non-manmade music from instrument

[benedictgal]

And yet there it is; a movie screen propped up right smack dab in front of the Altar with not just a priest but Bishop Olmsted himself speaking from a DVD on the readings of the day in the exact spot where the homily takes place.
Did you know that there are m.i.d.i. keyboards that just by touching a key will trigger pre-recorded musical passages of guitar strumming, drums, all kinds of pre-recorded stuff? Technology has taken music to new and excitingly beautiful possibilities. I believe the USCCB in paragraph 62 simply is keeping pace with the evolution of electronic music. And the Bishops are ordained by The Pope himself and are his subordinates in the Church. To say that they are renigades just because you personally think we who use today’s electronic musical wonders are trying to imitate Duran Duran (pa-lease!) or the Monkees is just plain ludricrous.

You seem to be trying to pull everything out of the air in order to jusitfy a practice that is wrong. The bishop’s appeal and the homily are two very different things. What you are doing is clearly against Musicam Sacram.

The lower rule-making body cannot overrule the ultimate one, namely, the Holy See. You are the one putting words into my mouth.

What is needed is humble acceptance of the authoritative documents of the Holy See and not pridefully looking at loopholes to justify an ilicit practice.

 

[Jean_Anthony]

Please everyone, remember that you are certainly free to disagree but without personal comments. Don’t let the discussion devolve into a “flame war”. Thank you all.

 

[benedictgal]

What has been quoted in the past to justify the practice of recorded music in the Mass comes from an outdated USCCB document that did not carry the recognitio of the Holy See.

The new document, Sing to the Lord, while not carrying the recognitio from the Holy See, makes this rather interesting observation:

Recorded Music93. Recorded music lacks the authenticity provided by a living liturgical assembly gathered for the Sacred Liturgy. While recorded music might be used advantageously outside theLiturgy as an aid in the teaching of new music, it should not, as a general norm, be used within the Liturgy.94. Some exceptions to this principle should be noted. Recorded music may be used to accompany the community’s song during a procession outside and, when used carefully, in Masses with children. Occasionally, it might be used as an aid to prayer, for example, duringlong periods of silence in a communal celebration of reconciliation. However, recorded music should never become a substitute for the community’s singing.

Thus, the parameters are pretty much set, as far as the USCCB is concerned. Furthermore, the document apparently clears up the confusion that was found in the previous statements issued by the USCCB. However, even the issue of Masses with children carries its own particular stipulation since the children must make up a majority of the faithful present at Mass. Thus, even a children’s choir that sings at a Mass where the adults make up the majority would not be justified in having recorded music.

All the same, Musicam Sacram holds that recorded music is not to be used.

 

[Mintaka]

One thing that is helpful for us church musicians and singers to remember is that there is never a Mass with no music. The choirs of angels and saints are always there, singing and playing to God. As Pope Benedict XVI has pointed out in the past, choirs and musicians are to remember that they are doing this same work as the angels, cooperating with them. But we have what angels envy us for – we have bodies as well as souls to worship God with. When we sing, when we play live music, we are using our bodies to worship God.

I’m sure you are doing really good stuff, musically. But your worship is taking place not in concert with Mass, but rather, during those long hours when you put the tracks together. That is much more like doing a private devotion than like greeting Jesus at the meeting of heaven and earth and the perpetual presentation of His sacrifice and wedding feast. It’s good music; it’s music dedicated to God; but it’s not Mass music. That’s all people are saying.

And even if you truly believe that someday the Church will approve something different, you can’t just go ahead and do that thing. Even if you know for sure that your parents are going to give you the house someday, you can’t just grab the keys, move in, and hold a housewarming party for yourself. If you really believe that your practice will be approved, you won’t do it until the day it is approved.

Another thing that is good for us to remember is that not every piece of music, and not every religious song, is suitable for Mass.

If we want to do music that isn’t suitable for Mass and we want to serve our parish and God, that’s not wrong. It just means that we need to find another venue. Parishes used to have their own bands and orchestras. They used to hold concerts in the gym or on the parish lawn. They used to hold processions with singing and music. Today, we try to stuff all that into Mass.

