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KennethSerpidoNATIONAL ASSOCIATION of
PASTORAL MUSICIANS
June-July 2007 Music
PASTORAL
Words We Pray, Words We Sing
30796_JJ 07 Cover.indd 1 5/22/2007 10:40:29 AM
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word-for-word rendering. Perhaps the most familiar
example is the translation of “et cum spiritu tuo” as
“and also with you.” The 1970 texts have shaped the
sung and spoken liturgical prayer of English-speaking
Catholics for more than thirty-ve years.
A number of major events have led to a new English
translation of the Missale Romanum. AĞer a second
typical edition of the missal was issued in Latin in 1975,
ICEL undertook a lengthy and painstaking process
of translation completed in stages throughout the
mid-1990s. Although the translation was approved by
English-speaking conferences of bishops, the Vatican
rejected it and signaled dissatisfaction with the existing
principles of translation.
A new set of translation principles was set forth
in the 2001 instruction Liturgiam authenticam. The
From the President new guidelines are based on a “formal equivalence”
approach to liturgical translations, giving priority to the
original language and calling for stricter adherence to
Latin vocabulary, sentence structure, and word order.
An obvious example of the more literal approach is
the new translation of “et cum spiritu tuo” as “and with
your spirit.”
The new translation principles of Liturgiam
Words and a New Translation authenticam were issued in the year following the
publication in Latin of the third typical edition of the
of the Roman Missal Missale Romanum. The new English translation now in
process is a result of that newly revised Latin missal
Not long ago, as I was preparing to conduct a and a new oĜcial approach to vernacular liturgical
workshop on upcoming changes in the English texts.
translation of the Order of Mass, I ran into a priest Pastoral musicians, clergy, and other leaders of
who was curious about the topic. When I explained worship need to be aware of the new texts that we
that many—if not most—of the familiar responses and will be receiving so that they can prepare themselves
texts of the Mass would be changing, his eyes widened. and their communities. The articles by Gordon TruiĴ,
He had no idea that in the not too distant future there Donald Trautman, and Helmut Hoping oěer varying
would be extensive changes not only in the familiar perspectives and important background on the
words sung and spoken by the people but also in the importance of the words we pray. Paul Turner provides
prayers and other texts for the priest. a helpful progress report on the new English translation
Words maĴer, especially the words of worship. of the Roman Missal, and Anthony Ruě reects on the
Words disclose the presence of the living God in our new texts from the perspectives of pastoral spirituality
midst and shape our response to God. We present and leadership.
this issue of Pastoral Music to help pastoral musicians, The introduction of the new translation of the
clergy, and other leaders of worship reect on the Mass will bring about a period of transition—perhaps
words we pray and sing, especially as we prepare for a painful—for the members of our communities as
new English translation of the Order of Mass and of the well as clergy, musicians, publishers, and composers.
entire Roman Missal. Worshiping communities will need sensitive and well-
AĞer the Second Vatican Council, the rst typical informed leaders to guide them through the process of
edition of the Missale Romanum was published in change. Watch for additional background, resources,
1969. An oĜcial English translation was prepared and and guidance from NPM as the new Mass texts become
implemented in just over a year. This 1970 translation, available.
prepared by the International Commission on English
in the Liturgy (ICEL), was guided by principles in the
Vatican instruction On the Translation of Liturgical Texts
(usually cited by the title of its French version, Comme
le prévoit). This instruction encouraged a “dynamic
equivalence” approach that seeks the best way to J. Michael McMahon
express the meaning of the original rather than a literal President
2 J-J 2007 • P M
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Annual Report
to the Membership
FOR THE YEAR JANUARY 1 TO DECEMBER 31, 2006
Membership
Dec. 31, 2005 Dec. 31, 2006 Mar. 31, 2007 NPM is the largest national
Catholic association of pastoral
Total Membership 8,744 8,459 8,527
ministers and the largest national
Divisions church-related music ministry
DMMD 703 699 712 association in the United States.
Music Education 327 239 228 Unfortunately, 2006 showed a 3% drop
in total membership. Because convention
Special Interest Sections discounts provide one of the greatest
African American Musicians 130 127 125 incentives for new memberships, this
Campus Ministers 152 190 190 year’s drop can be aĴributed primarily
Cantors 2,354 2,320 2,261 to a substantial reduction in regional
Choir Directors 2,440 2,384 2,321 convention aĴendance.
Clergy 1,428 1,372 1,338
Diocesan Directors of Music N.A. N.A. 126 The Director of Music Ministries
Ensemble Musicians 1,437 1,422 1,380 Division (DMMD) changed its
Hispanic Musicians 259 248 241 membership requirements this year
Musicians in the Military 51 47 47 to include any professional director of
Organists 2,001 1,981 1,931 music ministries, whether full-time or
Pianists 772 843 818 part-time.
Responsible for Leadership
of Music Ministries 2,426 2,407 2,346 NPM Special Interest Sections
Youth 1,254 1,185 1,192 allow members to identify their own
Eastern Church Musicians 20 21 19 particular areas of expertise, ministry,
Asian/Pacic Rim Musicians 28 36 35 or concern. The numbers printed here
Musicians Serving oěer a glimpse at the amazing diversity
Religious Communities 6 10 10 of an association that embraces ordained
Pastoral Liturgy 432 478 458 and lay ministers, young and old,
Chant 95 141 135 various cultural and ethnic groups,
Composers/Text Writers 16 16 and a wide variety of music ministry
specializations. During 2006, a new
Chapters special interest section was formed for
2006 70 (62 permanent, 8 temporary) composers and text writers.
2005 71 (62 permanent, 9 temporary)
2004 73 (59 permanent, 14 temporary) Pastoral Music magazine continues
2003 73 (63 permanent, 10 temporary) to provide a forum for thoughtful and
helpful discussion of issues aěecting
Publications sung worship and pastoral music
ministry. NPM also produces a variety
Dec. 31, 2005 Dec. 31, 2006 Mar. 31, 2007 of newsleĴers and other publications
that provide resources and information
Members and Subscribers for our members. Subscriptions continue
Pastoral Music 9,034 8,7311 8,7932 to increase for The Liturgical Singer,
Notebook 8,772 8,448 8,524 a practical and lively newsleĴer for
Liturgical Singer 1,3283 1,493 1,545 psalmists, cantors, choir directors, and
Praxis 716 N.A.4 N.A. choir members.
Catholic Music Educator 259 317 253
Clergy Update 1,449 1,303 1,304
1. This number includes 101 non-member subscribers and 171 libraries.
2. This number includes 97 non-member subscribers and 169 libraries.
3. Total number of copies sent to subscribers; some subscriptions are bulk orders. 3
4. In September 2006, Praxis became primarily a web-based publication.
30796_JJ 07 Front.indd 3 5/21/2007 10:45:59 AM
The 2006 Regional Conventions in
Stamford, Grand Rapids, and Sacramento
Education
drew more than 1,600 paid participants. All
Conventions
three conventions received exceptionally high
Total Paid AĴendance
evaluations. While the Western Regional
2006 Regional Conventions: Stamford, 1,608
Convention in California exceeded its
Grand Rapids, Sacramento
aĴendance goal, the Eastern and Central
2005 National Convention: Milwaukee 2,566
Regional Conventions fell short of their
target. Even with smaller aĴendance, nearly
20% of the entire NPM membership aĴended
Institutes
one of the regional conventions in 2006 for
Total Paid AĴendance
learning opportunities, ministry renewal, and
2006 14 Institutes 586
professional support.
2005 12 Institutes 573
2004 12 Institutes 649
Nearly 600 members participated in fourteen
2003 13 Institutes 584
NPM Institutes during 2006, including
the winter colloquium, a one-day seminar on
Models of the Eucharist, and three institutes
that were held in conjunction with regional
conventions.
Finances
NPM experienced a smaller than expected
2006 Income: $1.472 million
decit in 2006 because of a substantial gain Admin
10%
from the sale of an investment. Income from Fundraising
regional conventions, however, fell short of 6%
Membership
budget expectations due to lower registrations.
32%
Publications
8%
Since less than a third of NPM revenue derives
from membership dues, the Association relies
Education
on program fees, sales of publications, and 44%
charitable donations to support its work.
NPM members generously contributed 6% of 2006 Expenses: $1.484 million
the total income for 2006 through the NPM
Admin and Membership
Annual Fund, the Lenten Scholarship Fund, Services
Fundraising
and other fundraising eěorts. 12% 16%
NPM educational eěorts—conventions,
institutes, programs, and publications
Publications
—received nearly three-quarters (72%) of 29%
the Association’s nancial resources in 2006.
Because of the generosity of NPM members, the
Education
Association was able to distribute more than 43%
$33,000 in scholarships for academic study
and NPM programs and nearly $11,000 in NPM Finances: The Big Picture
hurricane relief to Gulf Coast parishes. (in $ millions)
2
Providing the resources for NPM to carry out
its mission and securing the Association’s 1.5
nancial health remains a challenge. The Board
and staě have been working together to provide 1
membership services and educational programs
at a reasonable cost. We are grateful for all the 0.5
ways that members continue to support this
important work. 0
2003 2004 2005 2006
Income 1.639 1.367 1.653 1.472
Expense 1.559 1.427 1.567 1.484
Income Expense
44 J-J 2007 • P M
30796_JJ 07 Front.indd 4 5/21/2007 10:45:59 AM
Music
NATIONAL ASSOCIATION of
PASTORAL MUSICIANS
PASTORAL
June-July 2007
Volume 31:5
Contents
Pastoral Music (ISSN 0363-6569) is published
bimonthly by the National Association of
Pastoral Musicians (NPM), 962 Wayne Av-
enue, Suite 210, Silver Spring, MD 20910. Annual Report 3 Association News 7
NPM is an organization of musicians and
clergy dedicated to fostering the art of
musical liturgy. Member services include Hearing Is Fundamental 13
the bimonthly newsleĴer Pastoral Music BY DENNIS FLEISHER
Notebook, discounts on NPM conventions and
institutes, and other benets.
HOW WE’VE DONE IT IN PITTSFIELD, MASSACHUSETTS
Editorial, Executive, and Advertising OĜces:
962 Wayne Avenue, Suite 210, Silver Spring, Organist Apprentice Program 17
MD 20910-4461. Phone: (240) 247-3000. Fax: BY JEFFREY W. HUNT
(240) 247-3001. E-mail: [email protected].
Advertising: Phone: (503) 289-3615. E-mail: We Dare to Pray . . . in Song 19
[email protected].
BY GORDON E. TRUITT
Publisher: Dr. J. Michael McMahon;
Editor: Dr. Gordon E. TruiĴ;
Assistant Editor: Ms. Andrea Schellman; Prayer and Song for the People of God 22
Advertising Director: Ms. Karen Heinsch; BY BISHOP DONALD W. TRAUTMAN
Music Review Editor: Dr. Marie Kremer;
Book Review Editor: Ms. Anne Y. Koester;
Printing: Epiphany Printing “For All”/“For Many”: A Reflection from Germany 26
BY HELMUT HOPING
Membership Information: Regular Parish
Membership in NPM (clergy and musician,
both included as members): $97 per year. $52 Replacing the Sacramentary: A Progress Report 27
of this amount is for subscriptions to Pastoral BY PAUL TURNER
Music for one year. Single Parish Member-
ship (one member): $70 per year. $26 of
this amount is for a subscription to Pastoral Perspectives on Translations 30
Music. Youth Membership: $29. Retired/Se- and the Need for “Whatever”
nior Membership: $29. Benets equivalent to
BY ANTHONY RUFF,
individual membership. Group membership
rates are available. Membership rates in eěect
as of January 1, 2007. Chapter News 42 Reviews 48
Subscription Information: One-year subscrip- Professional Concerns 56 Hotline 58
tion, six issues a year (bimonthly), $39. Calendar 64 Bulletin Insert 68
Library rate: $39. Single copy: $7. For second
class postage to Canada, add $11 per year
for each membership (includes postage for
Notebook); $7 per year for each subscriber. For
postage to all other countries, add $15 per
year for each membership (includes Note-
book); $10 per year for each subscriber.
Copyright © 2007 by the National Associa-
tion of Pastoral Musicians.
Cover: St. Jerome, patron of translators, and Pope St. Gregory the Great, patron of liturgical musi-
cians. Stained-glass windows from St. Augustine Parish, Montpelier, Vermont, photo courtesy
of Mike Kelley. Additional photos in this issue courtesy of Lakeway Church, Lakeway, Texas;
Periodicals postage paid at Silver Spring, the Kungliga Biblioteket, Stockholm, Sweden; University of Virginia Library, CharloĴesville,
Maryland, and additional mailing oĜces. Virginia; Monastery of St. Catherine, Mount Sinai, Egypt; Vox Clara CommiĴee, Rome; Church of
Postmaster: Send address change to Pastoral St. Mary Magdalene, Toronto, Ontario, Canada, photo by Michael Hudson; St. James Cathedral,
Music, 962 Wayne Avenue, Suite 210, Silver SeaĴle, Washington; Music Library, University of California, Berkeley; NPM Chapters in Joliet,
Spring, MD 20910-4461. Illinois, and Rochester, New York; and NPM le photos.
P M • J-J 2007 5
30796_JJ 07 Front.indd 5 5/21/2007 10:46:01 AM
Mission Statement
The National Association of Pastoral Musicians fosters the art of
musical liturgy. The members of NPM serve the Catholic Church
in the United States as musicians, clergy, liturgists, and other
leaders of prayer.
NPM Board of Directors NPM National OĜce
962 Wayne Avenue, Suite 210
Sr. Judith Marie Kubicki, , Chair (2007) Silver Spring, Maryland 20910-4461
Dr. Michael Connolly, Vice Chair (2009) Phone: (240) 247-3000 • Fax: (240) 247-3001
Mr. Charles Gardner (2007) General e-mail: [email protected]
Mr. Stephen Petrunak (2009) Web: www.npm.org
Dr. James Savage (2007)
Dr. J. Michael McMahon, NPM President Dr. J. Michael McMahon, President
Ext. 12 E-mail: [email protected]
NPM Council Rev. Virgil C. Funk, President Emeritus
At-Large Representatives E-mail: [email protected]
Ms. Anne Ketzer (2008)
Ms. Michelle Ogren (2008) Membership
Dr. Jennifer Pascual (2008) Ms. Kathleen Haley, Director of Membership Services
Mr. Steven Warner (2008) Ext. 19 E-mail: [email protected]
Mr. Brian Bisig (2010) Ms. Janet Ferst, Membership Assistant
Mr. Tim Dyksinski (2010) Ext. 15 E-mail: [email protected]
Ms. Jacqueline SchniĴgrund (2010)
Dr. Dolly Sokol (2010) Education
Rev. Dr. Paul H. Colloton, , Director of Continuing Education
CommiĴees for Operations Ext. 11 E-mail: [email protected]
Rev. James Wm. Bessert, Publications (2008) Mr. Peter Maher, Program Coordinator
Mr. John Kubiniec, Membership (2008) Ext. 22 E-mail: [email protected]
Mr. Tony Varas, Finance (2008)
Rev. Michael Driscoll, Education (2010) Publications
Sr. ClaudeĴe SchiraĴi, , Certication (2010) Dr. Gordon E. TruiĴ, Senior Editor
Mr. Pedro Rubalcava, Music Industry (2010) Ext. 21 E-mail: [email protected]
Standing CommiĴees
Mr. Joseph F. Marino, Responsible for Leadership of Music Ministries Exhibits and Advertising
Mr. Michael Wustrow, Choir Directors Ms. Karen Heinsch, Exhibits and Advertising Manager
Dr. Lynn Trapp, Organists Phone: (503) 289-3615
Ms. Nancy Deacon, Pianists E-mail: [email protected]
Mr. Joe Simmons, Cantors
Ms. Gael Berberick, Ensemble Musicians Administration
Rev. Robert Webster, Clergy Mr. Lowell Hickman, OĜce Manager and Executive Assistant
Diocesan Directors of Music Ext. 25 E-mail: [email protected]
Dr. Dolores Martinez, Hispanic Musicians Mrs. Mary Rodriguez, Receptionist and Secretary
Mr. Timothy Jacquet, African American Musicians Ext. 10 E-mail: [email protected]
Mr. Stephen Steinbeiser, Campus Ministers Mr. Paul Lagoy, Secretary and Mail Clerk
Mr. Tim Westerhaus, Youth Ext. 26 E-mail: [email protected]
Col. Tom Luna, Musicians in the Military Mr. Anthony Worch, Finances
Prof. J. Michael Thompson, Eastern Church Musicians (ad hoc) Ext. 15
Mr. Bruce Croteau, Pastoral Liturgy
Rev. Ricky Manalo, , Asian and Pacic Rim Musicians (ad hoc)
Sr. Nancy Burkin, , Musicians Serving Religious Communities (ad hoc)
Rev. Anthony Ruě, , Chant (ad hoc)
Mr. Nicholas Palmer, Composers (ad hoc)
Ex-OĜcio Representatives
Most Rev. Daniel N. DiNardo, Episcopal Moderator
Sr. Judith Marie Kubicki, , Board of Directors Chair
Mr. Thomas V. Stehle, Council of Chapters Chair
Ms. Joanne Werner, DMMD Division President Additional Staě
Ms. Tracy Lake, NPM-MusEd Division President Mr. Joseph Lively, Comptroller
Mr. Peter Maher, NPM Staě Representative Ms. Andrea Schellman, Assistant Editor
The Association President and the NPM Board members also serve on Ms. Kathi Zysk, Website Manager
the NPM Council without a vote. Ms. LiseĴe Christensen, Website Designer
6 J-J 2007 • P M
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Association News
Convention Update
Advance Deadline
The advance registration deadline for
the 2007 National Convention is June 8.
