Hallelujah!

Using Historic Music in Contemporary Worship

Author(s): Robin A. Leaver
Source: The Choral Journal , FEBRUARY 2003, Vol. 43, No. 7 (FEBRUARY 2003), pp. 51-
61
Published by: American Choral Directors Association

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 FEBRUARY 2003 CHORAL JOURNAL

Hallelujah!
Timothy W. Sharp, editor

Using Historic Music in Contemporary Worship

by Robin A. Leaver

IS

dressing the above topic. The first choir directors on the defensive, since it not What is church music? but What
THERE isare twothatreasons
the pressure forintoad-
has been ex- calls eliminated.
question This
their music and minis- puts
is church most organists and °f action. In other words, the question i
music for?
erted from certain quarters in recent de- try. What is church music supposed to do?
cades that proposes that only Much of the debate has centered on Is it merely a crowd conditioner, to soften
contemporary music is valid for contem- musical style. The basic premise (on all UP c'lc congregation to hear the more
porary worship, and therefore historic sides of the debate) has been that there is important communication of preaching?
church music is no longer valid or neces- only one musical style appropriate for If so> fiien Contemporary Christian mu
sary. The second reason is probably con- worship in the contemporary world. sic could be considered good enough for
nected with the recordings of the Gabrieli Those of the conservative rite insist the the purpose, since the aim is one of Chris
Consort and Players for Deutsche only style that can be used is that of Con- tian propaganda and the marketing of a
Grammaphon Archiv that present the sa- temporary Christian music. Those of an- specific Christian package. If church mu
cred music of Praetorius, Schiitz, and Bach other conservative rite are equally adamant sic should be the bearer of a message,
within the liturgical form, together with that for worship only a chaste, historical the11 the vehicle of praise, prayer, aspira
other liturgical music, which was origi- style of church music is appropriate, a fi011' inspiration, acclamation, meditation,
nally intended to be heard. This column style that is epitomized by such labels as corporate response, individual response,
will address first, the political situation "Gregorian," "Bachian," or "Handelian." etc., from within the community of faith
that is negative towards the use of historic This premise is the wrong one. The at worship, then just one musical style,
music in worship, and then turn to the debate becomes sterile and shrill, with no whether it be historical or contemporary,
practical issues of the positive dimensions resolution, if it is argued on the premise cannot cope with such demands. It means
that can be added to our worship when of musical style alone, because in the end we have moved away from style to con
we employ music composed in earlier gen- it comes down to a question of personal tent- We have gone beyond marketing
erations. preference. With musical style as the ba- an(i propaganda, and find ourselves hav
I Politics sic premise the debate comes to a halt in a ing to deal with theological purpose and
* r» l confrontational stalemate. liturgical function. This, of course, makes
The Church Growt movement as The basjc question regarding the mu- everyone nervous. Musical style is much
been asserting that if you want your ^ WQrship ig nQt on£ that deals with easier t0 deal with because it keeps church
church to grow, the first thing to do is fire ofbe; but rather with its stams music on the periphery of what are pre
traditional church musician, discard ail _
"historic" music from choir-room closets,
and use only that music in worship that
carries the Contemporary Christian la

• HAWAIIMUSICFEST
* *

ot
bel. Only then, or so we are told, will
your church grow. This movement—that
"Specializing in performance and educat
tends to confuse propaganda and market
ing with evangelism—declares that the
church music of the past is detrimental to * Educational Tours
contemporary spiritual life and must be * Music Festivals
* Year-Round Performances
Robin A. Leaver is professor of sacred * We are based in Hawaii
music at Westminster Choir College of
For more information: Phone: 1-800-366-7486
Rider University, Princeton, New E-Mail: choirs@hawaiimusicfestivals.com
Jersey. <leaver@rider.edu> Web Site: www.hawaiimusicfestivals.com

