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  • Andre Papkov
    Please post: SUMMER SCHOOL OF LITURGICAL MUSIC AT HOLY TRINITY SEMINARY Jordanville, New York JUNE 30 – JULY 13, 2002 The Summer School of Liturgical Music
    Message 1 of 1 , Feb 17, 2002
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      Please post:

      Jordanville, New York
      JUNE 30 � JULY 13, 2002

      The Summer School of Liturgical Music at Holy Trinity Seminary was
      established with the blessing of Metropolitan Laurus. The full course of
      study consists of three summer sessions, at the end of which the graduates
      will be certified as church choir directors and/or readers. Academic credit
      is available. A non-certification track is offered to those seeking
      enrichment in the area of Russian Orthodox Music, but do not intend to
      become church readers or choir directors. The course load, full or partial,
      may be agreed upon in consultation with the school administration.

      The course offerings are:
      1. History of Russian Church Music
      2. Music Theory and Musicianship
      3. Choir Conducting Techniques and Practicum
      4. Voice Class
      5. Liturgical Performance Practice
      6. Church Slavonic
      7. Liturgics for Choir Directors

      The 2001 Faculty
      Joanna Grigorieff, University of Toronto
      Dr. Joseph MacLellan, Brown University
      Nikolai Myshkin, Moscow Conservatory
      Anatoly Panchoshnyy, Gnesin Musical Academy
      Rev. Andre Papkov, New England Conservatory
      Elena Perekrestov, Harvard University

      Registration Fees:
      Tuition����. $400.00
      Room & Board�$400.00
      Total����� $800.00
      Please make all cheques payable to Holy Trinity Seminary.

      If the candidates are sponsored and paid for by their parish, a discount of
      $50.00 is offered to the parish. In that case, payment should be made by
      parish cheque. Students arriving from countries with unstable currencies
      (Russia, South America) are eligible for a special discount. For those
      students not taking the full course load, each separate course is $75.00,
      plus the regular room and board fee of $400.00. Instruction is given in
      Russian and English. While knowledge of Russian is helpful, it is not
      essential for study.

      For information, contact:
      Rev. Andre Papkov Tel. (315) 894-6274
      54 Fourth Street, Ilion, NY 13357 e-mail: musicschool@...


      A survey of Russian sacred music from the 10th through the 20th centuries.
      Various types of chant, early Russian polyphony, 17th century multi-voice
      compositions, as well as the great variety of representative 18th-20th
      century choral styles will be discussed, including the works of such masters
      as Bortniansky, Lvov, Archangelsky, Kastalsky, Chesnokov and Rachmaninov.
      The course will be illustrated by rare recordings representative of the rich
      and vast repertoire of Russian choral music.

      Presentation of the basic elements of music theory to help understand and
      analyze a musical composition. Topics covered include: intervals, modal and
      tonal concepts, chord progressions and harmonization techniques, open and
      closed harmony, various types of triads and seventh chords, and their
      inversions and resolutions, phrase structure, voice leading, and cadential

      The musicianship segment of this course covers sight singing and develops
      the musical ear. An elementary and an advanced level are offered.
      Successful completion of the advanced level is mandatory for certification
      as choir director, and includes all major and minor tonalities, intervals,
      chords, chromaticism, and modulations. Different meters and rhythmic
      patters are studied, and musical dictation is given. The elementary level
      develops the basic skills of singing from a musical score, and is required
      for certification as a church reader.

      This course deals with the three main elements of choral sonority: ensemble,
      intonation and nuances, and provides guidelines to singers for mastering
      choral singing techniques. Topics include: the difference between a choir
      and a group of singing people, the difference between choral sonority and
      the sound of singing voices, why one choir sounds better than another, and
      what can be done to improve the sound of a choir. The solution to these
      problems will guide the choir director in his work.

      In the practicum extension of this class, the student will rehearse and
      teach music from the Obihod as well as free compositions to the ensemble.

      A practical approach to voice production. Basic principles of breath
      support, head and chest resonance, articulation and phonation as they apply
      to Russian choral church singing. The do�s and don�ts of producing a
      singing tone. Some private instruction is also available.

      This course is designed to give students a working knowledge of the
      liturgical language of the Orthodox Slavs in the standard recension of the
      Russian Orthodox Church. After a brief introduction to the orthographic
      system of Church Slavonic, the major part of the course for the first two
      years is devoted to the inflectional morphology of the language. Daily
      homework, periodic quizzes, and a final examination require students to
      actively produce some forms, but the primary goal is to be able to read
      scriptural and liturgical texts with understanding. The third year focuses
      on the syntax of Church Slavonic, and how it differs from that of Russian
      and English.

      An overview of the history, structure, and meaning of the liturgical cycle
      in the usage of the Russian Church based upon the Jerusalem Typicon.
      Students learn the nature of the four cycles in the liturgical year, and the
      contents and use of the books used in Orthodox worship. This is followed by
      a detailed analysis of how to perform the major services, with particular
      attention to the role of the choir director and psalmist. During the first
      year the components and history of Vespers and Matins are covered. In the
      second and third years, the Divine Liturgy, the occasional services (trebi),
      and the services associated with the Lenten and Paschal seasons are covered.

      Contemporary Russian parish practice. Various aspects of kliros singing,
      the problems related to this, and their solutions. The eight-tone system
      and its use in the Russian Church. Coursework over the three summer
      sessions includes (1) Stichera and Troparia, (2) Hiermos and Prokimena, (3)
      Special Melodies (10 Podobni). All melodies are to be memorized.


      1. NAME
      2. ADDRESS
      3. TELEPHONE
      4. Are you a choir director? Where?
      5. Which voice part do you usually sing?
      6. Do you have any musical training? What kind?
      7. Is your parish sponsoring you?
      8. Do you plan to pursue the certification program?
      If not, which courses do you wish to attend?

      Please return this registration form by June 15, 2002.

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