SACRED MUSIC

The man that hath not music in himself,
Nor is not mov’d with concord of sweet sounds,
Is fit for treasons, stratagems and spoils.

William Shakespeare
Merchant of Venice (V.1)

The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. 

Sacrosanctum concilium, §112

For Aristotle, music was one of the most important subjects in the education of the children of his day, “not because it is necessary, or because it is useful, but simply because it is liberal and something good in itself.” This is precisely the definition of a liberal education: the study of that which yields a unified and comprehensive view of reality as a whole; thus, music is worth knowing for its own sake.

With the coming of the Christian dispensation, however, a significant new facet was added to the Ancient World’s high estimation of musical education. With the daily celebration of the Mass and Divine Office, music became an integral part of the worship of the Triune God. So, to the end of improving the musical ars celebrandi of the Church, Charlemagne ordered in 789 AD that schoolboys should learn “psalms, notes, chants, the computus , and grammar in each monastery and bishop’s house.” Thus, the monastery and episcopal schools of the day—the equivalent of today’s grammar and secondary schools—were, in essence, “choir schools.”

This was the normal pedagogical practice for centuries. For, it was understood that education in the liberal art of music enabled man–understood properly as religious by nature—was created to worship God with his whole self: mind, body, soul, thought, word, deed, and song. As St. Augustine wrote, “Cantare amantis est.” (“song is an expression of love,” i.e., the love of God).

The music program at Christendom College fosters the musical legacy of antiquity, as purified and elevated by the Christian inheritance. At Christendom, excellent musical education finds its highest expression in the Holy Sacrifice of the Mass. In conjunction with the Center for Sacred Music and under the guidance of the Director of Sacred Music, Christendom’s music program cultivates the rich understanding and the skilled performance of Gregorian chant, Renaissance polyphony, and the stunning repertory of liturgical and paraliturgical music composed in more recent centuries; thus, our students render present, in resonant beauty, the sonic vesture of divine worship and its paraliturgical complements.

In preserving and promoting the College’s proud heritage of fostering a high liturgical culture, the music program cultivates the talents of student cantors and organists, larger choral ensembles, and smaller Men’s and Women’s Scholae–who are supplemented with seasoned professional singers and instrumentalists on special occasions. Students are also offered myriad opportunities for performance outside the liturgy, including Lessons and Carols, concerts, recitals, and devotional exercises. Our individual instructors in organ and voice include highly accomplished and internationally recognized musicians. In sum, the Sacred Music program of Christendom College brings forth beauty, truth, and goodness in sonic gesture, so that we may ever more earnestly “seek what is worthy of the Church’s worship . . . [for] beauty and love form the true consolation in this world, bringing it as near as possible to the world of the resurrection” (Pope Benedict XVI).

Requirements for the Sacred Music Major

The Sacred Music Major, which is administered by the undergraduate Department of Theology, requires fifty to fifty-two (50-52) hours of study after the candidate has completed a successful audition and the stated prerequisite: either a written departmental entrance exam or the successful completion of MUS 101-102 (standard chant and modern music notation). MUSC 101-102 do not count toward the student’s GPA or as fulfilling graduation requirements.(For all upper-level music courses (300- or 400-level), except electives and HIST/ MUSC 305, students must demonstrate competency in Music Fundamentals, as assessed by a departmental test). 

Students may choose between a Sacred Music Major with an Emphasis in Organ or Voice (graduation in organ requires the passing of Christendom College’s service playing examination). Many of the courses require minimal reading competency of the Roman Rite’s liturgical texts. For students considering a Major or Minor in Sacred Music, Latin is encouraged as the core curriculum language requirement. 

    Total Music Credits: 50-52 credits 

    Other requirements: jury/ combined recital each semester of study and monthly studio classes with other students and instructors in the same instrument.

    Requirements for the Sacred Music Minor

    Other requirements: jury/ combined recital each semester enrolled in lessons and monthly studio classes with other students and instructors in the same instrument. 

    Organ Practicum

    The organ practicum is a practically oriented sequence of twelve credits. Besides some classes, it requires four semesters of organ lessons and a one-semester internship in a parish or at the college as well as the passing of the Certification Exam in Liturgical Organ Performance.

