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ARTICLES Liturgical Music: the Medium and the Message | Fr
SACRED MUSIC Volume 142, Number 4 Winter 2015 EDITORIAL Sing the Mass | William Mahrt 3 ARTICLES Liturgical Music: The Medium and the Message | Fr. Richard Cipolla 7 Mystery in Bruckner’s Eighth Symphony | Daniel J. Heisey O.S.B. 18 A Brief History of the Ward Method and the Importance of Revitalizing Gregorian Chant and The Ward Method in Parochial School Music Classrooms | Sharyn L. Battersby 25 DOCUMENT Words of Thanks of Pope Emeritus Benedict XVI on the Occasion of the Conferral of a Doctorate honoris causa by John Paul II Pontifi cal University of Krakow and the Krakow Academy of Music | Pope Benedict XVI 47 REPERTORY In paradisum, the Conclusion of the Funeral Mass | William Mahrt 50 REVIEW Johann Sebastian Bach: Sämtliche Orgelwerke, Volumes 1 & 2: Preludes and Fugues |Paul Weber 53 COMMENTARY Black | William Mahrt 57 NEWS CMAA Annoucements 59 SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1965. Offi ce of Publication: 12421 New Point Drive, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jennifer Donelson Editor-at-Large: Kurt Poterack Typesetting: Judy Thommesen Membership & Circulation: CMAA, P.O. Box 4344, Roswell, NM 88202 CHURCH MUSIC ASSOCIATION OF AMERICA Offi cers and Board of Directors President: William Mahrt Vice-President: Horst Buchholz Secretary: Mary Jane Ballou Treasurer: Adam Wright Chaplain: Rev. -
SEC Calendar and Lectionary
2012/2013 Calendar and Lectionary Scottish Episcopal Church Table of Contents INTRODUCTION 6 MOVEABLE DATES 8 THE CALENDAR 10 January 11 February 12 March 13 April 14 May 15 June 16 July 17 August 18 September 19 October 20 November 21 December 22 THE LECTIONARY 23 Week Of 1 Advent 23 Week Of 2 Advent 24 Week Of 3 Advent 25 Week Of 4 Advent 26 Christmas 27 The Remaining Days Of Christmas 28 29 To 31 December 28 Week Of Christmas 2 29 2 To 5 January 29 Epiphany 30 The Days Following Epiphany 30 Week Of Proper 1 31 Week Of Proper 2 32 Week Of Proper 3 33 Week Of Proper 4 34 Week Of Proper 5 (If Before Lent) 35 Week Of Proper 6 (If Before Lent) 36 Week Of Proper 7 (If Before Lent) 37 Week Of Proper 8 (If Before Lent) 38 Week Of Proper 9 (If Before Lent) 39 Week Of The Beginning Of Lent 40 Week Of 1 Lent 41 Week Of 2 Lent 42 Week Of 3 Lent 43 Week Of 4 Lent 44 Week Of 5 Lent – The Beginning Of Passiontide 45 Holy Week 46 Holy Saturday [1] 48 Easter Vigil [1] 48 Week Of Easter 49 Week Of 2 Easter 50 Week Of 3 Easter 51 Week Of 4 Easter 52 Week Of 5 Easter 53 Week Of 6 Easter 54 Week Of 7 Easter 55 Week Of Pentecost 56 Week Of Trinity Sunday 56 Week Of Proper 6 (If After Pentecost) 57 Week Of Proper 7 (If After Pentecost) 58 Week Of Proper 8 (If After Pentecost) 59 Week Of Proper 9 (If After Pentecost) 60 Week Of Proper 10 (If After Pentecost) 61 Week Of Proper 11 (If After Pentecost) 62 Week Of Proper 12 63 Week Of Proper 13 64 Week Of Proper 14 65 Week Of Proper 15 66 Week Of Proper 16 67 Week Of Proper 17 68 Week Of Proper 18 69 Week Of -
Liturgical Music in Anglican Benedictine Monasticism
LITURGICAL YUSIC , Tn Anglican CZ3enedictine;, Monasticism DOM DAVID NICHOLSON, O.S.B. Monk of Mount Angel Abbey, Oregon U.S.A. Contents Introduction 5 Elmore Abbey (Formerly Nashdom Abbey), Berks, England 7 Alton Abbey, Hants, England 9 St. Gregory's Abbey, Three Rivers, Michigan, U.S A 10 St. Mark's Priory, Camperdown, Victoria, Australia 12 Edgware Abbey, Middlesex, England 15 St. Mary's Abbey,Kent, England 16 Burford Priory, Oxon, England 18 Holy Cross Convent, Rempstone, England 20 St. Hilda's Priory, Sneaton Castle, Whitby, N. Yorkshire, England 24 Community of St. Peter the Apostle, Glos. England 26 St. Peter's Convent, Wakefield, West Yorkshire, England 27 Order of the Holy Cross, Berkeley, California, U.S A 29 Ewell Monastery, West Mailing, Kent, England (Cistercian) 31 For Burnham (House of Prayer) Slough, England (Cistercian) 32 Russell Savage, Assistant Organist, St. James (Anglican) Church, Vancouver, British Columbia. Assistant Organist, Westminster Abbey, Mission, British Columbia, Canada. ©1990 Mount Angel Abbey, St. Benedict Oregon 97373 Introduction This volume follows, in natural sequence, the series: Liturgical Music in andBenedictine women in Monasticism. the Canterbury Although Communion there are which not a great base numbertheir life of on monasteries the Rule of St. of men Benedict, they are a witness to the monastic calling. in severalEach cases,Monastery where was I was asked not ableto explain to compile its historical sufficient and information liturgical modus I gathered vivendi, this from but GordonThe Benedictine Beattie, O.S.B., and CistercianR.A.F., monk Monastic of Ampleforth Yearbook (1990) Abbey. edited by Rev. Dom I wish to thank all who contributed to this work. -
The Liturgical Year