Another thing to think about is that Vatican II documents said that every parish should be teaching every parishioner how to sing, and should be helping kids learn to play instruments. We don’t do that, usually. We restrict music groups in the parish to the choir/s and accompanists. If we had non-Mass music groups, we would have room for a lot more adults and children to make music together and to teach informally, without having to have teaching certifications and the like.

I will add that, since I started investigating what the Church really teaches instead of trusting hearsay, I have often had the sinking feeling of finding out that I’ve been doing musical stuff for years that the Church did not and does not approve of. It stinks. It makes me angry that I was lied to or mistaught, and angry that I seem to have my work disrespected.

But on the other hand, I’d rather know so that I can take steps to change and learn and grow. It’s not just theologians that have to learn to adapt to the mind of the Church instead of insisting on teaching their own ideas as real true Catholicism. It’s not just St. Therese who has to give up her own preferences and graciously live for others. It’s us musicians, too. And it will help make us better musicians and people. You just have to trust Christ’s Bride. (Also, bug St. Cecilia.)

 

[mhazell]

And the Bishops are ordained by The Pope himself and are his subordinates in the Church.

Exactly. Therefore, as subordinates, they do not have the authority to overrule *any *document that comes from the Holy See. (Which is what we have been saying to you for some time now!)

To say that they are renigades just because you personally think we who use today’s electronic musical wonders are trying to imitate Duran Duran (pa-lease!) or the Monkees is just plain ludricrous.

I don’t believe anyone has said anything of the sort. (In any case, there are occasions where I like a little bit of Duran Duran cheese!)

The case against pre-recorded music in the Mass is absolutely nothing to do with musical taste. Rather, it is about what the Church requires of us, and what she asks us to do. And at the moment she asks us not to use pre-recorded music in the Mass.

I believe the USCCB in paragraph 62 simply is keeping pace with the evolution of electronic music.

What you happen to believe here is of no consequence when a) it is not the place of the USCCB to “keep pace” with the “evolution” of music, and b) your belief is plainly at odds with the documents of the Holy See.

By the way, the very fact you’re trying to circumvent documents like Musicam Sacram and avoid their obvious requirements is… well, concerning to me, to say the least. You are not free (just as I am not) to cherry-pick the Church’s documents. We are all of us to submit to what Holy Mother Church has decreed, not to dismiss some of what she says because we personally think she is behind the times, etc.

I beg you, please, examine thoroughly what the Church requires of her musicians.

 

[benedictgal]

One thing that is helpful for us church musicians and singers to remember is that there is never a Mass with no music. The choirs of angels and saints are always there, singing and playing to God. As Pope Benedict XVI has pointed out in the past, choirs and musicians are to remember that they are doing this same work as the angels, cooperating with them. But we have what angels envy us for – we have bodies as well as souls to worship God with. When we sing, when we play live music, we are using our bodies to worship God.

I’m sure you are doing really good stuff, musically. But your worship is taking place not in concert with Mass, but rather, during those long hours when you put the tracks together. That is much more like doing a private devotion than like greeting Jesus at the meeting of heaven and earth and the perpetual presentation of His sacrifice and wedding feast. It’s good music; it’s music dedicated to God; but it’s not Mass music. That’s all people are saying.

And even if you truly believe that someday the Church will approve something different, you can’t just go ahead and do that thing. Even if you know for sure that your parents are going to give you the house someday, you can’t just grab the keys, move in, and hold a housewarming party for yourself. If you really believe that your practice will be approved, you won’t do it until the day it is approved.

Another thing that is good for us to remember is that not every piece of music, and not every religious song, is suitable for Mass.

If we want to do music that isn’t suitable for Mass and we want to serve our parish and God, that’s not wrong. It just means that we need to find another venue. Parishes used to have their own bands and orchestras. They used to hold concerts in the gym or on the parish lawn. They used to hold processions with singing and music. Today, we try to stuff all that into Mass.

Another thing to think about is that Vatican II documents said that every parish should be teaching every parishioner how to sing, and should be helping kids learn to play instruments. We don’t do that, usually. We restrict music groups in the parish to the choir/s and accompanists. If we had non-Mass music groups, we would have room for a lot more adults and children to make music together and to teach informally, without having to have teaching certifications and the like.

