PASTORAL NATIONAL ASSOCIATION of PASTORAL MUSICIANS June-July 2007 Music

Words We Pray, Words We Sing

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30796_JJ 07 Front.indd 1 5/21/2007 10:45:55 AM word-for-word rendering. Perhaps the most familiar example is the translation of “et cum spiritu tuo” as “and also with you.” The 1970 texts have shaped the sung and spoken liturgical prayer of English-speaking Catholics for more than thirty- ve years. A number of major events have led to a new English translation of the Missale Romanum. AĞ er a second typical edition of the missal was issued in Latin in 1975, ICEL undertook a lengthy and painstaking process of translation completed in stages throughout the mid-1990s. Although the translation was approved by English-speaking conferences of bishops, the Vatican rejected it and signaled dissatisfaction with the existing principles of translation. A new set of translation principles was set forth in the 2001 instruction Liturgiam authenticam. The new guidelines are based on a “formal equivalence” From the President approach to liturgical translations, giving priority to the original language and calling for stricter adherence to Latin vocabulary, sentence structure, and word order. An obvious example of the more literal approach is the new translation of “et cum spiritu tuo” as “and with your spirit.” The new translation principles of Liturgiam authenticam were issued in the year following the Words and a New Translation publication in Latin of the third typical edition of the of the Roman Missal Missale Romanum. The new English translation now in process is a result of that newly revised Latin missal Not long ago, as I was preparing to conduct a and a new oĜ cial approach to vernacular liturgical workshop on upcoming changes in the English texts. translation of the Order of Mass, I ran into a priest Pastoral musicians, clergy, and other leaders of who was curious about the topic. When I explained worship need to be aware of the new texts that we that many—if not most—of the familiar responses and will be receiving so that they can prepare themselves texts of the Mass would be changing, his eyes widened. and their communities. The articles by Gordon TruiĴ , He had no idea that in the not too distant future there Donald Trautman, and Helmut Hoping oě er varying would be extensive changes not only in the familiar perspectives and important background on the words sung and spoken by the people but also in the importance of the words we pray. Paul Turner provides prayers and other texts for the priest. a helpful progress report on the new English translation Words maĴ er, especially the words of worship. of the Roman Missal, and Anthony Ruě re ects on the Words disclose the presence of the living God in our new texts from the perspectives of pastoral spirituality midst and shape our response to God. We present and leadership. this issue of Pastoral Music to help pastoral musicians, The introduction of the new translation of the clergy, and other leaders of worship re ect on the Mass will bring about a period of transition—perhaps words we pray and sing, especially as we prepare for a painful—for the members of our communities as new English translation of the Order of Mass and of the well as clergy, musicians, publishers, and composers. entire Roman Missal. Worshiping communities will need sensitive and well- AĞ er the Second Vatican Council, the  rst typical informed leaders to guide them through the process of edition of the Missale Romanum was published in change. Watch for additional background, resources, 1969. An oĜ cial English translation was prepared and and guidance from NPM as the new Mass texts become implemented in just over a year. This 1970 translation, available. prepared by the International Commission on English in the Liturgy (ICEL), was guided by principles in the Vatican instruction On the Translation of Liturgical Texts (usually cited by the title of its French version, Comme le prévoit). This instruction encouraged a “dynamic equivalence” approach that seeks the best way to J. Michael McMahon express the meaning of the original rather than a literal President

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30796_JJ 07 Front.indd 2 5/21/2007 10:45:59 AM Annual Report to the Membership FOR THE YEAR JANUARY 1 TO DECEMBER 31, 2006 Membership

Dec. 31, 2005 Dec. 31, 2006 Mar. 31, 2007 NPM is the largest national Catholic association of pastoral Total Membership 8,744 8,459 8,527 ministers and the largest national Divisions church-related music ministry DMMD 703 699 712 association in the United States. Music Education 327 239 228 Unfortunately, 2006 showed a 3% drop in total membership. Because convention Special Interest Sections discounts provide one of the greatest African American Musicians 130 127 125 incentives for new memberships, this Campus Ministers 152 190 190 year’s drop can be aĴ ributed primarily Cantors 2,354 2,320 2,261 to a substantial reduction in regional Choir Directors 2,440 2,384 2,321 convention aĴ endance. Clergy 1,428 1,372 1,338 Diocesan Directors of Music N.A. N.A. 126 The Director of Music Ministries Ensemble Musicians 1,437 1,422 1,380 Division (DMMD) changed its Hispanic Musicians 259 248 241 membership requirements this year Musicians in the Military 51 47 47 to include any professional director of Organists 2,001 1,981 1,931 music ministries, whether full-time or Pianists 772 843 818 part-time. Responsible for Leadership of Music Ministries 2,426 2,407 2,346 NPM Special Interest Sections Youth 1,254 1,185 1,192 allow members to identify their own Eastern Church Musicians 20 21 19 particular areas of expertise, ministry, Asian/Paci c Rim Musicians 28 36 35 or concern. The numbers printed here Musicians Serving oě er a glimpse at the amazing diversity Religious Communities 6 10 10 of an association that embraces ordained Pastoral Liturgy 432 478 458 and lay ministers, young and old, Chant 95 141 135 various cultural and ethnic groups, Composers/Text Writers 16 16 and a wide variety of music ministry specializations. During 2006, a new Chapters special interest section was formed for 2006 70 (62 permanent, 8 temporary) composers and text writers. 2005 71 (62 permanent, 9 temporary) 2004 73 (59 permanent, 14 temporary) Pastoral Music magazine continues 2003 73 (63 permanent, 10 temporary) to provide a forum for thoughtful and helpful discussion of issues aě ecting sung worship and pastoral music Publications ministry. NPM also produces a variety Dec. 31, 2005 Dec. 31, 2006 Mar. 31, 2007 of newsleĴ ers and other publications that provide resources and information Members and Subscribers for our members. Subscriptions continue Pastoral Music 9,034 8,7311 8,7932 to increase for The Liturgical Singer, Notebook 8,772 8,448 8,524 a practical and lively newsleĴ er for Liturgical Singer 1,3283 1,493 1,545 psalmists, cantors, choir directors, and Praxis 716 N.A.4 N.A. choir members. Catholic Music Educator 259 317 253 Clergy Update 1,449 1,303 1,304

1. This number includes 101 non-member subscribers and 171 libraries. 2. This number includes 97 non-member subscribers and 169 libraries. 3. Total number of copies sent to subscribers; some subscriptions are bulk orders. 3 4. In September 2006, Praxis became primarily a web-based publication.

30796_JJ 07 Front.indd 3 5/21/2007 10:45:59 AM The 2006 Regional Conventions in Stamford, Grand Rapids, and Sacramento Education drew more than 1,600 paid participants. All Conventions three conventions received exceptionally high Total Paid AĴ endance evaluations. While the Western Regional 2006 Regional Conventions: Stamford, 1,608 Convention in California exceeded its Grand Rapids, Sacramento aĴ endance goal, the Eastern and Central 2005 National Convention: Milwaukee 2,566 Regional Conventions fell short of their

target. Even with smaller aĴ endance, nearly 20% of the entire NPM membership aĴ ended Institutes one of the regional conventions in 2006 for Total Paid AĴ endance learning opportunities, ministry renewal, and 2006 14 Institutes 586 professional support. 2005 12 Institutes 573 2004 12 Institutes 649 Nearly 600 members participated in fourteen 2003 13 Institutes 584 NPM Institutes during 2006, including the winter colloquium, a one-day seminar on Models of the Eucharist, and three institutes that were held in conjunction with regional conventions. Finances

NPM experienced a smaller than expected 2006 Income: $1.472 million de cit in 2006 because of a substantial gain Admin 10% from the sale of an investment. Income from Fundraising regional conventions, however, fell short of 6% Membership budget expectations due to lower registrations. 32% Publications Since less than a third of NPM revenue derives 8% from membership dues, the Association relies Education on program fees, sales of publications, and 44% charitable donations to support its work. NPM members generously contributed 6% of 2006 Expenses: $1.484 million the total income for 2006 through the NPM Admin and Membership Annual Fund, the Lenten Scholarship Fund, Fundraising Services and other fundraising eě orts. 12% 16%

NPM educational eě orts—conventions,

institutes, programs, and publications Publications —received nearly three-quarters (72%) of 29% the Association’s  nancial resources in 2006. Because of the generosity of NPM members, the Education Association was able to distribute more than 43% $33,000 in scholarships for academic study and NPM programs and nearly $11,000 in NPM Finances: The Big Picture hurricane relief to Gulf Coast parishes. (in $ millions) 2

Providing the resources for NPM to carry out its mission and securing the Association’s 1.5  nancial health remains a challenge. The Board and staě have been working together to provide 1 membership services and educational programs at a reasonable cost. We are grateful for all the 0.5 ways that members continue to support this important work. 0 2003 2004 2005 2006 Income 1.639 1.367 1.653 1.472 Expense 1.559 1.427 1.567 1.484

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30796_JJ 07 Front.indd 4 5/21/2007 10:45:59 AM NATIONAL ASSOCIATION of PASTORAL PASTORAL MUSICIANS

June-July 2007 Volume 31:5 Music

Pastoral Music (ISSN 0363-6569) is published bimonthly by the National Association of Contents Pastoral Musicians (NPM), 962 Wayne Av- enue, Suite 210, Silver Spring, MD 20910. Annual Report 3 Association News 7 NPM is an organization of musicians and clergy dedicated to fostering the art of musical liturgy. Member services include Hearing Is Fundamental 13 the bimonthly newsleĴ er Pastoral Music BY DENNIS FLEISHER Notebook, discounts on NPM conventions and institutes, and other bene ts. HOW WE’VE DONE IT IN PITTSFIELD, MASSACHUSETTS Editorial, Executive, and Advertising OĜ ces: 962 Wayne Avenue, Suite 210, Silver Spring, Organist Apprentice Program 17 MD 20910-4461. Phone: (240) 247-3000. Fax: BY JEFFREY W. HUNT (240) 247-3001. E-mail: [email protected]. Advertising: Phone: (503) 289-3615. E-mail: We Dare to Pray . . . in Song 19 [email protected]. BY GORDON E. TRUITT Publisher: Dr. J. Michael McMahon; Editor: Dr. Gordon E. TruiĴ ; Assistant Editor: Ms. Andrea Schellman; Prayer and Song for the People of God 22 Advertising Director: Ms. Karen Heinsch; BY BISHOP DONALD W. TRAUTMAN Music Review Editor: Dr. Marie Kremer; Book Review Editor: Ms. Anne Y. Koester; Printing: Epiphany Printing “For All”/“For Many”: A Refl ection from Germany 26 BY HELMUT HOPING Membership Information: Regular Parish Membership in NPM (clergy and musician, both included as members): $97 per year. $52 Replacing the Sacramentary: A Progress Report 27 of this amount is for subscriptions to Pastoral BY PAUL TURNER Music for one year. Single Parish Member- ship (one member): $70 per year. $26 of this amount is for a subscription to Pastoral Perspectives on Translations 30 Music. Youth Membership: $29. Retired/Se- and the Need for “Whatever” nior Membership: $29. Bene ts equivalent to BY ANTHONY RUFF,  individual membership. Group membership rates are available. Membership rates in eě ect as of January 1, 2007. Chapter News 42 Reviews 48 Subscription Information: One-year subscrip- Professional Concerns 56 Hotline 58 tion, six issues a year (bimonthly), $39. Calendar 64 Bulletin Insert 68 Library rate: $39. Single copy: $7. For second class postage to Canada, add $11 per year for each membership (includes postage for Notebook); $7 per year for each subscriber. For postage to all other countries, add $15 per year for each membership (includes Note- book); $10 per year for each subscriber.

Copyright © 2007 by the National Associa- tion of Pastoral Musicians. Cover: St. Jerome, patron of translators, and Pope St. Gregory the Great, patron of liturgical musi- cians. Stained-glass windows from St. Augustine Parish, Montpelier, Vermont, photo courtesy of Mike Kelley. Additional photos in this issue courtesy of Lakeway Church, Lakeway, Texas; Periodicals postage paid at Silver Spring, the Kungliga Biblioteket, Stockholm, Sweden; University of Virginia Library, CharloĴ esville, Maryland, and additional mailing oĜ ces. Virginia; Monastery of St. Catherine, Mount Sinai, Egypt; Vox Clara CommiĴ ee, Rome; Church of Postmaster: Send address change to Pastoral St. Mary Magdalene, Toronto, Ontario, Canada, photo by Michael Hudson; St. James Cathedral, Music, 962 Wayne Avenue, Suite 210, Silver SeaĴ le, Washington; Music Library, University of California, Berkeley; NPM Chapters in Joliet, Spring, MD 20910-4461. Illinois, and Rochester, New York; and NPM  le photos.

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30796_JJ 07 Front.indd 5 5/21/2007 10:46:01 AM Mission Statement The National Association of Pastoral Musicians fosters the art of musical liturgy. The members of NPM serve the Catholic Church in the United States as musicians, clergy, liturgists, and other leaders of prayer.

NPM Board of Directors NPM National OĜ ce 962 Wayne Avenue, Suite 210 Sr. Judith Marie Kubicki, , Chair (2007) Silver Spring, Maryland 20910-4461 Dr. Michael Connolly, Vice Chair (2009) Phone: (240) 247-3000 • Fax: (240) 247-3001 Mr. Charles Gardner (2007) General e-mail: [email protected] Mr. Stephen Petrunak (2009) Web: www.npm.org Dr. James Savage (2007) Dr. J. Michael McMahon, NPM President Dr. J. Michael McMahon, President Ext. 12 E-mail: [email protected] NPM Council Rev. Virgil C. Funk, President Emeritus At-Large Representatives E-mail: [email protected] Ms. Anne Ketzer (2008) Ms. Michelle Ogren (2008) Membership Dr. Jennifer Pascual (2008) Ms. Kathleen Haley, Director of Membership Services Mr. Steven Warner (2008) Ext. 19 E-mail: [email protected] Mr. Brian Bisig (2010) Ms. Janet Ferst, Membership Assistant Mr. Tim Dyksinski (2010) Ext. 15 E-mail: [email protected] Ms. Jacqueline SchniĴ grund (2010) Dr. Dolly Sokol (2010) Education Rev. Dr. Paul H. Colloton, , Director of Continuing Education CommiĴ ees for Operations Ext. 11 E-mail: [email protected] Rev. James Wm. Bessert, Publications (2008) Mr. Peter Maher, Program Coordinator Mr. John Kubiniec, Membership (2008) Ext. 22 E-mail: [email protected] Mr. Tony Varas, Finance (2008) Rev. Michael Driscoll, Education (2010) Publications Sr. ClaudeĴ e SchiraĴ i, , Certi cation (2010) Dr. Gordon E. TruiĴ , Senior Editor Mr. Pedro Rubalcava, Music Industry (2010) Ext. 21 E-mail: [email protected] Standing CommiĴ ees Mr. Joseph F. Marino, Responsible for Leadership of Music Ministries Exhibits and Advertising Mr. Michael Wustrow, Choir Directors Ms. Karen Heinsch, Exhibits and Advertising Manager Dr. Lynn Trapp, Organists Phone: (503) 289-3615 Ms. Nancy Deacon, Pianists E-mail: [email protected] Mr. Joe Simmons, Cantors Ms. Gael Berberick, Ensemble Musicians Administration Rev. Robert Webster, Clergy Mr. Lowell Hickman, OĜ ce Manager and Executive Assistant Diocesan Directors of Music Ext. 25 E-mail: [email protected] Dr. Dolores Martinez, Hispanic Musicians Mrs. Mary Rodriguez, Receptionist and Secretary Mr. Timothy Jacquet, African American Musicians Ext. 10 E-mail: [email protected] Mr. Stephen Steinbeiser, Campus Ministers Mr. Paul Lagoy, Secretary and Mail Clerk Mr. Tim Westerhaus, Youth Ext. 26 E-mail: [email protected] Col. Tom Luna, Musicians in the Military Mr. Anthony Worch, Finances Prof. J. Michael Thompson, Eastern Church Musicians (ad hoc) Ext. 15 Mr. Bruce Croteau, Pastoral Liturgy Rev. Ricky Manalo, , Asian and Paci c Rim Musicians (ad hoc) Sr. Nancy Burkin, , Musicians Serving Religious Communities (ad hoc) Rev. Anthony Ruě , , Chant (ad hoc) Mr. Nicholas Palmer, Composers (ad hoc) Ex-OĜ cio Representatives Most Rev. Daniel N. DiNardo, Episcopal Moderator Sr. Judith Marie Kubicki, , Board of Directors Chair Mr. Thomas V. Stehle, Council of Chapters Chair Ms. Joanne Werner, DMMD Division President Additional Staě Ms. Tracy Lake, NPM-MusEd Division President Mr. Joseph Lively, Comptroller Mr. Peter Maher, NPM Staě Representative Ms. Andrea Schellman, Assistant Editor The Association President and the NPM Board members also serve on Ms. Kathi Zysk, Website Manager the NPM Council without a vote. Ms. LiseĴ e Christensen, Website Designer

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30796_JJ 07 Front.indd 6 5/21/2007 10:46:03 AM Association News

Convention Update

Advance Deadline

The advance registration deadline for the 2007 National Convention is June 8. Register before this date, and you can save $55.00 oě the fee for NPM members or non-members, $50.00 oě the fee for NPM youth members, and $25.00 oě the companion fee. This is also the deadline for the NPM member clergy and musician duo discount.

Members’ Discount

NPM members receive a sizable discount on convention (and institute) registration fees. In fact, it is less expen- sive to become an NPM member and to The Indianapolis Core CommiĴ ee, modeling the 2007 Convention T-shirt, is prepared to register at the members’ rate for NPM welcome us to their city and their archdiocese. programs than it is to pay the non-mem- ber rate! Joining NPM as you register for the convention entitles you to additional begin the day from Tuesday to Friday As the logo for the 2007 NPM National bene ts: a year’s subscription to Pastoral (Byzantine morning prayer on Wednes- Convention suggests, there will also be a Music and the members’ newsleĴ er Pas- day); Taizé Prayer on Tuesday night; and labyrinth available to participants in the toral Music Notebook and discounts for the Convention Eucharist on Wednesday Convention Center. Labyrinths were a other programs. Clergy members receive evening. Several of the plenum presen- feature of many medieval cathedrals; one the quarterly newsleĴ er Clergy Update as tations highlight aspects of prayer and of the best remaining examples is found in an added bonus. If you pay for a parish spirituality for pastoral musicians; some of the Cathédrale Notre-Dame de Chartres membership, anyone in your parish may the performance events also become times in northern France. The original purpose register for an NPM program at the mem- of prayer; and some of the workshops ad- of the labyrinth in Christian practice was bers’ fee. dress issues of prayer and spirituality for to provide a way to make a pilgrimage for choirs (A 23), parishes (B 23), the whole those who were unable to travel to pilgrim- Prayer Together community (D 25), and pastoral musicians age centers such as Jerusalem, Rome, or (F 21). Santiago de Compostela. Unlike a maze, The evaluation forms that we receive Daily Mass will be available across the aĞ er each convention as well as a recent street from the Indiana Convention Center online survey of our members reinforce at St. John Roman Catholic Church, the the message that participants in our annual oldest Catholic parish in Indianapolis, conventions  nd them to be prayerful, founded in 1837 and standing at its pres- almost a retreat. And these comments also ent location since 1871. St. John served tell us forcefully that participants like that as the pro-cathedral for the Diocese of atmosphere and look forward to it. Indianapolis (1898–1907), while the epis- This prayerful atmosphere will perme- copal see for Indiana was transferred from ate the 2007 Convention in Indianapolis Vincennes to the state capital. This historic as well. From the pre-convention Music church features a two-manual Goulding & Ministry Leadership Retreat with John Bell Wood organ which incorporates elements through the closing Re-commissioning of the 1894 original instrument, which was and Sending Forth, this year’s gathering destroyed in a hailstorm in 1923, and its will be permeated with prayer. 1935 replacement. St. John Parish is the Speci c times for prayer during the site for the pre-convention Young Organist convention include morning prayer to Master Class on Sunday evening. P M • J-J 2007 7

30796_JJ 07 Front.indd 7 5/21/2007 10:46:03 AM labyrinths have only one path; there are knobs and controls can be used to support Worship, and books on various liturgical no dead ends. People walk the labyrinth pastoral music. Registration is limited. topics. slowly, as an aid to contemplative prayer An additional session has been added Father Joncas is a member of NPM and and re ection, as a spiritual exercise, to the Friday morning breakout. In F 24, several other professional associations. He or—even today—as a form of pilgrim- “How to Form a Chapter,” Jacqueline has been a major presenter and workshop age. Tradition says that the labyrinth’s SchniĴ grund oě ers step-by-step tech- leader at many NPM conventions and at path has three stages: the inward journey, niques for forming an NPM Chapter. other gatherings of the association. the center, and the outward journey. The Marty Haugen is the 2007 Pastoral theme of the inward journey is leĴ ing go NPM Honors Musician of the Year. A liturgical com- of things which hinder our wholeness and poser from Eagan, Minnesota, he is the inner approach to God. The center of the The Pastoral Musicians’ Breakfast on composer of songs, hymns, and seĴ ings labyrinth is a space of meditative prayer Wednesday morning will give us an op- of ritual texts. His and peace. The theme of the outward jour- portunity to honor some individuals and seĴ ing for the Ro- ney is relationship—with ourselves, with organizations that have oě ered insight, man Catholic Or- others, and with all of creation—seen in example, support, and encouragement der of Mass—Mass the light of our relationship with God. to pastoral musicians in the United States of Creation—is the and around the world. Here’s information most widely used Scholarship Assistance about some of the honorees. seĴ ing in the Unit- Rev. Dr. Jan Michael Joncas is the re- ed States, and his Through the generosity of NPM cipient of the 2007 Jubilate Deo Award. The popular seĴ ings of members, assistance is available to cover eldest of eight children, J. Michael Joncas the Lutheran Com- the cost of convention registration (or completed his undergraduate studies at munion Service—Now the Feast and Cel- NPM institute registration) for persons the College (now ebration—and vespers—Holden Evening or parishes of limited means. For infor- the University) Prayer—are also widely used. Marty has mation about this scholarship program, of St. Thomas more than 250 separate titles published visit the NPM website—hĴ p://www.npm. in Minneapolis through GIA and other compositions org/EducationEvents/program_scholar- and his graduate available through Augsburg Fortress and ships/scholarships.htm—or request a degree in litur- other publishers. His hymns and liturgical packet from the NPM National OĜ ce. gical studies at songs appear in several GIA hymnals as Phone: (240) 247-3000. the University of well as in hymnals produced for Canadian Notre Dame. He and Australian Roman Catholics, the met Marty Hau- Evangelical Lutheran Church in America, Breakout Changes: gen and David the Lutheran Church—Missouri Synod, One Dropped, One Bilingual, Haas while they and other Protestant and Evangelical de- One Refocused, One Added were all students nominations. With David Haas, he began at the College of St. Thomas. He began the series Psalms for the Church Year (GIA). On Tuesday morning, breakout A 29 composing music for Roman Catholic lit- In addition to his workshop sessions at has been canceled. It was to have been urgy then, and his best-known song, “On NPM conventions and other NPM-related a showcase demonstrating practical Eagle’s Wings,” appeared in 1978. He has events, Marty has presented workshops Gregorian chant selections. Participants since composed and recorded seventeen and concerts for the past twenty- ve years interested in Gregorian chant in the liturgy collections of music. With Haugen and across North America and in Europe, might consider registering for the Monday Haas, he served as one of the editors of Australia, Asia, and Central America. morning Chant Intensive with Father the  rst edition of Gather. Lansing, Michigan, is the NPM Chap- Anthony Ruě , ; visiting the Section Ordained to the presbyterate for the ter of the Year. Members of this chapter for Chant meeting on Monday aĞ ernoon Archdiocese of St. Paul and Minneapolis serve approximately (4:00 ); or participating in sessions A in 1980, he completed assignments as as- 230,000 Catholics in ten 04, A 05, D 04, E 19, and F 17. sociate pastor and campus minister before counties in southern Workshop C 09, on Wednesday af- going to Rome for postgraduate studies. Michigan. The current ternoon, will be bilingual (Spanish and In 1991, he earned a doctorate in sacred chapter director is Dr. English). Since this session deals with liturgy from the Ponti co Istituto Liturgico Robert Wolf, director of repertoire for the non-Hispanic director, at the Collegio Sant’Anselmo. He returned music ministries at St. Patrick Parish in it will be oě ered in both languages and to St. Paul and began his teaching career Brighton, Michigan. focus on repertoire that the Spanish-speak- at the University of St. Thomas, where BenneĴ Porchiran is this year’s DMMD ing would like a non-Hispanic director to he is currently an associate professor in Member of the Year. BenneĴ is the direc- know. the departments of Catholic studies and tor of music ministries at St. Elizabeth The focus of workshop F 12 on Friday theology. He has taught courses at other of Hungary Parish in morning has changed. “So Much to Con- institutions as well, including the Ange- PiĴ sburgh, Pennsylva- sider,” with Mike Overlin and Dennis licum University in Rome, Notre Dame nia—a position he has Fleisher, is now “Touch That Knob . . . with in Indiana, and St. John’s University in held since 1971. While Care!” with Dennis Fleisher. This session is Collegeville, Minnesota. Father Joncas serving at St. Elizabeth, a user-friendly, hands-on opportunity for has published scholarly articles, popular BenneĴ has also taught music ministers to learn the basics of mi- articles, interviews, and reviews in vari- music and conducted crophones and mixers and how the maze of ous journals, including Pastoral Music and choirs and musicals

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30796_JJ 07 Front.indd 8 5/21/2007 10:46:05 AM complete resource is now available at the Where Are They Now? NPM website: hĴ p://www.npm.org/Cho- ral_Anthem_Project/index.html. Timothy Westerhaus GIA Publications is the recipient of this year’s Music Industry Award. Founded GIA Scholarship Recipient 2003, as the Gregorian Institute of America in NPM Scholarship Recipient 2006 PiĴ sburgh, Pennsylvania, in 1941, GIA was originally intended to be an educa- With the aid of the 2003 GIA Pas- formance—“The Order of the Mass tional resource for toral Musicians Scholarship, Timothy and the Arts: Encountering the Mystery church musicians Westerhaus graduated in 2004 from through Liturgical Texts, Music, and through the Catho- the University of St. Thomas in St. Paul, Artwork,” a keynote address by J. Mi- lic Choirmasters Minnesota, with a bachelor’s degree in chael Joncas—“Holy Communication: Correspondence liturgical music. In addition to studying The Language of Our Public Prayer,” Course (110 home- with J. Michael Joncas, Angela Broeker, and several breakout sessions. study lessons). and Marianne Bryan, he assisted Robert Soon the Institute, Serving  rst as the assistant conduc- Strusinski as a chapel music minister at which had moved to Toledo, began oě er- tor (2004) and then as the conductor the Chapel of St. Thomas Aquinas. He ing summer courses and  ve-day work- (since 2005) of the Boston University completed an internship at the Basilica shops. Late in the 1940s, the Institute began Choral Society, Timothy has conducted of St. Mary in Minneapolis in the spring publishing music editions for parish use the sixty- ve-voice ensemble and its of 2004, under the guidance of Teri Lar- in addition to the materials for its various select chamber ensemble for three son. courses. The correspondence course con- concerts each season. Highlights have Following graduation, Tim assumed tinued to thrive until the Second Vatican included Mozart’s Coronation Mass and the position of pastoral minister of Council, while its music publishing busi- Misericordias Domini, Charpentier’s liturgy and music at the Paulist Center ness expanded gradually, until GIA was Missa de Minuit pour Noël, Handel’s Catholic Community in downtown known more as a music publisher than as Chandos Anthems, and Brahms’s Liebes- Boston, Mas- an educational institution. In 1967, GIA lieder Waltzes. sachusetts. moved to Chicago, and the  rst edition of Serving full- In 2007, for a sixth summer, Tim will Worship appeared in 1971. The people at time for two serve on the faculty of Music Ministry GIA are being honored this year because ye a r s , h e Alive!, an institute that promotes mu- of Mercy, Mercy!, a bene t album devel- coordinated sical and pastoral formation of young oped to assist the victims of hurricanes the musical adults. He will also lead two GIA Read- especially on the Gulf Coast. Many of the and liturgi- ing Sessions for a second year as a choral selections on the album were wriĴ en or cal events for clinician. He has presented workshops performed by people who suě ered loss four week- at several NPM conventions on the top- during the 2006 hurricanes, and others end services ics of youth and pastoral music, and have a special musical connection to that as well as for he currently chairs the NPM Standing area of the country. The proceeds from this major feast days. He initiated the forma- CommiĴ ee on Youth. album are still being distributed through tion of a music ministry advisory group, Receiving a second NPM scholarship the NPM Hurricane Assistance Fund and cultivated musical and liturgical leader- in 2006, Tim entered the master of music a similar fund established by the AGO. ship for the liturgy of the hours, chaired degree program in Choral Conducting Peter Bahou and Peter’s Way Tours, the worship commiĴ ee, directed the at Boston University last fall; he studies Inc., will receive this year’s Stewardship annual Advent-Christmastide concert with Ann Howard Jones. In addition Award. For nearly two decades, Peter’s series, and oversaw recruitment and to conducting the concert choir and Way Tours has specialized in inclusive, training of liturgical ministers. Because accompanying university ensembles, customized group the Paulist Center serves as a liturgical he serves as the assistant conductor travel abroad, par- resource to the greater Boston area, Tim at Boston University’s Marsh Chapel. ticularly choir tours, directed a Liturgical Arts Conference in Grateful for NPM’s generous support, pilgrimages, and study February 2006 that was aĴ ended by more he will continue to be able to re ne his tours. More than 750 than 400 people. The two-day conference skills and pursue his passion for sacred choirs from the United included an evening presentation-per- choral music. States and Canada have participated in a Peter’s Way tour, and many NPM choir directors have taken in parochial and public schools. An NPM for DMMD are the publication of Direc- advantage of the company’s familiariza- member since 1977, he is also a member of tor of Music Ministries in the Parish: Work tion/continuing education tours. Peter AGO and Choristers Guild. BenneĴ served and Remuneration and Director of Music has also been a strong supporter of NPM on the Board of Directors for the Director Ministries in the Parish: Annual Reviews. programs as an industry partner, an ad- of Music Ministries Division (DMMD) for BenneĴ also coordinated the collection of vertiser in Pastoral Music, an exhibitor at eleven years and chaired the Professional resources that became the Choral Anthem conventions, and a sponsor of events for Concerns CommiĴ ee for six years. Among Project—suggestions for anthems for all the Director of Music Ministries Divi- the tasks he has directed and overseen the Sundays and major feasts. That nearly sion.

