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Forty-Part Motet Organized by the National Gallery of Canada

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Forty-Part Motet Organized by the National Gallery of Canada presents: Janet Cardiff Forty-Part Motet Organized by the National Gallery of Canada 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 Janet Cardiff'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 Thomas Tallis? ...................................................................................................12 What is Spem in alium?.....................................................................................................13 Why did Thomas Tallis compose a 40-voice motet?.........................................................13 What iss a motet? .............................................................................................................14 What is polyphonic music? What is counterpoint? ...........................................................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 Polyphony ............................................................23 Activity 4: Forty-Part Soundscape ....................................................25 Part 4: Connections to the Ontario 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 Chapel Royal at St. James's Palace ......................................34 Renaissance Music .......................................................................34 Life and culture (including music) in Elizabethan England ...........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 Renaissance music. 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
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