I will add that, since I started investigating what the Church really teaches instead of trusting hearsay, I have often had the sinking feeling of finding out that I’ve been doing musical stuff for years that the Church did not and does not approve of. It stinks. It makes me angry that I was lied to or mistaught, and angry that I seem to have my work disrespected.

But on the other hand, I’d rather know so that I can take steps to change and learn and grow. It’s not just theologians that have to learn to adapt to the mind of the Church instead of insisting on teaching their own ideas as real true Catholicism. It’s not just St. Therese who has to give up her own preferences and graciously live for others. It’s us musicians, too. And it will help make us better musicians and people. You just have to trust Christ’s Bride. (Also, bug St. Cecilia.)

My thoughts exactly! Thank you for expressing this in such a wonderful manner.

 

[hosea]

Exactly. Therefore, as subordinates, they do not have the authority to overrule *any *document that comes from the Holy See. (Which is what we have been saying to you for some time now!)

I don’t believe anyone has said anything of the sort. (In any case, there are occasions where I like a little bit of Duran Duran cheese!)

The case against pre-recorded music in the Mass is absolutely nothing to do with musical taste. Rather, it is about what the Church requires of us, and what she asks us to do. And at the moment she asks us not to use pre-recorded music in the Mass.

What you happen to believe here is of no consequence when a) it is not the place of the USCCB to “keep pace” with the “evolution” of music, and b) your belief is plainly at odds with the documents of the Holy See.

By the way, the very fact you’re trying to circumvent documents like Musicam Sacram and avoid their obvious requirements is… well, concerning to me, to say the least. You are not free (just as I am not) to cherry-pick the Church’s documents. We are all of us to submit to what Holy Mother Church has decreed, not to dismiss some of what she says because we personally think she is behind the times, etc.

I beg you, please, examine thoroughly what the Church requires of her musicians.

Paragraph 62 remains as an acceptable exception of the rules set by Musicam Sacram does it not? Why, do you think, has the Holy See not condemned the USCCB and this document as you have condemned me for following it? I am not cherry picking to satisfy my desire to provide good musical accompaniment. I am following this active document. And my use of pre recorded accompaniment is used exactly as paragraph 62 states.
I agree that the use of a commercially produced track played in place of the choir and musicians is an aboration. If what I believe is of no consequence then why does what the two of you believe condemn me so? I have felt cherished by every parish that I have been priveledged to serve since 1972. My heart is now saddened that two total strangers chastise me in this way, accusing me of abuse and disloyalty to the Mother Church because of their interpretation of the relationship of the Holy See and the American Bishops.
Forgive me, my brothers.
a pastoral musician.
**LITURGICAL MUSIC TODAY **
**Guidelines for **
**The Catholic Church Liturgical Musician **
**62. A prerecorded track is sometimes used as a feature of contemporary “electronic music” composition. When combined with live voices and/or instruments, it is an integral part of the performance, and therefore, is a legitimate use of prerecorded music. **

**63. The entire worshiping assembly exercises a ministry of music. Some members of the community, however, are recognized for the special gifts they exhibit in leading the musical praise and thanksgiving of Christian assemblies. These are the pastoral musicians, whose ministry is especially cherished by the Church. **

 

[benedictgal]

Paragraph 62 remains as an acceptable exception of the rules set by Musicam Sacram does it not? Why, do you think, has the Holy See not condemned the USCCB and this document as you have condemned me for following it? I am not cherry picking to satisfy my desire to provide good musical accompaniment. I am following this active document. And my use of pre recorded accompaniment is used exactly as paragraph 62 states.
I agree that the use of a commercially produced track played in place of the choir and musicians is an aboration. If what I believe is of no consequence then why does what the two of you believe condemn me so? I have felt cherished by every parish that I have been priveledged to serve since 1972. My heart is now saddened that two total strangers chastise me in this way, accusing me of abuse and disloyalty to the Mother Church because of their interpretation of the relationship of the Holy See and the American Bishops.
Forgive me, my brothers.
a pastoral musician.
**LITURGICAL MUSIC TODAY **
**Guidelines for **
**The Catholic Church Liturgical Musician **
**62. A prerecorded track is sometimes used as a feature of contemporary “electronic music” composition. When combined with live voices and/or instruments, it is an integral part of the performance, and therefore, is a legitimate use of prerecorded music. **

