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Musica Sacra Florida

6th Annual Gregorian Chant Conference and Extraordinary Form Server Training Workshop

Chant Conference: Friday, May 16 & Saturday, May 17, 2014
Server Training Workshop: Thursday, May 15 & Friday May 16, 2014

at Ave Maria University, Ave Maria, FL 34142

The Florida Chapter of the Church Music Association of America & the Department of Music at Ave Maria University are pleased to announce the sixth annual conference in Gregorian Chant.

The Conference will include:

NEW:  Special workshop on Thursday & Friday for altar servers at the Extraordinary Form. This year’s workshop will focus on serving a pontifical High Mass. The workshop will be taught by Fr. Scott Haynes of the Society of St. John Cantius. Participants in the server training workshop are welcome to stay for the Saturday portion of the chant conference. Participants under the age of 18 accompanied by a chaperone are also welcome (contact Susan Treacy for more details).

Workshops in

Choice of scholae for beginning/intermediate (men & women), upper-level men, & upper-level women

Missa cantata in the Extraordinary Form on Friday evening with chants provided by the Schola Cantorum of Saints Francis & Clare (Miami)

Closing Missa cantata in the Ordinary Form on Saturday evening with English & Latin chants provided by conference participants

Register online at: www.musicasacra.com/florida

Registration fees: $60.00 (including materials & instruction), $15.00 for fulltime students with I.D., priests, religious, and seminarians

Registration deadline: Friday, May 2nd, 2014 Deadline extended to Monday, May 12th.

For more information on the conference,
contact Susan Treacy, Ph.D., at: susan.treacy@avemaria.edu | (239) 280-1668
www.musicasacra.com/florida

Conference Faculty:

Keynote Speaker:  Father Scott Haynes, SJC, of Saint John Cantius Church, Chicago
Mary Jane Ballou, D.S.M. – Cantorae Saint Augustine
Adam Bartlett – Liturgical Institute, Mundelein, IL
Jennifer Donelson, D.M.A. – Nova Southeastern University
Jeffrey Herbert, CAGO/ChM – Music Director, Saint Raphael Church, Englewood, FL
Susan Treacy, Ph.D. – Ave Maria University

Sponsored by the Florida Chapter of the Church Music Association of America (CMAA)
in conjunction with
Ave Maria University, Ave Maria, FL 34142

About the Conference:

This two-day workshop will present beginning, intermediate, and advanced musicians with rehearsals and lectures that will enrich their knowledge of Gregorian chant and its use in the Roman Catholic liturgy.

Led by a faculty of chant specialists from around the state, attendees will learn practical methods for teaching chant and introducing it into the parish, as well as experience the chant in the context of both the Divine Office and the Mass. Beginning chanters will be introduced to the basics of notation and rhythm according to the classic Solesmes method.

Experienced chanters will learn new repertoire and advance their understanding of rhythmic and interpretive nuance.  Resources and practical methods for the cultivation of Gregorian chant in the life of the parish will also be discussed, especially in light of the new missal.  This year there will again be a special emphasis on Gregorian chant in English & attendees will be introduced to an exciting new parish music program, the Lumen Christi series.

This workshop is ideal for choir members, parish music directors, Gregorian schola directors, music students, teachers, parents, seminarians, priests, deacons, and anyone who is interested in learning about the heritage of sacred music within the Roman Catholic Church.

Registration:

Registration fees are $60 ($15 for fulltime students with ID, priests, religious, and seminarians) and include the price of instructional materials and instruction.  Payment is made online.

Board Options:

Other meals “on your own”:

For Saturday’s breakfast and lunch, conference attendees may eat at the AMU cafeteria or at restaurants in La Piazza, surrounding The Oratory of Ave Maria.

For those who would like, a group will be going to a restaurant in Naples for Saturday evening dinner.

Room Options:

Overnight accommodations will be available at AMU’s Xavier Hall.

Participants may choose between the following room options for lodging.

Please reserve Xavier Hall accommodations separate from your conference registration by downloading the PDF form at the following link:

MSF 2014-Xavier Room Reservation Form

Pre-registration is required.

Deadline: Friday, May 2nd, 2014

Conference Faculty:

Mary Jane Ballou – Cantorae St. Augustine, St. Augustine, FL

Mary Jane Ballou performs professionally on the Celtic harp and a wire-strung salterio built by the Benedictine monks of the Abbaye of En Calcat in France.  Currently based in St. Augustine, Florida, Dr. Ballou performs throughout the Southeast. Her recordings are available online at CD Baby.  Dr.Ballou also produces and hosts Classical Fan Club, a weekly radio show featuring music “off the beaten track” on Flagler College Radio, WFCF St. Augustine 88.5.  She is also the founder & director of Cantorae St. Augustine, a women’s ensemble dedicated to Gregorian chant & polyphony.

Adam Bartlett – The Liturgical Institute, Mundelein Seminary, Mundelein, IL

Adam Bartlett is an internationally recognized composer, editor, conductor and teacher of Catholic sacred music. He serves as editor of Illuminare Publications and as an adjunct faculty member at The Liturgical Institute of the University of St. Mary of the Lake, and Mundelein Seminary. He received his B.A. degree in Music from Arizona State University, studied Gregorian chant as an apprentice to Dom Columba Kelly, OSB, of St. Meinrad Archabbey, and is currently completing his M.A. degree in Liturgical Studies from the Liturgical Institute of the University of St. Mary of the Lake.