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30796_JJ 07 Front.indd 9 5/21/2007 10:46:07 AM 2007 Institutes form online at hĴ p://www.npm.org/Edu- Music in Montclair, California, or it may cationEvents/institutes/index.html. Or be ordered online at laago.org/langlais or Deadlines Past and Passing phone the National OĜ ce for a copy of by telephone at (800) 518-7214. the printed brochure: (240) 247-3000. Two advance registration deadlines VCF FestschriĞ for this summer’s NPM Institutes fell in May—those for the Cantor Express Members Update A Festschrift (“feast-writing”) is a programs in Chicago, Illinois, and Lake publication that honors someone on a Charles, Louisiana (both oě ered June Centenary of the Birth special occasion, usually prepared by that 29–July 1). You can still register for these of Jean Langlais person’s colleagues. To celebrate Father programs, but there is an additional fee Virgil C. Funk’s seventieth birthday this summer, OCP is publishing The Song of to register aĞ er the deadline. Born in 1907, the great organist Jean the Assembly: Pastoral Music in Practice. Most of the advance registration dates Langlais died in 1991. Now a DVD With contributions from twenty-three occur in June this year, so you can save documentary—Life and Music of Jean Lan- writers, the book focuses on the pastoral yourself or your parish some money by glais—has been released to commemorate music aspects of major documents on the registering before the deadline. These the 2007 centenary of his birth. The DVD is liturgy in the twentieth and twenty- rst dates include June 16 (Choir Director based on the scholarship of NPM member centuries, from Tra le sollecitudini (1903) to Institute in Alexandria, Virginia, July Ann Labounsky, who is featured as narra- Sacramentum caritatis (2007). This celebra- 16–20); June 20 (Cantor Express programs tor and performer. It was professionally tory publication will be available at OCP’s in PiĴ sburgh, Pennsylvania, and Tampa, created and is a production of the Los booth at the NPM National Convention Florida, both oě ered July 20–22); June Angeles Chapter of the American Guild ($15.00 per copy), and it may be ordered 23 (Guitar and Ensemble Institute in Er- of Organists. directly at hĴ p://www.ocp.org/en/index. langer, Kentucky, and the Pastoral Liturgy As a leading American disciple of php. Phone: (800) 548-8749. Institute in Providence, Rhode Island, Langlais, with whom she studied in Paris, both taking place July 23–27); and June Ann Labounsky is uniquely quali ed to 29 (Institute for Music with Children in present his life story. She has also pub- Keep in Mind SeaĴ le, Washington, July 31–August 2). lished a biography—Jean Langlais: The Man The deadline for our  nal summer and His Music (Amadeus Press)—and has Brian J. Johnson, an NPM member Institute is July 17 for the Cantor Express made the  rst recording of his complete who served most recently as the director in Tucson, Arizona (August 17–19). organ works on twenty- ve CDs (Musical of music ministries at St. Patrick Catholic Heritage Society). Church in Fort Wayne, Indiana, died in Information Online The DVD program includes photos, Fort Wayne on November 15, 2006. Born maps, musical scores, interviews with in 1948, he was a Benedictine monk for Full brochures with details for each of students and associates of Langlais, seventeen years at St. Meinrad Archabbey NPM’s 2007 Institutes have been mailed and performance excerpts of his music. in Indiana. An accomplished organist, he to NPM members and subscribers. If you The voice of Jean Langlais is also heard taught music and directed several choirs have not yet received yours, you may speaking in both French and English. It is in the Chicago area aĞ er he leĞ the com- access the information and registration available ($28.00 per copy) from Emerson munity. We pray: Lord God, grant our brother peace and tranquility until that day when he and all who believe in you will be raised to the glory of new life promised in the waters of baptism.

Meetings and Reports

Institute of Sacred Music: Graduate Auditions

Graduate auditions for the Institute of Sacred Music in the Benjamin T. Rome School of Mu- sic at The Catholic University of America, Washington, DC, will take place on January 18, 2008. The Institute oě ers a master of music degree in sacred music and a doctorate of musical arts in sacred music. There are con- “Class picture” of the staě and participants at the 2006 NPM Guitar and Ensemble Institute 10 J-J 2007 • P M

30796_JJ 07 Front.indd 10 5/21/2007 10:46:08 AM centrations in choral music, organ per- Episcopal Church, though local communi- theran Commission on Worship, though formance, and composition. For further ties may choose to delay implementation in oĜ cial Lutheran language it is merely information, please contact Dr. Leo C. until Advent 2010. “commended to the Church’s congrega- Nestor, director, via e-mail: nestor@cua. In most respects, the Revised Common tions as an ‘enriching addition’ to ELCA edu. Website: hĴ p://music.cua.edu. Lectionary is similar to the three-year worship paĴ erns,” one that is “judged to lectionary in The Book of Common Prayer be faithful to Scripture, consistent with Parish Awards from OCP and to the Roman Catholic Lectionary the church’s historic tradition, re ective for Mass. The major diě erence comes in of a Lutheran understanding of the use OCP’s annual parish grants program, the selections chosen from the Hebrew of the means of grace, and accessible now in its seventh year, provides direct Bible. For the Sundays aĞ er Pentecost, to today’s worshiping assembly in both  nancial assistance to enhance the worship the Revised Common Lectionary oě ers two language and style.” The culmination of experience of Roman Catholic parishes parallel tracks for the  rst reading and a widespread consultation called “Renew- in the United States. This year’s grants, the psalm, and parishes are invited to ing Worship” that included the use of totaling nearly $170,000.00 in assistance, choose one track or the other but not to provisional resources on a trial basis, this were distributed to more than 120 U.S. bounce back and forth between the two new primary worship resource contains parishes. Approximately 80 churches tracks. One track preserves the paĴ ern ten seĴ ings of the Communion Service, all received a total of $120,000 through the established in 1969 by the Roman Catholic 150 psalms arranged for singing,  Ğ een standard grant process, while a total of Lectionary for Mass: The reading and psalm additional services, more than 700 hymns nearly $50,000 in special disaster grants are chosen to re ect the images or themes and songs, and an English translation of and materials went to more than 40 other of the day’s Gospel text. But in the other Luther’s “Small Catechism.” Options for parishes to aid in recovery from Hurricane track, the  rst reading and psalm follow structuring communal worship oě er—ac- Katrina and other catastrophic events. The their own narrative arc to re ect more of cording to information from the publisher, grants were awarded in March. the story lines from the Hebrew Bible, and Augsburg Fortress Press—possibilities for Since the inception of the program in the selections are oĞ en longer than those a “unity of purpose beyond a uniformity 2001, nearly $700,000 has been awarded to in the  rst track. The choice of the second of practice.” a total of 350 churches. Parishes in every track, obviously, will mean that preachers The Lutheran Church—Missouri diocese in the country have received ben- and music directors should not look for Synod has also been implementing a e ts. Applications for 2008 grants may be thematic connections among the readings new book. On July 14, 2004, delegates to submiĴ ed between April 30 and June 30 and will have to look for other principles the sixty-second regular convention of at www.ocp.org/grants. All U.S. Catholic on which to develop both preaching and The Lutheran Church—Missouri Synod parishes are eligible to apply, even if they music selections. overwhelmingly approved the Lutheran do not currently use an OCP worship Service Book as an “oĜ cial service book and program. The purpose of the grant must New Lutheran Worship Books hymnal” of the Synod. The Commission be linked to liturgy and/or music. More on Worship began work on a new hymnal information is available at hĴ p://www. Since October 2006, the Evangelical and “agenda” for worship at the end of ocp.org/en/resources/parish_grants/in- Lutheran Church in America (ELCA) has 1998. The goal was to prepare a resource dex.php. been implementing a new worship book that will serve as a faithful successor and hymnal. Titled Evangelical Lutheran both to The Lutheran Hymnal (1941) and Episcopal Church Adopts Worship, it replaces the 1978 Lutheran Lutheran Worship (1982). The new book Book of Worship prepared by the Inter-Lu- was published in the fall of 2006. Common Lectionary

During the 2006 General Convention in Columbus, Ohio, the Episcopal Church New! formally adopted the Revised Common Lec- from NPM Publications tionary, which will replace the lectionary LESSINGS currently in The Book of Common Prayer in blessings for musicians B Advent 2007, except for those feasts and MUSICIANS commemorations in the Episcopal calen- Blessings, prayers, meditations, thanksgivings, and BLESSINGS,CELEBRATIONS, AND THANKSGIVINGS FOR PASTORAL MUSICIANS dar not covered by the Revised Common litanies to enrich the oĜ cial rituals for blessing mu- Lectionary. The  rst Common Lectionary sicians and instruments in the Book of Blessings. The COMPILED AND EDITED BY GORDON E. TRUITT was a three-year lectionary developed in book includes proposed texts and music for use at 1983 by the North American Consultation Mass, at evening prayer, and at other occasions when on Common Texts—a commiĴ ee of Ro- musicians gather to pray together and to recommit man Catholic, Anglican, and Protestant themselves to service. liturgists and scholars—and it was issued NPM PUBLICATIONS 6 WASHINGTON, DC 6 2007 in a revised version in 1992. The Revised 44 pages, paperback. $5.00 Common Lectionary is widely used in those North American Protestant and Evangeli- Order today from NPM Publications cal churches that use a lectionary; it is also 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461 used in parts of the Anglican communion, Phone: (240) 247-3000 and it has been an option to the Prayerbook E-mail: [email protected] lectionary, with diocesan permission, since Web: www.npm.org 1994. Now it is the oĜ cial lectionary of the P M • J-J 2007 11

30796_JJ 07 Front.indd 11 5/21/2007 10:46:10 AM Richard J. Schuler, 1920–2007

I did not know Monsignor Richard Schuler workshops at Boys Town in Omaha, Nebras- personally. Still, this major  gure in the twen- ka. In August 1966, he chaired the historic and tieth century renewal of pastoral music was, contentious FiĞ h International Church Music in a sense, part of my  ock, for my prime Congress, which met in Milwaukee and Chi- responsibility as associate director of the cago. This meeting revealed a split between Worship Center in the Archdiocese of Saint many musicians and many liturgists—the Paul and Minneapolis is working with musi- split that has since been identi ed as one cians. Monsignor Schuler cherished his role as between interpreting the Council’s liturgi- pastor—and as music director—of St. Agnes cal reform as in “continuity” with previous Church in Saint Paul—a parish, because of practice and the belief that the postconciliar his presence and in uence, that still enjoys a reform ushered in a “revolution” in liturgical national (if not international) reputation for understanding and practice—a clean break its celebration of the Sunday liturgy in Latin with a full with much that had gone before. orchestra and chorus. In 1969, disappointed at some of the practices being Richard Joseph Schuler was born December 30, 1920, implemented in the name of liturgical reform, he leĞ in Minneapolis. He aĴ ended parochial grade school and the College of St. Thomas and became pastor of St. Ag- De La Salle High School, and he enrolled at the College nes Parish, where he remained as pastor for more than (now University) of St. Thomas in St. Paul. In 1940, he twenty- ve years. Like all of us, Monsignor Schuler had entered the archdiocesan seminary. AĞ er ordination to his favorite paragraphs in the Constitution on the Sacred the presbyterate in 1945, he was assigned to Nazareth Liturgy Sacrosanctum Concilium, which he emphasized Hall, the archdiocesan preparatory seminary, where he sometimes at the expense of other paragraphs. At St. taught history and music. His childhood music lessons Agnes, for example, chant was given “pride of place” and studies at the McPhail School of Music in Minne- (SC, 116), the pipe organ was held in “high esteem” (SC, apolis gave him suĜ cient skills to serve as seminary 120), and the treasure of sacred music was “fostered and organist. In 1955, he began teaching at the College of preserved with great care” (SC, 114). St. Thomas, while he continued his own music studies During his years at St. Agnes, Monsignor Schuler at the Eastman School in Rochester, New York, and at served as vice president (1969–1979) of the Consociatio the University of Minnesota, from which he earned a Internationalis Musicae Sacrae (CIMS, the interna- doctorate in music history in 1963. In these years, he tional association of sacred music established by Pope served as a priest, educator, and parish choir director Paul VI in 1963). In 1975, he became editor of Sacred (at Nativity Parish). In 1955, he founded the Twin Cities Music, the journal of the Church Music Association Catholic Chorale, a devoted ensemble of orchestral and of America, and he began to serve as the association’s choral musicians dedicated to performance of sacred president in 1976, the year that NPM was founded. music primarily of the classical era. Like all who write, he penned a few statements As a choir director in the 1950s, he liberally incorpo- worthy of retraction, but he also addressed a number rated orchestral instruments into worship, when many of important topics, including the need for appropriate choir directors were still following Pope Pius X’s 1903 education for music ministers. He wrote in 1990: “The motu proprio that discouraged, if not prohibited, that training of those responsible for the making of music is practice. The liturgical music that he composed in his the basic element of success in carrying out the wishes role as music instructor for archdiocesan seminarians was of the council fathers on every level within the Church” considered progressive, if not radical, for the time. (“The Training of a Church Musician,” Sacred Music [Fall Young Father Schuler was involved in a number of 1990]). signi cant events in the liturgical and musical life of AĞ er his retirement as pastor from St. Agnes in 2001, the United States. When Pope Pius XII granted select Monsignor Schuler continued to direct the Twin Cities parishes throughout the world permission to celebrate Catholic Chorale at Sunday Mass for four more years. the revised liturgies of Holy Week in the 1950s, Schuler AĞ er several debilitating strokes, he died at the age of served as deacon at one of the  rst nighĴ ime Easter eighty-six on April 20, 2007, and his funeral liturgy was Vigils in the United States. In 1965 he arranged the celebrated at the Church of St. Agnes on April 24. This congregational music for the episcopal ordination of remarkable man and musician shared his love of the Bishop James P. Shannon, quite possibly one of the  rst liturgy and its music with a dedication that many of us episcopal ordinations celebrated in the vernacular. must envy. Father Schuler entered the national liturgical renewal May he rest in peace. BeĴ er yet: Requiescat in Pace. through articles in Caecilia and Catholic Choirmaster and through participation in the summer liturgical music Michael Silhavy 12 J-J 2007 • P M

30796_JJ 07 Front.indd 12 5/21/2007 10:46:11 AM Hearing Is Fundamental

B D F

musician’s “ear” is the sine qua non of musicianship, the hallmark Aof a God-given giĞ of musical talent. How well we hear sounds in a musical context is an indicator of musical aptitude, for hearing is the foundation of what we do and how we do it as musicians. Hearing is the most common  rst step in music making: Even before we learned to read music, our  rst musical sounds were likely produced when we tried to imitate something we heard. This same developmental action is also the basis of many musical forms, particularly the call- and-response and, more pertinently, the in pastoral music is not for entertain- means the interaction between the stage dialogic elements of the Mass. Hearing is ment or to elicit praise, though we are and the audience; in the liturgical world it fundamental in music. inspired to excel through the aĜ rmation means the interaction between the music If we study music seriously, we develop of a responsive and participating assem- ministry and the rest of the assembly. This our listening skills further in ear training bly—liturgical actions that we help foster. is the other part of music making that mat- classes. But even without formal training, Making music for liturgy with precision ters: What they hear maĴ ers. our musical hearing develops through at- and beauty, with quality and appropriate- Of all the musical elements listed so tentive listening and collaborative music ness, is, ideally, transparent: The music far, there is one that gets less aĴ ention making with other musicians. Ideally, this is foremost, not the performance or the than other elements in musical forma- sharply honed hearing acuity becomes performer. tion: dynamics. It’s usually not until we an intrinsic part of our musicianship. We The selection of appropriate music is have facility in making the notes that we don’t have to think about: We just do it. important in our ministry, but so too is the add dynamics. As a music student and quality of our music making because both educator, I encountered many exercises What We Hear MaĴ ers the music itself and the way it is rendered in music theory and ear training related can eě ect or encourage participation. Play- to pitch and rhythm but few (if any) for In pastoral music, what we hear mat- ing music poorly can be distracting and dynamics. This may be because pitch and ters, and it maĴ ers for many of the same alienating; playing well can be engaging rhythm can be quanti ed and measured: reasons that it maĴ ers in other musical and inspiring. Our eě ectiveness in engag- Pitches are measured in frequency (vi- arenas. It enables us to produce music ing the rest of the worshiping assembly can brations per second), while tempos and with accurate intonation, precise rhythms, be strongly in uenced by basic elements rhythms are gauged by time, usually in and eě ective dynamics—the musical char- of musical sound including intonation, seconds. Dynamic levels, however, are acteristics of quality—and quality maĴ ers accuracy, pleasing tone, and tempos. To highly subjective, and though there is a in liturgy. Using our musical giĞ s in the some extent most of these things can be decibel scale in acoustics to quantify loud- sacred liturgy glori es our Creator and heard within the space shared by the music ness precisely, there are no commonly used gives voice to the Body of Christ. Unlike ministry, but we need to realize that what loudness scales in music.2 performative music, however, excellence we hear among the musicians is quite dif- Of all the musical elements in the con- ferent from what the rest of the assembly trol of pastoral musicians which can have hears. signi cant impact on liturgy, dynamics is Dr. Dennis Fleisher is an acoustics These musical elements—pitch, one of the most important though one of consultant and designer who has worked on rhythm, and dynamics—and the need the most overlooked, particularly at the acoustics for more than 250 churches and to hear them clearly and accurately are upper extreme of the dynamic range: ex- chapels and 25 cathedrals during a career common to all types of music making: cessive loudness. Our ability to hear how that has spanned more than 25 years. With They are largely intra-ensemble1 in that loud we are in the assembly is a critical but undergraduate degrees in music perfor- the key interaction is from musician to challenging aspect of our music making mance and music education, a master’s musician. There is, however, another and pastoral priorities. Let’s examine the degree in music theory, and an interdis- important facet of musical hearing that is challenges and the means to overcome ciplinary doctorate in physics, acoustics, less oĞ en addressed and more complex: them in using dynamics eě ectively to and music, Dr. Fleisher is the principal for the one between the musicians and the support and encourage—not hinder and MuSonics in Grand Rapids, Michigan. listeners. In the performance world that frustrate—the singing assembly. P M • J-J 2007 13

30796_JJ 07 Front.indd 13 5/21/2007 10:46:12 AM Factors for Hearing Unampli ed musical sounds have dy- from what is heard in the space for the rest Our Own Sound namic ranges that vary signi cantly from of the assembly, particularly with regard instrument to instrument and from singer to volume. Given this condition, what When the music ministry is too loud, to singer. Some of this is in the nature of can we do to avoid excessive loudness so overpowering that it renders the rest the sound-producing mechanism (vocal that would overwhelm and discourage of the assembly’s voice super uous or un- chords, stretched strings, reeds, and so the whole assembly’s participation? necessary, our music is counter-liturgical. on), and some is because of the physical The multiplicity of hearing factors We need a clear perception of how loud we strength or talent of the player. These indicates a complicated situation. Sound sound to the rest of the assembly to prevent diě erences are evidenced in the makeup amplification adds to—and possibly this. (First we’ll consider only unampli ed of instrumental groups. Orchestras will multiplies—the complexity and diĜ culty. sounds; we’ll add the complicating factor typically have twenty to thirty violins With unampli ed sounds we can gener- of ampli cation later.) but only three trumpets: The number of ally develop a sense of our own loudness In all but the smallest ensembles, we players in each section is related to the by the level of eě ort we expend. This is are physically distributed and spread inherent loudness of speci c instruments. particularly true for winds, brass, strings, out, perhaps just a foot or two from our The piano projects sound diě erently in and vocalists, where loudness is closely nearest neighbor and as much as twenty diě erent directions, particularly with the correlated to physical exertion—how or thirty feet from the member of the lid open. strongly we blow, the speed and pressure ensemble farthest from us. We can hear Depending on where we are situated of bow movement, etc. Ampli cation those nearest to us far beĴ er than those with respect to certain instruments, there- reduces—practically eliminates—any as- at a greater distance. If a chorister is two fore, the loudness of those instruments sociation between eě ort and loudness. feet from the piano, that instrument may can overwhelm other sounds, even most In most music ministries, we now sound uncomfortably loud; at twenty feet of the other singers and instruments in the have more than acoustic instruments (the far end of the choir), that same level ensemble. But sounds from all instruments and vocalists. We’ve added microphones is probably quite comfortable. Distance tend to spread out over distance, and by and speakers and electronic instruments and loudness relationships exist for the the time unampli ed sounds reach the (keyboards and guitars), some of which assembly too, but to a much smaller de- congregation, these dynamic diě erences produce most of their sound locally, while gree. The nearest assembly member may are greatly reduced. the sounds for others come from remotely be  Ğ een feet from the music ministry, the As musicians we realize that what we located loudspeakers, projecting sound farthest probably well under one hundred hear in our own personal region of music primarily to the congregation and to a feet. Without delving into the math and production may be far diě erent from what much lesser degree to the music ministry. science, the diě erence in loudness from is heard in other areas of the music minis- It’s no wonder, then, that we oĞ en feel that the nearest to farthest parishioner is only try. Extending this line of thinking, we can we’ve lost control of our music making, about half what it is from the nearest to realize that what we hear in the space that particularly our sound quality and loud- farthest music minister. contains the music ministry is far diě erent ness.

14 J-J 2007 • P M

30796_JJ 07 Front.indd 14 5/21/2007 10:46:12 AM Audio technology oě ers wonderful system operating as if the full assembly most of the musicians present suĜ ciently opportunities to improve the situation, were present. With no assembly present, before Mass to run this check. This is not but along with this promise comes an the acoustics of the worship space will an appropriate thing to do, of course, array of challenges. Some technologies be diě erent (in many cases dramatically while parishioners are coming in, many put a layer of separation between us and diě erent), yet playing in the empty church hoping for some quiet time to pray and the assemblies we serve; others produce can establish a baseline to be compared to transition to the worship environment. conditions that would never occur without occupied conditions. And, since this check is not done with ampli cation. For instance, an unampli- As vital as rehearsal in the worship full or normal occupancy in the space, the  ed twenty-voice choir can produce a space is, it is not an accurate representation levels and balance may be quite diě erent strong, full sound, but it can’t drown out of the sound at the Sunday celebration. once the full assembly is present. It is key a full singing assembly. Add microphones, Nonetheless, this can be an important to realize, therefore, that performing a ampli ers, and speakers to those twenty component of pastoral musicians’ “ear sound check is not a foolproof technique. voices, and they can easily overpower the training,” as the ensemble learns what it There will almost certainly be a need for largest and most enthusiastically singing sounds like in the empty church. Then, readjustment, and that readjustment is assemblies. We know this intellectually, as oĞ en as seems practical, a leader or best done with informed ears— nding an but given the limitations of hearing con- conductor could move discretely to the opportunity to get a musician or director ditions within the music area, we don’t assembly seating area during a Mass to into the assembly area oĞ en enough to always have the aural cues to remind us develop a correlation between the music train those ears and develop some level of that possibility. ministry’s sound with and without the of correlation between sound check condi- As we become aware of these problems congregation present. The fact of the mat- tions and active liturgy conditions. (oĞ en not through our own perception ter is that we simply cannot hear our own Monitors. In recent years the use of but from comments and critiques by our sound—particularly our own dynamic music monitor speakers has become pastors and parishioners), we oĞ en try to level—from within the music ministry ubiquitous in Catholic music ministries. overcome them with more technology: “If itself. We need to get a pair of ears “out It is oĞ en supposed that monitor speak- we just had more mics, then each singer there” and allow suĜ cient time and op- ers can—or are intended to—provide the could control the individual sound.” portunity for those ears to be trained for music ministry with a representation of “With more speakers our sound would this particularly challenging task. what the rest of the assembly hears. This be more evenly distributed.” But, oĞ en Sound Checks. There is a closely re- is not necessarily the case. While we tend we sense that we’ve opened Pandora’s lated sound balancing exercise practiced to eschew performance models in pastoral Box and that we need to seek other means in many churches, known popularly as music, it is highly likely that our use of to bring us back to a more controlled a “sound check.” This involves checking monitor speakers came about through situation, enabling us to hear what our loudness levels (in some situations mak- their common use in performance seĴ ings assemblies hear, giving us the audible ing tonal adjustments) of instruments and from nightclubs to performing art centers cues we need. microphones to get an even balance. This to late-night TV shows. And since this is vitally important, but it requires some concept is borrowed from the performance Tools for Aural Unity discipline and cooperation in having all or environment, it is informative to take a

The roots of these hearing diĜ culties stem from reforms in the liturgy, evolving styles and expressions of pastoral music, the use of technology, and the sizes of our worship spaces. These factors are not likely to change soon, so we need to  nd new strategies, resurrect past wisdom, and perhaps  nd ways to draw on the wisdom and experience of musicians in other faith traditions. There are several things we can do to control excessive loudness, but the most important involve having an accurate impression of sound in the assembly. Rehearsals. Regular and effective rehearsals are essential, particularly for part-time and occasional musicians. (Professional musicians spend far more time in rehearsals and practice than in performance.) We should rehearse in the same space in which we perform and do so under the leadership of a conductor, and that conductor should listen to the sound of the music ministry from various loca- tions in the congregation’s seating area. We should sing with full voice, play at The praise band at Lakeway Church (non-denominational) in Lakeway, Texas, uses normal playing levels, and have the sound microphones and sound monitors. P M • J-J 2007 15

30796_JJ 07 Front.indd 15 5/21/2007 10:46:14 AM closer look at how and why these devices then the most eě ective way to control are used by professional performers and the music ministry’s loudness and put We need to  nd ways to hear entertainers and compare that with how a pair of musically aĴ uned, liturgically beĴ er what the congregation and why we use them. Might they or can aware ears in the assembly is to locate hears. they be an asset in our quest to hear what the sound operator and mixing console the rest of the assembly hears? in the assembly. This is surely not a The common use of monitor speakers panacea: It calls for an operator with an in the professional performance seĴ ing is extraordinary combination of giĞ s and and what the rest of the assembly hears to enable a musician to (1) hear himself abilities. More signi cantly, it introduces are essential elements in achieving that or herself, (2) hear the other instrumen- a technological presence evocative of the unity. We need to  nd ways to hear beĴ er talists and vocalists in the group, and performance world into a sacred space. In what the congregation hears to serve this (3) selectively single out whatever other the majority of Catholic churches, this is ideal. Being more aware of the challenges instrument(s) the musician judges to be not yet an acceptable option. Nonetheless, to such unity is the  rst step. The solutions most important for the playing or singing it is, from a sound standpoint, the most will rely on the experience and creativity of that he or she is doing at any particular eě ective option and about the only viable the music ministers in individual parishes time. (For example, the drummer may response to some of the problems and and, oĞ en, the solutions will be diě erent want more bass for tight rhythm section suggested solutions outlined here. I’m not from music group to music group within work but more sax for sax solos.) yet ready to go on record as an advocate the same parish. In acknowledging that Note that in such situations, the for “in-house” mixing: I am as uncomfort- what we hear as musicians is important, monitor “mix” is a separate and diě er- able with the concept as most Catholics that there are challenges in the hearing ent mix from the house “mix.” In the I know. Yet when and if it becomes clear conditions in most churches, and that we most “professional” situations, there is that its bene ts for liturgy outweigh the need to  nd ways to overcome the limita- a totally independent mixing console for disadvantages, it may be appropriate to tions and to hear beĴ er what our brothers the monitors, and the monitor mixer is revisit this idea. There are some precedents and sisters in the Body hear, we can move located on stage or backstage, so that the for Catholic parishes, notably the Basilica toward more eě ective pastoral ministry. monitor-mix operator has a beĴ er sense of of the National Shrine of the Immaculate what the musicians are hearing on stage. Conception in Washington, DC, which There are more factors in the professional uses such mixing. But it appears that its Notes use of monitors in performance seĴ ings, presence there has not persuaded other but even with just this much information, parishes around the country to follow 1. Throughout this article, the term “en- it should be clear that monitors may not suit. semble” refers to all members of the music ful ll a common notion among pastoral ministry, vocalists and instrumentalists alike. musicians, i.e., that they can give us a rep- A Fundamental Goal 2. The common musical “meter” for tempo is resentation of what the assembly hears. the metronome; for pitch the tuning fork, pitch pipe, or electronic tuner. There is no analogous Real-Time, Hands-On Sound Op- A fundamental goal of pastoral music is device commonly used in music to measure eration. Once we realize that excessive to create an aura of sonic unity, an audible dynamics. While most of us are familiar with loudness in worship is caused almost and motivational expression that we are geĴ ing a tuning note before the beginning of exclusively by electronic sound reinforce- one in worship, praise, and celebration. As a performance, I know of no situation where ment, and that the use of such sound musicians, how we listen, what we listen a dynamic level is set. We ask for an “A” but equipment needs careful monitoring, for, and how we adjust to what we hear not for a “mezzo forte.” 16 J-J 2007 • P M

