Scholars Symposium 2025: Music & Worship

To Keep In Tune So Long: "Worship Wars" and the Development of Anglo-American Psalmody, 1560-1800

by A.J. Higgins (Undergraduate)

“To Keep In Tune So Long: ‘Worship Wars’ and the Development of Anglo-American Psalmody, 156-1800” details the cross-integration of cultural changes, class relationships, market trends, and Protestant church music through the historical lens of Anglo-American psalmody, the forerunner to the modern canon of English hymnody. This performance presentation will examine the music from a cultural, theoretical, and liturgical perspective, connecting it to the broader discussion of the “worship wars” happening in the current world of church music.

The paper begins with a discussion of the cultural background of this style of church music, especially Al such Psalmes of Dauid (1549), a publication by Thomas Sternold and John Hopkins that was the foundation of the accepted canon of metrical psalms known as the “Old Version.” Composers and publishers such as Thomas Este and Thomas Ravenscroft sought to codify the “common tunes” used in churches based on local traditions and market trends. As psalmody was brought to America, it became a symbol of class status and a tool for propaganda during the American Revolution. Even during the decline of psalmody, composers continued to innovate in word painting and harmony.

The second section will analyze the musical from a theoretical perspective, and highlight four pieces that illustrate the different styles that emerged in the history of Anglo-American psalmody. The first is “Purge Me, O Lord,” by Thomas Tallis, showing how English composers blended motet polyphony and psalm tune homophony. The second is “Cambridge Tune” by Thomas Ravenscroft, illustrating how the common Englishman sang these tunes. The third is “Creation” by William Billings, showing the rugged American style that developed in the 1700s. The final piece is “Kedron” by Amos Pilsbury, showing the intersection between folk music and harmonic development. A small ensemble will perform these pieces.

Finally, this presentation will consider the liturgical angle, connecting the historical treatment of Anglo-American psalmody with the modern “worship wars,” highlighting similarities in generational boundaries and class distinctions, showing how “there is nothing new under the sun,” (Ecclesiastes 1:9, MEV) and that shifts in culture have always impacted Protestant music.

Teaching tiny musicians: the importance of music for the social-emotional and cognitive development of infants, toddlers, and preschoolers

by Isaac Dillon (Undergraduate)

In this presentation, my goal is to help the viewer consider the importance of music in very early childhood. Not just in the school-age years, but even before that. I will discuss how various age-appropriate musical activities and approaches to teaching can help a child grow in their social-emotional and cognitive development through the assistance of research on music in early childhood and a large chunk of experience teaching music to children from six weeks to five years old in a childcare setting. Additionally, I hope to make the point that even from a young age, children have the capability of showing competence in various areas of music and that helping grow these skills can help prepare a child for success not just in music but in many aspects of their academic and day-to-day lives.

My presentation will show what musical activities can be done with infants (6 weeks-1.5 years), toddlers (1.5-3 years), and preschoolers (3-5 years), what the general expectations of each age group will usually be when teaching music, how these activities will benefit them in their social-emotional and cognitive development, and dispelling some common misconceptions related to music and a child’s development. If permission is obtained by the center and the parents of the children, I will include short video clips in my presentation where I demonstrate the activities being explained for a better understanding of how they work.

Dancing into Well-Rounded Pianism: Using Bach’s French Suite No. 6 as a Facilitator

by Sarah Funkhouser (Undergraduate)

Developing a piano student into a performer who is familiar with both their technique and the music they are studying is a sought after, yet challenging goal for piano teachers to accomplish. The path to bring a student to the world that exists beyond the rhythm and the notes can be difficult to find, but it exists with certainty. One tool that can facilitate this journey is Johann Sebastian Bach’s French Suite No. 6. This piece is a dance suite that an advanced student would be able to learn rather quickly, allowing them to focus on details. Bach’s French Suite No. 6 is not too challenging in terms of notation while still containing ground for teaching musical expression, for exploring Baroque era tastes, and understanding the context of 18th century music. The knowledge from a wide range of philosophical, scholarly, and pedagogical texts have been compiled and applied to an analysis of Bach’s French Suite No. 6 to show how this piece can take a piano student to the next level of their musical career.

Competition in Music Education: Changing the Approach for the Student’s Benefit

by Eli Nord (Undergraduate)

An influential component of music in modern schools is the participation in competition. The tradition of competition in music education is not a recent invention, but its longstanding history does not guarantee its effectiveness in teaching music to students. Competition in music does provide positive outcomes for students. While exploring these positive outcomes of competition, consideration must be given to the positive effects of competition that are directly benefiting the students and specifically their musical education. The approach that is taken to competition in music education attempts to create positive outcomes, but the nature of competition often distorts students’ views of music and diminishes their learning of and about music. If too much emphasis is placed on competition, which is not uncommon, then the nature of music can quickly lose its identity as a form of art. Since competition in music has benefits, it should not be completely removed from music education. However, since competition in music also has drawbacks, those involved in music education should implement the changes that would benefit the students and their education.

