Fall 2002 Calendar

Event	Institute of Sacred Music	Divinity School	School of Music
Orientation		Tuesday-Friday August 27-30	Tuesday September 3
Placement examinations and advisories	Tuesday-Friday September 3-6		Tuesday-Friday September 3-6
Fall-term classes begin	Wednesday September 4	Wednesday September 4	Monday September 9
Reading period begins		6 p.m., Friday October 11
Fall convocation begins		Monday October 14
Fall convocation ends		Thursday October 17
Reading period ends		8.30 a.m., Monday October 21
M.M.A. applications due (School of Music internal candidates)	Friday October 18		Friday October 18
M.M.A. examinations (School of Music internal candidates)	Saturday October 26		Saturday October 26
Registration for spring term 2003		Monday-Friday November 4-8	Friday December 13
Fall recess begins	6 p.m., Friday November 22	6 p.m., Friday November 22	6 p.m., Friday November 22
Fall recess ends	8.30 a.m., Monday December 2	8.30 a.m., Monday December 2	8.30 a.m., Monday December 2
M.M.A. auditions (School of Music internal candidates)	Friday December 6		Friday December 6
Fall-term classes end		6 p.m., Tuesday December 10	6 p.m., Friday December 13
Reading period begins		6 p.m., Tuesday December 10
Reading period ends		8.30 a.m., Monday December 16
Fall-term examinations		Monday-Friday December 16-20	Monday-Friday December 16-20
Fall term ends		6 p.m., Friday December 20	5 p.m., Friday December 20

Spring 2003 Calendar

Event	Institute of Sacred Music	Divinity School	School of Music
Spring-term classes begin	8.30 a.m., Monday January 13	8.30 a.m., Monday January 13	Monday January 13
Application deadline	Wednesday January 15
Reading period begins		6 p.m., Friday February 7
Written comprehensive exams for current M.M.A. students	Friday-Monday February 14-17		Friday-Monday February 14-17
Reading period ends		8.30 a.m., Monday February 17
Admissions auditions	Tuesday-Tuesday February 25-March 4		Saturday-Saturday February 25-March 4
Spring recess begins	6 p.m., Friday March 7	6 p.m., Friday March 7	6 p.m., Friday March 7
Spring recess ends	8.30 a.m., Monday March 24	8.30 a.m., Monday March 24	8.30 a.m., Monday March 24
Registration for fall term 2003		Monday-Thursday April 14-17
Spring-term classes end		6 p.m., Tuesday April 29	6 p.m., Friday May 2
Reading period begins		6 p.m., Tuesday April 29
Reading period ends		8.30 a.m., Monday May 5
Oral exams for current M.M.A. students	Monday-Wednesday May 5-7		Monday-Wednesday May 5-7
Spring-term examinations		Monday-Friday May 5-9	Monday-Friday May 5-9
Spring term ends		Friday May 9	Friday May 9
University Commencement	Monday May 26	Monday May 26	Monday May 26

The President and Fellows of Yale University

President
Richard Charles Levin, B.A., B.LITT., PH.D.

Fellows
His Excellency the Governor of Connecticut, ex officio.
Her Honor the Lieutenant Governor of Connecticut, ex officio.
George Leonard Baker, Jr., B.A., M.B.A., Palo Alto, California.
Roland Whitney Betts, B.A., J.D., New York, New York (June 2005).
Benjamin Solomon Carson, Sr., B.A., M.D., West Friendship, Maryland (June 2003).
Gerhard Casper, LL.M., PH.D., Atherton, California.
Susan Crown, B.A., M.A., Chicago, Illinois.
Charles Daniel Ellis, B.A., M.B.A., PH.D., Greenwich, Connecticut.
Holcombe Tucker Green, Jr., B.A., LL.B., Atlanta, Georgia.
Maya Ying Lin, B.A., M.ARCH., D.F.A., New York, New York (June 2008).
Linda Anne Mason, B.A., M.B.A., Belmont, Massachusetts (June 2004).
The Rt. Rev. Victoria Matthews, B.A., M.DIV., Edmonton, Alberta, Canada.
Barrington Daniel Parker, Jr., B.A., LL.B., Stamford, Connecticut.
John Ennis Pepper, Jr., B.A., M.A., Cincinnati, Ohio.
Theodore Ping Shen, B.A., M.B.A., Brooklyn, New York (June 2007).
Janet Louise Yellen, B.A., PH.D., Berkeley, California (June 2006).