**63. The entire worshiping assembly exercises a ministry of music. Some members of the community, however, are recognized for the special gifts they exhibit in leading the musical praise and thanksgiving of Christian assemblies. These are the pastoral musicians, whose ministry is especially cherished by the Church. **

No one is chastising you. What we are trying to get you to see is that the authoritative documents of the Holy See do not make allowances for what you are doing. In fact, the information that I relayed in my initial reply came from a direct question that I asked the former Secretary to the USCCB’s Committee on Liturgy (as it was known then). He stated that recorded music is not allowed for the Mass. It must be real. What you are doing is not within the bounds of what the documents permit. Recordings can be used to help teach the choir a new song within the context of the weekly (or regularly scheduled) choral practice. However, once you are at the Mass, it must be live, not memorex.

Again, you are quoting outdated documents. Even Sing to the Lord, the new document issued by the USCCB, makes the point that recorded music is not allowed. Furthermore, LMT was made by a committee of three bishops and does not carry the recognitio of the Holy See since it was not pased by a 2/3 vote of the Latin-Rite bishop members of the USCCB.

 

[mhazell]

Paragraph 62 remains as an acceptable exception of the rules set by Musicam Sacram does it not?

No, it does not. Musicam Sacram is an authoritative doocument of the Holy See. The document you quote, though it is from the USCCB, is not from the Holy See. As I pointed out in post #74, Musicam Sacram 12 lays down the limits to which bishops are to work in with regard to sacred music. If the USCCB goes beyond these limits, then they are wrong.

In any case, as benedictgal has already mentioned several times, the document you are quoting has itself been superceded by another USCCB document, Sing to the Lord, of which paras. 93-94, contrary to your own feelings in this matter, are quite clear. Recorded music is not to be used in the Mass. (The exceptions noted in the document in para. 94 do not, from what you have said, apply to you, and I would question whether given Musicam Sacram those exceptions hold anyway, but that’s a different matter.)

I am not cherry picking to satisfy my desire to provide good musical accompaniment. I am following this active document. And my use of pre recorded accompaniment is used exactly as paragraph 62 states.

And this would be fine if a) the document was active, as you claim, b) the document itself did not contradict a more authoritative document from the Holy See and c) the document carried the recognition of the Holy See.

However, none of these conditions are met. And, with all due respect, your treatment of the other documents certainly suggests that you are cherry-picking.

I agree that the use of a commercially produced track played in place of the choir and musicians is an aboration. If what I believe is of no consequence then why does what the two of you believe condemn me so? I have felt cherished by every parish that I have been priveledged to serve since 1972. My heart is now saddened that two total strangers chastise me in this way, accusing me of abuse and disloyalty to the Mother Church because of their interpretation of the relationship of the Holy See and the American Bishops.

There is no condemnation here, only an attempt at correction in the spirit of submitting to what Holy Mother Church requires of us.

And regardless of how long you have been using pre-recorded music or how many people like it, that doesn’t alter the basic facts of the matter. The Holy See has said that pre-recorded music at the Mass is a no-no. Roma locuta est, causa finita est.

 

[hosea]

Ab asino lanam
Frater, ave atque vale
Absum!

 

[mhazell]

Well, I’m truly sorry that you feel that way.

I can only continue to implore you to follow what the Church requires of its musicians, which in this regard has been clearly laid out in this thread.

 

[hosea]

So what kind of music do you enjoy during Mass in the UK? It must be quite different than what we have here in the US.
Are you a Pastoral Musician or singer?
Do you play an instrument for the church?
Does your congregation participate in the music?
What hymnals do you use? We use Journeysongs and Gather.
Who are some of your favorite composers?
We use one of your countrymen, Bernadette Ferrell’s Eucharistic Prayer music, Mass of Hope, quite often. Beautiful. She and her husband, Owen Alstott have composed some of our favorite hymns.

