course syllabus emp2861hf songs of the church emmanuel

Songs of the Church Course Syllabus Fall 2019

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Course Syllabus EMP2861HF - Songs of the Church

Emmanuel College Fall 2019

Instructor Information Instructor: Lim, Swee Hong E-mail: [email protected] Research Fellow: Peter Merrick Email: [email protected] Office Location: 116, Emmanuel College Telephone: Office – (416) 585 4543 Office Hours: Tuesdays-Thursdays 1400-1500 hr, or by appointment Course Identification Course Number: EMP2861HF Course Format: In-class: Lecture & Presentation Course Name: Songs of the Church Course Location: 108, Emmanuel College Class Times: Thursdays: 0900 – 1200 hr Prerequisites: EMP 1101 – Worship 1 Course Description This course seeks to raise the awareness of song as a vital congregational worship act. We will examine the theology and practices of congregational song through a historical lens. Students will have the opportunity to create new song text and develop song leadership skill. Particular attention is given to the congregational song repertoire of the United Church in Canada. Course Resources Course Texts

Mark A. Lamport, Benjamin K. Forrest, and Vernon M. Whaley, eds. Hymns and Hymnody: Historical and Theological Introductions. 3 vols. (Eugene, OR: Cascade Books, 2019)

https://search.library.utoronto.ca/details?12229940 David W. Music and Milburn Price. A Survey of Christian Hymnody, 5th ed. (Carol Stream,

IL: Hope Publishing, 2011) https://search.library.utoronto.ca/details?8454611&uuid=b93a4597-9334-4d5f-9e21-

351a96803555


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Ron Rienstra. So You've Been Asked To Lead Congregational Singing (Grand Rapids, MI: CRC Publications, 2001). To be made available in the Course Portal in due time.

Robin Wallace, ed. The Hymn: The Journal of the Hymn Society in the United States and

Canada (Richmond, VA: Hymn Society). Available in Emmanuel Library. J.R. Watson and Emma Hornby, eds. The Canterbury Dictionary of Hymnology (Norwich:

Canterbury Press, 2013) https://search.library.utoronto.ca/details?9324201

Bibliography Available on the course website. Course Website(s)

• Quercus: https://q.utoronto.ca/ This course uses Quercus for its course website. To access it, go to the UofT Quercus login page at https://q.utoronto.ca/ and login using your UTORid and password. Once you have logged in to Quercus using your UTORid and password, look for the My Courses module, where you’ll find the link to the website for all your Quercus-based courses. (Your course registration with ACORN gives you access to the course website in Quercus.) Information for students about using Quercus can be found at: https://community.canvaslms.com/docs/DOC-10701 . Students who have trouble accessing Quercus should visit http://toolboxrenewal.utoronto.ca/training-and-support/ Course Learning Objectives/Outcomes Course Objectives At the end of this course, students should be able to:

1. Demonstrates an informed musical sensibility in performance practice.

2. Demonstrates basic knowledge of Christian scripture, history, and theology.

3. Demonstrates development of skills, gifts, and arts of ministry appropriate for pastoral music leadership in local congregations and other settings.

Learning Outcomes At the end of this course, students are able to:

1. Select and lead congregational songs in corporate worship setting with an awareness of their liturgical purpose and theological significance.

2. Create new congregational song text.

3. Design a congregational song festival.


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4. Formulate and articulate opinion, that is informed by scholarship, on select issues concerning the practice of congregational song.

Evaluation Requirements The final grade for the course will be based on evaluations in seven areas:

(1) Participation (5%) Academic credit for this particular course requires regular attendance and active participation. Students demonstrate this by being adequately prepared for class discussion and making music. For additional information, read the Policy on Attendance (page 10 of this syllabus). (2) Song Leadership (10%) DUE: Week 3 – 12 as scheduled Students demonstrate their song teaching skill in enabling congregational singing. The class serves as a music making laboratory for this training.