He is the composer and editor of Simple English Propers (CMAA, 2011), is the editor of the Lumen Christi Missal and Lumen Christi Simple Gradual (Illuminare Publications, 2012 and 2014, respectively), and is currently completing the Lumen Christi Series—a complete parish sacred music program—which additionally will include a hymnal, full English gradual, and various accompaniment editions. Active as a teacher, workshop leader and speaker, Adam has travelled throughout the country to offer catechetical and training workshops on topics of Catholic sacred music and liturgical chant. He teaches Liturgical Chant I, II and III at Mundelein Seminary—the first required sacred music courses at this institution since 1968—and is responsible for the development of the curriculum for these courses. Active as a parish music director for over ten years, he most recently served as Director of Sacred Music at SS. Simon and Jude Cathedral in Phoenix, AZ. He has contributed to the journal Sacred Music, and has written articles for the Chant Cafe, New Liturgical Movement, and various other liturgical publications.

Jennifer Donelson – Nova Southeastern University, Fort Lauderdale, FL

Jennifer Donelson is an assistant professor of music at Nova Southeastern University in Ft. Lauderdale where she teaches piano, musicology, & music theory, as well as directs the choirs.  She received her D.M.A. in Piano Performance from the University of Nebraska-Lincoln. A specialist in the piano works and writings of Olivier Messiaen, she has lectured on and given performances throughout the USA, France, & Mexico.  She serves as the Academic Liaison of the Church Music Association of America and the associate managing editor of the CMAA’s journal, Sacred Music. She is the co-editor of a forthcoming volume of essays on Charles Tournemire (CMAA, Summer 2014). Having studied chant at Catholic University of America and the Abbey of St. Peter in Solesmes, Dr. Donelson has served as music director at St. Gregory the Great Seminary (Diocese of Lincoln, NE) and St. Thomas Aquinas Newman Center (UNL) where she founded the Cor Immaculatae Schola Cantorum, a semi-professional ensemble dedicated to the performance of Gregorian chant and sacred polyphony.  She has given workshops in Gregorian chant for the Archdiocese of Miami & the Diocese of Peoria, is a co-founder of the Musica Sacra Florida Gregorian chant conference, & has served on the faculty of the annual colloquium of the CMAA. Currently Dr. Donelson directs the schola cantorum of Sts. Francis and Claire parish in Miami.

Father Scott A. Haynes, SJC – Saint John Cantius Church, Chicago, IL

Completing studies in philosophy at Our Lady of Guadalupe Seminary in Denton, NE, & theological studies at Holy Apostles Seminary, in Cromwell, CT, Fr. Haynes received the M.Div. degree in 2006.  Ordained to the priesthood in 2007 by Francis Cardinal George, OMI, for the Archdiocese of Chicago as a member of the Canons Regular of St. John Cantius, Fr. Haynes serves as Associate Pastor of St. John Cantius Church.  As organ and choral scholar at Washington National Cathedral from 1994-98, Haynes studied under Dr. Douglas Major, Organist & Choirmaster.  He completed choral conducting studies at the University of Alabama under Dr. Sandra Willets, complemented by postgraduate studies at Westminster Choir College, Princeton, NJ.  Having studied composition under Dr. Frederic Goosen, Haynes won the American Society of Composers and Arrangers’ Raymond Hubbell Award for orchestral composition in 1992.  Today, he composes liturgical music for the choirs of St. John Cantius.

Jeffrey A. Herbert – Saint Raphael Catholic Church, Englewood, FL

Jeffrey Herbert, CAGO/ChM, is Director of Music at Saint Raphael Catholic Church in Englewood, Florida, and also serves on the Music Committee for the Diocese of Venice in Florida. After receiving a B.Mus. in Organ/Composition from Shenandoah Conservatory, Winchester, VA, and an M.Mus. in Organ/Composition from the University of Illinois, he has served in full-time parish ministry since 1991.  An advocate for the re-introduction of traditional sacred music to parish liturgies, Mr. Herbert presented workshops for the Diocese of Venice on Chant and the New Translation of the Roman Missal as part of the diocesan preparation for the implementation of the new translation, introducing parish music directors and cantors to the use of vernacular chant in their parish music programs.  He also sings with the schola at Christ the King Church in Sarasota (FSSP).

Susan Treacy – Ave Maria University, Ave Maria, FL

Susan Treacy, Ph.D., joined the faculty at AMU after having taught at Franciscan University of Steubenville. She has also been a visiting professor at The Liturgical Institute, University of Saint Mary of the Lake, Mundelein, IL.  Dr. Treacy holds a Ph.D. in historical musicology from the University of North Texas, a M.Mus. from the Manhattan School of Music, and a B.Mus. from Oberlin College Conservatory. Her research interests are in Catholic liturgical music and English devotional song, and besides having published scholarly articles, Dr Treacy writes a regular column, “Musica Donum Dei,” for the Saint Austin Review and is a contributor to Sacred Music.  Dr Treacy directs the Women’s & Men’s Scholæ at AMU, and while at Franciscan University she directed the Schola Cantorum Franciscana.  She was a member of the editorial committee for the first edition of The Adoremus Hymnal and is on the Board of Directors of the Church Music Association of America.

