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Home , Alessandro Striggio, Janet Cardiff, Madrigal (ensemble), Motet, Spem in alium, Thomas Tallis

presents:

Janet Cardiff Forty-Part Organized by the National Gallery of

Teachers' Guide Written by Alex Eddington

This innovative undertaking by the Toronto Consort has been generously supported by the Metcalf Foundation under its Strategic Initiatives Program. Table of Contents

Part 1: Introduction to the Project

Forty-Part Motet and related workshops ...... 1 Where and When ...... 2 Workshop/installation schedule ...... 2 How to get the most out of 's Forty-Part Motet ...... 3 Some important things to remember...... 4 About the Toronto Consort...... 5 Toronto Consort: Education Concerts...... 6

Part 2: Frequently Asked Questions

What is the sound installation Forty-Part Motet? ...... 8 How does Janet Cardiff describe Forty-Part Motet? ...... 9 Who are the voices of Forty-Part Motet? ...... 9 How long is Forty-Part Motet? ...... 9 What will Forty-Part Motet sound like? ...... 10 Where has Forty-Part Motet been presented? ...... 10 Who is Janet Cardiff? What are some of her other works of art? ...... 11 Who was ? ...... 12 What is ?...... 13 Why did Thomas Tallis compose a 40-voice motet?...... 13 What iss a motet? ...... 14 What is polyphonic music? What is ? ...... 14 What is imitative counterpoint? ...... 15 What do the words “Spem in alium” mean? ...... 15 Does anyone still perform the motet Spem in alium? How difficult is it to sing? ...... 16 What are some notable recordings of Spem in alium? ...... 16 What is the legacy of Tallis' other music? ...... 17 Did any other composers write pieces with 40 (or more) parts? ...... 17

Part 3: Classroom Activities

Activity 1: Music for a Grand Occasion ...... 19 Activity 2: Letter to a Duke ...... 21 Activity 3: Instant ...... 23 Activity 4: Forty-Part Soundscape ...... 25 Part 4: Connections to the Curriculum

Grade 7 Music ...... 28 Grade 8 Music ...... 28 Grade 9 Music (Open) ...... 29 Grade 10 Music (Open) ...... 29 Grade 11 Music (University/College Preparation) ...... 30 Grade 11 Music (Open) ...... 31 Grade 12 Music (Workplace Preparation) ...... 31 Grade 12 Music (University/College Preparation) ...... 32

Part 5: Online Resources

Janet Cardiff and Forty-Part Motet ...... 33 Thomas Tallis and Spem in alium ...... 33 Ensembles and festivals ...... 34 The at St. James's Palace ...... 34 Music ...... 34 Life and culture (including music) in Elizabethan ...... 34 The Toronto Consort ...... 34 Part 1 Introduction to the Project

Forty-Part Motet and related workshops

In September and October 2012, the Toronto Consort will present Janet Cardiff's Forty-Part Motet, organized by the National Gallery of Canada. This unique sound installation will be running in the gymnasium of Trinity-St. Paul's United Church during Scotiabank Nuit Blanche.

As a part of this project, we are also offering two different workshops to students in the Greater Toronto Area, free of charge.

1. We are pleased to offer a workshop and installation experience to school groups at Trinity-St. Paul's on October 1 and 2, 2012. This 60-minute hands-on workshop is available to Grade 7 to 12 students. The workshop will be general in nature, appropriate for students of music, visual art, drama, history, media studies, and other subjects.

2. From October to December, we offer in-school, performance-based workshops in . These are aimed at music students in Grade 7 to 12, in any performance discipline: vocal, strings, band, guitar, or keyboard. Toronto Consort musicians will come to your school to work with a music class or ensemble, either on repertoire that teachers have previously selected, or on repertoire that we bring. The workshop can be adapted to any level of experience.

This teachers' guide is aimed primarily at school groups who will attend the first workshop: the workshop/installation experience at Trinity-St. Paul's.

This innovative undertaking by the Toronto Consort has been generously supported by the Metcalf Foundation under its Strategic Initiatives Program.

For more information about the workshops being offered, and to register your school group, please contact Alex at (647) 448-0071.

1 Where and When

The Forty-Part Motet workshop/installation experience will take place at Trinity-St. Paul's United Church.

The church is located at 427 Bloor Street West: at the corner of Bloor St. and Robert St., one block west of Spadina.

You will enter through the doors on the north-east corner of the church, at Robert St. A volunteer will meet you at the Robert Street doors.

Please plan to arrive at least 15 minutes ahead of your scheduled workshop start time. Our workshops are tightly scheduled so we serve the maximum number of student groups.

Entering through this door involves climbing a small number of stairs; please inform us and/or the volunteer on duty if anyone in your group requires an accessible entrance.

Workshop/installation schedule

The total length of the workshop/installation experience is approximately 60 minutes.

We are using several rooms in Trinity-St. Paul's United Church so that we can have a new group arrive every 30 minutes.

Schedule:

25 minutes Hands-on introductory workshop on Renaissance music. This will be general – aimed at all students with any (or no) level of musical training. (in the Sanctuary) 5 minutes Move to Chapel. 10 minutes Introduction to Forty-Part Motet – Janet Cardiff's installation: the technology, the music, and how to get the most out of it (in the Chapel) 15 minutes Forty-Part Motet installation experience (in the Gymnasium) 5 minutes Q+A (in the Chapel)

2 How to get the most out of Janet Cardiff's Forty-Part Motet

Feel free to move around the room, stopping anywhere you want, listening to the music in any way you choose – this is what the artist intended!

Here are some suggestions for how to get the most out of Forty-Part Motet. Obviously you can't do all of these in 15 minutes, so make some basic decisions ahead of time about how you might spend your time in the installation:

• Follow the music with your feet. If something you hear catches your attention, walk toward it. When you want to hear something else – move. Please always move slowly and carefully.

• Change your distance. Listen up close to one loudspeaker. Step back a bit and listen to a group of speakers. Go to the middle of the room and listen to the sound blending in your ears. Compare these different experiences.

• Make friends with a singer. Spend a few minutes listening to only one loudspeaker. What is that singer's contribution to the whole piece? What is their voice like? Walk back to the centre of the room. Can you pick your favourite singer's voice out of a 40-voice mass texture?

• Spot the imitation. Like many Renaissance composers, Thomas Tallis used imitative counterpoint in his music. Listen for rhythms and melodies that are imitated between voices – this can be a challenge when 40 voices are singing (see “What is Imitative Counterpoint?” on Page 15). Try literally following the imitation by walking around the room.

• Ride the chord changes. Tallis composed this piece in blocks of harmony. Sometimes you'll hear one chord for a long time, and then the music will suddenly change harmonies. Stand in one place, focussing on the harmony. When the chord changes, change your position in the room.