Register before this date, and you can
save $55.00 oě the fee for NPM members
or non-members, $50.00 oě the fee for
NPM youth members, and $25.00 oě the
companion fee. This is also the deadline
for the NPM member clergy and musician
duo discount.
Members’ Discount
NPM members receive a sizable
discount on convention (and institute)
registration fees. In fact, it is less expen-
sive to become an NPM member and to The Indianapolis Core CommiĴee, modeling the 2007 Convention T-shirt, is prepared to
register at the members’ rate for NPM welcome us to their city and their archdiocese.
programs than it is to pay the non-mem-
ber rate! Joining NPM as you register for
the convention entitles you to additional begin the day from Tuesday to Friday As the logo for the 2007 NPM National
benets: a year’s subscription to Pastoral (Byzantine morning prayer on Wednes- Convention suggests, there will also be a
Music and the members’ newsleĴer Pas- day); Taizé Prayer on Tuesday night; and labyrinth available to participants in the
toral Music Notebook and discounts for the Convention Eucharist on Wednesday Convention Center. Labyrinths were a
other programs. Clergy members receive evening. Several of the plenum presen- feature of many medieval cathedrals; one
the quarterly newsleĴer Clergy Update as tations highlight aspects of prayer and of the best remaining examples is found in
an added bonus. If you pay for a parish spirituality for pastoral musicians; some of the Cathédrale Notre-Dame de Chartres
membership, anyone in your parish may the performance events also become times in northern France. The original purpose
register for an NPM program at the mem- of prayer; and some of the workshops ad- of the labyrinth in Christian practice was
bers’ fee. dress issues of prayer and spirituality for to provide a way to make a pilgrimage for
choirs (A 23), parishes (B 23), the whole those who were unable to travel to pilgrim-
Prayer Together community (D 25), and pastoral musicians age centers such as Jerusalem, Rome, or
(F 21). Santiago de Compostela. Unlike a maze,
The evaluation forms that we receive Daily Mass will be available across the
aĞer each convention as well as a recent street from the Indiana Convention Center
online survey of our members reinforce at St. John Roman Catholic Church, the
the message that participants in our annual oldest Catholic parish in Indianapolis,
conventions nd them to be prayerful, founded in 1837 and standing at its pres-
almost a retreat. And these comments also ent location since 1871. St. John served
tell us forcefully that participants like that as the pro-cathedral for the Diocese of
atmosphere and look forward to it. Indianapolis (1898–1907), while the epis-
This prayerful atmosphere will perme- copal see for Indiana was transferred from
ate the 2007 Convention in Indianapolis Vincennes to the state capital. This historic
as well. From the pre-convention Music church features a two-manual Goulding &
Ministry Leadership Retreat with John Bell Wood organ which incorporates elements
through the closing Re-commissioning of the 1894 original instrument, which was
and Sending Forth, this year’s gathering destroyed in a hailstorm in 1923, and its
will be permeated with prayer. 1935 replacement. St. John Parish is the
Specic times for prayer during the site for the pre-convention Young Organist
convention include morning prayer to Master Class on Sunday evening.
P M • J-J 2007 7
30796_JJ 07 Front.indd 7 5/21/2007 10:46:03 AM
labyrinths have only one path; there are knobs and controls can be used to support Worship, and books on various liturgical
no dead ends. People walk the labyrinth pastoral music. Registration is limited. topics.
slowly, as an aid to contemplative prayer An additional session has been added Father Joncas is a member of NPM and
and reection, as a spiritual exercise, to the Friday morning breakout. In F 24, several other professional associations. He
or—even today—as a form of pilgrim- “How to Form a Chapter,” Jacqueline has been a major presenter and workshop
age. Tradition says that the labyrinth’s SchniĴgrund oěers step-by-step tech- leader at many NPM conventions and at
path has three stages: the inward journey, niques for forming an NPM Chapter. other gatherings of the association.
the center, and the outward journey. The Marty Haugen is the 2007 Pastoral
theme of the inward journey is leĴing go NPM Honors Musician of the Year. A liturgical com-
of things which hinder our wholeness and poser from Eagan, Minnesota, he is the
inner approach to God. The center of the The Pastoral Musicians’ Breakfast on composer of songs, hymns, and seĴings
labyrinth is a space of meditative prayer Wednesday morning will give us an op- of ritual texts. His
and peace. The theme of the outward jour- portunity to honor some individuals and seĴing for the Ro-
ney is relationship—with ourselves, with organizations that have oěered insight, man Catholic Or-
others, and with all of creation—seen in example, support, and encouragement der of Mass—Mass
the light of our relationship with God. to pastoral musicians in the United States of Creation—is the
and around the world. Here’s information most widely used
Scholarship Assistance about some of the honorees. seĴing in the Unit-
Rev. Dr. Jan Michael Joncas is the re- ed States, and his
Through the generosity of NPM cipient of the 2007 Jubilate Deo Award. The popular seĴings of
members, assistance is available to cover eldest of eight children, J. Michael Joncas the Lutheran Com-
the cost of convention registration (or completed his undergraduate studies at munion Service—Now the Feast and Cel-
NPM institute registration) for persons the College (now ebration—and vespers—Holden Evening
or parishes of limited means. For infor- the University) Prayer—are also widely used. Marty has
mation about this scholarship program, of St. Thomas more than 250 separate titles published
visit the NPM website—hĴp://www.npm. in Minneapolis through GIA and other compositions
org/EducationEvents/program_scholar- and his graduate available through Augsburg Fortress and
ships/scholarships.htm—or request a degree in litur- other publishers. His hymns and liturgical
packet from the NPM National OĜce. gical studies at songs appear in several GIA hymnals as
Phone: (240) 247-3000. the University of well as in hymnals produced for Canadian
Notre Dame. He and Australian Roman Catholics, the
met Marty Hau- Evangelical Lutheran Church in America,
Breakout Changes: gen and David the Lutheran Church—Missouri Synod,
One Dropped, One Bilingual, Haas while they and other Protestant and Evangelical de-
One Refocused, One Added were all students nominations. With David Haas, he began
at the College of St. Thomas. He began the series Psalms for the Church Year (GIA).
On Tuesday morning, breakout A 29 composing music for Roman Catholic lit- In addition to his workshop sessions at
has been canceled. It was to have been urgy then, and his best-known song, “On NPM conventions and other NPM-related
a showcase demonstrating practical Eagle’s Wings,” appeared in 1978. He has events, Marty has presented workshops
Gregorian chant selections. Participants since composed and recorded seventeen and concerts for the past twenty-ve years
interested in Gregorian chant in the liturgy collections of music. With Haugen and across North America and in Europe,
might consider registering for the Monday Haas, he served as one of the editors of Australia, Asia, and Central America.
morning Chant Intensive with Father the rst edition of Gather. Lansing, Michigan, is the NPM Chap-
Anthony Ruě, ; visiting the Section Ordained to the presbyterate for the ter of the Year. Members of this chapter
for Chant meeting on Monday aĞernoon Archdiocese of St. Paul and Minneapolis serve approximately
(4:00 ); or participating in sessions A in 1980, he completed assignments as as- 230,000 Catholics in ten
04, A 05, D 04, E 19, and F 17. sociate pastor and campus minister before counties in southern
Workshop C 09, on Wednesday af- going to Rome for postgraduate studies. Michigan. The current
ternoon, will be bilingual (Spanish and In 1991, he earned a doctorate in sacred chapter director is Dr.
English). Since this session deals with liturgy from the Pontico Istituto Liturgico Robert Wolf, director of
repertoire for the non-Hispanic director, at the Collegio Sant’Anselmo. He returned music ministries at St. Patrick Parish in
it will be oěered in both languages and to St. Paul and began his teaching career Brighton, Michigan.
focus on repertoire that the Spanish-speak- at the University of St. Thomas, where BenneĴ Porchiran is this year’s DMMD
ing would like a non-Hispanic director to he is currently an associate professor in Member of the Year. BenneĴ is the direc-
know. the departments of Catholic studies and tor of music ministries at St. Elizabeth
The focus of workshop F 12 on Friday theology. He has taught courses at other of Hungary Parish in
morning has changed. “So Much to Con- institutions as well, including the Ange- PiĴsburgh, Pennsylva-
sider,” with Mike Overlin and Dennis licum University in Rome, Notre Dame nia—a position he has
Fleisher, is now “Touch That Knob . . . with in Indiana, and St. John’s University in held since 1971. While
Care!” with Dennis Fleisher. This session is Collegeville, Minnesota. Father Joncas serving at St. Elizabeth,
a user-friendly, hands-on opportunity for has published scholarly articles, popular BenneĴ has also taught
music ministers to learn the basics of mi- articles, interviews, and reviews in vari- music and conducted
crophones and mixers and how the maze of ous journals, including Pastoral Music and choirs and musicals
8 J-J 2007 • P M
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complete resource is now available at the
Where Are They Now? NPM website: hĴp://www.npm.org/Cho-
ral_Anthem_Project/index.html.
Timothy Westerhaus GIA Publications is the recipient of this
year’s Music Industry Award. Founded
GIA Scholarship Recipient 2003, as the Gregorian Institute of America in
NPM Scholarship Recipient 2006 PiĴsburgh, Pennsylvania, in 1941, GIA
was originally intended to be an educa-
With the aid of the 2003 GIA Pas- formance—“The Order of the Mass tional resource for
toral Musicians Scholarship, Timothy and the Arts: Encountering the Mystery church musicians
Westerhaus graduated in 2004 from through Liturgical Texts, Music, and through the Catho-
the University of St. Thomas in St. Paul, Artwork,” a keynote address by J. Mi- lic Choirmasters
Minnesota, with a bachelor’s degree in chael Joncas—“Holy Communication: Correspondence
liturgical music. In addition to studying The Language of Our Public Prayer,” Course (110 home-
with J. Michael Joncas, Angela Broeker, and several breakout sessions. study lessons).
and Marianne Bryan, he assisted Robert Soon the Institute,
Serving rst as the assistant conduc- which had moved to Toledo, began oěer-
Strusinski as a chapel music minister at
tor (2004) and then as the conductor ing summer courses and ve-day work-
the Chapel of St. Thomas Aquinas. He
(since 2005) of the Boston University shops. Late in the 1940s, the Institute began
completed an internship at the Basilica
Choral Society, Timothy has conducted publishing music editions for parish use
of St. Mary in Minneapolis in the spring
the sixty-ve-voice ensemble and its in addition to the materials for its various
of 2004, under the guidance of Teri Lar-
select chamber ensemble for three courses. The correspondence course con-
son.
concerts each season. Highlights have tinued to thrive until the Second Vatican
Following graduation, Tim assumed
included Mozart’s Coronation Mass and Council, while its music publishing busi-
the position of pastoral minister of
Misericordias Domini, Charpentier’s ness expanded gradually, until GIA was
liturgy and music at the Paulist Center
Missa de Minuit pour Noël, Handel’s known more as a music publisher than as
Catholic Community in downtown
Chandos Anthems, and Brahms’s Liebes- an educational institution. In 1967, GIA
Boston, Mas-
lieder Waltzes. moved to Chicago, and the rst edition of
sachusetts.
Serving full- In 2007, for a sixth summer, Tim will Worship appeared in 1971. The people at
time for two serve on the faculty of Music Ministry GIA are being honored this year because
years, he Alive!, an institute that promotes mu- of Mercy, Mercy!, a benet album devel-
coordinated sical and pastoral formation of young oped to assist the victims of hurricanes
the musical adults. He will also lead two GIA Read- especially on the Gulf Coast. Many of the
and liturgi- ing Sessions for a second year as a choral selections on the album were wriĴen or
cal events for clinician. He has presented workshops performed by people who suěered loss
four week- at several NPM conventions on the top- during the 2006 hurricanes, and others
end services ics of youth and pastoral music, and have a special musical connection to that
as well as for he currently chairs the NPM Standing area of the country. The proceeds from this
major feast days. He initiated the forma- CommiĴee on Youth. album are still being distributed through
tion of a music ministry advisory group, Receiving a second NPM scholarship the NPM Hurricane Assistance Fund and
cultivated musical and liturgical leader- in 2006, Tim entered the master of music a similar fund established by the AGO.
ship for the liturgy of the hours, chaired degree program in Choral Conducting Peter Bahou and Peter’s Way Tours,
the worship commiĴee, directed the at Boston University last fall; he studies Inc., will receive this year’s Stewardship
annual Advent-Christmastide concert with Ann Howard Jones. In addition Award. For nearly two decades, Peter’s
series, and oversaw recruitment and to conducting the concert choir and Way Tours has specialized in inclusive,
training of liturgical ministers. Because accompanying university ensembles, customized group
the Paulist Center serves as a liturgical he serves as the assistant conductor travel abroad, par-
resource to the greater Boston area, Tim at Boston University’s Marsh Chapel. ticularly choir tours,
directed a Liturgical Arts Conference in Grateful for NPM’s generous support, pilgrimages, and study
February 2006 that was aĴended by more he will continue to be able to rene his tours. More than 750
than 400 people. The two-day conference skills and pursue his passion for sacred choirs from the United
included an evening presentation-per- choral music. States and Canada
have participated in a
Peter’s Way tour, and
many NPM choir directors have taken
in parochial and public schools. An NPM for DMMD are the publication of Direc- advantage of the company’s familiariza-
member since 1977, he is also a member of tor of Music Ministries in the Parish: Work tion/continuing education tours. Peter
AGO and Choristers Guild. BenneĴ served and Remuneration and Director of Music has also been a strong supporter of NPM
on the Board of Directors for the Director Ministries in the Parish: Annual Reviews. programs as an industry partner, an ad-
of Music Ministries Division (DMMD) for BenneĴ also coordinated the collection of vertiser in Pastoral Music, an exhibitor at
eleven years and chaired the Professional resources that became the Choral Anthem conventions, and a sponsor of events for
Concerns CommiĴee for six years. Among Project—suggestions for anthems for all the Director of Music Ministries Divi-
the tasks he has directed and overseen the Sundays and major feasts. That nearly sion.
P M • J-J 2007 9
30796_JJ 07 Front.indd 9 5/21/2007 10:46:07 AM
2007 Institutes form online at hĴp://www.npm.org/Edu- Music in Montclair, California, or it may
cationEvents/institutes/index.html. Or be ordered online at laago.org/langlais or
phone the National OĜce for a copy of by telephone at (800) 518-7214.
Deadlines Past and Passing
the printed brochure: (240) 247-3000.
Two advance registration deadlines VCF FestschriĞ
for this summer’s NPM Institutes fell
in May—those for the Cantor Express Members Update A Festschrift (“feast-writing”) is a
programs in Chicago, Illinois, and Lake publication that honors someone on a
Charles, Louisiana (both oěered June Centenary of the Birth special occasion, usually prepared by that
29–July 1). You can still register for these person’s colleagues. To celebrate Father
of Jean Langlais
programs, but there is an additional fee Virgil C. Funk’s seventieth birthday this
to register aĞer the deadline. summer, OCP is publishing The Song of
Born in 1907, the great organist Jean
Most of the advance registration dates the Assembly: Pastoral Music in Practice.
Langlais died in 1991. Now a DVD
occur in June this year, so you can save With contributions from twenty-three
documentary—Life and Music of Jean Lan-
yourself or your parish some money by writers, the book focuses on the pastoral
glais—has been released to commemorate
registering before the deadline. These music aspects of major documents on the
the 2007 centenary of his birth. The DVD is
dates include June 16 (Choir Director liturgy in the twentieth and twenty-rst
based on the scholarship of NPM member
Institute in Alexandria, Virginia, July centuries, from Tra le sollecitudini (1903) to
Ann Labounsky, who is featured as narra-
16–20); June 20 (Cantor Express programs Sacramentum caritatis (2007). This celebra-
tor and performer. It was professionally
in PiĴsburgh, Pennsylvania, and Tampa, tory publication will be available at OCP’s
created and is a production of the Los
Florida, both oěered July 20–22); June booth at the NPM National Convention
Angeles Chapter of the American Guild
23 (Guitar and Ensemble Institute in Er- ($15.00 per copy), and it may be ordered
of Organists.
langer, Kentucky, and the Pastoral Liturgy directly at hĴp://www.ocp.org/en/index.
