,..••.... Judith Marie Kubicki complexus of symbols which are not objects, but actions that ...•...• , 1 negotiate and/or disclose relationships.' Within the ritual we can ~ liturgy, music can be described as one of many symbols within that f. Using J. L. Austin's Performative Language Theory dynamic complexus of symbols. If symbols require that we ap­ to Interpret Ritual Music-Making proach them as dynamic rather than static realities, then it followS that the proper object for the study of music as ritual symbol is not Both scholars and practitioners of liturgy generally agree that one the music printed on the page of a hymnal nor captured on com­ of the foundational principles underlying the reforms promul­ pact disc, but the action of music-making. Such a focus would shift gated byVatican II's Constitution on the Sacred Liturgy' is the impor­ the primary concern from the music itself and place it instead on tance of the active participation of the faithful in the liturgy. the activity of human subjects as music-makers. Such a focus need However, what is not always so clear, thirty-five years later, is what not deny the importance of using quality music in ritual music­ the active participation of the faithful actually involves and what making. Rather, it could better contextualize that concern and re­ best promotes the possibility of it actually happening. quire an anthropological basis for setting up criteria of excellence. The singing of acclamations, hymns, and other forms of ritual Several recent documents on ritual music, notably Universa music has long been promoted as an effective means for providing Laus's "De la Musique dans les Liturgies Chretiennes," refer to a worshiping assembly with the opportunity to participate actively music as a "symbolic practice:" thereby highlighting an under­ in the liturgy. While experience may have validated this assump­ standing of ritual music as activity. Similarly, the Ten Year Report tion on some levels, questions continue to be raised regarding published by the Milwaukee Symposia for Church Composers music's role in ritual prayer. These include questions regarding describes Christian liturgy as a symbolic event and symbol itself as whether music contributes more than simply" a nobler aspect" to a dynamic rather than a static reality.' the rites or "a more graceful expression to prayer,'" and why and In my own research, I have adopted a musical hermeneutic pro­ how music can be described as integral or ministerial to worship.' posed by the philosopher Lawrence Kramer. Interpreting music, Other areas of concern focus on questions of excellence and ap­ explains Kramer, requires opening a musical work's available her­ propriateness. meneutic windows and treating it as a field of humanly significant The approach which I have taken to examining music's role in action.' His hermeneutic is based on the conviction that although the liturgy begins with a consideration of the liturgy as a dynamic 4 Nathan Mitchell, "Symbols Are Actions, Not Objects," Living Worship I) Judith Marie Kubicki c.S.S.F. is the academic dean at Christ the King Seminary (February 1977) 2. in East Aurora, New York. She regularly reviews liturgical music for Worship. sUniversa Laus, Musique et liturgie (Paris: Les Editions du Cerf 1988). Transla­ tion in Claude Duchesneau and MichelVeuthey, eds., Music and Liturgy: The Uni­ 1See articles 11, 14, and 113 as significant examples of the importance given to versa Laus Document and Commentary, trans. Paul Inwood (Washington, D.C.: The this principle. Pastoral Press 1992) 1.1. The French title, Musique et liturgie, is the title of the pub­ 2 Sacred Congregation of Rites, HMusicam Sacram," in Ada Apostolicae Sedis 60 lication which includes both document and commentary. The English publica­ (1967) 5. In this article the English translation is taken from Documents on the tion is called Music and Liturgy. The title of the actual document found in Musique Liturgy 1963-1979: Conciliar, Papal, and Curial Texts (Collegeville: The Liturgical et liturgie is "De la Musique dans les Liturgies Chretiennes." The English title of Press 1982). Hereafter MS and DOL. the document is "Music in Christian Celebration:' 31 address these questions more fully in my dissertation, #Jacques Berthier's 6 See articles 9 and 12 of The Milwaukee Symposia for Church Composers: A Ten­ Taize Music! A Case Study of Liturgical Music as Ritual Symbol." This study will Year Report (Washington, D.C.: The Pastoral Press and Chicago: Liturgy Training be published by Peeters Publishers and Booksellers in 1999 as Liturgical Music as Publications 1992). Ritual Symbol: A Case Study ofJacques Berthiers Taizi Music, as part of their Liturgia 7 Lawrence Kramer, Music as Cultural Practice, 1800-1900 (Berkeley: University conden4a series and distributed in the United States by Books International. of California Press 1990) 6. Judith Marie Kubicki Ritual Music-Making 11 310 3 r music does not make propositions, it does have referential power. articulations other than