Thursday, July 24, 2008
While there are elements of performance in both, at liturgy the focus of the music is directed toward giving praise to God rather than directed toward the performer. The musician at worship is just a vehicle. During the years that I collaborated with the St. Louis Jesuits, we worked hard to keep the focus on God rather than on us.
*There really isn’t much in the above to quibble over save, perhaps, for the dubbing of “the musician at worship is just a vehicle.” Say, for example, that vehicle is a sailing ship. Is this schooner subject to the happenstance of wind and weather and, thus, prone to wander astray from its goal of reaching homeport? Musicians at worship function more as officers and crew under the vessel's captain, trustees of the cargo, mission and success of the voyage.
Much of my music is directed first toward those who gather as community to give thanks and praise to God at Eucharist.
*I think there is a continuation of extremely casual thought and semantics in these sorts of statements. In this era in which, later in the interview, Mr. Schutte acknowledges must contend with “style wars” he seems to accidentally create a dichotomy in the above statement. What does it actually mean that much of his music is directed at the gathered community? Couldn’t such a statement be easily used to abet the contention that there is too much contemporary hymn lyrical emphasis on praising worshippers as a community of gathered believers, rather than just having that “community” sing texts of thanks and praise to God, period? Has he not read Thom Day 101?
The “regal” images of Mary in the original text are ones that do not resonate with people as well as they probably once did. Most of us, unless we live in England, have no living experience of such images. And, as you imply by the question, many non-Catholics have difficulty with images that seem to make Mary god-like. For example, the line from the original text “You reign now in heaven with Jesus our king.” would make this hymn unusable in many non-Catholic communities.
*This paragraph is so self-damning that it shouldn’t require examination of its statements. First of all and most ironically it is published in a summer where there is a virtual cultural coronation from many quarters of AMERICAN culture of a politician whose persona is celebrated unabashedly as messianic. And if that’s not indicative of a people’s desire to invest all trust and authority with that en-fleshed singularity of power, polish and popularity, then I don’t know what a monarch is. One has to wonder if, whether in Berkeley or in St. Louis, Mr. Schutte and his SJ confreres had access to both ends of the Diana saga that had hundreds of millions of Americans and other folk glued to their televisions in the dead of night when she was married, died and buried. Even from a benign cultural perspective, I believe we in the colonies still have an abiding fondness and longing for the benevolent monarch. And again, when he cites non-Catholic resistance (as if that matters in our schema of things) to the doctrinally sound imagery of Mary, Queen of Heaven via her unique, monarchial status as Theotokos, his revisionist qualifications are quite repugnant to mainstream, much less Conservative Catholicism. If God is “Lord of heaven and earth, how can I keep from singing?”- what theological damage is perpetrated upon Catholics and denominational Christians by deigning Mary Queen of Heaven. Does Mr. Schutte celebrate the Assumption and Christ the King?
My question: to what end does Mr. Schutte desire to dilute these allegorical images? Easy digestion, a common denominator that all consumers can buy into? I think the real answer to that last question is found in the following:
I took the story of the Annunciation, where Mary is visited by God’s angel, and wrote lyrics that express what I felt is the heart of that story for all of us. I tried to be true to the Scripture text and authentic in the way I wrote about this holy woman.
*The story of the Annunciation. The “story” of the Annunciation? “I tried to be true to the Scripture text and authentic in the way I wrote about this holy woman.” Am I alone in thinking Mr. Schutte is all over the map, equivocating as all get out, and vacillating regarding the inconvenience of precise language as regards our cherished doctrinal beliefs? Coming from someone with a Jesuit environment, this is paradoxically unbelievable and quite believable. But it’s also insulting.
It is simply not appropriate to say that the only kind of music should be used for worship, or even more, to impose the style that I prefer for prayer on everyone.
*It is likely very important to remember that Mr. Schutte is responding to questions from a correspondent of a periodical devoted to Contemporary Catholic Music, namely GRAPEVINE. So one could reasonably excuse his definitive statement about whether there is a rationale to debate the appropriateness of “kinds” of music used for worship. But as Dr. Mike O’Connor has pointed out in other forums, the statement conveniently skirts the gorilla in the room: is there reason to systematically exclude the two forms (styles) of music specifically and uniquely identified in the Vatican II documents from the liturgical reforms that, essentially, spawned an industry with which he and all of us have had commerce over the succeeding years?
If I should go to Dan’s workshop retreat in the mountains to the east, I might just ask him: “What factors do you, Dan Schutte, believe determines the meaning of “pride of place” in the marketplace of liturgical and sacred music practices?”
Friday, July 18, 2008
As I believe that MySpace/Facebook and such places are dens of iniquity….
I came upon this via Lyn’s Organ-ic Chemist blog.Remember you can only use 2 words!
1. Where is your cell phone? At home
Wednesday, July 16, 2008
So, perhaps we need to discuss rhythm. What do we mean when we speak of rhythm? Have we lost our sense of rhythm?"
Wednesday, July 09, 2008
Tuesday, July 08, 2008
from the interview on Zenit with
conducted by Annamarie Adkins
ST. LOUIS, Missouri, JULY 4, 2008 Parish music directors -- and congregations -- in the Archdiocese of St. Louis soon will benefit from Archbishop Raymond Burke’s recent initiative: The Institute for Sacred Music.Archbishop Burke, who has since been named to head the Apostolic Signature, the Church's supreme court, appointed Benedictine Father Samuel Weber as the first director of the new institute earlier this year.
Father Weber is a professor in the divinity school of Wake Forest University in North Carolina and also a monk of the St. Meinrad Archabbey in Indiana.
