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Views with Monks and Visitors and Analysis of the Rituals I Observed

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Florida State University Libraries 2016 Performing Community: Benedictine Chant in Post-Vatican II Catholicism Brian Eric Wilcoxon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERFORMING COMMUNITY: BENEDICTINE CHANT IN POST-VATICAN II CATHOLICISM By BRIAN WILCOXON A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 © 2016 Brian Wilcoxon Brian Wilcoxon defended this dissertation on April 13, 2016. The members of the supervisory committee were: Charles E. Brewer Professor Directing Dissertation Joseph Hellweg University Representative Douglass Seaton Committee Member Frank Gunderson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS A work of this scope required the support, encouragement, and cooperation of many individuals. First and foremost, I would like to thank Charles E. Brewer who patiently guided me, pushed me when necessary, and recognized my potential despite my sometimes- elementary mistakes. I owe an enormous debt to Douglass Seaton, Frank Gunderson, and Joseph Hellweg, who edited and critiqued each sentence and idea of my manuscript. Any lingering errors of style or content are solely mine. I would also like to thank Denise Von Glahn, whose Fall 2011 doctoral seminar on musical institutions sparked my first interest in this topic. I hope that some part of my work lives up to her standard at being academically rigorous and broadly accessible. Finally, I am forever grateful for the support of the community of faculty and students in the Florida State Musicology program for embracing and ΛΝΘΘΗΚΜΑng Μhe BΑg M Αdeal Ηf ΗΝΚ dΑΛcΑΘlΑne. My fieldwork was generously funded by the Carol Krebs Scholar Award for Dissertation Research and the Curtis Mayes Fund from Florida State University. These fellowships enabled me to make trips to the three monasteries in this study, and I am thankful fΗΚ Μhe ΗΘΘΗΚΜΝnΑΜΑeΛ ΜheΡ ΘΚΗvΑded. I am alΛΗ gΚaΜefΝl fΗΚ Μhe fΝndΑng I have ΚeceΑved fΚΗm the Department of Physics at Florida State in exchange for my advising services. Jonathan Harris, Susan Blessing, Eva Crowdis, and Michelle Bravo deserve special recognition for their flexibility and understanding as I finished my academic work, and I thank the entire department for their encouragement. The Benedictine communities at Solesmes, St. Leo, and Clear Creek were incredibly supportive of me both as a human and as a researcher. They provided not only intellectual iii stimulation during my visits, but friendship, peace, delicious food, and an ideal environment in which to conduct research and write. (Special thanks to the Solesmes brothers for giving me clothing and helping me navigate the bureaucracy of luggage recovery from Air France.) The Guest Masters at each of these institutions, Fr. Michael Bozell, Br. Stanislaw Sullivan, and Fr. Mark Bachmann, were instrumental in helping me organize my stays, and they were incredibly generous with their time both during and after my visits. I would also like to thank all of the other visitors I spoke with who offered their support, advice, and insight into my project. During my fieldwork at Solesmes, I had a chance encounter with Thomas Forrest Kelly, who kindly let me sit in on his lectures to the monks about their own history. I am forever grateful that he allowed me into his world, and illuminated for me the impressive feat Ηf chanΜ ΚeΛΜΗΚaΜΑΗn. MΡ ΛΑnceΚeΛΜ ΜhanΓΛ ΜΗ FΚ. SΜeΘhan JΝng and MaΚΡ MΚΛ. Z ZΑglΑnΛΓΑ, both of whom have made concerted efforts to help me in whatever ways possible. My unlikely but continued friendship with both of them is a true source of joy and an unexpected bi-product of my fieldwork. On a personal note, I would like to thank my friends and family who challenged me to refine my ideas, discuss complex processes in accessible language, and tolerated my mental and ΘhΡΛΑcal abΛence Ηn nΝmeΚΗΝΛ ΗccaΛΑΗnΛ. The SΜ. JΗhnΛ CΗmΘlΑne ChΗΑΚ haΛ gΑven me an opportunity to practice what I preach, and I thank them for their support and openness. I am constantly humbled by the graciousness and patience of our FamilyKevin and Cheri Karau; AD & UT; Sheli, Brian, and Stevie Daum; Grandma and Grandpa Rose; Grandma Sue and Bruce; Grandpa Don; Aunts, Uncles, Cousinswho have tolerated our absence from the home-base and encouraged us at every step. The ever-revolving cast of characters in the Steve Holt! trivia team have ensured that I not only make it out of the house, but that I enjoy the iv time away from my work. Jason and Sarah Wilcoxon have provided me with unexpected insight and joy beyond words, and I feel so lucky that we have