    MUSC 311 Organ Lessons: 4 credits

    MUSC 301 Music Theory and Aural Skills I: 3 credits

    MUSC 304 Gregorian Chant: 3 credits

    MUSC 310 Conducting/ Liturgical Music Director Practicum: 2 credits

    Certification Exam in Liturgical Organ Performance

    Faculty

    BIO

    Dr. Sara Pecknold holds a Ph.D. in Historical Musicology with a minor in Vocal Performance from The Catholic University of America, where she served as a lecturer in the History of Sacred Music and directed the Sacred Music Consort from 2016 to 2022. Dr. Pecknold has presented at numerous conferences and institutions, including Christendom College’s Beato Fra Angelico Fine Arts Series (2020 and 2022), the Society for Seventeenth-Century Music (2012), the Annual Conference of the American Musicological Society (2016), the International Institute for Culture (2017), Seton Hall University’s Monsignor Cafone Lecture (2019), and Princeton University’s “Strozzi ’400,” which celebrated the fourth centennial of the birth of the prolific seventeenth-century composer, Barbara Strozzi (2019). In March of 2016, Dr. Pecknold appeared on BBC Three’s Composer of the Week series on the life and music of Barbara Strozzi. Her articles have appeared in the Yale Journal of Music and Religion,  New Blackfriars, the Catholic Herald, Christendom College’sInstaurare and Catholic Arts Today, a publication of the Benedict XVI Institute for Sacred Music and Divine Worship.  Dr. Pecknold’s current research concerns Marian art and music created throughout the Church’s history, Eucharistic devotion in seventeenth-century Venice, and the role of music in Counter-Reformation mystical theology. At Catholic University, Dr. Pecknold was the founding director of the Concerts spirituels, a sacred music concert series honoring the liturgical calendar. She is currently Director of the Center for Sacred Music and associate professor at Christendom College. Also a professional soprano, Dr. Pecknold has often served as a cantor in her home parish, the Basilica of St. Mary in Alexandria, Virginia. She lives in Alexandria with her husband and five children.

    BIO

    Dr. Kurt Poterack is a full-time assistant professor of music who specializes in music theory but teaches other classes as well such as Gregorian chant and a course in the Theolgy of Worship and Its Music. He has a Bachelor's Degree in Music Education, and a Masters and a Doctorate in Music Composition. He was for ten (10) years the editor of the quarterly journal Sacred Music, the oldest continuously published journal on music in the United States and is a board member of the Dom Mocquereau Foundation in Washington DC. This Foundation which is housed at the Catholic University of America, oversees the Ward Method of Instruction in Music for children. He considers his greatest mission in life to be the handing on of what Fr. Dr. Robert Skeris, musician, and theologian of musica sacra so genrously gave to him while he was chaplain at Christendom College in the 1990's and beyond.

    BIO

    Dr. Kurt Poterack TBD.

    BIO

    Sarah Shafer holds a Master of Music in Vocal Pedagogy and a Bachelor of Music in Vocal Performance from Shenandoah Conservatory of Shenandoah University. While at Shenandoah, she received the Pruitt Scholarship for Academic Excellence, the Rita Noel Scholarship for Excellence in the field of Vocal Pedagogy, the Joy Shaeffer Barbera Scholarship for Excellence in the Field of Voice, and was awarded the Chamber Choir Award for Excellence in Choral Singing. Shenandoah’s rigorous choral program included annual concerts of major works at the Kennedy Center with the National Symphony Orchestra, and bi-annual European tours in which the choir performed a cappella concerts, and had the privilege to sing for Mass at various churches, including St. Peter’s Basilica in Vatican City and St. Mark’s Basilica in Venice. Sarah Shafer has taught vocal lessons in Northern Virginia and Washington D.C. and has worked as a soprano soloist and section leader. Primarily, Sarah Shafer has had a career as a Choral Director, with an emphasis on Renaissance polyphony and Gregorian Chant. She has twenty-four years of experience as a parish Music Director in the Diocese of Arlington. Currently, Sarah Shafer is the Music Director of St. Michael’s Catholic Church in Annandale, where she directs the Adult Choir, Children’s Choir, Schola, and seasonal Women’s Choir, conducting two Choir Masses each Sunday, including a Latin Novus Ordo Mass.

