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Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church

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Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards. From this, a research instrument was developed against which to investigate each school according to eight standards: placing importance on the teaching of music, giving pride of place to chant, preserving and fostering the singing of polyphony, promoting the full treasure of sacred music, cultivating new compositions, facilitating active participation, providing liturgical training, and fostering spiritual formation. Data related to these standards was collected from each school through interviews with music and pastoral staff, field notes from on-site observations of classes and liturgies, and a variety of school documents and sources. Results show that all three schools were highly successful in achieving these standards. Secondarily, the research instrument created for this study contributes a set of benchmarks from which other Catholic institutions can assess their own progress in achieving musico-liturgical objectives. Because of their exemplary adherence to Vatican II directives, choir school programs should be advocated as models for use in other kinds of Catholic institutions. The potential benefits these types of programs can contribute to Catholic education and the New Evangelization are worthy of substantial investigation by the Church. This treatise by Jennifer L. Seighman fulfills the dissertation requirement for the doctoral degree in Sacred Music approved by Leo Nestor, D.M.A., as Director, and by Sharyn Battersby, Ed.D., Andrew Weaver, Ph.D., and Michael Witczak, S.L.D., as Readers. ____________________________________ Leo Cornelius Nestor, D.M.A., Director ____________________________________ Sharyn L. Battersby, Ed.D., Reader ____________________________________ Andrew H. Weaver, Ph.D., Reader ____________________________________ Michael G. Witczak, S.L.D., Reader ii Vide ut quod ore cantas, corde credas, et quod corde credis operibus probes. – Gelasian Sacramentary 1 1 Liber sacramentorum Romanae ecclesiae [The Gelasian Sacramentary], ed. with introduction, critical notes, and appendix by Henry Austin Wilson (Oxford: Clarendon Press, 1894), 145. This excerpt is taken from the ordination regulations for the minor order of psalmista, or the psalmist. Translation: “See (make certain) that what you sing with [your] mouth, you believe in [your] heart, and what you believe in [your] heart you prove/ demonstrate by [your] works.” The English text was published by the School of English Church Music in 1934 in the Choristers' Pocket Book : “Grant that what we sing with our lips, we may believe in our hearts, and what we believe in our hearts, we may show forth in our lives.” iii CONTENTS LIST OF FIGURES……………………………………………………………………………...vii ABBREVIATIONS……………………………………………………………………………….x ACKNOWLEDGEMENTS………………………………………………………………………xi INTRODUCTION………………………………………………………………………………...1 CHAPTER I: REVIEW OF LITERATURE……………………………………………………...5 CHAPTER II: METHODS AND PROCEDURES……………………………………………..12 1. Selection of the Sample………………………………………………………………….13 2. Research Procedures……………………………………………………………………..16 Interview……………………………………………………………………………..21 Observation…………………………………………………………………………..23 Document review…………………………………………………………………….24 3. Development of the Research Instrument………………………………………………..26 4. Administration of the Research Instrument……………………………………………...37 CHAPTER III: ST. PAUL’S CHOIR SCHOOL………………………………………………..41 1. Background………………………………………………………………………………41 2. Presentation of Data……………………………………………………………………...50 Standard #1: Catholic institutions and schools attach great importance to the teaching of music…………………………………………………………………….51 Standard #2: Gregorian chant is given pride of place in liturgical services…………80 Standard #3: Sacred polyphony is included in liturgical celebrations……………….85 Standard #4: The treasure of sacred music is preserved and fostered with great care……………………………………………………………………………..90 Standard #5: Composers cultivate new works of sacred music to increase the church’s store of treasures………………………………………………………….100 Standard #6: The faithful are led to full, conscious, and active participation in liturgical celebrations……………………………………………………………….106 Standard #7: Singers receive a genuine training in liturgy…………………………114 Standard #8: Singers receive spiritual formation of the highest standards…………119 3. Summary………………………………………………………………………………..123 CHAPTER IV: THE MADELEINE CHOIR SCHOOL………………………………………129 1. Background……………………………………………………………………………..129 2. Presentation of Data…………………………………………………………………….142 Standard #1: Catholic institutions and schools attach great importance to the teaching of music…………………………………………………………………...142 iv Standard #2: Gregorian chant is given pride of place in liturgical services………..169 Standard #3: Sacred polyphony is included in liturgical celebrations……………...173 Standard #4: The treasure of sacred music is preserved and fostered with great care……………………………………………………………………………178 Standard #5: Composers cultivate new works of sacred music to increase the church’s store of treasures………………………………………………………….188 Standard #6: The faithful are led to full, conscious, and active participation in liturgical celebrations……………………………………………………………….194 Standard #7: Singers receive a genuine training in liturgy…………………………202 Standard #8: Singers receive spiritual formation of the highest standards…………207 3. Summary………………………………………………………………………………..211 CHAPTER V: THE ATONEMENT ACADEMY…………………………………………….218 1. Background……………………………………………………………………………..218 2. Presentation of Data…………………………………………………………………….229 Standard #1: Catholic institutions and schools attach great importance to the teaching of music…………………………………………………………………...230 Standard #2: Gregorian chant is given pride of place in liturgical services………..259 Standard #3: Sacred polyphony is included in liturgical celebrations……………...265 Standard #4: The treasure of sacred music is preserved and fostered with great care……………………………………………………………………………268 Standard #5: Composers cultivate new works of sacred music to increase the church’s store of treasures………………………………………………………….274 Standard #6: The faithful are led to full, conscious, and active participation in liturgical celebrations……………………………………………………………….282 Standard #7: Singers receive a genuine training in liturgy…………………………292 Standard #8: Singers receive spiritual formation of the highest standards…………299 3. Summary………………………………………………………………………………..306 CHAPTER VI: ANALYSIS AND CONCLUSION…………………………………………...312 1. Initial Assessment………………………………………………………………………312 Focus of the schools and composition of the student body………………………...316 Number of choirs, singing responsibilities, composition and size of each choir…...318 Philosophy regarding the boys’ changing voices…………………………………...319 Chorister selection process and training period…………………………………….320 Financial structure…………………………………………………………………..321 Pastoral vision………………………………………………………………………322 2. Analysis of Data and Explanation of Procedures………………………………………324 Standard #1: Catholic institutions and schools attach great importance to the teaching of music…………………………………………………………………...324 Standard #2: Gregorian chant is given pride of place in liturgical services………..329 Standard #3: Sacred polyphony is included in liturgical celebrations……………...331 Standard #4: The treasure of sacred music is preserved and fostered with great care……………………………………………………………………………332 v Standard #5: Composers cultivate new works of sacred music to increase the church’s store of treasures………………………………………………………….337 Standard #6: The faithful are led to full, conscious, and active participation in liturgical celebrations……………………………………………………………….339 Standard #7: Singers receive a genuine training in liturgy…………………………345 Standard #8: Singers receive spiritual formation of the highest standards…………346 3. Conclusion……………………………………………………………………………...348 APPENDICES………………………………………………………………………………….354
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