VOLUME FORTY-THREE 51 NUMBER SEVEN

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CHORAL JOURNAL FEBRUARY 2003

sumed to be the really important ma

of the church. If one admits that ther
theological dimensions to church m
it means that such music can n
be considered peripheral in importa
It is here that everyone gets uncom
able. Most clergy, with their theologi
background, are uncomfortable bec
they lack musical education. Similar
most musicians are uncomfortable
cause of their lack of theological tr
So, both sides resort to what they
or what they think they can cope wi
Clergy incline toward Contemporar
Christian music, so they do not have
think too much about the ministry
music;musicians prefer traditional ch
music, so that they do not have to
too much about the theology of musi
So how are we to get out of this d
in which we find ourselves? My
One of the most influential and win
some writings to come from the Ref
ing movement of the sixteenth centu
Martin Luther's pamphlet On Christia
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VOLUME FORTY-THREE 52 NUMBER SEVEN

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 FEBRUARY 2003 CHORAL JOURNAL

Robinson, in his controversial bo

few years later, Honest to God, the
able aim was to get the ordinary
outside the church to hear the C
message. Like the Bishop of Woolw
their intentions were undermined
chosen methodology. The membe
Twentieth Century Church Ligh
Group were concerned about bring
music of the church up-to-date
posing in a contemporary style
you actually heard this music, the
ideals began to sound rather hollow
this music was anything but conte
rary. In style it was at least twenty
out-of-date, being strongly reminis
a 1930s Broadway style. The tun
epitomizes the Twentieth Century C
Light Music Group is Beaum
Hatherop Castle, written for the wo
Jesus I have promised." It sounds l
close parody of Harry Warren's Lul
Broadway, composed in 1935! This
lar style, which Erik Routley char
ized as possessing a "malignant l
subtlety" could not and did not do
it was supposed to do. Whereas
shake up the thinking and pract
those within the churches, it did not
the outsider, who simply laughed a
pit* j
futile attempts to be up-to-date. Th
lar world of music in the early sixt
far more contemporary than Henry H. Leek
this
attempt to Festival Artistic
speak to Director
it in its own t
Thus, my first proposition is illust
Music in worshipFounder
is and Artistic
by Director
itsof the Indianapolis
nature Children's an
calphenomenon; Choir;even
Director of Choral Activities
when at Butler University;
it is con
rary, it always Internationally
evokes known specialist
the and clinician in choral
past. Bea
and his friendstechniques,
attempted to
the child's voice and the boy's changing voice.be co
porary but couldn't help evokin
sound of the past.
July 15 - 23, 2003
In the later
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July
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was
HAWAI
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nificant inroads into mainline Chri

ity. In This 9-day residential
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begun wi
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Free Treble Choirs. Limited
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find a place within Roman Catholi
HOST CHOIR
There was much proclamation of th
Hawai'i Youth Opera Chorus
ness of the Spirit, that a spiritual
Nola A. Nahulu,
Nâhulu, Artistic Director
tion was taking place in which the
Spirit was creating all things new.
time There was the concern about the Pacific Rim
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and the sounds that this newness appar
ently created. The question is if this phe

VOLUME FORTY-THREE 53 NUMBER SEVEN

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CHORAL JOURNAL FEBRUARY 2003

label does not thereby the reality o

es named to the actuality on wh
name is bestowed. It is a roundabo
of saying: just by calling somethin
temporary does not make i
rary. The musical style of t
John Ferguson has observed, is
over Carpenters." It is a dated m
style. For the record, just in case
not old enough to remember, th
generation that though
flower children. It is n
contemporary society bu
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 FEBRUARY 2003 CHORAL JOURNAL

if we are to hear what was prev

recorded. cantatas juxtap
Music is always experienced in
present tense, in the here and now
not matter if it was composed fiv
utes ago, yesterday, three-hundre
one thousand years ago. The un
ture of music is what makes it wh
You cannot taste it, touch it, or se
has no substance, yet you can he
you can most certainly feel it. A c
of Bach may have been written app
ing three hundred years ago bu
does not hear it as it was first perfor
One can only hear it in the presen