Peace to you and your family, mhazell.
Your friend in Christ,
Terry

 

[benedictgal]

So what kind of music do you enjoy during Mass in the UK? It must be quite different than what we have here in the US.
Are you a Pastoral Musician or singer?
Do you play an instrument for the church?
Does your congregation participate in the music?
What hymnals do you use? We use Journeysongs and Gather.
Who are some of your favorite composers?
We use one of your countrymen, Bernadette Ferrell’s Eucharistic Prayer music, Mass of Hope, quite often. Beautiful. She and her husband, Owen Alstott have composed some of our favorite hymns.

Peace to you and your family, mhazell.
Your friend in Christ,
Terry

Having watched the Mass for the translation of the remains of Venerable John Cardinal Newman, I found the music quite uplifting, magnificent and solemn. Even though I was watching it from an ocean (and several time zones away), there was a strong sense of the divine, of the meeting between heaven and earth that happens at every Mass. Unfortunately, a lot of what we use here in the States is terribly deficient and focuses only on the horizontal while completely ignoring the vertical, the divine element.

Ferrell’s Mass of Hope is very problematic as it takes liberties with the texts of the Mass, at least the setting that appears in Rise Up and Sing. Her version of the Agnus Dei is not at all faithful to the text and is a theologically bad paraphrase. We are not supposed to amend the texts of the prayers of the Mass. If this is the same Ferrell I am thinking of, she also managed to slaughter “Come Holy Ghost” by embedding it into one of her songs. It does not mix well.

Furthermore, it is not Eucharistic Prayer music. They are the acclamations such as the Sanctus, the Memorial Acclamation and the Great Amen. The Eucharistic Prayer, if chanted, is never set to music, since no instruments are to be playing while the prayer is being recited/chanted.

At the Cathedral, we used to use Worship III until the second administrator got rid of them and replaced them with OCP and Mariachi music (which is never good for Mass, maybe for a parish fiesta after Mass, but, not for the Holy Sacrifice). At my current parish, Worship III was also used. This is the version of Worship III that was not ruined by the inclusive language mess. However, our pastor has bought heavily into the OCP grind, despite the fact that a lot of the publishing house’s arsenal is bad liturgical music.

When we still used Worship III, we used Proulx “A Community Mass” setting, which is completely faithful to the text, magnificent and easy to sing. His setting has a great grasp of the Senus Fidei. Unfortunately, we are stuck with Haugen, Haas and Bob Hurd, who are really bad, as well as the St. Louis Jesuits.

Hopefully when the new document on music is issued by the Congregation for Divine Worship and the Discipline of the Sacraments, it will clear up a lot of the mess.

 

[hosea]

Having watched the Mass for the translation of the remains of Venerable John Cardinal Newman, I found the music quite uplifting, magnificent and solemn. Even though I was watching it from an ocean (and several time zones away), there was a strong sense of the divine, of the meeting between heaven and earth that happens at every Mass. Unfortunately, a lot of what we use here in the States is terribly deficient and focuses only on the horizontal while completely ignoring the vertical, the divine element.* Would you say that may have been a flaw in Vatican II i.e. 'full, active participation of the assembly {is paramount}? I agree that we are definately in the middle of the ‘ME’ generation.*

Ferrell’s Mass of Hope is very problematic as it takes liberties with the texts of the Mass, at least the setting that appears in Rise Up and Sing. Her version of the Agnus Dei is not at all faithful to the text and is a theologically bad paraphrase. We are not supposed to amend the texts of the prayers of the Mass. If this is the same Ferrell I am thinking of, she also managed to slaughter “Come Holy Ghost” by embedding it into one of her songs. It does not mix well. Musically, we enjoy Bernadette’s ‘One spirit one Church.’ Too bad it is an idelistic title given this thread.