30796_JJ 07 Front.indd 16 5/21/2007 10:46:16 AM How We’ve Done It in Pittsfi eld, Massachusetts Organist Apprentice Program

B J W. H

n the beautiful Berkshires of Western to be an easy model for other organists to MassachuseĴ s, we have an organist copy. My hope is to branch out to recruit Ishortage. We have lots of charming, more students and bring in more teachers. old-fashioned New England churches Fees for OAP lessons are negotiable throughout the Berkshire hill towns, but on a sliding scale and case-by-case basis. many of these liĴ le churches and parishes Some students pay twenty dollars an hour; have no music for regular Sunday services, some pay ten; some begin for free but will or funerals, or weddings because there pay ten to twenty- ve percent of their is no organist available to play for them. fees, once they start taking engagements. I have the honor of playing in eight of Most people think organists need years these lovely churches in the county, and I and years of highly complicated training, love what I do, but I could use some help. and this perception scares many potential Most of these churches may not pay well, students away. An OAP organist can start but they are perfect “starter” positions for playing as soon as he or she can manage the beginning organ student. They are service music and hymns; more compli- nice liĴ le churches with nice people who South Congregational Church, PiĴ s eld, cated organ repertoire can come later. would really appreciate organ music—or MassachuseĴ s More than half of the students may be any music—if they could just  nd some- able to play at least monthly, somewhere, one who could play or even try to play. Wanted: Musicians by early summer. To meet this need, we thought we’d try In January 2007, we sent this notice to something novel: We thought we’d teach Quick Math new organists to play for services. Here Berkshire County papers: in the Berkshires, we’ve announced the Wanted!! Musicians of all ages with The population of our county in Organist Apprentice Program (OAP), in basic piano and music-reading skills. MassachuseĴ s is about 100,000 people, which student organists will learn how to OAP will help prepare student to play and we were able to recruit nine new play simple service music and hymns and basic church services, specializing in students fairly quickly. Extrapolate those gradually help to  ll empty organ benches. hymn playing. Will help provide jobs results to the 300 million people in the As time goes on, “apprentice” organists at to starting musicians in an area with a United States, and we could have 27,000 “starter” churches will develop the skill critical shortage. new organists up and running in a short With the goal of signi cantly ad- and maturity to take more prominent period of time. (The AGO membership is positions in larger churches. That will dressing the need to train and replenish the ranks of quali ed church organists currently somewhere in the low 20,000s.) create a feeder system to keep fresh blood Now is the time, and we are the  owing in the organ world. Obviously, quickly, this “apprentice” model is rec- ommended to be easily replicated by people to bring up our next generation of recruitment will need to continue. And other organists and church leaders . . . . organists. The job market in this  eld is as we all know, further organ study and looking up for the  rst time in years. We training among our recruits will have to Using this notice and other forms of are duty-bound to keep alive this historic be life long. advertising, I’ve looked for piano students  eld of music and promote the beauty and who read music, are familiar with their utility of what we organists aě ectionately own church traditions, like church music, call the “king of instruments.” The and are interested in the fact that you can organist shortage is nationwide, so make money playing the organ. For a high- this easy-to-implement program (or Mr. Jeě rey W. Hunt is the director of school-age person, being able to make something like it) is needed nationwide. music and organist at St. Mark Church in money by playing Mass on the weekend Want to try this approach in your PiĴ s eld, MassachuseĴ s. He is the former or funerals during the week, instead of area? I’d be happy to discuss setup with Scholarship and Outreach Director for the  ipping burgers, is a preĴ y good incentive. anyone who is interested. Feel free to Berkshire Chapter of the American Guild of In its  rst month, the OAP aĴ racted come up with your own plan, but if you Organists and an NPM member. In the late nine quali ed students, and we were un- want to know more about our experience 1990s he assisted in founding the Berkshire derway. All the students have started les- in the Berkshires, please contact Jeff Friends of the Organ and the Berkshire sons, and most practice locations have been Hunt. Phone: (413) 499-7320; e-mail: Organ Academy. worked out. This OAP concept is intended Jeě [email protected]. P M • J-J 2007 17

30796_JJ 07 Front.indd 17 5/21/2007 10:46:17 AM Words We Pray, Words We Sing

Cover of the Codex Aureus (the Golden Codex), a Gospel Book wriĴ en in the mid-eighth century in Southumbria (probably Canterbury), England, and now in the Kungliga Biblioteket (Royal Library), Stockholm, Sweden, MS A. 135.

30796_JJ 07 Main.indd 18 5/21/2007 12:20:56 PM We Dare to Pray . . . in Song

B G E. T

ne of the most dramatic scenes in the Bible comes at the end of the Book of Job. Despite the advice of his friends and advisers to admit his sinfulness, throughout the book Job main- tainsO his righteousness before God: “Teach me, and I will be silent; make me understand how I have gone wrong” (6:24). Finally, God addresses Job out of a whirlwind. In wonderfully beautiful language, the Creator puts Job in his place as a creature: “Where were you when I laid the foundation of the earth? Tell me, if you have understand- ing. . . . Who laid its cornerstone when all the morning stars sang together and all the heavenly beings shouted for joy?” God continues: “Do you give the horse its might? . . . Is it by your wisdom that the hawk soars and spreads its wings toward the south? . . . Shall a fault- nder contend with the Almighty? Anyone who argues with God must respond” (Job 38–39). Before such awesome might and majesty, Job responds in the only way a creature can when confronted by the Creator: with silence. “Then Job answered the L: ‘See, I am of small account; what shall I answer you? I lay my hand on my mouth. I have spoken once, and I will not answer; twice, but will proceed no further” (40:4–5). If this is indeed the appropriate response of a creature who recognizes that the Creator is far beyond mortal un- derstanding and far removed from mortal speech, then how do we dare address God in prayer? What language can possibly be appropriate beyond Job’s  nal words to God: “I have uĴ ered what I did not understand, things too wonderful for me, which I did not know. . . . Now my eye sees you; therefore I despise myself, and repent in dust and ashes” (42:3, 5–6). William Blake, “The Morning Stars Sang Together,” pen and ink, watercolor, from his illustrations of the Book of Job (plate fourteen), published 1825. Not the Final Word

The Book of Job tells us a truth about God: The Creator contained all that we knew about God, then our only ap- is in nitely beyond us. We cannot begin to comprehend propriate response, when confronted by the Source of all the One who can “bind the chains of the Pleiades or loose being, would indeed be to repent in dust and ashes that the cords of Orion” (Job 38:31). And if the Book of Job we had thought ourselves worthy of contact with the Holy One. But Job does not oě er us the  nal word; this book is Dr. Gordon E. TruiĴ is the senior editor for NPM Publi- part of a huge collection of inspired texts that tell us more cations. He holds a doctorate in theology from the ponti cal about God than the author of Job could imagine. faculty of The Catholic University of America, Washington, The Book of Genesis, for example, tells us that the Cre- DC. This article is based in part on a presentation made to ator has chosen to share creative power with the creature, pastoral musicians of the Diocese of Rockville Centre, New and this power is characterized as the marvel of speech, York, in January 2007. the power to name things. To speak a word, aĞ er all, is P M • J-J 2007 19

30796_JJ 07 Main.indd 19 5/21/2007 12:21:03 PM to convey not only a meaning but a part of oneself. It externalizes something that is interior, personal, secret until the word is spoken. In creation, God externalizes the divine self by speaking, and by naming the various elements of creation God gives them a connection to the divine being. Notice, in the  rst account of creation, it is God who names things: “God said ‘Light!’ and there was light” (Genesis 1:3). In the second creation account in Genesis 2, however, it is Adam who names things: The L God brings all the living things to Adam to see what he will name them “and whatever the man called each living creature, that would be its name” (Genesis 2:19). In other words, this narrative suggests that human beings are permiĴ ed to do what God does and by naming to establish a link with creation and thus with the Creator. Later, God establishes a covenant with Israel by speak- ing with (and sometimes arguing with) visionaries from Abraham to Moses. Finally, this covenant takes the form of ten “words” or commandments spoken by God. While the covenant was originally carved in stone, literally, the tablets of the Torah were merely to serve as reminders of the words that God spoke and continues to speak. The covenant is a living exchange, so it is the words of the cov- enant—the speaking of God—that have to be remembered and wriĴ en on the hearts of the people. If, then, God has chosen to communicate with us by a divine word that externalizes the very being of God in creation and has invited us to share in the divine power of naming creation, if God has engaged us as partners (however unequal) in a covenant, how do we respond to God? How do we engage in dialogue with the Creator? Of course, we want to use a vehicle similar to the one that God uses—words that externalize our being—but as the Book of Job reminds us, there’s a vast diě erence between God’s word and ours. What to do? If our words, expressive of our very being, even at their best are so distant from God’s word that ex- ternalizes the divine being, how do we dare address God directly in prayer? One answer is to use the words that Christ Pantokrator, icon, sixth century, Monastery of St. Catherine, Mount Sinai, Egypt. God has given us as a form of communication: the psalms and other inspired texts from the Bible. Another answer always concludes with one or another variation of the comes from Israel’s gradual understanding that God, like phrase: “We ask this through Christ our Lord.” a parent who hears the stumbling sounds that an infant Here’s the Christian understanding of prayer in a makes and loves that child, loves us and understands nutshell: Whether we’re talking about liturgical prayer what we are trying to say (Psalm 131). Both of these are or personal prayer or prayer without words, we are un- acts of divine grace: God gives us the words to speak and able on our own to address God directly, because we are God accepts the words that we oě er even beyond those creatures addressing the Creator. Oh, God may indeed inspired texts. hear us and, in mercy, accept our prayer, but there is still a huge gulf between us, and that’s not good enough for God. A Divine Word In an act of unparalleled love, the Holy One has person- ally become one of us to speak on our behalf to God. The In addition to these giĞ s of inspired texts and divine Second Person of the Trinity has taken on our nature. He mercy, Christians believe that God has given us a Word is the Word spoken “in these last days . . . , whom God that is divine, an externalization of the being of God in appointed heir of all things, through whom God also cre- human form, and if we are united to that Word, then ated the worlds” (Hebrews 1:2). In the resurrection and somehow our prayer becomes the prayer of the living ascension, that Word came back to God carrying with it Word of God, Jesus the Christ. All Christian prayer teaches human nature united to the Godhead. Therefore, Jesus us this truth, aĞ er all, because our formal praying almost can speak our human words and they can be received 20 J-J 2007 • P M

30796_JJ 07 Main.indd 20 5/21/2007 12:21:05 PM as divinely spoken. Our word becomes the divine word. tant it is to have proper posture when singing, to engage One image that captures all this is found in the LeĴ er to the diaphragm, to create the echo chamber of the mouth the Hebrews: The risen Christ, the new and unexpected and larynx—to use the whole body in making music. Tests high priest, is seated with God, and his sacri ce oě ers have also shown that making music “lights up” parts of the perfect intercession for all believers (Hebrews 7:26–28). brain that are not otherwise engaged by human thought If that’s the case, then we really have to be careful about and action, uniting the mind in unique ways. (This loca- the words we address to God through Christ. As the Latin tion of music in various parts of the brain may be why text of the introduction to the Lord’s Prayer is usually music survives the ravages of dementia and Alzheimer’s translated into English, once we have been “taught by longer than other forms of communication.) And,  nally, our Savior’s command and formed by the word of God, music engages the human spirit in ways that other forms we dare to pray.” Even using the text that Jesus taught his of communication cannot. It stirs us to action and calms disciples, even praying in the voice of the risen Christ, we our heartbeat; it engages us and it sets us free. dare to address God in prayer, because we remember who Further, music—even more than speaking—engages the we are and who God is. Being “in Christ” oě ers us three hearer. It creates sound waves that envelop those who are things: the most profound vehicle for praying, a wider nearby. The impact of these sound waves can be measured perspective on our prayers, and a real chance to screw on the skin; music touches the whole body of the hearer. all this up quite royally. Of course, some of those sound waves are received by the First, the profound vehicle for our prayer is the voice ear and interpreted by the brain, but because music is a of Christ, to which our voice as individual believer or as more complex form of communication than mere speaking, Church is joined, and we have a vocabulary and a gram- the brain is required to spend more of itself processing mar for our prayer drawn from the Scriptures and the the sound waves into intelligible meaning than it would history of Jewish and Christian praying. The various kinds if it were interpreting simple speech. of prayer we make “through Christ our Lord” are praise, thanksgiving, repentance, and petition or intercession. We When the power of music is harnessed to have models for all these from the Scriptures and Jewish prayer forms, and the Church has paĴ erned its prayer on the power of language, you can begin to those models. understand why the Church . . . has asked Second, prayer that uses these forms and the language us to be careful about the texts that we set to of Scripture gives us a wider perspective on what our music. prayer is about. The Church encourages us, as much as possible, to use the words of Scripture or the Christian tradition to shape our praying because they broaden our own narrow interests and give us a global perspective When the power of music is harnessed to the power of and a view of prayer that transcends time. Consider, for language, you can begin to understand why the Church, example, the cosmic reach of the Sanctus: It combines down the centuries, has asked us to be careful about the a text from Isaiah that echoes the song of the heavenly texts that we set to music and why it encourages us to liturgy with Psalm 118—a victory psalm celebrating a stick to biblical texts and ancient poetry that have proved royal triumph over enemies—which is, of course, quoted themselves over time. But you can also understand why in the Gospels when Jesus enters Jerusalem. In this short hymnody is so aĴ ractive. Particularly for those who are acclamation, then, our prayer echoes the cosmic prayer familiar with the Scriptures, hymn texts oě er a re ection of the universe and the historic source of our prayer in on biblical images, a chance to explore new images of the life and paschal mystery of Jesus of Nazareth. the Christian life that are built up from the older images, Third, it’s good to use these forms and this language new language that is more re ective of the contemporary when we dare to pray because, if we’re not careful, we Church, and even some old images that we may have set can stray preĴ y far from authentic Christian belief in our aside and almost forgoĴ en. Hymnody,  rmly rooted in prayer. This is especially the case when it comes to prayers the Scriptures and in tradition, expands our horizons and of petition or prayers that we compose without reference enriches our repertoire of sound and image—much like to older models. Here is where we’re likely to put words a good homily does (only beĴ er). into Christ’s mouth that don’t really belong there. In fact, But because text joined to music is so powerful, song if we’re not careful, the prayers that we compose can actu- texts that are not  rmly rooted in the tradition may lead ally lead us to pray falsely or to pray to a false God. us astray into the worship of a false god. This is why we need to play close aĴ ention to what we’re singing as well Upping the Ante as to the way we sing. I’m not saying that we shouldn’t have hymnody. Far from it: We need hymnody just as we When we use music to express our prayer in Christ, need good homilies, good catechetical resources, and good that added factor ups the ante because of the way that stories of the saints. But we also need to be careful about music works in us. Making music engages the music the words and music that we put on the lips of people at maker—body, mind, and spirit. We all know how impor- prayer. P M • J-J 2007 21

30796_JJ 07 Main.indd 21 5/21/2007 12:21:07 PM Prayer and Song for the People of God

B B D W. T

henever we assemble around the Table of the Pentecost was the emergence of a new community—a new Lord to celebrate Eucharist, we are not just assembly of God that we call the Church. The assembly a large gathering of people, a crowd, or a is so much the sign of the Church, in fact, that St. Paul throng. We are the assembly of God’s people. uses the same word for both: For Paul “assembly” and AtW other events, this very same collection of people may “church” are synonymous. form an audience, but at the Table of the Lord we form the liturgical assembly. As an audience we are passive, but as New Meaning the assembly of God’s people we are active participants in celebrating the Eucharist. What transforms us from a The Second Vatican Council reinforced this understand- simple gathering of people, a crowd, or an audience to an ing and gave new meaning, new emphasis, to the liturgical assembly with special power and privileges? What makes assembly. The bishops aĜ rmed that full, conscious, and the diě erence? Who can belong? Why is this assembly so active participation by the whole assembly is the right unique? What is its ministry at the Table of the Lord and and the responsibility of all the baptized.3 The restoration away from that Table in our everyday world? of this sense of all the baptized as the assembly of God The term “people of God” occurs 140 times in the sixteen was the most important achievement of the Constitution documents of Vatican II, and the term “Mystical Body” on the Sacred Liturgy, con rmed as authentic doctrine by occurs not quite 100 times. When the bishops-in-council the Dogmatic Constitution on the Church Lumen Gentium,4 at Vatican II employed those terms—especially the term because all other liturgical advances  ow from this fun- “people of God”—they were not creating a new theologi- damental truth. The Council re-established the liturgical cal category but were recovering a term and concept as assembly in its rightful place with these words: “Every old as the Bible. We  rst meet the term “qahal YHWH” liturgical celebration, because it is an action of Christ the (“assembly of the L”) at the very beginning of the Priest and of his Body which is the Church, is a sacred ac- history of the Chosen People. The First (Old) Testament tion surpassing all others; no other action of the Church uses this term to designate those Israelites called by God can equal its eě ectiveness by the same title and to the same to form a new community that would be exclusively degree.”5 The liturgical assembly is the Body of Christ, the God’s people. Recall how God gathered all the people of community of God’s people who have come together in Israel at the foot of Mount Sinai to speak to them and give faith to worship. Therefore, every Eucharist is “an action them the Torah. At Mount Sinai God made a covenant of Christ the Priest and of his Body” the liturgical assem- with the Israelites: If you obey my covenant, God said, bly. Think of the consequences of this teaching, as sum- “you shall be my special possession, dearer to me than marized by John Gallen: “We do not go to Mass to watch all other people . . . . You shall be to me a kingdom of what happens. We go there to make it happen.”6 We are priests, a holy nation.”1 Moses rati ed this covenant by the Body of Christ—the assembly of God’s people—and oě ering the blood of animals in sacri ce, and this event what happens at Mass happens through us. marked the beginning of the Israelites as God’s Chosen Liturgy then is the continuation and extension of the People, the assembly of YHWH. In fact, this meeting with saving and sanctifying work of the risen Jesus. What Jesus God at Mount Sinai became known as the “Day of the did in historical form during his earthly life, he continues Assembly.”2 to do sacramentally through the liturgical mysteries he The authors of the New Testament chose the Greek celebrates in and with the people of God, his Church. It is word for assembly (ekklesia) to designate the Christian Christ the Priest who celebrates the Eucharist, just as it is Church, a community of believers forged by the  re of the Christ who baptizes and Christ who forgives sins through Holy Spirit at Pentecost to become a dynamic community the instrumentality of his ordained priest. Christ is present who meet for and are formed by worship. The result of “in the person of his minister,” as Vatican II teaches, but what any bishop or priest or deacon does as an ordained Most Rev. Donald W. Trautman, STD, SSL, is the minister is never done apart from the priestly character ordinary of the Diocese of Erie, Pennsylvania. This article is of all the baptized.7 There is a true priestly character to based on one of his presentations at the 2007 NPM Winter the whole Eucharistic assembly. This fact was understood Colloquium, January 28–30. in the early church, as St. John Chrysostom brings out in 22 J-J 2007 • P M

30796_JJ 07 Main.indd 22 5/21/2007 12:21:08 PM these words: “This solemn prayer of thanksgiving [the accessible. In view of these obstacles, how do we open Eucharistic Prayer] belongs to the priest and people alike. up the treasure of the Eucharistic liturgy and expose the In it, the priest does not act alone; all the people join in meaning of liturgical language and forms? How do we giving thanks and praise. Thus, the priest may not begin help people discover the meaning of worship? How do the Eucharistic Prayer until the people have publicly we involve the assembly in full, conscious, and active voiced their assent with the words ‘It is right and just to participation? How do we communicate the importance do so.’”8 and power of the Eucharist? If the language and forms What was recovered at Vatican II was the dignity of of the liturgy themselves are inaccessible, how can the baptism and the understanding that life in Christ begins liturgy catechize and convey the reality of the living, risen at the baptismal font and leads to the Table. What was Son of God? If the language and forms of the liturgy are recovered at Vatican II was the understanding that within stumbling blocks to intelligibility and proclaimability, then the Body of Christ there are many ministries, and these they are stumbling blocks to the prayer of the liturgical all function in mutuality. Recovered as well was an un- assembly itself. If the language and forms of the liturgy derstanding that our mere bodily presence at Eucharist do not communicate, if they do not resonate with God’s is not enough, that the liturgy asks from us a variety of People as the language of their prayer, how can people responses: prayer, song, gesture, listening, eating, drink- fall in love with the greatest giĞ of God, the Eucharist? ing, silence. What was recovered was the understanding How do we excite people to ful ll Christ’s words: “Do that “this full and active participation by all the people this in memory of me”? is the aim to be considered before all else” in the reform and renewal of the liturgy.9 The way Christians think about liturgy is shaped by their experience of liturgy. Accessible Language

In his book Sacrament of Unity, Cardinal Walter Kasper writes: “Young people in particular  nd the language If the language and forms of the liturgy remain inac- and forms of the liturgy inaccessible.”10 Many in pastoral cessible, then liturgical music and sacred song will have ministry would concur with the Cardinal’s words. In fact, a heightened responsibility to connect young people however, much of liturgical language is inaccessible not and average Catholics to the full, conscious, and active just to youth but also to the average Catholic, and there is participation to which they are called. Without accessible a danger that some parts of the forthcoming translations of language and forms, then the accessible “language” of the Missale Romanum—particularly the use of obscure and liturgical music and sacred song will be the primary archaic words and sentences with two or three clauses in way to dispose the assembly to raise hearts and minds nine and ten lines—will make our prayer texts even less to God. Music teaches, music awakens, music nurtures, music enhances, music com- municates. Liturgical music and sacred song have the potential to create an upliĞ ing, prayerful worship experience—a liturgy that appeals to heart and head equally. The liturgy that we celebrate together as the people of God—particularly the Eu- charist—actively and reverently celebrated, is the most important form of pastoral care and the most effective means of cat- echizing God’s people. AĞ er all, the way Christians think about liturgy is shaped by their experi- ence of liturgy—by the way they celebrate it. To put this truth another way: “Good celebrations foster and nourish faith. Poor celebrations may weaken and destroy it.”11 Do people experi- ence liturgy as interpersonal and communal? Is the Mass vibrant, joyful, reverent, challenging,

P M • J-J 2007 23

30796_JJ 07 Main.indd 23 5/21/2007 12:21:08 PM or is it lackadaisical, boring, spiritless, poorly prepared, now wriĴ en in the book of life. routine, and irrelevant to my life? What is the quality Have you heard of the Willow Creek Community of the worship experience? I suggest this axiom: Good Church in suburban Chicago? It is the largest single liturgy is always musical liturgy. If the accessibility of congregation in the United States, founded by a minister other liturgical language and forms is diminished, more who surveyed people to ascertain what they wanted in than ever music and song must help to create the worship worship. He designed a new church that would cater to experience. their responses. He eliminated the organ and substituted all electronic music; he eliminated hymnals and hired A Word of Hope professional musicians who write new hymns each week. He eliminated the cross because it made people feel un- Some years ago, Alan Hommerding noted: “Liturgical comfortable. He employed a staě of writers to prepare music in the United States since the promulgation of the his sermons. The purpose of the church is to sell Jesus Constitution on the Sacred Liturgy has certainly gone through soĞ ly, and this approach has been a huge success. The a time marked by tension, growth, despair, experimenta- church operates with more than 150 staě members and tion, alienation, reconciliation, and hope.”12 Those words a multi-million-dollar budget. The church gives people still characterize the ministry of pastoral musicians. Like what they want: It is like an ecclesiastical WalMart, but all ministries in the Church, there will be struggles, disil- it is not the Gospel. lusionment, and weariness at times. We can experience We believe in participation worship, but the Willow burnout and lack of appreciation and liturgical backslid- Creek Community Church believes in presentation wor- ing. But at these moments we need hope. We need to ship. Our tradition is participatory, but there are many ponder St. Paul’s words to the Romans: “Rejoice in hope, in our culture who tell us to give the people what they be patient under trial, and persevere in prayer.”13 want and to keep the Mass short. If people want a secular Like other ministers dedicated to liturgical renewal, popular song at their wedding, these voices tell us, do pastoral musicians have struggled each weekend to pro- it. duce full, conscious, and active participation by all the You know these struggles. Sunday aĞ er Sunday you people in a culture that dislikes community celebration, in have valiantly fought to maintain that the pre-eminent a culture that promotes rugged individualism, in a culture music of the Eucharistic liturgy is the song of the assem- that seeks an entertainment model for liturgy with the as- bly. But each weekend, too many people in the assembly sembly as audience and liturgical ministers as performers. sit in silence, and too many places are still caught in the Against this backdrop pastoral musicians have taken the four-hymn syndrome. You have struggled to maintain renewal and the reforms of Vatican II to the people with the principle that choirs and cantors are not ecclesiastical great success. When you need encouragement, read once entertainers; they are leaders of the assembly praying in song. In all of these struggles, you need to re ect on the We need liturgical language and forms that words of Paul: “Have hope, be patient under trial, and will be accessible to the assembly of God’s persevere in prayer.” people and that can become the very prayer Why Do We Do It? of the people of God. Pastoral musicians who have prepared for and re- hearsed a special liturgy can become very discouraged when they see the empty pews at events like the Easter more the LeĴ er of St. Paul to the Philippians, chapter four: Vigil or oĞ en even at a weekend Mass. Please remember: “I urge Euodia and I urge Syntyche [two women] to come The assembly of God’s people is not restricted to a spiri- to a mutual understanding in the Lord. . . . I ask you . . . to tual or intellectual elite but is meant to bring together a help them, for these women have struggled at my side in whole people with all their blemishes and limitations. promoting the Gospel, along with Clement and my other The members of the liturgical assembly are sinners; that co-workers, whose names are in the book of life.”14 is why we have a penitential rite. The liturgical assembly Paul is speaking here of lay and ordained co-workers is not a gathering of the perfect, and the Church is not a laboring side by side in building up the Body of Christ. museum for saints; the Church is a hospital for sinners. Here is a recognition of women in ministry, indeed, of Why do we go to Eucharist on Sunday? Why did the all—men and women, ordained and non-ordained—who  rst Christians go to Eucharist on Sunday? For the same work side by side in promoting the Gospel. This recognition reason: survival. We can’t make it in this world without and encouragement comes from the inspired Scriptures divine help; we can’t make it on our own. Our faith jour- and from the apostle Paul himself. Remember that Paul ney on this earth is too dangerous and diĜ cult. There are and his co-workers encountered struggles of every kind, too many temptations and trials and tragedies in life. We detraction, and aĴ acks from within the Christian com- need strength and support for the journey. We need the munity and from outside the Christian community. But bread come down from heaven and the cup of salvation. Paul and his co-workers persevered, and their names are We need to be with others who share our faith and values. 24 J-J 2007 • P M

30796_JJ 07 Main.indd 24 5/21/2007 12:21:09 PM of Christ, but have we neglected the transformation of the assembly and its aĴ itude into the renewed presence of Christ and the “mind of Christ”? What kind of Eucharistic devotion does God desire of us? It is the kind that sees Jesus hidden under the appearance of bread and wine and also sees Jesus hidden in our neighbor—in the aged, the addicted, the poor, the immigrant, the imprisoned, the sick, the disabled: all the marginalized of our society. This is the ministry of the liturgical assembly away from the Table of the Lord.

