Annual subscription: Single copies: $2.00 30 cents

A monthly magazine devoted to Catholic Church ann School Music, and the Organ.

Founded A. D. 1874 by Sir John Singenberger 1848-1924

CONTENTS:

ENTERTAINMENT IN CHURCH MUSIC By E. Langer

CHOIRMASTERING

By Harvey Wic~ham

THE PRECENTOR AND CHOIRMASTER' IN

&ditorial :- The ''Motu Propri The "Be

by

By H. ]. Gru.ender, S. ].

November, 1927

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No. 3, of a series which shows how an organ is built in the Kilgen Guild. Much of pipe organ's efficiency depends upon the construction and functioning of the wind chests. In a Kilgen, these chests are equipped with special bellows chamber, which provides the nec'­ essary air-supply in unvarying pressure to each organ pipe under any and all conditions of use. Here then is another reason For each pipe there is a sepa­ why music charms of a Kilgen rate valve and motor, unaffected are not only unmatched, but by the use of any other valve must be measured in decades. and motor. It is this that makes For almost three· centuries, possible the playing of rapitl Kilgen has been serving the staccatic passages to chords on Catholic Church with inspiring one manual, with a slow, stateiy religious music. If you are plan· melody on another, without va­ ning a new instrument for your riation of wind pre$sure affecting chl.\rch, get the benefit of this the melody movement. three centuries of experience.

~en. i!\ilgru & ~nu. ]ur. Builders PIPE ORGANS St. Louis, Missouri Entertainment In Church 2\1usic E. Langer "Some people to church repair, Not for the doctrine, but for the music there." NE subject of contro­ agreeably engage the attention. Hence, versy has for a long the .corresponding expressions in roman­ time been the question tic parlance, "divertimento," "divertisse­ whether music of an ment," refer, etymologically to a divert­ entertaining character ing, or turning away of the attention may be admitted into from a subject of serious occupation, the liturgical services which diversion corresponds to our idea of the Catholic Church. or conception of distraction ; thus, we Many, even at the pres- speak of making or causing one distrac­ ent time, are of the ·opinion that music is tion or amusement. employed in church to attract the people Now, the house of God is in the holy thither, to afford them pleasure, and to scripture expressly called a "house of agreeably engage their attention during prayer"; and " prayer is the lifting up the tedious moment of the service. In of the heart and mind to God." The this. regard, we must, first of all, be con­ church assembles the faithful in her holy vinced of the correctness of this idea. temples to prayer, and to Divine service, Therefore, the question arises: ''Is church which .should be a solemn act of homage music employed with a view to entertain? to God of the assembled Christian people, 1\{ay it entertain?" And how. naturally which act, however, has value· and sig­ are both ,questions answered With a deCI­ nificance only in so much as it is an ex­ sive "No !" pression of interior devotion,-that is, · In the proper time · and place "enter­ complete oblation. If then, this devotion is tainment" or "amusement" is ·in itself pre-eminently an act of the will which at nothing objectionable; it is a kind of re­ the same time submits its intelligence to ·•· tion which is distinguished from .pas­ God and ·to His service, one part of this . · repose by being co:tlll~ed with ac- devotiop. must necessarily be a~ntion. ; or, in other words, in order to re­ This .attention, certainly, can be. diverted . ·· tension of strained human action, by involuntary. interior distrac'(;i6ns, or is inserted ~r performed to by extetn,al, disturbing influen~,; ,with- ,, '> ,~, , 'bf.:~""' 106