Leadership guidelines:

o Students without song leading experience are strongly encouraged to seek help from the Research Fellow to develop leadership skill in the areas of teaching technique and cue gestures.

o Teach and lead a song of your choice to the class. o Students may seek musical support from others e.g. classmates, research fellow

and professor. Such collaborative effort to strengthen the effectiveness of song leading is encouraged and not perceived as a liability.

o In preparation for this exercise, students may like to read Bell, The Singing Thing Too: Enabling Congregations to Sing.

Assessment rubric:

Unsatisfactory

(0 – 69 marks) Good

(70 – 79 marks) Excellent

(80 – 100 marks) Rapport with the assembly

Minimal rapport and engagement with the assembly; Superfluous (unnecessary and irrelevant) verbal chatter not contributing to the

Evident rapport and engagement with the assembly; Clear, audible communication, including eye contact that contributes to the process of song leading;

Strong rapport and purposeful engagement with the assembly; Dynamic communication that contributes to the process of song leading; relaxed, confident, open demeanor;


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process of song leading; Inappropriate song selection for congregational singing e.g. vocal range is too wide, rhythm is overly complicated, etc.

Appropriate song selection for congregational singing.

Thoughtful and enriching song selection for congregational singing.

Process of Teaching

Haphazard and/or hesitant song leadership; lack of prior rehearsal planning; ineffective and/or lack of meaningful gesture in encouraging the assembly to sing.

Capable and/or confident song leadership; evident prior rehearsal planning; exhibit effective and/or meaningful gesture in enabling the assembly to sing.

Highly engaging and/or enlivening song leadership; strong evidence of prior rehearsal planning; distinctly effective and/or empowering gesture in enabling the assembly to sing with confidence and pleasure.

(3) Song Writing (10%) DUE: Week 6 Students demonstrate their song writing skill in enabling congregational song creation.

Writing guidelines:

o Students without song writing experience are strongly encouraged to seek help from the course tutor, Dr. Lydia Pedersen to develop this skill.

o Identify and choose a familiar tune. o Identify a theme/focus and create a congregational song text/lyrics. o This work must have three (3) stanzas that have at least 4 lines/stanza with or

without chorus (refrain). If the stanza has 8 lines, then two stanzas would suffice. o Ensure that the song is strophic and possibly rhymed. o Students may consult with the Research Fellow and Course Tutor prior to the

submission of assignment. Submission protocol:

o Format your song in either MS Word (DOCX) or Rich Text Format (RTF) with 12-point size Times New Roman or equivalent font in double line space.

o Ensure that your assignment bears your U of T registered name. o Submit assignment via email to the professor with the email message header

entitled: EMP2861 – Song Writing


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Assessment rubric:

Unsatisfactory (0 – 69 marks)

Good (70 – 79 marks)

Excellent (80 – 100 marks)

Theological content

Lack of theological thought; overly simplistic

Appropriate (conventional) theological thought

Insightful theological thought

Lyrical style Cliché expressions; minimal imaginative writing; no awareness of syllabic meter

Thoughtful expressions; imaginative writing, exhibit use of some poetic devices

Captivating expressions; distinctive imaginative writing and strong command in the use of poetic devices

(4) Critical Response Reflection Essay (25%) DUE: Week 8 Students offer their critical reflection on a self-select article that examines issues related to congregational song as found in The Hymn: Journal of the Hymn Society. The essay must have been published within the last five years.

Writing guidelines:

o This is a researched response assignment with a maximum of 1200 words excluding citation and bibliography.

o You are encouraged to incorporate what you have learned from other theo-academic courses in your substantiated opinion.

o Given the constraint of word count, avoid summarizing the essay but cite the relevant statements for argument.

o Avoid making sweeping statements or unsubstantiated assertions. Submission protocol:

o Craft your essay using the Chicago Style (or Turabian): Note and Bibliography citation format. For example, see http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html

o Format your essay is in either MS Word (DOCX) or Rich Text Format (RTF) with 12-point size Times New Roman or equivalent font in double line space.


entitled: EMP2861 – Critical Reflection


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Assessment rubric:




Writing Quality

Minimal effort in doing critical engagement with the text but merely summarizes the text. Writing based on personal opinion and unsubstantiated assertion exhibited by lack of scholarly citation.

