Friday, February 10, 2012

Saving the World through The Liturgy

The purpose of this blog is mainly to serve the mission of the Society of St. Gregory the Great - that is, "to promote divine worship in accordance with the Supreme Magisterium of the Church."


Why do we promote divine worship? The bottom line is this: 




Now, it is also important to know just what it is we are saving the world from.


To that end, may I suggest you take a few minutes to consider the state of our nation at the present moment? 


Here is a list of posts from ThePulp.It. For more - and there are lots more right now! - go directly to ThePulp.It and see what you find.

. . .Obama Compromise is No Compromise. . .

Obama’s Latest Fig Leaf is Not Acceptable – The American Catholic
On Compromise & the Church’s Role in Civil Society – Fr. R. J. Araujo SJ, Mirror of Justice
Compromise or Accommodation, It’s Still Unacceptable – Tom Crowe, Catholic Vote
This Story is Still Breaking, Scroll Down for Updates – Micah Murphy, Truth & Charity
WaPo Writer: Founders Wrong on Free Exercise of Religion – A. McCarthy, The Corner
Obama Tells Reporters on Controversy: Come On, Guys – Noel Sheppard, NewsBusters
USCCB: Hawaii Bill ‘Not Much of a Compromise’ – Joan Frawley Desmond, Daily Register


Wednesday, February 8, 2012

Cultural Obstacles to Sacred Music


If you’re serious about sacred music in your parish, there’s a great article entitle “The Blueprint: Sacred Music in Your Parish”,  by Arlene Oost-Zinner and Jeffrey Tucker which is a must-read (thanks to Wendi for pointing it out).

The authors begin with this statement:

Every parish can be the home for chant and sacred music. No situation is desperate or hopeless. Musicians who care need only do the necessary work and take the necessary steps.

In other words, put your excuses away, and look for paths that will lead to the successful introduction of sacred music in your parish!

Of particular importance for us in the Diocese of Baker, I think, is this comment the authors make on “cultural obstacles”.

In seeking to introduce sacred Catholic music into parishes, one must first deal with the stark reality that our heritage in music and Latin language has evaporated in practice.  Three generations have been raised in the faith without the sounds of chant, and very few people under a certain age can conjure up the first notes of any popular chant from the past. In many parishes, thirty plus Pentecosts have come and gone without the “Veni Creator,” and thirty plus Lents without a single “Parce Domine.” The “Ubi Caritas” is unfamiliar, unknown to most. The Marian plainsongs of “Ave Maria,” “Regina Caeli,” and “Salve Regina” have no meaning, musically or textually. Not even the “Tantum Ergo” has made it into the hymnbooks in most common use.

Now, if the chants listed in that paragraph are unfamiliar to you, you will definitely have a long row to hoe! I know that in the Cathedral parish, at least a couple of them would be vaguely familiar to parishioners, but they are being used less and less as the years go by. In another parish, the choir has been resistant to Latin for decades, it seems, and so these chants are not at all familiar. But, regardless, the authors insist that this obstacle can be overcome, and they provide some practical advice later in the article.

It is important, though, to have some understanding of the history of sacred music in our parishes and in our diocese in general. I think that especially in the eastern part of the Diocese of Baker, the impoverished musical state is due to the fact that we’re a long way from anywhere, and it’s unlikely that there were ever too many musicians available to sing and train others in singing chant. The title of a book by Monsignor William S. Stone published in 1993 is quite telling: The Cross in the Middle of Nowhere: A History of the Catholic Church in Eastern Oregon.

Oost-Zinner and Tucker continue:

When the St. Anthony Messenger surveyed its readers in 1996 on their favorite Catholic hymns, the top three answers were startling: 1. “Be Not Afraid” (contemporary song and the bane of all who seek traditional music);  2. “Amazing Grace” (protestant traditional); 3. and “How Great Thou Art” (protestant traditional). Of the top twelve picks among readers, only two were traditional Catholic (“Holy God, We Praise Thy Name” and “Panis Angelicus”). It is not that the survey takers were rejecting traditional Catholic music; most likely, it is just not known to them.

I suspect this is especially true for our Diocese. The Diocese of Baker is one of the largest geographically in the US, but with one of the smallest populations of Catholics. It’s not too surprising that we’ve been susceptible to the influx of Protestant hymns in our liturgies.