Fugues: Featureless and Frustrating or Fanciful and Fascinating?

by Olexia Merchant (Undergraduate)

The fugue, a widely known and used musical genre, remains difficult to define. Among resources on music history, the only thing seemingly agreed upon is that there is no strict definition of a fugue. It is more accurate to describe a fugue as a technique and design, because there are no two fugues that are alike. This is in part because the seventeenth century is quite experimental and diverse, which makes it difficult to map out the fugue and its development. This necessitates the study of both the historical context and the wide variety of works in the genre to gain a complete understanding of fugues.

Revolutionizing Broadway: Kurt Weill’s Influence on American Musical Theater and Opera

by Nathaniel Duty (Undergraduate)

Today, Kurt Weill is recognized as a pioneering composer whose works helped redefine the sound of American musical theater. Though he began his career in Germany, where his collaboration with Bertolt Brecht produced the groundbreaking Threepenny Opera, Weill’s move to the United States in the 1930s marked a turning point in his musical approach. He embraced the diverse soundscape of American music, incorporating jazz, folk, and popular styles into his theatrical works. This fusion created a distinct sound that set his musicals apart from the European operatic tradition and laid the foundation for a new era of Broadway composition. His influence can be seen in the works of Stephen Sondheim and Leonard Bernstein, both of whom adopted his seamless integration of popular music with sophisticated compositional techniques. Despite his contributions, Weill’s legacy often remains overshadowed by more traditionally celebrated Broadway composers. This presentation aims to display his importance in American Opera and Broadway, and why he deserves more recognition.

The Viking’s Echo: The impact of music traditions from Scandinavian countries and the VIking’s legacy on Western Music

by Sean Walter (Undergraduate)

Many people across the world today have a fascination with the Vikings, but most do not know how influential the Vikings, as well as Scandinavian descendants, were to the Western World and Western Music. In this presentation, we will be going over how the legacy of the Vikings, and the ideals tied to them, impacted the Western world. We will also go over the music traditions that were developed by the Scandinavian countries, and their contribution to Western Music as well as some key musicians who were influential to that contribution.

Diversity of the Harp: A Brief Introduction to the History and Styles of the Harp.

by Olivia Perschbacher (Undergraduate)

The harp is an instrument that many people recognize, but the history and variety of styles of harps are known by only a few. This presentation will be an introduction to the vast history and diversity of the harp, beginning in Ancient Egypt and leading the modern harp. Through visual representation as well as in depth research on the matter of the history of harp, the depth of the history of the harp, and the harpists who assisted in the development and changes of the harp.

The Musical Art of War: The Development of Marching Bands across Military History

by Caleb Staten (Undergraduate)

Military history and marching band? How do these things come together in any meaningful way? The history of marching band comes from many different traditions that originated in military traditions. From the advent of linear warfare in ancient battlefields to the evolution of these tactics in the Napoleonic era, marching bands owe much of their traditions and history to infantry tactics. On top of this the evolution of instruments had much to do with the need to properly communicate during the din of battle forming many of the instrument families that we know of today. With the advent of nationalism many ideas such as national pride, unity, and morale start to express themselves more in the music that we start to hear on the battlefield. While marching bands no longer march off to war their presence should stand as a reminder and a testimony to this millenia old tradition of musical warriors.

Opera: For the Rich and the Poor

by Savannah Robinson (Undergraduate)

Western culture has long had a prevailing attitude towards opera—that it is for the rich and aristocratic. There are numerous examples found in modern American pop culture where the public’s opinion of opera is made clear: opera is for those of high social class. The public is not absolutely mistaken in that belief–operas have historically been expensive to produce and operas were often used by aristocrats to signal their high standing in society. However, the fact that opera has typically been a luxury reserved for the rich section of a population is ironic. Despite its “high-class” connotation, opera has always been perceived by consumers as weird, strange, and eccentric, and the performers and creators of operas are equally as weird. Additionally, tales of outcasts and weirdos have long been composers’ favorite subjects for operas. Opera, then, has a complicated relationship with class: it is both for rich people rulers at the top of society and poor weirdos at the bottom of society.