• Visualize . As you listen to the music, notice what images or colours come to mind. Do they stay the same or do they change? Are the changes gradual or sudden? Try to remember so you can compare your experience with others.

• Describe . Try to put your experience of the installation into words. Bring a notebook with you and write down any words or phrases that come to mind. You don't need to make sense of them. Later, compare what you wrote with others.

• Do some research . This guide contains a lot of information about artist Janet Cardiff, composer Thomas Tallis, Renaissance music and so on – but that is just a starting point. At the end of this guide you will find a list of resources to explore. Get to know the piece Spem in alium by listening to recordings online. Take a look at Janet Cardiff's website to learn about her other work. The more context you have coming in, the more you'll get out of Forty-Part Motet.

3 Some important things to remember

• Don't touch the equipment. Forty-Part Motet involves a lot of expensive speakers, cables, and audio technology. You can look at all of it, even up close – the technology is part of the artistic experience. But if you touch anything, you will be asked to leave by security personnel.

• Look around. It's okay to listen with your eyes closed when you're standing still. In fact, that's a great way to focus on the sound. But to avoid collisions with other people, keep your eyes open as you move around the installation room.

• Move slowly. There will be up to 50 other people in the installation room with you. Please be considerate and safe: always walk slowly and carefully. Running is not allowed.

• Listen silently : It is tempting to talk with friends about what you are experiencing. Please respect the other people in the room: save your comments for afterward. It's okay to take notes!

• Park your phone : Please make sure that your cell phone is on silent mode – even vibrating phones can disturb other people. Put your phone away while you are visiting the installation.

• Finally, please note that photography and audio recording are NOT allowed in the Forty-Part Motet installation.

4 About the Toronto Consort

"Toronto should count its blessings that it has an ensemble like the Consort to expose it to the masterpieces of . From soloists to musicians to conductor David Fallis, this was early music-making at its very best." —Toronto Star

Since its founding in 1972, the Toronto Consort has become internationally recognized for its excellence in the performance of medieval, renaissance and early music. Some of Canada’s leading early music specialists have come together to form the Toronto Consort whose members include both singers and instrumentalists (, recorder, guitar, , early keyboards and percussion).

The Toronto Consort: (top row) David Fallis, Alison Melville, Michelle DeBoer, Each year The Toronto Consort offers a John Pepper, Paul Jenkins. subscription series in Toronto. These (bottom row) Katherine Hill, Terry McKenna, Laura Pudwell, concerts are constantly exploring new Ben Grossman. repertoires and new ways to bring early Photo Credit: Paul Orenstein music to the modern audience. The Consort often works in collaboration with other artists, such as actors, dancers and visual artists, to produce concerts which have dramatic as well as musical appeal. Many of the Consort’s most successful Toronto programs have been taken on tour across Canada, the United States and Europe.

The Toronto Consort is heard frequently on Canadian and international radio and television and has appeared with the Toronto Symphony Orchestra and the Montreal Symphony Orchestra as well as the North German Radio Orchestra. Its many recordings include the Praetorius Christmas Vespers, The DaVinci Collection, The Queen: Music for , The Way of the Pilgrim, Mariners and Milkmaids, The Little Barley-Corne, Nowell Sing We, the Juno-nominated Full Well She Sang, Orlando di Lasso: and , and O Lusty May.

Unusual for an early music ensemble, but further evidence of the Consort’s versatility and virtuosity, is its contemporary repertoire. Canadian composers such as John Beckwith, Lothar Klein and David Keane have written pieces especially for The Toronto Consort. The Toronto Consort recorded the soundtrack for Atom Egoyan’s award-winning film The Sweet Hereafter.

Visit the Toronto Consort online at www.TorontoConsort.org

5 Toronto Consort: Education Concerts

The Toronto Consort offers an extensive Student Education Project designed for students of high school age. The programs are presented at Trinity-St. Paul's Centre in Toronto. Three unique educational opportunities are offered:

1) Shakespeare's Songbook brings alive the kinds of music which would have been heard by William Shakespeare in Renaissance England. Based on researches in the field, this 50-minute concert/lecture uses the songs and dances of Shakespeare's plays as a way of introducing high school students to the wonderful world of Elizabethan music.

With music for fools, fairies and Falstaff, students hear and are introduced to ballads, recorder and hurdy-gurdy improvisations, fantasias and a capella vocal works. A great way to increase understanding of William Shakespeare, and to be introduced to an unforgettable musical world!

2) An Introduction to is a wonderful way to introduce students to the unusual world of medieval music. The 50-minute program is devised as a pilgrimage, just as it might have happened in medieval Europe in the early 13th century.

First stop is Paris, where we hear the cries of street vendors, listen to itinerant students singing the original Carmina Burana, and take part in lively instrumental dances. As we travel through Students learn about the Medieval hurdy-gurdy France we encounter a group of knights on their way to the Crusades, and hear their songs and stories. Finally we reach Spain where we are joined by throngs of pilgrims singing cantigas and dancing. Throughout, students are introduced to medieval instruments and their unique sounds.

3) The Marco Polo Project is a creative re-imagining of the extraordinary music the 13th-century Venetian explorer might have heard on his travels.

The impetus for this 50-minute education concert came from the fact that students in Toronto today come from all around the world, and represent a wide range of cultures and musical backgrounds. The Consort wanted a way to connect early music with these other musical traditions. Marco Polo is a perfect vehicle, because he travelled so extensively through the middle East and southern to China. This education concert follows Marco Polo’s travels, with an emphasis on the instruments and the singing style of the different cultures he might have encountered on his journey.

6 Students hear examples of Chinese musical styles and instruments and traditional Georgian music, which features incredible vocal gymnastics, including nimble counterpoint and strident dissonant chord tunings. Around these pieces from Georgia and China, the Toronto Consort plays examples of the lively dances and haunting laude (Italian spiritual songs) which would have been known by Marco Polo and his family.

The Student Education Project is designed for secondary school students, to introduce them to the rich musical and cultural heritage of the , Renaissance and early Baroque periods. These programs complement studies in many areas including English, Music, Modern Languages, Performing Arts, and History.

Find out more and download teachers' guides at www.TorontoConsort.org/education/education.html

For more information on the programs, dates of presentation, and bookings, please call Lisa at 416-966-1045.

Toronto Consort singers in rehearsal with conductor David Fallis

7 Part 2 Frequently Asked Questions

Q: What is the sound installation Forty-Part Motet?

A: Janet Cardiff's sound installation Forty-Part Motet (2001) transforms the experience of listening to Thomas Tallis' masterpiece of music, the 40-voice motet Spem in alium (see “What is Spem in alium?” on page 13).

40 loudspeakers are arranged around a room, each one playing a recording of one voice in Tallis' piece. The recordings are carefully synchronized. The speakers are on stands set at human head height, and are arranged in 8 groups of 5: the same way that Tallis arranged the parts into 8 in his score. However, the spacing of the speakers is wider than a would stand, and the audience is completely surrounded by an oval of constantly shifting sound. Forty-Part Motet at MoMA in

Cardiff's installation allows you to experience Thomas Tallis' choral piece Spem in alium in any way you choose.