The Liturgical Year Contents The Liturgical Calendar ......................................................................................................................................................... 2 Your Prayer Areas and the Liturgical Year .......................................................................................................................... 3 Autumn Term ......................................................................................................................................................................... 4 Advent .................................................................................................................................................................................. 10 Spring Term ......................................................................................................................................................................... 12 Lent and Easter .................................................................................................................................................................... 16 Summer Term ...................................................................................................................................................................... 20 1 | P a g e The Liturgical Calendar It is hoped that this document will help teachers to use, or make further use of, the prayer areas in their classrooms. A number of the solemnities, feasts and special occasions in the Liturgical Calendar have been included, -
Sing Like a Catholic
Sing Like a Catholic Sing Like a Catholic Jeffrey A. Tucker CMAA Church Music Association of America Many essays are drawn from articles that appeared in The Wanderer, The New Liturgical Movement, Inside Catholic, and Sacred Music. Cover design by Chad Parish. Copyright © 2009 Church Music Association of America and pub- lished under the Creative Commons Attribution license 3.0. http://creativecommons.org/licenses/by/3.0/ Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com ISBN: 978-1-60743-722-2 Contents Preface by Scott Turkington . .ix Introduction by Jeffrey A. Tucker . .xi 1. WHY CHANT? . 1 Why Chant Now? . 3 The Sociology of the Chant Movement . 6 The Mansion of the Past . 9 Music Without Borders . .13 The Musical Intentions of Vatican II . .16 The Changing Music Environment . .21 2. STRATEGY . .25 Israeli Hebrew and Latin Chant . .27 A New Model of Musicianship . .30 Remove the Roadblocks . .34 Three Paths to Sacred Music . .38 The Heroic Generation of Chanters . .41 Pay for Training . .44 3. PARISH LIFE . .49 Why the Stasis? . .51 Sing or Else . .55 Should Liturgy Cater to Our Differing Needs? . .58 To Be Young and Singing . .61 v vi Sing Like a Catholic When the Liturgy Committee Strikes . .65 Father Scorched Earth . .67 Rip Up Those Carpets! . .71 A Letter to Praise and Worship Musicians . .74 4. THE MASS . .81 Music for Real Parishes . .83 Should a Parish Impose Uniformity in Music? . .86 The Gathering Song . .89 The Trouble with Hymns . -
What's It Called? Vestments the Vestments Are the Special Clothing Worn by the Clergy and Lay Assistants As They Officiate at the Various Church Services
What’s It Called? A brief explanation of the names and meanings of objects found in the church and used in the Liturgy 1 This little booklet is offered in the hope of enabling the members of this congregation to know and better understand those things we constantly use in worship. The comic name rather belies a serious intent. As inheritors of the liturgical tradition of worship, which employs the use of many objects in the conduct of our solemn worship, it seem only fitting that we should know what those objects are, why they are used (more often for convenience and practicality that any other reason), and their proper names. There are some who think that such knowledge should be avoided, as leading to obfuscation or obscurantism. I disagree. The more we know and understand, the more intelligently and un-distractedly we are able to assist in the worship of Almighty God: Father, Son, and Holy Spirit. Douglas Kornahrens Drawings by Stan Wale 2 What's It Called? vestments The vestments are the special clothing worn by the clergy and lay assistants as they officiate at the various church services. These vestments originated from the everyday dress of citizens of the Roman world in the first few centuries of the life of the church. alb The alb is the basic item of liturgical vesture and is worn by all, both clergy and laity, who participate in the Liturgy. The word comes directly from the Latin alba which means ‘white’. The garment derives from the basic garment of Roman dress which was a long white linen tunic. -
Musica Sanat Corpus Per Animam': Towar Tu Erstanding of the Use of Music
