Christ should be manifest in our whole life: how to achieve Christian perfection

As I sit here on the shores of Lake Atitlan this morning, the Office of Readings this morning had provided another gem to chew on and mull over.

From a treatise on Christian Perfection by Saint Gregory of Nyssa, bishop

(PG 46, 283-286)

Christ should be manifest in our whole life

“The life of the Christian has three distinguishing aspects: deeds, words and thought. Thought comes first, then words, since our words express openly the interior conclusions of the mind. Finally, after thoughts and words, comes action, for our deeds carry out what the mind has conceived. So when one of these results in our acting or speaking or thinking, we must make sure that all our thoughts, words and deeds are controlled by the divine ideal, the revelation of Christ. For then our thoughts, words and deeds will not fall short of the nobility of their implications.

What then must we do, we who have been found worthy of the name of Christ? Each of us must examine his thoughts, words and deeds, to see whether they are directed toward Christ or are turned away from him. This examination is carried out in various ways. Our deeds or our thoughts or our words are not in harmony with Christ if they issue from passion. They then bear the mark of the enemy who smears the pearl of the heart with the slime of passion, dimming and even destroying the luster of the precious stone.

On the other hand, if they are free from and untainted by every passionate inclination, they are directed toward Christ, the author and source of peace. He is like a pure, untainted stream. If you draw from him the thoughts in your mind and the inclinations of your heart, you will show a likeness to Christ, your source and origin, as the gleaming water in a jar resembles the flowing water from which it was obtained.

For the purity of Christ and the purity that is manifest in our hearts are identical. Christ’s purity, however, is the fountainhead; ours has its source in him and flows out of him. Our life is stamped with the beauty of his thought. The inner and the outer man are harmonized in a kind of music. The mind of Christ is the controlling influence that inspires us to moderation and goodness in our behavior. As I see it, Christian perfection consists in this: sharing the titles which express the meaning of Christ’s name, we bring out this meaning in our minds, our prayers and our way of life.”

Some questions for reflection:

Does my life bear witness to the marks of our Savior, crucified?

Does my life lead others to Christ through my thought, word, deed, and action?

“Our lives are stamped with his thought” we’re created in the very image of the living God. Do our lives reflect the beauty and love of our creator?

“The inner and outer man are harmonized in a kind of music.” Are we healthy? Do we know ourselves? Who we are before God? Who we are before our brothers and sisters? Does our inner life and outer life live in harmony, reflecting the beautiful work of His hands that we are?

“Beauty as Criteria for Choosing Music for Catholic Worship” – My Senior Thesis

The following has been long coming, but it is my Senior Thesis on “Beauty as Criteria for Choosing Music for Catholic Worship” In it, I examine how we define beauty, beauty as a thing of God, and then how we apply beauty as Criteria for choosing the music we use in the Liturgy. This paper was inspired by my love of beauty, of music, the Liturgy, and also of my desire to post things on my blog that will help us in more closely walking the Way of Beauty. For, “if ugliness is imprisonment, beauty is a kind of liberation.”

“Beauty, then, is not mere decoration, but rather an essential element of the liturgical action, since it is an attribute of God himself and his revelation. These considerations should make us realize the care which is needed, if the liturgical action is to reflect its innate splendour.” – Pope Benedict XVI

Beauty as Criteria for Choosing Music for Catholic Worship:

+++

An attempt to liberate us from the ugliness of the world.

organ@stfrancisquincy

John Adams once wrote: “Went in the afternoon, to the Romish Chapel [in Philadelphia]. The scenery and the music are so calculated to take in mankind that I wonder the Reformation ever succeeded … the chanting is exquisitely soft and sweet.”[1]

A lot has changed in the Church since when John Adams first visited a Catholic Church on October 9. 1774. The dominant language used in the Liturgy has changed, the “scenery” has changed as well, with most churches resembling some form of puritanical white washed sanctuary, with altars and ambos made to look like anything from fancy tables to meteor rocks. Rock bands have replaced the choir and organ with piano and guitars. “Cantors” have been restored to the Roman Rite, active participation is the new cliché phrase and those young and old who do not hold a songbook or sing along to Lord I Lift Your Name on High, are immediately singled out and exiled by members of the community as traditional, Latin-loving prunes who just want to return the church to the dark ages where the people had no say and the Mass was sung in Latin with Gregorian chants abounding. Okay, so maybe that’s a little harsh, but think of it. Surely you can at least name two situations where you have experienced a situation like the above.

If not, what about this one: “You are sitting in church preparing for Mass and 48 year old Mark steps up to the microphone on the side of the Sanctuary, welcomes you and invites you to stand for the gathering song. The guitarists start strumming, the pianists starts playing and everyone joins in singing Here I Am to Worship. But wait, is everyone really singing around you? All you can hear is Mark and his cousin Betty harmonizing on “I’m coming back to the heart of worship.” The microphones at the cantor stand are turned up loud and the microphones seem to be surgically attached to Mark and Betty’s faces.

When did the music used for worship become a show? When did the music of Adams’ time disappear? Why did it disappear? Surely music in Catholic Worship is not meant to resemble a protestant service, is it? Oh, but they tell you that the music you’re singing now is actually based on scripture, it’s none of those weird things in Latin that no one could understand and which didn’t have any biblical basis. No one can sing without a cantor leading them. The organ? Pshaw! That old piece of garbage? Don’t you know how much it cost to keep that thing working? Besides, Sister Pam had explained how the organ and chants were part of a former clericalist culture in the church, a church that oppresses women. Mark, Betty, guitars, and piano, these provide real music. They provide a welcoming environment, and make people feel at home. THIS is the future of worship. THIS is the sad state of music in the Catholic Church in America… or is it?

When was the last time that you heard something beautiful? What was it? Now ask yourself: “What made it beautiful?” How do we describe beauty? Beauty, especially in Catholic worship has been an aspect that connects the people to the Liturgical rites being celebrated. We are a sensory people. When encountering Christ and the Church, John Adams gave reference to the idea of beauty. He mentions the music was so calculated that it’s a wonder anyone would want to be protestant. Beauty as noticed by an outsider was something, which draw him upward, made him feel the power of the almighty in a way that he didn’t experience before.

“Like the terms “true” and “good,” the term “beautiful” (kalón; pulchrum, beau, schön, etc.) is familiar to all. To reach a definition of it let us question experience. What do men commonly mean when, face to face with some object or event, they say, “That is beautiful”?”[2] Beauty is something, which unites everyone. We can look at a picture of DSC_4070the sunrise over the Grand Canyon or the fall foliage in Frankenmuth Michigan and call it beautiful. We look at Michelangelo’s Pieta or Beethoven’s Symphony Number 9 and almost everyone can agree that they are beautiful. But what makes all of these things beautiful? What makes them any different from something we would call “vulgar” or “ugly?” Thomas Aquinas writes that the first thing we need to note is that “the beautiful pleases us, affects us agreeably, while the commonplace or the ugly leaves us indifferent or displeases us, affects us disagreeably.”