Furthermore, it is not Eucharistic Prayer music. They are the acclamations such as the Sanctus, the Memorial Acclamation and the Great Amen. The Eucharistic Prayer, if chanted, is never set to music, since no instruments are to be playing while the prayer is being recited/chanted.* I stand corrected. But must you always be so critical of every sentance a person writes? I know my liturgy. I assumed you would know what I meant; music used during the Consecration. Lighten up, sir. I just want to share thoughts on music. Not be trained on my use of the terms. *

At the Cathedral, we used to use Worship III until the second administrator got rid of them and replaced them with OCP and Mariachi music (which is never good for Mass, maybe for a parish fiesta after Mass, but, not for the Holy Sacrifice).* Living in Arizona, we see many churchs using Mariachi music to accomodate the Latino population. I’m not a big fan of Mariachi music but understand the church trying to feed that population that way.*
At my current parish, Worship III was also used. This is the version of Worship III that was not ruined by the inclusive language mess. However, our pastor has bought heavily into the OCP grind, despite the fact that a lot of the publishing house’s arsenal is bad liturgical music. Don’t get me started on inclusive language. It has tied the hands of many gifted composers. Very sad.

When we still used Worship III, we used Proulx “A Community Mass” setting, which is completely faithful to the text, magnificent and easy to sing. His setting has a great grasp of the Senus Fidei.* We have not tried Proulx. I will give it a listen. Thanks.*
Unfortunately, we are stuck with Haugen, Haas and Bob Hurd, who are really bad, as well as the St. Louis Jesuits. Marty Haugen has written some great hymns over the last 20 years or so. I was at one of his workshops and he said that the inclusive language really stifeled his creativity. Being a guitar player makes me like his and David Haas quite a bit. Bob Hurd not so much. A little too blusy for me.

Hopefully when the new document on music is issued by the Congregation for Divine Worship and the Discipline of the Sacraments, it will clear up a lot of the mess. Prayers, my devoted friend. Prayers. Peace. Terry

 

[hosea]

To Benedictgal:
I see you live near Pflugerville. My parents and sister lived in Pflugerville and Round rock. Small world.
I just realized your handle may indicate you are female [BenedictGAL]. I’ve been addressing you as male. If I offended I am sorry.
peace

 

[hosea]

to Benedictgal:
I see you visited my profile. I put in some info if you are interested.
thanks for the interest.
peace

 

[benedictgal]

To Benedictgal:
I see you live near Pflugerville. My parents and sister lived in Pflugerville and Round rock. Small world.
I just realized your handle may indicate you are female [BenedictGAL]. I’ve been addressing you as male. If I offended I am sorry.
peace

Oh no. I am on the Texas/Mexico border. I just said that I knew were Plugerville was. I’ve been to Round Rock. Having lived in Austin for 12 years, I know my way around the corridor. It’s funny. Austin is the only town that I know of that extends into two counties, Travis (the majority of it, since Austin is the County Seat) and Williamson.

The problem with Mariachi music is that a lot of it is not suitable for the Holy Sacrifice of the Mass. Oddly enough, while the Mariachis played the mananitas for Our Lady of Guadalupe at the Baslica in Mexico City, they were not employed for the Mass on December 12th. In fact, they had a schola and a lot of Latin was used. The Mariachis at the Cathedral only have four set songs and they do not know any seasonal music. In fact, it was most inappropriate to have them during Lent and Palm Sunday since their stuff was too joyous. And, it’s too loud. It is also mostly entertainment since the people don’t even sing. They also do not use the correct texts for the parts of the Mass.

Haugen does have some seriously flawed (theologically speaking) music. We Remember reduces the Holy Sacrifice of the Mass to a meal. Gather Us In is very horizontal and focuses on us rather than on God. It also sounds like the Wreck of the Edmund Fitzgerald.

Now, regarding active participation, this is how Pope Benedict XVI defines it:

Actuosa Participatio
The pope, in his book The Spirit of the Liturgy, defines actuosa participatio as a call to a total assimilation in the very action of Christ the High Priest. It is in no way a call to activism, a misunderstanding that spread widely in the aftermath of Sacrosanctum Concilium. Stated Cardinal Ratzinger: “what does it [active participation] mean…? Unfortunately the word was very quickly misunderstood to mean something external, entailing a need for general activity, as if as many people as possible, as often as possible, should be visibly engaged in action” (The Spirit of the Liturgy, 2000, San Francisco: Ignatius Press, p. 171).