As a leading American disciple of
Institute in Providence, Rhode Island, php. Phone: (800) 548-8749.
Langlais, with whom she studied in Paris,
both taking place July 23–27); and June Ann Labounsky is uniquely qualied to
29 (Institute for Music with Children in present his life story. She has also pub- Keep in Mind
SeaĴle, Washington, July 31–August 2). lished a biography—Jean Langlais: The Man
The deadline for our nal summer and His Music (Amadeus Press)—and has Brian J. Johnson, an NPM member
Institute is July 17 for the Cantor Express made the rst recording of his complete who served most recently as the director
in Tucson, Arizona (August 17–19). organ works on twenty-ve CDs (Musical of music ministries at St. Patrick Catholic
Heritage Society). Church in Fort Wayne, Indiana, died in
Information Online The DVD program includes photos, Fort Wayne on November 15, 2006. Born
maps, musical scores, interviews with in 1948, he was a Benedictine monk for
Full brochures with details for each of students and associates of Langlais, seventeen years at St. Meinrad Archabbey
NPM’s 2007 Institutes have been mailed and performance excerpts of his music. in Indiana. An accomplished organist, he
to NPM members and subscribers. If you The voice of Jean Langlais is also heard taught music and directed several choirs
have not yet received yours, you may speaking in both French and English. It is in the Chicago area aĞer he leĞ the com-
access the information and registration available ($28.00 per copy) from Emerson munity.
We pray: Lord God, grant our
brother peace and tranquility
until that day when he and all
who believe in you will be raised
to the glory of new life promised
in the waters of baptism.
Meetings and Reports
Institute of Sacred
Music: Graduate
Auditions
Graduate auditions for the
Institute of Sacred Music in the
Benjamin T. Rome School of Mu-
sic at The Catholic University of
America, Washington, DC, will
take place on January 18, 2008.
The Institute oěers a master of
music degree in sacred music
and a doctorate of musical arts
in sacred music. There are con-
“Class picture” of the staě and participants at the 2006 NPM Guitar and Ensemble Institute
10 J-J 2007 • P M
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centrations in choral music, organ per- Episcopal Church, though local communi- theran Commission on Worship, though
formance, and composition. For further ties may choose to delay implementation in oĜcial Lutheran language it is merely
information, please contact Dr. Leo C. until Advent 2010. “commended to the Church’s congrega-
Nestor, director, via e-mail: nestor@cua. In most respects, the Revised Common tions as an ‘enriching addition’ to ELCA
edu. Website: hĴp://music.cua.edu. Lectionary is similar to the three-year worship paĴerns,” one that is “judged to
lectionary in The Book of Common Prayer be faithful to Scripture, consistent with
Parish Awards from OCP and to the Roman Catholic Lectionary the church’s historic tradition, reective
for Mass. The major diěerence comes in of a Lutheran understanding of the use
OCP’s annual parish grants program, the selections chosen from the Hebrew of the means of grace, and accessible
now in its seventh year, provides direct Bible. For the Sundays aĞer Pentecost, to today’s worshiping assembly in both
nancial assistance to enhance the worship the Revised Common Lectionary oěers two language and style.” The culmination of
experience of Roman Catholic parishes parallel tracks for the rst reading and a widespread consultation called “Renew-
in the United States. This year’s grants, the psalm, and parishes are invited to ing Worship” that included the use of
totaling nearly $170,000.00 in assistance, choose one track or the other but not to provisional resources on a trial basis, this
were distributed to more than 120 U.S. bounce back and forth between the two new primary worship resource contains
parishes. Approximately 80 churches tracks. One track preserves the paĴern ten seĴings of the Communion Service, all
received a total of $120,000 through the established in 1969 by the Roman Catholic 150 psalms arranged for singing, Ğeen
standard grant process, while a total of Lectionary for Mass: The reading and psalm additional services, more than 700 hymns
nearly $50,000 in special disaster grants are chosen to reect the images or themes and songs, and an English translation of
and materials went to more than 40 other of the day’s Gospel text. But in the other Luther’s “Small Catechism.” Options for
parishes to aid in recovery from Hurricane track, the rst reading and psalm follow structuring communal worship oěer—ac-
Katrina and other catastrophic events. The their own narrative arc to reect more of cording to information from the publisher,
grants were awarded in March. the story lines from the Hebrew Bible, and Augsburg Fortress Press—possibilities for
Since the inception of the program in the selections are oĞen longer than those a “unity of purpose beyond a uniformity
2001, nearly $700,000 has been awarded to in the rst track. The choice of the second of practice.”
a total of 350 churches. Parishes in every track, obviously, will mean that preachers The Lutheran Church—Missouri
diocese in the country have received ben- and music directors should not look for Synod has also been implementing a
ets. Applications for 2008 grants may be thematic connections among the readings new book. On July 14, 2004, delegates to
submiĴed between April 30 and June 30 and will have to look for other principles the sixty-second regular convention of
at www.ocp.org/grants. All U.S. Catholic on which to develop both preaching and The Lutheran Church—Missouri Synod
parishes are eligible to apply, even if they music selections. overwhelmingly approved the Lutheran
do not currently use an OCP worship Service Book as an “oĜcial service book and
program. The purpose of the grant must New Lutheran Worship Books hymnal” of the Synod. The Commission
be linked to liturgy and/or music. More on Worship began work on a new hymnal
information is available at hĴp://www. Since October 2006, the Evangelical and “agenda” for worship at the end of
ocp.org/en/resources/parish_grants/in- Lutheran Church in America (ELCA) has 1998. The goal was to prepare a resource
dex.php. been implementing a new worship book that will serve as a faithful successor
and hymnal. Titled Evangelical Lutheran both to The Lutheran Hymnal (1941) and
Episcopal Church Adopts Worship, it replaces the 1978 Lutheran Lutheran Worship (1982). The new book
Book of Worship prepared by the Inter-Lu- was published in the fall of 2006.
Common Lectionary
During the 2006 General Convention
in Columbus, Ohio, the Episcopal Church New!
formally adopted the Revised Common Lec- from NPM Publications
tionary, which will replace the lectionary
currently in The Book of Common Prayer in blessings for musicians BLESSINGS
Advent 2007, except for those feasts and MUSICIANS
commemorations in the Episcopal calen- Blessings, prayers, meditations, thanksgivings, and BLESSINGS, CELEBRATIONS, AND THANKSGIVINGS
FOR PASTORAL MUSICIANS
dar not covered by the Revised Common litanies to enrich the oĜcial rituals for blessing mu-
Lectionary. The rst Common Lectionary sicians and instruments in the Book of Blessings. The COMPILED AND EDITED BY GORDON E. TRUITT
was a three-year lectionary developed in book includes proposed texts and music for use at
1983 by the North American Consultation Mass, at evening prayer, and at other occasions when
on Common Texts—a commiĴee of Ro- musicians gather to pray together and to recommit
man Catholic, Anglican, and Protestant themselves to service.
liturgists and scholars—and it was issued NPM PUBLICATIONS 6 WASHINGTON, DC 6 2007
in a revised version in 1992. The Revised 44 pages, paperback. $5.00
Common Lectionary is widely used in those
North American Protestant and Evangeli- Order today from NPM Publications
cal churches that use a lectionary; it is also 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461
used in parts of the Anglican communion, Phone: (240) 247-3000
and it has been an option to the Prayerbook E-mail: [email protected]
lectionary, with diocesan permission, since Web: www.npm.org
1994. Now it is the oĜcial lectionary of the
P M • J-J 2007 11
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Richard J. Schuler, 1920–2007
I did not know Monsignor Richard Schuler workshops at Boys Town in Omaha, Nebras-
personally. Still, this major gure in the twen- ka. In August 1966, he chaired the historic and
tieth century renewal of pastoral music was, contentious FiĞh International Church Music
in a sense, part of my ock, for my prime Congress, which met in Milwaukee and Chi-
responsibility as associate director of the cago. This meeting revealed a split between
Worship Center in the Archdiocese of Saint many musicians and many liturgists—the
Paul and Minneapolis is working with musi- split that has since been identied as one
cians. Monsignor Schuler cherished his role as between interpreting the Council’s liturgi-
pastor—and as music director—of St. Agnes cal reform as in “continuity” with previous
Church in Saint Paul—a parish, because of practice and the belief that the postconciliar
his presence and inuence, that still enjoys a reform ushered in a “revolution” in liturgical
national (if not international) reputation for understanding and practice—a clean break
its celebration of the Sunday liturgy in Latin with a full with much that had gone before.
orchestra and chorus. In 1969, disappointed at some of the practices being
Richard Joseph Schuler was born December 30, 1920, implemented in the name of liturgical reform, he leĞ
in Minneapolis. He aĴended parochial grade school and the College of St. Thomas and became pastor of St. Ag-
De La Salle High School, and he enrolled at the College nes Parish, where he remained as pastor for more than
(now University) of St. Thomas in St. Paul. In 1940, he twenty-ve years. Like all of us, Monsignor Schuler had
entered the archdiocesan seminary. AĞer ordination to his favorite paragraphs in the Constitution on the Sacred
the presbyterate in 1945, he was assigned to Nazareth Liturgy Sacrosanctum Concilium, which he emphasized
Hall, the archdiocesan preparatory seminary, where he sometimes at the expense of other paragraphs. At St.
taught history and music. His childhood music lessons Agnes, for example, chant was given “pride of place”
and studies at the McPhail School of Music in Minne- (SC, 116), the pipe organ was held in “high esteem” (SC,
apolis gave him suĜcient skills to serve as seminary 120), and the treasure of sacred music was “fostered and
organist. In 1955, he began teaching at the College of preserved with great care” (SC, 114).
St. Thomas, while he continued his own music studies During his years at St. Agnes, Monsignor Schuler
at the Eastman School in Rochester, New York, and at served as vice president (1969–1979) of the Consociatio
the University of Minnesota, from which he earned a Internationalis Musicae Sacrae (CIMS, the interna-
doctorate in music history in 1963. In these years, he tional association of sacred music established by Pope
served as a priest, educator, and parish choir director Paul VI in 1963). In 1975, he became editor of Sacred
(at Nativity Parish). In 1955, he founded the Twin Cities Music, the journal of the Church Music Association
Catholic Chorale, a devoted ensemble of orchestral and of America, and he began to serve as the association’s
choral musicians dedicated to performance of sacred president in 1976, the year that NPM was founded.
music primarily of the classical era. Like all who write, he penned a few statements
As a choir director in the 1950s, he liberally incorpo- worthy of retraction, but he also addressed a number
rated orchestral instruments into worship, when many of important topics, including the need for appropriate
choir directors were still following Pope Pius X’s 1903 education for music ministers. He wrote in 1990: “The
motu proprio that discouraged, if not prohibited, that training of those responsible for the making of music is
practice. The liturgical music that he composed in his the basic element of success in carrying out the wishes
role as music instructor for archdiocesan seminarians was of the council fathers on every level within the Church”
considered progressive, if not radical, for the time. (“The Training of a Church Musician,” Sacred Music [Fall
Young Father Schuler was involved in a number of 1990]).
signicant events in the liturgical and musical life of AĞer his retirement as pastor from St. Agnes in 2001,
the United States. When Pope Pius XII granted select Monsignor Schuler continued to direct the Twin Cities
parishes throughout the world permission to celebrate Catholic Chorale at Sunday Mass for four more years.
the revised liturgies of Holy Week in the 1950s, Schuler AĞer several debilitating strokes, he died at the age of
served as deacon at one of the rst nighĴime Easter eighty-six on April 20, 2007, and his funeral liturgy was
Vigils in the United States. In 1965 he arranged the celebrated at the Church of St. Agnes on April 24. This
congregational music for the episcopal ordination of remarkable man and musician shared his love of the
Bishop James P. Shannon, quite possibly one of the rst liturgy and its music with a dedication that many of us
episcopal ordinations celebrated in the vernacular. must envy.
Father Schuler entered the national liturgical renewal May he rest in peace. BeĴer yet: Requiescat in Pace.
through articles in Caecilia and Catholic Choirmaster and
through participation in the summer liturgical music Michael Silhavy
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Hearing Is Fundamental
B D F
A
musician’s “ear” is the sine qua
non of musicianship, the hallmark
of a God-given giĞ of musical
talent. How well we hear sounds in a
musical context is an indicator of musical
aptitude, for hearing is the foundation of
what we do and how we do it as musicians.
Hearing is the most common rst step in
music making: Even before we learned
to read music, our rst musical sounds
were likely produced when we tried to
imitate something we heard. This same
developmental action is also the basis of
many musical forms, particularly the call-
and-response and, more pertinently, the
in pastoral music is not for entertain- means the interaction between the stage
dialogic elements of the Mass. Hearing is
ment or to elicit praise, though we are and the audience; in the liturgical world it
fundamental in music.
inspired to excel through the aĜrmation means the interaction between the music
If we study music seriously, we develop
of a responsive and participating assem- ministry and the rest of the assembly. This
our listening skills further in ear training
bly—liturgical actions that we help foster. is the other part of music making that mat-
classes. But even without formal training,
Making music for liturgy with precision ters: What they hear maĴers.
our musical hearing develops through at-
and beauty, with quality and appropriate- Of all the musical elements listed so
tentive listening and collaborative music
ness, is, ideally, transparent: The music far, there is one that gets less aĴention
making with other musicians. Ideally, this
is foremost, not the performance or the than other elements in musical forma-
sharply honed hearing acuity becomes
performer. tion: dynamics. It’s usually not until we
an intrinsic part of our musicianship. We
The selection of appropriate music is have facility in making the notes that we
don’t have to think about: We just do it.
important in our ministry, but so too is the add dynamics. As a music student and
quality of our music making because both educator, I encountered many exercises
What We Hear MaĴers the music itself and the way it is rendered in music theory and ear training related
can eěect or encourage participation. Play- to pitch and rhythm but few (if any) for
In pastoral music, what we hear mat- ing music poorly can be distracting and dynamics. This may be because pitch and
ters, and it maĴers for many of the same alienating; playing well can be engaging rhythm can be quantied and measured:
reasons that it maĴers in other musical and inspiring. Our eěectiveness in engag- Pitches are measured in frequency (vi-
arenas. It enables us to produce music ing the rest of the worshiping assembly can brations per second), while tempos and
with accurate intonation, precise rhythms, be strongly inuenced by basic elements rhythms are gauged by time, usually in
and eěective dynamics—the musical char- of musical sound including intonation, seconds. Dynamic levels, however, are
acteristics of quality—and quality maĴers accuracy, pleasing tone, and tempos. To highly subjective, and though there is a
in liturgy. Using our musical giĞs in the some extent most of these things can be decibel scale in acoustics to quantify loud-
sacred liturgy glories our Creator and heard within the space shared by the music ness precisely, there are no commonly used
gives voice to the Body of Christ. Unlike ministry, but we need to realize that what loudness scales in music.2
performative music, however, excellence we hear among the musicians is quite dif- Of all the musical elements in the con-
ferent from what the rest of the assembly trol of pastoral musicians which can have
hears. signicant impact on liturgy, dynamics is
Dr. Dennis Fleisher is an acoustics These musical elements—pitch, one of the most important though one of
consultant and designer who has worked on rhythm, and dynamics—and the need the most overlooked, particularly at the
acoustics for more than 250 churches and to hear them clearly and accurately are upper extreme of the dynamic range: ex-
chapels and 25 cathedrals during a career common to all types of music making: cessive loudness. Our ability to hear how
that has spanned more than 25 years. With They are largely intra-ensemble1 in that loud we are in the assembly is a critical but
undergraduate degrees in music perfor- the key interaction is from musician to challenging aspect of our music making
mance and music education, a master’s musician. There is, however, another and pastoral priorities. Let’s examine the
degree in music theory, and an interdis- important facet of musical hearing that is challenges and the means to overcome
ciplinary doctorate in physics, acoustics, less oĞen addressed and more complex: them in using dynamics eěectively to
and music, Dr. Fleisher is the principal for the one between the musicians and the support and encourage—not hinder and
MuSonics in Grand Rapids, Michigan. listeners. In the performance world that frustrate—the singing assembly.