In the Catholic Church in America there are undoubtedly, two main types of music. You have hymn or chant based pieces and then you have what can be called Praise and Worship. Both of these types of music cause different thoughts from people. To many, both types of music are beautiful, but what makes them such? Is it possible that we misunderstand what it means to be beautiful in our worship? Why should music used in Catholic Worship even be beautiful?

St. Thomas Aquinas says: “”pulchra sunt quae visa placent” “Those things are beautiful whose vision pleases us.[3] Vision in this sense is understood to be something wider than just seen with the eyes; it is contemplation, apprehension, and a way of connecting what we are taking in to our intellect, our intelligence. The two higher senses of hearing and sight are the closest to the intellect, thus whatever we call beautiful has to use at least one or both of these senses. That being said, the beautiful cannot be that which just please the senses. To smell the turkey as it comes out of the oven or to see the pretty dress the bride is wearing on her wedding day pleases the senses. We might say that the turkey smells delightful and that the bride is beautiful, but these feelings of sensible pleasures are not the same as experiencing the authentically beautiful. These “sentient states of agreeable feeling are mainly passive, organic, physiological; while esthetic enjoyment, the appreciation of the beautiful, is eminently active.[4] “Eminently active. Being active in this sense implies the use of the intellect, the connection, which is made between some idea comprehended, and an idea, which exists within the object being sensed. Peter Coffey says that in order for the act of contemplation of this beautiful thing to please man, “it must be in harmony with his whole human nature, which is both sentient and intelligent; it must, therefore, be agreeable to the senses and imagination as well as to the intellect.”[5]

Music in Catholic Worship: The Sorry Current State and How it Came to Be

Thomas Day in his legendary work Why Catholics Can’t Sing discusses many aspects of the problems with music in the current Catholic Church. “My experience is that the average Catholic congregation sings well when it goes backward, as it were, and returns to the primitive stage of development that is missed. Everyone lowers the expectations, the instrumental accompaniment, and the amplification to the point where people can hear themselves as an assembly. They sing simple music, perhaps an old-fashioned hymn, perhaps an unaccompanied dialogue with the priest – not all the time, but at least occasionally. This results in a sound that is quite homely, but often something profound and devout comes through in that singing. That sound can be more impressive than artistic excellence.”[6]

There is a problem with how music is viewed in the Catholic Church. I remember my IMG_3212Episcopalian voice professor asking my during my first lesson 4 years ago what my opinion on music in the Catholic Church was like currently. Not really giving him a firm answer, he said something, which has stuck with me. “Music in the Catholic Church died in 1967. It’s up to us to bring it back!” There is truth in that statement. Ask anyone who took part in the liturgical renewal and restoration of the Second Vatican Council and they can tell you horror stories of music in the 30+ years following the releasing of the documents. A spirit of freedom and anything and everything seemed to become the law of the land, when reality was far from it.

Music had been for the longest time one of the ways in which the church exercised immense control over its liturgy and rites. Hymns in the vernacular though occurring sporadically at Low Masses were only officially approved in 1958. Pope St. Pius X was a great restorer of chant and polyphonic pieces in the Liturgy as evidenced by his Motu Proprio Tra La Sollecitudini in 1903. Before then other popes had forbidden the use of anything other than Gregorian chant, because the music was becoming too secular in style and word usage. Music has a way of uniting everyone, and at the same time dividing them all based on aesthetical preference, emotional attachment, and a host of other technical factors such as errors, poor acoustics, or perhaps a flat tenor. Music is a language that everyone can speak in some way or another, which is why for so long the Church has exercised complete and total control over how it is used in her worship.

One of the four marks of the Church is that she is one. This oneness is a unity that is expressed primarily through her worship; for centuries the Church had different rites, different ways in which the Mass was celebrated, depending on where you were located.[7] Then in the 1500’s things started to be ironed out. Following the Council of Trent, which occurred post-reformation, the Church published the Missal of Pius V in 1570,[8] a Missal, which unified the Order of Mass and helped to promote unity of worship among the people.

For centuries the Churches were built in an elongated style, with the sanctuary at one end and the nave where the common people would be in the other. In between these two was the choir, where clerics would sit and participate in the Liturgy through chants and thus aiding the music. Since only males could be clerics, only males were allowed in the choir to sit and participate in the sacred chants. This went on for centuries even after most churches started to abandon the sanctuary-choir-nave style. Churches began to build choir lofts, which played with the building’s natural acoustics and carried the sound downwards, toward those gathered below. These lofts were sometimes large enough to hold small orchestras; and the creative genius of the musicians of the age began to soar.[9] March4Life-2792Pius XII’s 1955 Encyclical gave permission by indult for women to officially sing in choirs instead of Pius X’s 1903 mandate that if they must sing, they were to be outside of the sanctuary. The use of the female voice had long been established though, which is part of the reason why choir lofts were built outside of the sanctuary area.

As previously stated, the Church has always guarded her music and prayers like a hawk. Those who would seek to change them into something trivial or bane would be cast out and order would be restored. That is, until post Vatican II, or at least it can be seen like that to some extent. Music post Vatican II, was in a sense “opened” to a wider variety. Permission was granted for other styles, cultures, and such to be sung within the Sacred Liturgy but it was not given how it was received. To those who were involved in music within the Church, an “anything goes” mentality seems to have taken root and prospered for a good ten to twenty years or so. “One has remarked that, in some parishes, the liturgical reform was so hasty and so violent that one forgot sometimes the presence of some gratuitous beauty which came from the past and still could embellish celebrations today…The new celebrations were correct, but all beauty of the past was gone. The Latin language, for instance, was still proclaimed to be the official language of the Roman Rite, but there was no more singing in Latin.”[10]

In a matter of a few documents, mis-interpreted to some extent the Church seemed to gain some beauty, but exchange it for her wealth and tradition of beauty, which had existed throughout the ages prior. How could one declare that something of the past, which was practiced for centuries, was in a minute wrong, forbidden, out-of-place? It couldn’t be so, but in many ways it was. In many ways, the wealth and tradition of Sacred Music in the Catholic Church, like my voice professor said: “died in 1967.”

Beauty, what is it? How does it relate to Church Music?

Beauty is an aesthetical value. It is something, which as Thomas Aquinas states is a good. Pulchra, bonum est. Beauty is a good. The “goods” that Thomas refers to are perfection, things that do not detract from themselves, but which point to the “Supreme Good,” that is, God. Something that is beautiful and is a good shares in the sole goodness, which belongs to God and is thus one of many “goodnesses.” Aquinas writes that Socrates[11] calls God the absolute good, from whom all that is good is good by way of participating in God’s goodness. Beauty then, as an aesthetical value is something good, which makes beauty belong to God.

If beauty then belongs to God and receives its goodness from him, it must be something, IMG_3396which is inspired or created by him. We see in nature the beauty of Mt. McKinley soaring up into the clouds, the largest peak for miles around. Knowing that God created the world and designed it, we can trace Mt. McKinley’s existence back to God’s divine authorship. Nature can be easily traced back to its creator; music on the other hand is a totally different bird.

