In this class we’ll discuss the renowned 12th century composer, Hildegard von Bingen. This class will cover her life’s story and why her music is so special. We’ll also spend some time discussing chant and will sing one of her pieces.

This class is for anyone who learned to read music in high school band or orchestra, and is now playing early music. What are all those funny symbols and markings in the score that I never saw in marching band? We’ll look at many scores and discuss how to understand them. If you have something that has puzzled you, bring it along and we’ll look at it, too. Students are expected to be able to read music in modern notation, at least a little bit.

Gemshorns and Crumhorns and Cornamusen, oh my. (Rackets too) Bring your 9 note instruments for a jam session. Music orchestrated for 9 note instruments will be provided. There will be some loaners for those who want to try. Most instruments use recorder fingering with few changes.

In this class, I will give a brief overview of the Carmina Burana, a 13th-century manuscript crucial to our understanding of Latin secular poetry and music from the 11th to 13th centuries in Central and Western Europe. Then, we’ll sing / play several of these songs together to familiarize ourselves with the topics and tunes. Bring your instruments and voices and be prepared for sightreading.

How do we faithfully recreate an instrument when the original is lost, damaged, or poorly documented? This class explores the essential research methods needed to transform scattered historical evidence into precise, workable designs. We will examine how to extract reliable measurements from primary treatises, surviving artifacts, and secondary references, while learning to navigate common pitfalls such as structural warping, missing components, or conflicting documentation. Using fundamental woodwind and brasswind acoustic theory, we’ll explore how instrument physics can help validate uncertain or missing dimensions. For poorly recorded instruments, we’ll cover practical techniques like photographic analysis, pixel-to-mm scaling from period artwork, and comparative proportion mapping. We’ll also discuss how to interpret manometer charts and pressure data to understand bore behavior, safely modify designs, and create playable modern derivations. By the end of the session, you will know how to compile your research into accurate blueprints or CAD-ready patterns suitable for traditional craft or modern digital fabrication.

Please note: This class focuses entirely on historical research, measurement validation, and design preparation. CAD software operation and 3D printing techniques are not covered.

The Arbor Consort will lead an hour of madrigal singing. We will choose well-known songs from Italy, Spain, France, Germany, and England. Each song will be introduced with a brief commentary on what made each song particularly famous or interesting. If more than 20 persons attend, then music will be shared. The Arbor Consort is the official madrigal singing group of the Michigan Renaissance Festival.

Non-singers are also welcome to come listen!

This class will introduce participants to gagaku, the ceremonial music of the Japanese court. After a brief overview of Japanese music, including its aesthetic values, methods of transmission, and tonal system, we’ll go over the characteristics of gagaku. In particular, we’ll examine the instruments used, the purpose and circumstances of gagaku performance, and its relationship to Chinese and Korean music. We’ll also talk about the development of gagaku’s various repertoires and discuss the changes in their performance practice from gagaku’s beginnings in the mid-6th century, through its height in the 12th century, until its virtual loss in the mid-15th.

We have clear evidence of the use of horns to inform and control a hunt dating to at least the 14th Century. But what did they sound like? We’ll look at the sources available, and use the evidence we find to create speculative interpretations for some of the calls described. Playable horns (animal or brass) welcome, not required. Reading music not needed.

In this class we’ll discuss the history of the 7 String Zither (Guqin)

Have you ever wondered how to lead a large ensemble? Or help a singing group get that polyphonic section just right? Or how can you apply any conducting practices into scadian groups? Or maybe you just want to wave your hands around? Then this is the right class for you!

“How to Conduct” led by Cassandra of Cynnabar, will start off with a brief overview of modern conducting practices and how to visually display tactus in early music. After going over these gestures, there will be an open discussion on possible ways to incorporate conducting and tactus into scadian ensemble rehearsals.

The earliest 2 part music we have is from monasteries in Eleanor of Aquitaine’s backyard. We’ll discuss the early evolution of written music, and the difficulties of reading it, plus listen to some examples, then try singing some. This music pre-dates the Notre-Dame school of Leonin and Perotin. Handout with musical examples and bibliography/discography.

Starting from a song in a manuscript, we’ll follow the steps that one might take to get it to be a performable piece. The example will be The Milde Lomb, from Arundel 248, circa 1250 A.D. The modern source being used is Musica Britannica Vol 95, Songs in British Sources c.1150-1300, edited by Helen Deeming.

This is a particularly florid piece as notated, so we will start by simplifying the tune, then add ornaments back in as the text and our whim dictates. This technique can be used on most medieval music. Class ends with teacher’s performance of the song.

In this class we’ll go over the basics of how to play the Korean Hourglass Drum.

We will explore the methods that a 16th Century Italian Style Trumpet Ensemble would use to take a melody, and modify it for a 6-voice trumpet ensemble.
Then, we will start with a melody and do it! If there is time left, those willing can play it.

Playing trumpet is not necessary for understanding the content of this course.

There will be a limited number of trumpets available if you do play a little and want to join in that part of the fun.

“Christ ist erstanden” is a German easter hymn dating from the 12th century that has remained popular through the centuries and is still sung today. We’ll learn its melody and two related ones: the 11th century sequence “Victimæ paschali laudes” by Wipo of Burgundy and the 16th century hymn “Christ lag in todesbaden” by Martin Luther. Then we’ll play or sing a few different settings of these songs from the 15th and 16th centuries (and perhaps beyond?)

Rehearsal for the Big Sing