P M • J-J 2007 13
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Factors for Hearing Unamplied musical sounds have dy- from what is heard in the space for the rest
Our Own Sound namic ranges that vary signicantly from of the assembly, particularly with regard
instrument to instrument and from singer to volume. Given this condition, what
When the music ministry is too loud, to singer. Some of this is in the nature of can we do to avoid excessive loudness
so overpowering that it renders the rest the sound-producing mechanism (vocal that would overwhelm and discourage
of the assembly’s voice superuous or un- chords, stretched strings, reeds, and so the whole assembly’s participation?
necessary, our music is counter-liturgical. on), and some is because of the physical The multiplicity of hearing factors
We need a clear perception of how loud we strength or talent of the player. These indicates a complicated situation. Sound
sound to the rest of the assembly to prevent diěerences are evidenced in the makeup amplification adds to—and possibly
this. (First we’ll consider only unamplied of instrumental groups. Orchestras will multiplies—the complexity and diĜculty.
sounds; we’ll add the complicating factor typically have twenty to thirty violins With unamplied sounds we can gener-
of amplication later.) but only three trumpets: The number of ally develop a sense of our own loudness
In all but the smallest ensembles, we players in each section is related to the by the level of eěort we expend. This is
are physically distributed and spread inherent loudness of specic instruments. particularly true for winds, brass, strings,
out, perhaps just a foot or two from our The piano projects sound diěerently in and vocalists, where loudness is closely
nearest neighbor and as much as twenty diěerent directions, particularly with the correlated to physical exertion—how
or thirty feet from the member of the lid open. strongly we blow, the speed and pressure
ensemble farthest from us. We can hear Depending on where we are situated of bow movement, etc. Amplication
those nearest to us far beĴer than those with respect to certain instruments, there- reduces—practically eliminates—any as-
at a greater distance. If a chorister is two fore, the loudness of those instruments sociation between eěort and loudness.
feet from the piano, that instrument may can overwhelm other sounds, even most In most music ministries, we now
sound uncomfortably loud; at twenty feet of the other singers and instruments in the have more than acoustic instruments
(the far end of the choir), that same level ensemble. But sounds from all instruments and vocalists. We’ve added microphones
is probably quite comfortable. Distance tend to spread out over distance, and by and speakers and electronic instruments
and loudness relationships exist for the the time unamplied sounds reach the (keyboards and guitars), some of which
assembly too, but to a much smaller de- congregation, these dynamic diěerences produce most of their sound locally, while
gree. The nearest assembly member may are greatly reduced. the sounds for others come from remotely
be Ğeen feet from the music ministry, the As musicians we realize that what we located loudspeakers, projecting sound
farthest probably well under one hundred hear in our own personal region of music primarily to the congregation and to a
feet. Without delving into the math and production may be far diěerent from what much lesser degree to the music ministry.
science, the diěerence in loudness from is heard in other areas of the music minis- It’s no wonder, then, that we oĞen feel that
the nearest to farthest parishioner is only try. Extending this line of thinking, we can we’ve lost control of our music making,
about half what it is from the nearest to realize that what we hear in the space that particularly our sound quality and loud-
farthest music minister. contains the music ministry is far diěerent ness.
14 J-J 2007 • P M
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Audio technology oěers wonderful system operating as if the full assembly most of the musicians present suĜciently
opportunities to improve the situation, were present. With no assembly present, before Mass to run this check. This is not
but along with this promise comes an the acoustics of the worship space will an appropriate thing to do, of course,
array of challenges. Some technologies be diěerent (in many cases dramatically while parishioners are coming in, many
put a layer of separation between us and diěerent), yet playing in the empty church hoping for some quiet time to pray and
the assemblies we serve; others produce can establish a baseline to be compared to transition to the worship environment.
conditions that would never occur without occupied conditions. And, since this check is not done with
amplication. For instance, an unampli- As vital as rehearsal in the worship full or normal occupancy in the space, the
ed twenty-voice choir can produce a space is, it is not an accurate representation levels and balance may be quite diěerent
strong, full sound, but it can’t drown out of the sound at the Sunday celebration. once the full assembly is present. It is key
a full singing assembly. Add microphones, Nonetheless, this can be an important to realize, therefore, that performing a
ampliers, and speakers to those twenty component of pastoral musicians’ “ear sound check is not a foolproof technique.
voices, and they can easily overpower the training,” as the ensemble learns what it There will almost certainly be a need for
largest and most enthusiastically singing sounds like in the empty church. Then, readjustment, and that readjustment is
assemblies. We know this intellectually, as oĞen as seems practical, a leader or best done with informed ears—nding an
but given the limitations of hearing con- conductor could move discretely to the opportunity to get a musician or director
ditions within the music area, we don’t assembly seating area during a Mass to into the assembly area oĞen enough to
always have the aural cues to remind us develop a correlation between the music train those ears and develop some level
of that possibility. ministry’s sound with and without the of correlation between sound check condi-
As we become aware of these problems congregation present. The fact of the mat- tions and active liturgy conditions.
(oĞen not through our own perception ter is that we simply cannot hear our own Monitors. In recent years the use of
but from comments and critiques by our sound—particularly our own dynamic music monitor speakers has become
pastors and parishioners), we oĞen try to level—from within the music ministry ubiquitous in Catholic music ministries.
overcome them with more technology: “If itself. We need to get a pair of ears “out It is oĞen supposed that monitor speak-
we just had more mics, then each singer there” and allow suĜcient time and op- ers can—or are intended to—provide the
could control the individual sound.” portunity for those ears to be trained for music ministry with a representation of
“With more speakers our sound would this particularly challenging task. what the rest of the assembly hears. This
be more evenly distributed.” But, oĞen Sound Checks. There is a closely re- is not necessarily the case. While we tend
we sense that we’ve opened Pandora’s lated sound balancing exercise practiced to eschew performance models in pastoral
Box and that we need to seek other means in many churches, known popularly as music, it is highly likely that our use of
to bring us back to a more controlled a “sound check.” This involves checking monitor speakers came about through
situation, enabling us to hear what our loudness levels (in some situations mak- their common use in performance seĴings
assemblies hear, giving us the audible ing tonal adjustments) of instruments and from nightclubs to performing art centers
cues we need. microphones to get an even balance. This to late-night TV shows. And since this
is vitally important, but it requires some concept is borrowed from the performance
Tools for Aural Unity discipline and cooperation in having all or environment, it is informative to take a
The roots of these hearing diĜculties
stem from reforms in the liturgy, evolving
styles and expressions of pastoral music,
the use of technology, and the sizes of
our worship spaces. These factors are not
likely to change soon, so we need to nd
new strategies, resurrect past wisdom, and
perhaps nd ways to draw on the wisdom
and experience of musicians in other faith
traditions. There are several things we can
do to control excessive loudness, but the
most important involve having an accurate
impression of sound in the assembly.
Rehearsals. Regular and effective
rehearsals are essential, particularly for
part-time and occasional musicians.
(Professional musicians spend far more
time in rehearsals and practice than in
performance.) We should rehearse in the
same space in which we perform and do so
under the leadership of a conductor, and
that conductor should listen to the sound
of the music ministry from various loca-
tions in the congregation’s seating area.
We should sing with full voice, play at The praise band at Lakeway Church (non-denominational) in Lakeway, Texas, uses
normal playing levels, and have the sound microphones and sound monitors.
P M • J-J 2007 15
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closer look at how and why these devices then the most eěective way to control
are used by professional performers and the music ministry’s loudness and put We need to nd ways to hear
entertainers and compare that with how a pair of musically aĴuned, liturgically beĴer what the congregation
and why we use them. Might they or can aware ears in the assembly is to locate hears.
they be an asset in our quest to hear what the sound operator and mixing console
the rest of the assembly hears? in the assembly. This is surely not a
The common use of monitor speakers panacea: It calls for an operator with an
in the professional performance seĴing is extraordinary combination of giĞs and and what the rest of the assembly hears
to enable a musician to (1) hear himself abilities. More signicantly, it introduces are essential elements in achieving that
or herself, (2) hear the other instrumen- a technological presence evocative of the unity. We need to nd ways to hear beĴer
talists and vocalists in the group, and performance world into a sacred space. In what the congregation hears to serve this
(3) selectively single out whatever other the majority of Catholic churches, this is ideal. Being more aware of the challenges
instrument(s) the musician judges to be not yet an acceptable option. Nonetheless, to such unity is the rst step. The solutions
most important for the playing or singing it is, from a sound standpoint, the most will rely on the experience and creativity of
that he or she is doing at any particular eěective option and about the only viable the music ministers in individual parishes
time. (For example, the drummer may response to some of the problems and and, oĞen, the solutions will be diěerent
want more bass for tight rhythm section suggested solutions outlined here. I’m not from music group to music group within
work but more sax for sax solos.) yet ready to go on record as an advocate the same parish. In acknowledging that
Note that in such situations, the for “in-house” mixing: I am as uncomfort- what we hear as musicians is important,
monitor “mix” is a separate and diěer- able with the concept as most Catholics that there are challenges in the hearing
ent mix from the house “mix.” In the I know. Yet when and if it becomes clear conditions in most churches, and that we
most “professional” situations, there is that its benets for liturgy outweigh the need to nd ways to overcome the limita-
a totally independent mixing console for disadvantages, it may be appropriate to tions and to hear beĴer what our brothers
the monitors, and the monitor mixer is revisit this idea. There are some precedents and sisters in the Body hear, we can move
located on stage or backstage, so that the for Catholic parishes, notably the Basilica toward more eěective pastoral ministry.
monitor-mix operator has a beĴer sense of of the National Shrine of the Immaculate
what the musicians are hearing on stage. Conception in Washington, DC, which
There are more factors in the professional uses such mixing. But it appears that its Notes
use of monitors in performance seĴings, presence there has not persuaded other
but even with just this much information, parishes around the country to follow 1. Throughout this article, the term “en-
it should be clear that monitors may not suit. semble” refers to all members of the music
fulll a common notion among pastoral ministry, vocalists and instrumentalists alike.
musicians, i.e., that they can give us a rep- 2. The common musical “meter” for tempo is
A Fundamental Goal
resentation of what the assembly hears. the metronome; for pitch the tuning fork, pitch
pipe, or electronic tuner. There is no analogous
Real-Time, Hands-On Sound Op- A fundamental goal of pastoral music is
device commonly used in music to measure
eration. Once we realize that excessive to create an aura of sonic unity, an audible dynamics. While most of us are familiar with
loudness in worship is caused almost and motivational expression that we are geĴing a tuning note before the beginning of
exclusively by electronic sound reinforce- one in worship, praise, and celebration. As a performance, I know of no situation where
ment, and that the use of such sound musicians, how we listen, what we listen a dynamic level is set. We ask for an “A” but
equipment needs careful monitoring, for, and how we adjust to what we hear not for a “mezzo forte.”
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How We’ve Done It in Pittsfield, Massachusetts
Organist Apprentice Program
B J W. H
I
n the beautiful Berkshires of Western to be an easy model for other organists to
MassachuseĴs, we have an organist copy. My hope is to branch out to recruit
shortage. We have lots of charming, more students and bring in more teachers.
old-fashioned New England churches Fees for OAP lessons are negotiable
throughout the Berkshire hill towns, but on a sliding scale and case-by-case basis.
many of these liĴle churches and parishes Some students pay twenty dollars an hour;
have no music for regular Sunday services, some pay ten; some begin for free but will
or funerals, or weddings because there pay ten to twenty-ve percent of their
is no organist available to play for them. fees, once they start taking engagements.
I have the honor of playing in eight of Most people think organists need years
these lovely churches in the county, and I and years of highly complicated training,
love what I do, but I could use some help. and this perception scares many potential
Most of these churches may not pay well, students away. An OAP organist can start
but they are perfect “starter” positions for playing as soon as he or she can manage
the beginning organ student. They are service music and hymns; more compli-
nice liĴle churches with nice people who South Congregational Church, PiĴseld, cated organ repertoire can come later.
would really appreciate organ music—or MassachuseĴs More than half of the students may be
any music—if they could just nd some- able to play at least monthly, somewhere,
one who could play or even try to play. Wanted: Musicians by early summer.
To meet this need, we thought we’d try
something novel: We thought we’d teach In January 2007, we sent this notice to
Berkshire County papers: Quick Math
new organists to play for services. Here
in the Berkshires, we’ve announced the The population of our county in
Wanted!! Musicians of all ages with
Organist Apprentice Program (OAP), in MassachuseĴs is about 100,000 people,
basic piano and music-reading skills.
which student organists will learn how to OAP will help prepare student to play and we were able to recruit nine new
play simple service music and hymns and basic church services, specializing in students fairly quickly. Extrapolate those
gradually help to ll empty organ benches. hymn playing. Will help provide jobs results to the 300 million people in the
As time goes on, “apprentice” organists at to starting musicians in an area with a United States, and we could have 27,000
“starter” churches will develop the skill critical shortage.
new organists up and running in a short
and maturity to take more prominent With the goal of signicantly ad-
period of time. (The AGO membership is
positions in larger churches. That will dressing the need to train and replenish
the ranks of qualied church organists currently somewhere in the low 20,000s.)
create a feeder system to keep fresh blood Now is the time, and we are the
owing in the organ world. Obviously, quickly, this “apprentice” model is rec-
ommended to be easily replicated by people to bring up our next generation of
recruitment will need to continue. And organists. The job market in this eld is
other organists and church leaders . . . .
as we all know, further organ study and looking up for the rst time in years. We
training among our recruits will have to Using this notice and other forms of are duty-bound to keep alive this historic
be life long. advertising, I’ve looked for piano students eld of music and promote the beauty and
who read music, are familiar with their utility of what we organists aěectionately
own church traditions, like church music, call the “king of instruments.” The
and are interested in the fact that you can organist shortage is nationwide, so
make money playing the organ. For a high- this easy-to-implement program (or
Mr. Jeěrey W. Hunt is the director of school-age person, being able to make something like it) is needed nationwide.
music and organist at St. Mark Church in money by playing Mass on the weekend Want to try this approach in your
PiĴseld, MassachuseĴs. He is the former or funerals during the week, instead of area? I’d be happy to discuss setup with
Scholarship and Outreach Director for the ipping burgers, is a preĴy good incentive. anyone who is interested. Feel free to
Berkshire Chapter of the American Guild of In its rst month, the OAP aĴracted come up with your own plan, but if you
Organists and an NPM member. In the late nine qualied students, and we were un- want to know more about our experience
1990s he assisted in founding the Berkshire derway. All the students have started les- in the Berkshires, please contact Jeff
Friends of the Organ and the Berkshire sons, and most practice locations have been Hunt. Phone: (413) 499-7320; e-mail:
Organ Academy. worked out. This OAP concept is intended Jeě[email protected].
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Words We Pray, Words We Sing
Cover of the Codex Aureus (the Golden Codex), a Gospel Book wriĴen in the mid-eighth century in Southumbria (probably Canterbury), England, and now in the
Kungliga Biblioteket (Royal Library), Stockholm, Sweden, MS A. 135.
30796_JJ 07 Main.indd 18 5/21/2007 12:20:56 PM
We Dare to Pray . . . in Song
B G E. T
O
ne of the most dramatic scenes in the Bible
comes at the end of the Book of Job. Despite
the advice of his friends and advisers to admit
his sinfulness, throughout the book Job main-
tains his righteousness before God: “Teach me, and I will
be silent; make me understand how I have gone wrong”
(6:24). Finally, God addresses Job out of a whirlwind. In
wonderfully beautiful language, the Creator puts Job in
his place as a creature: “Where were you when I laid the
foundation of the earth? Tell me, if you have understand-
ing. . . . Who laid its cornerstone when all the morning
stars sang together and all the heavenly beings shouted
for joy?” God continues: “Do you give the horse its might?
. . . Is it by your wisdom that the hawk soars and spreads
its wings toward the south? . . . Shall a fault-nder contend
with the Almighty? Anyone who argues with God must
respond” (Job 38–39).
Before such awesome might and majesty, Job responds
in the only way a creature can when confronted by the
Creator: with silence. “Then Job answered the L: ‘See,
I am of small account; what shall I answer you? I lay my
hand on my mouth. I have spoken once, and I will not
answer; twice, but will proceed no further” (40:4–5).
If this is indeed the appropriate response of a creature
who recognizes that the Creator is far beyond mortal un-
derstanding and far removed from mortal speech, then
how do we dare address God in prayer? What language
can possibly be appropriate beyond Job’s nal words to
God: “I have uĴered what I did not understand, things
too wonderful for me, which I did not know. . . . Now
my eye sees you; therefore I despise myself, and repent
in dust and ashes” (42:3, 5–6). William Blake, “The Morning Stars Sang Together,” pen and ink, watercolor,
from his illustrations of the Book of Job (plate fourteen), published 1825.