`Musica sanat corpus per animam': Towar tU erstanding of the Use of Music in Responseto Plague, 1350-1600 Christopher Brian Macklin Doctor of Philosophy University of York Department of Music Submitted March 2008 BEST COPY AVAILABLE Variable print quality 2 Abstract In recent decadesthe study of the relationship between the human species and other forms of life has ceased to be an exclusive concern of biologists and doctors and, as a result, has provided an increasingly valuable perspective on many aspectsof cultural and social history. Until now, however, these efforts have not extended to the field of music, and so the present study representsan initial attempt to understand the use of music in Werrn Europe's responseto epidemic plague from the beginning of the Black Death to the end of the sixteenth century. This involved an initial investigation of the description of sound in the earliest plague chronicles, and an identification of features of plague epidemics which had the potential to affect music-making (such as its geographical scope, recurrence of epidemics, and physical symptoms). The musical record from 1350-1600 was then examined for pieces which were conceivably written or performed during plague epidemics. While over sixty such pieces were found, only a small minority bore indications of specific liturgical use in time of plague. Rather, the majority of pieces (largely settings of the hymn Stella coeli extirpavit and of Italian laude whose diffusion was facilitated by the Franciscan order) hinted at a use of music in the everyday life of the laity which only occasionally resulted in the production of notated musical scores. -
Roman Gradual
De musica sacra et sacra liturgia (1958) Musicam sacram (1967) 3 degrees of Participation (chapter 25): 3 degrees of Participation (chapters 28-31): 1 – Dialogues-Responses Graduale Romanum (Roman Gradual) 1 – Dialogues-Responses + Pater Noster 2- Kyriale + Credo Includes: Dialogues-Responses(D-R), Kyriale+Credo (K), Proper (P) 2- Kyriale + Credo + Prayer of Faithful 3- Proper Latin chant (square notes), no explanatory text 3- Proper EXTRAORDINARY FORM (Tridentine) ORDINARY FORM (Novus Ordo) 1961 Roman Gradual 1974 Roman Gradual Liturgical Devotional Liturgical Must be used for EF Missa Cantata, per rubrics CHANTING IN LATIN Preferred in OF sung mass, other options are OK ENGLISH TRANSLATIONS (ICEL) LIBER USUALIS Gregorian Missal D-R, K, P + Matins, Lauds, Vespers D-R, K, P (only Sundays and Feasts) Books by father weber Latin chant (square notes) Latin chant (square notes) and English translations https://sacredmusicus.wordpress.com/ Missal Latin, Rubrics in English Missal Latin-English (OT) THE PEW MISSAL (D-R, K, P) THE PROPER OF THE MASS FOR SUNDAYS AND SOLEMNITIES English chant (square notes) PARISH BOOK OF CHANT D-R, K, Hymns in Latin (no Proper) Order of sung Mass (both EF and OF) Books by adam bartlett Latin chant (square notes) and English translations https://illuminarepublications.com/ Explanation on chant notation, latin pronunciation. Lumen Christi collection (Missal, Gradual, Hymnal,..) English chant (square notes) CHANTS ABREGES Graduale Simplex simpler P (ONLY GRADUAL AND ALLELUIAS) D-R, K, simpler P melodies Latin chant -
19 What Angels? Gregorian Chant and Spiritual Meaning in a Secular World
Fabian Lochner 19 What angels? Gregorian chant and spiritual meaning in a secular world: Reflections on an artistic collaboration between Gregorian chant ensemble Schola Nova Silvana and British poet Hilary Stobbs In conspectu angelorum psallam tibi. — Ps. 137.1 (138.1) What angels? Gregorian chant and spiritual meaning in a [In the countenance of the angels shall I sing praises unto you.] secular world Fabian Lochner Introduction Gregorian chant is a vast and extraordinary repertoire of devotional song, mostly in Latin, used for centuries in the formal liturgical wor- ship of Christian faith communities all over medieval Western Europe.1 1 There are few introductory-level publications on Gregorian chant for the musical practitioner and the ones available have some notable limitations. In the UK, The RSCM Guide to Plainchant (RSCM 2015) provides a starting point. Its American counterpart, Beginners Guide to Singing Gregorian Chant Notation, Rhythm and Solfeggio (Jones 2010) is of rather less value. TheRSCM Guide offers a chant primer by Dr Mary Berry (reprinted unchanged from a 1979 RSCM publication), supple- mented by an Anthology of Plainchant by John Rowlands-Pritchard which includes welcome transcriptions of chants from English sources but omits any reference to early chant notations (neums) and their rhythmic interpretation, pioneered by Dom Eugène Cardine (1970/1981). Rembert Herbert (1999), on pp. 63–93 contains a very accessible general introduction to chant and its history and much 350 Fabian Lochner Gregorian chant remains officially the ‘special music’ of the Catholic Church.2 However, the liturgical practice of Latin chant, as a full annual cycle of daily worship, is now limited to very few, mostly monastic, communities.3 Meanwhile, millions of ordinary people are drawn to listening to chant recordings in the privacy of their homes for reasons not necessarily else of value, to be discussed later in this chapter. -