Modest effort in engaging the points raised in the text without summarizing it. Writing exhibits scholarly substantiated assertions with occasional unsubstantiated statements.

Imaginative reflection of the issue(s) exhibited by insightful engagement with the text. Writing exhibits creative assertions that bear substantiated scholarship.

(5) Worship and Song Leadership Analysis (10%) DUE: Week 12 Students plan and take up a leadership role at Emmanuel Chapel services. Thereafter write a participant-observer report.

Writing guidelines:

o This is a brief ethnographic reflection assignment as a participant-observer with a maximum of 1000 words. A structural example of this writing genre, read http://libguides.usc.edu/writingguide/fieldreport

o Reflection examines the effectiveness of the worship design and personal leadership particularly the choice of songs. Areas where improvement can be made ought to be mentioned and solutions suggested.

o Where possible, substantiate your assertion with established scholarship. o Where feasible, demonstrate integrative learning by incorporating what you

have learned elsewhere in your writing. o Avoid making sweeping statements or presume personal assumptions as norms.

Submission protocol:

o Craft your essay using the Chicago Style (or Turabian): Note and Bibliography citation format. For example, see http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html



entitled: EMP2861 – Leadership Analysis


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Assessment rubric:




Writing Quality

Provides a non-descriptive account as demonstrated by a lack of analysis. Focuses on personal preferences in the manner of an emotional response rather than assessing worship design and leadership preparation effort.

Provides a descriptive and analytical account. The writing is systematic and detailed - focusing on assessing worship design and leadership preparation effort.

Provides a descriptive and analytical account. The writing is systematic and detailed - focusing on assessing worship design and leadership preparation effort. Draws on significant critical scholarly readings for discussion as well as raise pertinent questions and/or implications.

(6) Topic Presentation (10%) DUE: Week 3 – 12 as scheduled Students offer a concise (12 – 15 minutes) prepared presentation of a self-selected topic related to congregational song practice. Thereafter entertain a brief time of Q&A from their peers.

Presentation guidelines:

o Provide a brief context of the issue. Thereafter, focus on the topic’s relevance to congregational song – its theology and/or practice.

o Students are expected to demonstrate their research effort on their select topic by offering a handout containing key points and important bibliographic references.

o The handout is to be made available electronically to all participants in the course before the scheduled presentation. Presenters do this by submitting their handouts to the professor 48 hours before their presentation via email with the email message header entitled: EMP2861 – Topic Presentation

o Interactive presentation such as the use of multimedia (audio-video, powerpoint-based) presentation and practical “hands on” approach (e.g. singing of songs, etc.) is highly encouraged.


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Assessment rubric:




Content Lack of research. Tangential focus of the topic on the theology and/or practice of congregational song. No or inadequate base-line references provided.

Evidence of modest research effort. Exhibit some focus on the theology and/or practice of congregational song. Provided adequate base-line references.

Demonstrate strong research effort. Exhibit critically thoughtful focus on the theology and/or practice of congregational song. Provided an impressive scholarly bibliography.

Presentation Unfocused and/or ill-prepared leadership evidence by lack of preparation and inability to respond to questions. Uneven pacing, and/or haphazard delivery.

Focused and/or systematic leadership. Fairly competent in responding to questions. Reasonable pacing, and succinct delivery

Critically thoughtful and/or highly engaging leadership. Insightful responses to questions. Strategically paced, and succinct delivery with ease and confidence

(7) Congregational Song Festival Project (30%) DUE: Week 12 Students conceptualize a theme or liturgical season-based a song festival taking into consideration of their ministry context.

Writing guidelines:

o Develop and prepare a scripted hymn festival or theme service (e.g. Advent, Christmas, Lent, Maundy Thursday, Restorative Justice Sunday, Earthday, etc.) that is usable in a local church setting in Canada.

o The service should be about 60 minutes in duration. o The design should showcase maximum of 8 congregational songs. o The service is to be laid out in Presider’s (Leader’s) format. In this manner,

rubrics of liturgical movement are in italics (e.g. as the song is sung, the presider proceeds to stand behind the altar table, etc.)

o Singing instruction rubrics are to be provided (e.g. stanza 1 by choir, stanza by congregation, etc.)