With the option to “sample” any loudspeaker at any time (by moving closer to it), you can listen to one voice, or to the harmonies created by a group of voices. If you stand in the middle of the room, the voices blend into a mass of sound. By moving around the room, you create your own unique experience and build a personal connection with the music.

For suggestions of ways to frame your Forty-Part Motet experience, see Page 3.

Forty-Part Motet is in the permanent collection of the National Gallery of Canada. It won the National Gallery's Millennium Prize in 2001.

8 Q: How does Janet Cardiff describe Forty-Part Motet?

A:"While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. As well I am interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.

I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”

—Janet Cardiff, www.cardiffmiller.com

Q: Who are the voices of Forty-Part Motet?

A: Cardiff worked with the Salisbury Cathedral Choir, recording one voice at a time. This means that the entire piece only comes together when the installation is heard – in the ear of the listener.

Janet Cardiff

Choir Recording

Photo: Hugo Gledinning

Q: How long is Forty-Part Motet?

A: The entire installation is about 14 minutes, on a continuous loop. The “intermission” section that sounds like a rehearsal is 3 minutes, and the performance of Thomas Tallis' Spem in alium lasts 11 minutes.

9 Q: What will Forty-Part Motet sound like?

A: The installation is on a 14-minute loop. Most of the time you will hear Thomas Tallis' motet Spem in alium. Because the loudspeakers are distributed all around the audience, you will hear the music travel around you as the music is handed between the 40 individual voices and the 8 choirs. Listen for rhythms and melodies that are imitated between voices – an example of the imitative counterpoint frequently used by Renaissance composers (see page 15). Occasionally all 40 voices sing together – View of Janet Cardiff's Forty-Part Motet, 2001, 40-track audio installation, 14 minutes in duration; at the Rideau sometimes for short bursts, sometimes for Chapel, National Gallery of Canada, . sustained sections.

When the installation loops around, there is a short section (the “intermission”) that sounds like people gathering for a rehearsal. Janet Cardiff recorded singers chatting and discussing the music, as well as some directions and encouragement by the choir's conductor. You will hear this at some point before the music of Spem in alium repeats.

Q: Where has Forty-Part Motet been presented?

A: The world premiere was in 2001 at the Salisbury Cathedral Cloisters, UK. Since then, Forty-Part Motet has been presented in galleries, chapels and other spaces in Austria, Finland, France, Korea, Japan, Spain, Sweden, Switzerland, and Canada: including Montreal, Edmonton, and the Power Plant Gallery in Toronto.

Before coming to Toronto for Scotiabank Nuit Blanche in September 2012, the installation was presented at MoMA in New York City.

There are two complete sets of the installation equipment (40 speakers, stands, cables, audio equipment, computer) that tour the world. One is in the permanent collection of the National Gallery of Canada, and the other is in Janet Cardiff's own collection.

Believe it or not, all of the equipment for Forty-Part Motet fits into three shipping crates.

10 Q: Who is Janet Cardiff? What are some of her other works of art?

A: Canadian artist Janet Cardiff was born in Brussels, Ontario, in 1957. She studied art at both Queen's University in Kingston, and the . She creates artwork in a variety of media, including video, audio, and installations. Much of her work is audio-based.

In 1995 she began creating audio “walks” where participants, wearing earphones, are guided by Cardiff's voice along a route through an outdoor site. The audio intercuts gentle imperative directions (e.g. “Turn right. ... Go up the stairs.”) with disconnected fragments of stories, and ambient sounds that may or may not relate to what the viewer is experiencing. Much of Cardiff's art aims to dislocate the viewer/participant, bringing them to a place where fiction and reality meet.

Janet Cardiff currently lives and works with her partner George Bures Miller (b. 1960) in , . Cardiff and Bures Miller together represented Canada at the 49th Venice Biennale (2001), one of the pre-eminent art exhibitions in the world. At the Biennale they premiered The Paradise Institute, in which the audience enters a small movie theatre and becomes involved in a crime happening both on- and off-screen.

Some of Cardiff's other work (both alone and with Bures Miller) includes the 98-speaker sound installation A Murder of Crows, a house made out of antique books, and Ship o' Fools (which premiered in Toronto at the 2010 Luminato Festival), in which the hull of a small boat is filled with musical instruments that play themselves.

You can learn more about the work of Janet Cardiff and her partner George Bures Miller at www.cardiffmiller.com

Janet Cardiff and George Bures Miller. Photographed in Grindrod, Photo: Zev Tiefenbach

11 Q: Who was Thomas Tallis?

A: Thomas Tallis was the composer of Spem in alium, the 40-part motet used by Janet Cardiff in her sound installation Forty-Part Motet.

Tallis was a composer and organist who lived during the English Renaissance: from about 1505 to 1585. Tallis lived and worked during a period of great change in the English religious and political landscape, and was able to embrace the corresponding changes to the style of music he was required to compose.

While his first positions were in the church – including an important post at Cathedral – Tallis spent most of his life working in the English royal court as a Gentleman of the Chapel Royal at St. James's Palace. He worked there under four English monarchs: King Thomas Tallis Henry VIII, King Edward VI, Queen Mary, and Queen Elizabeth I. Tallis was one of the first people to write music for the brand new Church of England.

Tallis' duties at the Chapel Royal would have included composing vocal , playing organ for religious services, and teaching keyboarding and composition to the boys who sang in the chapel choir. One of the choir members was , who became another important composer of the English Renaissance through Tallis' tutoring. Byrd and Tallis eventually became colleagues, working together in the Chapel Royal.

In 1575, Queen Elizabeth I granted Tallis and Byrd exclusive rights to print and publish music for 21 years. Later the same year, Byrd and Tallis published Cantiones sacrae (“sacred songs”): 17 polyphonic vocal , perhaps in honour of the Queen's 17th year as sovereign.

The friendship between Tallis and Byrd might also be partly explained by the fact that both men were likely practicing Catholics William Byrd during a period when the Catholics of England were oppressed. However, as members of the Chapel Royal they received privileges that would not have been available to other people of their faith.

Even in his old age, Tallis continued to develop his musical style and give himself new compositional challenges. It was in the last years of his life that he composed his masterpiece: Spem in alium, a motet in 40 parts.

12 Q: What is Spem in alium?

A: Spem in alium is Thomas Tallis' best-known piece of music. It is considered a masterpiece of Renaissance polyphonic vocal music (see page 14). It is also one of the most dense and complex pieces of vocal music ever written, with 40 independent vocal parts.

The 40 parts of Spem in alium are grouped into 8 choirs of 5 voices each. The piece is often performed with the 8 choirs separated in space – even surrounding the audience, like the loudspeakers in Janet Cardiff's sound installation.