If someone, a man, creates music and the man is created in the imago dei, surely what he does can be considered beautiful can it not? Yes, in some sense we could come to that conclusion, but in regarding a case of murder, where a man murders another, the brutality of his act, his action itself is not called beautiful, yet man who, created in God’s image, produces it and is inherently beautiful. The same is true with music. Just because someone who shares in the goodness of God and is beautiful makes it is, does not automatically mean that their music is beautiful. Beauty has other parameters that must be met, especially when it comes to judging music aesthetically beautiful.

As Thomas and Peter Coffey have noted, beauty is not something passive. It exists with an action; it is as Coffey states, “eminently active.”[12] Beauty reaches and connects to man through his senses, but it must connect what is sensed with the intellect, with the mind, the use of reason, the ability to judge between good and evil. For Thomas, the active intellect is something in the soul, it is something, which takes and draws its power from a higher intellect, which because of faith, we believe to be God. Psalm 4:7 states this with: “The light of Thy countenance, O Lord, is signed upon us.” This union of the intellect with the creator God helps us to see how music, when created for a religious purpose, inspired by the Holy Spirit, can be created beautifully, in honor of beauty, himself.

Beauty, I have long argued is not just an aesthetical principle or virtue, rather it is a person, it is the very person of Jesus Christ, God made flesh. The Church is where Christ dwells, it is where beauty dwells, it is where we encounter the Living God in very real, sentient ways, which in turn feed our intellect and connect us back to the Father. Day states that gestures and things, which Catholics do, that might seem out of place in the secular world are really only “attempts to transcend the ordinary.”[13] They are opportunities in which by performing some action, doing something that is not of this world, we get a glimpse of Heaven; we receive a glimpse of the extraordinary or supernatural.

Beauty though can still be a matter of taste. One person’s idea of what the beautiful is, will differ from another, except for certain things, which, everyone can admit, are beautiful. These things, which transcend the ordinary, everyone can agree on as being beautiful. If you look at Notre Dame Cathedral, everyone can say that it is beautiful. If you listen to Bach’s Mass in B minor or Handel’s Messiah, everyone can agree again that it is beautiful. It may not be what their taste is all of the time, but it can be understood and agreed upon as being beautiful. “At its highest, taste–as seen especially in the sense of beauty and in the sense of sublimity – enters into the sense of God and the sense of good.”[14]These things that we call beautiful and are of God, are things, which are in a way “larger than life.” Music, which is large, which is transcendental and out-of-this-world is normally what everyone can agree upon as being beautiful. This will be important to remember later, that the larger, transcendental seems to be a universal beauty, unlike things which are imminent and more ordinary, of this world.

H.L. Mencken, in a poem once wrote: “The Latin Church, has always kept clearly before it the fact that religion is not a syllogism, but a poem.” Beauty like the faith has a poetic nature, it is something, which speaks on different levels to the listener and can cross boundaries that separate and divide. Music, like beauty has a way of unifying, of connecting, of creating a commonality among people of different race, creed, and background. The unity, which is created by beautiful music, is extremely important as the Church seeks to be one and unite all under the banner of Christ triumphant.

Unity of Voice: How can we achieve it?

IMG_3526“The mystery of the liturgy, with its hierarchical and communitarian characteristics, is more openly manifested; the unity of hearts is more profoundly attained by the unity of voices.”[15] Unity is an important factor toward deciding what is beautiful and fitting for use in worship. The Second Vatican Council called for the Full, Active, & Conscious Participation of all of the faithful in the rites and liturgies of the Church. In deciding what music should be used for the Liturgy the Church puts forth three judgments with one evaluation. All three judgments must be considered as a whole. You cannot consider one or two and forget the other.[16]

It is through these three judgments that the Church decides what is truly beautiful and fitting for use in the liturgy. The pride of place of Sacred Scripture, and the use of the human voice, which is found in scripture, is preferred in selecting music for the Liturgy. If we look at a common hymn that most parishes know: Here I am Lord written by Dan Schutte in 1981 we can try to apply the three judgments and see if it works. Normally in a parish you will have a cantor who will start the piece and then the congregation will join in. This piece is normally sung during the Offertory or Communion; taking this into mind, let’s apply the three judgments.

The piece is indeed scripturally based. It’s words come from Isaiah 6:8, Exodus 3:4; and 1Sam 3:4-6,8. It does meet the structural requirements of the point in the Mass where it would be sung, especially if it was related to the readings that were being sung that day. Pastorally, it speaks of God, drawing mankind to himself, letting them know that he will save them from their sins if they turn to him, but how does it fit musically? The piece is indeed beautifully composed. It has an easy to sing melody line, it might be a little harder to sing without accompaniment on an instrument, because of the rests and pauses, but it can be done. So it passes these three judgments we think, but we forgot how it would be sung. Most parishes would have the cantor start and the people would sing through it in its entirety. But if we look at the lyrics: “I the Lord of sea and sky, I have heard…my hand…I who made… I will make…” The verses are all God speaking to man, yet the whole congregation is singing them then they switch back to themselves singing: “Here I am Lord, Is it I Lord?” The piece creates a weird, and slightly disturbing God-complex among the congregation as they switch from god to themselves. Musically and pastorally speaking, it would make far more sense for the congregation to sing the refrain, while the choir sings the verses and plays the voice of God. But can you do that in a parish today? I would say no. The parishioners have claimed this God-complex singing of Here I am Lord as their own and to ask them to change might create a riot. What then are we supposed to do, to use some sort of music, which is beautiful, fulfills the three judgments and fosters unity of voice and the use of Sacred Scripture?

“Music arises from silence and returns to silence.”[17] Music has a ministerial function in the Liturgy. It must serve the Liturgy and the prayers; the prayers do not serve it. It is better to not sing then to change the prayers of the Church and try to force them into DSC_2979music. Granted, some liberty is permissible, but the efficacy of the primary and actual text must always be fought for. The Church teaches that with the hierarchy of the roles played in the liturgy, there is also a hierarchy of which is more important to be sung. The dialogues and acclamations, integral parts to the Liturgy should be sung above all us, because of the unity that they create between the priest-celebrant and the congregation in worshiping together. Secondly the antiphons and psalms should be sung, as they are prayers from scripture, which connect us back to our tradition and promote unity of worship among the universal church. Thirdly, refrains and responses such as the Kyrie, Agnus Dei should be sung, as they are a response of the people of God, crying out to God in the form of intercessory prayer. Fourthly, hymns are the last thing, which should be sung during the Mass[18] their use originally belonged to the Liturgy of the Hours, though some hymns were sung in the early days of Christianity, hymns which were basically the psalms set to music.

There is definitely a lot of rules and guidelines which have to be followed for music to be able to be used in the Liturgy, there are questions which must be asked, and criteria that must be met, to do this for each and every piece though seems to take a lot of time, but music like the Liturgy is a work, in a way it can have a very salvific action that it performs, because it is through music done well and beautifully that Christ in a way is made present. Music, which accompanies the rites, helps to make Christ present among his people and he then leads them in worship to and of the Father.