FINAL CALL
ment. We do not hear it as an ancient
artifact, a present experience, a present
reality. This is the primary meaning of
my second proposition: Music in wor
ship is by its nature a contemporary phe
FOR 2003 FESTIVAL APPLICATIONS
nomenon; even when it is 'historical, ' it
always evinces the present. PHONE 800-533-6263 TODAY
This proposition has an important
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poraneously, pre-existing, historical ele
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ments can be incorporated or employed
in new music. In writing contemporary
music, composers will use specific, his
torical elements to create their new mu
sic. These composers compose in older
musical forms, or adapt established me
lodic formulas, or employ a specific har
monic structure that has been known
for hundreds of years. The resulting mu
sic will not have been heard, because it
has never been done this way before, so
that by its nature, it is simultaneously
historic and contemporary.
Now such compositional ecology in
relation to liturgical music is nothing
new. In the early seventeenth century
Michael Praetorius was masterly rework NORTH AMERICAN
ing ancient chant forms, adapting com
positions of sixteenth-century masters
such Josquin, and music from other MUSIC FESTIVALS
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his own compositions in order to form a VIRGINIA BEACH / WILLIAMSBURG ~ TORONTO
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Visit our website:
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among others, and the music of his sev
enteenth-century ancestors, and did so

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 CHORAL JOURNAL FEBRUARY 2003

historic elements for its succes

it is built on canons, which Berthier
found in the collections of Praetorius, a
on ostinati, the distinctive compositiona
technique exploited by such early Baroq
composers as Monteverdi and Purcell. In
one case, the Taizé chant Laúd
Dominum, is based on La folia, the favor- temporary it will always carry with it the wn * -c c ■
... . . i r i it i • When we turn to specifics of using
ite progression on which many variations sound of the past: and when we use his- . . .
r , - - - i r • • i r • i-i music composed in earlier generations in
were made, associated with the names of toric musical forms in our worship, they . c , . , ,
. , ,. ., . i • i i i r our services of worship today, there are a
numerous composers, including Lully, are experienced in the here and now of . c , . , f , , ,
_ . , . r T . number of road blocks that need to be
Corelh, Marais, Alessandro Scarlatti, the contemporary moment, ft c
Pasquini, Vivaldi, and C. P. E. Bach, to otherwise, because this is the nature of . , , ,. . ,
, r ■ hirst, there are the road blocks erected
name but a few. music. , , „ , „ .
_...., - . ■ r t , r by Church Growth, Contemporary Ghris
Similarly, in many circles the music of In summary, even before we con- . . . , , , —,
, . ' ' , . _ r . . . ' - . .. tian Music, and other such camps. 1 hey
the Wild Goose Worship Group of the sciously attempt to use historic music in , . c , ,
_ .-ori ■ r i i ■ i r i ■ state that the music of the past no longer
lona Gommunity in Scotland is frequently our worship, the music of our worship . , r , , ,
r , , r i ■ i. i--!- • speaks to people of the present day, there
referred to as an example of new worship already possesses historic dimensions. ¿ . . , , , , . , .
. . r • t i n 11 _ ' r i tore it should not be used in our worship,
music. Its primary composer is ohn Bell Even if we consciously attempt to ,
, r. , 1 . r .. . ,i ... i- ■ ■ r or words to this effect. 1 he proposition is
whose musical settings are stylistically eliminate historic music from our wor- , . . . ,
. . ,,rii r i • i-i i ii j- rarely given with reasoned arguments as
based on older folk-song forms, or are re- ship, while we may be able to eradicate , , . . . . . , ,
- . ^ h ii-i i ri • • . • i -r to why this is so. ft is simply stated as a
presentations of actual folk melodies that the types of historic music we identify as )r . , c TT l i •
f . i i • i i ■ ■ i i i ■ • i • ■ self-evident tact. However, the claim can
have long ceased to be in the common historic, nevertheless historic dimensions , . . , rl , wn
° . , . -ii i i i j be questioned on a number of levels. Why,
memory. Again, this contemporary mu- will always be heard. r . . . , , . , ,
. r ? ■ I ■ i • n r i tor example, is it that the eighteenth-cen
sic for worship has an important historic Before we consciously attempt to use fw, w, , XT ,
r r 1 r tury texts of Watts, Wesley, Newton, and