Pdf • an American Requiem
An American Requiem Our nation’s first cathedral in Baltimore An American Expression of our Roman Rite A Funeral Guide for helping Catholic pastors, choirmasters and families in America honor our beloved dead An American Requiem: AN American expression of our Roman Rite Eternal rest grant unto them, O Lord, And let perpetual light shine upon them. And may the souls of all the faithful departed, through the mercy of God, Rest in Peace. Amen. Grave of Father Thomas Merton at Gethsemane, Kentucky "This is what I think about the Latin and the chant: they are masterpieces, which offer us an irreplaceable monastic and Christian experience. They have a force, an energy, a depth without equal … As you know, I have many friends in the world who are artists, poets, authors, editors, etc. Now they are well able to appre- ciate our chant and even our Latin. But they are all, without exception, scandalized and grieved when I tell them that probably this Office, this Mass will no longer be here in ten years. And that is the worst. The monks cannot understand this treasure they possess, and they throw it out to look for something else, when seculars, who for the most part are not even Christians, are able to love this incomparable art." — Thomas Merton wrote this in a letter to Dom Ignace Gillet, who was the Abbot General of the Cistercians of the Strict Observance (1964) An American Requiem: AN American expression of our Roman Rite Requiescat in Pace Praying for the Dead The Carrols were among the early founders of Maryland, but as Catholic subjects to the Eng- lish Crown they were unable to participate in the political life of the colony. -
Jean Langlais Remembered: Chapter-9
The Upheavals of the Sixties ! ! ! CHAPTER 9 The$Upheavals$of$the$Sixties$ Jean Langlais’s mature years should have unfolded smoothly as his fame increased, but it was not to be. A major upheaval would rock the Roman Catholic Church, a budding ecumenical movement would gain momentum, and the world of French organists would split along fault lines between proponents of Baroque, Romantic, and contemporary music. Jean Langlais suddenly found himself doing battle on multiple fronts, under attack from the liturgical consequences of Vatican II on the one hand, and confronting new ideas from younger colleagues on the other. In spite of the resulting tumult, he would continue to advance his career as a brilliant recitalist and teacher, attracting a growing number of foreign organ students along the way. The Second Vatican Council: Jean Langlais confronts the evolution of the Roman Catholic liturgy We arrive at what proved to be one of the saddest moments in the life of Jean Langlais. For some time he had been considered a specialist of the highest order in the domain of Roman Catholic sacred music, most notably since 1954-1955 and the success of his Missa Salve Regina. The Second Vatican Council, particularly as interpreted by certain French liturgists, now stood poised to completely disrupt the happy order of his life as a composer. His six choral masses in Latin, a Passion, and numerous motets and cantatas notwithstanding, Langlais initially reacted with enthusiasm to the Church’s new directives concerning religious music, composing many simple works in French that were directly accessible to the faithful. -
Liturgical Ensembles
NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL August-September 2008 Music Liturgical Ensembles s Daily Mass section with complete Lectionary readings, psalm refrain and verses, antiphons, presidential prayers and hymn suggestions s All the great features of Today’s Missal— seasonal music and everything you need for Sundays and holy days for the entire year s Three seasonal issues, plus the annual Music Issue (included with subscription) s Excellent second missal— get 50 for your daily Mass chapel Advent-Lent 2009 issue now available Learn more at Cocp.org/td Call today for a FREE sample 1-800-LITURGY (548-8749) | OCP.ORG the price. The NPM staff has worked hard to reduce expenses in order to hold down costs for members. This year’s report shows overall expenses to be $40,000 lower than in 2005, the year of our last national convention. Over the past few years I have been impressed and moved by the generosity of NPM members in their personal and financial support. Thanks to member gifts in 2007, the Association was able this year to provide sixteen undergraduate and graduate students with more than $34,000 in scholarship funds for the coming academic year. Members showed strong support for the work of the Association by contributing more than $50,000 to the 2007 NPM Annual Fund—more than in From the President any previous year. The numbers, of course, tell only part of the story. The real measure of NPM is in the ministry of its Dear Members, members—the musicians, clergy, liturgists, and other leaders who serve the Church at prayer.