· . out thereby destroying the inherent quali­ Evecy liturgical function, as a continu­ ties of devotion, but these distractions ous act, excludes all the more evecy in­ may not be caused or willed by the wor­ tentional interruption of the cycle of shippers, nor may any one knowingly thought, and this, too, for esthetic reasons. direct the attention of the faithful to such Even secular music-dramas, wherever disturbances. Least of all,· could .we pre­ artistic unity is taken into consideration, Sllppose or expect this of the Church, the are so conceived that the interlude (inter­ leader and director of the common acts mezzo) will be introduced, not as an op­ of devotion of the faithful. portunity for pleasant gossip or conver­ sation, but as a means of preserving the The Church wisely employs other corresponding mood, and to fill up the means to relax the strain of close atten­ pauses necessary for developement of the tion. What a wealth, what a multiplicity drama. If this is not heeded by the audi­ of practices of prayer and devotion does ence, our would-be art enthusiasts give she not display in the ecclesiastical year! evidence ,of the low degree of their esthet­ The great drama of our faith is enacted ic taste. During the liturgical services, anew throughout the year in the feasts however, the interpolation of .an inter­ of our Lord and of His Blessed Mother, mezzo not serving this unity .of thought, wjth the feasts of the as a beau­ would not only affect the esthetic; but, tiful variation and accompaniment. To at the same time, it would injure the re­ answer precisely this purpose the Church ligious, moral feeling; and, consequently, has admitted art into her services. Archi­ nothing that is rendered during the Divine tecture, painting, sculpture, and even· the service, not even an artistic performance, elements of dramatic art are utilized,-but may be conceived as an amusement or music especially, holds a pre-emin~nt diversion. If this were at all permissible, place in the liturgy, being reserved· for one might just as well make pauses during the particularly solemn forms of Divine the liturgical functions to declaim any worship. ''The Church has always cher­ kind of whimsical, . secular poem, so that ished and protected art, because in it she the faithful, recreated by this diversion, recognizes a means of expressing spiritual might again resume their devotions. beauty under sensible signs, so that it pleases and rejoices the heart of man." Just a little reasonable consideration (Meschler, S. J. The Gift of Pentecost.) will convince us that music is not em­ But the Church can never concede that ployed in church to amuse the people, and, during Divine service, in her solemn forms .by this means, preserve their good dis­ of representing the common devotion of positions. To elucidate this, we will, the faithful, anything distracting, or any­ therefore refer to the established rules thing that might lead their attention and regulations of the Church in this re­ away from the ground-theme of their de­ gard. Whichever utterances of the eccle­ votions be interpolated. Not all beauti­ siastical authorities, or of men imbued ful and artistic music is fit for Divine with the spirit of the Church we may con­ service, because, in it, not unfrequently, sult, we will not find a single assertion the composer seeks to display his talent, from which we might conclude that or to afford musical enjoyment to the church-music is intended for amusement, audience. While these compositions might but we will always find that it is employed fulfill their purpose if heard in the as a means of promoting devotion, elevat­ theater or concert hall, they ought to be ing the mind, and of awakening pious banished forever from the house of God, sentiments. Still more, the ecclesiastical regulations positively forbid and exclude because in the endeavor to describe scenes any amusement or distraction. which may or express the feelings evoked by certain be caused by music. Thus, we read in the· favorite phrases, the august presence of "Ceremoniale Episcoporum": the Blessed Sacrament ~nd the sacred functions of Divine worship are lost sight "Cavendum autem est, ne sonus organi sie of. The Church, the sacred tabernacle lascivus, aut impurus, et ne cum eo proferantur cantus, qui ad officium, quod agitur, non sp.ect• of the Most High, can never, under any ent, nedum profani aut lubrici." circumstances, even passingly, be degraded "Care must be taken that the sound of the to a place of amusement without violat­ organ be not lascivious or impure, and that it ing the reverence due to God. be not accompanied with melodies which bear 107