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o Copies of the first page of selected songs are to be included as Appendix I. Exception: Songs from Voices United and/or More Voices. In this instance, indicate the abbreviation and number, e.g. VU###.

o The student will demonstrate rationale of choice as well as knowledge of hymn texts and/or tune sources by offering (a) brief background descriptions of all songs used, and (b) succinct liturgical reasons of song choices made. This compiled document is to be Appendix II: Background and Rationale.

o A festival version (worship bulletin) that is typically distributed for congregational use is to be created and set as Appendix III.

Submission protocol:



entitled: EMP2861 – Song Festival

Assessment rubric:




Writing Quality

Lists worship acts without rubrics. Lack of theme for the festival and/or rationale for song selection. Incomplete submission of the project.

Worship acts are accompanied by generic rubrics. Some thoughtful effort in theme and song selection. Complete submission of the project.

Worship acts are accompanied by well articulated rubrics. Highly creative effort in theme and song selection. Complete submission of the project.

Grading System A+ (90-100) A (85-89) A- (80-84) B+ (77-79) B (73-76) B- (70-72) Failure


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Please see the appropriate handbook for more details about the grading scale and non-numerical grades (e.g. SDF, INC, etc). Late work. Students are expected to hand in assignments by the date given in the course syllabus. Submissions after the due date without prior approval from the professor incur significant grade loss. This penalty is not applied to students with medical or compassionate difficulties; students facing such difficulties are kindly requested to consult with their faculty adviser or basic degree director, who should make a recommendation on the matter to the instructor. The absolute deadline for the course is the examination day scheduled for the course. Students who for exceptional reasons (e.g., a death in the family or a serious illness) are unable to complete work by this date may request an extension (SDF = “standing deferred”) beyond the term. An SDF must be requested from the registrar’s office in the student’s college of registration no later than the last day of classes in which the course is taken. The SDF, when approved, will have a mutually agreed upon deadline that does not extend beyond the conclusion of the following term. If a student has not completed work but has not been granted an SDF, a final mark will be submitted calculating a zero for work not submitted. Course grades. Consistently with the policy of the University of Toronto, course grades submitted by an instructor are reviewed by a committee of the instructor’s college before being posted. Course grades may be adjusted where they do not comply with University grading policy (http://www.governingcouncil.utoronto.ca/policies/grading.htm) or college grading policy. Policies Accessibility. Students with a disability or health consideration, whether temporary or permanent, are entitled to accommodation. Students in conjoint degree programs must register at the University of Toronto’s Accessibility Services offices; information is available at http://www.accessibility.utoronto.ca/. The sooner a student seeks accommodation, the quicker we can assist. Attendance. This course is governed by Emmanuel College Attendance Policy. The policy states: Attendance is mandatory.

A high rate of attendance is key to student success, given the nature of theological education and the importance of classroom interaction and learning at Emmanuel College. Students should not accept significant outside obligations during the academic term.

For a regular course, students who register and miss two (2) classes may receive a lower or failing grade for the course. In order to avoid this penalty, students must notify their instructor with a valid reason for any absence before class. Students missing twenty-five (25) percent or more of a course will be automatically withdrawn from that course.