Long Island Beethoven Mass in C

Choral Festiva Brahms Nanie

Nânie

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 FEBRUARY 2003 CHORAL JOURNAL

others, can still be sung, but not the

sic that comes from the same period:
sic that was specifically composed for
corporate worship? What is it that ma
the music of our time (the music of
secularized popular culture) more app
priate for contemporary worship th
music of earlier times that was specif
composed as worship music? The ans
usually given is one that is condition
by the thinking of the 1960s: peopl
general do not like and do not respo
such earlier music, so let's get rid of i
may have been true that in the 1960s
people did not like and did not resp
to historic music, but that is certainly
the case today. years ago. Mass, seventeenth-century Anglican verse
It is paradoxical that many people out- There have been many studies of anthems, the earlier
side the churches have been discovering today's teenagers that show they think Lutheran cantatas
the spiritual power of sacred music com- differently from the teenagers of three or eighteenth-centur
posed in earlier generations. In our cul- four decades ago. These studies cover wide Haydn and Mozart, t
ture, there is a quest for spiritual music areas of interests and concerns, including century concerted L
that is different from the music of popu- music. For example, Barbara Resch's 1996 Pennsylvanian Mor
lar culture, whether it be the brash sounds Indiana dissertation, "Adolescents' Atti- Contrary to w
of Hip-Hop and Rap, or the blander mu- tudes Toward the Appropriateness of Re- rus would have
sic of nostalgia. There is a wide variety of ligious Music," which was based on a extremely broad i
New Age music that explores multiple carefully monitored survey of teenage ship music that we
levels of spirituality. Recording compa- thinking, demonstrates generally that ado- nore.
nies such as Sony have a large section in lescents listen to a wide range of music, There is a secon
their catalogues devoted to spiritual mu- and that most of them, while being ad- erected against the us
sic, and others, such as Jade, are dedi- dieted to the music of the latest popular in worship that n
cated almost exclusively to such music, groups, nevertheless, are of the opinion cannot blame the
There is the Gregorian chant phenom- that music for religious purposes should ment for all the proble
enon that really is astonishing. Over past be different from what they listen to ev- music composed in
decades enormous numbers of CDs of
chant have been sold. The numbers dem
onstrate that these recordings have not all
been purchased by church-goers. A gen
eration has past since the Catholic church
gave up singing Gregorian chant Sunday We
Welisten carefully.
listen carefully.
after Sunday. Worshipers have been de
nied hearing chant in the context of Sun
day worship, and have found another way
It'sthat
It's that simple
simple - -
and
andthat
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 CHORAL JOURNAL FEBRUARY 2003

The sad fact is that we have often cre

an antipathy towards the worship music
of the past by the insensitive and un-
thinking ways we have used this music.
We must never forget that our role ba
within a congregation is pastoral, and w
are involved in ministry. Our role is
much pastoral as it is liturgical and as it
theological. One must first be in sym
thy with the theological presuppositions
of a given congregation, because with
it, it will be difficult to serve its peo
Another disservice we have done to dev
historic worship music is that when we poser. heard in worship generally, or to fulfil a
have used it we have not always done so When we use earlier music we are in- particular liturgical function, is heard in
wisely or effectively. Part of the problem dined to use music that was not specifi- stead as religious concert music. This re
is the widespread practice of the Sunday cally written for worship. The use of arias inforces the view that to use historic music
morning anthem; the place where the and choruses from oratorios, though a in worship is to endorse religious-con
choir has three to four minutes to "do its widespread and long-standing practice, cert-music in the wrong place, and there
stuff." That fact rules out a good deal of does not necessarily work well within the fore it would be best to keep it out of the
worship music of earlier generations be- context of worship. Although often bibli- sanctuary altogether,
cause, for example, the verse anthems of cally based, these arias and choruses are We need to recognize the road blocks
Henry Purcell, the cantatas of Bach, and recognized by the congregation, or the that we have erected that effectively work
the motets of Mendelssohn and Brahms, bulletin informs them, as being from an against our use of historic music in our
last ten to thirty-five minutes. So, if we oratorio, an independent religious work contemporary worship. We need to re

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President, The
The American
AmericanChoral
ChoralDirectors
DirectorsAssociation
Association
and Professor
Professor Emeritus,
Emeritus, The
The Ohio
Ohio State
State University
University

Missoula •All concerts

concerts are
are non-competitive
non-competitive and
and all
all performances
performancesare
arefree.
free.