Location:

Ave Maria University, 5050 Ave Maria Boulevard, Ave Maria, FL 34142

A campus map can be accessed at:

http://www.avemaria.edu/Portals/0/Images/Kevins’%20Images/New%20Campus%20Map%20(04-16-12).pdf

All events except the Masses are located in the Henkels Academic Building and the Bob Thomas Student Union, labeled 3 and 4 on the campus map.

Directions: http://www.avemaria.edu/AdmissionsAid/VisitOurCampus/MapsDirections.aspx

From Miami-Ft. Lauderdale

From I-75 take Exit 80 towards the North, and proceed 10 miles.  At Oil Well Road, make a left turn (towards the West) at the CITGO station and proceed 5 miles. The entrance to Ave Maria (Ave Maria Blvd) is on the right. The University’s Visitor Center is conveniently located in LaPiazza, approximately 3 miles north of the entrance.

If you coming from the West Coast of Florida

Take I-75to Exit 111 (Immokalee Road) and proceed east 10 miles to Oil Well Road. Turn right and proceed 10 miles. The entrance to Ave Maria (Ave Maria Blvd) is on the left. The University’s Visitor Center is conveniently located in LaPiazza, approximately 3 miles north of the entrance.

From Southwest Florida International Airport (RSW)

Exit the airport and follow the signs to I-75. Proceed south to Exit 111 (Immokalee Road) and proceed east 10 miles to Oil Well Road. The entrance to Ave Maria (Ave Maria Blvd) is on the left. The University’s Visitor Center is conveniently located in La Piazza, approximately 3 miles north of the entrance.  Turn right and proceed 10 miles. Ave Maria is on the left.

From Naples Municipal Airport, take Airport Road north 8.3 miles to Immokalee Road, then turn east and travel 11.6 miles to Oil Well Road. Turn right and proceed 10 miles. Ave Maria is on the left.

Parking:

Free parking is available on campus and in the town of Ave Maria.  See the campus map for parking lot locations. http://www.avemaria.edu/Portals/0/Uploads/352.pdf

Musica Sacra Florida

Gregorian Chant Conference 2014 @ Preliminary Schedule

To register:

1. Fill out the form below on this page (deadline Friday, May 2, 2014)

2. Submit payment (deadline Friday, May 2, 2014) using the Paypal button below the form (Please note that registration is not complete until payment has been submitted.)

3. Reserve a room in the Xavier Conference Center (if you require lodging) by clicking here.

Please note that payment for the room is made *separately* through the conference center.

Please note that pre-registration and payment are required. Once payment is made, no refunds are available.

Please add up the total amount (registration fee, meals) and enter the amount on the Paypal page after clicking the box below:

Colloquium Highlights

• Extensive training in Gregorian chant under a world-class faculty, with choices of a chant class for beginners, a course on chant improvisation, refresher courses for men or women, and schola chant courses for advanced men or women.
• Breakout sessions during the week on a variety of topics, from directing, organist master classes, chironomy, semiology, children’s programs, among others.
• Plenary lectures on topics of interest to all who love sacred music.
• Optional choral experience with one of four choirs singing sacred music of the masters such as Tallis, Palestrina, Byrd, Purcell, Bruckner, Lotti, Mozart, Sweelinck, Stanford, Morales, Ingenieri and La Rocca. You’ll learn with our gifted faculty, with choices of a beginning polyphony choir for those new to polyphony, or three choirs for more experienced singers.
• Daily liturgies with careful attention to musical settings in English and Latin.
• A gala welcome reception and dinner at the conference hotel.
• Individual training in vocal production and technique.
• Training for priests, deacons, and seminarians in the sung Mass (not restricted to clergy and seminarians).
• All music, including prepared books of chant and polyphony, as part of registration.
• Your own copy of The Parish Book of Chant, 2nd edition.
• Book sales from the CMAA warehouse. We offer discounts on our books to all attendees and an extra 10% discount to CMAA members.

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Three Venues

The Tuesday Colloquium Mass will be held at the Pro-Cathedral of St. John the Evangelist and Apostle; Wednesday, Thursday and Saturday Masses and Thursday Vespers will be held at the Shrine of St. Joseph in downtown St. Louis. On Friday, June 24th, Mass will be held at the Cathedral Basilica of St. Louis, followed by an organ recital.

St. Louis is known as the “Rome of the West”. Experience the beauty of the liturgy in three of St. Louis’ most lovely Catholic Churches. From the spectacular mosaics of the Cathedral Basilica to the lovely and intimate Pro-cathedral to the lovingly restored Shrine, participants can enjoy the contrasts of these lovely churches while singing the Sacred Music of the Church.

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Plenary Speakers

Dr. William Mahrt, CMAA President, Plenary talk: “The Music of the Psalms.”
Most Rev. James D. Conley, D.D., S.T.L., Bishop of Diocese of Lincoln, Nebraska,  Plenary talk: “Foretaste of Heavenly Liturgy.”
Rev. Jason J. Schumer, Kenrick Seminary, St. Louis, Missouri, Plenary talk: “How the Liturgy Grows: Is ‘Organic Development’ Fantasy or Reality?”

