On June 10, 2003 the ICJS assembled a remarkable group of scholars in Baltimore to launch an inquiry into the complex interplay of Choral Arts and Christian theology -- particulary the enduring legacy of Christian anti-Judaism. Participants included: Margot Fassler (Director of Sacred Music, Yale Divinity School); Richard Freedman (Professor of Music, Haverford College); Michael Marrisen (Music Department Chair, Swarthmore College); Amy-Jill Levine (Professor of New Testa-ment Studies, Vanderbilt Divinity School); Sanford Sylvan (opera singer); Tom Hall (Director of the Baltimore Choral Arts Society); Rosann Catalano (ICJS Roman Catholic scholar); Charles Arian (ICJS Jewish scholar); John Roberts (Associate ICJS scholar); and Christopher M. Leighton (ICJS Executive Director).

Preliminary goals of the new project were briefly outlined: To demonstrate how anti-Judaism has found a home in choral music; to convince conductors, performers, and audiences that the problem of anti-Judaism in music exists and needs to be taken seriously; and to suggest ways of educating con-ductors, performers, and audiences so that anti-Judaism in choral works can be recognized and understood.

The first meeting on June 10 attempted to identify the issues and challenges facing the project and to suggest ways in which to frame these issues and challenges in order to gen-erate future educational responses.

During the one-day conference, the discussion ranged across many topics, including: the importance of teaming musicolo-gists with biblical scholars to help make the transition between religious text and art; fostering understanding of the anti-Judaic elements in the work without destroying the apprecia-tion of the music; and addressing the problems associated with revising or editing the music to remove the objectionable portions.

The discussion attempted to identify clearly the broadest possible audience for the project and at the same time to address the considerable concerns of performers and scholars in the field.

As the project moves forward with the support of the Marco Goodman Trust in San Francisco, the ICJS will:

• Identify four or five themes that need to be taught and choose music to teach these themes (or identify key pieces of music that illustrate anti-Judaism);



• Increase theological understanding as a crucial component to learning;



• Present issues in historical segments (e.g., the medieval period, the Renaissance, etc.) that help make the theological concepts easier to understand in context;



• Identify and bring together a distinguished group of scholars from music and theology for a symposium out
  of which a volume of essays can be generated along with other resources.