Not the Final Word
The Book of Job tells us a truth about God: The Creator contained all that we knew about God, then our only ap-
is innitely beyond us. We cannot begin to comprehend propriate response, when confronted by the Source of all
the One who can “bind the chains of the Pleiades or loose being, would indeed be to repent in dust and ashes that
the cords of Orion” (Job 38:31). And if the Book of Job we had thought ourselves worthy of contact with the Holy
One. But Job does not oěer us the nal word; this book is
Dr. Gordon E. TruiĴ is the senior editor for NPM Publi- part of a huge collection of inspired texts that tell us more
cations. He holds a doctorate in theology from the pontical about God than the author of Job could imagine.
faculty of The Catholic University of America, Washington, The Book of Genesis, for example, tells us that the Cre-
DC. This article is based in part on a presentation made to ator has chosen to share creative power with the creature,
pastoral musicians of the Diocese of Rockville Centre, New and this power is characterized as the marvel of speech,
York, in January 2007. the power to name things. To speak a word, aĞer all, is
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to convey not only a meaning but a part of oneself. It
externalizes something that is interior, personal, secret
until the word is spoken. In creation, God externalizes
the divine self by speaking, and by naming the various
elements of creation God gives them a connection to the
divine being. Notice, in the rst account of creation, it
is God who names things: “God said ‘Light!’ and there
was light” (Genesis 1:3). In the second creation account
in Genesis 2, however, it is Adam who names things: The
L God brings all the living things to Adam to see what
he will name them “and whatever the man called each
living creature, that would be its name” (Genesis 2:19). In
other words, this narrative suggests that human beings
are permiĴed to do what God does and by naming to
establish a link with creation and thus with the Creator.
Later, God establishes a covenant with Israel by speak-
ing with (and sometimes arguing with) visionaries from
Abraham to Moses. Finally, this covenant takes the form
of ten “words” or commandments spoken by God. While
the covenant was originally carved in stone, literally, the
tablets of the Torah were merely to serve as reminders of
the words that God spoke and continues to speak. The
covenant is a living exchange, so it is the words of the cov-
enant—the speaking of God—that have to be remembered
and wriĴen on the hearts of the people.
If, then, God has chosen to communicate with us by
a divine word that externalizes the very being of God in
creation and has invited us to share in the divine power
of naming creation, if God has engaged us as partners
(however unequal) in a covenant, how do we respond to
God? How do we engage in dialogue with the Creator?
Of course, we want to use a vehicle similar to the one that
God uses—words that externalize our being—but as the
Book of Job reminds us, there’s a vast diěerence between
God’s word and ours.
What to do? If our words, expressive of our very being,
even at their best are so distant from God’s word that ex-
ternalizes the divine being, how do we dare address God
Christ Pantokrator, icon, sixth century, Monastery of St. Catherine, Mount Sinai,
directly in prayer? One answer is to use the words that
Egypt.
God has given us as a form of communication: the psalms
and other inspired texts from the Bible. Another answer always concludes with one or another variation of the
comes from Israel’s gradual understanding that God, like phrase: “We ask this through Christ our Lord.”
a parent who hears the stumbling sounds that an infant Here’s the Christian understanding of prayer in a
makes and loves that child, loves us and understands nutshell: Whether we’re talking about liturgical prayer
what we are trying to say (Psalm 131). Both of these are or personal prayer or prayer without words, we are un-
acts of divine grace: God gives us the words to speak and able on our own to address God directly, because we are
God accepts the words that we oěer even beyond those creatures addressing the Creator. Oh, God may indeed
inspired texts. hear us and, in mercy, accept our prayer, but there is still a
huge gulf between us, and that’s not good enough for God.
A Divine Word In an act of unparalleled love, the Holy One has person-
ally become one of us to speak on our behalf to God. The
In addition to these giĞs of inspired texts and divine Second Person of the Trinity has taken on our nature. He
mercy, Christians believe that God has given us a Word is the Word spoken “in these last days . . . , whom God
that is divine, an externalization of the being of God in appointed heir of all things, through whom God also cre-
human form, and if we are united to that Word, then ated the worlds” (Hebrews 1:2). In the resurrection and
somehow our prayer becomes the prayer of the living ascension, that Word came back to God carrying with it
Word of God, Jesus the Christ. All Christian prayer teaches human nature united to the Godhead. Therefore, Jesus
us this truth, aĞer all, because our formal praying almost can speak our human words and they can be received
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as divinely spoken. Our word becomes the divine word. tant it is to have proper posture when singing, to engage
One image that captures all this is found in the LeĴer to the diaphragm, to create the echo chamber of the mouth
the Hebrews: The risen Christ, the new and unexpected and larynx—to use the whole body in making music. Tests
high priest, is seated with God, and his sacrice oěers have also shown that making music “lights up” parts of the
perfect intercession for all believers (Hebrews 7:26–28). brain that are not otherwise engaged by human thought
If that’s the case, then we really have to be careful about and action, uniting the mind in unique ways. (This loca-
the words we address to God through Christ. As the Latin tion of music in various parts of the brain may be why
text of the introduction to the Lord’s Prayer is usually music survives the ravages of dementia and Alzheimer’s
translated into English, once we have been “taught by longer than other forms of communication.) And, nally,
our Savior’s command and formed by the word of God, music engages the human spirit in ways that other forms
we dare to pray.” Even using the text that Jesus taught his of communication cannot. It stirs us to action and calms
disciples, even praying in the voice of the risen Christ, we our heartbeat; it engages us and it sets us free.
dare to address God in prayer, because we remember who Further, music—even more than speaking—engages the
we are and who God is. Being “in Christ” oěers us three hearer. It creates sound waves that envelop those who are
things: the most profound vehicle for praying, a wider nearby. The impact of these sound waves can be measured
perspective on our prayers, and a real chance to screw on the skin; music touches the whole body of the hearer.
all this up quite royally. Of course, some of those sound waves are received by the
First, the profound vehicle for our prayer is the voice ear and interpreted by the brain, but because music is a
of Christ, to which our voice as individual believer or as more complex form of communication than mere speaking,
Church is joined, and we have a vocabulary and a gram- the brain is required to spend more of itself processing
mar for our prayer drawn from the Scriptures and the the sound waves into intelligible meaning than it would
history of Jewish and Christian praying. The various kinds if it were interpreting simple speech.
of prayer we make “through Christ our Lord” are praise,
thanksgiving, repentance, and petition or intercession. We When the power of music is harnessed to
have models for all these from the Scriptures and Jewish
prayer forms, and the Church has paĴerned its prayer on
the power of language, you can begin to
those models. understand why the Church . . . has asked
Second, prayer that uses these forms and the language us to be careful about the texts that we set to
of Scripture gives us a wider perspective on what our music.
prayer is about. The Church encourages us, as much as
possible, to use the words of Scripture or the Christian
tradition to shape our praying because they broaden our
own narrow interests and give us a global perspective When the power of music is harnessed to the power of
and a view of prayer that transcends time. Consider, for language, you can begin to understand why the Church,
example, the cosmic reach of the Sanctus: It combines down the centuries, has asked us to be careful about the
a text from Isaiah that echoes the song of the heavenly texts that we set to music and why it encourages us to
liturgy with Psalm 118—a victory psalm celebrating a stick to biblical texts and ancient poetry that have proved
royal triumph over enemies—which is, of course, quoted themselves over time. But you can also understand why
in the Gospels when Jesus enters Jerusalem. In this short hymnody is so aĴractive. Particularly for those who are
acclamation, then, our prayer echoes the cosmic prayer familiar with the Scriptures, hymn texts oěer a reection
of the universe and the historic source of our prayer in on biblical images, a chance to explore new images of
the life and paschal mystery of Jesus of Nazareth. the Christian life that are built up from the older images,
Third, it’s good to use these forms and this language new language that is more reective of the contemporary
when we dare to pray because, if we’re not careful, we Church, and even some old images that we may have set
can stray preĴy far from authentic Christian belief in our aside and almost forgoĴen. Hymnody, rmly rooted in
prayer. This is especially the case when it comes to prayers the Scriptures and in tradition, expands our horizons and
of petition or prayers that we compose without reference enriches our repertoire of sound and image—much like
to older models. Here is where we’re likely to put words a good homily does (only beĴer).
into Christ’s mouth that don’t really belong there. In fact, But because text joined to music is so powerful, song
if we’re not careful, the prayers that we compose can actu- texts that are not rmly rooted in the tradition may lead
ally lead us to pray falsely or to pray to a false God. us astray into the worship of a false god. This is why we
need to play close aĴention to what we’re singing as well
Upping the Ante as to the way we sing. I’m not saying that we shouldn’t
have hymnody. Far from it: We need hymnody just as we
When we use music to express our prayer in Christ, need good homilies, good catechetical resources, and good
that added factor ups the ante because of the way that stories of the saints. But we also need to be careful about
music works in us. Making music engages the music the words and music that we put on the lips of people at
maker—body, mind, and spirit. We all know how impor- prayer.
P M • J-J 2007 21
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Prayer and Song
for the People of God
B B D W. T
W
henever we assemble around the Table of the Pentecost was the emergence of a new community—a new
Lord to celebrate Eucharist, we are not just assembly of God that we call the Church. The assembly
a large gathering of people, a crowd, or a is so much the sign of the Church, in fact, that St. Paul
throng. We are the assembly of God’s people. uses the same word for both: For Paul “assembly” and
At other events, this very same collection of people may “church” are synonymous.
form an audience, but at the Table of the Lord we form the
liturgical assembly. As an audience we are passive, but as New Meaning
the assembly of God’s people we are active participants
in celebrating the Eucharist. What transforms us from a The Second Vatican Council reinforced this understand-
simple gathering of people, a crowd, or an audience to an ing and gave new meaning, new emphasis, to the liturgical
assembly with special power and privileges? What makes assembly. The bishops aĜrmed that full, conscious, and
the diěerence? Who can belong? Why is this assembly so active participation by the whole assembly is the right
unique? What is its ministry at the Table of the Lord and and the responsibility of all the baptized.3 The restoration
away from that Table in our everyday world? of this sense of all the baptized as the assembly of God
The term “people of God” occurs 140 times in the sixteen was the most important achievement of the Constitution
documents of Vatican II, and the term “Mystical Body” on the Sacred Liturgy, conrmed as authentic doctrine by
occurs not quite 100 times. When the bishops-in-council the Dogmatic Constitution on the Church Lumen Gentium,4
at Vatican II employed those terms—especially the term because all other liturgical advances ow from this fun-
“people of God”—they were not creating a new theologi- damental truth. The Council re-established the liturgical
cal category but were recovering a term and concept as assembly in its rightful place with these words: “Every
old as the Bible. We rst meet the term “qahal YHWH” liturgical celebration, because it is an action of Christ the
(“assembly of the L”) at the very beginning of the Priest and of his Body which is the Church, is a sacred ac-
history of the Chosen People. The First (Old) Testament tion surpassing all others; no other action of the Church
uses this term to designate those Israelites called by God can equal its eěectiveness by the same title and to the same
to form a new community that would be exclusively degree.”5 The liturgical assembly is the Body of Christ, the
God’s people. Recall how God gathered all the people of community of God’s people who have come together in
Israel at the foot of Mount Sinai to speak to them and give faith to worship. Therefore, every Eucharist is “an action
them the Torah. At Mount Sinai God made a covenant of Christ the Priest and of his Body” the liturgical assem-
with the Israelites: If you obey my covenant, God said, bly. Think of the consequences of this teaching, as sum-
“you shall be my special possession, dearer to me than marized by John Gallen: “We do not go to Mass to watch
all other people . . . . You shall be to me a kingdom of what happens. We go there to make it happen.”6 We are
priests, a holy nation.”1 Moses ratied this covenant by the Body of Christ—the assembly of God’s people—and
oěering the blood of animals in sacrice, and this event what happens at Mass happens through us.
marked the beginning of the Israelites as God’s Chosen Liturgy then is the continuation and extension of the
People, the assembly of YHWH. In fact, this meeting with saving and sanctifying work of the risen Jesus. What Jesus
God at Mount Sinai became known as the “Day of the did in historical form during his earthly life, he continues
Assembly.”2 to do sacramentally through the liturgical mysteries he
The authors of the New Testament chose the Greek celebrates in and with the people of God, his Church. It is
word for assembly (ekklesia) to designate the Christian Christ the Priest who celebrates the Eucharist, just as it is
Church, a community of believers forged by the re of the Christ who baptizes and Christ who forgives sins through
Holy Spirit at Pentecost to become a dynamic community the instrumentality of his ordained priest. Christ is present
who meet for and are formed by worship. The result of “in the person of his minister,” as Vatican II teaches, but
what any bishop or priest or deacon does as an ordained
Most Rev. Donald W. Trautman, STD, SSL, is the minister is never done apart from the priestly character
ordinary of the Diocese of Erie, Pennsylvania. This article is of all the baptized.7 There is a true priestly character to
based on one of his presentations at the 2007 NPM Winter the whole Eucharistic assembly. This fact was understood
Colloquium, January 28–30. in the early church, as St. John Chrysostom brings out in
22 J-J 2007 • P M
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these words: “This solemn prayer of thanksgiving [the accessible. In view of these obstacles, how do we open
Eucharistic Prayer] belongs to the priest and people alike. up the treasure of the Eucharistic liturgy and expose the
In it, the priest does not act alone; all the people join in meaning of liturgical language and forms? How do we
giving thanks and praise. Thus, the priest may not begin help people discover the meaning of worship? How do
the Eucharistic Prayer until the people have publicly we involve the assembly in full, conscious, and active
voiced their assent with the words ‘It is right and just to participation? How do we communicate the importance
do so.’”8 and power of the Eucharist? If the language and forms
What was recovered at Vatican II was the dignity of of the liturgy themselves are inaccessible, how can the
baptism and the understanding that life in Christ begins liturgy catechize and convey the reality of the living, risen
at the baptismal font and leads to the Table. What was Son of God? If the language and forms of the liturgy are
recovered at Vatican II was the understanding that within stumbling blocks to intelligibility and proclaimability, then
the Body of Christ there are many ministries, and these they are stumbling blocks to the prayer of the liturgical
all function in mutuality. Recovered as well was an un- assembly itself. If the language and forms of the liturgy
derstanding that our mere bodily presence at Eucharist do not communicate, if they do not resonate with God’s
is not enough, that the liturgy asks from us a variety of People as the language of their prayer, how can people
responses: prayer, song, gesture, listening, eating, drink- fall in love with the greatest giĞ of God, the Eucharist?
ing, silence. What was recovered was the understanding How do we excite people to fulll Christ’s words: “Do
that “this full and active participation by all the people this in memory of me”?
is the aim to be considered before all else” in the reform
and renewal of the liturgy.9 The way Christians think about liturgy is
shaped by their experience of liturgy.
Accessible Language
In his book Sacrament of Unity, Cardinal Walter Kasper
writes: “Young people in particular nd the language If the language and forms of the liturgy remain inac-
and forms of the liturgy inaccessible.”10 Many in pastoral cessible, then liturgical music and sacred song will have
ministry would concur with the Cardinal’s words. In fact, a heightened responsibility to connect young people
however, much of liturgical language is inaccessible not and average Catholics to the full, conscious, and active
just to youth but also to the average Catholic, and there is participation to which they are called. Without accessible
a danger that some parts of the forthcoming translations of language and forms, then the accessible “language” of
the Missale Romanum—particularly the use of obscure and liturgical music and sacred song will be the primary
archaic words and sentences with two or three clauses in way to dispose the assembly to raise hearts and minds
nine and ten lines—will make our prayer texts even less to God. Music teaches, music awakens, music nurtures,
music enhances, music com-
municates. Liturgical music and
sacred song have the potential
to create an upliĞing, prayerful
worship experience—a liturgy
that appeals to heart and head
equally. The liturgy that we
celebrate together as the people
of God—particularly the Eu-
charist—actively and reverently
celebrated, is the most important
form of pastoral care and the
most effective means of cat-
echizing God’s people. AĞer all,
the way Christians think about
liturgy is shaped by their experi-
ence of liturgy—by the way they
celebrate it. To put this truth
another way: “Good celebrations
foster and nourish faith. Poor
celebrations may weaken and
destroy it.”11 Do people experi-
ence liturgy as interpersonal and
communal? Is the Mass vibrant,
joyful, reverent, challenging,
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or is it lackadaisical, boring, spiritless, poorly prepared, now wriĴen in the book of life.
routine, and irrelevant to my life? What is the quality Have you heard of the Willow Creek Community
of the worship experience? I suggest this axiom: Good Church in suburban Chicago? It is the largest single
liturgy is always musical liturgy. If the accessibility of congregation in the United States, founded by a minister
other liturgical language and forms is diminished, more who surveyed people to ascertain what they wanted in
than ever music and song must help to create the worship worship. He designed a new church that would cater to
experience. their responses. He eliminated the organ and substituted
all electronic music; he eliminated hymnals and hired
A Word of Hope professional musicians who write new hymns each week.