If Hymns then are the last thing, which should be sung, how do we go about singing the other recommended parts properly? Pun intended, The Propers are original psalms and verses set to music, which are an integral part of the Roman Rite. If you ask those sitting in the pews and even most music directors, they either won’t know what the Propers are, or they won’t want to sing them because they have attached them in their mind to some form of Catholicism, which is long gone. But that is anything but the truth. As mentioned before, in a normal parish setting you have the 4-hymn sandwich: a piece for the processional, offertory, communion, and recessional (Which isn’t even a part of the actual Mass.). The Church provides an easier route than choosing different hymns to fit the mold each day. The Propers are psalms, that provide the text for proper parts of the Mass. Ie. Introit (processional chant), Offertory, and Communion chant set with refrain and verse. One of the most common forms of music in the Church, which is preferred, is the use of antiphonal or refrainal styled music. The congregation is easily able to join in on singing the refrain, usually set to a simpler mode or tune and the choir is then able to build on the verse and expound upon it with harder parts than what the normal congregation would be capable of. The Ministerial function of the choir within the Mass has long been an integral part of Catholic worship. The Propers enable them to exercise their ministry and for the congregation to be able to sing as well. It keeps Mark and Betty from having to have the microphones surgically removed from their faces and keeps the Mass oriented toward God, not a performer.

Hymns too though can continue to be used. To totally remove them from the Liturgy when they have become such an integral part over the past 50 years could be catastrophic, but in selecting hymns for use, the idea of beauty really should play an integral role. We’ve discussed how things, which transcend the ordinary, help us to encounter the extraordinary. This doesn’t mean that only transcendental hymns which talk of the glories and powers of God such as Holy God, We Praise Thy Name, or O God Beyond All Praising should be used. Other hymns like Here I Am Lord, or Center of My Life can be used as well as they are now part of our tradition, but they must be used properly and hymns must face the three-judgment test. I would argue that hymns should also be placed against the test of beauty. If a hymn has not lasted well for 50 years like Gather Us In, it probably shouldn’t be used for the Mass. The test of beauty is uniquely tied to the test of time. When people sing a hymn that they really like, like Here I am Lord, it is because the piece has struck a chord within them and the beauty of it has emerged. Here I am Lord will probably continue to stand the test of time at least for a while and during that while it will have a place within the Liturgy where it can be sung and used.

Recently a priest friend and I were discussing his preaching style. Several people in the parish would comment every once in a while that his homilies went right over their head. They could get bits and pieces, but he would lose them on some points and they would have to find out what he was talking about later. The priest told me that one of the reasons he didn’t lower his preaching style was because he was building the people up to that level of their intellect. I have yet to hear him preach a homily where someone couldn’t understand everything except for a few words or something, which they could take home and research. Father’s whole point of his sermons were to teach his parishioners and give them something to meet them where they were and then challenge them to grow and learn about their faith. This is the same way; we must be with music in the Church.

Music is meant to inspire. Music can bring someone to their knees in tears and it can infuriate and madden. Music touches us at every point in our lives in very intimate ways, much like Christ touches us. Music in worship then, unites us to Christ and adds a depth to our prayer; it connects us to the Liturgical actions, and brings us in communion with our tradition and heritage. Music must be beautiful. In the Liturgy, it must touch our souls and wound them with love for Christ.

Beauty did not die with Vatican II, beauty had to have been re-born! As Aquinas says: March4Life-2781“Beauty is that, whose vision pleases us.”3 Beauty comes in all shapes and sizes, but: “To admit to the Liturgy the cheap, the trite, or the musical cliché often found in popular songs is to cheapen the Liturgy, to expose it to ridicule, and to invite failure.[19] Songs, which mimic the songs on the local pop radio station, can seem to cheapen the Liturgy. Here I am to Worship or even one of my favorites: Lord I Need You, sadly do not have a place within the Liturgy. They can be used for prayer, and other forms of worship, but they do not agree with the documents and the teachings of the Church, when selecting a musical piece for the Liturgy. One of my favorite memories is of singing the above two songs at our local Catholic youth camp during adoration. There in the middle of the dark, listening to the crickets sing outside and seeing Jesus in the Monstrance lit up by candles with the kids passionately pouring out their hearts in song before the Lord those pieces fit. In the ritual-rich, Liturgy of the Mass, they find themselves out of place.

So, beauty is that whose vision pleases us. It is that which connects and unites across barriers. Beauty is the connection of the sentient experience to the intellect, to the good, to Him, who created us. Beauty is an integral part of choosing music for Catholic Worship, because it is an integral part of recognizing the very person of Christ in our midst. Beauty is like a poem of the faith. It is attempts to transcend the ordinary of the world, to lose control, and to experience the extraordinary of Heaven. It is a chance to encounter love and to be love for those we meet.

“The singing of the Church comes ultimately out of love. It is the utter depth of love that produces the singing. “Cantare amantis est”, says St. Augustine, singing is a lover’s thing. In so saying, we come again to the Trinitarian interpretation of Church music. The Holy Spirit is love, and it is he who produces the singing. He is the Spirit of Christ, the Spirit who draws us into love for Christ and so leads to the Father.”[20] Beauty is an integral part of the Church; it is a process by which Christ claims all for himself. “Beauty is the Christianized cosmos in which chaos is overcome; that is why the Church may be defined as the true beauty of existence. Every achievement of beauty in the world is in the deepest sense a process of Christianization. Beauty is the goal of all life; it is the deification of the world. Beauty, as Dostoievsky has said, will save the world. An integral conception of the Church is one in which it is envisaged as the Christianized cosmos, as beauty.’[21]

Beauty again is salvific. Musical beauty helps us to recall the redemption of man by Christ March4Life-2857on the Cross. It calls us to unite with those around us. And at the same time it calls us to the heart of the Christian message, one of recognizing the other. It is a way to free us from the ordinary and enter the extraordinary. “The Christian religion is all about a beauty that ‘saves’ us. For beauty is that quality in a thing, which attracts us towards itself, that calls to us. It calls us out of ourselves, towards something other. The aesthetic experience is thus one of self-transcendence. If ugliness is imprisonment, beauty is a kind of liberation.[22]

 

Works Cited:

Baldovin, John Francis. “A (Very) Brief History of the Mass.” In Bread of Life, Cup of Salvation: Understanding the Mass. Lanham, MD: Rowman & Littlefield, 2003.

Brown, Frank Burch. Good Taste, Bad Taste, & Christian Taste: Aesthetics in Religious Life. New York: Oxford University Press, 2000.

Chase, Gilbert. America’s Music New York: McGraw- Hill Book Company, Inc. 1995. Print

Day, Thomas. Why Catholics Can’t Sing: Revised and Updated with New Grand Conclusions and Good Advice. New York: Crossroad, 2014.

Deiss, Lucien, and Jane M. Burton. Visions of Liturgy and Music for a New Century. Collegeville, Minn.: Liturgical Press, 1996.

Vatican II. “Sacred Music ,” Constitution on the Sacred Liturgy Study ed. Collegeville, IN: Liturgical Press, 1987.