Not all the parts sound at once: the music passes between choirs, and solo voices are heard. The full ensemble only sings together in 35 out of 183 bars (about one-fifth of the piece) and these tutti sections sometimes only last for a couple of bars at a time.

Throughout the piece you can hear a style called imitative counterpoint (see page 15), in which the voices imitate each other and musical motives jump from part to part. Chapel Royal, St. James's Palace

Q: Why did Thomas Tallis compose a 40-voice motet?

A: Tallis may have been inspired by the Italian composer (c. 1536-1592), who visited London in 1567. Striggio brought singers to perform a 40-voice vocal piece (one movement was for 60 voices!) for the English royal court. It is said that a Duke (possibly Thomas Howard, the 4th Duke of Norfolk) then challenged Tallis to write his own 40-part work, to prove that the English could do as well or better than this Italian composer. It is said that upon hearing the premiere of Spem in alium, the Duke presented Tallis with the gold chain from around his neck.

No one is certain of the circumstances of the first performance. Spem in alium may have been composed to mark the occasion of the Duke's release from prison in 1570. The Duke's country house, , had an octagonal banquet hall with four balconies, which could explain Tallis' decision to compose a piece for 8 choirs. In the Duke's hall, Tallis could surround his audience with music.

Some historians believe that Tallis actually composed Spem in alium in honour of Elizabeth's 40th anniversary as Queen, in 1573.

Either way, it is definitely music for a grand occasion.

13 Q: What is a motet?

A: Motets are a form of vocal music that evolved over 400 years, from the 13th to 18th centuries. The texts were usually sacred, often from the Bible; the music was generally for voices singing : without instrumental .

The medieval motet began in France. Composers would take an existing plainchant tune (a piece of Gregorian from earlier Medieval church music), and use it as a (“fixed song”). While the cantus firmus moved along slowly in long note values, they would compose faster-moving original music flowing over top. There were usually three parts in counterpoint, sometimes all moving at different speeds due to different note lengths. Composers started to use different texts simultaneously: sacred texts (from the original plainchant) in the slow cantus firmus, and different French texts in the faster parts. Sometimes these other texts were secular – even profane! Not only was the religious text in the cantus firmus part obscured by moving so slowly, but the other parts could even contradict its message.

Eventually, the church cracked down on complex, polytextual motets (i.e. with several different texts at once). During the Renaissance, the style of motets changed: they had only one text, the number of parts increased to 4-6, and the plainchant cantus firmus was dropped in favour of all parts having original music. Composers in this period were interested in having the voices share material in imitative counterpoint (see page 15) rather than treating them as separate ideas.

The style had also become international. In , Palestrina composed over 180 Latin motets for the . In central Europe, J.S. Bach composed motets in the German language. In England, the popularity of motets had risen, as with their non-religious counterpart: the .

Most Renaissance motets had 4 to 6 independent vocal parts: Spem in alium has 40!

Q: What is polyphonic music? What is counterpoint?

A: Polyphonic music is composed for multiple voices heard simultaneously: in counterpoint (as opposed to monophonic music, which has a single melodic line). The word counterpoint comes from the Latin phrase punctus contra punctum, which means “note against note”.

Composers use counterpoint to create polyphonic music driven by intertwined melodies. The composer's challenge is to create natural-sounding melodies that combine to create good harmony: a convincing progression of chords.

Most of the time composers create counterpoint with fewer that 5 independent parts. Spem in alium has 8 times that many: 40 independent parts! To keep things clear for the listener, Thomas Tallis chose to write vocal melodies that move within very clear harmonic blocks.

14 Q: What is imitative counterpoint?

A: I mitation occurs when musical material (a melody, a motive, a rhythm) is passed between different musical parts (voices or instruments). A simple example of musical imitation is the round. In the famous round “Row Your Boat,” each voice sings the same song, but they start one at a time and the song fits with itself in harmony. A slightly more complex form of imitation is a canon, where voices sometimes imitate each other starting on different degrees of the scale, or even in different keys. Even more complex is the , a form of piece structured around imitation.

In Renaissance vocal music, imitation was part of the composer's art. Rather than being a strict imitation of a complete melody or theme (like in a canon or a fugue), the Renaissance style of imitation involves shorter fragments of material that is passed around more freely.

Spem in alium contains many examples of imitative counterpoint, but they can be hard to hear in the tutti sections where most or all 40 voices are singing at once. You can hear it in the more intimately scored sections, where the voices sing in smaller groups and you can hear individual lines.

Thomas Tallis also wrote a famous canon tune called, appropriately, Tallis' Canon. (see “What is the legacy of Tallis' other music?” on page 17.)

Q: What do the words “Spem in alium” mean?

A: The text of Tallis' famous motet was adapted from the in the Bible. The original Latin text below was (and still is) used as a regular part of the Catholic liturgy, as a reading on a certain day of the year.

LATIN original ENGLISH translation Spem in alium nunquam habui praeter in te I have never put my hope in any other but in You, Deus Israel O God of Israel qui irasceris who can show both anger et propitius eris and graciousness, et omnia peccata hominum in tribulatione dimittis and who absolves all the sins of suffering man Domine Deus Lord God, Creator coeli et terrae Creator of Heaven and Earth respice humilitatem nostram be mindful of our lowliness

15 Q: Does anyone still perform the motet Spem in alium? How difficult is it to sing?

A: Spem in alium is performed surprisingly often, considering it takes a minimum of 40 singers and a lot of rehearsal time to put it together. It is often performed with more than one singer on a part, but even then it is a major undertaking, particularly for an amateur choir.

Because there are so many parts happening at once, and because the piece is often performed with the 8 choirs spread out in a horseshoe or circle surrounding the audience, it needs to be performed with the aid of a clear conductor that all singers can see.

On June 10, 2006, the British Broadcasting Corporation organized the largest-ever performance of the piece – involving more than 700 singers.

Spem in alium is sometimes performed as a 40th anniversary celebration.

The Toronto Consort will be doing exactly that in their concert on October 19 and 20, 2012 – which will mark the beginning of their 40th concert season.

Spem in alium wasn't performed very frequently during Tallis' lifetime, but it was sung at ceremonies to crown two Princes of Wales. New lyrics were composed for these occasions (which is called creating a contrafactum).

Q: What are some notable recordings of Spem in alium?

A: The piece has been recorded by many choirs. One excellent recording is by of England.

There is a complete recording of the Tallis Scholars singing Spem in alium on Youtube.

However, some recordings are a bit more unique. The male a cappella sextet the King's Singers recorded the piece by multi-track recording their six voices. The Kronos string quartet recorded an instrumental version through multi-tracking on their album Black Angels. British musician Peter Gregson even recorded all of the parts alone, on solo 'cello!

