Part One, Group A: Christian liturgy and worship
A1:
Historical outline of Christian liturgy and worship
This is an introductory historical
outline of Christian liturgy, surveying a wide chronological
span and a large subject area. The emphasis is on the
study of liturgy, but this cannot be separated from
the broader study of theology. The primary focus is
on the Mass and Office (or their equivalents after the
Reformation). There are four main areas of study: the
early Church (up to the ninth century), the medieval
Church (c.900-1500), Reformation and Counter-Reformation
(c.1500-1650), and the modern Church (c.1650-1950).
The assessment of the module is based on two essays,
but you must establish that you have satisfactorily
completed study of all four areas. Back
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A2:
Modern Christian liturgy, worship and pastoral theology
(since c.1950)
This module addresses the changes
in liturgy since the Second World War, and the influences
of pastoral theology. It enables you to study the liturgical
renewal and re-formation in the Roman Catholic Church,
in the Church of England and the Anglican Communion,
and in the Lutheran and Methodist Churches. Three other
issues are also addressed: the politics of language,
the charismatic movement, and the influence of the media.
The assessment of the module is based on two essays,
but you must establish that you have satisfactorily
completed study in four areas. Back to
top
Study Areas
1 The foundations of contemporary
liturgy: pastoral theology and its impact on
twentieth-century liturgy
2 The Second Vatican Council
and the reformed Roman Catholic liturgy
3 The Church of England:
from before Alternative Series One to Common Worship
4 New orders in other Churches
in the Anglican Communion
5 Liturgy and theology in
other Protestant denominations
6 Contemporary issues and
future liturgical developments
Part One, Group B: Studies in church music
B1:
Western liturgical chant
This module introduces students to
the repertory of Western chant. As well as examining
the principal forms and styles of the chant and exploring
the repertory, the module considers the historical impact
of editors and compilers of chant. You are encouraged
to take this module with module A1: Historical outline
of Christian liturgy and worship unless you already
have a clear understanding of Latin liturgy. You will
acquire (a) a knowledge of the principal forms and characteristics
of the repertory of Western chant for Mass, Office and
other related observances, and (b) a historical perspective
on the formation, compilation, expansion, editing and
performance of the chant. The assessment of the module
is based on two essays, but you must establish that
you have satisfactorily completed study in both areas.
Back to top
B2:
European polyphonic sacred music (c.1100-1620)
This module provides a survey of
European polyphonic sacred music from the twelfth to
the sixteenth centuries. It is selective in its approach
with emphasis on the 'Notre Dame' repertory of the twelfth
and thirteenth centuries, the Franco-Flemish composers
of the fourteenth, fifteenth, and early sixteenth centuries,
and five major composers of the late sixteenth century.
Though these are typical topics in a survey of this
kind, and may be found in many outline histories of
music of this period, their selectivity needs to be
underlined: significant and important liturgical music
was written throughout Europe, and many more composers
might be represented. The assessment of the module is
based on two essays, but you must also establish that
you have satisfactorily completed study in four areas.
Back to top
Study Areas
1 Polyphony and liturgy
(c.1100-1620)
2 The old art (c.1100-1300)
3 The new art from Machaut
to Dufay (c.1300-1470)
4 Josquin, his contemporaries
and successors (c.1470-1540)
5 Palestrina, Lassus, Victoria,
Giovanni Gabrieli and Byrd (c.1550-1620)
B3:
Vernacular hymnody and metrical psalms (c.1500-present)
The singing of settings of metrical
texts has been a part of Christian worship since at
least the fourth century. It has been a characteristic
feature of Protestant vernacular worship and private
devotion since the sixteenth century. This module addresses
the background of Latin hymnody, vernacular sacred song,
theology and hymnody, and musical practice in parish
churches in Britain. The remaining study areas emphasise
particular areas of the subject since the sixteenth
century. At the end of the module you will have gained
an awareness of the background of hymnody and studied
three areas of the subject, gaining knowledge of repertory,
textual and musical styles, and theological emphases.