We know that in many places this led to the amalgamation of the sanctuary with the assembly, the clericalization of the laity and the filling up of the sanctuary with the noisy and distracting presence of a large number of people. One could say that virtually Wall Street moved into the sanctuary. But was that really what the Council Fathers advocated? Cardinal Ratzinger does not think so. For him, “the real ‘action’ in the liturgy in which we are all supposed to participate is the action of God Himself. This is what is new and distinctive about Christian liturgy: God Himself acts and does what is essential” (ibid, p. 173).

This kind of participation in the very action of Christ, the High Priest, requires from us nothing less than an attitude of being totally absorbed in Him. Says the cardinal “the point is that, ultimately, the difference between the actio Christi and our own action is done away with. There is only one action, which is at the same time His and ours — ours because we have become ‘one body and one spirit ‘with Him” (ibid p. 174).

Active participation, thus, is not a giving way to any activism but an integral and total assimilation into the person of Christ who is truly the High Priest of that eternal and uninterrupted celebration of the heavenly liturgy.

The Council’s Constitution on the Liturgy, Sacrosanctum Concilium, too, as we know, spoke of this when it defined liturgy further as a foretaste of the “heavenly liturgy which is celebrated in the Holy City of Jerusalem towards which we journey as pilgrims, and in which Christ is sitting at the right hand of God, a minister of the sanctuary and of the true Tabernacle” (cf. Rev. 21:2; Col. 3:1; Heb. 8:2)-(SC 8).

Hence, everything we do should help us to achieve that and that alone is the true meaning of the “participatio”: a taking part in a bigger actio. Participatio itself is, I would say, in this sense, an ars [art] where we ourselves are not the artists; neither do we follow an art taught or handed down to us by others, but allow the Lord to be the artist through us, becoming part of what He does. As far as we are concerned, it is participatio in the order of “esse” — being. All that we do in liturgy makes us achieve that union with the eternal high priest, Christ and His sanctifying offering. The more we become part of the oratio of Christ, His eternal self-offering to God as the expiatory Sacrificial Lamb (Rev. 14:1-5), so much more would it be able to transform us into the Logos and make us experience the redeeming effects of such a transformation. Without that, as Cardinal Ratzinger wrote, we would radically misunderstand the “theo-drama” of the liturgy, lapsing into mere parody (cf. ibid p. 175).

This comes from the text of a speech delivered by the Secretary to the Congregation for Divine Worship and the Discipline of the Sacraments, Archbishop Malcolm Ranjinth. I was privileged to be in attendance at this conference and got to visit with him before and after his address.

His remarks remind me of a line that John Malkovich uttered in the movie “Shadow of the Vampire.” In this scene, he was telling his cameraman to film the average villager. The cameraman replied, “These people do not know how to act”, to which Malkovich’s character replied, “They do not have to act; they have to just be.”

 

[benedictgal]

to Benedictgal:
I see you visited my profile. I put in some info if you are interested.
thanks for the interest.
peace

Thanks. Have you guys been hit with the swine flu? All of our schools have shut down, even the Catholic schools. No word yet on how we will proceed for Holy Communion.

 

[hosea]

Thanks. Have you guys been hit with the swine flu? All of our schools have shut down, even the Catholic schools. No word yet on how we will proceed for Holy Communion.

This is an interesting thought given the speech by Archbishop Malcolm Ranjinth that you posted. His words are so annointed. That our Church’s desire is for all of the faithful to assimilate to the Christ! Are we blessed or what?!
I mentioned my concern at what they would do for Communion this weekend to my wife. Her reply was filled with the innocense and beauty of total belief in our Church’s Eucharistic Prayers. She said “The bread and wine is Transformed into His Body and His Blood. We must not worry if the vessels are subject to a simple virus. If we are to get the flu by taking His Body and Blood then it is His will.” I am blessed to have such a spiritual partner! We took from both species.
During the opening greeting this past Sunday, each presider told the assembly that due to the concern mounting about the H1N1 virus that everyone should understand that people may not want to hold hands during the our Father or sign of peace. They also said that people should not feel bad if they do not wish to receive from the cup.
Peace,
Terry

 

[mhazell]

So what kind of music do you enjoy during Mass in the UK? It must be quite different than what we have here in the US.