The Officers of Yale University

President
Richard Charles Levin, B.A., B.LITT., PH.D.

Provost
Alison Fettes Richard, M.A., PH.D.

Vice President and Secretary
Linda Koch Lorimer, B.A., J.D.

Vice President and General Counsel
Dorothy Kathryn Robinson, B.A., J.D.

Vice President for Development
Charles James Pagnam, B.A.

Vice President and Director of New Haven and State Affairs
Bruce Donald Alexander, B.A., J.D.

Vice President for Finance and Administration
Robert Loren Culver, B.A., M.A., M.P.A.

Institute of Sacred Music Administration and Faculty

Administration
Richard Charles Levin, B.A., B.LITT., PH.D., President of the University.
Alison Fettes Richard, M.A., PH.D., Provost of the University.
Margot E. Fassler, PH.D., Director of the Institute of Sacred Music.
Robert L. Blocker, D.M.A., The Lucy and Henry Moses Dean of Music.
Harold W. Attridge, M.A., PH.D., Dean of Yale University Divinity School.

Faculty Emeriti
Robert S. Baker, S.M.D., Professor Emeritus of Music.
John W. Cook, PH.D., Professor Emeritus of Religion and the Arts.
Aidan J. Kavanagh, O.S.B., PH.D., Professor Emeritus of Liturgics.

Faculty
Horace T. Allen, PH.D., Visiting Professor of Liturgical Studies.
Wesley D. Avram, PH.D., Stephen Merrell Clement-E. William Muehl Assistant Professor of Communications.
Marguerite L. Brooks, M.M., Associate Professor (Adjunct) of Choral Conducting, Chair of the Program in Choral Conducting, and Director of Choral Activities at the Institute of Sacred Music.
Margot E. Fassler, PH.D., Director of the Institute of Sacred Music and Robert S. Tangeman Professor of Music History.
Siobhán Garrigan, PH.D., Assistant Professor of Liturgical Studies and Assistant Dean for Chapel.
Martin Jean, A.MUS.D., Professor (Adjunct) of Organ.
Jaime Lara, PH.D., Assistant Professor of Christian Art and Architecture and Chair of the Program in Religion and the Arts.
Thomas Murray, B.A., Professor (Adjunct) of Organ, University Organist, and Chair of the Program in Organ.
William Porter, D.M.A., Lecturer in Organ Improvisation.
Lana Schwebel, PH.D., Assistant Professor of Religion and Literature.
Bryan D. Spinks, D.D., Professor of Liturgical Studies and Chair of the Program in Liturgical Studies.
James F. White, PH.D., Visiting Professor of Liturgical Studies.

Staff
V. Lynette Mitchell, Business and Facilities Manager; Administrator for Student Affairs.
Terese Cain, Audio/Visual Producer and Director.
Melissa Maier, Manager of Projects and Publications.
Gale Pollen, Senior Administrative Assistant.
Elizabeth Vieira, Secretary.

The Yale Institute of Sacred Music Past and Present

Psalm 21
"To the chiefe Musician a psalme of David"

1. Jehovah, in thy strength
the King shall joyfull bee;
and joy in thy salvation
how vehemently shall hee?
The Bay Psalm Book, 1640

David, the prototypical representative in the Judeo-Christian world of the church or synagogue musician, dominates the logo of the Institute of Sacred Music (ISM) at Yale University. David and the Psalms conventionally ascribed to him have been continually reshaped to suit linguistic needs, liturgical taste, and historical understanding. But no matter what the time or place, David has always been known as a singer who played and who wrote liturgical texts, the Psalms, which have formed the basic materials for Jewish and Christian worship throughout the centuries. The Institute's primary mission is to music students whose vocation is to conduct, play, and sing for the worshiping assembly, and to divinity students preparing for leadership roles in the churches, whether as lay people, as ordained clergy, or as scholars developing specialties in liturgy and the liturgical arts. As an independently endowed entity at Yale University, the Institute of Sacred Music provides generous financial support for those talented students who believe in the importance of interactive training for church musicians and clergy, a training fostering mutual respect and common understanding. David, if one stretches him a bit, stands for the many activities supported at Yale through the Institute.