The assessment of the module is based on two essays,
but you must establish that you have satisfactorily
completed study in four areas. Back to
top
Study areas
1 Background
2 The early repertories
c.1500-1700
3 English hymnody c.1700-1950:
function, text and music
4 Psalmody in Scotland and
hymnody in Wales
5 Hymnody in other English-speaking
countries and regions
6 Hymnody since 1950
B4:
English Cathedral music (c.1480-present)
This module surveys the place and
repertory of polyphonic music in cathedrals and related
choral foundations in England from the rise of polyphonic
choirs with boys in the late fifteenth century to the
point just before new liturgical trends began to have
an impact on cathedral worship in the 1960s. You will
acquire a knowledge and understanding of the repertory
within the context of cathedral worship, and of the
historical influences upon it - stylistic, institutional,
liturgical and theological. The assessment of the module
is based on two essays, but you must also establish
that you have satisfactorily completed study in four
areas. Back to top
Study areas
1 Late medieval institutions,
liturgy, and music in England, c.1480-1560
2 Music and the Reformation
in England, 1534-1660
3 From Charles II to George
III
4 The nineteenth century
5 The twentieth century
to the 1960s
6 Cathedral music since
the 1960s
B5:
Protestant music in Continental Europe (c.1520-1750)
This module
covers the main features of Protestant church music
from the Reformation to J. S. Bach. The emphasis is
thus on Lutheran church music, but one study area is
concerned with the music associated with the Calvinist
church. Organ music has been included on account of
the substantial contribution made by organists to Lutheran
worship at this time, but this is covered in less detail
than the vocal music. A number of subsidiary yet substantial
topics, such as the music of the Scandinavian churches
or the theory of musical rhetoric as it affected church
music, have been omitted. At the end of the module you
will have gained a knowledge of music in Protestant
worship in continental Europe, especially in the Lutheran
church, and of a representative range of liturgical
and sacred works. The assessment of the module is based
on the two essays, but you must establish that you have
satisfactorily completed study in four areas. Back
to top
Study areas
1
The Reformation I: Lutheranism
2
The Reformation II: Calvinism
3
Lutheran church music in the early 17th century
4
Lutheran church music in the late 17th century
5 Johann Sebastian Bach
B6:
Music and the Roman Catholic Church from the Council
of Trent up to the Second Vatican Council
This is a vast topic, and it can
be addressed only selectively. The first study area
is concerned with the impact of the Papacy on Roman
Catholic church music; six study areas relate to specific
centres; the final study area considers aspects of the
subject in the nineteenth and twentieth centuries. The
module reviews musical provision, practice and repertory
in selected periods and places in the light of general
trends and requirements within the Roman Catholic Church.
You will need to acquire an outline knowledge of the
Latin Tridentine liturgy, which is closely related to
the medieval Latin liturgy included in the programme
of study for module A1. At the end of the module you will have considered
the Tridentine Rite and papal requirements for music,
and examined the musical provision, practice and repertory
in three specific periods and places, gaining an understanding
of the relationship between the liturgy and its music.
The assessment of the module is based
on two essays, but you must also establish that you
have satisfactorily completed study in four areas. Back
to top
Study areas
1 The Papacy and music in
the Roman Catholic Church
2 Church music in Rome I:
the period of Palestrina and Victoria (c.1550-1600)
3 Church music in Rome II:
the period of Frescobaldi and Carissimi (c.1600-1660)
4 Church music in Venice
and Northern Italy: the period of Giovanni Gabrieli
and Monteverdi (c.1580-1650)
5 Church music in the Iberian
peninsula c.1550-1650
6 Church music in Paris
c.1650-1750
7 Church music in Austria
c.1770-1830, with particular reference to Haydn, Mozart
and Schubert
8 Aspects of Roman Catholic
church music c.1830-1960
B7:
Trends in church music since 1950
The liturgical changes of the second
half of the twentieth century have had a greater impact
on music than at any time since the Reformation. This
module considers the relationship of liturgical change
to church music in general, and then in relation to
parish, 'cathedral', and monastic situations. You will
have an opportunity to adapt this study to emphasise
the liturgical and musical practices of your own denomination
and country. You are encouraged to take this module
with module A2: Modern Christian liturgy, worship
and pastoral liturgy (since c.1950), unless you
are already well-acquainted with the issues addressed
there. The assessment of the module is based on two
essays, but you must also establish that you have satisfactorily
completed study in four areas. Back to
top
Study areas
1 Liturgical re-formation
and music
2 Parish music and the people
3 Music in cathedrals and
collegiate foundations
4 Music in monasteries and
religious communities
B8:
Popular and multicultural music in contemporary worship
The spread
of the use of popular and ethnically pluralistic (multicultural)
music in contemporary worship extends back at least
a century. This module requires consideration of three
interconnected study areas (issues, situations, and
repertoires) that address the issues that the church
musician normally encounters, and thus avoids a merely
historical approach. It is intended to stimulate
critical and creative thinking regarding how music,
popular culture and theology all interact in worship,
pastoral ministry, and in the Christian community. It
will require some familiarity with popular culture and
music. At the end of the module you will not only
have considered each of the separate Study Areas, but
made connections between them, increasing your awareness
of the issues and aesthetics involved in cultural plurality
in worship music, of the functioning of such music,
and the repertoires. The assessment of the module is
based on the two essays, but you must establish that
you have satisfactorily completed study in three areas.