He eliminated the cross because it made people feel un-
Some years ago, Alan Hommerding noted: “Liturgical comfortable. He employed a staě of writers to prepare
music in the United States since the promulgation of the his sermons. The purpose of the church is to sell Jesus
Constitution on the Sacred Liturgy has certainly gone through soĞly, and this approach has been a huge success. The
a time marked by tension, growth, despair, experimenta- church operates with more than 150 staě members and
tion, alienation, reconciliation, and hope.”12 Those words a multi-million-dollar budget. The church gives people
still characterize the ministry of pastoral musicians. Like what they want: It is like an ecclesiastical WalMart, but
all ministries in the Church, there will be struggles, disil- it is not the Gospel.
lusionment, and weariness at times. We can experience We believe in participation worship, but the Willow
burnout and lack of appreciation and liturgical backslid- Creek Community Church believes in presentation wor-
ing. But at these moments we need hope. We need to ship. Our tradition is participatory, but there are many
ponder St. Paul’s words to the Romans: “Rejoice in hope, in our culture who tell us to give the people what they
be patient under trial, and persevere in prayer.”13 want and to keep the Mass short. If people want a secular
Like other ministers dedicated to liturgical renewal, popular song at their wedding, these voices tell us, do
pastoral musicians have struggled each weekend to pro- it.
duce full, conscious, and active participation by all the You know these struggles. Sunday aĞer Sunday you
people in a culture that dislikes community celebration, in have valiantly fought to maintain that the pre-eminent
a culture that promotes rugged individualism, in a culture music of the Eucharistic liturgy is the song of the assem-
that seeks an entertainment model for liturgy with the as- bly. But each weekend, too many people in the assembly
sembly as audience and liturgical ministers as performers. sit in silence, and too many places are still caught in the
Against this backdrop pastoral musicians have taken the four-hymn syndrome. You have struggled to maintain
renewal and the reforms of Vatican II to the people with the principle that choirs and cantors are not ecclesiastical
great success. When you need encouragement, read once entertainers; they are leaders of the assembly praying in
song. In all of these struggles, you need to reect on the
We need liturgical language and forms that words of Paul: “Have hope, be patient under trial, and
will be accessible to the assembly of God’s persevere in prayer.”
people and that can become the very prayer
Why Do We Do It?
of the people of God.
Pastoral musicians who have prepared for and re-
hearsed a special liturgy can become very discouraged
when they see the empty pews at events like the Easter
more the LeĴer of St. Paul to the Philippians, chapter four: Vigil or oĞen even at a weekend Mass. Please remember:
“I urge Euodia and I urge Syntyche [two women] to come The assembly of God’s people is not restricted to a spiri-
to a mutual understanding in the Lord. . . . I ask you . . . to tual or intellectual elite but is meant to bring together a
help them, for these women have struggled at my side in whole people with all their blemishes and limitations.
promoting the Gospel, along with Clement and my other The members of the liturgical assembly are sinners; that
co-workers, whose names are in the book of life.”14 is why we have a penitential rite. The liturgical assembly
Paul is speaking here of lay and ordained co-workers is not a gathering of the perfect, and the Church is not a
laboring side by side in building up the Body of Christ. museum for saints; the Church is a hospital for sinners.
Here is a recognition of women in ministry, indeed, of Why do we go to Eucharist on Sunday? Why did the
all—men and women, ordained and non-ordained—who rst Christians go to Eucharist on Sunday? For the same
work side by side in promoting the Gospel. This recognition reason: survival. We can’t make it in this world without
and encouragement comes from the inspired Scriptures divine help; we can’t make it on our own. Our faith jour-
and from the apostle Paul himself. Remember that Paul ney on this earth is too dangerous and diĜcult. There are
and his co-workers encountered struggles of every kind, too many temptations and trials and tragedies in life. We
detraction, and aĴacks from within the Christian com- need strength and support for the journey. We need the
munity and from outside the Christian community. But bread come down from heaven and the cup of salvation.
Paul and his co-workers persevered, and their names are We need to be with others who share our faith and values.
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of Christ, but have we neglected the transformation of the
assembly and its aĴitude into the renewed presence of
Christ and the “mind of Christ”? What kind of Eucharistic
devotion does God desire of us? It is the kind that sees
Jesus hidden under the appearance of bread and wine
and also sees Jesus hidden in our neighbor—in the aged,
the addicted, the poor, the immigrant, the imprisoned,
the sick, the disabled: all the marginalized of our society.
This is the ministry of the liturgical assembly away from
the Table of the Lord.
Begin to Believe
How do we move from where we are to the nourishing
and vibrant Sunday Masses that we all desire? The most
basic answer is that we must begin to believe that we are
an assembly celebrating and being transformed by the
liturgy. We will not have a renewal of Liturgy as long as
there remains the thinking that some do the liturgy and
others aĴend, some give and some receive, some prepare
and others just get there.15
We need liturgical language and forms that will be
accessible to the assembly of God’s people and that can
become the very prayer of the people of God. We need to
keep alive the renewal of Vatican II. Who can beĴer help
the Church and keep us pointed to the vision of Vatican II
than those giĞed and graced with the vocation of pastoral
Domenico Ghirlandaio, St. Jerome (detail), 1480. Fresco, Church of Ognissanti
musicians?
(All Saints), Florence, Italy.
We need to praise and thank God.
Notes
Of course, we cannot expect a liturgical “high” on the
weekend if we have not met God in the Scripture and 1. Exodus 19:5–6.
in prayer during the week. In a certain sense, the most 2. See, for example, Deuteronomy 18:16.
important words of the Eucharist appear at the end of 3. See the Second Vatican Council, Constitution on the Sacred
the liturgy when the deacon or the priest says: “Go in Liturgy Sacrosanctum Concilium, 14. English translation from
peace to love and serve the Lord.” This is the missioning International Commission on English in the Liturgy, Documents
of God’s people, this is the sending forth of those formed on the Liturgy 1963–1979: Conciliar, Papal, and Curial Texts (Col-
and transformed by the liturgy of the Word and the liturgy legeville, Minnesota: The Liturgical Press, 1982).
of the Eucharist. 4. See the Second Vatican Council, Dogmatic Constitution
There are pastoral needs beyond the sanctuary and on the Church Lumen Gentium, Chapter II (9–17).
5. Sacrosanctum Concilium, 7, emphasis added.
church doors, of course, and so the liturgical assembly
6. Rev. John Gallen, , Millennium Monthly NewsleĴer, June
must move into the streets. Members of the assembly 2000.
must become a sign of the presence of Jesus transforming 7. See the General Instruction of the Roman Missal (2000/2002),
the life of a community. Despite our belonging to the dot- 4–5.
com society, despite our high-tech environment, count- 8. Quoted in Notre Dame Center for Liturgy, Assembly 26:5
less individuals still live in physical poverty. There is an (September 2000), 39.
intrinsic relationship between liturgy and social justice. 9. Sacrosanctum Concilium, 14.
It is not enough to pray in our petitions at the Eucharist 10. Cardinal Walter Kasper, Sacrament of Unity: The Eucharist
for the hungry and the homeless, it is not enough to pray and the Church (New York, New York: The Crossroad Publishing
for the poor and the powerless. The Jesus we worship in Company/Herder, 2004), 14.
the Eucharist is the same Jesus we serve in the poorest of 11. Bishops’ CommiĴee on the Liturgy, Music in Catholic
Worship (1982), 6.
the poor. We must pray that the transformed elements of
12. Martin Connell and Eleanor Bernstein, , Traditions and
bread and wine, now the Body and Blood of Christ, will Transitions (Chicago, Illinois: Liturgy Training Publications,
transform us and the whole assembly of which we are a 1998), 161.
part to be instruments of charity and doers of good. 13. Romans 12:12.
For many years, in discussions of “real presence” and 14. Philippians 4:2–3.
“transubstantiation,” we have rightly concentrated on the 15. See Cardinal Roger Mahony, Gather Faithfully Together
transformation of bread and wine into the Body and Blood (Chicago, Illinois: Liturgy Training Publications, 1997), 38.
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“For All”/“For Many”:
A Reflection from Germany
B H H
A
t the Last Supper Jesus took the cup and spoke as sacramental celebration of the New Covenant. The
the prayer of thanksgiving and blessing. He liturgical context of the Eucharist is also presumed in 1
handed the cup to his disciples with the words Corinthians 10:17f. The text does not speak of all people
“This is the blood of the covenant which will be but, rather, of all those who are united to Christ in the
shed for many” (“ΔΉΕ/‘ΙΔΉΕ ΔΓΏΏΝΑ,” MaĴhew 26:28, one Body. To be sure, all people are called into the New
Mark 14:24). These words have found their way into the Covenant which God established in his Anointed One
words of institution of the Roman Mass: “pro vobis et pro (Messiah). However, not all have a visible part yet in the
multis eěundetur” (“which will be shed for you and for messianic covenant. Surely we may hope that all will be
many”). The German-language daily missals for laity—like saved in the end, but we cannot know this. In the end “the
English-language missals in the United States—which many” could be “all,” but this is not necessarily the case.
were widely used before the liturgy reform, translated Seen in this way, “for many” is not only more accurate;
“pro multis” accurately as “für viele” (“for many”). This it is also more open.
phrase “for many” was thus well-known to the faithful. The words over the cup of the Roman Mass have always
But the German-language edition of the missal of Paul VI been “pro multis” (“for many”) and never “pro omnibus”
(1975) replaced it with “für alle” in German, in English as (“for all”). The great Eastern liturgies, e.g., the Divine
“for all [men],” and in Italian as “per tuĴi.” Liturgy of St. Basil and of St. John Chrysostom, say “for
Viewed philologically, this translation of “pro multis” as many.” The Anglican Eucharistic liturgy in The Book of
“for all” is false, because “multi” can at times mean “the Common Prayer also has “for many.” While Martin Luther
masses,” but it can never mean “all.” Then why did the retained “pro multis” (“for many”) in his Latin Order of
translators choose “for all”? Certainly it must be empha- Mass of 1523, his German Order of Mass of 1526 relates it
sized that Jesus died for all (‘ΙΔΉΕ Δ΅ΑΘΝΑ, 1 Timothy to the community celebrating the Lord’s Supper and says
2:6). So did Jesus not express himself clearly enough at “for you” (“für euch”).
the Last Supper? The languages of Jesus—Hebrew and In the face of all these reasons in favor of the translation
Aramaic—oěered the possibility of distinguishing clearly “for many,” the oĞen expressed pastoral objections must
between “many” (rabbim, sagí) and “all” (kol, kûl). In Greek give way. One can hardly defend an inaccurate translation
also it would have easily been possible for MaĴhew and by saying that we are accustomed to it. Since Pope Benedict
Mark to say “for all” (‘ΙΔΉΕ Δ΅ΑΘΝΑ, cf. 1 Timothy 2:6). XVI has decided that in all future liturgical books “pro
The words of Jesus over the cup in MaĴhew and Mark are multis” must be translated with a literal equivalent—i.e.,
directly related to “the many” (ha-rabbim) in the Fourth “for many” or “for the many” in English—catechetical
Song of the Suěering Servant (Isaiah 53:11ě). According to instruction will have to explain the meaning of “for many”
a whole line of highly respected Catholic and Protestant to the faithful.
Scripture scholars, “the many” here means “all of Israel” Already in 1974 the Vatican issued a declaration clarify-
with its particular mission to the nations. As Jesus handed ing that only the pope can make a decision regarding the
the cup to the twelve disciples, that group represented words of institution and their vernacular translation. In
Israel and the future Church. November 2006, all the bishops’ conferences were informed
The discussions around “pro multis” have usually lost by Cardinal Francis Arinze, prefect of the Congregation
sight of the fact that the words over the cup belong within for Divine Worship, of Benedict XVI’s decision regarding
a liturgical context: on the one hand, the Last Supper “pro multis.”1
(whether this was a paschal meal or a thanksgiving meal
is a secondary issue), on the other hand, the Eucharist
Note
Prof. Dr. Helmut Hoping is a professor of systematic 1. On the question of translating “pro multis” see also Joseph
theology and liturgy at the University of Freiburg, Germany. Ratzinger, “GoĴ ist uns nahe. Eucharistie: MiĴe des Lebens” (Augs-
This brief reection, prepared in response to the vernacular burg: Ulrich Publishing House, 2005), 33–36. English translation:
translation of pro multis into German, has been translated God Is Near Us: The Eucharist, The Heart of Life (San Francisco:
and slightly adapted by Father Anthony Ruě, . Ignatius Press, 2003).
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Replacing the Sacramentary:
A Progress Report
B P T
W
hy is the translation taking so long?” “How and some sections were rearranged. The other reason was
is it being done?” “When will it be ready?” that the theory of translation changed. The Congregation
“What should we expect when it gets here?” for Divine Worship and the Discipline of the Sacraments
The forthcoming English translation of the issued new guidelines for translation in its 2001 instruc-
third edition of the Missale Romanum is stirring anxiet- tion Liturgiam authenticam, which rendered most of ICEL’s
ies—at least in some quarters—while it is being met with newly revised texts obsolete.
great expectation in other parts of the Catholic popula- There are horror stories about what happened in this
tion and, let us admit it, with indiěerence among many process—stories about power plays, muscle exing, nger
English-speaking Catholics. pointing, and heads rolling throughout this transition.
AĞer forty years of use, the rst-ever English transla- Without question, some very good and devout people were
tion of the Mass has been taken to the shop for restoration,
retroĴing, and some cleaning. While some Catholics There are horror stories about what
look forward to the results of this shop work and others happened in this process . . . .
are worried, the longer the process takes, the more ques-
tions people are asking. The working version of the texts
has not been made public, which stokes fears of secrecy,
back-room deals, and autocracy. maligned. In many respects, it has been an embarrassing
The occasion for this new translation eěort is the pub- chapter in the history of liturgy. These events leĞ many
lication of the third Latin edition of the Missale Romanum. people angry and discouraged about the forthcoming Ro-
Though promulgated as part of the Jubilee Year 2000 by man Missal. But the translation is coming anyway, almost
Pope John Paul II, the book wasn’t quite ready when it like an out-of-wedlock child. People may not be happy
was announced. In fact, it wasn’t actually published until about it or about the timing of its arrival, but it is going
2002. to come, and it deserves to be brought into the family as
The Sacramentary presently in use is the 1973 English respectfully as possible.
translation of the second edition of the Missale Romanum;
that translation was published in 1975. In the years prior Why So Long?
to 2000, the International Commission on English in the
Liturgy (ICEL) worked on a revised English translation of Why is the translation taking so long? It is passing
that second edition of the missal. The commission hoped through many diěerent commiĴees. The labyrinth that
to generate more expressive texts while preserving the each part of the translation must negotiate includes these
tone of the previous work. components:
However, aĞer many years of labor during which a
complete new translation was accomplished, the entire • members of the ICEL Secretariat, who steer the
project was aborted for two reasons. One was the publica- process from the oĜce in Washington, DC;
tion of the third edition of the missal. A few changes were • a base translator, who works up a direct but us-
made in that third edition: Some rubrics became more able translation of one section of the missal;
precise, new saints’ days were added, some older Mass • an ad hoc team, whose members rework the base
texts were restored, more sense lines were introduced, translation into a more eěective text;
• the Roman Missal Editorial CommiĴee, which re-
Rev. Paul Turner, a presbyter of the Diocese of Kansas ceives all the work of all the translators and teams
City-St. Joseph, Missouri, is the pastor of St. Munchin and unies the style;
Church in Cameron, Missouri. A former president of the • ICEL itself—the commission of bishops who rep-
North American Academy of Liturgy and a team member for resent eleven English-language episcopal confer-
the North American Forum on the Catechumenate, he has ences: the United States, Canada, England and Wales,
served as a translator for the International Commission on Ireland, Scotland, South Africa, Australia, New
English in the Liturgy. Zealand, India, Pakistan, and the Philippines;
P M • J-J 2007 27
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• the conferences of bishops of these same coun- Bishop Arthur Roche of the Diocese
of Leeds, England, chairs the
tries, who review the materials, make suggestions,
International Commission on English
and vote on the text; in the Liturgy.
• the Congregation for Divine Worship and the
Discipline of the Sacraments in Rome, which evalu-
ates what the bishops approved;
• Vox Clara, an ad hoc commiĴee of bishops and
experts who advise the Congregation;
• and the pope, who alone can change the form of
sacraments, such as the words of institution during
the Eucharistic Prayer.
The entire missal is divided into about twenty-ve sec-
tions, and each section must pass through these hands. Cardinal Francis Arinze, prefect of the
The good news is that all sections are out of the starting Congregation for Divine Worship and
block, and many sections are much farther along. The part the Discipline of the Sacraments.
that has advanced the furthest is the Order of Mass—all
the texts that remain the same at every Mass, from the
sign of the cross to the dismissal, including the four tra-
ditional Eucharistic Prayers. It is the most controversial
part of the missal because it includes the responses of
the people. The proposed changes in translation of these
responses and some other parts of the Order of Mass have
been, well, controversial. Change is hard, particularly
when that change aěects very familiar texts and actions,
and concerns about the new translation have increased
as parts of the translated Order of Mass leaked out of the
oĜcially secret process. Still, in context, the whole missal
will probably seĴle into a uniform style acceptable to the
Catholic ear. But it will take time, and change demands
patience.