    BIO
    Dr. Laura "Missy" Curl is a soprano, music researcher, and voice pedagogue from the Washington, D.C. area. She has undergrad degrees in Vocal Performance and Italian, and a Doctor of Musical Arts degree in Vocal Pedagogy, from the University of Maryland, College Park. She also has a Master's degree in Musicology from the Catholic University of America. 
    As a soloist, Dr. Curl has performed with the Northern Virginia Chorale, the Catholic University Sacred Music Concert Series, the Washington National Opera Institute for Young Singers, the National Philharmonic’s Summer Choral Institute, and the University of Maryland’s Summer Chorus, Bach Cantata Series, and Baroque Ensemble. As an ensemble singer, she has sung with the National Symphony Orchestra and Baltimore Symphony Orchestra with the University of Maryland Concert Choir, and productions of Carmen and Turandot with the Washington National Opera’s children’s chorus. She has also performed as a cantor and schola cantorum member at St. Bernadette's Church in Silver Spring, MD, St. Dominic’s Church in Washington, D.C., and the Basilica of St. Mary in Alexandria, VA. For the 2026-2027 season, she will be singing with the National Children's Chorus as the Soprano 1 Vocal Mentor. 
    As a voice instructor, Dr. Curl has taught at the University of Maryland, the International School of Music, Bullis School, Camp Levine, and Belvoir Terrace. She has also recently accepted a position with Peabody Preparatory teaching an adult voice class. As a researcher, Dr. Curl has received awards such as the Voice Foundation’s New Investigator Research Forum and the Leon Thurman Human Compatible Learning Award, and recently gave a lecture at the Source Song Festival in Minneapolis. 
    She and her husband recently bought a home in Wheaton, MD, where they enjoy cooking, walking, and making music together.
    BIO
    Michael E. Ruhling, PhD, is Professor of Performing Arts in the College of Liberal Arts at the Rochester (NY) Institute of Technology, where he spent 18 years as orchestra conductor, and has been a Senior Associate Faculty in Musicology at the Eastman School of Music.  During the 2023-24 academic year he was a visiting faculty member at Hillsdale College. From 2004 to 2009 Dr. Ruhling served on the conducting and lecture faculty of the Classical Music Festival in Haydn’s hometown of Eisenstadt, Austria, and was bass section leader in the Festival Chorus. He has appeared as guest conductor of the UNLV Symphony and Opera, Brighton Symphony Orchestra, Prince George’s Philharmonic, Finger Lakes Symphony, Rochester’s Air de Cour, and several other orchestras and choirs throughout the United States.  He has had several articles published on the sacred and orchestral music of Joseph and Michael Haydn, Beethoven, and performance practices, and has authored and co-edited two books on Joseph Haydn’s music. Dr. Ruhling was named the 2008-2009 Christopher Hogwood Historically Informed Performance Fellow by the Boston Handel and Haydn Society. He is the founder and for more than a decade has served as president of the Haydn Society of North America, and edits its online journal HAYDN: Online Journal of the Haydn Society of North America.  For his work in Haydn research and publication, in 2011 Dr. Ruhling was elected a lifetime member of the Haydn Society of Great Britain’s Committee of Honour. At Christendom College, Dr. Ruhling teaches music history and conducting courses, and is Director of Chapel Music.
    BIO

    Benjamin LaPrairie, Associate Director of Music, Basilica of the National Shrine of the Immaculate Conception in Washington, D.C.  Since 2011, he has assisted in the leadership of the music department and has regularly accompanied daily, Sunday, and other special Masses throughout the year.  Notable liturgies include the Canonization Mass of Saint Junípero Serra, celebrated by Pope Francis, and the Funeral Mass of Supreme Court Justice Antonin Scalia.  In May of 2019, Benjamin performed with the Choir of the Basilica in concerts and liturgies in Rome for the commemoration of 35 years of diplomatic relations between the United States and the Holy See.  Previous posts include Principal Organist at St. Dominic Catholic Church in Washington, D.C., and Director of Music at St. Patrick Catholic Church in St. Charles, Illinois.

    As a composer, Benjamin’s works have been performed by the Choir, Brass, and Orchestra of the Basilica, and have been recorded and broadcast worldwide on EWTN, Salt & Light Media, and CatholicTV.  His setting of Christus Vincit was premiered upon the entrance of Pope Francis into the Great Upper Church of the National Shrine in September of 2015.  Recent works include a setting of Ye Sons and Daughters for the Choir and Orchestra of the Basilica, a setting of Joy to the World for the choirs and orchestra of The Catholic University of America, and a choral setting of ISTE CONFESSOR for the Diocese of Orange, CA.  As an organist, Benjamin has performed throughout the United States and abroad, and has been featured as a soloist with the Pine Mountain Music Festival, at Boardwalk Hall in Atlantic City, NJ, at the Kennedy Center in Washington, DC, the Eccles Organ Festival at the Cathedral of the Madeleine in Salt Lake City, UT, the Sacra Liturgia Conference at St. Patrick Seminary in San Francisco, CA, the Cathedral Concert Series at St. Augustine Cathedral in Kalamazoo, MI, the Central Arkansas Chapter of the American Guild of Organists, and the Festival Organistico Internazionale della città di Alba, Italy.

     A native of Michigan, Benjamin is a graduate of the University of Michigan School of Music, Theater, and Dance, where he studied organ with Robert Glasgow.  He received a Master of Music degree from the Peabody Conservatory of Music, where he studied organ with John Walker, and was the recipient of the Bruce R. Eicher Prize in Organ.  In the fall of 2019, Benjamin was appointed Lecturer in Organ at The Catholic University of America Rome School of Music, Drama, and Art, and in the spring of 2024, he joined the music faculty of Christendom College in Front Royal, VA.  Since 2022, Benjamin has been a member of the board of the Catholic Sacred Music Project, under the patronage of Robert Cardinal Sarah.

    Scholarships

    Several additional scholarships for Choral and Organ Scholars are available for the 2027-2028 academic year. Auditions will be held in the Fall and the Spring.

    Contact Dr. Sara Pecknold, sara.pecknold@christendom.edu with any questions.