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Plagiarism. Students submitting written material in courses are expected to provide full documentation for sources of both words and ideas in footnotes or endnotes. Direct quotations should be placed within quotation marks. (If small changes are made in the quotation, they should be indicated by appropriate punctuation such as brackets and ellipses, but the quotation still counts as a direct quotation.) Failure to document borrowed material constitutes plagiarism, which is a serious breach of academic, professional, and Christian ethics. An instructor who discovers evidence of student plagiarism is not permitted to deal with the situation individually but is required to report it to his or her head of college or delegate according to the TST Basic Degree Handbook and the Graduate program Handbooks (linked from http://www.tst.edu/academic/resources-forms/handbooks and the University of Toronto Code of Behaviour on Academic Matters http://www.governingcouncil.utoronto.ca/AssetFactory.aspx?did=4871. A student who plagiarizes in this course will be assumed to have read the document “Avoidance of plagiarism in theological writing” published by the Graham Library of Trinity and Wycliffe Colleges http://www.trinity.utoronto.ca/Library_Archives/Theological_Resources/Tools/Guides/plag.htm. Other academic offences. TST students come under the jurisdiction of the University of Toronto Code of Behaviour on Academic Matters http://www.governingcouncil.utoronto.ca/policies/behaveac.htm. Obligation to check email. At times, the course instructor may decide to send out important course information by email. To that end, all students in conjoint programs are required to have a valid utoronto email address. Students must have set up their utoronto email address which is entered in the ACORN system. Information is available at www.utorid.utoronto.ca. The course instructor will not be able to help you with this. 416-978-HELP and the Help Desk at the Information Commons can answer questions you may have about your UTORid and password. Students should check utoronto email regularly for messages about the course. Forwarding your utoronto.ca email to a Hotmail, Gmail, Yahoo or other type of email account is not advisable. In some cases, messages from utoronto.ca addresses sent to Hotmail, Gmail or Yahoo accounts are filtered as junk mail, which means that emails from your course instructor may end up in your spam or junk mail folder. Students in non-conjoint programs should contact the Registrar of their college of registration. Email communication with the course instructor. The instructor aims to respond to email communications from students in a timely manner. Email communications from other email addresses are not secure, and also the instructor cannot readily identify them as being legitimate emails from students. The instructor is not obliged to respond to email from non-utoronto addresses for students in conjoint programs. To that end, all email communications from students in conjoint programs should be sent from a utoronto email address. Students in non-conjoint programs should only use the email address they have provided to their college of registration.


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Course Schedule Week 1 September 12 Course introduction

Discussion: What is a hymn? Lecture: Hymns Nomenclature – Indices, Meter, etc. and Using a hymnal Reading https://www.thegospelcoalition.org/article/why-congregational-singing-matters-today-more-than-ever https://congregationalsong.org/congregational-songs-potential-challenges-in-the-near-future/

Week 2 September 19 Introduction to Song Leading Introduction to Song Writing Reading Music, xi-xxii Ron Rienstra, So You've Been Asked To Lead Congregational Singing Bell, The Singing Thing Too (extract)

Syndor, Hymns and Their Uses (extract) Eskew, Sing With Understanding (extract)

Week 3 September 26 It’s all Hebrew, Greek, and Latin (Early Church Music) Guest lecturer: Prof. Judith Newman Reading

Music, 1-20 Foley, Foundations of Christian Music (extract) Presentation Selection

Church Fathers and Congregational Song (choose 1 personality) - Clement of Alexandria - St. Basil the Great, - John Chrysostom - Augustine of Hippo - Synesius of Cyrene

Week 4 October 3 It’s all Hebrew, Greek, and Latin (Early Church Music) Reading

Papadakis, Byzantine Music History http://www.liturgica.com/home/litEOLit/litEOLitMusDev1 Schmemann, “Eastern Orthodox Chant and Music” in Introduction to Liturgical Theology


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http://liturgica.com/home/litEOLit/litEOLitMusDev2

Presentation Selection (choose 1) Byzantine Liturgy (Eastern Church) music (choose 1 topic)

- Troparaion or Kontakion Divine Office (Western Church) music (choose 1 topic)

- Trisagion, Sequence, Trope or Laudi Hymnwriters (choose 1 personality) - St Romanos the Melodist - Hildegard of Bingen - Giovanni P. Palestrina Week 5 October 10 Martin Luther and Associates (German Hymnody) Reading

Music, 25-43 Westermeyer, Te Deum, Chapter 10 (extract)

Presentation Selection (choose 1) Song genre - Cantio and Leisen, or Chorale and Kantional Hymnwriter - Paul Speratus or Paul Eber Hymn Translator - Catherine Winkworth