Back to top
Study areas
1 Issues: principles, purpose,
influences and judgement
2 Situations
3 Styles, repertories and
influences
Part One, Group C: Composition and related skills
C1:
Composition
This module is intended to develop
your creative musical writing, advancing technical skills,
increasing awareness of contemporary music, developing
powers of analysis and self-criticism, and encouraging
originality. The work undertaken is directed primarily
to the composition of music to be sung and/or played
in Christian worship, and you are encouraged to compose
some of the music for your own liturgical situation.
You must be willing to explore new styles and textures:
only in this way can you sharpen your own individual
techniques. At the end of the module you should be able
to demonstrate: competence in laying out a clear score
and parts; competence in writing for both voices and
instruments; grasp of texture, ranges and balance; stylistic
and formal coherence; awareness of the practicalities
of writing for amateur musicians and the unskilled;
awareness of idioms appropriate to Christian worship.
At the end of the module you are required to submit
three original compositions contrasted in nature and
resources. Back to top
C2:
Writing for voices
This module is intended to develop
your skills and competence in writing for voices. This
may, at your choice, include some original composition,
but this is not a requirement. The work undertaken
is
directed primarily to writing music to be sung in Christian
worship, and you are encouraged to write some of the
music for your own liturgical situation. At the end
of the module you should be able to demonstrate: competence
in laying out a clear vocal score; competence
in writing for a variety of vocal scorings; grasp of
texture, ranges and balance; awareness of the practicalities
of writing for amateur musicians and the unskilled;
awareness of idioms appropriate to Christian worship.
At the end of the module you are required to submit
three pieces of work for a range of vocal resources.
Back to top
C3:
Arrangement
This module is intended to develop
your skills and competence in arranging music for a
variety of resources. The work undertaken is directed
primarily to arranging music to be sung and/or played
in Christian worship, and you are encouraged to arrange
some of the music for your own liturgical situation.
At the end of the module you should be able to demonstrate:
competence in laying out a clear score and parts; competence
in arranging for both voices and instruments; grasp
of texture, ranges and balance; awareness of the practicalities
of writing for amateur musicians and the unskilled;
awareness of idioms appropriate to Christian worship.
At the end of the module you are required to submit
three pieces of work contrasted in nature and
resources. Back to top
Part Two, Group D: Studies in music and worship
D1:
Extended essay (15 credits: 7,000-7,500 words)
This module offers opportunity to
develop and focus studies undertaken in a module for
Part One, Groups A and B, or to link topics or issues
from more than one module, either within a single Group
or across both. This requires you to undertake and
demonstrate
independent investigation, greater depth of study,
and the organizing and sustaining of a longer piece
of writing.