Begin to Believe

How do we move from where we are to the nourishing and vibrant Sunday Masses that we all desire? The most basic answer is that we must begin to believe that we are an assembly celebrating and being transformed by the liturgy. We will not have a renewal of Liturgy as long as there remains the thinking that some do the liturgy and others aĴ end, some give and some receive, some prepare and others just get there.15 We need liturgical language and forms that will be accessible to the assembly of God’s people and that can become the very prayer of the people of God. We need to keep alive the renewal of Vatican II. Who can beĴ er help the Church and keep us pointed to the vision of Vatican II than those giĞ ed and graced with the vocation of pastoral Domenico Ghirlandaio, St. Jerome (detail), 1480. Fresco, Church of Ognissanti musicians? (All Saints), Florence, Italy. We need to praise and thank God. Notes Of course, we cannot expect a liturgical “high” on the weekend if we have not met God in the Scripture and 1. Exodus 19:5–6. in prayer during the week. In a certain sense, the most 2. See, for example, Deuteronomy 18:16. important words of the Eucharist appear at the end of 3. See the Second Vatican Council, Constitution on the Sacred the liturgy when the deacon or the priest says: “Go in Liturgy Sacrosanctum Concilium, 14. English translation from peace to love and serve the Lord.” This is the missioning International Commission on English in the Liturgy, Documents of God’s people, this is the sending forth of those formed on the Liturgy 1963–1979: Conciliar, Papal, and Curial Texts (Col- and transformed by the liturgy of the Word and the liturgy legeville, Minnesota: The Liturgical Press, 1982). of the Eucharist. 4. See the Second Vatican Council, Dogmatic Constitution There are pastoral needs beyond the sanctuary and on the Church Lumen Gentium, Chapter II (9–17). 5. Sacrosanctum Concilium, 7, emphasis added. church doors, of course, and so the liturgical assembly 6. Rev. John Gallen, , Millennium Monthly NewsleĴ er, June must move into the streets. Members of the assembly 2000. must become a sign of the presence of Jesus transforming 7. See the General Instruction of the Roman Missal (2000/2002), the life of a community. Despite our belonging to the dot- 4–5. com society, despite our high-tech environment, count- 8. Quoted in Notre Dame Center for Liturgy, Assembly 26:5 less individuals still live in physical poverty. There is an (September 2000), 39. intrinsic relationship between liturgy and social justice. 9. Sacrosanctum Concilium, 14. It is not enough to pray in our petitions at the Eucharist 10. Cardinal Walter Kasper, Sacrament of Unity: The Eucharist for the hungry and the homeless, it is not enough to pray and the Church (New York, New York: The Crossroad Publishing for the poor and the powerless. The Jesus we worship in Company/Herder, 2004), 14. the Eucharist is the same Jesus we serve in the poorest of 11. Bishops’ CommiĴ ee on the Liturgy, Music in Catholic Worship (1982), 6. the poor. We must pray that the transformed elements of 12. Martin Connell and Eleanor Bernstein, , Traditions and bread and wine, now the Body and Blood of Christ, will Transitions (Chicago, Illinois: Liturgy Training Publications, transform us and the whole assembly of which we are a 1998), 161. part to be instruments of charity and doers of good. 13. Romans 12:12. For many years, in discussions of “real presence” and 14. Philippians 4:2–3. “transubstantiation,” we have rightly concentrated on the 15. See Cardinal Roger Mahony, Gather Faithfully Together transformation of bread and wine into the Body and Blood (Chicago, Illinois: Liturgy Training Publications, 1997), 38. P M • J-J 2007 25

30796_JJ 07 Main.indd 25 5/21/2007 12:21:09 PM “For All”/“For Many”: A Refl ection from Germany

B H H

t the Last Supper Jesus took the cup and spoke as sacramental celebration of the New Covenant. The the prayer of thanksgiving and blessing. He liturgical context of the Eucharist is also presumed in 1 handed the cup to his disciples with the words Corinthians 10:17f. The text does not speak of all people “This is the blood of the covenant which will be but, rather, of all those who are united to Christ in the Ashed for many” (“ΔΉΕ΍/‘ΙΔΉΕ ΔΓΏΏΝΑ,” MaĴ hew 26:28, one Body. To be sure, all people are called into the New Mark 14:24). These words have found their way into the Covenant which God established in his Anointed One words of institution of the Roman Mass: “pro vobis et pro (Messiah). However, not all have a visible part yet in the multis eě undetur” (“which will be shed for you and for messianic covenant. Surely we may hope that all will be many”). The German-language daily missals for laity—like saved in the end, but we cannot know this. In the end “the English-language missals in the United States—which many” could be “all,” but this is not necessarily the case. were widely used before the liturgy reform, translated Seen in this way, “for many” is not only more accurate; “pro multis” accurately as “für viele” (“for many”). This it is also more open. phrase “for many” was thus well-known to the faithful. The words over the cup of the Roman Mass have always But the German-language edition of the missal of Paul VI been “pro multis” (“for many”) and never “pro omnibus” (1975) replaced it with “für alle” in German, in English as (“for all”). The great Eastern liturgies, e.g., the Divine “for all [men],” and in Italian as “per tuĴ i.” Liturgy of St. Basil and of St. John Chrysostom, say “for Viewed philologically, this translation of “pro multis” as many.” The Anglican Eucharistic liturgy in The Book of “for all” is false, because “multi” can at times mean “the Common Prayer also has “for many.” While Martin Luther masses,” but it can never mean “all.” Then why did the retained “pro multis” (“for many”) in his Latin Order of translators choose “for all”? Certainly it must be empha- Mass of 1523, his German Order of Mass of 1526 relates it sized that Jesus died for all (‘ΙΔΉΕ Δ΅ΑΘΝΑ, 1 Timothy to the community celebrating the Lord’s Supper and says 2:6). So did Jesus not express himself clearly enough at “for you” (“für euch”). the Last Supper? The languages of Jesus—Hebrew and In the face of all these reasons in favor of the translation Aramaic—oě ered the possibility of distinguishing clearly “for many,” the oĞ en expressed pastoral objections must between “many” (rabbim, sagí) and “all” (kol, kûl). In Greek give way. One can hardly defend an inaccurate translation also it would have easily been possible for MaĴ hew and by saying that we are accustomed to it. Since Pope Benedict Mark to say “for all” (‘ΙΔΉΕ Δ΅ΑΘΝΑ, cf. 1 Timothy 2:6). XVI has decided that in all future liturgical books “pro The words of Jesus over the cup in MaĴ hew and Mark are multis” must be translated with a literal equivalent—i.e., directly related to “the many” (ha-rabbim) in the Fourth “for many” or “for the many” in English—catechetical Song of the Suě ering Servant (Isaiah 53:11ě ). According to instruction will have to explain the meaning of “for many” a whole line of highly respected Catholic and Protestant to the faithful. Scripture scholars, “the many” here means “all of Israel” Already in 1974 the Vatican issued a declaration clarify- with its particular mission to the nations. As Jesus handed ing that only the pope can make a decision regarding the the cup to the twelve disciples, that group represented words of institution and their vernacular translation. In Israel and the future Church. November 2006, all the bishops’ conferences were informed The discussions around “pro multis” have usually lost by Cardinal Francis Arinze, prefect of the Congregation sight of the fact that the words over the cup belong within for Divine Worship, of Benedict XVI’s decision regarding a liturgical context: on the one hand, the Last Supper “pro multis.”1 (whether this was a paschal meal or a thanksgiving meal is a secondary issue), on the other hand, the Eucharist Note

Prof. Dr. Helmut Hoping is a professor of systematic 1. On the question of translating “pro multis” see also Joseph theology and liturgy at the University of Freiburg, Germany. Ratzinger, “GoĴ ist uns nahe. Eucharistie: MiĴ e des Lebens” (Augs- This brief re ection, prepared in response to the vernacular burg: Ulrich Publishing House, 2005), 33–36. English translation: translation of pro multis into German, has been translated God Is Near Us: The Eucharist, The Heart of Life (San Francisco: and slightly adapted by Father Anthony Ruě , . Ignatius Press, 2003). 26 J-J 2007 • P M

30796_JJ 07 Main.indd 26 5/21/2007 12:21:11 PM Replacing the Sacramentary: A Progress Report

B P T

hy is the translation taking so long?” “How and some sections were rearranged. The other reason was is it being done?” “When will it be ready?” that the theory of translation changed. The Congregation “What should we expect when it gets here?” for Divine Worship and the Discipline of the Sacraments The forthcoming English translation of the issued new guidelines for translation in its 2001 instruc- thirdW edition of the Missale Romanum is stirring anxiet- tion Liturgiam authenticam, which rendered most of ICEL’s ies—at least in some quarters—while it is being met with newly revised texts obsolete. great expectation in other parts of the Catholic popula- There are horror stories about what happened in this tion and, let us admit it, with indiě erence among many process—stories about power plays, muscle  exing,  nger English-speaking Catholics. pointing, and heads rolling throughout this transition. AĞ er forty years of use, the  rst-ever English transla- Without question, some very good and devout people were tion of the Mass has been taken to the shop for restoration, retro Ĵ ing, and some cleaning. While some Catholics There are horror stories about what look forward to the results of this shop work and others happened in this process . . . . are worried, the longer the process takes, the more ques- tions people are asking. The working version of the texts has not been made public, which stokes fears of secrecy, back-room deals, and autocracy. maligned. In many respects, it has been an embarrassing The occasion for this new translation eě ort is the pub- chapter in the history of liturgy. These events leĞ many lication of the third Latin edition of the Missale Romanum. people angry and discouraged about the forthcoming Ro- Though promulgated as part of the Jubilee Year 2000 by man Missal. But the translation is coming anyway, almost Pope John Paul II, the book wasn’t quite ready when it like an out-of-wedlock child. People may not be happy was announced. In fact, it wasn’t actually published until about it or about the timing of its arrival, but it is going 2002. to come, and it deserves to be brought into the family as The Sacramentary presently in use is the 1973 English respectfully as possible. translation of the second edition of the Missale Romanum; that translation was published in 1975. In the years prior Why So Long? to 2000, the International Commission on English in the Liturgy (ICEL) worked on a revised English translation of Why is the translation taking so long? It is passing that second edition of the missal. The commission hoped through many diě erent commiĴ ees. The labyrinth that to generate more expressive texts while preserving the each part of the translation must negotiate includes these tone of the previous work. components: However, aĞ er many years of labor during which a complete new translation was accomplished, the entire • members of the ICEL Secretariat, who steer the project was aborted for two reasons. One was the publica- process from the oĜ ce in Washington, DC; tion of the third edition of the missal. A few changes were • a base translator, who works up a direct but us- made in that third edition: Some rubrics became more able translation of one section of the missal; precise, new saints’ days were added, some older Mass • an ad hoc team, whose members rework the base texts were restored, more sense lines were introduced, translation into a more eě ective text; • the Roman Missal Editorial CommiĴ ee, which re- Rev. Paul Turner, a presbyter of the Diocese of Kansas ceives all the work of all the translators and teams City-St. Joseph, Missouri, is the pastor of St. Munchin and uni es the style; Church in Cameron, Missouri. A former president of the • ICEL itself—the commission of bishops who rep- North American Academy of Liturgy and a team member for resent eleven English-language episcopal confer- the North American Forum on the Catechumenate, he has ences: the United States, Canada, England and Wales, served as a translator for the International Commission on Ireland, Scotland, South Africa, Australia, New English in the Liturgy. Zealand, India, Pakistan, and the Philippines; P M • J-J 2007 27

30796_JJ 07 Main.indd 27 5/21/2007 12:21:12 PM • the conferences of bishops of these same coun- Bishop Arthur Roche of the Diocese tries, who review the materials, make suggestions, of Leeds, England, chairs the International Commission on English and vote on the text; in the Liturgy. • the Congregation for Divine Worship and the Discipline of the Sacraments in Rome, which evalu- ates what the bishops approved; • Vox Clara, an ad hoc commiĴ ee of bishops and experts who advise the Congregation; • and the pope, who alone can change the form of sacraments, such as the words of institution during the Eucharistic Prayer.

The entire missal is divided into about twenty- ve sec- tions, and each section must pass through these hands. Cardinal Francis Arinze, prefect of the The good news is that all sections are out of the starting Congregation for Divine Worship and block, and many sections are much farther along. The part the Discipline of the Sacraments. that has advanced the furthest is the Order of Mass—all the texts that remain the same at every Mass, from the sign of the cross to the dismissal, including the four tra- ditional Eucharistic Prayers. It is the most controversial part of the missal because it includes the responses of the people. The proposed changes in translation of these responses and some other parts of the Order of Mass have been, well, controversial. Change is hard, particularly when that change aě ects very familiar texts and actions, and concerns about the new translation have increased as parts of the translated Order of Mass leaked out of the oĜ cially secret process. Still, in context, the whole missal will probably seĴ le into a uniform style acceptable to the Catholic ear. But it will take time, and change demands patience. Some wonder if all these commiĴ ees and all this time are really necessary. Actually, it is much beĴ er to have so many groups review the proposed texts than to have just a very few people make all the decisions about the new translation. The most expendable piece of the process is Vox Clara CommiĴ ee 2006. Standing (l–r): Rev. Anthony Ward, Congregation probably Vox Clara, which helped break the logjam on for Divine Worship; Bishop Philip Boyce; Archbishop Alfred Hughes; Msgr. James Moroney, USCCB CommiĴ ee on the Liturgy Secretariat; Archbishop translations before the publication of Liturgiam authen- Terence Prendergast; Archbishop Kelvin Felix; Archbishop Peter K. Sarpong; ticam and which now seems to have completed its most Abbot Cuthbert Johnson, , Quarr Abbey; Father Dennis McManus. Seated signi cant work. Vox Clara continues to meet, however, (l–r): Archbishop Oscar Lipscomb; Cardinal George Pell, president of the Vox and adds a layer of bureaucracy to the process. Clara CommiĴ ee; Archbishop Oswald Gracias; and Cardinal Justin Rigali. (Photo courtesy of Vox Clara.) How Does the Work Get Done? Scripture, expressive in its theology, varied in vocabulary, Mostly in commiĴ ee. All participants may voice opin- and deep in spirit. The new rules for translation have been ions and discuss corrections. The work is done aloud: justly criticized; as a document, Liturgiam authenticam is CommiĴ ee members never look at the texts on paper  awed. But the translators are skilled. without also pronouncing and hearing them. AĴ ention is So when will it all be ready? One wag says: “Hopefully given to punctuation, sense lines, unintended alliteration in our lifetime.” No one knows for sure. There have been and assonance, meter, length of sentences, vocabulary, and predictions about the publication date, many of which have orality. Sometimes a translation that appears to be clear in already gone past. Some have hoped that Pope Benedict print is not clear when spoken aloud. The best solutions would debut the new texts at the Mass for World Youth are sought for all the problems faced. Day in Sydney, Australia, during the summer of 2008. Among the fears commonly voiced about the new Certainly texts could be readied for a Mass on that day, translations is the concern that they will be a “slavish, but the entire missal will take more time. And it should; word-for-word rendering” of the Latin. But the reality it should not be rushed. At the current pace, it is hard to is diě erent. Participants search for an English that will imagine a  nished book before 2009 or 2010. A parish with be understandable when spoken, rich in its allusions to a decomposing Sacramentary should not wait for the new 28 J-J 2007 • P M

30796_JJ 07 Main.indd 28 5/21/2007 12:21:12 PM missal but should go ahead and buy a new copy of the the former Mass seĴ ings once the new texts are in force. current book (or some red duct tape). No one has given a clear answer to this question, which Many bishops of England and Wales would like to is probably a good thing. It will take time for new music start using the new Order of Mass immediately, but it is to be wriĴ en, learned, and loved. The rush to legislate is not clear if Rome would grant such permission. If it hap- best avoided. If the new texts inspire beĴ er music, con- pens, other conferences will want it as well. There is some gregations will sing it. If a congregation has four or  ve wisdom in waiting, so that the project can be evaluated Mass seĴ ings in its repertoire, it will take years to replace as a whole before it goes to press. them with four or  ve new ones—or major revisions of current seĴ ings. When Will It End? The English translation of the Missale Romanum will be published with a chant seĴ ing, and congregations who One of the most diĜ cult parts of any large project is learn it will create some uniformity in sung worship. Of ending it. There are always last-minute hesitations, re- course, the chant seĴ ings in the current Sacramentary are evaluations, discoveries, and changes. not all commonly used, at least in part because they cre- Going to press will also take time. The work must be ated some confusion when they were  rst introduced. carefully proofread, and this book has to be as free of er- For example, many people learned the preface dialogue ror as possible. Extra care will go into editing. Printing one way before the Sacramentary published it in a diě er- and binding take time. Even if the project is rushed, it ent form in 1975. The seĴ ings in the new Roman Missal will take several months—if not a year—for a publisher will try to get past that confusion and oě er a seĴ ing that to produce the books. links us to our chant heritage while being appropriate for During that time, the texts would probably become English texts. For example, the new missal will probably public. That will allow catechesis to begin, priests to be- change the notes for intoning “The Lord be with you,” come familiar with the prayers, and composers to write in order to send an oral cue that people should sing the new seĴ ings for the Order of Mass. new response provided in the new book. Musicians are wondering if they will be able to sing The missal is coming. It is still a few years away. It will change the way the Mass sounds. Some people will  nd So when will it all be ready? . . . No one the change very diĜ cult. But this new translation will knows for sure. open the riches of the Catholic prayer tradition in some new ways. In time, the revised translation will become as familiar, memorable, and “owned” as the current one has been for the past forty years.

Photo courtesy of The Church of St. Mary Magdalene, Toronto, Ontario, Canada P M • J-J 2007 29

30796_JJ 07 Main.indd 29 5/21/2007 12:21:15 PM Perspectives on Translations and the Need for “Whatever”

B A R, 

oon aĞ er the announcement that we had a new Such diě erences between ordinary churchgoers and pope, my parents asked me just who this Joseph full-time ministers are to be expected. Of course those of Ratzinger is. The newly named Pope Benedict had us “in the business” pay more aĴ ention to church politics joked that he prayed not to be elected, but God did and the names of the main players. Of course members notS hear his prayer. This seemed like a  ippant remark to of the faithful whose life’s work is not church ministry do my devout parents. “Is the new pope some kind of liberal?” not have the same level of interest in such things. That is my mother wanted to know. “And ‘Ratzinger,’ such a last as it should be. name you’ve never heard of,” my father added. I smiled and realized yet again that people “in the Diě erent Strokes pews” sometimes have very diě erent perspectives and concerns than do we who are in the ministry of serving So when one thinks about the highly charged contro- them. Everyone I know in my line of work—pastoral versies regarding the retranslation of the English liturgy, musicians, fellow clergy, theology professors—knew all it is good to be aware of such diě erences. Our concerns about the name Joseph Ratzinger, and the main concern as pastoral ministers about the new translations might among many people on April 19, 2005, was not that the well be quite diě erent from the concerns of the people in new pope would be too liberal! the pews. To be sure, the people in the pews vary widely Rev. Anthony Ruě , , a monk in the Order of St. Bene- in their concerns and interests, and my parents are not dict, is an assistant professor of theology at St. John’s School representative of everyone. Still, I suspect that for most of Theology and Seminary, Collegeville, Minnesota, the churchgoers the transition to the new translations will be founding director of the National Catholic Youth Choir, and more a practical than a theoretical issue, and it will not be the chair of NPM’s ad hoc Section for Chant. Continued on page thirty-nine

Photo courtesy of St. James Cathedral, SeaĴ le, Washington 30 J-J 2007 • P M

30796_JJ 07 Main.indd 30 5/21/2007 12:21:17 PM National Association of Pastoral Musicians Summer 2007 Convention and Institutes

National Convention in Indianapolis 5 Institutes at 9 Locations One Great Summer

30796_JJ 07 Main.indd 31 5/21/2007 12:21:18 PM National Association of Pastoral Musicians 2007 National Convention

Indianapolis, Indiana July 9–13 Learning Opportunities Musical Performances National Festivals

N Nearly 200 Workshops N Evening Concerts N NPM Adult Choir Festival in 6 Breakout Sessions St. Louis Jesuits • Notre Dame Folk N National Catholic Children’s N 5 Major Addresses Choir • National Catholic Youth Choir Festival Choir • Marty Haugen, Tony Alonso, Steve Warner • Jan Michael Joncas • N and John Bell • African American National Catholic Handbell Ricky Manalo,  • Jerry Galipeau Rhythms and Sounds • Spanish Festival and Mary Kay Oosdyke, • Teresita Rhythms and Sounds • Ecumenical Weind,    Hymn Festival • Asian and Paci c N Hovda Lecture Series Rim Rhythms and Sounds • Liam New Music N Clarence Jos. Rivers Lectures Lawton • St. Meinrad Archabbey N Showcases N Workshop Track in Spanish Schola Cantorum • Grayson Warren N Exhibits N Music Education Sessions Brown • Gary Daigle and Friends • Psallite N Master Classes N Noontime Organ Recitals N Clinics N Festival Performances . . . And More Prayer and Song N Gala Performance by the N Youth Gatherings N Eucharist Indianapolis Children’s Choir N Liturgical Space Tour N Morning Prayer N Organ Crawl N Taizé Prayer Information and secure registration on the NPM web page: N Ministry Leadership Retreat www.npm.org. Or phone: (240) 247-3000.

30796_JJ 07 Main.indd 32 5/21/2007 12:21:22 PM Cantor Express 5 Dates and Locations

The weekend has something to oě er cantors at all levels of experience: beginner, advanced, and professional. Most cantors are pro cient in some areas but need to develop in others. Some participants are even discerning whether this ministry is right for them and come simply to explore. Whatever your level of skill and expe- rience, the institute oě ers you an opportunity to assess areas for growth, begin to  ll in gaps, and lay the groundwork for a  rmer foundation for your ministry. The weekend includes interactive lectures, discussion, re ection, skill building (group voice classes, interpretation, and coaching), and repertoire that best re ects the core identity of the cantor. At some points in the weekend, you will have the opportunity to choose sessions according to your own needs. Meals include Friday dinner to Sunday lunch. All we ask is that you come with an open mind and reasonable expectations! For instance, if you don’t already read music, we can teach you the basics. If you’ve had vocal training and need help with your interpretive skills, we can oě er you some useful tools. If you have limited knowledge of Scripture, liturgy, and the psalms, we can help your development in those areas. In short, we can’t oě er you complete training in a single weekend, but we can share the riches of our liturgical heritage, provide useful tools for your ministry, and lead you to additional resources.

Faculty

Joe Simmons Mary Clare McAlee Cantor, clinician, spiritual formation leader, and solo Cantor, Cathedral Basilica of the Sacred Heart, New- recording artist based in New York City. Lake Charles, ark, New Jersey; frequent oratorio soloist; apprentice PiĴ sburgh. artist, PiĴ sburgh Opera at Duquesne and the Sarasota Opera; Westminster Choir College graduate; clinician and private instructor. Chicago, Tampa.

Melanie B. Coddington Joanne Werner Faith formation associate, St. Michael Parish, MarqueĴ e, Pastoral musician, Fort Worth, Texas; chair, NPM’s Michigan; parish cantor; founding editor, The Liturgical Director of Music Ministries Board of Directors. PiĴ s- Singer (1999–2003). Chicago, Tampa. burgh, Tucson.

Mary Lynn Pleczkowski Editor, The Liturgical Singer; vice-chair, NPM Standing CommiĴ ee for Cantors. Lake Charles, Tucson.

Dates and Locations

June 29–July 1 • Cantor Express, Chicago, Illinois U  S. M   L/M S C C Bedrooms are double occupancy; single rooms available for $50 supplement. Early arrival available on June 28 for $50 supplement. All bed- rooms have private bath. Indoor swimming pool as well as basketball, volleyball, racquetball, and tennis courts. A three-mile road circles the lake—perfect for walking or jogging. The University of St. Mary of the Lake is located at 1000 E. Maple Avenue in the town of Mundelein, approximately four miles west of Interstate 94. The closest airport is O’Hare International Airport, which is about 28 miles south of USML. Website: www.usml.edu.

June 29–July 1 • Cantor Express, Lake Charles, Louisiana S. C C The St. Charles Center, with retreat and conference facilities, is situated on sixty-nine acres of woodlands and wetlands near Sam Houston Jones State Park, north of Lake Charles, Louisiana. Bedrooms are double occupancy; limited single rooms available for $50 supplement. Early arrival available on June 28 for $50 supplement. Located on Sam Houston Jones Parkway, the Center is north of Interstate 10 and about ten miles from Chennault International Airport. Website: hĴ p://lcdiocese.org/retreat/.

July 20–22 • Cantor Express, PiĴ sburgh, Pennsylvania D U Located near downtown PiĴ sburgh. Bedrooms are double occupancy; single rooms available for $50 supplement. Early arrival available on July 19 for $50 supplement. There is a charge for parking on campus, currently $6.25 per day on weekends. The University campus is about twenty miles from PiĴ sburgh International Airport. Website: hĴ p://www.duq.edu/.

30796_JJ 07 Main.indd 33 5/21/2007 12:21:29 PM July 20–22 • Cantor Express, Tampa, Florida F C The Franciscan Center is located on the Hillsborough River on eight acres of land that are conducive to prayer and re ection. It is ten minutes from the bus station and only  Ğ een minutes from Tampa International Airport. Bedrooms are double occupancy; single rooms available for $50 supplement. Early arrival available on July 19 for $50 supplement. Website: hĴ p://www.alleganyfranciscans.org/franciscancenter.htm.

August 17–19 • Cantor Express, Tucson, Arizona R R C The Redemptorist Renewal Center at Picture Rocks is located in the Arizona-Sonoran desert. On Picture Rocks Road, it is west of Interstate 10 and east of the Saguaro National Park-West. Housing is in double rooms with private bath; some single rooms are available for a $50 supplement; early arrival on August 16 available for $50 supplement. The Center is about twenty-two miles (a forty- ve minute drive) from Tucson International Airport. Website: hĴ p://www.desertrenewal.org/.

22nd Annual Choir Director Institute July 16–20 • Alexandria, Virginia

This Institute has something to oě er all participants—from the experi- enced, full-time director to the newly appointed one. Most directors are pro cient in some areas but need to develop in others. The Choir Director Institute includes daily liturgy of the hours, choral warm-ups to begin the day, practice and score study time, large- and small- group opportunities to conduct, new choral music, octavo reading sessions with free packet of material from various publishers, extensive singing and conducting in a variety of styles and voicings from easy to diĜ cult, music planning and rehearsal planning sessions, opportunities for preparation and participation in all liturgical ministries, Scripture and liturgy sessions, spiritual care of the conductor or music director, and care of the voice. Whatever your level of skill and experience, the Institute oě ers you an opportunity to assess areas for growth, begin to  ll in gaps, and lay the groundwork of a  rmer foundation for your ministry. Registration and one-on-one dialogues begin on Monday at 8:00 . The institute begins on Monday at 9:30  and concludes on Friday at 11:30 . These days include time for large and small group instruction, conducting practice, music preparation, octavo reading sessions, shared meals and conversation, and recreation time. Meals include Monday lunch through Friday breakfast.

Faculty

Rob Glover Paul French Director of liturgical music at the Church of St. Director of music at Our Lady of Mt. Carmel Therese, Deephaven, Minnesota, author, arranger, Church, Chicago, Illinois, music director of the clinician, composer, organist, and pianist. William Ferris Chorale, director of choir recordings for World Library Publications, composer.

Kathleen DeJardin David Philippart Director of Music Ministries at St. Andrew by the Author, parish retreat director, and nationally Bay, Annapolis, Maryland; member of the NPM known clinician on liturgy. Director of Music Ministries Division’s Board of Directors.

Date and Location

July 16–20 • Choir Director Institute, Alexandria, Virginia B I H S, A Bishop Ireton High School is about a mile and a half from the King Street Metro Station and close to historic Old Town Alexandria. Housing for the 2007 Choir Director Institute will be at the Holiday Inn Eisenhower in Alexandria, $99 per night single/double + 10.5% tax and $1 city occupancy tax. Transportation between the high school and the hotel will be arranged. Located at 2640 Eisenhower Avenue, the hotel oě ers free parking and a free shuĴ le to and from Reagan National Airport and Old Town Alexandria. Exercise center and indoor pool. Phone hotel for reservations: (703) 960-3400. Mention that you are with the National Association of Pastoral Musicians in order to receive the group rate. Deadline for hotel reservations is July 1.

30796_JJ 07 Main.indd 34 5/21/2007 12:21:35 PM Institute for Music with Children July 31–August 2 • Seattle, Washington

In this institute, you will discover innovative ways to engage children in the Church’s liturgy through a wide range of liturgical music; explore classroom techniques for developing a child’s musical ability, choral tech- niques for teaching children how to sing, and successful repertoire to use in liturgical and classroom seĴ ings; and re ect on the spirituality of children and directors and its expression through music, liturgy, and catechesis. Experienced educators and directors will  nd these sessions aĜ rm what they have learned and oě er insight into new research and materials. Those new to the  eld will  nd a wealth of theoretical and practical information to take home. Registration opens Tuesday at 8:00 ., and the program begins at 9:00 . The program ends on Thursday at 12:00 . Meals include Tuesday lunch through Thursday breakfast. Each day starts with morning prayer and combines plenum sessions for all with breakout sessions for music educators and children’s choir directors. Participants can choose the sessions they aĴ end.

Track for Music Educators includes: • Techniques for teaching classroom music • How to integrate musicality and movement • The practicalities of music “a la carte,” or the roving music educator.

Track for Children’s Choir Directors includes: • Preparing an eě ective choir rehearsal • How to recruit and maintain choir members • Developing solid conduct- ing techniques.

Faculty

Donna Kinsey Jeremy Gallet,  Music specialist, Monongalia County Schools, West A member of the Sisters of Providence of Virginia; teacher and clinician for children’s voices, Saint Mary-of-the-Woods, Indiana, Jeremy handbells, and music educators; past state chair, Gallet has had a wide variety of pastoral American Guild of English Handbell Ringers. and administrative experience with special concentration on liturgy and music with Lee Gwozdz children. She is presently the director of the Director of music, Corpus Christi Cathedral, Cor- OĜ ce of Worship for the Archdiocese of pus Christi, Texas, and executive director, Corpus Portland in Oregon. Christi Symphony Society; member of the Choris- ters Guild National Board of Directors.