• International
International MassedYouth
MassedYouth Choir
Choirconducted
conductedby
byChristine
ChristineJordanoff
Jordanoff
Montana
• In cooperation
cooperation with
with the
the International
International Choral
ChoralFestival,The
Festival,TheUniversity
University
of Montana
Montana will
will offer
offer the
the International
International Choral
ChoralSymposium—a
Symposium—atwo
two
credit course
course for
for music
music educators
educators focusing
focusingon
onworld
worldchoral
choraltraditions
traditionsand
and
INTERNATIONAL
practice. The
The Symposium
Symposium will
will feature
feature guest
guestconductors,
conductors,reading
readingsessions,
sessions,
CHORAL and in-depth
in-depth discussions
discussions related
related to
to multiculturalism
multiculturalismand
andchoral
choralmusic.
music.
FESTIVAL
MISSOULA, MONTANA USA

FOR INFORMATION:
INFORMATION: email:
email: choral@montana.com
choral@montana.com
www.choralfestival.org
(406) 721 -7985
-7985 P.O.
P.O. Box
Box 9228,
9228, Missoula,
Missoula, Montana
Montana59807
59807

VOLUME FORTY-THREE 5g NUMBER SEVEN

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 FEBRUARY 2003 CHORAL JOURNAL

move them so we are in a position to use

various types of historic church music.
do so effectively, two primary
be met: the need to understand the n
ture of liturgical music: and the need to
be creative in our use of such music.
First we must understand the nature
of liturgical music—historic or contem
porary. Music has its place in worship
for its own sake but for what it does. T
term "liturgical" indicates that this mus
contributes to the worship and serves par
ticular functions, especially at importan
junctures of the sequence of the differe
activities of worship, as we move from
praise to prayer, from prayer to proclam
tion, from proclamation to acclamation,
from acclamation back to prayer, and
forth. The music for worship should
carefully chosen in connection with the
biblical lessons to be read, and it is im
portant to bear in mind the place in
liturgical order the music is to be heard
Such
cess,
planning should be a creative pr
but it is often diminished by ou Sionwicr
SuMJrtCr
simple choices of what we did last time,
or by what is readily available in our ch ScjJ¿Útfy
ScjjiOiVZOOJ
ZOOJ
library, or, more restrictively, what ou
choir already knows andEastman can
Eastman Choral Institutesing. Of
ChoralInstitute
course, we have to be practical
Week
Week II -- Choral
ChoralConducting,
Conducting,Artistry,
Artistry, in our
Vocal Pedagogy,
decisions, but they should Pedagogy,
be Musicianship
Musicianship
secondary
July 7-7
July 7-1J7
rather than primary questions. That
William Weinert, Robert Mclver, Monica Dale is,
our music is really to contribute
Week II - Choral Conducting Workshop an im-
portant dimension to the 74-78
July 14-18
worship of th
David
David Hoose
Hoose and
andWilliam
WilliamWeinert
Weinert
community of faith, a dimension that 's
would otherwise be Summer
SummerVocal
lacking VocalSeminar
Seminar
in the wor
sh¡p readings at worship. Lutherans also de July 76-7
July
Carol
16-199
Carol Webber
Webber and
andWilliam
WilliamMclver
Mclver
In order to do this, it is essential to veloped a specific genre of
A series of lectures, seminars and
and master
master
understand the nature of liturgical music. Evangelienmotette [gospel motet], classes
a cho on the art and
and science
science of
of singing.
singing.
This may seem like stating the obvious ra' setting of the Gospel of the day, or its
Baroque Vocal Institute
but there are many good musicians who main verses. The congregation can follow
July 70-75
10-15
have not really understood this. the words in their Bibles or bulletinsJulianne
and Baird
Music that does not work well in a tbe bact tbat b takes a little longer to sing to perform
Vocal techniques appropriate to perform
ance of 16th and 18th century
century literature.
literature.
concert-recital setting, because it was not such a passage than it does to read it
composed for that purpose, can often have means there is a greater possibility of the
Housing is available in the
a remarkably different effect when heard congregation attending to its meaning, Student Living
Eastman Student Living Center
Center
within the context of worship, the con- Another way for music to be used as
text for which the music was originally lection is during Holy Week. Instead of
written. We need to train our ears to be performing a setting of the passion EASTMAN
such
SCHOOL OF MUSIC
able to anticipate the different effect this as those by Johann Walter, Leonard
UNIVERSITY OF ROCHESTER

music will have if it is heard within the Lechner, Heinrich Schütz, Christoph
context of worship. Demantius, and Bach. Why not perform
For registration and more information
on these and other summer programs
A polyphonic mass by Palestrina (or " within a simple setting of vespers in
at Eastman:
a concerted mass by Mozart that we are which the passion forms the biblical ►
►read
Visit
Visit our
our website
websiteatat