no relation to the office which is being per• Music of a distracting character could formed, and that it be not profane nor inde­ not be debarred from church in more ex­ corous·'' plicit terms; consequently, there remains Organ playing, we ·.see from this, must not a doubt as to whether it is allowed always be in close relation with the or not. solemn functions which are being per­ formed,-it may not be an "entertain­ In conclusion, we will briefly consider ment." For all other church music, vocal one objection which is frequently made. as well as instrumental, we have the fol­ This argument is usually put in terms lowing regulation: similar to this following: "If, attracted "Idem quoque cantores et musici observent by the enjoyment that the music affords, ne voeum harmonia quae ad pi·etatem augen• some individuals attend the services who dam ordinata est aiiquid levitatis, aut lasciviae would not otherwise do so, they, at all praeseferat, ae p~tius audien~ium animos a rei divinae contemplatione avocet. ' t>vents, see and hear many things good "Let the chanters also, and the musicians and edifying, which, possibly, will attain observe the same precautions, that the harmony some good results.. At any rate, it is of the voices, which is designed for· the incre_ase certainly better that they go to church to of piety, may not savor of levity or sensuahty, and so divest the minds of the hearers from enjoy the music than to other dangerous the contemplation of Divine worship." places; at least, they obey the command­ ment of the Church. Right here we must It is utterly impossible to associate assert that whoever attends church on church music of an entertaining character account of the enjoyment he finds in the with this regulation. Quite similar are the prescriptions we find in the "Regola­ music, does not at all fulfill the command­ mento sulla Musica Sacra" for Italy. I_n ment of the Church, which requires that the very beginning (Art. I. pa;r.I), music the faithful assist at Mass with attention and devotion. But we know from experi­ of an entertaining character IS excluded from church. We read there : ence that people of this type rarely prac­ tice any devotion themselves, and fre­ "La musica vocale figurata permessa i? chies~ quently they are the causes of disturbance e soltanto quella, di cui i canti gravl e~ pn sono adatti alla Casa del Signore. ed ~l.le. d1:'m~ and disedification to those who are sin­ Jodi, · e servano ...... ad eccitare viepp!CI 1 f1deh cerely fervent and devout. alla devo:z;ione." . "Figured music, permitted to be performed m Now, if in consideration for people who church is only such as is earnest an~ dev?ut, and becoming the house of God and H1s pra1~es, attend Divine services for amusement and which assists the devotion of the fatth• only, music of an entertaining character ful.'' would be admitted, this concession would, It is expressly added that this refers undoubtedly, imperil the devotion of those to the accompaniment of the organ o~ of of a good mind, at least it would expose other instruments as well as to the smg­ it to many temptations, and for the sake ing. Music of an entertaining character of these pleasure-loving people the house might cause the faithful to forget. t~at of God and His worship would be degrad..: thev are in the house of God, and ass1shng ed to the level of a theater or an ordi­ at His Divine service. nary play-house. With reference to organ interlu?-es. Article II of this "Regolamento" reqmres That, finally, one who might have that it should correspond in every respect entered the Church with indifference may to liturgy: unexpectedly receive a stimulus towards amending his life, may occur once in a "Gli interludi organici sinfonici hundred instances for God knows how rispondano alla serieta della sacra .Liturgi~." In Article IV. the same thought 1s ag:am to direct the most perverse actions of men expressed in the form of a direct prohibi­ to good. Nevertheless, we may not con­ clude from this that we are justified in tion: committing evil to attain some good,-not "La musica vocale e strumentale proibita in even for a certainty,-still less, if these chiesa, e quella che per il suo tip~ o p.er 1~ forma che Ia riveste, tende a d1strarre gh good results are only a probability, con­ uditori uella casa d'orazione." sequently we may not introdu.ce music of "Vocal and instrumental music that is for• an entertaining character into the litur­ bidden in church is such, which according to the forms in which it is presented, diverts the gical services in order to bring about the attention of the faithful from their prayers." conversion of even one hardened sinner. 108 Wq.e Clht.r.ril ia.