The authors go on to point out that:

Not having exposure to solemn music at Mass, a common reaction among people is to regard it as depressing and exclusivist. This is, once again, a reflection of the reigning pattern of liturgical socialization that has taken place for so many decades. The purpose of most Catholic music written since about 1970 has not been to draw from the chant tradition but to break from it with the goal of bringing people together in a spirit of community praise. Under the right conditions, chant can accomplish the same, but that is not its primary purpose, and so long as people are looking for community uplift as versus holiness, chant will not win out. It takes time to attract people into a new sense of what it means to worship and what Catholicism can and should sound like. (my emphasis)

This article was written in 2003. Now we have had the “new translation” of the Roman Missal introduced at Mass, so at least people are starting to get a taste of that “new sense of what it means to worship”. However, without a change in the music, the more accurate translation will eventually fade into the background. The time is ripe to sing the chants indicated in the Missal itself.

There’s a lot more in this article. Please read it here


Monday, February 6, 2012

Why the EF Mass is Better (V-for-Victory blog)


There is a great post by Anita over at V-for-Victory blog, entitled “Why the Extraordinary Form Is Better: An Appeal to Priests”.  It’s a re-post of an article she wrote some time ago, with some additional introductory comments.

First, here’s an excerpt from her current introduction to the older post:

…It should come as no surprise to us to find ourselves under assault at this time: with her members so infected by the spirit of the world, it seems the Church has seldom been weaker.

This makes the need for traditional Catholic worship all the more urgent.  Business as usual will not do.  We must recover and celebrate our distinctly Catholic patrimony.  We must rebuild our moral sense, and we must present those outside the Church with a clear choice between what they have now and what they could have in the Church…  

…The Holy Father meant the freeing up of the traditional Mass to be a gift for all Catholics, not just current devotees.  It is also a great gift to priests.  How can you bear to continue in ignorance of half of the Roman rite?  And how can you bear not to be plugged in to the tradition that nurtured centuries and centuries of priests and laymen before you, and brought up generations of saints?  How can you hope to recover, in the eyes of your flocks, the dignity of the priesthood, which has been dragged through the mud of so many scandals, without the liturgy that makes that dignity shine forth more clearly than any other?

The Extraordinary Form of the Mass is a most powerful spiritual weapon.  Seldom have we needed it more.  Please do not fail to take it up and wield it boldly.

[Then follows the older post, which is a list of reasons why she thinks the EF Mass is better than the Novus Ordo. Here is reason #2 of the six she gives:]

The Extraordinary Form Sheds More Light on Truths of the Faith. One could go on meditating on the Mass until the end of time, and still not unpack all of its significance; but I find that there are some truths that the Extraordinary Rite makes more obvious.   One is the awesome dignity of the priesthood.  Another is the fact that the Mass is the Sacrifice of Calvary. 

Mass in the Extraordinary Form teaches me that the priest is not just any old guy doing a job, but a man specially selected and set apart in order to perform the Holy Sacrifice.
  I can tell this by the fact that he is facing God, as I am, but he is permitted to approach the altar and to stand in the breach, as it were, between God and myself, obtaining God's pardon and grace for me.  I can also tell this by the fact that the priest does most of the praying and performs most of the external actions, while I sit, stand or kneel quietly.  This teaches me both the futility and the needlessness of relying purely on my own efforts to win salvation: futile, because I am powerless, and needless, because in that moment, God has appointed a minister to do for me what I cannot do for myself.  

And all of this teaches me that the Mass is none other than the Sacrifice of Calvary.  The priest is alter Christus: Christ, in the person of the priest, entering the Holy of Holies, offering His own Self to secure redemption, as Paul says in Chapter 9 of the Epistle to the Hebrews.  The Holy Sacrifice itself is offered in silence: this teaches me that I am in the presence of Mystery.  This silence is not the muteness of ignorance, nor the emptiness of a deserted church; it is the expectant hush falling over Calvary as the Savior breathes his last.  This moment is so solemn that when the priest first approaches the altar at the beginning of Mass, he does so in stages, begging mercy and the forgiveness both of his own sins and those of the people.  The penitential right is not slopped or rushed through, but dwelt upon, to make us understand our own sinfulness and nothingness before the stupendous mystery in which we are about to enter.

[Anita concludes:]

The Mass in the Extraordinary Form is a precious treasure that we were foolish ever to try to change or throw away. I hope that one day the Extraordinary Rite will become the Ordinary Rite, and eventually displace the Novus Ordo entirely.  Until that day comes...I'll continue to attend the Extraordinary Rite whenever I can, and tough it out whenever I can't. 