accustomed to hearing as a five-move- 'nS' The structure should be simple,www.rochester.edu/Eastman/summer

www.rochester.edu/Eastman/summer
such
►E-mail
E-mailususatatsummer@esm.rochester.edu
summer@esm.rochester.edu
ment choral symphony) makes a differ- as an opening hymn, prayer of ►invoca
Call 585-274-1400 or 1-800-246-4706
ent aural impact when it is heard in the tion, the passion, concluding prayers and

VOLUME FORTY-THREE 59 NUMBER SEVEN

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CHORAL JOURNAL FEBRUARY 2003

usually comprised of several movements, w

and a good many motets are composed in fo
clearly defined sections. These movement
or sections can be isolated and incorpo- be p
rated into worship in a variety of ways. m
For example, just one movement or sec- fer
tion could be used at an appropr
It need not be heard only once. It could
be sung as a choral introit at the begin-
ning of worship and at the offertory, giv-
ing a musical unity to the service of On
lems. It takes ti
shipped from ove
edition, which ma

1 a language othe
Institute of Voice churches insist E
even those church

Performance
guages want an a
tion in the bulleti
do not include En

Pedagogy Why
music
should
within
we
our
without it, our t
erished. Without

Richard Miller, Director lier

embraced
generations
within
w

Using worship m
July 5-12,2003 from the past re
predecessors in th

The Institute of Voice Performance Pedagogy offers a unique Addendu

opportunity for intensive study of technical and practical aspects We cannot chan
of our North Am
of performance for teachers of singing, professional singers, and larly in its early y
college-age voice students. various strands o
practice.
Systematic Vocal Technique covers breath management, vocal onset, The term "Eurocentrism," especially
agility, sostenuto, vowel definition and modification, vocal registration,
the even scale, range extension, and dynamic control.

Guest lectures and recitals

Comments from past participants: mm

"This was the most extraordinary and comprehensive pedagogical A repository of historical material related
to the 70-year career of
experience I have ever had — better than grad school itself!"
Fred Waring and the
"Professor Miller is a marvelously insightful and encyclopedic teacher. He Pennsylvanians
handles both young and mature voices in superlative fashion. It becomes Resources for the choral director/
a learning experience at all levels of voice instruction." music educator and student.

For information call: (440) 775-8044 • e-mail:OCIVPP@oberlin.edu • visit: Includes recordings and 9000 titles
of sheet music and arrangements
www.oberlin.edu/con/summer
VISIT OUR WEBSITE!
www.libraries.psu.edu/crsweb/speccol/waring/

OBERLIN
Fred Waring's America
The Pennsylvania State University
313 Pattee Library
University Park, PA 16802
(814) 863-2911 FAX (814) 863-5318
e-mail: ptk@psulias.psu.edu

VOLUME FORTY-THREE 60 NUMBER SEVEN

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 FEBRUARY 2003 CHORAL JOURNAL

with regard to music, is somewhat m

leading. It suggests North America
sic was simply a pale reflection o
ARTS BUREAU
European models, that the influenc
FORTHE
only one-way, in a westerly direct
CONTINENTS
across the Atlantic, and that America
EXPERIENCE THE MUSIC

influences were insignificant. There

many elements of truth in this view;
nevertheless, misleading. PERFORMANCE TOURS
William
drew from the English tradition
BANDS, CHOIRS, ORCHESTRAS
music: the music of William Tans'ur, but multicultural music that combined Re- 1 '
Performances
Performances arranged.
arranged.
Experienced
Experienced
tour managers.
tour Anywhere
managers.
in Anywhere in
Billings's music is distinctively American naissance polyphony with Indian the
and
theworld.
world.
Af
Sightseeing
Sightseeing
andfun.
andfun.
Include any
Include
music any
festival
music
e.g.: festival e.g.:
in its rugged creativity. The whole rican melodies—music that only recently
•• Festival
Festival500,
500,St. Johns,
St. Johns,
Newfoundland,
Newfoundland,
June 29-July
June
6, '03
29-July 6, '03
psalmody tradition, on which much of has come to light. An example is •• Worldthe
World Choral Bos
ChoralFestivals,
Festivals,
Vienna,Vienna,
June '03 June '03