ing generally to recognize a vision in the enactments of the Motu P·roprio-,­ vision of an extremely practical char- OITO A. SINGENBERGER...... •...... Editor acter. · Entered as second class matter Nov. 28, 1925, at The problems ,attendant on liturgical tlle Post Office at Mundelein, TIL, under the Act music have not been created by enthu­ of March 3, 1879. · siasts or dilettantes. They will not be Terms: Subscription price $2.00 per year. Canada solved by literary controversy. They and other Foreign countries $2.50. Single copies will never be solved, except on a basis 30 cents. of constructive common sense That is the meaning of the Motu Proprio. Publication Office: 5t. Mary of the Lake Seminary, Mundelein, IlL Pius X was keenly aware of the dif­ ficulties But he had an objective. He Edited and published under the special patronage of realized that liturgical composition and His Eminence, George Cardinal Mundelein, performance call for something more of Chicago, IlL pertinent than musicianship, something deeper than surface piety, something Excerpts from the Cardinal's letters: December 12th, 192+- more penetrating than good taste or sense of the congruous. "The CAECILIA deserves every commendation and encouragement, for it is practically 'a voice cry· 1\iusic, to be Catholic, must embody ing in the wilderness.' I know of no other month· the spirit of the liturgy. It must sym­ ly periodical in tl:.e English language midst the great multitude of publication that espouses the cause of bolize and give utterance to Catholic sacred music and brings to our notice those com• tradition. ·Liturgical composition con­ positions that· are in harmony with the wishes and regulations of Pius X of saintly memory. stitutes a. genre unto itself Its pur­ " . . . your efforts merit and obtain every pose 'and standards-its essence !-can­ encouragem.ent, for there are but few like you de• not be grasped from a secular view­ voting your talents and efforts to the cause of real church music, and unless your numbers grow, the point. Until one has come to appreci­ beauty and impressiveness of the Church's liturgy is ate the inner spirit of Catholic tradi­ bound to suffer in the years to come." June, 1925- tion, to realize the intimate logic of its " . . . We are happy to welcome it (Tbe liturgy, how can one qualify as its in­ CAECILIA) to the sacred precincts of our Semi· terpreter? How can one under­ nary ••. stand the significance of the Motu Pro- "We commend it to our and our sister· hoods, for we feel that in supporting it . . . prio? · we are helping to safeguard a precious inheritance that has come to us from the first ages of the Church." Precisely to establish a concrete norm of judgment, Pius X named Gregorian Chant and the polyphony of THE "MOTU PROPRIO"-A Palestrina.. In indicating these as the "NEW YEAR'S .RESOLUTION" musical types which seem to interpret the spirit of the liturgy most perfectly, On November the 22nd, 1928 the Pontiff did not intend to galvanize twenty-five years will have passed since the style of individuals or to blast cre­ Pope Pius X issued his Motu Proprio ative musical inspiration in the Church. on church music. That occasion He did not wish to embalm Catholic should give pause fo-r retrospection. It music as ta beautiful corpse. But a will be a. V'antage point for the plans standard had to be set. The exotic and and resolutions of all church musicians purely provincial had to be ruled out. who :work with an ideal. We cannot ·conceive the mature de­ Clouds of timidity and prejudice are velopment of Catholic Church music, gradU'ally clea;ring away... We are com- on any otherbasis. · To arouse and LAETENTUR COELI 53 pro duabus vocibus aequa_libus