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Faculty

Bro. Mark Bachmann, Choirmaster, Clear Creek Abbey
Dr. Mary Jane Ballou, CMAA Secretary, St. Augustine, FL
Wilko Brouwers, Monteverdi Choir, The Netherlands
Dr. Horst Buchholz, CMAA Vice President, St. Louis Cathedral
Mary Ann Carr-Wilson, St. Anne Catholic Church, San Diego, California
Charles Cole, Westminster Cathedral; Brompton Oratory, United Kingdom
Colleen Crafton, Ward Centre, Richmond, VA
David Hughes, St. Mary, Norwalk, CT
Dr. Ann Labounsky, Duquesne University
Dr. William Mahrt, CMAA President, Stanford University
Matthew Meloche, SS Simon and Jude Cathedral, Phoenix, AZ
Jeffrey Morse, Sacramento, CA
Dr. MeeAe Cecilia Nam, Eastern Michigan University
Rev. Robert Pasley, Mater Ecclesiae Catholic Church, Berlin, NJ
Jonathan Ryan, Concert Organist
Dr. Edward Schaefer, University of Florida
Dr. Scott Turkington, Holy Family Church and Holy Family Academy, Minneapolis, MN
Dr. Paul Weber, St. Martin of Tours Catholic Church, Louisville, KY

Biographical information about the Colloquium Faculty

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Organ Recital and Early Music Concert

We are fortunate indeed to be able to enjoy an organ recital at the Cathedral Basilica of St. Louis on Friday, June 24th at 8:30 pm. Professor Dr. Jörg Abbing, of Saarbruecken, Germany will present a recital.
Recital Repertory:

Joh. Seb Bach/A. Vivaldi – Concerto in A minor
Cesar Franck – Fantasie in A major
Max Reger – Toccata and Fuge D minor/D major op.59
Maurice Duruflé – Prélude et Fugue sur le nom d’ALAIN
Abbing – Improvisation on a submitted theme

This recital will be open to the public. For more information about Prof. Dr. Abbing, please visit our Faculty page.

As a special treat, we will enjoy the lovely Early Music sung by Pro-Arte Saint Louis, a professional ensemble directed by Dr. Horst Buchholz. Pro-Arte Saint Louis is an early music vocal ensemble that performs works predominantly drawn from the Medieval and Renaissance eras, including Chant, Organum, and Polyphony, the underpinnings of all later music, performed in an historically and stylistically informed manner. Their repertoire is comprised of magnificent, but not often heard, compositions as well as recognizable masterworks. This concert will be on Monday, June 20th, following the welcome banquet at 7:30 pm.

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Liturgies

Instructions for Clergy and Seminarians

Please download this instruction page for Clergy and Seminarians regarding participation in the liturgies of the Colloquium. Information regarding the vestment colors, as well as letters of good standing are detailed in the Instruction sheet. If you have questions, please contact us at programs@musicasacra.com.
INSTRUCTIONS FOR CLERGY AND SEMINARIANS

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Breakout Sessions

Breakout sessions will be offered Tuesday – Friday on a range of various topics including:

Children’s Programs
Organ Classes (including two Master Class sessions)
Conducting Series
Miscellaneous Topics
Clergy Training
New Music Series
Semiology Series
Parish Music Programs
Gregorian Chant Modes

NEW! Complete listing of Breakout Sessions, including descriptions 

Organ Master Class sessions

Once again, we are fortunate to have Dr. Paul Weber and Jonathan Ryan offering organ masterclasses this year.

Up to three organists may sign up for each session to perform a piece of their choosing and receive instruction from either Dr. Paul Weber or Jonathan Ryan, which, in masterclass format, will be designed to apply generally to all those attending. Participants may pre-register for one of these sessions by contacting us at programs@musicasacra.com. Moderate to difficult repertoire is encouraged.

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Chant Course Descriptions

Fundamentals for Men and Women (Director, Jonathan Ryan): This course in Gregorian chant is intended for real chant beginners: both those who can read modern notation and those with no musical training. Participants will learn how to read the four line staff, the names of the neumes, and how to navigate the intervals with solfege. Rhythm will be introduced. Course material will include the Ordinaries of the Mass and two Propers.

Refresher (two sections: Jeffrey Morse, Men; Mary Ann Carr Wilson, Women): This course offers continued study in Gregorian chant and is intended for those who have had some background in chant but do not sing chant on a regular basis. This is a beginning to intermediate course whose primary aim, like the foundations course, will not be performance in liturgy. Participants will be responsible for singing the Ordinaries of the Mass and will be prepared to sing three or four chant Propers during the week.

Schola (two sections: Charles Cole, Women; Wilko Brouwers, Men): This course is intended for advanced singers who sing chant regularly. The two scholas (men, women) will be responsible for the bulk of the more difficult Mass Propers sung during the week.