Be sure to read the entire post here.

Sunday, February 5, 2012

Looking for a Few Good Blogs?


There are many Catholic blogs to choose from; if you don’t have some favorites already, or would like to add a few, here are a few recommendations.

For General News and Commentary:

ThePulp.It: For Catholic news and commentary, this is one of the best sources. This blog is like a “Reader’s Digest” of the day’s blogging all over the world. Published by Tito Edwards, it is updated several times each day, and lists the titles of a number of blog posts that provide information and analysis of current Catholic issues.

WDTPRS: or, “What Does the Prayer Really Say?” by Fr. John Zuhlsdorf also known as simply “Fr. Z” or “Fr. Z’s blog”. He updates numerous times through the day, and his posts include everything from comments on liturgical issues, news items, his travels, and his own gastronomical creations, to photos of astronomical anomalies and of the birds that frequent his farm. Oh…and he generally tells us what the prayers really say, especially the Sunday collects, with his “slavishly literal” translations; he also adds commentary about the history of the prayers. Fr. Z is a good source of info as to what’s going on in the world, what the prayer really says, and all matters liturgical.

For Liturgy:

The New Liturgical Movement: This blog focuses on the sacred liturgy and liturgical arts. You’ll often find wonderful photos of altars, sanctuaries, vestments, and church architecture, along with fine articles on these subjects.  Also covered are particularly beautiful liturgical occasions such as ordinations or feast-day Masses. There are a number of writers who contribute to the blog, each with his own specialty. The emphasis is always on liturgical excellence and reverence. The NLM blog has often been referenced on this blog.

The Chant Café: This blog has been highlighted here a number of times. If you are a musician, or even if you’re not, but you just want good music in the liturgy, this blog is worth checking on a daily basis. The focus is, of course, on chant and sacred polyphony; there are a number of stellar contributors, with Jeffrey Tucker as the ring leader. There are original posts as well as links to other good articles or videos.

The Recovering Choir Director: Aristotle Esguerra is the author of this blog, and he’s a …you guessed it…choir director. He is also a composer who does his part to promote reverence and beauty in liturgical music, and he offers the means to do so to others.  According to his own statement on his blog, he’s been shaped by and is interested in “the ongoing development of a liturgical spirituality; the realization of the importance of liturgical music as sung prayer; and the discovery of the need for liturgical music reform in the Latin Church according to the highest intentions of the Fathers of the Second Vatican Council and prior stewards of the liturgy.” I think this blog is especially good for choir directors and semi-accomplished musicians and singers.

General Interest:

Cradle Stories: by Wendi, who has been featured here a time or two. Wendi really “gets” music, both from the perspective of the person in the pew, as well as a musician. Her posts are pithy and entertaining, and not always about music! If you haven’t read any of the posts highlighted here, you’re missing out.

My PhotoFr. Julian’s Blog: I’m including this blog here because as far as I know, Fr. Julian Cassar, rector of St. Francis de Sales Cathedral in Baker City, is the only priest in the Diocese of Baker with his own blog. He just started it at the beginning of January. He also maintains the parish website of St. Francis de Sales, updating it faithfully every Saturday; it’s probably the best parish website in the diocese. Fr. Julian has said that he is planning to post something on his blog every day. So far, it’s usually been the saint or feast of the day, or a gentle story of some sort, or a favorite prayer – nothing challenging or controversial, just “easy listening” for the eyes, I guess you could say. He includes plenty of photos, too.

The New Theological Movement: For something a little meatier, try this blog by Fr. Ryan Erlenbush. The posts are theological in nature (surprise!), and Fr. Erlenbush is quite adept at packing some solid information into an understandable essay that often will leave you amazed at the richness of our Catholic heritage. His work has been mentioned here once or twice. Fr. Erlenbush’s articles provide a way of increasing our understanding of the liturgy, because many of these theological gems are hinted at or assumed in the liturgy or in the traditions surrounding a particular holy day.

There are lots of good Catholic blogs out there; I’ve only mentioned the ones that focus on news, liturgy/music, and theology here. If you aren’t a regular follower of the Catholic blogosphere, and you’d like to have a better idea of what’s going on in the world and how it affects us as Catholics, I recommend you check ThePulp.It daily. You’ll start to recognize some of the names and the blogs, and you will find the ones that suit your own taste.