Date and Location

July 31–August 2 • Music with Children Institute, SeaĴ le, Washington S U SeaĴ le University is located on forty-eight acres on SeaĴ le’s Capitol Hill. Bedrooms are double occupancy; single rooms available for $50 supple- ment. Early arrival available on July 30 for $50 supplement (check appropriate box on registration form). SeaĴ le University is about  Ğ een miles (a half-hour drive) from SeaĴ le-Tacoma International Airport. Website: www.seaĴ le.edu.

Guitar and Ensemble Institute July 23–27 • Erlanger, Kentucky

This  ve-day intensive training program is intended primarily for guitar- ists at all levels—beginner, intermediate, advanced—and for instrumentalists who serve as part of worship ensembles. It is also designed for all directors of ensembles, whether those are primarily guitar, contemporary music, or folk groups, and for those who lead with a combination of instruments and voice.

30796_JJ 07 Main.indd 35 5/21/2007 12:21:39 PM Registration and individual assessment begins on Monday from 8:30 . The program begins at 11:00 . and ends on Friday at 12:00 . Meals include Monday lunch through Friday breakfast.

Schedule includes: • Sessions on liturgy for both experienced and beginning leaders of liturgical song • Techniques for guitar and bass, keyboard, percussion,  ute, other obbligato instruments, and voice • Sampling of repertoire • Eucharist on Thursday followed by “open mic” recital • Shared meals and time for informal conversation • On-site luthier with “tips and tricks” to maintain your instrument.

Faculty

Bobby Fisher Program Coordinator Jaime Rickert Guitar Music director at St. Agnes Church, Fort Wright, Pastoral associate at St. Ann Church, Ossining, New Kentucky; program coordinator for NPM’s Institutes York, recording artist, and composer. for Guitarists since 1988; musician, composer, actor, clinician, and author of The Pastoral Guitarist and the video The Liturgical Guitarist. John AngoĴ i Guitar Steve Petrunak Guitar Full-time music missionary traveling throughout the Director of music at St. Blase Parish, Sterling Heights, United States and abroad with a musical message of Michigan; composer, recording artist, and clinician; faith and hope. John is currently artist-in-residence at member of the NPM Board of Directors. St. Thomas the Apostle Parish in Naperville, Illinois.

Dion Clay Percussion Mary Sellars Malloy Liturgy and Voice Dion has been performing professionally as a A former director of the OĜ ce of Liturgy for the Dio- percussionist since the age of twenty- ve. Since cese of Saginaw, Mary Sellars Malloy now serves as a March 2006, he has been touring with contemporary conference presenter, retreat facilitator, and pastoral Christian artist John AngoĴ i. musician.

Date and Location

July 23–27 • Guitar and Ensemble Institute, Erlanger, Kentucky M R C Located in the rolling hills of northern Kentucky, across the Ohio River from Cincinnati, Marydale’s 250-acre campus features a lake and walking paths. The Retreat Center is air-conditioned. Rooms are single-occupancy with shared bath; early arrival on July 22 available for $50 supplement. Marydale is just four miles from Cincinnati/Northern Kentucky International Airport.

Pastoral Liturgy Institute July 23–27 • Providence, Rhode Island

The  ve-day NPM Pastoral Liturgy Institute is designed to provide a basic foundation of knowledge about Roman Catholic liturgy for pastoral musicians and those with whom they work and minister (priests, deacons, pastoral associates, ministers of religious education, liturgy commiĴ ee members). The primary audience is pastoral musicians who seek a broader liturgical education than is available through single workshops, diocesan conferences, or NPM conventions but who do not need—or have time for—a full semester course or degree. The goal is to help pastoral musicians understand the liturgical principles and sacramental rites which are the context for their music and develop the pastoral skills necessary for eě ective ministry. A special emphasis will be placed on the vital role of music in celebration. Registration opens Monday, July 23, at 9:00 ., and the program begins with prayer at 10:00 . The program ends with closing prayer on Friday at 11:00 . Meals include lunch and dinner Monday through Thursday.

Session schedule includes: • Basic principles of liturgy, music, and church environment and art • Liturgical documents • Sunday Eucharist and other sacramental rites of the Catholic Church • and the variety of prayer forms available to Catholic communities.

30796_JJ 07 Main.indd 36 5/21/2007 12:21:43 PM Sessions are held morning, aĞ ernoon, and evening every day (from approximately 8:30  to 9:00 ) with the exception of Wednesday evening—a free evening.

Faculty

Paul Covino David Anderson An associate chaplain and the director of liturgy at the In addition to serving as workshop director for GIA College of the Holy Cross, Worcester, MassachuseĴ s, Publications, Inc., David Anderson serves as director and the editor of Celebrating Marriage, Paul Covino of music and liturgy at Ascension Parish in Oak Park, works with parishes, dioceses, and national organiza- Illinois. tions as a workshop leader and liturgical coordinator.

Victoria M. Tufano Pastoral associate at Ascension Church in Oak Park, Il- linois, Vicky Tufano is also an editor at Liturgy Train- ing Publications and a team member for institutes and member of the Board of Directors of the North American Forum on the Catechumenate.

Date and Location

July 23–27 • Pastoral Liturgy Institute, Providence, Rhode Island P C Providence College is located in North Providence, close to Interstate 95. The College is about  Ğ een miles from T. F. Green International Airport in Warwick, Rhode Island. Website: www.providence.edu. Housing for the 2007 Pastoral Liturgy Institute will be at the Quality Inn in Smith eld, Rhode Island, $99 per night single/double + tax. Complimentary deluxe continental breakfast. Transportation between the hotel and the col- lege will be aranged. Less than ten minutes drive from Providence College and near shops and other amenities, the Quality Inn is at 355 George Washington Highway. Phone hotel for reservation: (401) 232-2400. Mention that you are with the National Association of Pastoral Musicians in order to receive the group rate. Deadline for hotel reservations is July 16.

ACCOMMODATIONS Registration Information Rates based on double occupancy. Limited single occupancy available for a $50 supplement (three-day programs): Check You can register by mail, fax, or online. Just complete the reg- box on registration form. Limited early arrival lodging (except istration form and return it to NPM with your payment. Alexandria and Providence) oě ered on a space-available basis for a $50 supplement: Check box on registration form. LOWEST AVAILABLE RATES Lodging for Choir Director Institute: Please contact the Our lower advance rates apply until 30 days before the pro- Holiday Inn Eisenhower in Alexandria, Virginia. Phone (703) gram. 960-3400 and ask for reservations. Mention that you are with the National Association of Pastoral Musicians to receive the MEMBER DISCOUNTS: For NPM Parish Members, registration group rate: $99 per night single/double + 10.5% tax and $1.00 discount fee is transferable to anyone in the parish. If your name is city occupancy tax. Deadline for reservations is July 1. Located not on the parish membership, include the parish group number at 2640 Eisenhower Avenue, the hotel oě ers free parking and a on your registration form. For NPM Individual Members, discount free shuĴ le to and from Reagan National Airport and Old Town cannot be transfered to others. No discount available to subscrib- Alexandria. Exercise center and indoor pool. ers. New members who join at the same time as registering for the institute receive the members’ discount. Lodging for Pastoral Liturgy Institute: Please contact the Qual- ity Inn in Smith eld, Rhode Island. Phone (401) 232-2400 for reservations. Mention that you are with the National Association NON-MEMBER RATE applies if you are not an NPM member. of Pastoral Musicians to receive the group rate: $99 per night Or you can join NPM now and register at the lower member rate. single/double + tax. Complimentary deluxe continental break- On the registration form, check “New Member,” indicate your fast. Located at 355 George Washington Highway, the hotel is preferred membership category, and add the appropriate fee. near shops and other amenities and less than ten minutes from Providence College. Deadline for hotel reservations is July 16. TUITION includes group sessions, individual coaching, materi- als, and all meals as noted during the course of your institute. Mail registration form with payment to: CONFIRMATION AND CANCELLATION NPM Institutes You will receive a con rmation statement before your program. PO Box 4207 • Silver Spring, MD 20914-4207 Cancellation: Requests received in writing one week prior to the institute will receive a full refund less a $50 processing fee. (This Fax—credit cards only—(240) 247-3001 refund will be processed aĞ er the institute.) AĞ er that one-week Register online—credit cards only— deadline, refunds are given only in the form of credit toward at www.npm.org registration at a future NPM convention or institute.

30796_JJ 07 Main.indd 37 5/21/2007 12:21:48 PM Registration Form: NPM Summer Institutes 2007 Photocopy this form for each additional registration. J NPM Member Member # ______J New Member J Non-Member Name ______Name for Badge ______Check one: K work K home Address ______City/State/Zip ______Phone (_____) ______Fax (_____) ______E-mail: ______Check Your Program Choice Advance Deadline Resident Commuter AĞ er Deadline Fee Cantor Express K June 29–July 1 Chicago, IL May 29 $360 $285 Add $50 $ ______K June 29–July 1 Lake Charles, LA May 29 $360 $285 Add $50 $ ______K July 20–22 PiĴ sburgh, PA June 20 $360 $285 Add $50 $ ______K July 20–22 Tampa, FL June 20 $360 $285 Add $50 $ ______K August 17–19 Tucson, AZ July 17 $360 $285 Add $50 $ ______Choir Director Institute K July 16–20 Alexandria, VA June 16 $460 Add $50 $ ______Guitar and Ensemble Institute K July 23–27 Erlanger, KY June 23 $575 $460 Add $50 $ ______Pastoral Liturgy Institute K July 23–27 Providence, RI June 23 $460 Add $50 $ ______Music with Children K July 31–Aug. 2 SeaĴ le, WA June 31 $360 $285 Add $50 $ ______

ADDITIONAL FEES: check applicable box(es); write in amount(s) J Non-Member (or join NPM) $100 $ ______/ If new membership, add amount from below $ ______J Single Occupancy Supplement Weekend Programs $50 (see available locations) $ ______J Early Arrival $50 (see available locations) $ ______J Printed course materials (required) for Pastoral Liturgy Institute $20 $ ______J The Rites, Vol. I, 1990 ed. (req.) for Pastoral Liturgy Institute $30 $ ______

TOTAL FEES $ ______

NPM MEMBERSHIP. Join now and register at member discount rates. Check the membership category you pre- fer; enter that fee above. To include more than one parish leader, enclose a separate sheet with additional names, addresses, phones, faxes, and e-mails. J New Individual Membership $ 58 J New Youth Membership $ 29 J New Parish Membership for 1 $ 70 K New Parish Membership for 2 $ 97 K New Parish Membership for 3 $ 122 International Postal Supplement per member: To Canada, add $11 To other countries, add $15

PAYMENT J I authorize NPM to charge my J VISA J MasterCard Exp. Date ______Card #______Security Code ______Name on card ______Signature ______J Check enclosed (payable to NPM, USA dollars)

38 J-J 2007 • P M

30796_JJ 07 Main.indd 38 5/21/2007 12:21:50 PM Continued from page thirty can make this point more clearly with reference to the proposed retranslation of the Gloria. A whole argument tied to things like ecclesiastical centralism, “reform of the could be made for retaining the current English Gloria, reform,” or advancing a particular vision of progressive even though it puts lines in a diě erent order than the renewal. Latin and omits whole lines of text. The Gloria is a not a How will people in the pews receive the new trans- catalogue of doctrine, nor is it a legal document, nor an lations? I cannot claim to speak for them, but I have a oath of  delity. It is one big gesture of sung praise. It is hunch that people’s resistance will have more to do with more like a litany of endless alleluias or ecstatic speaking the practicalities of the hassle of change than with our in tongues than it is like the Nicene Creed. (And by the “insiders’” concerns. If so, this is good news. The diĜ cult way, even the creed at Mass is more about personal and transition to the new translations might go beĴ er than we communal commitment to baptismal vows than it is about expect. Let us not make the transition more diĜ cult by orthodox doctrine, although it is also that.) loading ideological burdens onto our people. Many of us have concerns about the current U.S. Lec- I do want to raise the question of what truly tionary for Mass—concerns about its accuracy, its beauty maĴ ers to the people in the pews. of language, its proclaimability. Those are very legitimate concerns. But what would happen if we polled our people on their reaction to the new lectionary? I dare say that probably ninety-nine percent would respond that they While that understanding of the Gloria could justify had no idea that the lectionary translation had changed a an English that is not an accurate translation of the Latin few years ago! I do not quite want to say it is good news original, this insight on rationalism versus deep engage- that people do not aĴ end to the language of the Scriptures ment of the whole person can be turned around and help at Mass, but I do want to raise the question of what truly us to accept the retranslated Gloria (and other liturgical maĴ ers to the people in the pews. texts). Even if some of us at  rst  nd the new liturgical texts The diĜ cult question of inclusive language surely harder to grasp intellectually, more stilted and arti cial, displays some of these same sociological diě erences. Full this does not maĴ er as much as we might imagine. An disclosure: I use inclusive human language in my speak- occasionally diĜ cult word in the collects or prefaces like ing, writing, and preaching. I believe in it, and I favor it “sully” or “thwart” 2 is no hindrance to worshipers if the in liturgical texts, as do many or most people in liturgical liturgy as a whole is engaging at the level of emotional ministry. But here, too, opinions and practices in the wider energy, evangelical zeal, artistic beauty, and spiritual public are more varied that we might realize. Have you power. ever noticed how oĞ en terms like “man” or “brethren” Father Aidan Kavanagh, , repeatedly made this point or “sons” are used collectively in major newsweeklies, by in his writings about liturgy. In the NPM Commentary on leading newspapers hardly known as conservative, and Music in Catholic Worship, for example, he wrote: “The by commentators on the news networks that are more Constitution on the Sacred Liturgy . . . . shows some naiveté progressive by reputation? If our new liturgical transla- concerning the nature of the rite itself when it states in tion has instances of traditional gender language, I will its paragraph 34 that ‘The rites . . . should be short, clear, understand the disappointment of many. At the same and unencumbered by useless repetition; they should time, I’m not sure this will be the pastoral disaster that be within the people’s powers of comprehension and some fear. normally should not require much explanation.’ . . . The fact is that rituals are almost never short, clear, and with- More and Less Is Going On out repetition; nor do they always fall within everyone’s power of comprehension (as a classroom lecture must).” As I said, it is not quite good news if worshipers do not Father Kavanagh described paragraph eight of Music in aĴ end to Scripture translations at Mass. In a certain way, Catholic Worship, which quotes paragraph thirty-four of however, it is good news. Fortunately, worship is not ex- the Constitution on the Sacred Liturgy as “simply a well- clusively an intellectual endeavor.1 When we stand before meant inaccuracy.” 3 Gabe Huck made the same point God in community, a lot more than rational comprehension about rationalism and celebration when he wrote in is going on—and a lot less as well. This insight will be a Pastoral Music: “Liturgy isn’t supposed to require that we great help when the new liturgical translation comes. The get every word. It is repetitious with a purpose. You get emotionally engaging aspect of the celebration as a whole inside it liĴ le by liĴ le.”4 maĴ ers much more than the vocabulary or syntax of this We want the new liturgical translation to be good or that phrase. Truly engaging ritual is able to carry in its contemporary English—vigorous, straightforward, and wake texts which are not entirely grasped rationally. beautiful. We do not want fussy mannerisms or archaic This is not an argument for the Tridentine Mass, as in, oddities. The Roman document guiding the new transla- “since it’s not about rational comprehension anyway, just tion, Liturgiam authenticam, makes this point when it says put it all back in Latin.” I am speaking of the reformed that translations should be “comprehensible” and “easily liturgy in the vernacular, celebrated well. Perhaps I understandable” for “the people of our own time” (LA, P M • J-J 2007 39

30796_JJ 07 Main.indd 39 5/21/2007 12:21:51 PM 25). I am con dent that the translators are striving for and achieving these qualities. But even if here and there the new translations fall short of being immediately compre- hensible, they will work. That is to say, they will work if the celebration as a whole is working. Let us not waste too much energy critiquing this or that word in the new translations. We have too many other important things demanding our energy: good musical leadership, good congregational singing, good use of space and ritual, good use of silence, good hospitality, good preaching, good sense of mission to the wider world . . . and the list goes on.

A Spiritual Task

I recently heard someone comment that she will not be able to implement the new liturgical translations until she is at peace in her own heart. This is an important insight: For pastoral ministers and musicians, especially for those skeptical of the new translations, the task is fundamentally a spiritual one. How can ministers be at peace with the new translations? This is a deeply personal issue, and its solution will vary depending on one’s personal journey of faith. I do not mean to speak for others or tell others what to think or feel. I oě er the following re ections in the hope that they might touch something in someone else’s heart. Get beyond oppositional “us vs. them” thinking. When trust breaks down within the community of the Church, we  nd it diĜ cult to hear and respect what oth- Guidonian Hand, a medieval mnemonic device, aĴ ributed to Guido d’Arezzo, ers are saying. It becomes, for example, “us progressive used to assist singers in learningto sight sing. Image courtesy of the Music Library, University of California, Berkeley. liturgists vs. those Curial oĜ cials.” It becomes a win-lose game, where their win is our loss and vice versa. When we are caught in a polarized situation, we must strive to see open to correction, and be open to surprises. the common humanity and the common Christian identity Try to  nd the positive in what I am critiquing. When uniting us all. We are all on the same side. We are all in we are emotionally worked up, we fall into black-and this together. We are all learners, and no one possesses the white-thinking, and we demonize the person or posi- whole truth. Those who think diě erently—those Church tion with whom or with which we disagree. When we oĜ cials who look at things diě erently—have something are stuck in this rut, we must work especially hard to to say to us, and we must try to be open to hearing it. see the good in the other. There is probably much good in the new translation that critics are not yet able to see. For pastoral ministers and musicians, For instance, the new translation uses clearer references especially for those skeptical of the new to Scripture than some current texts do. We will be able, translations, the task is fundamentally a for example, to quote Scripture directly before receiving holy Communion: “Lord, I am not worthy that you should spiritual one. come under my roof.” In responsive dialogues, we will use the vocabulary of St. Paul: “And with your Spirit.” In my view, these are positive improvements over the cur- rent translation. Admit that I could be wrong. James Alison wrote a book Strive for spiritual detachment. When we are worked titled The Joy of Being Wrong: Original Sin Through Easter up about something, we tend to make it much more im- Eyes (New York: Crossroad, 1998). What a wonderful title; portant than it really is. There is emotional and liberat- what a wonderful book! For Christians, being wrong is ing value in being able to throw up one’s hands and say: not a personal defeat, it is a means of spiritual growth—a “Whatever.” By this I do not mean surrender to indiě er- giĞ and even a joy. Critics of the new translation, when it ence or apathy; I mean embracing the hallowed virtue  nally appears and is put to good use, may  nd that they of spiritual detachment. The translation issue is not as were not entirely right about the new translation. Maybe important as we think it is. Popes come and popes go, its implementation will go beĴ er than they expected. Be translations come and translations go, musicians come 40 J-J 2007 • P M

30796_JJ 07 Main.indd 40 5/21/2007 12:21:51 PM and musicians go. Only God is absolute, and everything We should not expect such revolutionary measures to else is secondary. Let go. be easy, and we should not expect that it will all be  gured out within one or two or three generations. The leaders of liturgical renewal and the pastoral musicians at the Revolution: A Last Thought ground level have done outstanding work since Vatican II, but surely they did not seĴ le everything de nitively. The Church as a whole has not yet arrived at a general Nor will our generation, nor will the generation imme- consensus on the meaning of the Second Vatican Council. diately aĞ er us. Given the magnitude of the revolution There is a theoretical debate going on about whether to that has occurred and is still occurring, the ride is bound interpret the Council through the lens of continuity or of to be bumpy. When it comes to issues of translation, we innovation. Some theologians and Church oĜ cials are are on one of those bumps. There will be more to come. calling for the hermeneutic of continuity, whereby the In the midst of it all, may we  nd inner peace. Council’s statements are understood in the context of the whole preceding tradition of the Church rather than as a Notes rupture with what went before. The “continuity” line of thought has something going for it, for the Council did 1. See my article, “And with Your Spirit: On the Reception build upon the whole tradition of the Church, and the of the New Translation of the Liturgy,” Assembly 33:1 (January Council’s statements do explicitly call for continuity (e.g., 2007), Notre Dame Center for Pastoral Liturgy, 6–7. in the use of Latin, Gregorian chant, and the treasury of 2. These are two words used in the proposed translations sacred music). that come under sharp critique from various commentators, And yet, when I ponder the shiĞ from a clericalized especially from Bishop Donald Trautman in several addresses, including his excellent address to the participants in the 2007 liturgy to a communal liturgy, the word “revolution” NPM Winter Colloquium. seems too mild to describe what the Council began. When 3. Aidan Kavanagh, , “Theology of Celebration,” in Virgil I think of the shiĞ from exclusive Latin to the admission C. Funk, ed., Music in Catholic Worship (Revised Edition): The NPM of vernacular, the word “revolution” seems too tame. Commentary (Washington, DC: The Pastoral Press, 1983), 8. With all due respect for tradition and continuity, Vatican 4. Gabe Huck, “You Have to Be There: Liturgy Requires Bod- II was, in some senses, a revolution. ies,” Pastoral Music 22:5 (June-July 1998), 22.

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30796_JJ 07 Main.indd 41 5/21/2007 12:21:55 PM Chapter News

gional conventions will be within driving Christ the King Seminary in East Aurora, From the Council distance and the perfect opportunity to New York. The convocation began with gather folks for a road trip. an evening of recollection on Friday led As you read this column, the Great Looking forward to seeing many of you by composer, teacher, and liturgist Bob FiĞ y Days of Easter are behind us and at the Chew and Chat, Directors’ Dinner, Hurd, who helped us explore the paschal we have returned to Ordinary Time. As and other chapter events in Indianapo- mystery in our own lives. “Music in Service the summer stretches before us, perhaps lis! of the Gospel” was the title of Saturday’s this is an opportunity to review the past keynote address, also by Bob, connect- year in your chapter. Thomas Stehle, chair ing our musical texts to the Gospels we Are your chapter’s events regularly Washington, DC proclaim at Eucharist. listed in “Chapter News?” If not, perhaps Mark Ignatovich Participants had their choice of several you could be the catalyst for that to hap- Wilkes-Barre, Pennsylvania workshops on Saturday aĞ ernoon. These pen. Or oě er to take digital photos and Ginny Miller included: “Prayer and Spirituality for the e-mail them to Ginny Miller for inclusion Rochester, New York Pastoral Minister,” “Liturgy Basics 101,” in the magazine. William Picher “The Extended Choir” (better choral Did your chapter host an end-of-the- Orlando, Florida sound inspires fuller assembly singing), year event? The time aĞ er Easter is a Jacqueline SchniĴ grund and a special session for musical youth/ great time to renew relationships with Rapid City, South Dakota teens entitled “A Brief History of Church colleagues and meet new ones. Perhaps Music for New Church Musicians Who consider this kind of programming for Haven’t Heard About What’s Been Goin’ next year. From the Chapters On for the Last 2006 Years.” The Con- Does your chapter invite members vocation ended with the celebration of to register together for the chapter con- Buě alo, New York Eucharist at 5:00 , followed by dinner vention discount each year? If you were (optional). unable to participate as a chapter in the Our NPM Chapter (Church Musicians’ Just a note: Categories of fees for the National Convention in Indianapolis this Guild of Buě alo) held its Eighteenth convocation included member early reg- year, perhaps one of next year’s three re- Annual Convocation on March 9–10 at istration, non-member early registration, walk-ins, and a special rate of $15.00 to encourage the aĴ endance of those age eighteen and younger. Jeě rey Nowak NEW! Chapter Director Cincinnati, Ohio (Miami Valley/Dayton Branch) Whether you are responsible for evaluating sung texts for your We are the Miami Valley Branch (Mi- community or someone who crafts ami Valley Catholic Church Musicians), texts for sung prayer, you’ll appreciate a subsection of the Cincinnati Chapter of these insights! Throughout, the focus NPM. We have had a very vibrant section is on the care that pastoral musicians of musicians and exciting performances must take to create and select the in our area in the past ten years. We are planning an Easter Lessons and words sung by worshiping assemblies. Carols-type program with as many choirs 017285 $5.00 as possible in our area. This should be fun. In order to encourage participation by as More titles in the WorshipWorks Series available many people as possible, we are planning online at www.wlpmusic.com! a wine and cheese evening for pastors and directors. This event will allow us to share our plans for the rest of the year as well as solicit help from them. World Library Publications • 800-566-6150 • www.wlpmusic.com Veronica Murphy Branch Director

42 J-J 2007 • P M

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30796_JJ 07 Main.indd 43 5/21/2007 12:21:57 PM Galveston-Houston, Texas

We held our chapter’s 2006–2007 kickoě event in August, when approximately 230 people gathered for an evening of fel- lowship, prayer, and a concert featuring Paul Tate. AĞ er a potluck dinner, people gathered in the church for evening prayer. This was followed by a concert featuring Paul with musicians from various parishes serving as the band and backup singers. Mr. Tate speci cally requested teens be Joliet NPM Chapter participants in the January 19 choral reading workshop involved, and his performance also fea- get to know him a liĴ le beĴ er. We had Litany,” “All Will Be Well,” and “Christ tured the music of two local composers. a wonderful time, and we are glad to Be Our Light,” accompanied by Lisa Mr. Tate’s music was available for purchase report that Bishop J. Peter Sartain loves Roy,  ute, and Judy Garber, keyboard following the concert, and he made himself music! Participating in this event were and organ. Michele Binnings served as available to the audience for conversation Linda Cerebona, David Mancini-Con- cantor. Faye Drobnik composed a special and pictures. The evening was a great suc- way, Nicholas Thomas, Mary Bolton, psalm for the occasion. Linda Vollmer cess and served as a major fundraiser. Carrie MarcoĴ e, and Barbara Masters. led the talented group of musicians from September’s meeting featured a read- Board members who could not aĴ end around the diocese. The group hopes to ing session of summer convention packets were Adrienne Rose and Connie Wilson. support many other retreats and missions provided by WLP. In October, we invited On January 19, our chapter also spon- throughout the diocese. parish music directors to gather for vicari- sored a choral reading workshop with Lynn Doucet ate lunch breaks to facilitate discussion of Mary Beth Kunde-Anderson from World Chapter Director concerns and needs for their parish music Library Publications. The program was ministries as well as to foster fellowship held at St. Michael Church in Wheaton, Rapid City, South Dakota and communication. In November many Illinois, with Megan Hassinger as our host. parishes hosted NPM St. Cecilia Sing The group read through various selec- Our chapter’s winter meeting was held concerts, including a large gathering for tions from Choral Companion, WLP’s new at St. Rose of Lima in Hill City on Janu- Taizé Prayer. music resource. Each member received a ary 27. Maria Munoz, a native of Mexico, Upcoming events include “Singing the complimentary copy of the collection. gave a beautiful presentation on bilingual Mass, not at the Mass,” which will focus Nick Thomas music. Although most people immigrating on the work of the Music SubcommiĴ ee Chapter Director to America try to learn English, she said, of the Archdiocesan Liturgical Commis- they are naturally more comfortable with sion in its year-and-a-half-long project to their own language. Munoz explained promulgate truly singing the liturgy. The LafayeĴ e, Louisiana that “the greatest evil in the world is project is two-phase: 1) Dialogue with the not hatred but indiě erence.” She gave a priests of the archdiocese to learn their The Acadiana Chapter of NPM gath- quick lesson on Spanish pronunciation, vision of sacred music for their parishes ered on October 27, 2006, for “Evensong: enabling us to sing several bilingual and to learn their needs and concerns; 2) An Ancient Prayer of the Church.” The songs. Accompanying her were Christy work with the priests to help them learn group participated in readings, psalms, Leichtnam, piano, and Peg Westrich, to sing (chant) the liturgy in whatever way and re ections at the short but inspiring guitar. They lead music at the monthly is appropriate for them, their voices, and service held on the campus of the Univer- Hispanic liturgy at Blessed Sacrament. Peg their worshiping assemblies. Members sity of Louisiana at LafayeĴ e. Later, the and Christy shared the blessings they of the commission, along with members group met at a nearby restaurant to plan have reaped from their participation in of the local chapter, will facilitate this the year, which was scheduled to include the group. All were encouraged to join process which is geared toward support a visit by a “bell master” to assist bell with the musical ensemble sometime. and encouragement of the priests to use choirs being formed in many parishes. Mary Ann Fanning distributed packets their voices in singing the liturgy. At the dinner, Faye Drobnik from the of music from WLP complete with CD and We are excited about this and all of LafayeĴ e Diocese’s OĜ ce of Worship catalogues. Songs for every season and ev- our plans for this year and look forward spoke on “Helping Each Other: The Call ery combination of voices were included. to another large contingent aĴ ending the in Music and Worship.” About twenty- ve Sister Eleanor Solon, , spoke on the Convention this summer in Indianapo- members aĴ ended. history and use of chant, citing examples lis! On December 14 our chapter sponsored from our hymnals. She emphasized the ease Kathleen Demny an Advent service held at St. Joseph in of singing, beauty, and memorable tunes. Chapter Director Milton, which featured members of NPM Our next event was a March 3 presen- as choir, cantors, and song leaders. Father tation which included these topics: basic Joliet, Illinois Bill Gearherd presided and spoke on resources for small parishes, how to teach the spirituality of St. John of the Cross. new music, music for the RCIA, and the Our chapter oĜ cers had a rather un- His homily was entitled, “God Wants an presider’s view of music in the liturgy. usual event—“Take Your ‘New’ Bishop Undivided Heart.” An NPM children’s choir workshop is to Lunch”—to let the bishop know about The music included “Advent Gathering planned for June to give potential leaders our chapter and what we do and just Song,” “God Be in my Head,” “Eucharistic of children’s choirs the tools for recruit- 44 J-J 2007 • P M

