisler Musik Hochshule in Berlin, Germany, Eastern Michigan University, Kent State University and University of Tennessee, Knoxville and also during The American Liszt Society Conference in Portland, Oregon, in May 2012.
“Soprano Mee-Ae Nam has a voice of surprising power for so petite a frame, accurate in intonation, well-supported in delivery and with sly bits of interpretation thrown in.” Glenn Giffin, The Denver Post
“A clear, well-supported voice that moves easily in its registers. …..extra care in projecting words.” Glenn Giffin, The Denver Post
“…Leicht und makellos in den Höhen, dramatisch im Ausdruck füllte sie mühelos den akustisch eher schwierigen Kirchenraum. In der Mozartarie… ließ sie großartig perlende Koloraturen höhen..” Max Götz, Paasauer Neue Presse, Waldkirchen, Germany
Father Robert C. Pasley, KCHS, is the Chaplain of the Church Music Association of America and has been a member of the CMAA since his ordination. He is a priest of the Diocese of Camden, New Jersey. Fr. Pasley will teach a breakout session for clergy and seminarians on the basics of singing the Mass. He will also give a breakout session on “Working Effectively with your Director of Music”.
Because of his association with Msgr. Richard Schuler, he was introduced to the Sacred Music Colloquia and has attended most of the Colloquia held since their foundation in 1990. During the tenure of Msgr. Schuler, he was privileged to be the celebrant at orchestral masses at St Agnes parish, St Paul, Minn. He also serves on the faculty at the Colloquium and has served as Vice President and a member of the board of directors of Sacred Music Magazine.
Born on November 20, 1955 in Woodbury, N.J., Father Pasley received a B.A. in Philosophy from St. Charles Borromeo Seminary, Philadelphia, an M.A. in Dogmatic Theology from Mount Saint Mary’s Seminary, Emmitsburg, Maryland, and an M.A. in Education from Seton Hall University, South Orange, N.J.. He was ordained by the Most Reverend George H. Guilfoyle in 1982. After ordination, Father Pasley was stationed as an assistant priest in parishes throughout the diocese. In 1992, he was assigned to teach high school. He taught for eight years and during that time became Vice Principal for Academics at Camden Catholic High School.
On October 13, 2000, he was appointed Rector, by Bishop Nicholas DiMarzio, of the newly established Tridentine Parish of Mater Ecclesiae, Berlin, N.J. (materlatin.org). Mater Ecclesiae is the first diocesan-run Extraordinary Form parish in the United States. Mater Ecclesiae has a full music program of chant, polyphonic masses, and music based on the principles given by the Church for sacred music. Along with Dr. Timothy McDonnell, Fr. Pasley established the annual Mass of Thanksgiving on the Feast of the Assumption. This Mass, a grand event for the Delaware Valley, features some of the greatest orchestral masses ever composed for the sacred liturgy. Some mass settings that have been used for the Assumption Mass are Haydn’s Lord Nelson Mass, the Missa Septem Dolorum of Carl H. Biber, Schubert’s Mass in Bb Major, and Mozart’s Missa Brevis in C Major.
Finally, Father Pasley is a Knight Commander of the Equestrian Order of the Holy Sepulchre of Jerusalem and a 4th Degree Knight of Columbus. Father Pasley will teach a breakout session on “Singing the Mass” for clergy and seminarians and also will offer a breakout session on “Working with your Director of Music”.
William Riccio joins us again on staff for Colloquium XXVIII as Master of Ceremonies during the week. His extensive experience with both forms of the Roman Rite have made his assistance invaluable to the CMAA. Bill will work with celebrants and servers to assure the seamless coordination of all our liturgies. Many participants have gained valuable experience and knowledge about serving at both Extraordinary and Ordinary Form Masses in past years by serving with Bill during our liturgies. We know this will again be true in 2018.
Bill Riccio is a frequent contributor to the New Liturgical Movement, offering articles about the Traditional Latin Mass. He serves as Master of Ceremonies at St. Mary’s Norwalk, Norwalk, CT.
Edward Schaefer will present four breakout sessions on semiology during the 2018 Colloquium. Dr. Schaefer is professor of music and associate dean of the College of the Arts at the University of Florida (UF) in Gainesville, FL. He is also the director the Florida Schola Cantorum, a group of dedicated singers of chant and polyphony and a deacon for the Diocese of Orlando.
Dr. Schaefer’s area of study focuses primarily on semiology, the study of ancient musical notation, and its impact on contemporary performance of chant. In addition, he is an advocate for the improvement of education through technology. Combining these two interests, he has taught online courses since 2001. Currently, he is teaching a professional development seminar to music professionals across the country on the subject of semiology. He is currently working with the Digital Worlds Institute at UF and L’Ëcole de Chant Grégorien du Choeur Grégorien de Paris to develop interactive software for the learning of the basic vocabulary and grammar of the notations of St.-Gall and Loan.