Through its well-endowed mission to church musicians, the training for ministry, and the lives of the churches, the Institute has a unique position, not only at Yale, but in this country and in the world at large. At Yale, we link the resources of two extraordinary professional schools, the Yale School of Music and the Yale Divinity School. Institute students receive degrees in one or the other of these schools, and, if they elect to do so, joint degrees from both. The certificate additionally received from the Institute signifies that students have gained more than the training either school alone can offer. Students acquire a sense of the partnership between churches, and a working knowledge of the changing synthesis of music, text, ceremony, and liturgical space, which takes and has taken place in the assemblies of all faiths and denominations since their beginnings. Although the Institute is but thirty years old, its present position is possible because many persons understood the importance of a shared process of formation for ministers and musicians.

Sacred Music at Yale Before the Institute of Sacred Music
Timothy Dwight's Yale was, as it had been since 1701, a school for the training of Christian ministers. President from 1795 until 1817, he was a patriot who had been the chaplain of General Putnam's camp, a place commemorated more than one hundred years later in Charles Ives's Three Places in New England. Timothy Dwight believed that as much of the education of ministers took place in the chapel as in the classroom: his interest in sacred music was powerful (as was his voice), and he edited a collection of Watts's psalms for the Connecticut Congregational churches, appending a collection of 264 hymn texts, a number previously unheard of, in a service book for that denomination. He was an outstanding preacher and wrote a book of sermons, designed for use over the course of two years, for the Yale chapel. Perhaps he would have agreed with Thomas Troeger that the singing of hymns is one of the best ways to "knock loose the debris of verbosity that often clog a preacher's spiritual springs." The quotations from Psalm 21 above demonstrate the work of American psalmodists, like Timothy Dwight, from the Revolutionary period: the "king" of the Bay Psalm Book version has disappeared, and the emphasis is upon a group of rulers and community worship.

Although Yale began a separate department of divinity in 1821, the education of all undergraduates in Yale College continued to be shaped throughout the nineteenth century by the practices of earlier times: daily chapel services were mandatory, as was the Sunday service, which changed slowly from the six or seven hours in Timothy Dwight's time to a single morning service. Singing of hymns by all, and of anthems by a student choir, was regular practice, although the organ was forbidden until mid-century. In Gustave Stoeckel (1819–1907) Yale acquired an energetic organist, choirmaster, and leader of the Beethoven Glee Club, the forerunner of Yale's famed singing association. A church musician in his native Germany, Gustave Stoeckel taught both in the Yale Divinity School and in Yale College. He secured the funding for Yale's Department of Music, founded in 1890, and served as the first Battell Professor of Music. Formal study of music at Yale, which eventually led to the foundation of the Yale School of Music as a professional graduate school, and the continuation of the Department of Music within Arts and Sciences, entered Yale through the door of the chapel.

In the last decade of the nineteenth century, and throughout the early decades of the twentieth century, sacred music continued to have a presence at Yale, both in the Divinity School and in Yale College. Prior to the turn of the century, in 1895–96, the very year that Gustave Stoeckel's name no longer appeared on the faculty list of the Divinity School, church musician John Griggs gave a series of ten lectures at the Divinity School, and was accompanied by the undergraduate Charles Ives. The Divinity School continued to hire musicians to teach its students, while Horatio Parker and other teachers in the Department of Music taught some of their courses with divinity students in mind. Hymn playing and singing remained a part of the Divinity School curriculum, with Professor of Homiletics Henry Hallam Tweedy, himself an accomplished musician, as instructor in this subject. He was also the resident liturgiologist, and took professional interest in the history of Christian architecture. Henry Hallam Tweedy's role in instructing Divinity School students in liturgy, music, and the arts was part of a long tradition, to which the teaching of his contemporary, Charles Allen Dinsmore, who taught courses in religion and literature, also belonged. In the 1960s, sacred music disappeared for the first time in more than a hundred years from the Divinity School curriculum.