Advanced Seminar on Vocal/Polyphonic Improvisation on Chant (Director, William Mahrt): This course is intended for advanced singers (both men and women) who wish to continue their studies of Gregorian chant. This class will focus on study rather than performance, including various types of improvisation on chant including organum, diaphonum, descant and Fauxbourdon, with the seminar preparing two Mass Propers.

Office Choir for Men and Women: (Scott Turkington) This course is intended for intermediate to advanced singers and will concentrate on the singing of the divine office, particularly Vespers psalmody on Thursday evening. This choir will also take the lead in morning and night prayer during the week.

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Polyphonic Choir Descriptions

David Hughes: Beginning Polyphonic Choir

This choir is designed to introduce and improve on the critical vocal and musical techniques necessary for singing polyphonic music. Singers will learn how to carry a part on their own, independent of other sections, and without accompaniment. Members of this choir will learn rhythm, pitch, and vocal production. The choir is designed for novice singers who would not yet benefit from a more advanced choir, but it might also be useful for directors who wish to see how a master goes about teaching inexperienced singers to make beautiful music. One piece is a part of this choir’s agenda: O Bone Jesu by Ingegnieri. This choir will sing at Mass on Saturday.

Wilko Brouwers: Palestrina Choir

The major piece this choir will sing under Brouwers’ direction is the Missa Papae Marcelli by Palestrina, which will be sung at Mass on Friday, June 24th. Giovanni Pierluigi da Palestrina (3 February 1525 or 2 February 1526 – 2 February 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representati v e of the Roman School of musical composition. He has had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony. One of the hallmarks of Palestrina’s music is that dissonances are typically relegated to the “weak” beats in a measure. This produced a smoother and more consonant type of polyphony which is now considered to be definitive of late Renaissance music, given Palestrina’s position as Europe’s leading composer (along with Lassus) in the wake of Josquin (d. 1521). The “Palestrina style” now serves as a basis for college Renaissance counterpoint classes, thanks in large part to the efforts of the 18th-century composer and theorist Johann Joseph Fux, who, in a book called Gradus ad Parnassum (Steps to Parnassus, 1725), set about codifying Palestrina’s techniques as a pedagogical tool for students of composition. This choir will also sing motets by Sweelinck and Purcell.

Horst Buchholz: Mozart Choir

The Mozart Mass in C Major K. 220 Sparrow Mass is the major work to be sung by this choir under Buchholz’ direction. This orchestral Mass was composed by Wolfgang Amadeus Mozart in 1775 or 1776 in Salzburg. The Mass is sometimes termed a Missa brevis et solemnis, because it is short in a simple structure as a Missa brevis, but festively scored like a Missa solemnis with brass and timpani in addition to four soloists, strings and organ. It was possibly first performed on 7 April 1776 in a Mass for Easter at the Salzburg Cathedral. The nickname is derived from violin figures in the Hosanna which resemble bird chirping. This orchestral Mass will be sung as the final Mass of the week on Saturday, June 25th at the Shrine of St. Joseph. This choir will also sing motets by Tallis and Lotti during the week.

Charles Cole: Motet Choir

Cole’s choir will sing a variety of motets during the week by various composers incuding: Byrd, Esquivel, Stanford, and LaRocca.

William Byrd (1539/40 – 1623), was an English composer of the Renaissance. He produced sacred music for use in Anglican services, although he himself became a Roman Catholic in later life and wrote Catholic sacred music as well. This choir will sing Byrd’s Ego Sum Panis Vivus, and Sacerdotes Domini.

Juan Esquivel, a Spanish composer, was a pupil of Juan Navarro. Esquivel served as maestro de capilla at Oviedo Cathedral from 1581-1585, after which he was at the Calahorra Cathedral until 1591, moving to Ciudad Rodrigo Cathedral until his death. Esquivel was one of the most prolific, and also one of the finest Spanish composers of his time; his motets stand comparison with those of Victoria on the same texts. Esquivel combines old techniques such as cantus firmus ostinatos and canonic construction with the newer procedures: harmony colored by the use of accidentals, paired imitation in direct or contrary motion, climaxes in a high register for poignant texts, dramatic pauses and contracts of texture. This choir will sing Esquivel’s Ego sum panis vivus.

Tomas Luis de Victoria (sometimes Italianised as da Vittoria; c.1548 – 27 August 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest.  This choir will sing Jesu Dulcis Memoria, which has been attributed to Victoria, although it was probably a later composition.

Charles Villiers Stanford (1852-1924)  was an Irish composer, music teacher, and conductor. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. Stanford composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. Stanford’s Justorum Animae will be sung by this choir.

The piece by Frank LaRocca is the composition O Sacrum Convivium, from his most recent album In This Place. Trained as an academic modernist during his degree studies at Yale and University of California, Berkeley, La Rocca came to see this approach as a barrier to authentic musical expression, and spent many years in search of a personal creative language. His catalog includes works in all genres, with an emphasis on a cappella sacred choral works.

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Repertory

View the entire list of musical repertory that will be sung by chant and polyphony choirs for Colloquium XXVI:
Repertory by Choir
Repertory Plan
Palestrina’s Missa Papae Marcelli
Mozart’s Sparrow Mass

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New Music

This year’s breakout schedule includes three days of breakouts with David Hughes, where you’ll be able to collaborate with other composers to fine-tune your compositions. Please bring at least 15 copies of the work you plan to use during the session for participants in the breakout. The best compositions from the New Music Breakout sessions will be used for the New Music Reading session on Thursday afternoon. New Music Participants: Please plan to provide digital pdf files from the compositions to the Colloquium for final printing before the Reading session.