16 Q: What is the legacy of Tallis' other music?

A: 20th-century British composer composed Fantasia on a Theme by Thomas Tallis for string orchestra in 1910. The theme that this piece uses is the “third mode melody” that Tallis had composed for . In the structure of his piece, Vaughan Williams also alludes to the Fantasy, a musical form that was popular among Elizabethan composers like Tallis. Vaughan Williams' Fantasia is one of the most popular pieces of in existence, and has appeared in several films including Mel Gibson's The Passion of the Christ.

Some of Tallis' other music also lives on through Hollywood movies – although the route there is not always straight-forward. “Tallis' Canon” became a widely-used hymn tune in many Christian denominations. Later, the 16th-century tune was used by the 20th-century composer Benjamin Britten in the climactic scene of his children's opera Noye's Fludde (the story of Noah and the Ark)... which was recently used in the soundtrack to director Wes Anderson's quirky 2012 film Moonrise Kingdom.

Of course, Tallis' name lives on through the Tallis Festival (see below), and choirs like the Tallis Scholars in England and Toronto's own Tallis Choir.

Q: Did any other composers write pieces with 40 (or more) parts?

A: Renaissance Italian composer Alessandro Striggio wrote a choral Mass setting with 40 parts – even 60 parts in one movement! It was after hearing that piece that Tallis wrote Spem in alium. (For the full story, see “Why did Thomas Tallis compose a 40-voice motet?” on page 13.)

Some modern composers have also been inspired by Tallis' 40-voice motet. The Tallis Festival, based in London England, has commissioned composers Jaako Mäntyjärvi (in 2006) and Peter McGarr (in 2007) to compose choral pieces with 40 parts. In 1998, English composer Giles Swayne composed The Silent Land for 40 voices (including 8 solo singers) and solo 'cello.

17 Part 3 Classroom Activities

While it may be preferable to use these activities before experiencing Janet Cardiff's Forty- Part Motet installation, as a way of giving context to that event, they can equally be used after students have already attended the installation/workshop on October 1 or 2.

These activities are not only for music students, but can be adapted to students of visual art, media studies, history, etc. Please see the Extensions to each activity for some ideas on how to adapt them. These are just starting points for an exploration of the context of Thomas Tallis' Spem in alium and Janet Cardiff's Forty-Part Motet.

Music by Thomas Tallis – in original Renaissance notation

18 Activity 1: Music for a Grand Occasion

Lesson Focus: In two parts: 1) Imagining and describing the qualities of a piece of music written for a celebratory occasion. 2) Listening to Spem in alium by Thomas Tallis and responding.

Grade: 7 to 12 Subject: Music, or any (see Extensions)

Groupings: Individual/pairs

Materials: paper and pens; recording of Spem in alium (the Tallis Scholars' recording is available for free on Youtube)

Time Required: 60 minutes (or 2 sessions of 30 minutes)

Procedure:

• Read students the following prompt (and/or print it out):

Imagine that you are a composer living in Renaissance England, and working in the Chapel Royal. You have been asked to create a piece of choral music in honour of the 40th birthday of your employer, Queen Elizabeth I. The birthday celebrations will be a grand occasion, held in an enormous hall with many balconies. What are some of the qualities of the music you would write?...

• Working alone, students take several minutes to write an answer the following questions in as much detail as possible. Point form is encouraged. They don't have to answer every question: they just need to be as descriptive as they can.

(The following question prompts can be simplified, elaborated, and altered based on the students' grade and knowledge of music:)

◦ Would it be slow? Fast? Somewhere in between? ◦ How many voices would you write for? ◦ Would you use instruments? Which ones? ◦ Would there be soloists? ◦ What kind of text would you use? ◦ Will the voices all sing the text at the same time, or will they pass it around? ◦ Will the music be mostly homophonic (everyone singing together, in the same rhythm) or polyphonic (everyone singing different melodies/rhythms)?

19 ◦ What mood(s) will the piece have? How will the music convey these moods? ◦ How long would the piece be? Would it be divided into sections (movements), or would it be one continuous piece?

• Now, working in pairs: students take a couple of minutes to compare their planned piece with that of their partner. • (optional: the teacher asks each person to share 1 or 2 qualities of the piece their partner would write for the occasion.)

(The following can be done either immediately, or the next class period:)

• Listen to Spem in alium by Thomas Tallis. This was a piece of Renaissance English choral music, possibly written for the occasion of Queen Elizabeth's 40th birthday. • Working with the same partner, students answer the same questions about Tallis' music as they did before (above). They should also note where Tallis' compositional decisions were similar to their own, and where they were different.

Variations: • This activity is possible for a non-music class. Change the emphasis of the question prompts so that they are less about the elements of music, and more generally descriptive – but still focussed on choices in the creative process. • Another idea for any subject: the emphasis of the entire activity can be re-focussed onto the event itself. Start by listening to the music, after telling students that this is music composed for an important occasion. Working alone or in pairs, have students imagine what occasion the music might have been created for. Have them answer specific questions, such as: ◦ What is being marked, celebrated, or commemorated by the occasion? ◦ What place is it held in? How is that place decorated? ◦ Who is attending? Are there any specific people who would be there? ◦ How large is the crowd? ◦ How are people dressed? ◦ Are there speeches? What words/phrases/ideas would come up in these speeches? ◦ What is the mood of the occasion?

Extensions:

• This activity could lead into Activity 3: Instant Polyphony: ◦ 2 or 3 pairs combine into a small group ◦ Compare attributes of their planned composition (the first phase of Activity 1) and reach consensus on a few musical qualities the piece would have ◦ Segue into Activity 3: create a polyphonic composition using some of the musical decisions that the group has already agreed upon (e.g. it will be a slow piece. It will have a joyful mood...)

20 Activity 2: A Letter to the Duke

Lesson Focus: Writing in role as Thomas Tallis, to build the context of his life and role as a composer in the Chapel Royal of St. James's Palace.

Grade: 7 to 12 Subject: Any

Groupings: individual

Materials: Paper and pens.

Time Required: 45-60 minutes (or some homework time)

Procedure:

• Read students the following prompt (and/or print it out):

You are Thomas Tallis: a great and well-respected composer in the English Renaissance. You work in the Chapel Royal of St. James's Palace, composing music for religious ceremonies and royal occasions. Your employer is Queen Elizabeth I, the most powerful person in all of England.

A composer from Italy visits the English royal court, bringing with him 40 singers, who perform a piece he has composed for 40 vocal parts – 40 independent melodies woven together into beautiful harmony! When you hear it, you are stunned. “How could any composer create such complicated music,” you wonder, “and not go stark raving mad?”

After the concert, the powerful Duke of Norfolk approaches you. The Duke is clearly angry.