Footnotes:

[1] Gilbert Chase, America’s Music (New York: McGraw- Hill book Company, Inc., 1995), 61

[2] Peter Coffey, Ontology of the Theory of Being. 254

[3] Peter Coffey 255 “Ad rationem pulchri pertinet, quod in ejus aspectu seu cognitione quietetur appetitus … ita quod pulchrum dicatur id, cujus ipsa apprehensio placet.”—ST. THOMAS{FNS, Summa Theol., ia . iiæ., q. 27, art. 1, ad. 3. And the Angelic Doctor justifies the extended use of the term vision: “De aliquo nomine dupliciter convenit loqui, uno modo secundum ejus primam impositionem, alio modo secundum usum nominis, sicut patet in nomine visionis, quod primo impositum est ad significandum actum sensus visus; sed propter dignitatem et certitudinem hujus sensus extensum est hoc nomen, secundum usum loquentium, ad omnem cognitionem aliorum sensuum; dicimus enim: Vide quomodo sapit, vel quomodo redolet, vel quomodo est calidum; et ulterius etiam ad cognitionem intellectus, secundum illud Matt. v. 8: Beati mundi corde quoniam ipsi Deum videbunt.”—i., q. 67, art. 1, c.

 

[4] Peter Coffey. 258.

[5] Peter Coffey. 259.

[6] Thomas Day 134

[7] John Baldovin, Bread of Life, Cup of Salvation (Lanham, MD: Rowman & Littlefield, 2003), 37.

[8] Ibid. 57

[9] Ibid. 59

[10] Lucien Deiss, Visions of Liturgy and Music for a New Century (Collegeville: Liturgical Press, 1996), 17.

[11] Thomas Aquinas, Summa Theologica: First Part, Question 6. The Goodness of God (New Advent digital edition accessed December 15, 2015)

[12] Coffey, 258

[13] Day. 53.

[14] Frank Burch Brown, Good Taste, Bad Taste, & Christian Taste: Aesthetics in Religious Life (New York: Oxford University Press, 2000), 23.

[15] Vatican II. “Sacred Music” Constitution on the Sacred Liturgy (Collegeville: Liturgical Press, 1987), 81.

[16] Sing to The Lord (From the USCCB: Pastoral document on Music in Catholic Worship)

[17] Sing to the Lord. 118.

[18] Ibid. 115

[19] Ibid. 136

[20] Joseph Ratzinger “The Spirit of the Liturgy“, (SF, CA: Ignatius, 2000), 142.

[21] Nicholas Berdyaev “Freedom and the Spirit” 332.

[22] Stratford Caldecott “Beauty will Save The World

Let Us Together, Attempt To Transcend the Ordinary in Our Liturgies, So That The Poem May Come Alive!

The Wedding Party and Ministers

The Wedding Party and Ministers

“In courtship rituals, a gentleman might give flowers to his beloved as a token of his love; in church, Catholics genuflect or bow before the tabernacle as a sign of their faith. These gestures are completely unnecesary (some would call them artificial) but, like poetry, they are attempts to transcend the ordinary. The male suitor could have sent his beloved a note to the effect that certain biological and socially conditioned response had produced in him a feeling that is generally classified as affection; the Catholic could have quite simply stated that he believed in a divine presence then walked past the tabernacle. But in both cases the emotions spill over; ordinary language and actions cannot contatin the feelings; there is a need to break the restraints out of the practical, to “lose control,” and the result is an irrational, out of the ordinary, poetic gesture.” – Why Catholics Can’t Sing by: Thomas Day

“The Latin Church, has always kept clearly before it the fact that religion is not a syllogism but a poem.” – H. L. Mencken

Brass Quartet

Brass Quartet

This past weekend (Now two weekends ago) I was blessed to be able to attend the Nuptial Mass of two of my friends from school: Michael and Emily (Bockweg) Haley. The weekend was full of adventure, from staying at our former classmate Ben’s funeral home. But, I digress…

Procession of priests and Bishop

Procession of priests and Bishop

The first quote, listed above comes from a book that I am reading for my Senior “Thesis” paper. I am trying to discuss how we discern whether a song (or hymn) is aesthetically pleasing and appropriate for usage at Mass. Before I entered seminary I had a huge love of Liturgy. I still have a huge love of it. But, since being in seminary and joining the Schola and finally having a chance to take organ lessons I have fallen deeply in love with the life of music in the church. There is such an amazing wealth in our historic tradition of music as Catholics, things I never knew existed until coming to seminary and taking some of the classes I have on music in worship.

The Schola Cantorum

The Schola Cantorum

At the wedding this past weekend, (now two weekends ago) I was blest to be part of a 8-person Schola Cantorum, accompanied by a Brass Quartet and Organist. My classmate and dear friend Aaron Hess, conducted the group. The music was absolutley glorious. The Mass was celebrated by Bishop Thomas John Paprocki of Springfield, IL and concelebrated by 6 priests, including our seminary rector and a priest MC. There was incense, torches, seminarians, a deacon. If it could be done, it was almost probably done. Everyone after the Mass commented on how absolutley beautiful it was. In fact, as we were singing the Recessional: O God Beyond All Praising, several of those around me in the choir loft (including myself) just started having tears come to our eyes. You see, we had worked on the music for this Mass for almost a year. We had poured sweat, tears, laughs, and time…lots of time into these pieces. Our hearts came out when we sung the texts or played the instruments.

We had invested not only time, but most importantly ourselves into the music, into the prayers of the Mass.

Charity & Rose singing the Ave Maria

Charity & Rose singing the Ave Maria

From the reading I have done on the Liturgical Renewal in America for some of my classes I believe that many of those calling for and starting the renewal invested themselves into it. Justine Ward, one of my personal favorites, developed a methodology of teaching chant to children so that they would be able to sing the prayers of the Mass. Ward, invested herself in these children because of her love of the texts, because of her love of the Mass. Thanks to her and others we now have what is commonly called: The Dialogue Mass. A Mass in which the people and the priest share in singing, in praying the Mass.

The Schola Cantorum for the Haley Nuptials, the brass quartet and organist, all of us loved the Mass. We loved  the prayers. We loved what we were singing/playing. There’s an importance to that. When we invest ourselves in something, we find that we end up leaving a little bit of us there in it. As Mencken stated: “religion is … a poem.” The ways in which we encoutner the divine, can be simple, as Day states, they can be someone acknolwedging God’s existence in the Divine substance of the Eucharist with their voice, but as humans there is an importance to our rituals. When we genuflect we enter into that poem, we enter into the love relationship of God and Man. The Constant wooing, if you will of God and Humanity.

The Bishop sealing their love with his stole, the sign of his office.

The Bishop sealing their love with his stole, the sign of his office.

These ritualistic gestures, like when Michael prayed Evening Prayer with Emily on the side of her family’s lake and popped the question of “Will you marry me?”  or when the congregation at the Nuptial Mass knelt for the Eucharistic Prayer helps us to enter into  and invest in what we are doing. As Day states: “They are attempts to transcend the ordinary.”

