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Uhe (lathulir (Ulmuirmaster J U Lºſ º | - N IN E T E E N E I G. H. T. E. E. N. surietu uſ st. Øreguru mt America Approved by the Holy Sze by Resºrpt No. 61%, May 1, 1915. --- Uhr (Jathulir (ſhuirntagter T H E O FFICIAL BU L L E T IN of The Society of St. Gregory of America A magazine for those interested in Liturgical Church Music. Nicola A. Montani, Editor. STAFF OF CONTRIBUTORS. Very Rev. E. R. Dyer, S.S. D. D.; Very Rev. A. De Santi, S.J.; Mr. Alois Bartschmid, F. A. G.O.; Rev. L. Bouhier, S.S.; Mr. James A. McDavitt; Rev. A. Dress, Mus. D.; Dom A. Eudine, O. S. B.; Rev. A. L. Gabert, Mus. D.; Dom Gajard, O.S.B.; Rev. Garrouteigt, S.S.; Rev. Virgil Genevrier; Rev. G. Gleason, S.S.; Mr. F. W. Goodrich; Rt. Rev. Mgr. H. T. Henry, Litt. D.; Rev. N. Holly; Rev. G. Huegle, O.S.B.; Mr. J. P. Keating; Rev. E. M. McKeever, LL.D.; Rev. Theo. Laboure, O. M. L.; Rev. L. P. Manzetti, Mus. D. : Mr. A. Mauro, Mus. D.; Dom A. Mocquereau, O. S. B. ; Rev. J. M. Petter, S. T. B., Mus. D.; A. Wan Dyke Power, Litt. D. : Mr. Aloysius Rhode: Mr. R. R. Terry; Rev. D. Waedenschwiler, O. S. B. : Mr. W. N. Waters; Rev. S. M. Yenn; Dom L. M. Zerr, O. S. B. : Rev. John J. Hacker, S. J.; Justine B. Ward; Herbert Antcliffe: Rev. Ludwig J. Bonvin S. J.; Mr. James P. Dunn. All editorial matter should be addressed to the editor (1207 Walnut Street, Philadelphia, Pa.) Advertising rates furnished on application. On general matters concerning the Society, address: The Society of St. Gregory of America, St. Mary's Seminary, Baltimore, Md. 3. © *.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.*.* º THE CATHOLIC CHOIRMASTER - Vol. IV. July 15, 1918. No. 8. Published quarterly by the Society of St. Gregory –1207 Walnut St, Phila., Pa. - Yearly Subscription $1.00—Single Copies 25 Cents (Ulpe (Lathulir (Ulmuirmtaater Vol. IV. JULY, 1918. No. 3. E CONTENTS Page Church Music and Present Day Society ... 50 Pope Benedict XV and Sacred Music ......................................................................................... 55 Church Music Regulations for the Province of Rome ............................................................. 57 Necrology ............... *~~~~ ... 59 Editorial … 60 An Open Letter to Rectors and Choirmasters ............................................................................. 62 Notes and Gleanings --------------------------------------------------------------------------------------------------------------------------------------------------- ---66 Reviews ................................................................................. -- 67 Programs ................................................... --------------------------- ----------------------------------------------------------------------------------------------- 68 List of approved and rejected music—Harrisburg Diocese – 70 Musical Supplement:— Missa et absolutio pro defunctis for 3 male voices with organ—Pietro A. Yon. 50 THE CATHOLIC CHOIRMASTER (Iſlurrl ſituair anh Hregent Bau şuriety by John J. Fehring 4||ANY things have been done, much have advocates with the best of mo has been said, volumes have been tives, but unduly influenced by a horror written, since the beginning of our cur of present conditions, warping their rent reform in Church Music. Reform common sense and impelling them to and reformers are terms which in our assume the role of martyrs in the cause day have acquired an odious implica to which they are wedded. Finally, tion: and the use of these terms in the those urging the reform may be ex effort to restore and better the music tremists, or afflicted with hobbies, who with which the functions of the Church try to make the people suffer because have been adorned has added to the of their love for the bizarre and the difficulties with which these attempts unique. Where such conditions are have been confronted from all sides. found, it is necessary to proceed with The manifold nature of these difficult great prudence, and to make changes ies, and the various sources from which gradually, judiciously and kindly. opposition has come, render timely an The two great questions in the mu inquiry into their causes and reasons. sical reform with which we are engaged Any reform is brought about either are: first, what is to be reformed, and by an external agent or by the natural second, whom will this reform affect? development of an institution, hastened The answer to the first question is by unsatisfactory conditions. It was Liturgy and its handmaiden, Music; especially this latter motive that urged and to the second, our congregations our late Pontiff, Pius X, of blessed as at present constituted. Our attention memory, to make such supreme efforts may be turned first of all to Music, and to “restore all things in Christ.” Such to Music in its psychological aspect. a restoration presupposes a development From the