Unfortunately, it’s probably not all that different. Haugen, Haas and company made their way over here as well, to the detriment of all concerned.

Are you a Pastoral Musician or singer?

Pastoral musician? That’s rather an odd phrase, if you don’t mind me saying, and I think it perhaps misses the point of liturgical music. The point of liturgical music is not to be pastoral; it is to worship God in unity with the liturgical text.

In any case, I am not a member of our church music group, and have little inclination to become one. I would only become involved in order to undo a lot of the dross done in the name of the “spirit of Vatican II”.

Do you play an instrument for the church?

I don’t play the organ, so no.

I play guitar in my spare time, and have done for the past 18 years or so. However, since the guitar is not suitable for the Mass and not suitable for properly sacred/liturgical music, I will **never **play at Mass. I’d be happy to play for prayer meetings outside of the Mass, however.

Does your congregation participate in the music?

That depends on what you mean by participation.

People who like the 1970s folk dross we sing week in and week out probably enjoy the music and participate in the music. Participation in the music does not, however, equate to the active participation in the Mass that the Second Vatican Council rightfully encourages.

The Church has standards for its liturgical music, laid out in documents such as Musicam Sacram, Sacrosanctum Concilium, etc. The closer music used in the Mass is to this ideal, the easier it is for the congregation to actively participate in the Mass. Conversely, the further away from the ideal the music is, the harder it is for the congregation to actively participate in the Mass.

Our parish music is currently geared towards participation in the music, and not active participation in the Mass. It’s easy to sing some God-awful paraphrased folk setting of the Gloria, but how on earth does that help the people enter into the mystery of the liturgy and actively participate in something that is heavenly, sacred and other-than?

What hymnals do you use? We use Journeysongs and Gather.

Sadly, we use Laudate. Since it’s in almost every church I’ve been to in our diocese, I have a feeling someone forced it upon the diocese a number of years ago.

I am of the opinion that no Catholic church should use a hymnal that is not approved by the Bishops’ Conference of England and Wales. Unfortunately the bishops seem to have abdicated their responsibility somewhat in this area.

Who are some of your favorite composers?

The anonymous people throughout the ages who have sung and developed the ancient liturgical chants of the Church.

We use one of your countrymen, Bernadette Ferrell’s Eucharistic Prayer music, Mass of Hope, quite often. Beautiful. She and her husband, Owen Alstott have composed some of our favorite hymns.

Unsurprisingly, I am not a fan of Bernadette Farrell. People like her have done a massive disservice to Catholic liturgical music. I’m sure she’s a nice woman, but her music is entirely unsuitable for the Mass.

My fiancee and I just cannot understand why there are people in the Catholic Church who seem hellbent on pissing away the indescribably beautiful musical heritage of the Church, and replacing it with derivative, dull, dated, dreary, dreadful songs, the lyrical content of which the local evangelical Anglican community would be happy with. The Church used to have the finest music in the world–yet if you walked into a typical parish, you’d never know it.

In the post-Vatican II quest for diversity and relevance in music (which, by the way, the Council never called for or mandated), so much damage has been done that will take decades to undo. We sing songs–often, really bad songs!–at the beginning of Mass, yet the Church in her wisdom has already set a text to be sung at the beginning of Mass (the Introit/Entrance Antiphon). Why aren’t we singing that text–you know, the text that’s actually part of the liturgy?? Is it any wonder that our catechesis and liturgical and sacramental formation is currently so bad when we routinely do things like this?

I’ve gone off on a bit of rant. It’s not particularly aimed at you, by the way–really, I’m hoping it gives you a bit more idea of where I’m coming from on this whole area of sacred/liturgical music. It’s my considered opinion that if we can actually get back to what the Second Vatican Council actually said about sacred music, and back also to what the Church has historically taught sacred music should be, that will go some way to fixing some of the other problems that currently exist in the Church, notably the woeful state of parish catechesis. Lex orandi, lex credendi.