Dr. Schaefer is the translator of Daniel Saulnier’s Les Modes Grégoriens and Le Chant Grégorien, both published by Solesmes. He is also the author of Catholic Music Through the Ages, published by Hillenbrand, and auther/editor of Missa Cantata: A Notated Sacramentary, Cantáta Evangélia: A Notated Book of Gospels, and numerous articles on various aspects of sacred music.
We are very happy that Duncan Stroik will be joining us at the Colloquium this year. He will give a plenary talk on Thursday, June 28, 2018.
Duncan G. Stroik is a practicing architect, author, and Professor of Architecture at the University of Notre Dame. His award-winning work includes Our Lady of the Most Holy Trinity Chapel in California, the Shrine of Our Lady of Guadalupe in Wisconsin, and Saint Joseph Cathedral in South Dakota.
A frequent lecturer on sacred architecture and the classical tradition, Stroik has recently authored The Church Building as a Sacred Place: Beauty, Transcendence and the Eternal.Mr. Stroik is an inaugural member of the Society for Catholic Liturgy and founding editor of Sacred Architecture Journal. He is a graduate of the University of Virginia and the Yale University School of Architecture.
Lucas Tappan graduated in 2004 from Benedictine College in Atchison, KS—where he studied organ with Fr. Blaine Schultz, OSB, and Dr. Ruth Krusemark—earning degrees in Theology and Music. He earned his Master of Music in Church Music (organ performance) in 2009 from the University of Kansas and in 2014 was granted a Doctorate of Musical Arts in Church Music (choral conducting) from the same institution. His teachers included Michael Bauer (organ), James Higdon (organ), and Paul Tucker (choral conducting).
In 2008, Dr. Tappan arrived at Most Pure Heart of Mary Catholic Church in Topeka, KS, and three years later founded the Most Pure Heart of Mary Schola Cantorum, an after-school choir program in the tradition of the EUROPEAN CATHEDRAL CHOIR SCHOOL. In 2012, he was privileged to spend six weeks observing the training of choristers at the Madeleine Choir School at the Cathedral of the Madeleine in Salt Lake City, Utah—an experience that has greatly shaped the way he trains choristers.
The Gentlemen and Children of the MPHM Schola Cantorum released their first CD in November 2014. In January of 2016, they will travel to Rome to sing at St. Peter’s Basilica—joining the Sistine Chapel Choir—alongside several other children’s choirs from the Americas and Europe for the first CHILDREN’S FESTIVAL FOR EPIPHANY, sponsored by the Fondazione Pro Musica e Arte Sacra. Dr. Tappan lives in Kansas with his wife and two sons. He maintains a personal blog.
Dr. Tappan will present three breakout presentations at this summer’s Colloquium.
Scott Turkington, Organist and Choirmaster of Holy Family Church and Holy Family Academy in Minneapolis, Minnesota, joins the Colloquium faculty again for 2018. He will direct the Chant Conducting choir for the Colloquium. In addition, he will give a breakout session on Chant Conducting.
Scott will also be teaching the CMAA Beginning Ward course at Duquesne University in the summer of 2018 during the Summer Chant courses.
Prior to joining the staff at Holy Family in 2013, Turkington served as principal organist and choirmaster of the Roman Catholic Cathedral of St. John the Baptist in Charleston, SC. Until 2010, he served as organist and choirmaster for the Roman Catholic Basilica of Saint John the Evangelist in Stamford, Connecticut, where he conducted a choir in a program of weekly polyphonic Mass settings and Gregorian chant. Before accepting the position at St. John’s in 1998, he was Assistant Organist and Conductor at the National Shrine of the Immaculate Conception in Washington, D.C. While at the National Shrine, he played for over 500 services each year, and appeared on live national television dozens of times.
He has been Music Director at the Church of the Covenant in Boston; Music Teacher and Organist at St. Paul’s Choir School in Harvard Square, under Theodore Marier. A native of Minneapolis, he studied music at the University of Minnesota, the Boston Conservatory of Music and The Catholic University of America. His former teachers include Heinrich Fleischer, Phillip Steinhaus, and George Faxon.
In frequent demand as an organ recitalist, he has played innumerable recitals in the Northeast, having made his New York debut at St. Patrick’s Cathedral. He has performed for a national convention of the Organ Historical Society, and is a featured performer on the Organ Historical Society’s compact disc, Organs of Baltimore. In 1994, his choir performed for Pope John Paul II at St. Peter’s Basilica in Rome.
He is editor of A Gregorian Chant Masterclass by Theodore Marier, published by the Abbey of Regina Laudis in Bethlehem, Connecticut. This book and its companion CD feature the Stamford Schola Gregoriana and the nuns of Regina Laudis, both conducted by Turkington.