earliest available data, of man spiritually, a tearing away of Music, like other arts, was utilized to the accretions of scales and barnacles portray, to embody the thoughts, de which a long voyage in the sea of sires, aspirations and even habits of modern materialism has accumulated, individuals or collective bodies, whether to hold to a steadier course and to give in a secular or a religious manner. The fuller and freer action to the spiritual very nature of music, its essence as an Iman. urt, is an expression of intellect, ap A reform succeeds or fails of success pealing to intellect, through sense. according to the methods and motives Dealing, as it does, with the emotions, of its promoters. If it be in the hands the imagination and the will enter as of quacks or charlatans, or men lacking most potent factors. Here is the crux. sincerity, it will be held back and ren Music deals with the will, and becomes dered sterile in proportion to the num matter of like and dislike. Like and ber of such persons engaged; and thus dislike are powerful forces in art. The an effort for good may come to naught process by which they affect the ap because of the misguided exertions of preciation of artistic expression is some of those striving to further its clear enough. The sensation, or the progress. On the other hand, it may picture, or the ideals of music are THE CATHOLIC CHOIRMASTER 51 presented to the will, and immediately counter a vital spiritualizing force. Our our whole psychic life is awake. If our Liturgy, in its ampler circles, is the cognitive life, our knowledge, can find almost divine institution created by by comparison ideas compatible with man with a finite mind:—so much so, the imagery placed before our phantasy, that even Protestant writers are, more our rational appetite or orectic will than ever before, inclined to attribute give approval, and another powerful to it something of the Infinite. It is ideal for good is added to our concept therefore readily evident that the pre mass, and a gracious stimulant given vailing defects and abuses are not to our psychic life. This is music in its the work of Music or of Liturgy in psychological phase. themselves. A little glance at the corrupting The next step is so to curtail the influences which have modified church wanderings of these images that they music in the course of history will show may not lead us too far afield. Here whence come the deteriorating in is the point at which the directly in fuences. Without fear or hesitation, tellectual agent enters. The laws of I will say that the decadence of church church music make a conventional style, music can be traced back to the first an ordered channel for this imagery; heresies, and became worse as each in other words, they tell us the nature succeeding heresy became more viru and qualities of these images, always, lent. Let us examine briefly early con however, with one purpose in view. The ditions, and in a few words trace the design of church music may be thus course of events down to the present. expressed: music is only one of the aids employed by our church to make People of one mind, one heart, one what we call our Liturgy. Now the spirit, one devotion, cherished too high great intent of liturgical utterance is an ideal to tolerate anything but the to enhance, to vivify, to enliven in a most noble forms of worship. The sacred panorama the wonderful truths earliest writings that remain, the of our faith unto edification and de Didache and St. Justin, give us an votion. And so, stripped of all conten indication of the simple grandeur of the tion and argument, the exponent of early Christian song. The records left Church Music must consider on the in the works of the Fathers, and in the one hand, the nature and effects of old monastic chronicles, show us that music, and the Liturgy and its pur the holiness of their interior lives pose on the the other. In order, there found fitting expression in the sweet fore, to understand better the faults simplicity of their devotions. The which are prevalent, and to carry out grandeur of the services of the church more perfectly the purposes of Liturgy at Constantinople could not have been and Music, we may examine the con accomplished unless great talent had dition of those to whom its appeal is given itself by a holy consecration to directed and see whether the faults lie God. If we but read the Liturgical Year in these factors, or in those to whom (of Dom Gueranger), we shall find their agency is directed. that society was a society of faith, of a deep sense of responsibility to God, In the first place, the service of a society composed of men who found Music, as a potent factor in the devel their enjoyment, their esthetic as well opment of our psychic life, needs no as their devotional satisfaction, in the champion; it stands, recognized by all.

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