been able to spend the last several years together. My Mom and Dad have supported me in every way imaginable; were I given a thousand lifetimes to repay them, I would still come up short. And finally, to my wife Kimi, who has challenged me, worked with me, held me, and loved me through every part of this process: Please share in the joy of the completion of this work; I could not have made it without you. v TABLE OF CONTENTS List of Figures........................................................................................................................... vii Abstract .................................................................................................................................. viii INTRODUCTION MUSIC HISTORY, MONKS, AND BIG M MUSICOLOGY ........ 1 CHAPTER ONE ST. BENEDICTS OPUS DEI: THE MONASTIC UNDERSTANDING OF THE WORK OF GOD ........................................................... 5 CHAPTER TWO GREGORIAN CHANT AND THE IDEALIZED PAST ................... 37 CHAPTER THREE SOLESMES: CHANT, LITURGY, AND THE CHARISM OF TRADITION .................................................................................................................... 68 CHAPTER FOUR ST. LEO ABBEY: LIVING THE CULTURE OF VATICAN II ..... 108 CHAPTER FIVE LIKE SOLESMES IN OKLAHOMA: OUR LADY OF THE ANNUNCIATION OF CLEAR CREEK ABBEY ....................................................... 148 CONCLUSION WHAT IF…? .......................................................................................... 177 APPENDICES ....................................................................................................................... 187 A. BENEDICTS GUIDELINES FOR THE DIVINE OFFICE .......................................... 187 B. IRB STATEMENT ON ORAL HISTORY PROJECTS ................................................. 192 BIBLIOGRAPHY .................................................................................................................. 193 BIOGRAPHICAL SKETCH ................................................................................................ 199 vi LIST OF FIGURES 3.1. Original floorplan of the Solesmes church ........................................................................ 87 3.2. 1863 addition ..................................................................................................................... 87 3.3. Statue of St. Peter inside the Solesmes abbatial church. Photograph by Author. .............. 93 4.1. St. Leo Abbey gift shop. Photograph by Author. ........................................................... 116 4.2. St. Leo Abbey church. Photograph by Author. ............................................................. 116 4.3. Monastic Mississippis. Photograph by Author. .............................................................. 128 vii ABSTRACT Gregorian chant is typically thought of as a product of the early medieval era. Its monophonic melodies evoke a simple beginning from which Western music evolved; its timbres are associated with the austere monuments of the early Church; its image on the page is somewhat familiar, but foreign; even its present-day performers appear to be from an entirely different time. Despite its origins and the fact that it is typically studied as a historical artifact, chant is also part of a living institution worthy of examination. This dissertation discusses Benedictine music and ritual in relation to their historical origins and within the Rule of St. Benedict, but also in their current states as performed and embodied traditions. The sociological models of habitus and meshwork allow study of these cultural products in their present states while keeping mindful of their origins and their accumulation of meaning over the course of many centuries. Through performance of ritual, Benedictines form communitas that structures and unites them while simultaneously integrating new people and ideas into their group. The Gregorian repertoire as it is known today is largely the work of the Solesmes monks who, in the nineteenth century, collected, edited, and revitalized this body of music. Their efforts bear many traits of its time, including a subsequent Romantic reading of the repertoire as a whole, which this dissertation contends with. By using ethnographic fieldwork to observe chant performance in its modern context, I depart from the standard narrative and discuss how Benedictine communities use music and ritual to reinforce and create their complex system of beliefs. While the ethnographic chapters look at many factors of musical performance, each is viii somewhat focused on a particular issue. Chapter 3 discusses how
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