30796_JJ 07 Main.indd 44 5/21/2007 12:21:58 PM dition: recog- Stolk who organized the event nizing college In October, NPM/DC sponsored cantor students for workshops at Immaculate Heart of Mary their previous in Lexington Park, Maryland, and at the contribution to Cathedral of St. MaĴ hew in downtown music ministry Washington. Thanks to Carol Connolly, in their home Mary Stevens, Tom Stehle, Bill Culver- parish as well house, and Jennifer Goltz. Also in October, as their current our Spanish-speaking pastoral musicians involvement in gathered for an all-day workshop in Span- parish or cam- ish with presentations on various aspects pus worship. of ministry, liturgy, vocal technique, music Those hon- reading, and psalm repertoire. Thanks to ored in 2006 Fernando Delgado and those from Our were Janelle Lady, Queen of the Americas, as well as B o r k o w s k i , Lourdes Montgomery, Father Juan Puigbo,

College music ministers honored by the Rochester NPM Chapter in 2006 Peter Burke, Father Augustín Mateo, Jose Sacín, and Michelle Cook, Adriana Balzán. Katlyn Gor- In November, more than ninety sing- ment, organization, and repertoire. The man, Spencer Herendeen, Grace Rob- ers from twenty-three parishes in three focus will be on understanding the pur- inson, Kelly Soprano, Sarah Wood, and dioceses gathered for an all-day choral pose of children’s choirs as well as ways Danielle Zimmer. An elegant reception workshop with Alan Hommerding at Our to help children love the liturgy through followed. Lady of Mercy Parish in Potomac, which their participation. Ginny Miller ended with Saturday evening liturgy with Jacqueline SchniĴ grund Chapter Director Father Paul Colloton presiding. Thanks to Chapter Director a long list of people who made that event San Antonio, Texas a smashing success. On Friday, November Rochester, New York 17, more than  Ğ y musicians gathered at Our chapter is very excited about a St. Patrick in downtown Washington for Our NPM chapter once again cel- special project for the fall of 2007 which vespers and a social celebrating the feast ebrated the Feast of St. Cecilia in a festive has all the marks of becoming an an- of St. Cecilia. Bishop Martin Holley pre- way. Participants gathered at Sacred Heart nual program. Tentatively titled “First sided, and he was joined by retired Bishop Cathedral for a gala concert and reception Tuesdays,” the program in the fall of 2007 Leonard Olivier. Ronald Stolk, parish on Friday evening, November 17, 2006. will focus on the psalms. organist and music director, led the music Performers included the Osgood Brass This event will be co-sponsored by our and provided beautiful improvisations; a Trio; Sarah Mancini (soprano); VOCE Vo- chapter, the Oblate School of Theology, small schola lent support and harmony to cal Ensemble (Chris Yule, director); Joseph St. Mary’s University, the Archdiocesan vigorous congregational singing. A recep- Ilardo (bass); St. Paul’s handbell choir; and Catechetical OĜ ce, and ACTS Missions, tion followed in the magni cent rectory organists Ron Fabry and Rita Manners. which oversees the ACTS Retreats for the dining room. Thanks to Ronald, Msgr. The future of NPM was represented by archdiocese and beyond. Salvatore Criscuolo (pastor of St. Patrick), a young violinist, Dillon Kennedy, who A tentative list of topics includes: “His- and Charlene Dorrian and her crew who played the  rst movement of Mozart’s tory of the Psalms,” “Classi cations of the prepared treats from The NPM Cookbook: Concerto No. 3 in G Major. The program Psalms/Praying with the Jewish People,” With Lyre, Harp, and Spatula. Rick Gibala, concluded with participants singing “Ave “Praying the Psalms with the Risen Jesus to author of the cookbook, was on hand to Verum” by Mozart in honor of the 250th the Father in the Liturgy of the Hours,” and autograph copies. anniversary of the composer’s birth. “Connecting Psalms to the Lectionary” We are also excited to announce our That evening we also honored Helen (arrangements for Sundays and feasts). new website. Visit us at www.npmdc. Halligan, retired music director of St. Speci cs will be developed during the org. Mary, Downtown Rochester, with our summer. Mary Beaudoin chapter’s 2006 St. Cecilia Award. Helen John Halloran Chapter Director has given her life to music ministry in the Chapter Director Rochester Diocese, and she is known as an excellent musician who has fostered the Washington, DC appreciation and use of various styles of liturgical music during her career. Helen Our board of directors has been very was a member of the core team of the busy over the past several months pro- Rochester 1986 and 2002 regional NPM viding a variety of programs for pastoral conventions as well as a founding mem- musicians in our area. In September 2006, Did your read about your chapter in this ber of our Rochester Chapter. Helen and we held our  rst Catholic parish organ column? “News from the Chapters” may be Ron Fabry, director of music at St. Paul, tour: Twenty “crawlers” visited three sent to Ginny Miller at [email protected]. Webster, were also presented with NPM downtown DC historic organs. Several Please single space using Times New Roman former chapter director pins. had never seen the inside of a pipe organ font. Indented paragraphs are helpful. Photos Our chapter also began a new tra- before this event. Thanks go to Ronald (digital or scanned) are most welcome!

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30796_JJ 07 Main.indd 45 5/21/2007 12:21:59 PM Join OCP at these outstanding music events!

St. Louis Jesuits 30th Anniversary Concert Tuesday, July 10, 7:30 – 8:30 PM Join Bob Dufford, SJ, John Foley, SJ, Tim Manion, Roc O’Connor, SJ, and Dan Schutte for a spirited journey through the celebrated songs from this legendary group.

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30796_JJ 07 Main.indd 46 5/21/2007 12:22:01 PM OCP Showcase Today’s Music for Today’s Church Thursday, July 12, 1:30 – 2:30 PM Come and experience the newest products and materials from OCP and meet the faces behind our music. Attendees will receive a packet containing some of the best resources OCP has to offer!

Cantemos: Harmony in Faith: Music in Spanish Music from Asia and English and the Pacific Rim Sounds and Rhythms Sounds and Rhythms Tuesday, July 10, 9:30 – 10:30 PM Tuesday, July 10, 9:30 – 10:30 PM Pedro Rubalcava, Pablo Sosa Rufino Zaragoza, OFM, Ricky and Peter Kolar explore the Manalo, CSP, and Barbara amazing musical elements of Tracey celebrate the gifts for Latin American cultures. worship and music the Asian and Pacific Rim communities share with the Church.

30796_JJ 07 Main.indd 47 5/21/2007 12:22:15 PM Reviews

Psalmody emphasis always on the voice. Because of Here is a publication that should be this, the songs are very adaptable, working on the shelf (beĴ er yet, at the keyboard) well with forces ranging from an unac- of all practicing liturgical musicians. The Psallite companied cantor and congregation to team of Alonso and Huck has created text an SATB choir with a keyboard and guitar and music that will enhance the prayer of The Collegeville Composers Group. The accompaniment. In short, no maĴ er what communities everywhere. By Heart oě ers Liturgical Press. Accompaniment/vocal your parish’s musical resources, you can seasonal music for gathering, general edition three-volume set (Years A, B, and celebrate with these songs. intercessions, and Communion proces- C), 978-0-8146-3060-0, $59.95, discount If you’re familiar with the classic sionals. for  ve or more copies. (Years B and C cur- Gelineau Psalter, you’ll understand these Many of the congregational refrains rently available; Year A available in July psalms. The verse tones are original yet employ all or some familiar seasonal tunes 2007). not diĜ cult. The antiphons are sometimes that range from chant and spirituals to striking, sometimes sweet, but always the traditional Caribbean “Halle, Halle, Inspired by the antiphons and psalms memorable. The texts for the verses are Halle” and “Take, O Take Me As I Am” of the Roman Missal, Psallite contains set- from the Grail translation of the Psalter by John Bell. The book of bulletin inserts tings for the opening song, responsorial (1993 revision), so they’re inclusive, for and a CD-ROM contain bulletin articles psalm, and Communion processional for the most part. The biblical canticles are and table prayer for the home linked to every Sunday, solemnity, and major feast taken from the NRSV with some original this music. of the liturgical year. The heart of Psallite translations. This is music that comes from the comes from the new Communion songs. This collection contains twenty-eight heart of the liturgy and from the heart They take their texts and themes from titles from the Year C edition of Psallité. of two men imbued with the spirit of the the liturgy of the Word, especially from If you’re not sure that you’re ready to liturgy. This music was born from their the Gospel of the day, transformed into commit to the more than 600 songs of the experience of worship at St. Nicholas processional music. full Psallite experience, this collection will Parish in Evanston, Illinois. Very highly The  ve members of the Collegeville serve as a great introduction to the collec- recommended! Composers Group—Carol Browning, tion. Accompaniments and reprintable Tim Dyksinski Catherine Christmas, Cyprian Consiglio, antiphon graphics for the congregation Paul Ford, and Paul Inwood—have con- are also included in the book. Choral Recitative tributed seĴ ings of these proper liturgical I love the musicality of these works texts to this collection. The music can be and applaud the systematic eě ort they May God Be Merciful to Us. Robert J. led by a cantor without accompaniment or represent. No maĴ er your opinion of these Powell. Two-part. Trinitas, 4528, $1.10. It’s by a schola singing the verses and adding compositions as pieces of music, you must a safe bet that when the names Robert choral embellishment. The music ranges acknowledge the signi cant contribution Powell and Trinitas are found together from chant style to Afro-Caribbean to folk- these composers are making through their some worthwhile music is present, and song. The music  ows organically from the careful consideration of the use of music this composition is no exception. Using the liturgy and is sure to enhance the liturgical in the liturgy, their successful aĴ empt to text of Psalm 67, Mr. Powell has craĞ ed a prayer of celebrating communities. Psallite place the voice in a position of musical forty-four-measure anthem that is mostly makes a needed contribution to musical prominence, and their commitment to the unison with about eight measures of liturgy. A “must have” resource for those singing of psalms as the primary prayer two-part singing. The dynamic markings responsible for music in the Church. language of the liturgical assembly. range from p to mf, and the tessitura lies Tim Dyksinski Joe Pellegrino in a comfortable range. Key, meter, and tempo changes provide added interest to We Will Follow You, Lord: Congregation this three-page anthem, as do several chro- Year C matic twists. Perfect for women’s choirs By Heart: Seasonal Songs for and accomplished children’s choirs. Psalm Music From Psallite. The Collegeville Gathering, Interceding, and 67 is used as the responsorial psalm on Composers Group. The Liturgical Press. Ac- Communion Thanksgiving Day, the Solemnity of Mary, companiment book, 0-8146-3075-8, $11.95. Mother of God (January 1), and at several CD, 978-0-8146-7964-7, $16.95. Tony Alonso and Gabe Huck. GIA. other times during Ordinary Time. SATB, cantor, congregation, keyboard, Psallite: Sacred Song for Liturgy and Life guitar. Octavo collection, G-6541, $ 10.95. O Sweet and Sacred Feast. Michael Mc- is an ambitious project that encompasses Full score, G-6541FS, $19.95. CD, G-624, Cabe. SATB. Trinitas, 4551, $1.30. The works a wide variety of musical styles with the $16.95. Bulletin inserts, G-6541B, $24.95. of Michael McCabe are always well craĞ ed 48 J-J 2007 • P M

30796_JJ 07 Main.indd 48 5/21/2007 12:22:26 PM and appealing. This is a worthy addition (three various); Eb instruments (two various); text. This would be an excellent choice to seĴ ings of the English translation of “O bass clef instrument. GIA, G-6214, $1.50. for a gathering song at a special parish Sacrum Convivium.” The choral writing This composition, which is also found occasion. Well within the grasp of most is very eě ective and well suited to the in the collection and CD Fountain of Life, parish choirs and congregations, here is voices. Parish choirs will  nd this music is reminiscent of the music of the Taizé music sure to  nd favor with the whole to be accessible and rewarding. Here is community. There are four vocal varia- liturgical assembly. To make it really a welcome addition to liturgical choral tions (descants) oě ered and seventeen dance, add a hand drum as the arranger music on Eucharistic themes. Moderately instrumental parts. This would make  ne suggests. Ideal for combined choirs and easy, very highly recommended. processional music for Communion dur- ensembles. Worth looking into. ing Advent, on Marian feasts, and all year We Glory In Your Cross. Donald Pearson. long. If you don’t know about the Rizza When Grief Is Raw. David Haas. Choir, con- SAB. Trinitas, 4537, $1.10. This marvelous collections, check the GIA catalogue. You gregation. GIA, G-6154, $1.50. Instruments, text from the opening chant of the Triduum will be glad you did. G-6154INST, $4.00. Guitar, G-6154G, $3.00. is set for choir alone, to be sung a cappella This seĴ ing has much to oě er pastoral in refrain-verse style. The refrain is SAB Ave Maria. Tomás Luis de Victoria, ed. Rich- musicians looking for music and texts while the  rst verse of Psalm 67 is SA, the ard Proulx. SATB. GIA, G-6228, $1.50. This for funerals and for the FiĞ h Sunday of second is men in unison, and the third is venerable motet needs no introduction Lent, Year A. Many performance options SAB. There is a starkness in this music, to most choral musicians. If your choir are available, from unison choir with but it doesn’t sound severe. This is a very has not already sung Victoria’s classic congregation to SATB choral. In addition short (two-page) but moderately diĜ cult seĴ ing—or if your choir has not sung to the keyboard accompaniment, there are seĴ ing. The creative pastoral musician will much sixteenth or seventeenth century parts available for guitar, C instrument,  nd a way to make this excellent piece part music—give this gem a try. Here is a and cello or bassoon. This composition of the Holy Thursday liturgy, perhaps as a well edited and clean score. The chant would make a  Ĵ ing selection for music prelude. Very highly recommended. version precedes the motet and would at funeral vigil services; and funeral be lovely as well preceding the singing choirs looking for prelude, preparation of For the Fruit of All Creation. Alice Parker. of the motet. If this composition is not in giĞ s, or anthem music will  nd this piece Two-part with congregation, keyboard. GIA, your choral library, here is the edition for satisfying, whether sung in four parts or G-6264, $1.40. F. PraĴ Green’s wonderful you. Perfect for Advent, Christmas, and unison, with or without the instruments. text is ideal for the Thanksgiving Day Marian feasts. Here is music that conveys compassion celebration. As is her way, Alice Parker and hope. An excellent addition to the provides a seĴ ing that makes the text Come, O Just One. Lynn Trapp. SATB, con- funeral repertoire for any parish. come alive with even greater meaning. gregation, organ, oboe. GIA, G-6194, $1.75. This is an easy and cheerful work that This introit hymn for the Advent Season Remember You Are Dust. Paul Tate. Can- can be sung in many variations: two-part is of high quality and deserves to be used tor, congregation, keyboard, C instrument, choir with congregation, adults and chil- in our Advent celebrations. The teaming guitar. GIA, G-6289, $1.50. Many commu- dren, or two soloists and choir. The last artistry of Mr. Trapp and Benedictine Sister nities will  nd this simple and singable page oě ers an SATB hymn version with Delores Dufner, coupled with the liturgical composition the right choice for the dis- congregational response. Whatever your and pastoral insight of Rev. Greg Labus, tribution of ashes on Ash Wednesday. A resources, large or small, this is for you! has produced a series of introit hymns for guitar and C instrument part are provided Check it out and let your imagination go. various liturgical seasons and occasions. In in addition to the keyboard accompani- This is a winner! this selection, using the tune N K ment. Very easy, practical, and eě ective.  H H, the antiphon is im- Worthwhile. Nova, Nova. Arr. Richard Proulx. Solo voices, mediately familiar and accessible to the Tim Dyksinski unison choir, congregation, organ, recorder congregation. The original writing for the or  ute, hand drum or tambourine,  nger SATB choral verses is moderately diĜ cult cymbals or triangle, three handbells (D, E, for average parish choirs. Organists will Organ G). GIA, G-6222, $1.50. This well-known relish the marvelous keyboard part with medieval text and tune are cleverly set for its “Schiedt-like” intonation. A convinc- The Ultimate Organ Book: For a congregation singing the simple refrain ing oboe line crowns and decorates this Weddings, Funerals, and the in English or Latin with the verses split Advent processional. This selection could Church Year between a narrator and vocalist taking also be done simply with cantor, congre- the role of Gabriel. Adult and children’s gation, and organ. Consider using it as Hal H. Hopson, comp. and arr. Hope choirs will  nd this charming and pleas- the gathering song for the whole Advent Publishing. 8315, $49.95. ing. From the recorder descant to the organ Season. Here is music that makes a real accompaniment, the instrumental as well contribution to the Advent repertoire Most of the pieces in this collection are as the vocal lines are very easy. Excellent liturgically and musically. Very highly arrangements or editions of music taken for use on the Fourth Sunday of Advent recommended! from the established organ literature— or the Solemnity of the Annunciation “works of  Ğ y-eight composers over a (March 25). Christ, Our Host, We Come Adoring. period of  ve centuries,” as the foreword Arr. William Rowan. SATB, congregation, notes. From the standpoint of breadth Magni cat. Margaret Rizza. Unison or mixed keyboard. GIA, G-5964, $1.50. A charming, and depth, this book would be a valuable voices with congregation, organ, opt. C instru- anonymous sixteenth century English purchase for an intermediate level student ments (seven various, duet); Bb instruments tune is used to set Mary Louise Bringle’s whose organ library and budget are lim-

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30796_JJ 07 Main.indd 49 5/21/2007 12:22:26 PM ited. At $49.95, one buys three pieces for a advantage. He calls for preachers to seek embodying the preaching event, and being dollar in this book! The  rst one hundred feedback and oě ers proven methods for present to it. She highlights the Episco- pages or so consist of music to be played doing so. pal/Anglican tradition of formation by for weddings and include fourteen bridal Mulligan writes from the perspective liturgical immersion and situates preach- fanfares in nine major keys, processionals, of the Disciples’ tradition of the double ing solidly in that context. She admits and prelude music. In addition, Hopson banquet, which she explains briefly. to preaching mostly to people who are has successfully arranged several clas- She then oě ers some of her pedagogical relatively well-oě , so her advice regarding sics such as Rachmaninoě ’s “Vocalise,” strategies—including practical pointers prophetic preaching in such a community Mozart’s “Alleluia,” and Bach’s “Jesu, for the preacher—especially regarding is well taken. Her call to preachers to grow Joy.” Matched with some volumes from preaching at weddings and funerals. in aĴ entiveness to life around them chal- Hopson’s “Creative Use” series, this col- Her tips for eě ective delivery remind the lenges them to be sensory people who then lection would be a practical resource for reader of the sound advice received in use sensory language in the pulpit, a most many organists serving the church. speech and preaching classes. When she  Ĵ ing style for the sensory experience we Heather Martin Cooper refers to narrative preaching, however, call liturgy. it is as if it were story-telling instead of The distinctions among the  ve es- a text constructed like a story, involving sayists delight the reader, while their Books movement from beginning through plot unanimity about the need for prayer, the development to the end. Her insistence similarities in the process of preparing to Preaching at the Double Feast: upon the importance of theology in and preach, and their insistence on carefully Homiletics for Eucharistic of the preaching is most welcome. exegeting the congregation give their Worship Halvorsen describes the Orthodox advice an even more powerful voice. perception that there is one liturgy not Honora Werner,  Michael Monshau, ed. The Liturgical divisible into two parts. He notes the Press, 2006. 240 pages, paperback. ISBN- sacramental use of human language in the 13: 978-0-8146-2780-8; ISBN-10: 0-8146- Scriptures, preaching, hymns, litanies, and Liturgy and Law: Liturgical 2780-3. $21.95. prayers, all functioning as encounters with Law in the System of Roman God, with Jesus. The preacher is a poet Catholic Canon Law Each of the  ve authors of the essays writing a liturgical text for one-time use. in this work brings insights from various The preaching is the only part of the liturgy John M. Huels. Wilson & La eur Ltée, traditions of the double feast of Word and that is spoken, not sung, in Orthodox prac- 2006. 250 pages, paperback. ISBN 2-89127- Table in a particular community: Roman tice, so it must be as musical as possible. 773-2. $34.95 (Canadian). Catholic, Disciples of Christ, Episcopal, He develops a section on the spirituality and Orthodox communities. These in- of the preacher, relying on Chrysostom’s Liturgy and Law: Liturgical Law in the sights include historical bases for the tra- advice for preachers. In another part of System of Roman Catholic Church Law is the ditions’ practices, theological emphases, his essay, Halvorsen contrasts the in u- latest in the Gratianus collection of canon and the role of preaching at the Eucharist ence of hours of media “preaching” the law texts. Authored by John M. Huels, a in the traditions. Each author also pres- popular culture to the in uence of the tenured professor of canon law at Saint ents a summary of how she or he teaches  Ğ een-minute sermon. This observation, Paul University in Ontario, Canada, this homiletics with an eye to the double for him, supports the patristic insistence book serves not only to place liturgical feast. All include bibliographies—some on “the force of eloquence.” law in its appropriate context within the annotated—making their contributions Wiesemann-Mills’s lyrical style and broader system of Catholic ecclesiastical even more valuable. In reading this book, clarity make for delightful reading. Her law, it also provides clear, concise answers veteran preachers will review and refresh treatment of the role of liturgical preach- to many frequently asked questions on their understandings and reframe their ing in the Catholic Church oě ers a focus liturgical issues. experience of preaching, novices will re- for preachers torn between people’s need While I suspect this text will become call aspects of preparation for preaching for catechesis and the call to proclaim a standard resource work for canonists they may have forgoĴ en or neglected, and the Gospel. Her section on images and and liturgists alike, it also belongs on the teachers will have the joy of peering over imagination challenges the preacher to bookshelves of parish priests and chancery colleagues’ shoulders to observe other stay alive in the present culture and in oĜ cials. Both of these laĴ er groups are ways to teach key concepts. its artistic heritage as well. She highlights called upon frequently to answer liturgical Each essayist oě ers many giĞ s, includ- the importance of the Trinity in preach- questions that involve canonical subtleties, ing those noted here. Michael Monshau ing at the double feast. Also included are and the primary bene t of Liturgy and Law begins with a  ne, albeit brief history appendices containing materials she uses is not only that it provides the proper of the development of the ritual of the with her students, which is another valu- answers to common questions but also double feast in Christian worship. As able giĞ . that Huels clearly and succinctly explains he describes some teaching strategies, Clader begins her discussion from the the why underlying the answers. In fact, he clearly explains focus, function, and perspective of an Episcopalian preacher a majority of the work focuses on the un- moves drawn from both David BuĴ rick with an emphasis on personal prayer—in derlying principles needed to understand and Thomas Long (though he fails to cite preparing to preach, for the people who the development, interpretation, and them in his bibliography!) and supplies will hear the preaching, and as one is adaptation of liturgical law properly. good illustrations. His discussion of the preaching. Her comparison of the preacher It is diĜ cult to overestimate the im- diversity among hearers uses the Myers- to a musical instrument eě ectively con- portance of this contribution to canonical Briggs Personality Pro le types to good veys the importance of breathing correctly, literature, given the recent revision of the

50 J-J 2007 • P M

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30796_JJ 07 Main.indd 51 5/21/2007 12:22:27 PM Roman Missal and the number of docu- individual personality skills leads to ments on the liturgy regularly issued by personal discernment, emotional health, the dicasteries of the Roman Curia. Simply and happiness in using the strengths God to identify whether or not a document is has given us. Ministry bene ts when indi- legislatively binding is oĞ en a challenge vidual skills are used in harmony. Natural in itself before one can even aĴ empt to personality skills, however, give rise to interpret or apply it accurately. certain needs, which may be at odds with Huels does an excellent job of illumi- the needs of others who lack speci c skills nating complex canonical concepts, like or who have seemingly opposite needs. custom, which are oĞ en invoked but For example, if two persons possess strong frequently misunderstood. For example, leadership skills, they may both want to canon twenty-four states, in part, that be the decision maker. If a staě member no custom contrary to or beyond canon as one of the foremost experts on liturgi- is giĞ ed with organizational skills, her law may obtain the force of law unless it cal law issues. With this newest book, he need for order may place her at odds with is reasonable. Therefore, to understand oě ers one of the most cogent explanations those who have a high tolerance for chaos the canon properly, one must be able to of general administrative acts available in or  exibility. identify an unreasonable liturgical prac- English and  rmly cements his growing Serious anxiety, depression, and ir- tice. Instead of leaving this as a merely reputation as an authority on canonical rationality that continue for an extended subjective standard, Huels provides a general norms. period may be signs of emotional illness. concrete example from a recent document: Amy Strickland Over time, dealing with emotionally ill Redemptionis Sacramentum, the instruction individuals can lead emotionally healthy from the Congregation for Divine Worship ministers into some of these feelings and and the Discipline of the Sacraments on When Ministry is Messy: behaviors themselves. Brown believes that certain maĴ ers to be observed or avoided Practical Solutions to DiĜ cult emotional illness in ministers not only has regarding the Eucharist. Huels explicitly Problems an impact on other ministers but may also asserts that the practices expressly repro- aě ect the ministries themselves, as mani- bated in Redemptionis Sacramentum must Richard C. Brown. St. Anthony Mes- fested in unjust employment practices, a be considered unreasonable; therefore senger Press, 2006. 116 pages, paperback. decreased willingness by volunteers to they may not be invoked as custom. ISBN 0-86716-777-7. $12.95. work in ministries led by the emotionally These include: (1) the celebrant breaking ill, and a decline in the motivation of other the host at the words of institution; (2) Richard Brown believes that there are ministers. These are particularly evident altering liturgical texts; (3) laypersons of- lessons to be learned from the ministry of when it is the pastor who is emotionally fering the homily during Mass; (4) persons Jesus that speak to con ict within ministry ill. distributing unconsecrated hosts or other and free ministers from the anxiety and Intentional sin is capable of doing edible or inedible things before or dur- fear that arise from this con ict. The oc- great harm to ministry, particularly if the ing the Mass; (5) arbitrarily suspending currences of unjust practices in parish em- sinfulness can harm the ministry and has the celebration of the Eucharist for the ployment and high instance of emotional an impact on many ministers or minis- faithful on the pretext of “fasting” from illness in pastors, which Brown discovered tries. Brown identi es the most common the Sacrament; (6) using as sacred vessels in earlier research, motivated him to look categories of such sins as pride, injustice, at Mass containers made of glass, clay, to these scriptural insights for solutions scandal, lack of courage, sloth, factions, or earthenware or which are otherwise to con ict situations. unjust accusations, envy and hatred, common, lacking in quality and/or artis- Brown  nds the scriptural foundation slander and lies, and enmity and strife. tic merit, and easily susceptible to rust, for the identi cation of and solution to the Brown believes that Scripture provides deterioration, or breakage; (7) celebrating primary sources of con ict in MaĴ hew a means of overcoming these causes of Mass without proper vestments; and (8) 23. In Jesus’ denunciation of those scribes con ict. Through an aĴ itude of loving inappropriately relying upon the use of and Pharisees opposed to his teaching or servanthood (MaĴ . 23:11, 20:27–28, 1 extraordinary ministers in the presence unfaithful to their own interpretation of Cor. 9:19), ministers are able to place the of suĜ cient ordinary ministers. the Torah, Brown identi es personality needs of those served above the needs The book concludes with several useful diě erences, emotional illness, and sin as arising from their own personality traits. appendices: a listing of principal liturgi- the root causes of the hypocrisy of these A broader understanding of logic as the cal books and rites; the current Vatican Pharisees. In Brown’s view, Jesus responds creative use of our intellectual capabili- documents on the Roman liturgy; a table to this hypocrisy by calling for loving ser- ties is seen by Brown in the writings of of correspondence between the former vanthood, the use of logic, loving forgive- John of the Cross and Teresa of Avila and General Instruction of the Roman Missal and ness, and a willingness to act. These same in the Gospel of John. By using creative the current text; and an essay on literary responses, posits Brown, can overcome logic, ministers can raise questions about forms in canon law. The laĴ ermost of these con icts among church ministers. con ict situations and develop creative is the most important, since, for example, The three principal causes of dysfunc- solutions which focus on the needs of the it makes clear distinctions between those tional con ict within parish ministry ministry and not the ministers. The many canons which are unambiguous prohibi- presented in the book are personality examples in Scripture of Jesus calling us tions or absolute demands versus those diě erences, emotional illness, and sin. to loving forgiveness invite ministers to which are merely suggestions or recom- Brown sees differences in individual be more aware of the needs of others and mendations by the legislator. personality skills as part of God’s overall less judgmental and confrontational in Huels has already established himself plan and believes that knowledge of our handling con ict situations. Finally, tak-

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30796_JJ 07 Main.indd 52 5/21/2007 12:22:29 PM Are you singing Misa Luna yet? Look who’s singing its praises! “So many excellent settings are just too difficult for most of our choirs, and simple settings are often not excellent in quality. Here is a setting that is simple, idiomatic, and of the highest quality.” Frank Brownstead, Director of Music, Cathedral of Our Lady of the Angels “...so catchy and so versatile it will stay in your heart for a long, long time!” “...tan memorable y tan versátil que permanecerá en nuestros corazones por mucho, mucho tiempo.” Jaime Cortez, Composer “...opens an important door for all of us to open our eyes, our hearts, and in this case, our ears, to drink in the celebrative and prayerful strains of a multicultural church gathering around a common table…Well done, well done, indeed!” David Haas, Composer “Peter Kolar’s well-crafted musical phrasing of the texts is faithful to the natural speech patterns of both Spanish and English…” Bob Hurd, Composer “...an absolute joy to play. The vocal range is excellent for the assembly. It is a work of art.” Mary Frances Reza Founder of the Southwest Hispanic Musicians Conference “...a worthy response to a continuing hunger for bilingual musical settings… accessible to all levels of musicianship… beautifully musical and adaptable to local multi-cultural musical expressions as well.” Kathy Lindell, Liturgist

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30796_JJ 07 Main.indd 53 5/21/2007 12:22:30 PM ing action (MaĴ . 23) is a necessary step in About Reviewers Publishers eliminating destructive con ict. Accord- ing to Brown, when ministers adopt the Ms. Linda Budney, a canonist, is the pas- GIA Publications, 7404 S. Mason Avenue, aĴ itudes and perspectives of servanthood, toral associate for adult faith formation Chicago, IL 60638. (800) 442-1358; web: logic, and loving forgiveness, the causes at Our Lady of Mercy Parish in Potomac, www.giamusic.com. of con ict can be prevented, identi ed, or Maryland. remedied before serious harm is done. Hope Publishing Co., 380 S. Main Place, Brown’s use of concrete examples Ms. Heather Martin Cooper is the director Carol Stream, IL 60188. (800) 323-1049; to illustrate situations that can lead to of liturgical music at St. Monica Parish, St. web: www.hopepublishing.com. harmful con ict helps the reader appre- Louis, Missouri. ciate the value of his approach. At times, The Liturgical Press, PO Box 7500, Col- however, his interpretation of Scripture as Mr. Tim Dyksinski is the director of liturgy legeville, MN 56321-7500. (800) 858-5450, the foundation of solutions to these situ- and music at St. Richard of Chichester ext. 2560; web: www.litpress.org. ations seems a bit forced, particularly in Church, Racine, Wisconsin. cases of personality con ict. Although the OCP Publications, 5536 NE Hassalo, Dr. Joe Pellegrino is an assistant professor remedies identi ed by Brown seem plau- Portland, OR 97213. (800) 548-8749; web: in the Languages, Literature, and Com- sible, it would have been helpful to address www.ocp.org. how speci c management strategies—for position Department at the University example, developing sound administra- of South Carolina Upstate, Spartanburg, St. Anthony Messenger Press, 28 W. tive structures or insisting on a collabora- South Carolina. Liberty Street, Cincinnati, OH 45210- tive working environment—might serve 1298. (800) 488-0488; web: hĴ p://catalog. as tools for implementing the insights Ms. Amy Strickland is a canonist for americancatholic.org. gleaned from Scripture. That said, Brown’s the Archdiocese of Boston and teaches book provides a clear understanding of canon law at Saint John’s Seminary and the eě ects of con ict on pastoral care and Weston Jesuit Theology Seminary in Mas- Trinitas—see OCP. encourages those in positions of ministry sachuseĴ s. to address these con icts for the good of Wilson & La eur Ltée., 40 rue Notre- each other and the faithful. Sister Honora Werner, , is a Dominican Dame E, Montréal, Québec, H2Y 1B9. (800) Linda Budney religious living in Caldwell, New Jersey. 363-2327; web: www.wilsonla eur.com.