“Such magnificent music... composed by an ITALIAN!” he fumes. “The English have been outdone by a composer from THE CONTINENT!! Thomas Tallis, you are the greatest composer in all of England. I ask you to compose an even more magnificent piece for 40 singers, in 40 parts. If anyone can do this, Tallis, it is you. Write to me saying whether you will accept my challenge, and what your terms will be. I know you are busy, and that it will be a daunting task, but you MUST help to prove the superiority of English music!”

• In the role of Thomas Tallis, students write a letter to the Duke, in language appropriate for writing to such a powerful man. Prompt with such questions as:

21 ◦ Let's assume that you accept the Duke's challenge. What makes you accept, despite the difficulty of the challenge? ◦ How long will it take you to write the piece? How difficult will it be? ◦ How will writing this piece affect your daily life? What will you have to change (if anything) to find the time to compose it? ◦ What in your training and experience will help you to succeed? ◦ How will you start? What will your process be? ◦ Where and when do you hope to have the piece performed? ◦ What will you do to make the piece even better than the rival Italian composer's piece? ◦ What compensation do you expect? Is it money, or something else? ◦ From your perspective, what will be the significance of this piece to your own work? To your country? To the composition?

Extensions:

• Working in pairs, students read their letter aloud to their partner. The teacher briefly questions students about their partner's letters (using prompts similar to above).

• Working in pairs or small groups, students share their letters with each other, and discuss similarities and differences in their responses. Then: ◦ Working through a process of improvisation and revision, they dramatize a meeting between Thomas Tallis and the Duke of Norfolk. ◦ The situation: instead of writing a letter, Tallis has gone in person to the Duke to accept his challenge, and to discuss the circumstances of the piece that he will write. ◦ The Duke is willing to pay Tallis well for his services – but only if the piece he writes is truly more magnificent than that of the rival Italian composer. Tallis must convince a skeptical Duke that he can do this – and how he will achieve his goal. ◦ All students in the group must have roles in the scene. Who else would be in the room during a meeting between a Duke and a composer of the Chapel Royal? What would their roles be? Would they say anything?

22 Activity 3: Instant Polyphony

Lesson Focus: Composing short polyphonic pieces through improvisation and revision

Grade: 7-12 Subject: Music, interdisciplinary

Materials: Short rhythmic texts (i.e. poems) printed out. (For extensions: chart paper and markers.)

Groupings: groups of approximately 4 to 6 students

Time Required: 45-60 minutes

Procedure:

• Each group receives a text to use (these can be the same for each group, or different) • Each member of the group chooses 1-2 lines of text, and comes up with a memorable, musical way to say that text. It can be simple, it can be weird – but it has to be repeatable. • This activity works best if these text-phrases also have some silence built in: a.k.a. rests! • In developing their text-phrases, students can play with rhythm, pitch, the tone/timbre of their voice, range (high/low), and even add other vocal and body sounds. • The group's goal is to create a piece that combines every member's text-phrase into a composition with a polyphonic texture, created through an experimental, improvisational process: ◦ Each person can “loop” their lines by repeating them. ◦ The group should find musically interesting ways for the text-phrases to interlock (i.e. hocket, counterpoint) and experiment with combinations (this is where silences in the parts are helpful!) ◦ Groups should shape their pieces so that the texture is not always at its fullest (i.e. not everyone is making sound at once). Play with where individual performers enter and exit the group texture. ◦ Choices can be made about overall volume (crescendo/diminuendo, sudden changes), and the balance of parts. ◦ Other musical attributes can change over the course of the composition (i.e. overall pitch range can gradually get higher)

• When the compositions are developed and have a convincing ending, give students another couple of minutes to spatialize the piece: Where in the room will they perform? Who will stand where? Will any members of the group move during the piece or is everyone stationary? • The groups perform, followed by a discussion of choices that each group and individual made in creating their piece.

23 Variations:

• Instead of using text, have groups work with nonsense syllables, vocal/body sound effects • It is possible to do this activity using instruments – but the emphasis does not need to be on creating Western counterpoint that is harmonically pleasing. If using instruments, encourage students to play around with extended techniques and unusual sounds. They should also feel free to combine instruments with other sounds: singing, talking, stamping/clapping, etc. etc.

Extensions:

• Give the groups large chart paper and coloured markers, which they use to graphically notate their compositions. This is meant to serve as a mnemonic: they can notate anything that will allow their group to remember and revise their piece. Elements to notate can include pitch, volume, musical gestures, spatial arrangement, etc... usually (but not always) notated over a horizontal time-axis. (It can help to have previously shown students examples of widely different graphic notations – and even attempt to perform some.) Once graphic notation is introduced, this activity can be spread over multiple class periods, since students now have a record of their piece, which they can revise over time and build into a larger-scale composition. • With experienced music students, the group's composition can of course also be documented using Western music notation. Familiarity with simple polyphonic genres (round, canon) at the least would be beneficial.

24 Activity 4: Forty-Part Soundscape

Lesson Focus: Using computers to quickly create a densely-layered piece of sound art, then shaping it into an effective musical composition.

Grade: 7-12 Subject: Music, media studies, interdisciplinary.

Materials: Computers with audio software (Garageband for Mac, Audacity for Windows or Mac)

Audacity software can be downloaded for free at http://audacity.sourceforge.net

Groupings: Individual or small group

Time Required: 60 minutes +

Procedure:

Garageband:

• Create a new project. Choose a key, time signature and tempo. • Open the Loop Browser • Choose loops and drag them into your song. This automatically creates new tracks. Try to choose loops that will contrast with each other: different instruments, rhythms, etc. • You can also create tracks with software instruments, and record using either a MIDI keyboard or the “Musical Typing” window. Again, try to choose software instruments with different sounds and timbres, and record music that contrasts with • You can also record sound into tracks (New Track / “Real Instrument Track”) using a USB microphone, your computer's built-in microphone, etc. You can record anything: instruments, voices, sound effects... • As you add material to tracks, you can “loop” it. Hover your cursor over the top-right edge of the region – it will turn into a circular arrow. Click and drag for as long as you want to loop. You can also repeat material wherever you want in the piece by clicking on the region you want to copy, clicking control-C, then drag the counter where you want and paste (control-V). • Imitation: create some tracks by copy-pasting other tracks (loops or original material) into other tracks. You can use similar or different instruments. Shift the material so it overlaps itself. Can you find several ways that the material can fit alongside itself? • The goal of all of this is to create a lot of tracks. 40 tracks – or more! A really hyper-dense soundscape. Make it last at least 2 minutes so that you have time to shape your multi-track piece over time.

