Lesson 1: A liturgical foundation​

One cannot undertake a study of sacred music without due attention to the Liturgy. This course will begin with an overview of key theological principles and an introduction to relevant conciliar, papal, and episcopal documents. (Sections from these documents will be assigned for reading and class reflection over the duration of Level I.)

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The role of the cantor has been shaped by the musical needs of the Church through the ages. We will trace this role through history: starting with Miriam’s song at the Red Sea, the persecution of the early Christians, the reign of Charlemagne, liturgical reforms of the Second Vatican Council, and into the present day.
 

Lesson 2: The inestimable treasure of sacred song

The Second Vatican Council states, “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art.” (Sacrosanctum Concilium, par. 112). 

The class will investigate the question, "What is sacred music?" both in principle, and​ with regard to specific present-day considerations:

• the call to active participation

• “pride of place” and Gregorian chant

• Latin and the vernacular (native language)

• paraphrases vs. verbatim texts

• Should there be a canon of sacred song that every Catholic should know?

• Why do we find contradictions among some of the Church documents? 

• Is there a place for solos in the Liturgy? 

These subjects will be analyzed and discussed by students with respect to the wisdom found in Church documents.
 

Lesson 3: Sing the Mass

The modern Roman Catholic Liturgy may be celebrated in widely (or wildly) different ways. The phenomenon is due, at least in part, to the tremendous variety of prescribed options found within the rite. Establish the three degrees of sung participation in the Mass, and analyze the sung parts of the Mass, to whom each part properly belongs, and the cantor's role in facilitating many of these. Study the Church’s blueprint for the order of the Mass: the Roman Missal and its General Instruction.

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Drawing on concepts established during Lesson 2, students will identify specific qualities of sacred music, and demonstrate this knowledge with practical examples of pieces which are/are not suitable to the Liturgy. An extensive cantor checklist, outlining every sung element of the Mass and its corresponding cue, will be completed, enabling one to know exactly what to sing, and when.

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Lesson 4: Music every cantor should know​

Distinguish certain roles the modern-day cantor may be expected to fill (e.g. psalmist, song leader, and soloist), and the kind of repertoire associated with each. Identify the famous “four options” prescribed in the General Instruction of the Roman Missal for the entrance, offertory, and communion songs (hymns are just one of the four options).

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Discover a core Catholic repertoire with which every cantor and music director should be familiar: antiphons, dialogues, Mass settings, and other prescribed texts (e.g. sequences, the Song of Farewell, and the Exsultet). Honorable mention will be given to certain classic, sacred solos in the public domain. Explore the wealth of repertoire of the ICA Cantor Resources page, with links to useful sheet music, recordings, and other resources, all free for use online. 

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Lesson 5: Seven habits of the exceptional cantor

Angela will share success habits developed over twenty years of experience as a cantor in over 60 parishes and 3 cathedrals.