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54 J-J 2007 • P M

30796_JJ 07 Main.indd 54 5/21/2007 12:22:32 PM 30796_JJ 07 Main.indd 55 5/21/2007 12:22:33 PM also choose four measures per system—a Professional Concerns choice which can also be adjusted freely. I’m now presented a page with ten staves and four measures. This represents one system, and due to the number of staves, B R R. R, J. I’ll keep the composition to one system per page. By default, all staves have the treble clef. Brackets and braces can be added where needed, so I’ll brace the boĴ om ing produced—choir, orchestra, piano, two staves to make a piano staě , bracket Using Notation guitar? Is there a need for a conductor’s the next two up for the choir, bracket the Software: Encore score—a master plan for the whole piece second through fourth for the brass, and of music? leave the others clear. Clefs can be changed If you are composing for choir, will each For centuries, the best way to tell other as needed, by measure or by the whole voice part need its own separate staě , or musicians how to play what you had writ- staě . can the soprano/alto be on one staě ? Will ten was to use the  ve-line-four-space staě One thing that those Italians in the there be a need for a piano score, or is the originated by the Italians in the middle middle ages seemed to realize is that the piece a cappella with no need for a piano ages; this arrangement had more or less human eye likes to see things in easy-to- rehearsal reduction? evolved from the four-line-three-space comprehend groups, preferably small Most notation soĞ ware will pose sev- staě still used to notate chant. ones, about  ve items in a group. That’s eral questions as soon as the program is While the Italians didn’t invent every- part of why the staě we know and love opened, but before you even get to that thing about our current notation system, uses  ve lines. In this score we’re creat- point, you have to answer other important they did re ne and standardize many ing, there are three groups of two staves questions. Will the computer you plan to things about it, including note values and (piano, choir, unmarked) and one group use have the resources it needs to handle spacing requirements. of three (brass). this soĞ ware? Is there enough space on As I was taught, every rule about Top to boĴ om, the staves are alto sax, the hard drive for the program to run? music can be broken (including the rule trumpet one, trumpet two, trombone, gui- Is there enough RAM for the program to that every rule can be broken). But there tar, bass, soprano/alto, tenor/bass, piano run without the computer crashing? Will are a few things about music that re- treble, piano bass. These can be labeled the printer be able to print what you’ve ally shouldn’t be broken, and many of us once at the beginning or once per page. created? learned about those—or will learn about There are several options for adding the Assuming that you have answered them—in theory class. I’ll touch on a few notes to the staves. These include using a these preliminary questions positively, of them below, but my list will not be mouse to insert what’s needed manually, let’s get into some great qualities of nota- complete by any means. playing the notes in with a keyboard tion soĞ ware. Although I will be referring that’s hooked into the computer either mainly to Encore, many other notation Notation Basics by MIDI or USB, or using the computer software packages operate in similar keyboard to insert notes, rests, and other manners. Take the time to know your items manually. Let’s begin with a brief background. The soĞ ware. Here’s a rule that shouldn’t be If you are using the mouse, there are notes we use are based on their value as broken (though it oĞ en is): Peruse (read) drop-down paleĴ es or paleĴ es that can if they were in a measure with four beats, the manual! If that’s not in your plans, be kept visible. These paleĴ es include: and a quarter note gets one beat. This is then become good friends with the “undo” notes and rests, tools (including slurs, also known as common time. We start with command. ties, octave markings, and other items), a whole note, divide its value by adding a symbols (holds, trills, tremolos, drummer stem, divide it further by adding a  lled symbols, and the like), clefs (including head, divide it further by adding a  ag, Using Encore alto, drum, and others), graphic tools (text and so on. When you open Encore, you are oě ered boxes, lyric insertion, shapes, lines, etc.), To avoid confusion between time signa- the choice of starting a new  le (song) or dynamic and expressive markings, colors tures, a half note will always be two beats, opening a previous one. If you choose (text and notes and more), and assorted a quarter note will always be one, and so “new,” then you face the question of how miscellaneous markings. forth. This will hold true for time signa- to set up what’s about to be brought into If you are using an external keyboard tures with a four on the boĴ om, regardless existence. The user chooses a piano score, a or synthesizer via a MIDI or USB connec- of the top number. Naturally, there cannot piano-vocal score, or a single stave option tion, you have to set a tempo as well as a be a note with more value than the top (with boxes that oě er choices of number of click track. Additionally, you must set up number of the time signature. staves per system and number of systems the smallest note value. If you know that When you start to write or arrange mu- per page as well as number of measures you’ll only go down to eighth notes, set sic on notation soĞ ware, the time signature per system). the value there. The smaller the note value is but one of the important ingredients For this example, I’ll choose two staves chosen at this point, the more exact the to consider. For whom is the music be- for the choir, two staves for piano, and six program will be with what is transcribes, Mr. Richard R. Reed, Jr., is the director staves for other instruments, for a total and that’s when you’ll  nd out whether of music ministries at St. Philip Benizi Par- of ten staves. (Staves can be added or your timing is oě . ish in Jonesboro, Georgia. deleted at any point in the process.) I’ll Every fraction of a beat that your play-

56 J-J 2007 • P M

30796_JJ 07 Main.indd 56 5/21/2007 12:22:37 PM ing is oě from the beat you set will be shown by the computer. I suggest playing slower than you think you’ll need so that the timing will work out beĴ er. Notes can be moved and values adjusted at any point in the process. If you are using the computer keyboard to insert notes and rests, learn any short- cuts available to speed the process. If using the mouse or computer key- board to make your music, you will have to add measures as needed. If you are using the music keyboard and record function, measures will be automatically added until you hit the stop command. Save your work oĞ en! This holds true for any computer work, but please don’t forget it for notation work.

Copyright

If you are writing an original composi- tion or creating your own arrangement of a public domain work, then you will arrangement of Bobby Fisher’s “This Is the without a lead electric guitar. want to copyright that original work, Day.” We were going to have two trumpets, but you won’t have to get copyright an alto sax, and a trombone. The guitars Only a Tool permission from anyone else. However, and bass worked from the published guitar if you are working from copyrighted score and the piano from the published Notation soĞ ware is a tool; it cannot sources or incorporating copyrighted piano score. I contacted Bobby through replace the skills and knowledge gener- materials—seĴ ing a copyrighted text to the publisher and obtained permission ated by the human mind. In fact, Keyboard music, for example—then you have to with one stipulation: The existing single magazine, in a test, found that a skilled ascertain the copyright owner in advance trumpet part had to remain as is. arranger could do the task faster by hand and contact that person or institution in That stipulation alone made the task than by using a computer. Where notation order to get appropriate permission to quite a bit harder, but the two trumpeters soĞ ware shines is in the details. Say you use that work (“appropriate” depends on we had were very skilled and experienced, have an arrangement in D, wriĴ en for a your contemplated use of the copyrighted so that helped. Bobby also wanted to see speci c soprano. She gets a sore throat, and materials). the arrangement before we used it, so your star alto says she knows the song. Pull Arrangements bring their own set I had to get that to him in time. Things up the arrangement on your computer, hit of copyright issues. If you are making a worked out well in the end, but the two the transpose key, and voilà! Additionally, horn arrangement of an existing piece of trumpet parts jumped around each other. extracting individual instrument or vocal music that has been copyrighted, then (First trumpet didn’t stay above second staves is quick and easy in most soĞ ware you have to contact the composer(s) or trumpet.) programs. copyright holders for permission to make I had an easier task in creating a horn Think of using notation soĞ ware as that arrangement. You might also ask if accompaniment for Grayson Warren similar to using word processing on they already have such an arrangement Brown’s “Go Tell It On the Mountain.” a computer. The task can be done by available. Sometimes a song is published, Neither Grayson nor his arrangers had hand—possibly as fast or faster than do- and the composer adds other parts later. created such accompaniments yet, so I ing it by machine—but making changes Once you’ve obtained permission to was able to start from scratch. Using the in the text or the music and performing make an arrangement of a copyrighted existing piano score as a guide, I found other editing functions are what make composition, get to work! In most cases, it easy to let the horns complement the soĞ ware worth the cost and the eě ort. the horns for which you’re arranging will singers and piano. But soĞ ware programs diě er, so take time be playing the published accompaniment. One last example: I wanted to create to compare various soĞ ware programs If you’re going to change that accompa- an arrangement of the Trans-Siberian to see which will best meet your needs. niment, you need permission from the Orchestra’s “Christmas Canon” for my MIDI or USB keyboards are well worth the copyright holders. But before you go choir. I sought permission from the copy- cost if you’re planning to use composing through all this work, if you are arrang- right holders and was told that if I were soĞ ware, and they can be obtained rather ing for less experienced players, be sure only going to use it for my personal use inexpensively. to know the players’ limits—especially (i.e., for the choir I’m directing) and not A what-if discussion that comes up now younger trumpeters. going to sell it, permission wasn’t neces- and again asks what Mozart or Beethoven sary. My arrangement ended up being might have done if they had had the tools Some Arranged Examples SATB, piano, guitar, bass, two trumpets, we have today. My take is that they’d have alto sax, trombone, and drum kit. I was had lots of fun making music with the best A few years ago, I was asked to make an able to keep rather faithful to the recording tools available. P M • J-J 2007 57

30796_JJ 07 Main.indd 57 5/21/2007 12:22:37 PM Hotline

Hotline is a service provided by the with necessary degree. Send résumé, sal- Membership Department at the National ary expectations, and questions via e-mail OĜ ce. Listings include members seeking or fax. HLP-6948. employment, churches seeking staě , and occasionally church music supplies or Music Director. St. Leo Catholic Church, products for sale. We encourage institu- 28290 Beaumont Road, Bonita Springs, FL tions oě ering salaried positions to include 34134. Fax: (239) 992-5282; e-mail: stleolit- the salary range in the ad. Other useful [email protected]. St. Leo the Great Catho- information: instruments in use (pipe or lic Church, a vibrant and growing parish electronic organ, piano), size of choirs, and of 1,800 families, seeks a full-time music the names of music resources/hymnals in director who has a thorough understand- use at the parish. ing and appreciation of Catholic liturgy. A listing may be posted: Close to beach and Naples Philharmonic. Requirements include: minimum of BA i on the web page—www.npm.org— in music with excellent organ, keyboard, for a period of two months ($50 for and vocal skills. Responsibilities include: members/$75 for non-members); planning and preparation for six weekend i in print twice—once in each of the liturgies, holy days, weddings, and funer- next available issues of Pastoral Music als and training, directing, and scheduling and Notebook ($50 for members/$75 for choirs and cantors. Salary and bene ts non-members); are commensurate with education and i both on the web page and in print from classical to contemporary. Three- experience. Please fax or e-mail résumé to ($75 for members/$125 for non-mem- manual Rodgers organ with MIDI. Seiler St. Leo Catholic Church—Music Director bers). grand piano. Excellent acoustics. Accom- Search CommiĴ ee as soon as possible. pany choirs and/or cantors at weekend HLP-6949. Ads will be posted on the web page as soon liturgies and special services and events. as possible; ads will appear in print in ac- Sixty-voice adult choir, twenty-voice high Director of Music and Liturgy. St. Mar- cord with our publication schedule. school/college choir, thirty- ve-voice el- tin de Porres Catholic Church, Jensen Format: Following the header informa- ementary/junior high choir. Instrumental Beach, FL. Fax: (772) 334-8627; e-mail: tion (position title, church or organization ensemble. The accompanist reports to the [email protected]; website: hĴ p:// name, address, phone, fax, e-mail, and/or director of music and liturgy. Position is www.stmartindp.com. Full-time posi- website addresses), ads are limited to a approximately twenty hours a week. Open tion in 2,500-member parish in Diocese maximum of 100 words. beginning May 1, 2007. HLP-6959. of Palm Beach. Responsibilities include Ads may be submiĴ ed by e-mail to npm- adult, children’s, and handbell choirs; [email protected], faxed to (240) 247-3001, or F cantor training. Must be available for mailed to: Hotline Ads, 962 Wayne Avenue, or coordinate music for weekend litur- Suite 210, Silver Spring, MD 20910-4461. Assistant Music Director/Accompa- gies, weddings, funerals, and feast days. When submiĴ ing your ad, please include nist. St. Brendan Catholic Church, 1000 Development of resurrection choir and your membership number and the name of Oceanshore Boulevard, Ormond Beach, other events as scheduled. Also organize the person to whom or institution to which FL 32176. Phone: (386) 441-1505, fax: (386) and facilitate liturgy commiĴ ee. Must be the invoice should be mailed. 441-0774; e-mail: [email protected]. pro cient in piano and organ. Degree in Part-time assistant to director of liturgy the music  eld and three to  ve years Position Available and music, two weekend Masses, one experience in Catholic liturgy preferred. choir rehearsal. Parish has a Wicks pipe Bene t package including health insur- C organ and a baby grand piano. Choir ance available. Salary commensurate of forty- ve or more members is well with experience and education. Please fax Accompanist. Padre Serra Parish, 5205 developed SATB. For major solemnities or e-mail résumé, references, and salary Upland Road, Camarillo, CA 93012. parish employs violins, harps, cello, requirements to the aĴ ention of Father Phone: (805) 482-6417, ext. 127; e-mail: and brass. Tradition and beautiful lit- James Molgano. HLP-6951. [email protected]. Padre Serra urgy are the hallmarks of our ocean-side Parish is a Catholic community of 2,800 parish. Candidate will have opportuni- I families with a commitment to excellence ty to teach part-time in parish school if in music and liturgy. Repertoire ranges securing Florida teaching certi cation and Director of Music-Organist. Saint Rich-

58 J-J 2007 • P M

30796_JJ 07 Main.indd 58 5/21/2007 12:22:38 PM 30796_JJ 07 Main.indd 59 5/21/2007 12:22:40 PM ard Parish, 5030 South Kostner Avenue, cerville Road, Burtonsville, MD 20866. FROM THE NATIONAL Chicago, IL 60632. E-mail: saintrichard- Phone: (301) 476-9499; fax: (301) 476-9299; ASSOCIATION OF [email protected]. Vibrant faith com- e-mail: [email protected]. Growing munity (1,600+ families) seeks individual non-denominational church seeks both an PASTORAL MUSICIANS who embraces the spirituality of Vatican energetic, experienced director of music II with appreciation for diverse styles and a talented keyboardist. Applicants FOR CANTORS, PSALMISTS, of liturgical music and music degree or will have professed Jesus Christ as Lord equivalent experience. Full- or part-time. and Savior, appreciate diverse praise and CHOIRS, AND CHOIR Must be an experienced organist and worship selections (e.g., Gospel, contem- choir director. Responsibilities include: porary, hymns), and have the ability to DIRECTORS providing music for Sunday, holy day, incorporate new music/trends. Church and school liturgies; recruiting, training, uses piano, keyboard, drums, guitar; and overseeing choirs—adult, children, can add others. Responsibilities: lead Four Issues a Year and resurrection funeral—and cantors; be vocalists/musicians; prepare/arrange song Eight Pages Packed with Help part of parish staě and liturgy commiĴ ee. selections; lead 10:45  Sunday service, Full-time position would include teaching special services, and rehearsals. Degree music in the parish school (PreK–8). Salary in music/related  eld preferred. Part-time The Liturgical Singer commensurate with experience. Full-time salary $18,000–$20,000. Keyboardist will position eligible for bene ts. Position play for Sunday services, rehearsals, and A Consistent Resource: available July 1, 2007. Send résumé to Rev. other events. Must read music, play by • practical help for your growing Thomas Bernas. HLP-6941. ear. Part-time salary $100.00–$200.00 per understanding of the liturgy, service/event. HLP-6960. Staě Cantor. St. Emeric Catholic Church, • the singer’s role in the liturgy, 4330 W. 180th Street, Country Club Hills, M • and usable vocal techniques. IL 60478. E-mail: [email protected]. We are a diverse and welcoming community Director of Music Ministry. St. Zepherin The Liturgical Singer in search of a pastoral musician for the Parish, 99 Main Street, Wayland, MA provides a perfect blend of newly created position of staě cantor. We 01778. E-mail: fatherronatstz@comcast. immediate practical help and seek a person of Christian faith and belief net. Part-time position in welcoming, long-term formation. who is familiar with Roman Catholic litur- suburban Boston Vatican II parish (950 gical practice. We are particularly open to families). Candidate should possess ex- Each issue highlights a particular students preparing for ministry in church cellent musical skills, be well-versed music. We seek a person with a pleasant in both traditional and contemporary ministry or ministerial seĴ ing. singing voice (second tenor/baritone or repertoire, and be a commiĴ ed Catholic Each issue also oě ers practical mezzo-soprano) with excellent pitch, with a strong liturgical background. Du- suggestions, stories “from the intonation, sight-singing ability, and an ties include providing music for parish trenches,” prayers, and hymns. engaging “stage presence.” Our liturgical liturgies; recruiting and training parish style is informal, with both the organ and musicians including volunteer cantors; Not just for choir directors! piano used at every Mass. The position is and being an integral part of the parish, Consider a bulk subscription for nine hours per week. HLP-6955. staě , and worship commiĴ ee. Worship your cantors and choir members. aids: Gather Comprehensive and OCP’s Spirit M and Song. Bi-manual Rodgers organ with Sample copy available online at MIDI,  ve-year-old Boston grand piano, www.npm.org Organist. St. Mark the Evangelist Church, and most importantly a singing assembly. 7501 Adelphi Road, HyaĴ sville, MD 20783. Mail or e-mail leĴ er of interest and résumé Phone: (301) 422-8300; fax: (301) 422-2313; to Father Ron Bourgault. HLP-6944. website: www.stmarkhyattsville.org. The person in this position plays for all M Sunday morning Masses in English (7:30, O-Y S 9:00, 10:30), holy days (Christmas, Ash Director of Music and Liturgy. St. John Wednesday, Easter, Triduum, etc.), and the Baptist Catholic Church, 4625 West mailed to individual addresses: accompanies one choral rehearsal (Thurs- 125th Street, Savage, MN 55378. Suburban O Single copy: $22 days, 7:00–8:30) from September to May. parish and school of 2,800 households. O 2–9 copies: $17 per subscription (may Reports to director of music. Weddings Candidate must have understanding of be mailed to one or more addresses) and funerals additional. Compensation Church’s liturgy and be willing to as- approximately $17,000. Four weeks vaca- sume responsibility for the musical and mailed to one address: tion. Contact: JeanneĴ e Oliver, Director liturgical life of the parish. Music ministry O 10–24 copies: $11 per subscription of Music, by phone—(301) 405-5565 day; includes both adult and children’s choirs. O 25–49 copies: $9 per subscription (301) 890-8223 evening—or e-mail at jlo@ Candidate should ideally have experience O 50 or more copies: $7 per subscription umd.edu. HLP-6953. in choral direction and organ and piano Canadian Postage: Please add $4 per keyboard skills. We seek a strong leader subscription. Postage to all other countries, Director of Music and Keyboardist, Val- with experience, excellent communication please add $7 per subscription. ley Brook Community Church, 3333 Spen- abilities, and organizational skills who

60 J-J 2007 • P M

30796_JJ 07 Main.indd 60 5/21/2007 12:22:43 PM has enthusiasm for music and liturgy and for liturgical and musical coordination for works with all people including children. all Sunday and holy day liturgies. Salary Position begins on or about June 15, 2007. commensurate with education and experi- Salary commensurate with experience. ence. Full-time or part-time as suited to Send leĴ er of interest and résumé to Father the individual. Please send cover leĴ er, Mike Tix. HLP-6942. résumé, and references via mail, fax, or e-mail to the aĴ ention of Alissa Yatcko. M HLP-6947.

Liturgist/Music Director. St. James Catho- O lic Church, 309 S. Stewart Road, Liberty, MO 64068. Phone: (816) 781-4343; e-mail: Pastoral Minister of Music. St. Pius X [email protected]; website: Parish, 1280 NW Saltzman Road, Portland, www.stjames-liberty.org. Responsibilities OR 97229. Fax: (503) 626-6540; e-mail: ecol- include music planning and directing for [email protected]. 2,850-household choirs/cantors/ensembles at  ve weekend St. Pius X Parish in Archdiocese of Port- Masses, playing for liturgies including land, Oregon, seeks minister responsible funerals and weddings, planning liturgical for music at four English Masses, choirs celebrations, and overseeing the liturgi- (adult and children), cantors; coordinate cal ministries. Excellent keyboard and music/song leaders for children’s liturgy choral direction skills as well as thorough and youth Mass; knowledge of Catholic knowledge of Catholic theology and rites repertoire. Assist with reconciliation, SUMMER ’07 required. Ideal candidate is a practicing weddings, funerals, etc. Piano/keyboard, Catholic possessing strong organizational vocal, people skills; recruiting and su- June and people skills, vocal and keyboard pervising music makers; commitment to proficiency, and choral background. Vatican II liturgy. Music/theology degree 29–July 1 Minimum bachelor’s degree in music or or parish experience, competitive salary Cantor Express, Chicago, IL equivalent experience. Mail résumé to Lit- and bene ts. Résumé with two references Cantor Express, Lake Charles, LA urgist/Music Director Search CommiĴ ee to PMM Search CommiĴ ee. HLP-6961. or e-mail Father MaĴ Link. HLP-6958. July W N 9–13 Director of Liturgical Music. St. MaĴ hias NATIONAL CONVENTION Pastoral Minister Working with Litur- Parish, 9306 W. Beloit Road, Milwaukee, Indianapolis, IN gies. Creighton University, 2500 California WI 53227. Phone: (414) 321-0893; fax: (414) 16–20 Plaza, Omaha, NE 68178. Campus Min- 321-1330; e-mail: jvandalen@stmaĴ hias- Choir Director, Alexandria, VA istry seeks a full-time pastoral minister milw.org; website: www.stmaĴ hias-milw. 20–22 beginning in August 2007. Creighton is org. Dynamic parish of 3,200+ families Cantor Express, PiĴ sburgh, PA a Catholic Jesuit university serving ap- with strong congregational singing. Must Cantor Express, Tampa, FL proximately 6,700 students. The ideal be knowledgeable in Roman Catholic 23–27 candidate will be Catholic and able to liturgy, keyboard pro cient in organ and Guitar & Ensemble, Erlanger, KY work collaboratively with our liturgy team piano. Direct adult and handbell choir, Pastoral Liturgy, Providence, RI to coordinate our university and parish train cantors and musicians. Play for all 31–August 2 liturgies. The person will be an integral weekend, holy day, and school liturgies. Music with Children, SeaĴ le, WA member of the campus ministry staě and Plan music for liturgies and play at wed- collaborate with parish staě . Familiarity dings and funerals. Oversee directors of with Catholic Jesuit higher education and youth choir and youth handbell choirs. August Ignatian spirituality is desirable. Send a Work with director of liturgy. Bachelor’s current résumé and leĴ er of interest to degree in music with focus on liturgical 17–19 Laura A. Weber, Ph.D., Director, Campus music and/or signi cantly related experi- Cantor Express, Tucson, AZ Ministry. HLP-6836. ence required. Apply by sending résumé and employment application (available on N J news page of parish web site) to address above. HLP-6956. Information and Registration Director of Worship and Music Minis- tries. The Church of the Sacred Heart, • See pages 31–38 in this issue 481 Sanford Avenue, Newark, NJ 07106. • Phone: (240) 247-3000 Phone: (973) 373-9790; fax: (973) 373-3837; More Hotline • Web: www.npm.org e-mail: [email protected]; website: www.sacredheart-vailsburg. Check the NPM website for additional org. Active, diverse, urban parish seeks Hotline ads and for the latest openings NPM energetic, creative individual to build on and available resources: hĴ p://www.npm. 962 Wayne Avenue, Suite 210 our thriving music program. Responsible org/Membership/hotline.html. Silver Spring, MD 20910-4461

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30796_JJ 07 Main.indd 61 5/21/2007 12:22:43 PM Bookstore . . . at the Convention, too! Publications and other resources available from the National Association of Pastoral Musicians Publications Hiring a Director of Music Ministries: A Handbook and Guide—Revised Edition Revised! This helpful booklet makes the task of hiring the right LITURGY FORMATION RESOURCES director of music ministries easier and more productive by Ministries in Sung Worship: oě ering tested and proven suggestions. Director of Music A Documentary and Pastoral Resource Ministries Division, Professional Concerns CommiĴ ee Item #PRO-8 ...... Single copy ...... $6.00 Documentation from oĜ cial instructions and ritual books and pastoral applications for each musical ministry. National Certi cation Standards J. Michael McMahon and Gordon E. TruiĴ for Lay Ecclesial Ministers Item #LFR-5 ...... Single copy ...... $15.00 Revised! Standards for lay ecclesial ministry approved by the USCCB Commission on Certi cation and Accreditation. Includes Psalmist & Cantor: standards for Certi ed Director of Music Ministries. Eng- A Pastoral Music Resource lish/Spanish edition. A collection of practical articles drawn from Pastoral Music Item #PRO-7 ...... Single copy ...... $14.95 and Liturgical Singer. Various authors Item #LFR-6 ...... Single copy ...... $7.00 Catholic Connections to Music Catholic Connections to Music in the National Standards for Arts Education in the National Standards for Arts Education The Choir in the Liturgy: A genuine, comprehensive, and qualitative vision for music A Pastoral Music Resource New! education in a Catholic school and parish seĴ ing.