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stimulate the Catholic mind to a f.uller From an artistic standpoint, many consciousness of its heritage, liturgy negro "spirituals" are superior to some of the Moody and Sanky hymns. We do not must be given an orthodox setting. reproach the Evangelizers for not borrow- Catholic musicians who will light the ing from their darker brethren. The way for the future must be gro-qnded, religious sensibilities of some persons may · nurtured, saturated in the truth and be moved profoundly by certain snatches Cl · t' 1 •t f h f d from the Verdi operas. It is not to their lris Ian so emm Y 0 t e orms name discredit, the Verdi' tunes are never heard by the Motu Proprio. from their choir lofts. If the spirit of Th · th' 1 · the Moody and Sanky and similar hymns ere IS no mg nove or experi- does not correspond with that of Catholic mental about the Motu Proprio. But liturgy, who is right: the Cardinal who its adequate observance can come only bars them from CathoHc service, or his as the result of a gradual development critics who discourse on musical standards in technical equipment and poJmlar ap- and sensibilities~ preciation. The. Motu Prop.rio embocl- "Beautiful Isle of Somewhere", however ies an ideal; and, however pra.ctical, inferior a representative, is merely one h 1 ·1 'd 1 · 1 of a type. That plaintive swooping and wort w 11 e I ea s reqmre a strugg e, swooning of the melodic line ana the vague sometimes long and painful. Various . sentimentalism of the words­ movements for its advance are in evi- dence. The intelligence of Catholic "Some where the sun is shining, Some- where the song-birds dwell,." are thor­ musicians evervwhere should constitute oughly expressive of the "quiescent" phase a tremendous {noral support. , of sectarian theology. The spirit of in­ organized effort, of course, must t'ake terior illumination, of private judgment, the lead. of comfort from the Scriptures alone, and of dogmatic indifference is embodied un­ Meanwhile, we hope that consciences mistakably in these hymns, and the fin­ ished products radiate its sad, familiar will he stirred by the inspir:ation of the optimism. What an impatient critic might twenty-fifth anniversary. There you characterize as maudlin is really a reli­ have the making of aNew Y eaJ·'s reso­ gious note-the note of evangelistic con­ lution! fidence which underlies practically all Protestant theology. The other phase is the militant evangelism of "Onward, Christian Soldiers, March:i.ng on to War". The protest aroused by Cardinal O'Con­ That many of these hymns breathe a nell's ban on the "Beautiful Isle" is in­ vigorous spirituality and a rugged beauty, teresting, partly because it is typical. no one will deny. But they are totally Dissenting voices .seem to have missed the foreign to the Catholic system. They were point of the controversy. In barring the conceived under an alien inspiration. They hymn, His Eminence gave an . obvious deny implicitly the clean-cut dogmatic reason. He declared the song to be principles of the Church. They are stran­ "cheap, trashy and vulgar". From a gers to the Mass, the sacraments, to the musical standpoint his action has no Catholic conception of divine Grace, to challenge to fear. He had no desire of the communion of saints, and generally to wounding the sensibilities of those to the heritage of Catholic Faith so beauti­ whom the song may have grown dear fully symbolized in the Catholic liturgy. through old memories and associ.a tions. Catholic ritual is a logical development, the full and perfect product of centuries Fundamentally, the question is not one of devout labor and loving inspiration. of sensibilities or of musical standards. It were a shame to mar the exquisite fun­ Underlying the whole recurring situation eral service with "Beautiful Isle. of Some­ is a matter of dogmatic importance. The where". Secular songs are simply ex­ song is not merely a song.· It is the sym­ cluded from Catholic devotions. . Protest­ bol of a theological system. That system ant hymnology as a symbol of Catholic . is not the system of the Catholic Church. worship is a contradiction in terms.. 110 Choirmastering RGANIST and Choir­ The confidence of the .singers must be master" is the title, won. They are asked to lay aside indi­ proud . or otherwise, of vidual opinions and follow the concep­ many a young musician tions of another. I never saw a choir who has never stopped that would do this until they had learned to think of the plain from experience that the choirmaster had meaning of the last always an idea, and that in the end it was word in it, nor made certain to turn out better than theirs. any real progress in the When they grow eager to catch the drift · mastery aforesaid. We speak of this or of criticism the church-service improves that one as master of the piano, organ, in a wonderful way. violin, or what not; but few can we, even But it is not enough to have good and in the license of everyday language, de­ definite ideas of interpretation. They nominate masters of choirs, apart from must be broad enough to :fit the circum­ the mere title to the office. And yet a choir stances of the case, and there must not be must be mastered, just as an instrument, too many of them clamoring for atten-' if the church-service is to be worthy or tion at one and the same time. Broad even tolerable. The choir must aim to enough to suit the occasion! A body of carry out the ideas of one man, not strive singers which has not learned such sim­ to put in practice the opinions of every in­ ple virtues as prompt attack and plain dividual in it, not drift on in an aimless, enunciation cannot be expected to accom­ purposeless way. plish the subtle shading of power or tem­ po which marks the performance of a The first necessity, consequently, is that choir of highly trained musicians. Let the master have an idea to .carry out. The them take one step at a time. I have al­ leader should never attempt to teach a ways found it a good plan to make a note new composition to his chorus until he of the worst features of each servke, and has formed a definite conception of every then to put forth special effort to correct effect he wishes to bring out. General that particular defect during the follow­ effects are not what I mean, but particu­ lar effects; considering matters in the ing week. minutest detail. His copy of the composi­ Too seldom do choirmasters hear their tion to be studied should be so marked choirs as others hear them. They shut that he is sure of being absolutely uniform their ears to mistakes and complacently in his criticisms. I mean to say, his crit­ "preside at the organ" Sunday after Sun­ icism of a particular passage should al­ day, while a general stagnation reigns ways aim at the same end; if it is a pi­ over all the musical activity of the church. anissimo passage which he has decided Another thing: They too seldom hear oth­ should be sung in strict tempo, let him er and better choirs than their own. No see to it that it is sung-in strict tempo. doubt it is often a difficult matter to do Patience and perseverance will overcome so: but it is absolutely necessary for the any tendency to drag. The chorus must leader to get new ideas and higher ideals be taught that the choirmaster is not giv­ from time to time. He never will wince E-n to random fault-finding for the mere sufficiently at certain faults until he has sake of having something to say, but that heard them at another's service; nor will he has a determined aim and means to he sufficiently appreciate the necessity of realize it. Once let him learn thi;; le;;son brimdng: his own sing-ers up to a certain and half the battle i;; won. But how shndard ·until he has listened to a choir many conductors are li1l:e the little crook­ which has heen raised to the standard in ed pig with a crooked little gait going question. Thi;; standard in question is al­ down a crooked little lane They suggest wavs the one just above the present grade this thing at one rehear;;al, that at an­ of hiE? own choir. other; and, when the public p.erformance It i.s a great advantage to a choirmaster comes. attempt to give yet H third ren­ if he is so excellent an orsranist that his dering. If the sing-ers do not look for any musicianship in that direction commandE~ method in your madness. wh~,t you say the respel't ann admiration of his sing-­ goes in at one ear and out at the other. ers. It will lend great wei.ght to his opin- 111 ions. More important ?till, he must be of precendence. I have never seen a good a good vocal teacher. In almost every organist who was willing to play under the church there are many good voices which .8.uthority of a man not an instrumental­ need only the efforts of a genuine v.oice ist. The one at the head of the music of builder to be of great value in the services. a church, therefore, must be a versatile I am strongly in favor of 'homemade individual rather than a virtuoso. Tact, choirs myself, and consider a knowledge judgment, good manners, these are the of the human voice absolutely essential chief arrows in his quiver. Personally, to the successful choirmaster. If neces­ I do not envy him the task which is usu­ sary, let an assistant organist be engaged ally set before him. I fancy it is because to play the voluntaries. The choirmaster must be a vocal teacher. It is much bet­ I have myself too often been "it" to use ter to do as suggested above, than to give a slang phrase. He often has to make one man the position of organist, and bricks without straw; but if he succeeds another the position of choirmaster he is not without his reward.---:Harvey and leave th~m to fight an endless battle Wickham, in the ''Etude." The Precentor And Choirmaster In The Medieval By Ferrer Williams