Some wonder if all these commiĴees and all this time
are really necessary. Actually, it is much beĴer to have so
many groups review the proposed texts than to have just
a very few people make all the decisions about the new
translation. The most expendable piece of the process is Vox Clara CommiĴee 2006. Standing (l–r): Rev. Anthony Ward, Congregation
for Divine Worship; Bishop Philip Boyce; Archbishop Alfred Hughes; Msgr.
probably Vox Clara, which helped break the logjam on
James Moroney, USCCB CommiĴee on the Liturgy Secretariat; Archbishop
translations before the publication of Liturgiam authen- Terence Prendergast; Archbishop Kelvin Felix; Archbishop Peter K. Sarpong;
ticam and which now seems to have completed its most Abbot Cuthbert Johnson, , Quarr Abbey; Father Dennis McManus. Seated
signicant work. Vox Clara continues to meet, however, (l–r): Archbishop Oscar Lipscomb; Cardinal George Pell, president of the Vox
and adds a layer of bureaucracy to the process. Clara CommiĴee; Archbishop Oswald Gracias; and Cardinal Justin Rigali.
(Photo courtesy of Vox Clara.)
How Does the Work Get Done?
Scripture, expressive in its theology, varied in vocabulary,
Mostly in commiĴee. All participants may voice opin- and deep in spirit. The new rules for translation have been
ions and discuss corrections. The work is done aloud: justly criticized; as a document, Liturgiam authenticam is
CommiĴee members never look at the texts on paper awed. But the translators are skilled.
without also pronouncing and hearing them. AĴention is So when will it all be ready? One wag says: “Hopefully
given to punctuation, sense lines, unintended alliteration in our lifetime.” No one knows for sure. There have been
and assonance, meter, length of sentences, vocabulary, and predictions about the publication date, many of which have
orality. Sometimes a translation that appears to be clear in already gone past. Some have hoped that Pope Benedict
print is not clear when spoken aloud. The best solutions would debut the new texts at the Mass for World Youth
are sought for all the problems faced. Day in Sydney, Australia, during the summer of 2008.
Among the fears commonly voiced about the new Certainly texts could be readied for a Mass on that day,
translations is the concern that they will be a “slavish, but the entire missal will take more time. And it should;
word-for-word rendering” of the Latin. But the reality it should not be rushed. At the current pace, it is hard to
is diěerent. Participants search for an English that will imagine a nished book before 2009 or 2010. A parish with
be understandable when spoken, rich in its allusions to a decomposing Sacramentary should not wait for the new
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missal but should go ahead and buy a new copy of the the former Mass seĴings once the new texts are in force.
current book (or some red duct tape). No one has given a clear answer to this question, which
Many bishops of England and Wales would like to is probably a good thing. It will take time for new music
start using the new Order of Mass immediately, but it is to be wriĴen, learned, and loved. The rush to legislate is
not clear if Rome would grant such permission. If it hap- best avoided. If the new texts inspire beĴer music, con-
pens, other conferences will want it as well. There is some gregations will sing it. If a congregation has four or ve
wisdom in waiting, so that the project can be evaluated Mass seĴings in its repertoire, it will take years to replace
as a whole before it goes to press. them with four or ve new ones—or major revisions of
current seĴings.
When Will It End? The English translation of the Missale Romanum will be
published with a chant seĴing, and congregations who
One of the most diĜcult parts of any large project is learn it will create some uniformity in sung worship. Of
ending it. There are always last-minute hesitations, re- course, the chant seĴings in the current Sacramentary are
evaluations, discoveries, and changes. not all commonly used, at least in part because they cre-
Going to press will also take time. The work must be ated some confusion when they were rst introduced.
carefully proofread, and this book has to be as free of er- For example, many people learned the preface dialogue
ror as possible. Extra care will go into editing. Printing one way before the Sacramentary published it in a diěer-
and binding take time. Even if the project is rushed, it ent form in 1975. The seĴings in the new Roman Missal
will take several months—if not a year—for a publisher will try to get past that confusion and oěer a seĴing that
to produce the books. links us to our chant heritage while being appropriate for
During that time, the texts would probably become English texts. For example, the new missal will probably
public. That will allow catechesis to begin, priests to be- change the notes for intoning “The Lord be with you,”
come familiar with the prayers, and composers to write in order to send an oral cue that people should sing the
new seĴings for the Order of Mass. new response provided in the new book.
Musicians are wondering if they will be able to sing The missal is coming. It is still a few years away. It will
change the way the Mass sounds. Some people will nd
So when will it all be ready? . . . No one the change very diĜcult. But this new translation will
open the riches of the Catholic prayer tradition in some
knows for sure.
new ways. In time, the revised translation will become
as familiar, memorable, and “owned” as the current one
has been for the past forty years.
Photo courtesy of The Church of St. Mary Magdalene, Toronto, Ontario, Canada
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Perspectives on Translations
and the Need for “Whatever”
B A R,
S
oon aĞer the announcement that we had a new Such diěerences between ordinary churchgoers and
pope, my parents asked me just who this Joseph full-time ministers are to be expected. Of course those of
Ratzinger is. The newly named Pope Benedict had us “in the business” pay more aĴention to church politics
joked that he prayed not to be elected, but God did and the names of the main players. Of course members
not hear his prayer. This seemed like a ippant remark to of the faithful whose life’s work is not church ministry do
my devout parents. “Is the new pope some kind of liberal?” not have the same level of interest in such things. That is
my mother wanted to know. “And ‘Ratzinger,’ such a last as it should be.
name you’ve never heard of,” my father added.
I smiled and realized yet again that people “in the Diěerent Strokes
pews” sometimes have very diěerent perspectives and
concerns than do we who are in the ministry of serving So when one thinks about the highly charged contro-
them. Everyone I know in my line of work—pastoral versies regarding the retranslation of the English liturgy,
musicians, fellow clergy, theology professors—knew all it is good to be aware of such diěerences. Our concerns
about the name Joseph Ratzinger, and the main concern as pastoral ministers about the new translations might
among many people on April 19, 2005, was not that the well be quite diěerent from the concerns of the people in
new pope would be too liberal! the pews. To be sure, the people in the pews vary widely
Rev. Anthony Ruě, , a monk in the Order of St. Bene- in their concerns and interests, and my parents are not
dict, is an assistant professor of theology at St. John’s School representative of everyone. Still, I suspect that for most
of Theology and Seminary, Collegeville, Minnesota, the churchgoers the transition to the new translations will be
founding director of the National Catholic Youth Choir, and more a practical than a theoretical issue, and it will not be
the chair of NPM’s ad hoc Section for Chant. Continued on page thirty-nine
Photo courtesy of St. James Cathedral, SeaĴle, Washington
30 J-J 2007 • P M
30796_JJ 07 Main.indd 30 5/21/2007 12:21:17 PM
National Association of Pastoral Musicians
Summer 2007
Convention and Institutes
National Convention in Indianapolis
5 Institutes at 9 Locations
One Great Summer
30796_JJ 07 Main.indd 31 5/21/2007 12:21:18 PM
National Association of Pastoral Musicians
2007 National Convention
Indianapolis, Indiana
July 9–13
Learning Opportunities Musical Performances National Festivals
◆ Nearly 200 Workshops ◆ Evening Concerts ◆ NPM Adult Choir Festival
in 6 Breakout Sessions St. Louis Jesuits • Notre Dame Folk ◆ National Catholic Children’s
Choir • National Catholic Youth
◆ 5 Major Addresses Choir Festival
Choir • Marty Haugen, Tony Alonso,
Steve Warner • Jan Michael Joncas • ◆ National Catholic Handbell
and John Bell • African American
Ricky Manalo, • Jerry Galipeau
Rhythms and Sounds • Spanish Festival
and Mary Kay Oosdyke, • Teresita
Rhythms and Sounds • Ecumenical
Weind,
Hymn Festival • Asian and Pacic
◆ Hovda Lecture Series Rim Rhythms and Sounds • Liam
New Music
◆ Clarence Jos. Rivers Lectures Lawton • St. Meinrad Archabbey
◆ Showcases
◆ Workshop Track in Spanish Schola Cantorum • Grayson Warren
Brown • Gary Daigle and Friends • ◆ Exhibits
◆ Music Education Sessions
Psallite
◆ Master Classes
◆ Noontime Organ Recitals
◆ Clinics
◆ Festival Performances . . . And More
Prayer and Song ◆ Youth Gatherings
◆ Gala Performance by the
◆ Eucharist Indianapolis Children’s Choir ◆ Liturgical Space Tour
◆ Morning Prayer ◆ Organ Crawl
◆ Taizé Prayer
Information and secure registration on the NPM web page:
◆ Ministry Leadership Retreat www.npm.org. Or phone: (240) 247-3000.
30796_JJ 07 Main.indd 32 5/21/2007 12:21:22 PM
Cantor Express
5 Dates and Locations
The weekend has something to oěer cantors at all levels of experience: beginner,
advanced, and professional. Most cantors are procient in some areas but need to
develop in others. Some participants are even discerning whether this ministry is
right for them and come simply to explore. Whatever your level of skill and expe-
rience, the institute oěers you an opportunity to assess areas for growth, begin to
ll in gaps, and lay the groundwork for a rmer foundation for your ministry.
The weekend includes interactive lectures, discussion, reection, skill building (group voice classes, interpretation,
and coaching), and repertoire that best reects the core identity of the cantor. At some points in the weekend, you
will have the opportunity to choose sessions according to your own needs. Meals include Friday dinner to Sunday
lunch.
All we ask is that you come with an open mind and reasonable expectations! For instance, if you don’t already
read music, we can teach you the basics. If you’ve had vocal training and need help with your interpretive skills, we
can oěer you some useful tools. If you have limited knowledge of Scripture, liturgy, and the psalms, we can help your
development in those areas. In short, we can’t oěer you complete training in a single weekend, but we can share the
riches of our liturgical heritage, provide useful tools for your ministry, and lead you to additional resources.
Faculty
Joe Simmons Mary Clare McAlee
Cantor, clinician, spiritual formation leader, and solo Cantor, Cathedral Basilica of the Sacred Heart, New-
recording artist based in New York City. Lake Charles, ark, New Jersey; frequent oratorio soloist; apprentice
PiĴsburgh. artist, PiĴsburgh Opera at Duquesne and the Sarasota
Opera; Westminster Choir College graduate; clinician
and private instructor. Chicago, Tampa.
Melanie B. Coddington Joanne Werner
Faith formation associate, St. Michael Parish, MarqueĴe, Pastoral musician, Fort Worth, Texas; chair, NPM’s
Michigan; parish cantor; founding editor, The Liturgical Director of Music Ministries Board of Directors. PiĴs-
Singer (1999–2003). Chicago, Tampa. burgh, Tucson.
Mary Lynn Pleczkowski
Editor, The Liturgical Singer; vice-chair, NPM Standing
CommiĴee for Cantors. Lake Charles, Tucson.
Dates and Locations
June 29–July 1 • Cantor Express, Chicago, Illinois
U S. M L/M S C C
Bedrooms are double occupancy; single rooms available for $50 supplement. Early arrival available on June 28 for $50 supplement. All bed-
rooms have private bath. Indoor swimming pool as well as basketball, volleyball, racquetball, and tennis courts. A three-mile road circles the
lake—perfect for walking or jogging. The University of St. Mary of the Lake is located at 1000 E. Maple Avenue in the town of Mundelein,
approximately four miles west of Interstate 94. The closest airport is O’Hare International Airport, which is about 28 miles south of USML.
Website: www.usml.edu.
June 29–July 1 • Cantor Express, Lake Charles, Louisiana
S. C C
The St. Charles Center, with retreat and conference facilities, is situated on sixty-nine acres of woodlands and wetlands near Sam Houston Jones
State Park, north of Lake Charles, Louisiana. Bedrooms are double occupancy; limited single rooms available for $50 supplement. Early arrival
available on June 28 for $50 supplement. Located on Sam Houston Jones Parkway, the Center is north of Interstate 10 and about ten miles from
Chennault International Airport. Website: hĴp://lcdiocese.org/retreat/.
July 20–22 • Cantor Express, PiĴsburgh, Pennsylvania
D U
Located near downtown PiĴsburgh. Bedrooms are double occupancy; single rooms available for $50 supplement. Early arrival available on July
19 for $50 supplement. There is a charge for parking on campus, currently $6.25 per day on weekends. The University campus is about twenty
miles from PiĴsburgh International Airport. Website: hĴp://www.duq.edu/.
30796_JJ 07 Main.indd 33 5/21/2007 12:21:29 PM
July 20–22 • Cantor Express, Tampa, Florida
F C
The Franciscan Center is located on the Hillsborough River on eight acres of land that are conducive to prayer and reection. It is ten minutes
from the bus station and only Ğeen minutes from Tampa International Airport. Bedrooms are double occupancy; single rooms available for $50
supplement. Early arrival available on July 19 for $50 supplement. Website: hĴp://www.alleganyfranciscans.org/franciscancenter.htm.
August 17–19 • Cantor Express, Tucson, Arizona
R R C
The Redemptorist Renewal Center at Picture Rocks is located in the Arizona-Sonoran desert. On Picture Rocks Road, it is west of Interstate 10 and
east of the Saguaro National Park-West. Housing is in double rooms with private bath; some single rooms are available for a $50 supplement; early
arrival on August 16 available for $50 supplement. The Center is about twenty-two miles (a forty-ve minute drive) from Tucson International
Airport. Website: hĴp://www.desertrenewal.org/.
22nd Annual Choir Director Institute
July 16–20 • Alexandria, Virginia
This Institute has something to oěer all participants—from the experi-
enced, full-time director to the newly appointed one. Most directors are
procient in some areas but need to develop in others.
The Choir Director Institute includes daily liturgy of the hours, choral
warm-ups to begin the day, practice and score study time, large- and small-
group opportunities to conduct, new choral music, octavo reading sessions
with free packet of material from various publishers, extensive singing and conducting in a variety of styles and
voicings from easy to diĜcult, music planning and rehearsal planning sessions, opportunities for preparation and
participation in all liturgical ministries, Scripture and liturgy sessions, spiritual care of the conductor or music
director, and care of the voice.
Whatever your level of skill and experience, the Institute oěers you an opportunity to assess areas for growth,
begin to ll in gaps, and lay the groundwork of a rmer foundation for your ministry.
Registration and one-on-one dialogues begin on Monday at 8:00 . The institute begins on Monday at 9:30
and concludes on Friday at 11:30 . These days include time for large and small group instruction, conducting
practice, music preparation, octavo reading sessions, shared meals and conversation, and recreation time. Meals
include Monday lunch through Friday breakfast.
Faculty
Rob Glover Paul French
Director of liturgical music at the Church of St. Director of music at Our Lady of Mt. Carmel
Therese, Deephaven, Minnesota, author, arranger, Church, Chicago, Illinois, music director of the
clinician, composer, organist, and pianist. William Ferris Chorale, director of choir recordings
for World Library Publications, composer.
Kathleen DeJardin David Philippart
Director of Music Ministries at St. Andrew by the Author, parish retreat director, and nationally
Bay, Annapolis, Maryland; member of the NPM known clinician on liturgy.
Director of Music Ministries Division’s Board of
Directors.
Date and Location
July 16–20 • Choir Director Institute, Alexandria, Virginia
B I H S, A
Bishop Ireton High School is about a mile and a half from the King Street Metro Station and close to historic Old Town Alexandria. Housing for the
2007 Choir Director Institute will be at the Holiday Inn Eisenhower in Alexandria, $99 per night single/double + 10.5% tax and $1 city occupancy
tax. Transportation between the high school and the hotel will be arranged. Located at 2640 Eisenhower Avenue, the hotel oěers free parking
and a free shuĴle to and from Reagan National Airport and Old Town Alexandria. Exercise center and indoor pool. Phone hotel for reservations:
(703) 960-3400. Mention that you are with the National Association of Pastoral Musicians in order to receive the group rate. Deadline for hotel
reservations is July 1.
30796_JJ 07 Main.indd 34 5/21/2007 12:21:35 PM
Institute for Music with Children
July 31–August 2 • Seattle, Washington
In this institute, you will discover innovative ways to engage children
in the Church’s liturgy through a wide range of liturgical music; explore
classroom techniques for developing a child’s musical ability, choral tech-
niques for teaching children how to sing, and successful repertoire to use in
liturgical and classroom seĴings; and reect on the spirituality of children
and directors and its expression through music, liturgy, and catechesis.
Experienced educators and directors will nd these sessions aĜrm what
they have learned and oěer insight into new research and materials. Those new to the eld will nd a wealth of
theoretical and practical information to take home.
Registration opens Tuesday at 8:00 ., and the program begins at 9:00 . The program ends on Thursday at
12:00 . Meals include Tuesday lunch through Thursday breakfast.