This module will enable you to pursue a topic which
has interested you already, or to explore a related
area not covered in Part One. At the end of the module
you must submit one essay of between 7,000 and 7,500
words for assessment. Back to top
D2:
Dissertation (30 credits: 14,000-15,000 words)
This module offers opportunity to
develop and focus studies undertaken in a module for
Part One, Groups A and B, or to link topics or issues
from more than one module, either within a single Group
or across both. This requires you to undertake and
demonstrate
independent investigation, greater depth of study,
and the organizing and sustaining of a substantial
piece
of writing. This module will enable you to pursue a
topic which has interested you already, or to explore
a related area not covered in Part One. At the end
of
the module you must submit one dissertation of between
14,000 and 15,000 words for assessment. If you are
taking Module D1 as well as Module D2 the two studies
must
be on different topics, and related different modules
in Part One. Back to top
Part Two, Group E: Composition
E1:
Portfolio of arrangements for voices, or voices and
instruments, for use in worship (15 credits)
This module is intended to allow
those with experience of arrangement to plan their own
portfolio, to work more independently, and to extend
their skills and the scope of their arrangements. The
work will result in a varied portfolio of substantial
arrangements for voices, and/or instruments and voices,
suitable for use in worship. The assessment is based
on your skills in arranging and the overall merit of
the work as presented. Back to top
E2:
Portfolio of compositions for use in worship (15
credits)
This module is intended to allow
those with experience of composition to plan their own
portfolio, to work more independently, and to extend
their skills and the scope of their compositions. The
work will result in a varied portfolio of compositions
for voices, and/or instruments and voices, suitable
for use in worship. Assessment is based on this portfolio.
Back to top
E3:
Portfolio of sacred compositions (15 credits)
This module is intended to allow
those with experience of composition to plan their own
portfolio of arrangements, to work more independently,
and to extend their skills and the scope of their compositions.
The work will result in a varied portfolio of compositions
for voices, and/or instruments and voices. The module
is distinct from E2 in that the works composed are intended
to be sacred rather than liturgical. This allows you
to write for paraliturgical events, dramas, sacred concerts
or meditations, rather than for worship. Assessment
is based on the portfolio. Back to top
Part Two, Group F: Practical studies
F1:
Choral director (15 credits)
The focus of this module is on practical
work directly related to the duties of a musician active
in worship. You should be able to draw on your other
studies for the diploma as a means of enriching and
developing your understanding of, and approach to, the
practice of music in liturgy and worship. Much of your
preparation for this module is likely to be related
to your regular work as a choir trainer. Assessment
is based entirely on a practical session and a discussion
with the examiners. The practical session takes place
in your own church, rehearsing and performing repertory
you have identified and additional material unseen by
the choral group. Back to top
F2:
Cantor and animateur (15 credits)
The focus of this module is on practical
work directly related to the duties of a musician active
in worship. You should be able to draw on your other
studies for the diploma as a means of enriching and
developing your understanding of, and approach to, the
practice of music in liturgy and worship. Much of your
preparation for this module is likely to be related
to your regular work as a cantor and animateur. Assessment
is based entirely on a practical session and a discussion
with the examiners. The practical session takes place
in your own church, rehearsing and performing repertory
you have identified and additional material unseen by
the singers. Back to top
F3:
Music group leader (15 credits)
The focus of this module is on practical
work directly related to the duties of a musician active
in worship. You should be able to draw on your other
studies for the diploma as a means of enriching and
developing your understanding of, and approach to, the
practice of music in liturgy and worship. Much of your
preparation for this module is likely to be related
to your regular work as a music group leader. Assessment
is based entirely on a practical session and a discussion
with the examiners. The practical session takes place
with your own music group, rehearsing and performing
repertory you have identified and additional material
unseen by the group. Back to top
F4:
Accompanist (15 credits)
The focus of this module is on practical
work directly related to the duties of a musician active
in worship. You should be able to draw on your other
studies for the diploma as a means of enriching and
developing your understanding of, and approach to, the
practice of music in liturgy and worship. Much of your
preparation for this module is likely to be related
to your regular work as an accompanist. You may take
the module as an organist and/or pianist. Assessment
is based entirely on a practical session and a series
of practical tests related to accompanying. The practical
session takes place with your own choir or music group,
where you accompany the rehearsal and performance of
repertory you have identified and additional material
unseen by you. Tests include sight-reading, transposition,
harmonization and score-reading. Back
to top
F5:
Solo performer (15 credits)
Pre-requisite