Music Education Division Practical advice for choirs and choir directors about the National Association of Pastoral Musicians Free download from www.npm.org

role of the choir in liturgy, rehearsals, and how to form NPM Publications 2006 • Washington, DC Item #MED-3 ...... Single printed copy ...... $5.00 children’s and youth choirs. Various authors Item #LFR-8 ...... Single copy ...... $7.00 LITURGICAL DOCUMENTS

Why We Sing Pamphlet Built of Living Stones Item #LFR-1 ...... Packet of 50...... $7.50 Guidelines from the USCCB on art, architecture, and wor- ship. Keep Silence Pamphlet Item #LD-1 ...... 1–9 copies ...... $11.95 each Item #LFR-2 ...... Packet of 50...... $7.50 ...... 10–24 copies ...... $10.95 each ...... 25+ copies ...... $9.95 each Singing Our Worship A Pastoral Musician’s Guide to the General Instruction 2000 The Music Documents: with American adaptations. Music in Catholic Worship & Liturgical Music Today J. Michael McMahon The 1983 revised text of Music in Catholic Worship and a 1982 Item #LFR-3 ...... Single copy ...... $4.00 statement published ten years aĞ er the original MCW...... 10 or more copies ...... $3.50 each Item #LD-6 ...... Single copy ...... $5.95

The Way We Worship General Instruction of the Roman Missal Pastoral Re ections on the General Instruction of the Roman The oĜ cial English translation with adaptations for the Missal. U.S.A. Edited by Gordon E. TruiĴ Item #LD-4 ...... Single copy ...... $12.95 Item #LFR-4 ...... Single copy ...... $7.00 ...... 10–24 copies ...... $10.95 each ...... 25+ copies ...... $8.95 each

Introduction to the Order of Mass PROFESSIONAL ISSUES A Pastoral Resource of the Bishops’ CommiĴ ee on the Liturgy. NPM Workbook: Job Descriptions, Contracts, Salary. Item #LD-5 ...... Single copy ...... $9.95 Revised Edition, 1996 ...... 10–24 copies ...... $8.95 each A method for developing a contract, job description, and an ...... 25+ copies ...... $7.95 each appropriate salary for a pastoral musician, with sections for THE HOVDA LECTURES the pastoral musician, parish, and diocese. Virgil C. Funk Item #PRO-4 ...... Single copy ...... $15.00 Toward Ritual Transformation (Hovda • Series I) Remembering Robert Hovda: Essays challenging us to Sample Contract continue the pilgrimage toward beauty and justice in The sample contract found in the NPM Workbook. liturgy. Liturgical Press. Item #PRO-5 ...... Single copy ...... $2.00 Gabe Huck, Robert Hovda, Virgil Funk, J. Michael Joncas, Nathan Mitchell, James Savage, and John Foley,  Work and Remuneration: A Statement and Worksheet Item #PR-11 ...... Single copy ...... $15.95 Because music is integral to liturgy, the employment of well-trained directors of music ministries is vital, and the Singing Faith into Practice Church has a moral obligation to pay its musicians fair and Essays in Honor of Robert W. Hovda • Series II equitable salaries. Director of Music Ministries Division Six pastoral scholars re ect on the impact of Vatican II’s Constitution on Item #PRO-6 ...... Single copy ...... $5.00 the Sacred Liturgy on liturgy and other aspects of Church life. Various authors Item #LFR-7 ...... Single copy ...... $10.00

30796_JJ 07 Main.indd 62 5/21/2007 12:22:45 PM Sacred Signs: Commitment and Healing Pastoral Resources Essays in Honor of Robert W. Hovda • Series III Five pastoral scholars oě er insights into the Church’s Sacred Signs: These resources from other publishers are also available from Commitment and Healing sacramental sense, initiation, marriage, and the anointing Essays in Honor of Robert W. Hovda Series III NPM. Order them today to enrich your ministry. Paul F. Ford James M. Schellman of the sick. Various authors Gordon E. Truitt Paul Covino NPM Publications John K. Leonard Item #LFR-9 ...... Single copy ...... $10.00 Cantor Basics, Revised Edition Answers 112 of the most common questions about the min- istry of cantor, from recruitment to technical issues. Pastoral GiĞ Items Press. Jim Hansen, Melanie Coddington, Joe Simmons Item #PR-1 ...... Single copy ...... $14.95 NPM Baseball Cap Beige coĴ on, blue bill and trim, adjustable. Item #GIF-1 ...... $12.00 Handbook for Cantors Updated approach to the roles, skills, and spirituality of the cantor. NPM Travel Mug LTP. Diana Kodner Stainless steel exterior, anti-splash lid, non-skid base. Item #PR-2 ...... Single copy ...... $10.00 Item #GIF-2 ...... $10.00 Children’s Choir Basics NPM Swivel Clock A handbook for children’s choir directors, with resources for planning, Adjustable head, quartz analog movement, solid base, developing, and rehearsing a children’s choir. Pastoral Press. silver color. David Nastal Item #GIF-4 ...... $10.00 Item #PR-3 ...... Single copy ...... $11.95

NPM Lapel Pin Choir Director Basics Item #GIF-5 ...... $4.00 Techniques for recruiting, rehearsals, choral sound, ritual celebrations, Specify Member or DMMD and administration—from an expert in the  eld. Pastoral Press. Oliver Douberly Past NPM Chapter Director Lapel Pin New! Item #PR-4 ...... Single copy ...... $14.95 Item #GIF-11 ...... $15.00 Choir Prayers NPM Cookbook: With Lyre, Harp, and Spatula Prayers to help choir members focus on the liturgical seasons during “Pastoral musicians should make excellent cooks, for cooking and music weekly rehearsals. Pastoral Press. Jeanne Hunt making have so much in common.” Richard Gibala Item #PR-5 ...... Single copy ...... $7.95 Item #GIF-3 ...... Single copy ...... $6.00 More Choir Prayers A Pastoral Musician’s Book of Days More seasonal prayers to deepen a choir’s understanding of the liturgical Information, enjoyment, and a source of prayer for all who seasons. Pastoral Press. Jeanne Hunt recognize the central value of sung worship in the Christian Item #PR-6 ...... Single copy ...... $7.95 life. Gordon E. TruiĴ Item # GIF-6 ...... Single copy ...... $15.00 Prayers of Those Who Make Music For organists, choir members, cantors, and all who love music: psalms, poems, prayers. LTP. Compiled by David Philippart St. Cecilia Item #PR-7 ...... Single copy ...... $5.00 The patron saint of musicians. Poster or Notecard (inside ...... 5–24 copies ...... $4.00 each blank). World Library Publications...... 25+ copies ...... $3.50 each Michael O’Neill McGrath,  Poster ...... # GIF-7 ....Single copy ...... $15.00 Blessed Are the Music Makers Notecard .....# GIF-8 ....Single copy ...... $2.50 Warm ups for the musician’s spirit—for choirs and music ensembles before and aĞ er rehearsal and in preparation for All God’s CriĴ ers Got a Place in the Choir worship. World Library Publications. Alan Hommerding Based on the popular song. Poster or Notecard (inside blank). World Item #PR-8 ...... Single copy ...... $14.95 Library Publications. Michael O’Neill McGrath,  Poster ...... # GIF-9 ...... Single copy ...... $20.00 A Music Sourcebook Notecard ...... # GIF-10 ...... Single copy ...... $1.50 A rich anthology of texts that sing the praises of music. LTP. Compiled by Alan Hommerding and Diana Kodner Magazine Back Issues Item #PR-9 ...... Single copy ...... $18.00

Back issues of Pastoral Music are excellent resources for clergy, Acoustics for Liturgy musicians, and those who prepare liturgy. Six professionals oě er advice for improving the acoustics of the assembly’s singing. LTP. E. A. Sövik, Dennis Fleisher, et al. Pastoral Music ...... Single copy ...... $7.00 Item #PR-10 ...... Single copy ...... $6.00 Item #MAG-1 Specify volume and issue number

Order Today! By phone: (240) 247-3000, ext. 26. Online: www.npm.org. E-mail: [email protected]. NPM Publications • 962 Wayne Avenue, Suite 210 • Silver Spring, Maryland 20910-4461 • See our website—www.npm.org—for shipping charges and return policy •

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30796_JJ 07 Main.indd 63 5/21/2007 12:23:32 PM Calendar

CONCERTS AND FESTIVALS FLORIDA St. Louis July 20–21 INDIANA Jacksonville Children’s Choirs in Churches. Presenter: Helen July 22–August 3 Kemp. Sponsored by Choristers Guild. Place: Cen- Bloomington Liturgy in a Formative Environment (L.I.F.E.). A tral Presbyterian Church, St. Louis. Information: June 17–August 4 two-week program oě ering immersion in praying, Choristers Guild, 2834 W. Kingsley Road, Garland, Indiana University Summer Music Festival. More learning about, and re ecting on the Church’s TX 75041-2498. Phone: (800) 246-7478; fax: (972) than thirty events in Bloomington, including an life of liturgical prayer—a holistic experience 840-3113; e-mail: [email protected]; web: www. opera theater production, orchestral concerts, a of the daily and weekly rhythms of the Paschal choristersguild.org/conferences. chamber music series, outdoor band concerts, the Mystery. Facilitators: Joyce Ann Zimmerman, .. Festival Jazz Orchestra, solo performances, the  nal ., Kathleen Harmon,   . Place: Marywood NORTH CAROLINA concert of the Seventh U.S.A. International Harp Retreat and Conference Center of the Diocese of St. Competition, and a performance (July 6) by Chan- Augustine. Contact: Father Tom Willis, Diocese of Asheville ticleer. Sponsored by the IU Jacobs School of Music. St. Augustine, 11625 Old St. Augustine Road, Jack- June 15–16 For more information and a complete list of perfor- sonville, FL 32258. E-mail: twillis@dosa .com. Children’s Choirs in Churches. Presenter: Helen mances, go to hĴ p://music.indiana.edu/summer. Kemp. Sponsored by Choristers Guild. Place: Grace HAWAI’I United Methodist Church, Asheville. Information: PENNSYLVANIA Choristers Guild, 2834 W. Kingsley Road, Garland, November 1–3 TX 75041-2498. Phone: (800) 246-7478; fax: (972) Kutztown Hawai’i National Park 840-3113; e-mail: [email protected]; web: www. June 30–July 8 The Big Island Liturgy and Arts Conference. Pre- choristersguild.org/conferences. Kutztown Festival, celebrating Pennsylvania Dutch senters include David Haas, Marty Haugen, Tony folk life. Music, dancing, and entertainment on six Alonso, Kate Cuddy, and Bobby Fisher. Concerts Lake Junaluska stages plus folklore programs, quilt show, folk art and workshops. Place: Kilauea Military Camp in June 17–22 and craĞ s, and children’s activities. Musical perfor- Hawai’i National Park. Contact Joe Camacho: (808) Music and Liturgical Arts Week. Theme: From mances include folk singing, country  ddling, and 967-7788. Jerusalem to Joy: A Journey through a Holy Week. brass bands. Special performances of Mennonite Sponsored by the Fellowship of United Methodists singing by an a cappella choir. Information: (610) MINNESOTA in Music and Worship Arts. Leaders include Mi- 683-1597; web: hĴ p://www.kutztownfestival.com. chael Burkhardt, Heather Murray Elkins, Roxanne St. Paul Golden, Michael Helman, Arnold Sherman, Mark July 31–August 5 Miller, Kevin Presley, Jerry Ulrich. Clinicians in Music Ministry Alive! Institute for Youth and Youth dance, drama, children’s choir, and more. Place: Leaders. Presenters include: David Haas, Lori True, Lake Junaluska Conference and Retreat Center. Kate Cuddy, Tony Alonso, Michael Joncas, Marty Contact: www.sejmusicweek.com. Haugen, Ray East, Paul Tate, Bonnie Faber, Rob CONFERENCES Glover, Bobby Fisher, Stephen Petrunak, and Rob PENNSYLVANIA Strusinski. Sponsored by The Emmaus Center and CONNECTICUT The College of St. Catherine. Place: The College of New Wilmington St. Catherine. Information: (651) 994-1366; e-mail: July 8–13 Mystic [email protected]. Presbyterian Association of Musicians’ Westminster June 3–8 Conference on Worship and Music. Focus: reclaim- Gregorian Chant Week. A week-long study of MISSOURI ing the sacramental heart of Presbyterian worship Gregorian modes, neumes, chironomy, and Latin and the relationship between font and table and and English texts. Daily sung liturgies. Instruc- St. Louis sacramental living in the Great FiĞ y Days. Events tor: Dr. William Tortolano. Place: Saint Edmund’s July 16–19 include music, worship, fellowship, discussion, Retreat. Contact: Saint Edmund’s Retreat, PO Box 2007 Convocation of the Fellowship of United classes, Bible study, and evening prayer. Musical 399, Mystic, CT 06355-0399. Phone: (860) 536-0565; Methodists in Music and Worship Arts. Plenary events: organ recital, chamber choir concert, youth/ web: www.endersisland.com. presenter: Cleophus J. LaRue. Intensive classes, children talent show, and a hymn festival. Place: workshop sessions, hymn festival with Michael Westminster College, New Wilmington. Informa- Burkhardt, organ concert with Felix Hell, worship. tion: www.presbymusic.org. Mystic Place: Millennium Hotel, St. Louis. Contact: Amy October 26–28 Law, 2007 Event Chair, First UMC, 307 E 4th Street, TENNESSEE Gregorian Chant Weekend. An intensive opportu- StuĴ gart, AR 72160. Phone (870) 673-1131; fax: (870) nity to study Gregorian chant for beginners and for 673-4146; e-mail: music@stuĴ gartfumc.org. Or: Da- Brentwood those who want a review. Instructor: Dr. William vid Bone, Executive Director, FUMMWA, PO Box October 19–20 Tortolano. Place: Saint Edmund’s Retreat. Contact: 24787, Nashville, TN 37202. Phone: (800) 952-8977; Conference: Ideas and Resources to Renew Your Saint Edmund’s Retreat, PO Box 399, Mystic, CT fax: (615) 749-6874; e-mail: [email protected]. Children’s Choir Program. Presenter: Michael 06355-0399. Phone: (860) 536-0565; web: www. Website: hĴ p://www.gbod.org/worship/fummwa/ Burkhardt. Co-sponsored by Choristers Guild and endersisland.com. default.html. MorningStar Music Publishers. Place: Brentwood 64 J-J 2007 • P M

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30796_JJ 07 Main.indd 65 5/21/2007 12:23:51 PM GREECE

Athens and Other Sites January 22–28, 2008 Familiarization tour: In the Footsteps of St. Paul. Subsidized and inclusive continuing education program sponsored by Peter’s Way Choir Tours. Contact: Peter’s Way Tours, Inc., 25 South Service Road, Suite 240, Jericho, NY 11753. Phone: (800) 225-7662; fax: (516) 997-4388; e-mail: peter@ petersway.com or aneĴ [email protected]; web: www.petersway.com.

IRELAND

Dublin and Other Sites January 28–February 4, 2008 Familiarization tour: Land of Saints and Scholars. Subsidized and inclusive continuing education program sponsored by Peter’s Way Choir Tours. Contact: Peter’s Way Tours, Inc., 25 South Service Road, Suite 240, Jericho, NY 11753. Phone: (800) 225-7662; fax: (516) 997-4388; e-mail: peter@ petersway.com or aneĴ [email protected]; web: www.petersway.com. Church of Mary Magdalene, Mount of Olives, Jerusalem

ISRAEL AND PALESTINE

Tel Aviv and Other Sites January 10–19, 2008 United Methodist Church. Information: Choristers Generation to Generation. Presenters include: Dr. Guild, 2834 W. Kingsley Road, Garland, TX 75041- Don Saliers, the Rev. John Nunes, and the Rev. Familiarization tour: Holy Land—Song of the 2498. Phone: (800) 246-7478; fax: (972) 840-3113; David Miller. Musical presentations include the Scriptures. Subsidized and inclusive continuing e-mail: [email protected]; web: www.choristers- Houston Chamber Choir; the Bach Magni cat for education program sponsored by Peter’s Way Choir guild.org/conferences. Vespers as sung by the Houston Bach Society; and Tours. Contact: Peter’s Way Tours, Inc., 25 South organists Aaron David Miller, Mary Preston, Hans Service Road, Suite 240, Jericho, NY 11753. Phone: TEXAS Davidsson, and Robert Bates. Daily morning prayer (800) 225-7662; fax: (516) 997-4388; e-mail: peter@ and compline. Workshops. Place: Hilton Americas, petersway.com or aneĴ [email protected]; web: Austin Houston. Information: hĴ p://www.alcm.org/news/ www.petersway.com. October 26–28 national/national.asp. United States Catholic Mission Association Annual ITALY Mission Conference. Theme: “Are Not Our Hearts WASHINGTON Burning?” Spirituality of Mission in the Twenty- Rome First Century. Keynote speakers: Gerald Arbuckle, Lynwood January 10–17, 2008 , and Ron Rolheiser, . Panel, dialogue October 26–27 Familiarization tour: Roman Polyphony. Subsidized sessions. Place: Wyndham Garden Hotel and Conference: Ideas and Resources to Renew Your and inclusive continuing education program spon- Woodward Conference Center, Austin. Information: Children’s Choir Program. Presenter: Michael sored by Peter’s Way Choir Tours. Contact: Peter’s (202) 832-3112; e-mail: meetings@uscatholicmission. Burkhardt. Co-sponsored by Choristers Guild Way Tours, Inc., 25 South Service Road, Suite 240, org; web: www.uscatholicmission.org. and MorningStar Music Publishers. Place: Trin- Jericho, NY 11753. Phone: (800) 225-7662; fax: (516) ity Lutheran Church, Lynwood. Information: 997-4388; e-mail: [email protected] or aneĴ e@ Houston Choristers Guild, 2834 W. Kingsley Road, Garland, peterswaysales.com; web: www.petersway.com. July 7 TX 75041-2498. Phone: (800) 246-7478; fax: (972) Making Worship Work Today: Choirs, Handbells, 840-3113; e-mail: [email protected]; web: www. Rome Congregational Song. Pre-ALCM Conference choristersguild.org/conferences. January 10–17, 2008 event sponsored by the Association of Lutheran Tenth Gregorian Chant Study Week in Italy. Chant Church Musicians, Augsburg Fortress Music masters: Rev. Anthony Sorgie, Rev. Alberto Turco, Clinics, Concordia Publishing House, MorningStar OVERSEAS Mr. James GoeĴ sche, and professors from the Music Publishers, and Choristers Guild. Presenters Ponti co Instituto di Musica Sacra. Contact: Peter’s include: David Cherwien, Mark Sedio, and Venita FRANCE Way Tours, Inc., 25 South Service Road, Suite 240, MacGorman. Place: St. John the Divine Episcopal Jericho, NY 11753. Phone: (800) 225-7662; fax: (516) Church, Houston. Information: Choristers Guild, Paris and Other Cities 997-4388; e-mail: [email protected] or aneĴ e@ 2834 W. Kingsley Road, Garland, TX 75041-2498. January 17–24, 2008 peterswaysales.com; web: www.petersway.com. Phone: (800) 246-7478; fax: (972) 840-3113; e-mail: Familiarization tour: Best of French Liturgical [email protected]; web: www.choristersguild. Music. Subsidized and inclusive continuing educa- org/conferences. tion program sponsored by Peter’s Way Choir Tours. Contact: Peter’s Way Tours, Inc., 25 South Houston Service Road, Suite 240, Jericho, NY 11753. Phone: Please send announcements for Calendar to: Dr. July 8–12 (800) 225-7662; fax: (516) 997-4388; e-mail: peter@ Gordon E. TruiĴ , NPM, 962 Wayne Avenue, Suite 210, Biennial Worship Conference of the Association petersway.com or aneĴ [email protected]; web: Silver Spring, MD 20910-4461. E-mail: npmedit@npm. of Lutheran Church Musicians. Theme: From www.petersway.com. org.

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30796_JJ 07 Main.indd 66 5/21/2007 12:23:52 PM Abingdon Press / United Methodist Publishing House—I Want Jesus to Walk With Me; Go Make of All Disciples; Wash, OGod, Our Sons and Daughters; Praise God, from Whom All Blessings Flow/adapt; Sent Out in Jesus’ Name Augsburg Fortress Publishers—Halle, halle, hallelujah!; You Are Holy; Children of the Heavenly Father; Alleluia! Jesus is Risen!; Thine the Amen, Thine the Praise Beckenhorst Press, Inc.—Offertory; O Jesus I Have Promised; Thy Will Be Done; A Communion Invitation; Great and Awesome God CantaNova—Are You Ready to Rise; Galilee; Holey, Wholly Holy; I'll Follow ANNUAL AND You Celebration—I Want to Walk as a Child of the

Light; The Lord’s Prayer (El Shaddai); Holy, ONE-TIME COPYRIGHT holy (Freedom Mass); I will sing I will sing; Jesus is our King Choristers Guild—Amen Siyakudumisa-MASITHI; Halle; Go Into the World; PERMISSIONS WITH THE Thuma Mina/Send Me Lord; Go Ye, Go Ye Into the World Church Publishing, Inc.—Gloria in excelsis; Sanctus - Land of Rest; Sanctus; CLICK OF A MOUSE Sursum Corda; Father, we thank thee Concordia Publishing House—Go, My Children, With My Blessing; Stay with us; Stay with Us; Divine Service 2 - Setting 1–ALL; Have No Fear Little Flock CRC Publications—Holy, Holy, Holy, My Heart; Baptized in Water / Bunessan; He Is Lord; If You and I Believe in Christ; Come, Light, Light of God ECS Publishing—Let All Things Now Living; Evergreen; The tree of life; Jesus Christ the Apple Tree Fred Bock Music Company—Come, Share The Lord; This Is My Song, O God of All the Nations / A Song of Peace ; Thou Art Worthy; Spirit, Now Live In Me General Board of Global Ministries—Jesu tawa pano/Jesus, we are here; Halle, Halle, Halleluja; Amen siakudumisa/Amen, We PraiseMany Your Name; Holy,Songs holy, holy; Santo, santo, santo GIA Publications, Inc.—Mass of Creation; Gather Us In / Here In This Place; All Are Welcome; I Am The Bread Of Life; We Are Called Good forMany the Soul Music—SeePublishers What You Are; Dwell Within My Soul; Be Still; Come To Me; B e h o l d (Magnificat) Hinshaw Music, Inc.—There in God’s Garden; Go Now In Peace; Praise the Lord with the Sound of Trumpet; This is the Day; All Things Bright and Beautiful Hope Publishing Company— Lift High the Cross (CRUCIFER); Lord, Listen to Your Children Praying (CHILDREN PRAYING); For the Fruit of AllCreation; Baptized In Water; Lord, You Give the Great Commission Jan-Lee—Let There Be Peace on Earth Kevin Mayhew—In the Lord is My Joy; The Lord is My Light; A Blessing Lillenas Publishing Company—The Trees of the Field; The Trees of the Field; I Thank the Lord for You; Far above riches; I Look to You, and You are love Litmus Productions—Easter Alleluia Liturgical Press—O God, Almighty Father; As the Sun with Longer Journey; The Voice of God; Drinking Earth’s Pure Water; Mass of the Trinity F.E.L. Publications—They’ll Know We Are Christians Lorenz Publishing—Lord, Be Glorified; They’ll Know We Are Christians; This Is My Song - st 1-2; I Will Call Upon the Lord Manna Music—How Great Thou Art; Alleluia; Sweet, Sweet Spirit; His Name Is Wonderful; We’ve Come This Far By Faith Morningstar Music Publications—Festive Alleluia; The Lamb; A New Song Liturgy; Alleluia; Be Known to Us Neil A. Kjos Music Company—Creed form Chicago Folk Service Northwestern Publishing House— Psalm 27 from CW: New Service Settings; Common Service from CW: New Service Settings; Opening Sentences/Christian Worship: New Service Settings; The Lord’s Prayer; Common Service, New Setting Oxford University Press—Lord, whose love in humble service; Lord of all hopefulness; Lord of all hopefulness; Forgive Our Sins as We Forgive; Praise and thanksgiving Selah Publishing Co., Inc.—Word of God, Come Down on Earth; This Day God Gives Me; Come, Join the Dance of Trinity; Thy Holy Wings; Take and Eat – verses Shawnee Press—He Is A Mighty Lord; Train Up a Child; Go Out and Serve Him; Lead Me Back; Go In Love LNWHymns—The Promise; When I Lay This Body Down; I Live in You; By Faith; Hear the Prophets Talking The Pilgrim Press—In Christ Called to Worship; Healing River of the Spirit; We Are People on a Journey-English Transl.; God how can we forgive; Each Winter as the Year Grows Older Troubadour for the Lord Music—Veni Sancte Spiritus Wayne Leupold Editions—God Has Gone Up with Shouts of Joy; A babe in Mary’s LOG ON AND arms; Sing! A New Creation Calls Us; God has given gifts to all; From varied hills of daily TAKE THE TOUR TODAY! cares Zimbel Press—A Mighty Fortress / REFORMATION,; As Bright As Lightning; WWW.ONELICENSE.NET Cosmic Windows; Like Miriam Who Danced to Praise; Pipe a Tune and Beat the Drum

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30796_JJ 07 Main.indd 67 5/21/2007 12:23:53 PM Word and Music in Worship: A Powerful Combination

ext joined to music is powerful. It is so powerful sung,” and they were oě ered directions about translat- a combination in worship that the Second Vatican ing the texts in ways that re ected “the form of singing Council dealt with the combination of text and which is proper to every liturgical action and to each of music at length—more, in fact, than any other its parts” (Comme le prévoit, 36). councilT of the Church. The bishops at Vatican II called Another principle guiding the translators was the sacred music “a treasure of inestimable value,” and the theology of the Church embraced and proclaimed by the Council’s Constitution on the Sacred Liturgy Sacrosanctum Second Vatican Council—a theology based on baptism as Concilium calls song bound to text “a necessary or integral our common heritage and as the foundation of our liturgi- part of the solemn liturgy.” cal participation. This theology was captured in the image Because the combination of word and song is so power- of the Church as the “people of God” and a vision of the ful, Catholics have always been cautious about the texts liturgy as an act of the whole Church—Christ and all the we sing in the liturgy as well as the music we use for baptized—in which we are all engaged fully, consciously, worship. Several times in the history of Christian liturgy, and actively. Only such total engagement in the liturgi- new combinations of text and music in worship have led cal act, the Council said, provides the  rm “source from to heated discussions and even violent condemnations. which the faithful are to derive the true Christian spirit” Among the major times that disputes broke out over as- (Sacrosanctum Concilium, 14). pects of sung worship were the early baĴ les over the use of instruments in church (they were banned for centuries); or forty years, Latin Church Catholics around the the introduction of the Roman Empire’s oĜ cial language world have been worshiping in their own language (Latin) into the liturgy instead of the familiar vernacular Fas well as in Latin. While those vernacular texts have (Greek); the extensive introduction of psalmody, under become familiar, it has been clear to many people that the the in uence of the rising monastic communities in the  rst translations of the Latin texts were rushed, and some fourth and  Ğ h centuries, to replace earlier and beloved of the translations were poorly done. Acknowledging hymns; the introduction of the organ into Western liturgy that this is so, the group of experts responsible for the (it has never been part of Eastern Christian worship); the English texts, under the leadership of the bishops of the introduction of vernacular hymns in Catholic worship International Commission on English in the Liturgy, has in imitation of the Evangelical and Reformed churches been working for nearly twenty years on an improved during the sixteenth century European Reformation; the English translation of the Mass. Some of that work was introduction of popular styles of music into church during short-circuited by the appearance of a new edition of the baroque and rococo periods (the work of composers the Latin Missale Romanum and a new set of translation such as Mozart, Beethoven, and their contemporaries); guidelines that, in some instances, provided principles that the introduction of a particular style of Gregorian chant contradicted the  rst set of guidelines from 1969, under in the early twentieth century (prepared by the monks which the translators had been working. But much of the of Solesmes); the introduction of vernacular texts and work has not been lost, and the experience of forty years popular musical styles in the decades aĞ er the Second of vernacular worship has also been brought to bear on Vatican Council; and the increased use of psalmody and the new translation that is in the works. psalm-tone music to replace hymns in recent decades. Like all other texts of the liturgy down the centuries, When the liturgy of the Latin Catholic Church (the these new translations will be carried by music to the ears Roman Rite) was translated into contemporary language and the hearts of those who use them in worship. These immediately aĞ er the Second Vatican Council, transla- revised texts will change the way the Mass sounds, and tors developed a set of principles to guide the work. The some people will  nd the change very diĜ cult. But as texts were intended faithfully to “communicate to a given with all other texts that the Church has used for prayer, people, and in their own language, that which the Church the intent of these texts is to break open the Scriptures by means of this given text originally intended to com- and our faith tradition and to illuminate the meaning of municate to another people in another time” (Instruction the sacraments, to provide both familiar and new ways Comme le prévoit [January 25, 1969], 6). Translators were for the Spirit to touch us and transform us and shape us told to take “particular care . . . for texts which are to be into what we are through baptism—the Body of Christ. Copyright © 2007 National Association of Pastoral Musicians. This page may be reproduced in its entirety as a bulletin insert by parish members of NPM without further reprint permission. A pdf version is available at www.npm.org. For other uses, contact the NPM editorial oĜ ce by e- mail: [email protected].

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