In Part 2 of this interview with ZENIT, Father Weber discusses why he thinks chant is "the song that [God] wants to hear from our lips and our hearts."
Q: Why did the Second Vatican Council state that Gregorian chant should be given "pride of place" in the Church's liturgy?
Father Weber: The Second Vatican Council's constitution on the liturgy, "Sacrosanctum Concilium," as well as numerous statements of the Popes and the General Instruction of the Roman Missal [GIRM], teach us that Gregorian chant and sacred polyphony -- that is, sacred music sung in harmony -- such as compositions of Palestrina, are to enjoy "pride of place" in sacred worship.
This means that chant is not only to be in common use in the liturgy, but it is also to provide examples and inspirations for new compositions.
The reason for this is to assure a genuine organic development in the sacred music Catholics experience in worship -- in continuity with the Church's history, and transcending limitations of time and cultures.
Understanding and appreciating this universality in Catholic music for worship might be seen as one facet of the obedience of faith.
Historically, Gregorian chant is in direct, organic development with ancient cantilation -- chanting -- patterns of the psalms in temple and synagogue. This was the background and experience of the first Christians. So our chanting today is in direct relationship with theirs.
One can see, then, that when we sing the chant, we are truly "in connection" with our fathers and mothers in the faith.
Jesus, Mary and Joseph heard and sang many of these patterns of sacred chant in synagogue and temple worship. The apostles, the martyrs, the great saints whose witness continues to inspire us today, were all nourished on these traditions of sacred chanting.
Even the saints and blesseds of our own day -- Blessed Teresa of Calcutta, St. Pio of Pietrelcina, St. Gianna Beretta Molla, for example -- all sang, heard and knew the chant and the traditions of sacred music inspired by the chant.
They were formed in this "school of sacred music" that is the chant, and, to borrow a phrase from St. Athanasius, the "gymnasium of spiritual exercises" that is the Psalter -- the Psalms of David.
I think, too, of my grandparents and parents, so many beloved family members, teachers and friends, who have gone before us "marked with the sign of faith."
How they loved the sacred chants, and passed them on to me with piety, devotion and reverence. What an opportunity to participate in the Communion of Saints. What could be richer or more spiritually satisfying?
Gregorian chant serves the word of God. It has no other purpose than to draw us to the sacred text, especially the Psalms, and to enable us to treasure God's word ever more deeply in our hearts.
It is entirely free of anything that is contrary to the faith, free of purely human agendas or experiences that lead us away from God's will and plan for us. To use the language of our computer age: The chant is "safe and secure." No viruses can enter.
Father Weber: Perhaps it is not so much resistance as a lack of communication and ineffective teaching that stalled things.
Pope Benedict is tireless in his teaching -- even before he became Pope -- for example, "A New Song for the Lord." An accomplished musician himself, he fully understands the power of music on the human heart, thus the central role of music in the liturgy.
Clearly, part of our task is to help "get the word out." I think we can already see many positive results of the recent actions of the Holy See concerning the liturgy.
For one thing, there is a growing interest among Catholic people in reviving their immensely rich heritage of music and art, and a real desire for greater beauty, reverence and solemnity in worship. By all means, yes! Hear, hear…..huzzahs……damn skippy!
But when there is actual resistance? In the end, I believe that this comes down to the perpetual struggle between good and evil. God is constantly giving us all the grace we need to know, love and serve him.
But we are tempted by the devil, and suffer under the effects of original sin, so we sometimes make choices that, sadly, draw us away from God our Creator, and even extinguish the fire of love in our hearts.
It is the duty of all the pastors -- that God in his love has given us -- to call people back to that which will bring us true peace and blessedness. With great wisdom, over the centuries the popes, the Councils, have understood the importance of sacred music, art, architecture and ritual in the spiritual formation of the human person.
As a result, they have never ceased to teach us about the care that must be exercised in cultivating all sacred arts that serve divine worship.
Now it is our job to receive this teaching and implement it in our lives for our spiritual good...
It's encouraging to know that many people who are discovering chant for the first time are so strongly attracted by its beauty and solemnity that they want to become a part of its revival.
Speaking from experience, I would agree that Gregorian chant may require a greater discipline, more attention and sacrifice of time and energy in order to "make it happen" in our parishes.
But difficulty is not a real impediment.
In our American society we greatly value sports. I'm a Green Bay Packers fan myself, rabid, actually. I'm really grateful to the Packers for all the hours they spend in practice and preparation for their games. All the sacrifices they make. It's worth it.
The payoff is really something awesome. We, the fans, would settle for no less. Doesn't this same expectation apply to the things of God? It really isn't that hard to understand, is it?
St. Augustine taught the people of Hippo: "Cantare amantis est." Singing is characteristic of a lover. If the supreme love is, as we believe, between Christ, the Bridegroom, and the Church, his Bride -- can any effort be spared to express this love in true beauty? Is any sacrifice too much?
We don't have to guess at the song. This tremendous Lover of ours tells us the song that he wants to hear from our lips and our hearts.
This is our Catholic faith. What more need be said? Let us begin!
Just a moment, Father. I know this is another can of worms, but I can’t let this commentary pass without observing that your interview remarks reflect an absolute Western POV that subsumes enculturation, and presumptively makes it “less than or second class” by its direct omission from the body of your argument. And yes, I’m aware that Latin is alive, universal and all-inclusive. In principle and here and there in far flung places, in practice.
Well, dear Reader and hopefully still-Friend, you have it. The extemporaneous reflections (you could tell, right?) of this aging artifact of the Music Wars Era, post WWII episode. Please take any, all and your best shots at my "take." For there's not a one of us that can't use a little more schoolin', now and then.
'Til then, vaya con Dios,
© Innovative Media, Inc.