...,...... ,...., N a monastic rule in vigor he would begin the chant and .the right Choir during the medieval days would take it up. He was incensed after the of Catholic England there and . is one highly interesting On Sundays and feasts of equal rank the admonition. It is of in­ Choir was relinquished to another appointed by terest to every present day the precentor. This teD;J.porary precentor would choirmaster for it demon­ bow to the precentor as he began each verse, strates, for all its terse together with the -little children shel­ wording, a problem that is ever with us. tered in the monastery. In times of manual It read: "UNISON IN CHOIR." Noth­ labor the precentor was exempt. Instead he ing more. But that o;ingle phrase beguiled would spend some time in instruction of the me into searching about in study of the . status of the Choirmaster- precentor as they In the monastery of Abingdon the office of called him-of former days. precentor was :filled by the election of the Ab­ The office of Precentor was one that could be bot, Prior, and convent. His duties, perhaps, filled only by a who had been brought were arduous enough to merit the deference he up in the monastery from boyhood. He ranked received, for they embraced the task of instruct­ high in the monastic order. Indeed he seems ing the whole community in singing and read­ to have been a privileged personage, ranking ing. In Choir, if anyone hesitated on pronun­ after the Abbot himself. Whilst other digni­ ciation or tone the precentor immediately gave taries were obliged to serve their turns in the the correct wording or note. Lessons and responsories, he was not to do so When processions were held the precentor unless it were required in the absence of the had to act also as a master of ceremonies. He Abbot. was required to give all the signals to the All mistakes in choir-the recitation of the Abbot. Naturally, being such an important Divine Office-were publicly reprimanded by factor, it was impossible for him to absent him­ the precentor. He arranged these services, ful­ self from divine services. filling partially the duties of a master of cere­ I mentioned that it was part of the precentor's monies. He· selected the vestments for festal duties to admonish the lagard in singing. This occasions and appointed the celebrant and as­ was done generally by a nod. When the de­ sistant clergy. linquent had received this notification that he Once the brethren had assembled for the was not chanting correctly or too slowly, he recitation of the Office, they could not le:tve had to return a bow to the precentor. without his permission. He took his stand a bit A Feast in Copes was a solemn event in to the right in the center of the Choir. Then monastic ceremony. On such an occasion the 112 ffiqr Qra:rcilia:.