25 • Once you've got at least 40 tracks, start shaping your piece: ◦ Texture : If you have all the tracks sounding at once, for the entire piece, that can get boring quickly. Decide where they will enter and exit the piece so that you vary the texture. Choose one or two moments where all tracks are playing at once. The rest of the time, play with smaller groups: solos, trios, half of the tracks, etc. ◦ Volume: Do tracks enter abruptly or do they fade in and out? Adjust the balance of the ensemble: what tracks should be louder, in the foreground? What should be in the background? ◦ Spatialization: Try panning tracks Left or Right in stereo “space”. This gives depth to your piece. Panning can also be automated: for example, you can make a track move from left to right, or anywhere, at any speed and in any pattern. ◦ Instrumentation/timbre : Is it hard to hear an important track in the dense texture? Anything you have recorded in a software instrument can be changed to a different software instrument – either by changing the instrument for that track in the Track Info window, or by dragging a section of music to another track. (Apple Loops are audio data, however. You can't change the instrumentation on them.)

• Find a way to end the piece convincingly – then share it. • You can burn your piece to an audio file that can be played anywhere. Look under the Share menu for options.

Audacity:

• Create a new project. • Make sure that you are set-up to record. You will need either a USB microphone, your computer's built-in microphone, etc. Under “Audacity – Preferences”, choose your method of audio input. • Record a track: press the button with the red circle on it. Audacity makes a new track each time you record, and starts recording immediately. To stop, press the yellow square. • You can record anything: instruments, voices, sound effects... Record something at least 20-30 seconds in length so you have lots of material to work with. • Record more tracks in this way. Try to record sound that is contrasting to what you have recorded previously: different instrument or voice, different rhythm, pitch, etc. • After you have recorded tracks, “loop” them. This isn't automatic in Audacity. You need to highlight the audio you just recorded, copy it (press control-C), then paste it (control-V) on the same track, right after itself. Do this a few times so that the length of your piece will be at least 2 minutes. • Once you've recorded and looped at least 8 contrasting tracks, create more tracks through copy-pasting: a simple way to create imitation. Go to the “Project” menu and select “New Stereo Track”. Highlight whatever section of sound you want to copy. Copy it (control-C), then paste it into the new track (control-V). Shift the material so it overlaps itself. Can you

26 find several ways that the material can fit alongside itself? • The goal of all of this is to create a lot of tracks. 40 tracks – or more! A really hyper-dense soundscape. The piece should last at least 2 minutes so you have time to shape it. • Once you've got at least 40 tracks, start shaping your piece: ◦ Texture : If you have all the tracks sounding at once, for the entire piece, that can get boring quickly. Decide where they will enter and exit the piece so that you vary the texture. Maybe choose one or two moments where all tracks are playing at once. The rest of the time, play with smaller groups: solos, trios, half the full ensemble, etc. ◦ Volume: Do tracks enter abruptly or do they fade in and out? Adjust the balance of the ensemble: what tracks should be louder, in the foreground? What should be in the background? Adjust overall Volume in the left-most part of the track (- .... +). Using the volume tool (2 arrows pointing at a blue line) you can change the volume over time. Click to make adjustment points, then drag the volume up or down. It will change smoothly. ◦ Spatialization: Try panning tracks Left or Right in stereo “space”. This gives depth to your piece. Adjust pan in the left-most part of the track (L....R). ◦ Effects : You can apply effects to audio in your tracks. Highlight what you want, then go to the Effects menu and choose an effect. Important: this is destructive editing – it will change your audio and cannot be easily undone (except immediately by Undo: control-Z).

• Find a way to end the piece convincingly – then share it. Remember to SAVE your project frequently! • You can burn your piece to an audio file that can be played anywhere. Go to the File menu, then click “Export as WAV...”

27 Part 4 Connections to the Ontario Curriculum

The activities in Part 3 of this document, as well as the workshop/installation offered at Trinity-St. Paul's United Church on October 1 and 2, support the delivery of the following expectations from the Ontario Ministry of Education Arts curriculum, Grade 7-12, Music . The activities and workshop/installation also support the delivery of curriculum in visual art, drama, history, and other subjects. The relevant specific expectations can be extrapolated from the music expectations below. There are certainly many opportunities for cross-curricular activity through this project.

Grade 7 Music - Specific Expectations Grade 8 Music - Specific Expectations By the end of Grade 7, students will: By the end of Grade 8, students will: C1.2 apply the elements of music when singing and/or playing, composing, and arranging C1.2 apply the elements of music through performing, music, using them for specific effects and clear composing, and arranging music for purposes a specific effect or clear purpose

C1.3 create musical compositions in a variety C1.3 create musical compositions in a variety of forms for specific purposes and audiences of forms for specific purposes and audiences

C1.4 use the tools and techniques of musicianship C1.4 use the tools and techniques of musicianship in musical performances in musical performances

C2.1 express analytical, personal responses to C2.1 express analytical, personal responses to musical performances in a variety of ways musical performances in a variety of ways

C2.2 analyse, using musical terminology, ways in C2.2 analyse, using musical terminology, ways in which the elements are used in the music that which the elements are used in the music that they perform, listen to, and create they perform, listen to, and create

C3.2 analyse some historical, cultural, and C3.1 analyse some of the social, political, and technological influences on style, genre, and economic factors that affect the creation of innovation in music music

28 Grade 9 Music (open) - Specific Expectations Grade 10 Music (open) - Specific Expectations

By the end of Grade 9, students will: By the end of Grade 10, students will: A1.2 apply the creative process when composing A1.2 apply the creative process when composing and/or arranging music and/or arranging music

A2.2 manipulate the elements of music and related A2.2 manipulate the elements of music and related concepts appropriately when improvising concepts appropriately when improvising melodies and rhythms melodies and rhythms

A2.3 apply the elements of music and related A2.3 apply the elements of music and related concepts appropriately when composing concepts appropriately when composing and/or arranging simple pieces of music and/or arranging simple pieces of music

A3.2 apply compositional techniques when A3.2 apply compositional techniques when composing and/or arranging simple pieces composing and/or arranging simple pieces of music of music

A3.3 use current technology when practising, A3.3 use current technology when practising, performing, composing, and/or arranging performing, composing, and/or arranging music music

B1.2 identify and describe the use of elements B1.2 identify and describe the use of elements and other components of music in a variety of and other components of music in a variety of selections, including their performance repertoire selections, including their performance repertoire

B1.3 explain the difference between technical B1.3 explain the difference between technical aspects and expressive aspects of music, with aspects and expressive aspects of music, with particular emphasis on style and appropriate particular emphasis on style and appropriate use of dynamics and other expressive controls, use of dynamics and other expressive controls, and assess the contribution of both aspects to and assess the contribution of both aspects to the successful interpretation of musical selections the successful interpretation of musical selections

B2.3 identify and describe ways in which art B2.1 explain the origins of traditional, commercial, music reflects the society in which it was created or art music with reference to the culture and how it has affected that culture or community or community in which it was created

C1.1 demonstrate an understanding of the elements B2.2 describe significant contributions of individuals of music, particularly through practical within a community or culture to genres application and aural recognition, and use of traditional, commercial, and/or art music appropriate terminology related to these elements B2.3 explain the ways in which traditional, commercial, and art music function in and C2.1 demonstrate an understanding of the origins influence community or cultural rituals and and development of some musical forms celebrations