Meanwhile in New York City: the School of Sacred Music
Union Theological Seminary in New York City, like the Yale Divinity School, had a long tradition of offering musical instruction to its students. Three seminal figures, Henry Sloane Coffin, Union president from 1926 to 1945, Clarence Dickinson, who became professor of church music at Union in 1912, and his wife, Helen Snyder Dickinson, established the School of Sacred Music at Union in 1928. It would be difficult to overestimate the impact that the graduates of the school had upon American musical and religious life during the middle decades of the last century. Clarence Dickinson taught both organ and composition, and published collections of music and textbooks; Helen Dickinson taught liturgy and used the slide collections of New York libraries and museums to show her students how liturgy and architecture worked together in the Christian tradition and in other faiths as well.

School of Sacred Music graduates received the finest professional musical training available, with the musical riches of the city at their feet. The Dickinsons insisted that their students know and respect both Western European art and music, and the best of simpler traditions: the hymns, anthems, and monophonic chant repertories. In addition, musicians were taught the foundations of liturgical history and were required to take a small number of courses in the seminary. Seminary students simultaneously encountered music students through social interaction, and by having them in their classes and present and performing at common worship services. Church musicians and ministers—lifelong career partners—learned at Union how to understand each other better. In 1945, Hugh Porter became director of the School of Sacred Music; he was succeeded in 1960 by the distinguished organist Robert Baker, who also became the school's first dean in 1962–63.

Their successful experiment in sacred music at Union did not survive the political turmoil of the late 1960s: in the early 1970s, funding was withdrawn and the school was closed. Shortly thereafter, in 1973, Professor Baker, together with music historian Richard French, seminary chaplain Jeffery Rowthorn, and administrator Mina Belle Packer, migrated to Yale University to begin a similar venture: the Institute of Sacred Music. The new entity was endowed by Clementine Miller Tangeman, whose husband Robert had been professor of music history at Union before his untimely death in 1964, and by her brother J. Irwin Miller, Yale graduate, musician, and patron of the arts. Yale, the leading research university in the Northeast with professional schools of both music and divinity, seemed the ideal place to recreate the concepts and visions of the School of Sacred Music. In 1974 the first students were admitted to Yale through the Institute.

The Institute of Sacred Music Today
Under a series of directors and acting directors, Robert Baker, Jon Bailey, Aidan Kavanagh, John Cook, Harry Adams, Paul Marshall, Margot Fassler, and Bryan Spinks, the Institute has grown to thirteen resident and visiting faculty and sixty students in residence, with its own building at the Yale Divinity School, and the responsibility for four programs—two in the Yale School of Music and two in the Yale Divinity School.

The Institute of Sacred Music and the Yale School of Music
A major role of the Institute at Yale is to support programs in choral conducting and in organ performance within the Yale School of Music. Beyond funding faculty positions in these areas, the Institute also offers generous financial aid packages to all ISM students matriculating in them, and administers highly competitive prizes named for professors emeriti Robert Baker (in organ) and Richard French (in choral conducting). The young composer with a serious interest in writing sacred music and music for specific liturgical traditions is also occasionally supported by the Institute. To enhance the curricular offerings and showcase the talents of its faculty and students, as well as Yale's extraordinary organs, the Institute funds the Yale Camerata and sponsors major activities for young organists.

Institute faculty and students concentrate on the music of the churches through performance and through repertorial, analytical, and historical studies. As both performers and scholars, our faculty and students form a bridge between the School of Music and the Department of Music and are committed to demonstrating the connection of music with culture, liturgy, and religious thought. The repertories studied are of two broad types: (1) cantatorial and congregational song; and (2) Western art-music, including masses, motets, oratorios, and organ repertory in all styles and from all periods. The Institute also encourages serious study of music from other faiths and non-Western traditions.