The music which we sang for the Haley Wedding included beautiful pieces from our heritage as Catholics. There was the words of Thomas Aquinas for the Thanksgiving piece after Communion: Adoro Te Devote,  Devoutly, we adore you… As the bride, Emily walked down the aisle there was Brewer’s Magnificat in D, speaking of Mary saying yes to the Lord’s will and now Emily giving herself to her new vocation of marriage. After communion, during the devotion times, we sang Schubert’s Ave Maria  and a Litany to St. Joseph, as Emily and Michael placed flowers on Mary and Joseph’s altars asking them to intercede for them in their new life together. Finally the recessional was O God Beyond All Praising, singing worship and praise to God as we joined the happy couple in thanksgiving for their marriage.

The entire wedding was absolutley beautiful. Watching Bishop Paprocki, place his stole on their hands and say: “What God has joined, let no man seperate” left chills with all of us. As we sang the final verses of O God Beyond All Praising, I couldn’t help but to glance and smile at the other members of the choir. The hard work we has placed into the music for this beautiful ocasion had blossomed and come finally to completion. I glanced at Rose, one of my former classmates before she transfered and we both had tears coming down our faces. Our prayer was our singing. Our prayer for Michael and Emily was the gift of our voice. Our words helped to write the poem of this Liturgy and to assist each of those gathered and participating to transcend the ordinary, to lose control and to worship the God we all love in the best and most perfect way, we imperfect

Our organist, Mrs. Jamison

Our organist, Mrs. Jamison

people know how.

Let us together seek to, transcend the ordinary in the way we celebrate the beautiful Liturgies of our Roman Rite, so that this poem of the Paschal Mystery may come alive! Let us Walk this Way of Beauty together!

 

 

 

Wedding Party

Wedding Party

Oh Holy Family of Nazareth, pray for Michael and Emily Haley and help their family to be like thine!

Here’s the Video link to listen to the music from the Nuptial Mass:

Prelude:
“Random Organ piece??” 0:00
“Trumpet Voluntary” 2:38
“Let All Mortal Flesh” 4:06
“Jesu, Joy of Man’s Desiring” 7:38

Procession:
“Introit chant (Latin)” 13:36 (Ministers, Groomsmen, and Groom)
“Canon in D” 19:37 (Bridesmaids)
“Magnificat in D Brewer” 27:14 (Bride)

Mass:
“Gloria from the Mass of Wisdom” 31:05
“Responsorial Psalm” 33:17
“Festival Alleluia” 36:07

Offertory:
“The Servant Song” 40:16

Mass Parts were chanted simple in Latin

Communion:
“”Where Charity & Love Prevail 46:17
“Adoro Te Devote” 55″05

Devotions:
“Ave Maria” (Schubert) 56:56
“Hymn to St. Joseph” 59:16

Recessional:
“O God Beyond All Praising ” 1:01:54

“That All Might Sing” – My Paper on Pope St. Pius X’ paper on Church Music and the Chant Method of Justine Ward

For the Feast of Pope St. Pius X:

Originally written for Dr. Katharine Harmon’s History of the Catholic Church in America Class on 11-21-14.

690_Justine_Ward_Gajard_1949I enjoyed writing this piece on how Pope St. Pius X’ document Tra Le Sollecitudini was interpreted and engaged here in America, specifically by Justine Ward, who founded an amazing way of teaching Gregorian Chant to children. Justine started and held the first Congress for Chant in America. “What she wants above all,” wrote Dom Augustine Gatard, O.S.B., Prior of Farnborough Abbey, England, who was at the Congress, “is to put the faithful, all the faithful, in the position to participate actively, as much as possible … in the liturgy and in the chant of the Catholic Church.” (2) She especially encouraged girls’ choirs. (3) In a private audience in 1924, Pope Pius XI gave his Apostolic blessing to her work. (4) Thanks be to God for Justine Ward and the many others who assisted in the beautiful Liturgical Renewal we have had in the Church. May it continue to be renewed and may Justine Ward and St. Pius X, help teach us a little bit about walking the Way of Beauty to Heaven, more specifically through the Heavenly Liturgy.

That All Might Sing: American Catholic Responses to Pope St. Pius X’ Tra le Sollecitudini

John Adams once wrote: “Went in the afternoon, to the Romish Chapel [in Philadelphia]. The scenery and the music are so calculated to take in mankind that I wonder the Reformation ever succeeded … the chanting is exquisitely soft and sweet.” (Chase, 61) While Adams witnessed the beauty of the proper execution of “Romish” chant in October 9, 1774 he never could have envisioned what would one day take place in the country soon to be founded in regards to the proper execution, teaching, and use of Gregorian chant. Throughout the early part of the 20th century a response to Pope St. Pius X’s 1903 Tra le Sollecitudini (Instruction on Sacred Music) was carried out across the globe by Catholic musicians in different ways. Some, embraced the changes wholeheartedly, others chose to implement parts of them with and without proper catechesis. In the United States of America Pius X’s Motu Proprio was embraced particularly by Justine Ward a woman with little musical instruction, but with a passion for music and her new faith. Across the board, the training of the young in the church’s tradition of music was seen as one of the most important responses to Pius X’s instruction on Sacred Music. Ward and others took this to heart in developing programs, which educated the young in methods of chanting and ensured that all might sing.

From 1903 on into the 1920’s and finishing up around the 1950’s what could be called as the last “traditional” Catholic music movement occurred in response to Pius X’s Motu Proprio Tra le Sollecitudini (hereafter referred to as “TLS”). TLS was written and promulgated by Pius X after a series of abuses in regards to music in the liturgy kept happening. Pius ordered that there be two particular types of music to be used in the Roman Liturgy. That is, Gregorian chant, which has been “inherited from the ancient fathers” (Pius X, II 3) and Classic Polyphony. The main reason for these abuses was that the music was becoming quite operatic and theatrical. Instead of being music, which by nature of its’ composition and execution lifted the congregation to God and was a prayer in itself; music in the Sacred Liturgy had become a show, detracting from the sacred action occurring.

As previously stated, throughout the early twentieth century there was a varied array of

Pope St. Pius X

Pope St. Pius X

responses to Pius X’s TLS, one of which was the action of Justine Ward. Ward, thought to have had no formal training in “vocal music, choral music, or pedagogy” (Brancaleone, 7) became known as one of the leading advocates of and promulgators of Gregorian chant in America. Due to her parent’s wishes for her to not pursue a musical degree in Europe, she was left with receiving private musical instruction. (Zuberbueler, 14) Ward, a Catholic convert started to fall in love with Gregorian chant due to her friendship with Fr. Thomas E. Shields and Fr. John B. Young SJ (Brancaleone, 8) and having attended a retreat given “at the Convent of the Sacred Heart in Manhattanville in Harlem” (Brancaleone, 8) by another Jesuit she began to learn the basics of pedagogy (the methods and concepts of teaching) and formulate ideas on how to teach Gregorian Chant to children.