C1.1 demonstrate an understanding of the elements of music, particularly through practical application and aural recognition, and use appropriate terminology related to these elements

C2.1 demonstrate an understanding of the origins and development of some musical forms

29 Grade 11 Music (University/College Preparation)

Specific Expectations

By the end of Grade 11, students will: A1.2 apply the creative process when composing and/or arranging music B1.3 analyse, and assess the effectiveness of, A2.2 manipulate the elements of music and related music from a variety of styles and genres and concepts appropriately and effectively when in various performance modes improvising melodies in a variety of musical forms B2.1 analyse ways in which traditional, commercial, and art music are a response to and reflection A2.3 apply the elements of music and related of the community or culture in which they concepts appropriately and effectively when were created composing and/or arranging music in a variety of forms B2.2 analyse the impact that significant individuals or groups from a variety of cultures have had on traditional, A3.2 apply compositional techniques when composing commercial, and/or art music and/or arranging music C1.1 extend their understanding of the elements A3.3 use a variety of current technologies in and other components of music, particularly various applications related to music, including through practical application and aural recognition, composing, arranging, performing, and/or and use appropriate terminology related recording music to these elements

B1.1 deconstruct the elements and other components C1.2 demonstrate an understanding of, and use in musical works through score study correct terminology related to, the concepts of and purposeful listening notation in a variety of activities

B1.2 listen in a purposeful way to selections from C2.1 demonstrate an understanding of the development a wide variety of musical styles and genres, and function and/or theme of various and analyse and reflect on their responses to musical forms and conventions and interpretation of them

30 Grade 11 Music (Open) Grade 12 Music (Workplace Preparation)

Specific Expectations Specific Expectations

By the end of Grade 11, students will: By the end of Grade 12, students will: A1.1 apply the creative process when performing A1.1 apply the creative process when performing music and composing and/or arranging music music and composing and/or arranging music

A2.2 apply the elements of music and related A2.2 apply the elements of music and related concepts appropriately when composing concepts appropriately when composing and/or arranging music and/or arranging music

A3.2 use compositional techniques and available A3.2 use current technology in a variety of technology when composing and/or arranging applications related to music, including the music preparation of a portfolio

B1.1 listen to and/or perform selections that B2.2 analyse factors, including social and cultural represent a wide variety of musical genres factors, that influence the creation and consumption and styles, and describe and reflect on their of music responses to them C1.1 demonstrate an understanding of the elements B1.2 analyse productions such as concerts, of music, through practical application recitals, musical theatre, and/or other musical in musical performance, composition, and events with reference to the elements and other production, and use appropriate terminology components of music as well as the technical related to these elements and organizational aspects of the production C1.2 demonstrate an understanding of, and use B1.3 assess the effectiveness of a variety of musical correct terminology related to, the concepts of selections and/or productions notation in a variety of performance and/or composition activities B2.2 describe significant contributions of individuals, groups, or organizations within a community or culture to presentation and production aspects of traditional, commercial, and art music

B2.3 explain the role of traditional, commercial, and/or art music in various communities or cultures

C1.2 demonstrate an understanding of, and use proper terminology when referring to, aspects of musical form in a variety of genres

31 Grade 12 Music (University/College Preparation)

Specific Expectations

By the end of Grade 12, students will:

A1.2 apply the creative process when composing B1.2 listen to and reflect on selections from a and/or arranging increasingly complex musical wide range of musical styles and genres, works including their own performance repertoire, and analyse and reflect with increasing insight A2.2 manipulate the elements of music and related on their responses to and interpretation of concepts effectively and with increasing skill them and creativity when improvising melodies in a wide variety of musical forms B1.3 analyse with increasing insight and assess the effectiveness of music from a wide range of A2.3 apply the elements of music and related styles and genres and in various performance concepts effectively and with increasing skill modes, and reflect on how such analyses can and creativity when composing and/or arranging enhance their own creation or performance of music in a variety of forms music

A3.2 apply compositional techniques with B2.2 analyse the impact of significant individuals increasing skill and creativity when composing or groups from a variety of cultures or and/or arranging music communities on various genres of traditional, commercial, and/or art music A3.3 use a variety of current technologies with increasing skill when practising, performing, B2.3 analyse the various functions of music in composing, arranging, or recording music society

B1.1 deconstruct with increasing skill and insight C1.1 extend and deepen their understanding of the elements and other components of music the elements and other components of music, through score study of and purposeful listening particularly through practical application and to increasingly complex musical works aural recognition, and use appropriate terminology related to them

C2.1 demonstrate an understanding of the development of various forms of music with respect to chronology, genre, and theme

32 Part 5 Online Resources

Janet Cardiff and Forty-Part Motet

Janet Cardiff and George Bures Miller: professional website www.cardiffmiller.com

The Canadian Encyclopedia: article on Janet Cardiff www.thecanadianencyclopedia.com/articles/janet-cardiff

Video of Forty-Part Motet (including audience interviews) http://www.cardiffmiller.com/artworks/inst/motet_video.html

Article: review of Forty-Part Motet www.cardiffmiller.com/press/texts/bloomberg01.01.pdf

Article about A Murder of Crows (another sound-based installation by Janet Cardiff) www.capitalnewyork.com/article/culture/2012/08/6385186/cardiff-and-millers-murder-crows- haunting-case-cinema-through-sound-?culture-bucket-headline

New York Times: article about Cardiff and Miller's work www.nytimes.com/2012/07/29/magazine/janet-cardiff-george-bures-miller-and-the-power-of- sound.html?_r=2&pagewanted=all

Thomas Tallis and Spem in alium

Score of Spem in alium (free legal download) www3.cpdl.org/wiki/index.php/Spem_in_alium_nunquam_habui_%28Thomas_Tallis%29#Full_scores

Audio of Spem in alium (Tallis Scholars' recording) – on Youtube http://quietube3.com/v.php/http://www.youtube.com/watch?v=UtJvtk6EHZE

Encyclopedia Britannica: Thomas Tallis www.britannica.com/EBchecked/topic/581620/Thomas-Tallis

33 Ensembles and festivals named for Thomas Tallis

The Tallis Festival www.exmoorsingers.org/tallis-festival/

The Tallis Scholars (choir) http://www.thetallisscholars.co.uk

The Chapel Royal at St. James's Palace

Official Website of the English Monarchy: History of the Chapels Royal www.royal.gov.uk/TheRoyalResidences/TheChapelsRoyal/History.aspx

Renaissance music

Encyclopedia Britannica: Vocal Music (including Renaissance) www.britannica.com/EBchecked/topic/631696/vocal-music#toc27530

Life and culture (including music) in Elizabethan England www.elizabethan-era.org.uk http://elizabethan.org

The Toronto Consort www.TorontoConsort.org

34