precentor would distribute the festival staves to sense). They also fulfilled this duty at Vespers. his fellow chanters. If a monk, feeling unwell, But at Matins one of the played the­ sat during the Holy Sacrifice, he must first rise organ. and bow to the precentor. The Master of music had a chamber nearby :Processions were under the direction of the and ate at the laymen's table. precentor. He arranged the order, selected the partners and transposed the monks from one The child-choristers fasted the day before. side of Choir to the other. they were to chant and constantly ate beans. Some more earnest of these masters endeavored: The present day conductor of a choir or or­ to impart musical training with strenuous meas­ chestra, knowingly or not, makes use of a mon­ ures, such as cuffing, and boxing ears. astic tradition. The baton is a vestige of an old medieval custom. The offices to be recited All in all, the monastery gave much thought: by the officiating priest were contained on sev­ to music. Indeed, the cranky Erasmus in• eral sheets of parchment which ,were rolled veighed against so much time spent in music. around a slender stick. This .was called th.:: He says: "Contacium." One can easily understand the "We have introduced into our churches a cer• transition to the slender wand of today. When tain elaborate species of music, accompanied by music became secularized the divine offices a diversity of voices. · In England every morn• found no place in the repertory of the music ing youths and boys sing to the organ the Mass. master. In the early nineteenth century the of the Virgin Mary with the most harmonious. conductor used a roll of parchment. Our tradi­ modulations of voice." tion calls for the stick-upon which, at one time, was rolled the sacred words of praise to God. The precentor, in some places, made use of the. "tabulae." This was a kind of metronome EDWARD J. KOENIG COMPANY for the ancient chanters. It seems that in clas­ sic Greece the Coryphaeus, or leader of the The House of Liturgical Art orchestra,· kept time not only with his foot but also by beating together two clam shells or two 1107 S. Main Street 823 Rush Street' . pieces of bone. These two bones were the "tabulae" of the monastery. A will dated A. D. LOS ANGELES, CAL. CHICAGO,· ILL 837, makes mention of 'singing tabulae,' orna­ mented with gold and silver." In other houses, the precentor held a silver staff during the performances of sacred Acts. BRONZE BELLS This, says Honorius, was in commemoration of the staff which the Israelite, eating the Paschal From Lamb, held in his hand. Perhaps, in the Cenacle, Heinrich Humpert, Brilon, W estf. Germany whilst the Saviour ate this sacred repast with Established A. D. 1506 His Apostles, this same staff was seen. The monastery also had another Master of music. This was generally a layman. He was teacher to the children sheltered in the monas­ STAINED GLASS WINDOWS tery. He had his song-school within the Church. From its description, one is led t6 believe that From this song-school was the prototype of our mod­ Franz Mayer & Co., Munich, Germany ern choir-lofe. It was wainscoted two yards high and boarded closely for the sake of warmth. A desk extended from one end of the partition to the other for the books. Benches WOOD CARVINGS were spread about. From The children were to be instructed in the Josef Schmalz!, Ortisei, Tyrol · playing pf the organ every day. On feasts, when the monks sang high Mass the children would take over the choir (in the modern Just Published-New Revised Edition FRANZ A. MOENCH A NEW SCHOOL OF PIPE ORGAN EXPERT GREGORIAN CHANT TUNING, REPAIRlNG, REVOICING, By The Rev. Dom. Dominic Johner, 0. S. 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