American church music was founded, has ton Camerata's CD Nueva España: •• Shrewsbury Close
Shrewsbury lnt'1Int'l
MusicMusic
Festival,
Festival,
June '03 June '03

origins in England and Scotland. It was Encounters in the New World, 1590-1690
•• Int'l
Int'lYouth
Youth MusicMusic
Festival,
Festival,
Vienna, Vienna,
July '03 July '03
•• Bavaria
BavariaInt'l
Int'l
YouthYouth
MusicMusic
Festival,Festival,
July '03 July '03
not an East Atlantic tradition that was (Erato 110390), directed by Joel •• St.
Cohen,
St.Patrick's
Patrick'sFestival,
Festival,
Dublin,Dublin,
Mar '03 Mar '03
imposed on the West Atlantic colonies. It There is historic, multicultural
•• Other
Otherchurch
festivals
festivalsIn Europe
in Europe
and North
andAmerica.
North America.

was one, unified Anglo-American tradi- music that predates contemporary efforts
TORONTO
TORONTO INTERNATIONAL
INTERNATIONAL
tion in which there was a significant in- by at least three hundred years!
fluence from the American colonies on tr
If ) CHORAL
[ CHORAL FESTIVAL
FESTIVAL
April
April23-27,2003,
23-27,2003,
• April
• April
14-18,2004
14-18,2004
the psalmody of both England and Scot 2003
2003Conductor:
Conductor:Stephen
Stephen
HatfieldHatfield

land. The first treatise on psalm-singing, -CJ 2004

2004Conductor:
Conductor:Jean Jean
Ashworth-Bartle
Ashworth-Bartle

though published in London, was writ # CANADIAN TULIP MUSIC

CANADIAN TULIPFESTIVAL - Ottawa - Ottawa
MUSIC FESTIVAL

ten in Boston. Many of the lines of the (International

(International Choirs,
Choirs,
Bands,Bands,
& Orchestras)
& Orchestras)

May
May16-19,2003'May
16-19,2003 • 21-24,2004
May 21-24,2004

& UNISONG - Ottawa

UNISONG ■ -Ottawa
Canadian Choirs Choirs
- Canadian

l*»ll June
June28-July
28-July
2, 2003
2,2003
• June
• June
28-July28-July
2,2004 2,2004
2003
2003Conductor:
Conductor:Dr. Lee
Dr.Willingham
Lee Willingham

k
HANDBELL
HANDBELLCHOIR
CHOIR
FESTIVAL
FESTIVAL
FOR NORTH
FOR NORTH
AMERICANS
AMERICANSIN IN
ENGLISH
ENGLISH
CATHEDRALS
CATHEDRALS

En
En masse,
masse,ononownown
andand
withwith
U.K. ringers
U.K. ringers
inin Cathedrals
Cathedralsandand
Festivals
Festivals

June
June2004
2004

NIAGARA
NIAGARAINTERNATIONAL
INTERNATIONAL
MUSICMUSIC
FESTIVAL
FESTIVAL

(for
(forchoirs,
choirs,bands
bands
& orchestras)
& orchestras)

July
July2-6,2003
2-6,2003«July 6-10,2004
• July 6-10,2004
2003
2003Conductor:
Conductor:Jonathan
Jonathan
Willcock:
Wilkock
2004
2004 Conductor:
Conductor:BohBohChikott
Chilcott

èf
YOUTH
YOUTH ORCHESTRA
ORCHESTRA
FESTIVAL -FESTIVAL
Ottawa - Ottawa

Canadian
Canadian May 2004,
MayInternational
2004, International
July 2004 July 2004
May
May 20042004
Conductor:
Conductor:
Keri-Lynn Wilson
Keri-Lynn Wilson

CANTERBURY
CANTERBURY (UK) INTERNATIONAL
(UK) INTERNATIONAL
CHORAL
CHORAL FESTIVAL
FESTIVAL
we re your
BRIDGE f July 24-28,2003
2003
2003
• July 22-26,2004
July 24-28,2003
Conductor:
Conductor:
• July 22-26, 2004
Dr. DoreenDr.
Rao Donen Rao

ISMGfl
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