Medieval Minstrelsy: The Lives and Occupations of England's Musical Professionals

by Mackenzie Pimpo (Undergraduate)

Throughout many centuries, the traveling musicians of medieval Europe have sparked interest in countless writers and poets, and the minstrels of England are no different. No novel from today’s medieval fantasy genre would be complete without a dragon, a knight, and a daring minstrel who carries in his tunes the secrets of millennia, traveling alone with more magic in his pocket than coins. Unfortunately, the evidence to suggest the existence of this minstrel is devastatingly lacking. The research that does exist, however, gleaned from court records and personal memoirs, paints a different picture and identifies him as not just a bard, but a qualified musician. The minstrels of medieval England were professionals in their fields, despite being considered low-class. They boasted notable skill for their time, filled a wide variety of jobs in the medieval world, and collaborated with one another in troupes and unions to establish protected careers for themselves and other musicians. While history still leaves room for debate between what one could call the realists and the hopefuls, each hoping to fill the gaps in time with normalcy or romance, there can be no doubt about the professional nature of the English minstrels’ lives and careers.

Cultivating a Culture of Worship: Missionary Attitudes Toward Indigenous Hymnody Development

by Darby Schmidt (Undergraduate)

This paper explores the development, value, and acceptability of indigenous hymnodies as missionaries have sought to develop them around the world in the last few centuries. The paper focuses on the musical, cultural, and linguistic characteristics of various hymnodies as they developed. To investigate the technical characteristics of developing hymnodies, the paper provides a collection of case studies and testimonials of hymn development. Hymnodies in new languages are often made up of translations of other languages’ hymns, which are then supplemented with music that resonates with local traditions and musical styles. The paper addresses both methods of songwriting and the value and drawbacks of each. Going beyond a description of how indigenous hymnodies are developed, the paper also addresses the perceived spiritual and cultural value of indigenous vs. imported hymnodies by compiling first-hand reports from missionaries. It evaluates the effects of indigenous musical style on memorability, spiritual engagement, cultural identity, beauty, singability, and pedagogical value. Perspectives from both missionaries and local recipients are investigated to assess the value of different development practices. This paper serves as an interdisciplinary exploration of the ways that musicology and cultural anthropology can influence missions strategy through hymn development in a way that serves and comes alongside local churches in minority cultures well.

The Monks and Beyond: An Exploration of Medieval Notation

by Elisabeth Lefkovitz (Undergraduate)

This presentation will analyze the various notation systems of the Medieval era and their significance today. All of the notation systems of Medieval music created a pattern of aiming for excellence and accuracy at increasing levels. Moving from primitive notation of even before Medieval times all the way through to the Ars Nova style of the 1400s, musical progression shows a consistent history of striving to achieve a way to perfectly replicate music without using oral transmission. Although earlier methods needed this oral method to create a full picture, later systems rival today’s systems in their attention to specificity. As a result, musicians of today should respect the work of the Medieval system and its role in creating a modern understanding of music notation.

Songs of Jerusalem: How Crusade Songs Reflected and Shaped Medieval Culture

by Maddie Mowery (Undergraduate)

From the start of the First Crusade in 1095 to the Eighth Crusade in 1270, crusade songs were influential in shaping and reflecting medieval culture and ideology. Crusade songs were not considered a separate genre at the time they were written, but they were included with love songs, sacred songs, political songs, and others. Some songs mentioned crusading in passing and others urged listeners to go and fight. Crusade songs were written in different languages, such as Occitan, Old French and Middle High German. Notation of some of these crusade songs shows how the tunes followed conventions common of medieval music at the time. Crusade songs influenced listeners in their beliefs, ideology and view of Eastern peoples. These songs continue to influence music today, with a growth in popularity of these old tunes for a modern audience.

Scat, Swing, and Soul: The Evolution of Jazz Singing and Improvisation

by Soraya McKay (Undergraduate)

Jazz developed in New Orleans, Louisiana, during the late nineteenth and early twentieth centuries. Beginning with ragtime, swing, and blues, jazz soon became recognized as a major form of musical expression across the globe. This presentation breaks down the evolution of jazz as a whole, while also bringing special attention to the vocal styles and improvisation that characterize jazz singing. Vocalists have brought jazz to life through advanced vocal styles and techniques, highlighting the broad diversity of the human voice. In jazz, the voice often functions as an instrument, creating improvisations derived from complex melodies and rhythms. Phenomenon Ella Fitzgerald is renowned in this area, specifically for her flexible vocals and seamless improvisation skills in scatting. In terms of voice, several jazz giants are addressed in this presentation, highlighting their distinguishable vocal qualities and techniques that rewarded their fame. Because jazz music is written with room for freedom in improvisation, vocal interpretation in jazz will vary depending on the individual. This adds to the beauty of musical dimension, but also insists that differences be made between performative and critical interpretation. This study breaks down these concepts, while including musical illustrations and sheet music excerpts that help explain jazz improvisation. Ultimately, the exploration of jazz vocal history deepens musical appreciation while providing a greater understanding of the genre’s rich history and artistic innovation.