America in the 20th century was still largely protestant, no doubt due to the large number of protestant immigrants who settled the country early on. One has to wonder as to why in 1903 a church, struggling to become better recognized and understood in the mainstream (and mostly protestant) culture would continue to push the use of a language (latin) which was no longer spoken conversationally, in not only their worship but especially in their music. Robert Holzmer S.M. wrote an article about the people not “liking” Gregorian chant in the then-popular Catholic Music journal: The Caecilia. In his article he discusses a few reasons of why Gregorian chant is not liked by the majority of Catholic congregations. Pius X and his Motu Proprio is one of the first “authorities” on the subject that he quotes. Holzmer argues partially that because the pope said it, it must be true, but also from an informed knowledge and understanding of Gregorian chant. “Gregorian Chant is Church music while the other forms are also church music” (241) Holzmer reconnects his future points back to Pius X, reaffirming what he stated of Gregorian chant as having pride of place in the Roman Liturgy, but also acknowledging that other types of music (classical polyphony) can be used as well. Holzmer goes on to state that there are several factors at play with why people don’t like Gregorian chant. Factors such as an ill-trained choir, poor musicianship on behalf of the choir, conductor, and organist, and the basic element of people not understanding the reasons for the use of Gregorian chant or the language it is in. Holzmer closes his article by stating: The most important of all, and, unfortunately, the most neglected. It is the training of the young in music…” (241) Like Ward, Holzmer recognized that without the training of the young in the music of the church, there would never be a hope for “this venerable music…to come back to its rightful domain, when it will be supreme again in fact as it has always been by right?”

Dom G Mercure, a Benedictine Monk of the Monastery of St. Benoit-du-Lac, Quebec wrote in a 1935 issue of The Caecilia: “one of the reasons why Gregorian Chant is not more widespread in ecclesiastical music circles is because the public expect to find in Gregorian chant, or plain chant, the same element of sensible pleasure that is found in profane music or even in religious music other than plain chant.” (213) Pius X in his Motu Proprio TLS knew well the state of music in the church and world. For instance throughout the War Between the States (1861) Union and Confederate Soldiers used hymns as a way of rallying the troops and bringing them comfort from home. Hymns such as the Battle Hymn of the Republic, or Dixie would be heard across the battlefields as soldiers marched. Still others such as Amazing Grace, or It Came Upon the Midnight Clear were sung in many protestant churches at their services. Hymns in the spoken language of the people gathered, tended to have more emotional and pleasurable connotations associated with them. As people heard these hymns full of poetic and beautiful language they were attracted to them more and more. The chants of the church in a language unknown seemed distant and did not stir the emotions of the musically untrained ear. How were the Catholic musicians in America supposed to combat these feelings, which could not be ignored?

Justine Ward in her article for the Atlantic Monthly published in 1906 The Reform in Church Music puts it well: “church music is made up of two elements, music and prayer, and it cannot be judged by the value of one of its elements tested as a separate entity . . . “Lex orandi lex cantandi”… Prayer and music must so combine as to make one art; the music must pray, the prayer-must sing…This, then, is the true test of a musical composition for the church: Does it conform to the law of prayer?” (455) According to Justine music should not be judged as solely inspiring emotion or being judged on the music alone, rather music for use in the Liturgy is interwoven with prayer in such a manner that the two cannot be separated. For to separate these two things, which in a way are one, is to tear that work of art apart. To Pius X, Gregorian Chant is the primary music of the church. Holzmer, Ward, and Mercure all agree that there are certain aspects of Gregorian Chant which must be met in order to ensure that it is sung properly and can truly be that unification of “music and prayer” (Ward 455) The promulgation of Gregorian chant in the church as well as to provide the means necessary for its’ survival relied upon the teaching and training of the young in chanting and the proper execution of this tradition. Ward, working with Fr. Shields, Fr. Young, and eventually Dom André Mocquereau (founder of the Solesmes method of Gregorian chant) created a program that would do just that.

Early in her career, after her conversion to the Catholic Church and divorce of her husband (which left her considerably wealthy) Ward started working with Fr. Shields and Young while assisting at the Catholic University of America. After a short period there “in the summer of 1916, Mother Georgia Stevens asked Ward to come to Manhattanville” (Brancaleone 10) In 1917, she with the help of Mother Stevens created the Pius X Institute of Liturgical Music, a school devoted to training teachers and students in not only what was becoming known as the “Ward Method,” but also in other forms of Liturgical Music in the Church. Ward’s method of teaching chant to the young was unique in that it used body movements as a way of understanding rhythm. Through the Pius X Institute and her newfound friendships with Dom Mocquereau, and others Ward began to share her method of teaching Gregorian chant with others in other countries. “In 1925, Ward brought her method to Holland…Belgium, France, England, Ireland, New Zealand, China, and Italy.” (Zuberbueler, 16) For Ward teaching and singing Gregorian chant was a chance at learning, singing, and praying. It was a way of living the liturgical life of the church in a new way.

While Ward worked on the teaching of Gregorian Chant others in America took a different approach to the Pius X’s TLS. According to Paul Hume’s Catholic Church Music, one of the ways in which the objectives of the Motu Proprio were enforced was through the creation of a “White List.” “The “White List” is a list of music approved for use in church by the St. Gregory Society of America. The idea of having a “white list” comes from Pius X: “Still, since modern music has risen mainly to serve profane uses, greater care must be taken with regard to it, in order that the musical compositions of modern style which are admitted in the Church may contain nothing profane, be free from reminiscences of motifs adopted in the theaters, and be not fashioned even in their external forms after the manner of profane pieces.” (Pius X, II 5) This movement in the church away from music of a secular nature was led by Pius X and joined by Ward, the St. Gregory Society of America and others. Ward and the St. Gregory Society of America published hymnals containing chants and hymns, which followed the “Classic Polyphony” called for by Pius X. Pope Pius XII later in 1955, published Musicae Sacrae Disciplina an instruction on the usage of hymns for the liturgy.

In Musicae Sacrae Disciplina, Pius XII says: “We must also hold in honor that music which is not primarily a part of the sacred liturgy, but which by its power and purpose greatly aids religion. This music is therefore rightly called religious music. The Church has possessed such music from the beginning and it has developed happily under the Church’s auspices. As experience shows, it can exercise great and salutary force and power on the souls of the faithful, both when it is used in churches during non-liturgical services and ceremonies, or when it is used outside churches at various solemnities and celebrations.” (Pius XII 36) Granted the usage of hymns was already something that was customary in the church at the time. With the stipulations imposed on music by Pius X, hymns (note: vernacular hymns) were not to be used in the Liturgy, but instead could be used for prayers, gatherings, processions, novenas, etc. In short, they could only be used for celebrations outside of the Liturgy. Gregorian Chant was still the official music of the church and remains so to this day.