Saturday, February 4, 2012

Latin Lesson II


Last week we looked at the way vowels sound in ecclesiastical Latin. The principle remains the same for consonants, because Latin is a totally phonetic language.  After you have learned to say a certain combination of letters, they will sound the same - with very few exceptions – wherever you find them.

Before taking on consonants, though, let us look at another kind of letter – the diphthong. This is two vowels that sound together. In Latin, there are effectively only two diphthongs: “æ” and “œ” (and they are generally written like that, with the letters touching, to show that they are diphthongs). Both are pronounced like the Latin “e,” i.e., as if they were a long “A” in English. An example of the first is “aeternum”  (forever).  You say it as if it were spelled “eternum”, which it often is. The second diphthong used in Latin is the one in “coeli” (heavens), said as if it were spelled, “celi,” which it never is.

A note about the “y” in Latin: It is sometimes used as a consonant, sometimes as a vowel, as it is in English. When used as a vowel, it is then pronounced exactly as the Latin “I,” i.e., like an English “ee.”

A rule that is important for vowels  and/or diphthongs in Latin is that all of them are always sounded. For example, if you have two vowels in a row, as in “esurierunt,” you would say both the “i” and the “e” in the middle of the word. Another way to put it is that where there is a vowel or diphthong, there is a syllable. So the word above has five syllables: “Ay-soo- ree-ay-roont.” 

Some common words in Church Latin will be good for practice. Dominus (Lord) is pronounced “Doh-mee-noos,” while Deus (God) sounds like “Day-oos.” The name for the Blessed Virgin, Maria, is said “Mah-ree-ah.”  These are very basic Latin words, which most Catholics know from having heard them in well-known hymns, but we will address more vocabulary later.

Now on to consonants, which are, of course, far more numerous than vowels.  Alphabetically, B is the next letter and it is pronounced the same way as English, like the b in “bat.” C is more interesting; when it comes before the vowels, “a,” “o” or “u,” “c” always sounds like the English “k.” When it is used before “e,” “i,” “y” or either diphthong (ae or oe) it is pronounced like the English “ch.” When “c” is doubled in Latin, as in the word “ecce,” (behold), it is pronounced like “tch,” i.e., “Aytch-ay.”

The next two can be dealt with quickly, as they sound mostly as they do in English: “d” as in “down,” “f,” as in “foot.“  “G” however, changes, depending on the letters following it.  It sounds like the “g” in “gold,” before consonants (except “n”) and before “a,” “o” and “u.” An example is “gratias” (thanks). However, before “e”,“i”, and “y,” and the two diphthongs (which are treated like “e” for our purposes) the Latin “g” sounds like the English “j.” An example of this is “genuit” (kneels).  Last, the “g” before an “n,” as in “magnum,” (great), is pronounced with the “n,”  like the middle letters in “canyon,” i.e., as if “gn” were spelled “ny.”

If your eyes are glazing over by now, remember that once you start applying these rules to actual vocabulary, which we will do in later lessons, it will soon become automatic. The ability to say or sing the mother tongue of the Church will seem worth the effort to struggle through a few lessons. 

As encouragement, there is no “k” or “w” in Latin. (Some say there is no “J” either, because the Romans used an “i” for the consonant “j”. However, Latin transcribers often change the “i” to a “j” in order to avoid confusion with the vowel “i.”)

Next week: More consonants, including the controversial “h”.

Who knew the controversy inherent
in learning the Latin language?!

See the first Latin lesson here, or on the "Latin Lessons" page.



Friday, February 3, 2012

Music Documents Are Sometimes Ignored!


As you’re reading through some of the documents on sacred music suggested by Wendi, it’s important to keep in mind that there has been flagrant disregard for some of the key tenets of the reform of liturgical music for practically as long as the Church has mandated certain standards.

As an example of this disregard for the authority of Rome, consider the Instruction Music in the Liturgy (Musicam Sacram), issued in 1967. This document clearly delineates which parts of the Novus Ordo Mass are to be sung, and assigns a value of importance to them by use of the term “degree”. The parts of the first degree – the most important to be sung – include the greeting of the priest to the people in the entrance rite, and their response to him; the acclamations at the Gospel; the offertory; the preface of the liturgy of the Eucharist; the Sanctus; the Lord’s prayer; and several others. All other parts are second and third degree, and should not be sung unless the first degree parts are also sung.