assertions Or truth claims. For if, as Kramer In order to discover the possible meanings to which a particular asserts, meaning begins with-that is, forms around or clings to - piece of music may be referring, we need to approach it with the a truth claim - whether that claim be implicit or explicit, real or assumption that it resists fully disclosing itself. While the music fictive - then music has no meaning in the ordinary sense.12 If, does not give itself immediately to understanding, it can be made however, meaning can be found, not only in a grid of assertions, to yield to understanding if we are able to open hermeneutic but embedded in "a field of humanly significant actions,"" then windows through which our understanding can pass.' there is the possibility of using performative language theory to Kramer identifies three types of hermeneutic windows available locate meaning in ritual music-making. for interpreting music. They number textual inclusions, citational inclusions, and structural tropes. Textual inclusions refer to texts APPROACHING MUSIC AS A TYPE OF LANGUAGE set to music, titles, epigrams, program notes, and sometimes Before using performative language theory to interpret music, it is expression marking. Citational inclusions refer to various literary, important to justify the possibility of approaching music as a type visual, musical, and historical allusions.' It was the third herme­ of language. Jean-Jacques Nattiez has observed that "since music neutic window, however, what Kramer calls strnctural tropes, that is not, after all, language in the literal sense, the use of linguistic highlights the activity of music-making. By strnctural trope Kramer theory in musicology is always metaphorical, so that its value is means"a structural procedure, capable of various practical reali­ heuristic. ."14 zations, that also functions as a typical expressive ad [emphasis Justin London has used speech act analysis to interpret musical added] within a certain cultural/historical framework."lO According structures as compositional utterances made by composers. He to Kramer, structural tropes are the most powerful type of argues that, "as a result of our enculturated belief that music is a hermeneutic window. He understands them as units of doing kind of language, we can and often do treat music as a linguistic rather than of saying [emphasis added] that can evolve from any phenomenon. That is, we acquire our mechanisms for dealing with aspect of communicative exchange: style, rhetoric, representations, intentional communicative behavior through our acquisition of a etc. By describing the performance of music as an expressive act, linguistic framework."" In other words, London believes that it is we are focusing on the doing of something rather than the saying possible to use speech act analysis to interpret music because lan­ of something. guage is the prototypical framework we have adopted in order to Since ritual is a combination of both"articulate speech and pur­ deal with other kinds of meaningful communicative behavior." poseful action,"" an approach which views ritual language as ac­ London explains that it is possible to describe musical structures tion can provide a framework for interpreting music-making as an in terms of language and linguistic behavior because a MUSIC IS example of ritual speech acts. J. L. Austin's performative language LANGUAGE metaphor structures the actions a listener performs theory provides an important perspective on ritua/language be­ in apprehending music. As long as this metaphor is operative, it is cause it is built on the premise that, in certain instances, language as action takes precedence over language as assertion. This insight 12 Kramer, 5. is important for investigating ritual music's power to generate 13 Ibid., 6. meaning because it prOvides the possibility of locating meaning in 14Jean-Jacques Nattiez, Fondements d'une semiologie de la musique (Paris: Union Generale d'Editions 1975) 400. Cited in Francis Sparshott, "Aesthetics of Music," SIbid. in What Is Music? An Introduction to the Philosophy of Music, ed. Philip Alperson 9 Ibid., 9-10. (University Paik, Pennsylvania: The Pennsylvania State University Press 1987) 79· 10 Ibid. 15Justin London, #Musical and Linguistic Speech Acts," The Journal of Aesthetics 11 Wade T. Wheelock, #The Problem of Ritual Language: From Information to and Art Criticism 54 (Wmler 1996) 49. Situation," The Journal of the American Academy a/Religion 50 (1982) 50. 16 Ibid Judith Marie Kubicki Ritual Music-Making 12 3 313 r f possible to treat a composer and his or her works in the same way 1 speaker intends the utterance to produce in the hearer; and the in which we would treat a speaker and his or her utterances.17 This third is the actual effect the sentence has on the hearer. Later in his metaphor, London explains, is acquired in musical childhood and career, Austin came to see that all utterances have a performative becomes so established in the way a person learns to listen to music aspect.