Y
YoungTradCath
Guest
Well, no. The point I am trying to make is that this argument isn’t about old or new. The point is quality, not year of publishing. Year is just some arbitrary number that doesn’t really matter as long as the quality is good.Yes, I understand that chant and polyphony is not all “ancient.” The styles were first conceived many centuries ago, but there are still composers writing in these ancient styles.
So perhaps a better term is “ancient-style music.” Or perhaps it would be best to just say “polyphony written in recent decades” or “chant written within the last five years” as compared with “polyphony written in the 16th Century,” etc. In other words, it might be best to be specific with musical styles and periods.
You can see why I keep harping on the idea that those who want change in the Mass need to strive to learn to submit and to be patient and charitable. It’s not as easy as just throwing out the OCPs and hauling in the replacements. And it’s not as easy as just “educating people.”
And “ancient-style music” doesn’t really do it either because good polyphony written in the past 50 years, what little of it there is, sounds very different than good Baroque polyphony. We can’t call a polyphonic Mass setting by James MacMillan “ancient-style music,” because, well, it isn’t. You can tell without a doubt that it’s modern music. It’s the same musical style technically, I suppose, but it sounds very different (while of course still being in line with tradition) from the same style written 300 years ago. That’s why I posited the term sacred polyphony (as the Church uses, no less). There is absolutely zero functional difference between old sacred polyphony and new sacred polyphony.
When we make this an argument of 16th century music versus 17th and 20th, that is where I can’t go. There is nothing wrong with calling music “old” sacred polyphony (or some variant of that) and “newer” sacred polyphony (or some variant of that), but when we make the argument one of era, that is where it becomes just disingenuous. Who cares what era it comes from as long as it is high quality? I LOVE Baroque music, but **I do not care a bit **if Mr. Music Director picks a setting written in 1961, as long as it is good quality. And quality does not necessarily mean difficult.
I think we just have to divide the concepts up. Era non est difficulty non est quality. There is a value in categorizing a Mass setting as a 17th century one and another as a 20th century one, because that’s just fact, but when that ends up being the qualifier that people use to determine if it’s going to be used at Mass, that’s just asinine. And I’m not saying that you are doing that, but I just want to make it clear.
The question must not be, “What? It was written in 1699? We can’t use that because it’s old.” The question must be, “Is it high quality music worthy of the Mass?” The first example, IMO, shows a gargantuan lack of thought, and I don’t claim to be a music scholar or anything. I think it’s just worthless to ask, “When was it written?” because that really doesn’t matter. Now, I will say the same thing about the other side. When some say, “All 70s music is junk and we can’t sing it at Mass,” that’s just as asinine. There are, without a doubt, good polyphonic settings dating from the 1970’s (although I don’t personally know of any specifics, they’re probably hidden secrets that will be discovered 200 years from now!). That proves my point from the most oft-hated part of the sacred polyphony time spectrum. No one really thinks all 1970’s music is bad. When they say that, what they mean to say is the groovy luv-type music and the “sing about myself” music and the “nu church” music is what they hate, because those are ideologically-driven types of music rather than quality-driven. So it really is pointless to talk about era as if it is the be all end all of judging musical appropriateness for the Mass, and I say that from both sides.
Of course we must do this with charity.
We cannot become reactionary, but we also cannot remain content.