The US bishops disagreed with this hierarchy in their 1972 document, Music in Catholic Worship (apparently no longer available online):

The parts preceding the liturgy of the word, namely, the entrance, greeting, penitential rite, Kyrie, Gloria, and opening prayer or collect, have the character of introduction and preparation. The purpose of these rites is to help the assembled people become a worshiping community and to prepare them for listening to God's Word and celebrating the Eucharist. Of these parts the entrance song and the opening prayer are primary. All else is secondary. (§44; emphasis added)

It is impossible to reconcile this statement with the Instruction Musicam Sacram. And even though Music in Catholic Worship was never voted on by the bishops’ conference (it was a publication of the Committee on the Liturgy), it was a major force in shaping the selection of liturgical music in the United States for decades. In 2007, Jeffrey Tucker wrote on the NLM blog (my emphasis):

It's been 35 years since the USCCB unleashed Music in Catholic Worship on the country. This is the document that said "the musical settings of the past are usually not helpful models for composing truly liturgical pieces today" – so much for the inestimable value of chant – and further said that the distinction between propers and ordinary "is no longer retained."

The newer USCCB document, Sing to the Lord, is a big improvement over its predecessor.

Of course, in general, in all of the official Church documents, Gregorian chant, Latin, and sacred polyphony are given “pride of place” according to Sacrosanctum Concilium and Musicam Sacram, but you’d never know it in the parishes of my acquaintance. In fact, you’d think such things had been outlawed – especially Latin – even though Canon Law (Canon 249) stipulates that seminarians (yes, even those in the United States!) should be “well-versed” in Latin, the official language of the Church. Wouldn’t it seem that bishops should ensure that the stipulations of Canon Law are followed in our seminaries?! Well, perhaps things are changing…

At any rate, while it is good to be aware of the history of legislation on sacred music, it is also good to understand that your studies may not be well-regarded by those who have been shaped by previous Church documents. The new translation of the GIRM more faithfully respects the more traditional ordering of music, but you’ll have decades of habit to overcome.

Still, Wendi’s suggestions for easing a parish toward truly sacred music have great promise. Patience, as she has mentioned, will be needed!



Wednesday, February 1, 2012

Steps Toward Sacred Music


In another great post on how to help move your parish toward truly sacred music for the Mass, Wendi has another singular suggestion. This follows from her previous post where she suggested that, if you want better music, you might:

1)      Determine to do something more than complain
2)     Educate yourself by reading the documents about liturgical music

And now, Suggestion Number Three from Wendi:
Okay, maybe not at first.
But it could get better!

3)    Join the choir.

That’s what she says, all right. Join the choir. I would never have thought of that! Wendi explains:

Here is the reasoning behind the suggestion.

If you are singing, you will have a lot more credibility when you start asking for better music.  You won't be just a crank in the pew…If your music is truly awful, you will spend some time singing bad music. That however, is a golden opportunity to help the souls in Purgatory. I'm not being sarcastic, I offer up the assault on my sensibilities for the suffering souls, every time I sing happy clappy sappy music at Mass. 

And if you’re really serious about having good music at Mass…find some! Do some googling, find something good to sing. If you’re at a loss, Wendi suggests checking out these sites: Corpus Christi Watershed and Choral Public Domain Library And don’t forget to check out the resources listed on this blog; the Chant Café is an excellent place to check regularly.
Then follow Wendi’s Suggestion Number Four:

4)     Take a good piece of music in Latin (I suggest polyphony first) to the director and ask to sing it for a Holy day or Feast.  If he/she says it's too hard to sing in Latin have a similar piece in English as a back up.

Maybe all you get is one beautiful piece for Easter or Christmas.

That's ok.  You'll have just introduced good music to your parish.  I guarantee you that people will hear it and want more where that came from.

They'll compliment the choir director.  I'm fairly certain they aren't complimenting the folk music.

She’s got some good points here. It takes time and tact to move people from “what we’ve always done” to something that’s better and more appropriate. While I tend to want to smack people upside the head with a Graduale Romanum, Wendi advocates a “kinder, gentler” approach. And of course, she’s right: people respond much more favorably to compliments than criticisms! So when the choir director gets compliments on the beautiful piece of music, she or he will want to choose more of that kind of music.

Wendi also takes away your excuse that “I don’t have time!

Most choirs practice once a week for an hour or two and then sing at one Mass on Sunday morning.

You're already going to Mass.  So now all you have to do, is go to choir practice once a week instead of spending that time on Facebook.  (Facebook will not miss you.)

If you care about the music, make the time.

Please go and read the entire post! Wendi has such an amusing – and convincing – way of say all of this.