The Piano in a Circle of Strings

by Kenny Bechtel (Undergraduate)

The piano has been an important part of music history and contributes to many genres of music. During the late 1800s, the piano underwent major developments in its mechanics and sound allowing for new possibilities for composers. One genre where this can be seen is in chamber music. As the piano developed overtime, so did its role in chamber music. Due to this development, there has been a noticeable change to how composers write for piano and other instruments in chamber music and during the Romantic era as opposed to the earlier time periods. This article will use different scores to compare how piano writing has developed over time. This article will also use different sources to discuss how the piano hardware has developed and how different composers use the piano in other contexts.

Chemistry: The Interplay of Two Careers

by Catherine Estes (Undergraduate)

When people think about the most famous composers, they probably envision men whose lives were entirely consumed by music. However, the lives of some composers demonstrate how music can be one of a few important parts of someone’s life. Two specific examples are Alexander Borodin and Charles Ives. In addition to being a composer, Borodin was a loving husband and successful chemist, who made advancements in his field of study. Similarly, Ives was a lover of baseball and a life insurance agent, who also made advancements in his field. Studying these men’s lives shows how a career in music can be an integral part of someone’s life without wholly defining it.

Hildegard of Bingen: Theory of Theology

by Sophia Dragoo (Undergraduate)

Hildegard von Bingen was a cloistered abbess at the Rupertsberg Convent during the medieval era. She became the most famous and significant female composer before the Renaissance, leaving behind more preserved Gregorian chant than any other composer in history. Her oeuvre is not only vast in quantity, but also singular and eccentric in style, regularly breaking several of the accepted rules of plainchant, including departing from the mode, extending the typical vocal range, and using frequent large leaps. All of these elements are highly uncharacteristic of most other plainchant, with whose accepted conventions she would have been familiar. Since Hildegard was raised within the Catholic church and exposed to its musical traditions on a daily basis from her childhood, her breaking of the rules could not have been due to ignorance. This paper proposes that the reason behind these unusual elements is an intentional expression of her faith, as Hildegard was a devout abbess. Departure from convention is usually linked to important lines or phrases in the lyrical content of her plainchant, much of which she penned herself (also unusual in plainchant). This paper examines three key elements (departure from the mode, extended range, and large leaps) in their context and text-music relationship throughout several types of Hildegard’s work.

Old Scores, New Tech - Sheet vs. Screen: Why Traditional Music Scores Still Matter in the Digital Age

by Celeste Da Fieno (Undergraduate)

As technology continues to redefine various aspects of modern life, the world of music is no exception. Innovations in digital tools, AI, and software have transformed the ways musicians compose, perform, and study music, yet the traditional practice of reading and interpreting written music scores remains an indispensable skill. This presentation explores the continued relevance of music scores in modern music education, performance, and composition, arguing that they offer irreplaceable benefits for developing musicianship that technology cannot replicate.

Historically, music scores have played a pivotal role in shaping both the careers of musicians and the listening experiences of audiences. The rise of successful musicians who may not read traditional notation - such as Elvis Presley, Paul McCartney from The Beatles, and Hans Zimmer - certainly suggests that musical creativity can flourish without formal education in music theory or notation, but it does not undermine the importance of these tools for musicians and listeners today.

Thorough research, validated sources, and responses from a conducted survey given to the music students and faculty in Cedarville University, all discuss the significant benefits that traditional music scores provide, including fostering critical listening, improving technical proficiency, and enhancing the ability to understand complex musical structures. Additionally, they also serve to remind us of how traditional methods continue to complement modern tools, ensuring that music education and practice remain comprehensive and well-rounded, even in an age of rapid technological advancement.

The Enduring Role of Sousa’s Marches in High School Band Literature

by Johanna Brunsberg (Undergraduate)

John Philip Sousa’s marches have endured as essential repertoire in high school wind bands due to their pedagogical value and lasting impact on music education. This paper examines Sousa’s historical contributions, the technical and musical demands of his marches, and their role in developing student musicianship. His works challenge students with rhythmic precision, articulation, and ensemble cohesion, reinforcing fundamental performance skills. Additionally, Sousa’s influence extends beyond repertoire, shaping band education and performance traditions. His marches provide an accessible yet musically enriching experience that strengthens students’ technical abilities while fostering a deeper appreciation for American wind band heritage. By analyzing these aspects, this paper highlights why Sousa’s marches remain a cornerstone of high school band programs today.