At a time when the state of music in churches and synagogues pleads for various kinds of well-informed change, it is crucial that talented students who have vocations in sacred music be prepared for challenges both musical and theological. These students must have the finest musical training; they must also argue persuasively for music of authority, knowing enough of liturgical and church history, and of theology, to do so. Thus, although the Institute's choral conducting and organ performance majors are fully enrolled in the School of Music, they are encouraged to elect courses in liturgics, theology, biblical study, and religion and the arts.

In its broadest sense, the Institute of Sacred Music's presence at the heart of a major school of music is a reminder that secular repertories—from madrigals and opera to chamber music and symphonies—were brought to their first heights by musicians trained in the churches, and that composers make frequent and conscious returns to the traditions of liturgical music. Mendelssohn's resurrection of Bach's choral works; Brahms's patient studies and editions of medieval and Renaissance repertories; Stravinsky's use of Russian Orthodox chant in his Mass; Ives's deeply religious "secular" works: all reclaim the musical materials of congregational song. The Institute thus upholds the importance of the churches and religious institutions for the teaching and preservation of great musical repertories, whether simple or complicated, music of the past or contemporary compositions, the concert mass, fugue, hymn tune, or psalm setting.

The Institute of Sacred Music and the Yale Divinity School
As the direct descendant of the School of Sacred Music at Union Seminary, the Institute is deeply committed to its affiliation with the Yale Divinity School. Institute faculty affiliated with the Divinity School are concerned with the history and present life of the churches, and especially with worshiping congregations in a broad spectrum of Western Christian denominations, as well as Judaism and Eastern Christianity. The Program in Liturgical Studies at the Divinity School is fully funded by the Institute, and provides faculty who are historians of liturgical texts, music, and ceremony, but who are also keenly interested in and knowledgeable about the worship of the contemporary churches. The Program in Religion and the Arts has two full-time faculty positions, one in Religion and Literature and one in Religion and the Visual Arts, with an emphasis upon architectural history. Students at the Divinity School can matriculate through the Institute with concentrations in either of these two programs.

Institute/Divinity faculty focus on four broad subject areas: the Bible in liturgy and religious art; hymnology; the history of Christian denominations; and theology, politics, and the arts. These subject areas intersect with and augment the work of colleagues in other disciplines at the Divinity School. Thus, students at the Institute learn through programs at the Divinity School how canonical texts have gone forth to the assembly, and how, from patristic times to the present, these texts have been learned and reinterpreted by the worshiping community. Classes at the Divinity School in liturgical subjects, including music history, religious poetry and drama, iconography, and architectural history, stress encounters with primary source materials, manuscript and archival study, as well as trips to museums, galleries, and architectural sites. All are possible through Yale's great libraries and collections, the many historic churches in the region, and New Haven's proximity to New York City.

Students at the Institute also participate in daily worship at the Divinity School's Marquand Chapel, affording practical opportunities to learn about the dynamics of the worshiping assembly, and about presiding, musical repertory, church architecture and decoration, and liturgy. In turn, the interdisciplinary mix of the Institute's faculty and students lends a unique dimension to theological education at the Divinity School.

The Common Experience
Students at the Yale Institute of Sacred Music and either professional school, Divinity or Music, have many unparalleled opportunities for interdisciplinary exchange: through Colloquium, in which all Institute students enroll, and through other opportunities including faculty-led study tours open to all. The ISM study tour in 2002–2003 will be to southern France and northern Spain. In May, all ISM students and faculty will have the opportunity to visit some of the great cathedrals, monasteries, and universities of the area to experience firsthand their magnificent heritage of art and architecture; organists will have a unique opportunity to perform on historic instruments. The region is especially rich in medieval treasures of sacred art and culture. Students enrolled in the Institute often receive partial scholarships for these tours.

Next: Degrees & Programs of Study