For some 60ish years the stipulations imposed by TLS stood and the Ward Method helped ensure its’ future survival. Though as the Church drew closer and closer to the middle of the 20th century the advent of the Second Vatican Council appeared on the horizon. Up until this point Gregorian Chant and Classical Polyphony were the only types of music to be used in the Liturgy. Ward’s method seemed to prosper, for decades, being spread throughout the world. With the end of the 1950’s and the reforms of the Second Vatican Council in sight, church music in America was once again something talked about. Gregorian Chant was the norm for music in parishes; even the smallest tried to create a choir, which would be able to chant the Propers of the Mass. Hymns were sung by Catholics in the 20th century (including some protestant ones) as long as it was for worship outside of Solemn Liturgical Functions.  The renewal of Gregorian Chant in the church was almost complete and there were many to thank for it. The movement of 20th century Catholic Church Music in America was one that will forever define the history of the church here and around the world. The impact of one woman who embraced the call of the Holy Father to return to the sacred traditions of music in the church through the construction of her teaching methods ensured that all, whether young or old could chant with a little effort. For Justine Ward chant could not be “listened to as music” rather through the “ears of faith”(Ward, 460) To her “the music must pray and the prayer must sing” (455) “For the carrying-out of the full ideal demands the co-operation of the entire people, who will no longer assist at, but take part in, the liturgy. This may not be accomplished in a day, but the Church works for the future, and already she is sowing the seeds. The little Catholic school child is learning to pray, not only in words, but also in song; not only in the Church’s language, Latin, but in her musical language,

Chant; and when these children grow up, our choirs will be the whole Catholic world. While the variable and the more elaborate parts of the liturgy will demand the great genius, the great artist, the simpler parts will be taken up spontaneously by the entire congregation; producing the superb contrast of, on the one hand, the perfection of art, and on the other, the majesty of numbers. This is, indeed, nothing new: it is thus that the liturgy is intended to be rendered; it is thus that it has been rendered in the past, and is still rendered in a few centres of Catholic life. It is simply a return to the true ideal, a “renewing of all things in Christ,” a revitalizing, through art, of the spirit of Catholic democracy and universality.” (Ward 462-463)

Justine Ward and others worked tirelessly, embracing the call of the reforms instituted by Pius X and catered them specifically to children. They worked for an idea that would be largely envisioned in coming years by the Second Vatican Council. They worked to ensure that all might sing.

Work Cited

Brancaleone, Francis. “Justine Ward and the Fostering of an American Solesmes Chant Tradition” Sacred Music Fall 2009: 6-26. Print.

Chase, Gilbert. America’s Music New York: McGraw- Hill Book Company, Inc. 1995. Print

Holzmer, Robert. “People don’t Like Gregorian Chant” The Caecilia May 1935: 239-232. Print.

Hume, Paul. Catholic Church Music Binghamton: Vail-Ballou Pres, Inc. 1956. Print.

Mercure, Dom G. “True Church Music Should Calm the Mind Not Minister to the Senses” The Caecilia May 1936: 213-214. Print.

Pius X, Pope. Tra Le Sollecitudini, Vatican City: Vatican State, 1903. Vatican.va

Pius XII, Pope. Musicae Sacrae, Vatican City: Vatican State, 1955. Vatican.va

Ward, Justine B. “The Reform In Church Music” The Atlantic Monthly January 1907:455-463. Print.

Zuberbueler, Amy. “The Ward Method: Chant from the Ground Up” Sacred Music Spring 2006: 14-17. Print.

Singing is a Lover’s Thing – Why I listen to Christian Music

“The singing of the Church comes ultimately out of love. It is the utter depth of love that produces the singing. “Cantare amantis est”, says St. Augustine, singing is a lover’s thing.” – Pope Benedict XVI

Nota Bene: “I listen to all genre’s of music. While in the Liturgy I generally tend to prefer hymns and chant’s there is a proper and extremely important place for the beautiful use of good, solid Christian music. These are my thought…

Music of all genres can inspire us to think of God. Whether it be a beautiful violin solo, a barber shop quartet, a hymn, or another form of music, we cannot really define a form of music as not having anything to do with God, unless it has qualities which go against God or the laws he has ordained. What makes us think of God or worship God is not so much the  genre of music, but the beauty behind the instrumentation, lyrics, and voice of the singer. What is beauty? That gets into things too deep than in this post, though I have blogged about it before, here.

christian-music-I-love

Beauty is what lifts our hearts and minds to God. Now, I will argue that some types of music do not have a good message behind them and they definitely do not make us think of God or have a desire to worship him. In particular there are two types of music, which people generally associate with God and with worshiping him: Christian music and hymns. Both forms of music are generally seen by the listeners as giving praise to God the creator. Some would argue that Christian music does not lead the soul to Christ, as it only pertains to those who are already believers, I would disagree and here is why:

scripture

Almost all Christian music, is scriptural based. It is basically taking the psalms and other parts of scripture to music, much like when we chant the psalms for the Liturgy of the Hours or pray using scripture. The Psalms are the original songs, written by David for praising his creator. To sing them in another way is not to say that they no longer give him praise, rather it is to say that something has touched people’s hearts in it and it is a way of reaching out to them and bringing them to the faith.

Christian Music shares the message of the Gospel. That is not to say that Christian music doesn’t have it flaws. Like any other type of music it can fail in some circumstances. Some would argue that Christian music portrays a false sense of the sacrifice or cross required to live the faith. Yes, there is no cross without the resurrection, but does it hurt to have music which doesn’t always talk about pain and suffering? No. It actually can be a nice break. Christian music shares the message of the Gospel. That is, our hope in the Resurrection even in our somewhat broken and sinful human condition. And there are plenty of christian songs which do talk about the crosses we bear, but who really wants to intentionally listen to music about our failings? We want hopeful, vibrant music which again lifts our hearts and minds to God.

Christian Music is unique in it’s own way. Where did anyone ever say that Christian music was supposed to talk “subtly” about faith in Jesus? It has his name in it’s genre type for pete’s sake. The idea behind Christian music, is not to shy away and hint around at Jesus, rather to share the message of love, mercy, forgiveness, and more that can be ours if we embrace his call.

Sure, it’s fine if you prefer to listen to other types of music and discover God. There can be beauty in it as well, remember, music of all genre’s can inspire us to think of God. That is where the role of beauty comes into play. If you desire to listen to religious music, with a somewhat “pop” flare to it, without the meter of a hymn that’s great. That is your prerogative. Our goal is not to not give glory to God, rather to give glory to him in all that we do. Remember, singing is a lover’s thing. To sing to our creator in whatever fashion we choose, deepens our relationship with him and draws us close. So the next time you think about turning off that Christian song on the radio, leave it on and think of the way in which it can guide your soul to God. There’s a reason KLove calls it the KLove Challenge. Listening to music which serves a higher purpose and expressly talks about God, rather than shying away from it can deepen your prayer life.

Come to your beloved, sing to him in song. Remember that singing is out of love. We sing to the one we love and he sings to us throughout our lives. Singing is a lover’s thing.

I think that Gungor’s song using St. Augustine’s words: “Late Have I Loved You” fit well…

Late have I loved you,
O Beauty so ancient,
so new.

late have I loved you
you were within me, but I was outside you
it was there that I searched for you
it was there that I searched for you

Late have I loved you,
O Beauty so ancient, so new.
you were here with me
but I was not with You
it was there that you found me
it was there that you found me

You called and you shouted,
you broke through my deafness.
You flashed and you shone,
dispelled my blindness.
You breathed your fragrance on me
You breathed your fragrance on me
Late have I loved you

I drew in your breath
I keep on breathing
I’ve tasted I’ve seen
And now I want more
You breathed your fragrance on me
You breathed your fragrance on me
Late have I loved you