The New Music Reading for this year’s Sacred Music Colloquium is scheduled for Thursday, June 23, 2016 at 2:45 pm at the conference hotel.
If you have questions, please contact us at programs@musicasacra.com.

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Schedule

To get an idea of the schedule of events, please see our Schedule of Events. This will give detailed information about the events of the week, including time and location.
NEW! For an overview, please see the Schedule at a Glance.

Scholarships

The CMAA is dependent on donations for scholarships. If you are interested in sponsoring a musician, priest or seminarian’s attendance, please write to us at programs@musicasacra.com or make a donation to our Annual Fund. No amount is too small. All scholarship donations are applied directly to scholarships. If making a donation to the Annual Fund, you can also specify that your donation is to be used for scholarships. To make a donation to the Annual Fund, please use this form or make an online donation:

To apply for a CMAA Colloquium scholarship, please fill out the application form and scholarship recommendation form and submit them to us prior to April 7, 2016. All applications and recommendations must be received at our office by April 7, 2016. Send applications to us at: CMAA, PO Box 4344, Roswell, NM 88202. In order to process your application, we must have both forms received by the deadline. If you have not received confirmation that your application was received in our office by April 6th, please email us at programs@musicasacra.com to assure you don’t miss the deadline. UPDATE: Scholarship deadline has passed.

Application Form
Scholarship Recommendation Form

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Registration

REGISTER ONLINE NOW – LATE REGISTRATION
REGISTRATION FORM

ONLINE LATE REGISTRATION IS NOW CLOSED. Check or credit card payment must accompany registration. Registration and full payment must be postmarked on or before March 1st (Early Bird) or May 7th May 15th (Regular). Registrations postmarked after May 15th will be charged a $50 late fee. You may register online or by mail. If you wish to make installment payments for your fees, please use the mail-in form. Your registration is not considered complete unless accompanied by the $75 non-refundable deposit. Registrations must be received at the CMAA Office (by mail or online) by the close of business, June 7th. After June 7th, registration is only available by telephone by calling our office at (505) 263-6298 on a space available basis. Full payment must be made by the respective deadlines. UPDATE: We can no longer accept any more registrations.

Cancellation: Requests received in writing at the CMAA Office postmarked on or before June 7th will receive a refund less the non-refundable $75 deposit. After that date, refunds are given only in the form of a credit toward registration for the 2017 Colloquium. Refunds will be processed after the Colloquium. All requests for credit must be received in the CMAA office or by email (programs@musicasacra.com) by June 19th in order to be considered for credit. Late requests may only receive a partial credit, depending on charges to the CMAA for meals.

Member Discounts

With a current CMAA membership, the members’ rate is available to you; it is not transferable to another person. If your parish has a CMAA parish membership, please note the name of your parish on your registration form.

Not yet a member? Join now and receive the benefits of membership for a full year for the same price as a non-member registration. Once your membership payment is received, you’ll receive an email with information about the member discount code. Email us at gm@musicasacra.com for any questions.
Join the CMAA

Youth Participants

A parent or chaperone must accompany youth attendees under eighteen. The chaperone must be at least twenty-one years old and registered for the full Colloquium or as a Companion. A parental or guardian permission form and release must be on file with the CMAA before anyone under the age of eighteen may be admitted to the Colloquium, either by sending the completed form or by presenting it at registration. If the youth participant is not accompanied by a parent, a medical treatment authorization form must also be provided to the chaperone or guardian.

Daily Registration

Be sure to indicate the day(s) for which you are registering and note that the fee for full convention registration is usually less than the fee for multiple days. Daily registration is not available online; it must be done on the registration form.

Additional Information

Companion (Adult): Those registering as companions are welcome to accompany a full Colloquium registrant to all activities except breakouts and choir rehearsals. A separate registration form must be filled out for each companion including payment for any additional activities and must include the name of the Full Convention Registrant. Companion registration is not available online; it must be done on the registration form.

Arrangements for guests to attend meals may be made, but require at least 72 hours’ notice. The opening banquet is included for all registrants with full tuition or companion pass.

REGISTER ONLINE NOW – LATE REGISTRATION
REGISTRATION FORM

Scholarship Assistance may be available for partial tuition for persons or parishes of limited means. To apply for a scholarship, please see information about scholarship applications above. Or request a packet from the CMAA office by calling (505) 263-6298. Application deadline is April 7th.

Photographs and Recordings: You are welcome to take photos and videos, but please do not use flash, especially during sacred liturgies.

We welcome private recordings during the Colloquium. In fact, amateur recordings are kept in a collection online by one of our members at this site, and are available for free access. If you do record a session or liturgy, please consider sharing your files with him so that others may hear them.

Contact us at programs@musicasacra.com for more information about sharing your recordings.