Kantional Style - Lukas Osiander

Week 6 October 17 Beyond Martin Luther and Associates (European Hymnody) Reading

Atwood, “The Martyrs’ Song: The Hymnody of the Early Swiss Brethren Anabaptists” in Artistic Theologian 2 (2013): 64–92. Weblink:

http://artistictheologian.com/journal/at-volume-2-2013/the-martyrs-song-the-hymnody-of-the-early-swiss-brethren-anabaptists/

Westermeyer, Te Deum, Chapter 11 (extract)

Presentation Selection (choose 1) - Philipp Nicolai, Paul Gerhardt or Johann Cruger - Count Nicolaus Ludwig von Zinzendorf or Felix Mantz

DUE: Song Writing Week 7 October 31 All About Psalms (Genevan Psalmody) Reading


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Crawford and Sampsel, “Psalmody,” in Grove Music Online Westermeyer, Te Deum, Chapter 12 (extract)

Presentation Selection (choose 1) Clement Marot, Theodore de Beze, John Calvin, Louis Bourgeois, Sternhold and Hopkins, or Tate and Brady Week 8 November 7 Watts, Wesley and Company (British Hymnody) Reading

Music, 63-115

Presentation Selection (choose 1) Myles Coverdale, Thomas Ken, Benjamin Keach, John Mason Neal, Oxford Movement

DUE: Critical Response Reflection Essay Week 9 November 14 Songs in the 20th Century (North American [USA] Hymnody) Reading

Music, 121-184 C. Michael Hawn, Streams of Song

https://assembly.uca.org.au/images/stories/Theology_Discipleship/pdf/Hymn_Winter_2010_pp16-26_.pdf

Presentation Selection (choose 1) Singing School - William Billings Gospel Hymns - Dwight L Moody, Ira Sankey, Fanny Crosby, or Bill and Gloria Gaither Other Streams - David Haas, Ruth Duck, Amy Grant, Sydney Carter, or Kirk Franklin Week 10 November 21 Songs in the 20th Century (North American [Canadian] Hymnody) Reading

Donaldson, Hilary Seraph, “Toward a Musical Praxis of Justice: A Survey of Global and Indigenous Canadian Song in the Hymnals of the Anglican, Presbyterian, and United Churches of Canada through Their History” in The Hymn 63:2

Watson, ed., Canterbury Dictionary of Hymnology - Josette Blais-Jol, “Liturgical Music in French Canada,”

- Kenneth R. Hull, “Canadian Anglican Hymnody,”


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- Donald Anderson, “Canadian Presbyterian Hymnody,” - Margaret Leask, “United Church of Canada Hymnals”

Presentation Selection (choose 1) Canadian Hymnwriters – (choose 1 personality)

Jean de Brébeuf, Robert B Y Scott, Sylvia Dunstan, Gordon Lightfoot, Andrew Donaldson, or Matt Maher Canadian Hymnals – (choose 1 hymnal) Voices United, More Voices, Common Praise, or Book of Praise Week 11 November 28 Songs in the 21th Century (Contemporary Worship Song) Reading

Lim and Ruth, Lovin’ on Jesus https://search.library.utoronto.ca/details?10797782

Presentation Selection (choose 1) - Jesus People Movement and Chuck Smith - Vineyard Ministries and John Wimber - Hillsong Australia and Darlene Zschech - Passion Conference and Louie Giglio - Indelible Grace and Kevin Twit Week 12 December 5 Songs in the 21th Century (Non-Western hymnody)

Reading Lim, “What Is the Right Kind of Worship . . . If You Want North American

Congregations to Sing Global Songs?” http://artsandchristianfaith.org/index.php/journal/article/view/43

Lim, "Where is our song going?" vis a vis "Where should our song be going?" The trajectory of Global Song in North America

http://www.thehymnsociety.org/lim-article-summer-2018 Kimbrough, Music and Mission: Toward a Theology and Practice of Global

Song (extract)

Presentation Selection (choose 1) Richard Niebhur, Christ and Culture (1951) Sacrosanctum Concilium (1963) 6th WCC General Assembly in Vancouver (1983)

Nairobi Statement on Worship and Culture (1996)

DUE: Worship and Song Leadership Analysis DUE: Congregational Song Festival Project

course syllabus emp2861hf songs of the church emmanuel

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