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Conference Hotel

HOTEL ACCOMMODATIONS are available at the St. Louis City Center Hotel, 400 South 14th Street, St. Louis, Missouri, 63103, (314) 231-5007. Rooms are available at the special conference price of $109 per room per night, plus tax, for single or double rooms, up to occupancy of four per room. Make your reservation before May 30, 2016 to get the special group rate.
An early departure fee of $50 will apply. To avoid the early checkout fee, a 48 hours’ notice of change in stay before check-in is required. The hotel is a non-smoking hotel.

Amenities include free internet in all guest rooms and discounted overnight self parking at $12 per day (discounted from $17/day). The property includes a fitness center, swimming pool, full service restaurant and bar.
To register for hotel accommodations at this special rate, access our event reservation page.

MAKE HOTEL RESERVATIONS

Are you interested in sharing a room with another attendee? A CMAA member has volunteered to assist with matching up potential roommates. If you would like to share a room, contact Barbara Manson at rooms@musicasacra.com. Please provide her with information including gender and dates of arrival and departure to assist in finding a likely roommate for you. Potential roommates will be put in contact with each other by request. Determining whether or not to share a room and any financial arrangements for payment will be your own responsibility.

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Helpful Links

Curious about the Sacred Music from previous Colloquia? Listen to some of the sound files from previous years at this website: http://music.dierschow.com/Colloquium/

St. Louis Metro: It is amazingly easy to get to the conference for all air travelers. You can catch the train straight from the airport to the city at the low cost of only $4.00 from the airport to the hotel.
Directions:
From Terminal One (All Airlines except Southwest and a few regionals):
From the gate, proceed to the baggage claim area. While in the baggage claim area look for signage directing you to the Metro Link (With your back to the baggage carousels and facing the parking exits, it should direct you to your left).
Following the signs, you will take an escalator to an upper level. There you will be able to buy your metro link pass.
The signs will continue to direct you to the Metro Link platform.
All trains will be eastbound and should be taken to the Civic Center Station, which takes about 1/2 hour. Exit at the Civic Center station; the St. Louis City Center hotel will be across the street.

From Terminal Two (Southwest and a few regionals):
From the gate, proceed to the baggage claim area. While in the baggage claim area look for signage directing you to the Metro Link (It will look like you are heading to the parking garage).
Following the signs, you will cross the pick-up traffic lane at a crosswalk and take an elevator to an upper level. There you will be able to buy your metro link pass and board the train.
Take an eastbound train to the Civic Center Station (takes about 1/2 hour). Exit at the Civic Center station; the St. Louis City Center hotel will be across the street.

Shuttle Service
Do you prefer to take a shuttle? A local shuttle service has offered discounted rates for Colloquium participants — GO BEST Express Door-to- Door Airport Shuttle Service. Click here to reserve your airport shuttle ride to/from Lambert International Airport and your hotel. Our group has a discounted rate of $17 each way per person. Reservations MUST be made online using the link to receive the discounted rate. Standard rates ($22 one way) will apply for walk up reservations made on the spot.

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Music Book

2016 Colloquium book–larger, high-resolution pdf (24 megabytes)

2016 Colloquium book–smaller, low-resolution pdf (10 megabytes)

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(Note: this introduction to sacred music is also available in Spanish as a PDF download.)

Read more . . . about joining CMAA.

This document is available as a printed booklet and as a free PDF download: “Frequently Asked Questions on Sacred Music“.

The Saint John Fisher Missale project provides congregational booklets for Extraordinary Form Masses offered according to the 1962 Missale Romanum. Dr. Berthold Kress gives an introduction to the project.

This post introduces a new congregational resource for the celebration of liturgy according to the so-called Extraordinary Form. As one of the editors I would first like to thank Jeffrey Tucker and the Church Music Association of America for hosting our project on their website.

In 2008, honouring the request from a coetus fidelium, the Cambridge University Catholic Chaplaincy at Fisher House introduced regular Masses in the Extraordinary Form. Many of the faithful who attended them were students who had little experience with this form of liturgy, and lacked aids like pew missals. It seemed necessary to provide them with some material so that they could follow the liturgy more easily, so Christopher Hodkinson and I volunteered to produce sheets with the Propers for each Mass. Eventually, we transformed them into booklets containing the Ordinary, some chant settings, and the Propers occurring in each of the three terms of the Cambridge academical year. They were modelled on booklets that had been created previously for the Latin Novus Ordo Mass, which is celebrated at Fisher House every Sunday during term time; their editor, Pierre Thibaudeau, kindly allowed us to re-use some of the chants he had type-set. We now wish to make the materials we have compiled available to others and hence we decided to transform them into PDFs and to place them on a website for downloading. We are most grateful to Gregor Dick for designing a website and for very patiently replacing files with corrected versions. Because the original booklets did not cover the vacations there are gaps over Christmas and in the summer, which we are working to fill in the coming weeks.

In the process of producing these texts we felt increasingly that it would not be enough simply to copy texts from existing pew Missals, but that we wanted to provide communities using the Extraordinary Form with material that would allow them to further develop and enrich their celebration of Mass in the Extraordinary Form. In the following I explain how our resource differs from others that are available (disclaimer: this reflects the opinions of the editors, not the liturgical practice at Fisher House).

1. Traditional Liturgy is more than Low Mass

In recent centuries a sharp dichotomy between High Mass and Low Mass evolved, and as a result many small parishes celebrated sung Vespers and Benediction, but never sung Mass. With the propagation of a simple Missa cantata without Deacon or Subdeacon this development was partially reversed in the early 20th century. However, a look at current Mass listings shows that in many places Sung Masses are offered only on rare occasions. We do not want to demean Low Mass in any way – it has its own devotional value, and in many places it is the only practical option. However, it seemed important for us to use Sung Mass as the standard option for our Ordo Missae (which, naturally, can be equally well used for Low Masses), since this helps to indicate more clearly the structure of Mass. Furthermore, for those of the faithful used to Latin Novus Ordo (as many of the faithful in Cambridge were) the transition to an Old-Rite Missa cantata is much easier than to a Low Mass. Using the High Mass as a point of departure for the explanation of the rubrics has some consequences that may be surprising for some – we decided, for instance, to include the Creed not in the ‘Mass of the Catechumens’ but in the ‘Mass of the Faithful’, because during it the altar is prepared by the Subdeacon (and, furthermore, in ancient times the catechumens were only taught the Creed shortly before Baptism).

2. Traditional Liturgy is more than Sunday Mass

The Church requires all the faithful to attend Mass on a Sunday or a holiday of obligation. Today, there are few of the latter, and many of them have been moved to Sundays in recent years. It is clear that many Catholics have a lot of commitments and simply have no opportunity to go to Mass during the week; furthermore, it is often difficult to schedule extra Masses on feast days. Nevertheless, the restriction of public, solemn liturgies to Sundays very much impoverishes the celebration of our Faith. Therefore, our website contains the Propers for all feasts of the First and Second Class, and furthermore the liturgies of some Vigils, Ember Saturdays and the Rogations. Ideally, we would also include the Propers for sung Vespers on Sundays and Feast Days, but this would be a different project. Likewise, we would have liked to provide much material for the feasts of local saints, but naturally this is not possible on a website for general use.

3. Traditional Liturgy is more than ‘1962’

This point may cause some controversy, although it is becoming increasingly well understood as knowledge of the traditional rites becomes more widespread. First of all one has to state that the legislation governing the Extraordinary From (as of 2012) is clear: Liturgy in the Extraordinary Form is liturgy according to the liturgical books that were in force in 1962. In practice, this rule is rarely obeyed to the letter. In some places reforms introduced after 1962 are still being followed (e.g. having the lessons read only in the vernacular during a sung Mass), whereas others retain elements that had been abolished by 1962 (most prominently the Confiteor before Communion). Such practices are sometimes said to be justified on the ground of custom. The editors of the Saint John Fisher Missale have tried to produce liturgical resources that can be used widely, and have therefore included some commonly seen ‘pre-1962’ elements, normally introduced by words like ‘where it is usual’ or ‘may be added’. This can be called ‘fudging’, but we think that this may be the best option for avoiding conflicts and making our material widely usable. It is our personal view that the reforms done to the Mass between 1900 and 1962 were fully legitimate, but that not all of them were very wise, and we hope that some of them will be revisited by ecclesiastical authority in the coming years.

4. Traditional Liturgy is more than Trent

Before the catastrophe of the Reformation, the English Church had with the Use of Sarum one of the richest liturgical uses in the Western Church. Like all the ancient local uses the Use of Sarum was not suppressed by the Council of Trent, it was still used during the restoration of the Faith under the reign of good Queen Mary Tudor and by recusants in the Elizabethan period; even after the restoration of the hierarchy in the 19th century there was some debate over whether some elements of the Sarum use should be revived at least in designated churches. Today it seems inopportune to debate whether the decision to become ‘fully Roman’ was right or wrong, or whether it would be legitimate or advisable to employ the Use of Sarum again, given the logistical difficulties involved. So, while the Saint John Fisher Missale is fully Roman in its usage, we decided to include texts for some chants from the Sarum Gradual, primarily Sequences, as important elements of our liturgical patrimony which remain valuable today. These are naturally not part of the Mass according to the Tridentine use of the Roman Rite. However, since the choir is allowed to sing Latin motets in addition to the Ordinary and the Proper there seems to be no reason why it should not be permitted to sing these ancient and often very rich texts at some point during Mass. Naturally, doing so would require some initiative from the Director of Music, since the melodies for these texts cannot be found in the standard chant books (the website of the Saint John Fisher Missale gives a short list of sources). Therefore, it is likely that these texts will be sung only occasionally. Even so, it is hoped that providing them together with a translation (a literal translation rather than a verse paraphrase for singing) will aid the faithful in their devotions. Other features that enrich the collection are the ancient Offertory Verses taken from the Offertoriale Romanum, which was compiled in the 1930s for liturgical use, and Texts for the Kyrie, taken from the Sarum Books and the Analecta hymnica..

I would like to ask all users of the Saint John Fisher Missale for feedback, and especially to point out any errors they might encounter.

Berthold Kress is an art historian specializing in medieval and early modern art, especially illuminated manuscripts and early book illustrations. He completed his doctoral studies at the University of Cambridge and is currently working in the Photographic Collection of the Warburg Institute, University of London.