Each day starts with morning prayer and combines plenum sessions for all with breakout sessions for music
educators and children’s choir directors. Participants can choose the sessions they aĴend.
Track for Music Educators includes:
• Techniques for teaching classroom music • How to integrate musicality and movement • The practicalities of
music “a la carte,” or the roving music educator.
Track for Children’s Choir Directors includes:
• Preparing an eěective choir rehearsal • How to recruit and maintain choir members • Developing solid conduct-
ing techniques.
Faculty
Donna Kinsey Jeremy Gallet,
Music specialist, Monongalia County Schools, West A member of the Sisters of Providence of
Virginia; teacher and clinician for children’s voices, Saint Mary-of-the-Woods, Indiana, Jeremy
handbells, and music educators; past state chair, Gallet has had a wide variety of pastoral
American Guild of English Handbell Ringers. and administrative experience with special
concentration on liturgy and music with
Lee Gwozdz children. She is presently the director of the
Director of music, Corpus Christi Cathedral, Cor- OĜce of Worship for the Archdiocese of
pus Christi, Texas, and executive director, Corpus Portland in Oregon.
Christi Symphony Society; member of the Choris-
ters Guild National Board of Directors.
Date and Location
July 31–August 2 • Music with Children Institute, SeaĴle, Washington
S U
SeaĴle University is located on forty-eight acres on SeaĴle’s Capitol Hill. Bedrooms are double occupancy; single rooms available for $50 supple-
ment. Early arrival available on July 30 for $50 supplement (check appropriate box on registration form). SeaĴle University is about Ğeen miles
(a half-hour drive) from SeaĴle-Tacoma International Airport. Website: www.seaĴle.edu.
Guitar and Ensemble Institute
July 23–27 • Erlanger, Kentucky
This ve-day intensive training program is intended primarily for guitar-
ists at all levels—beginner, intermediate, advanced—and for instrumentalists
who serve as part of worship ensembles. It is also designed for all directors of
ensembles, whether those are primarily guitar, contemporary music, or folk
groups, and for those who lead with a combination of instruments and voice.
30796_JJ 07 Main.indd 35 5/21/2007 12:21:39 PM
Registration and individual assessment begins on Monday from 8:30 . The program begins at 11:00 . and
ends on Friday at 12:00 . Meals include Monday lunch through Friday breakfast.
Schedule includes:
• Sessions on liturgy for both experienced and beginning leaders of liturgical song • Techniques for guitar and
bass, keyboard, percussion, ute, other obbligato instruments, and voice • Sampling of repertoire • Eucharist on
Thursday followed by “open mic” recital • Shared meals and time for informal conversation • On-site luthier
with “tips and tricks” to maintain your instrument.
Faculty
Bobby Fisher Program Coordinator Jaime Rickert Guitar
Music director at St. Agnes Church, Fort Wright, Pastoral associate at St. Ann Church, Ossining, New
Kentucky; program coordinator for NPM’s Institutes York, recording artist, and composer.
for Guitarists since 1988; musician, composer, actor,
clinician, and author of The Pastoral Guitarist and the
video The Liturgical Guitarist.
John AngoĴi Guitar
Steve Petrunak Guitar Full-time music missionary traveling throughout the
Director of music at St. Blase Parish, Sterling Heights, United States and abroad with a musical message of
Michigan; composer, recording artist, and clinician; faith and hope. John is currently artist-in-residence at
member of the NPM Board of Directors. St. Thomas the Apostle Parish in Naperville, Illinois.
Dion Clay Percussion
Mary Sellars Malloy Liturgy and Voice Dion has been performing professionally as a
A former director of the OĜce of Liturgy for the Dio- percussionist since the age of twenty-ve. Since
cese of Saginaw, Mary Sellars Malloy now serves as a March 2006, he has been touring with contemporary
conference presenter, retreat facilitator, and pastoral Christian artist John AngoĴi.
musician.
Date and Location
July 23–27 • Guitar and Ensemble Institute, Erlanger, Kentucky
M R C
Located in the rolling hills of northern Kentucky, across the Ohio River from Cincinnati, Marydale’s 250-acre campus features a lake and walking
paths. The Retreat Center is air-conditioned. Rooms are single-occupancy with shared bath; early arrival on July 22 available for $50 supplement.
Marydale is just four miles from Cincinnati/Northern Kentucky International Airport.
Pastoral Liturgy Institute
July 23–27 • Providence, Rhode Island
The ve-day NPM Pastoral Liturgy Institute is designed to provide a basic foundation
of knowledge about Roman Catholic liturgy for pastoral musicians and those with
whom they work and minister (priests, deacons, pastoral associates, ministers of
religious education, liturgy commiĴee members). The primary audience is pastoral
musicians who seek a broader liturgical education than is available through single
workshops, diocesan conferences, or NPM conventions but who do not need—or
have time for—a full semester course or degree. The goal is to help pastoral musicians
understand the liturgical principles and sacramental rites which are the context for their
music and develop the pastoral skills necessary for eěective ministry. A special emphasis
will be placed on the vital role of music in celebration.
Registration opens Monday, July 23, at 9:00 ., and the program begins with prayer at 10:00 . The program
ends with closing prayer on Friday at 11:00 . Meals include lunch and dinner Monday through Thursday.
Session schedule includes:
• Basic principles of liturgy, music, and church environment and art • Liturgical documents • Sunday Eucharist
and other sacramental rites of the Catholic Church • and the variety of prayer forms available to Catholic
communities.
30796_JJ 07 Main.indd 36 5/21/2007 12:21:43 PM
Sessions are held morning, aĞernoon, and evening every day (from approximately 8:30 to 9:00 ) with the
exception of Wednesday evening—a free evening.
Faculty
Paul Covino David Anderson
An associate chaplain and the director of liturgy at the In addition to serving as workshop director for GIA
College of the Holy Cross, Worcester, MassachuseĴs, Publications, Inc., David Anderson serves as director
and the editor of Celebrating Marriage, Paul Covino of music and liturgy at Ascension Parish in Oak Park,
works with parishes, dioceses, and national organiza- Illinois.
tions as a workshop leader and liturgical coordinator.
Victoria M. Tufano
Pastoral associate at Ascension Church in Oak Park, Il-
linois, Vicky Tufano is also an editor at Liturgy Train-
ing Publications and a team member for institutes
and member of the Board of Directors of the North
American Forum on the Catechumenate.
Date and Location
July 23–27 • Pastoral Liturgy Institute, Providence, Rhode Island
P C
Providence College is located in North Providence, close to Interstate 95. The College is about Ğeen miles from T. F. Green International Airport
in Warwick, Rhode Island. Website: www.providence.edu. Housing for the 2007 Pastoral Liturgy Institute will be at the Quality Inn in Smitheld,
Rhode Island, $99 per night single/double + tax. Complimentary deluxe continental breakfast. Transportation between the hotel and the col-
lege will be aranged. Less than ten minutes drive from Providence College and near shops and other amenities, the Quality Inn is at 355 George
Washington Highway. Phone hotel for reservation: (401) 232-2400. Mention that you are with the National Association of Pastoral Musicians in
order to receive the group rate. Deadline for hotel reservations is July 16.
Registration Information ACCOMMODATIONS
Rates based on double occupancy. Limited single occupancy
available for a $50 supplement (three-day programs): Check
You can register by mail, fax, or online. Just complete the reg- box on registration form. Limited early arrival lodging (except
istration form and return it to NPM with your payment. Alexandria and Providence) oěered on a space-available basis
for a $50 supplement: Check box on registration form.
LOWEST AVAILABLE RATES
Lodging for Choir Director Institute: Please contact the
Our lower advance rates apply until 30 days before the pro- Holiday Inn Eisenhower in Alexandria, Virginia. Phone (703)
gram. 960-3400 and ask for reservations. Mention that you are with
the National Association of Pastoral Musicians to receive the
MEMBER DISCOUNTS: For NPM Parish Members, registration group rate: $99 per night single/double + 10.5% tax and $1.00
discount fee is transferable to anyone in the parish. If your name is city occupancy tax. Deadline for reservations is July 1. Located
not on the parish membership, include the parish group number at 2640 Eisenhower Avenue, the hotel oěers free parking and a
on your registration form. For NPM Individual Members, discount free shuĴle to and from Reagan National Airport and Old Town
cannot be transfered to others. No discount available to subscrib- Alexandria. Exercise center and indoor pool.
ers. New members who join at the same time as registering for
the institute receive the members’ discount. Lodging for Pastoral Liturgy Institute: Please contact the Qual-
ity Inn in Smitheld, Rhode Island. Phone (401) 232-2400 for
reservations. Mention that you are with the National Association
NON-MEMBER RATE applies if you are not an NPM member.
of Pastoral Musicians to receive the group rate: $99 per night
Or you can join NPM now and register at the lower member rate.
single/double + tax. Complimentary deluxe continental break-
On the registration form, check “New Member,” indicate your
fast. Located at 355 George Washington Highway, the hotel is
preferred membership category, and add the appropriate fee.
near shops and other amenities and less than ten minutes from
Providence College. Deadline for hotel reservations is July 16.
TUITION includes group sessions, individual coaching, materi-
als, and all meals as noted during the course of your institute.
Mail registration form with payment to:
CONFIRMATION AND CANCELLATION NPM Institutes
You will receive a conrmation statement before your program. PO Box 4207 • Silver Spring, MD 20914-4207
Cancellation: Requests received in writing one week prior to the
institute will receive a full refund less a $50 processing fee. (This Fax—credit cards only—(240) 247-3001
refund will be processed aĞer the institute.) AĞer that one-week Register online—credit cards only—
deadline, refunds are given only in the form of credit toward
registration at a future NPM convention or institute.
at www.npm.org
30796_JJ 07 Main.indd 37 5/21/2007 12:21:48 PM
Registration Form: NPM Summer Institutes 2007
Photocopy this form for each additional registration.
❏ NPM Member Member # ___________________________ ❏ New Member ❏ Non-Member
Name _____________________________________________________ Name for Badge _________________________
Check one: ❑ work ❑ home
Address __________________________________________________________________________________
__________________________________________________________________________________
City/State/Zip _____________________________________________________________________________
Phone (_____) _____________________ Fax (_____) _____________________ E-mail: ________________________
Check Your Program Choice Advance Deadline Resident Commuter AĞer Deadline Fee
Cantor Express
❑ June 29–July 1 Chicago, IL May 29 $360 $285 Add $50 $ _______
❑ June 29–July 1 Lake Charles, LA May 29 $360 $285 Add $50 $ _______
❑ July 20–22 PiĴsburgh, PA June 20 $360 $285 Add $50 $ _______
❑ July 20–22 Tampa, FL June 20 $360 $285 Add $50 $ _______
❑ August 17–19 Tucson, AZ July 17 $360 $285 Add $50 $ _______
Choir Director Institute
❑ July 16–20 Alexandria, VA June 16 $460 Add $50 $ _______
Guitar and Ensemble Institute
❑ July 23–27 Erlanger, KY June 23 $575 $460 Add $50 $ _______
Pastoral Liturgy Institute
❑ July 23–27 Providence, RI June 23 $460 Add $50 $ _______
Music with Children
❑ July 31–Aug. 2 SeaĴle, WA June 31 $360 $285 Add $50 $ _______
ADDITIONAL FEES: check applicable box(es); write in amount(s)
❏ Non-Member (or join NPM) $100 $ _______
✴ If new membership, add amount from below $ _______
❏ Single Occupancy Supplement Weekend Programs $50 (see available locations) $ _______
❏ Early Arrival $50 (see available locations) $ _______
❏ Printed course materials (required) for Pastoral Liturgy Institute $20 $ _______
❏ The Rites, Vol. I, 1990 ed. (req.) for Pastoral Liturgy Institute $30 $ _______
TOTAL FEES $ _______
NPM MEMBERSHIP. Join now and register at member discount rates. Check the membership category you pre-
fer; enter that fee above. To include more than one parish leader, enclose a separate sheet with additional names,
addresses, phones, faxes, and e-mails.
❏ New Individual Membership $ 58 ❏ New Youth Membership $ 29
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PAYMENT
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38 J-J 2007 • P M
30796_JJ 07 Main.indd 38 5/21/2007 12:21:50 PM
Continued from page thirty can make this point more clearly with reference to the
proposed retranslation of the Gloria. A whole argument
tied to things like ecclesiastical centralism, “reform of the could be made for retaining the current English Gloria,
reform,” or advancing a particular vision of progressive even though it puts lines in a diěerent order than the
renewal. Latin and omits whole lines of text. The Gloria is a not a
How will people in the pews receive the new trans- catalogue of doctrine, nor is it a legal document, nor an
lations? I cannot claim to speak for them, but I have a oath of delity. It is one big gesture of sung praise. It is
hunch that people’s resistance will have more to do with more like a litany of endless alleluias or ecstatic speaking
the practicalities of the hassle of change than with our in tongues than it is like the Nicene Creed. (And by the
“insiders’” concerns. If so, this is good news. The diĜcult way, even the creed at Mass is more about personal and
transition to the new translations might go beĴer than we communal commitment to baptismal vows than it is about
expect. Let us not make the transition more diĜcult by orthodox doctrine, although it is also that.)
loading ideological burdens onto our people.
Many of us have concerns about the current U.S. Lec- I do want to raise the question of what truly
tionary for Mass—concerns about its accuracy, its beauty maĴers to the people in the pews.
of language, its proclaimability. Those are very legitimate
concerns. But what would happen if we polled our people
on their reaction to the new lectionary? I dare say that
probably ninety-nine percent would respond that they While that understanding of the Gloria could justify
had no idea that the lectionary translation had changed a an English that is not an accurate translation of the Latin
few years ago! I do not quite want to say it is good news original, this insight on rationalism versus deep engage-
that people do not aĴend to the language of the Scriptures ment of the whole person can be turned around and help
at Mass, but I do want to raise the question of what truly us to accept the retranslated Gloria (and other liturgical
maĴers to the people in the pews. texts). Even if some of us at rst nd the new liturgical texts
The diĜcult question of inclusive language surely harder to grasp intellectually, more stilted and articial,
displays some of these same sociological diěerences. Full this does not maĴer as much as we might imagine. An
disclosure: I use inclusive human language in my speak- occasionally diĜcult word in the collects or prefaces like
ing, writing, and preaching. I believe in it, and I favor it “sully” or “thwart” 2 is no hindrance to worshipers if the
in liturgical texts, as do many or most people in liturgical liturgy as a whole is engaging at the level of emotional
ministry. But here, too, opinions and practices in the wider energy, evangelical zeal, artistic beauty, and spiritual
public are more varied that we might realize. Have you power.
ever noticed how oĞen terms like “man” or “brethren” Father Aidan Kavanagh, , repeatedly made this point
or “sons” are used collectively in major newsweeklies, by in his writings about liturgy. In the NPM Commentary on
leading newspapers hardly known as conservative, and Music in Catholic Worship, for example, he wrote: “The
by commentators on the news networks that are more Constitution on the Sacred Liturgy . . . . shows some naiveté
progressive by reputation? If our new liturgical transla- concerning the nature of the rite itself when it states in
tion has instances of traditional gender language, I will its paragraph 34 that ‘The rites . . . should be short, clear,
understand the disappointment of many. At the same and unencumbered by useless repetition; they should
time, I’m not sure this will be the pastoral disaster that be within the people’s powers of comprehension and
some fear. normally should not require much explanation.’ . . . The
fact is that rituals are almost never short, clear, and with-
More and Less Is Going On out repetition; nor do they always fall within everyone’s
power of comprehension (as a classroom lecture must).”
As I said, it is not quite good news if worshipers do not Father Kavanagh described paragraph eight of Music in
aĴend to Scripture translations at Mass. In a certain way, Catholic Worship, which quotes paragraph thirty-four of
however, it is good news. Fortunately, worship is not ex- the Constitution on the Sacred Liturgy as “simply a well-
clusively an intellectual endeavor.1 When we stand before meant inaccuracy.” 3 Gabe Huck made the same point
God in community, a lot more than rational comprehension about rationalism and celebration when he wrote in
is going on—and a lot less as well. This insight will be a Pastoral Music: “Liturgy isn’t supposed to require that we
great help when the new liturgical translation comes. The get every word. It is repetitious with a purpose. You get
emotionally engaging aspect of the celebration as a whole inside it liĴle by liĴle.”4
maĴers much more than the vocabulary or syntax of this We want the new liturgical translation to be good
or that phrase. Truly engaging ritual is able to carry in its contemporary English—vigorous, straightforward, and
wake texts which are not entirely grasped rationally. beautiful. We do not want fussy mannerisms or archaic
This is not an argument for the Tridentine Mass, as in, oddities. The Roman document guiding the new transla-
“since it’s not about rational comprehension anyway, just tion, Liturgiam authenticam, makes this point when it says
put it all back in Latin.” I am speaking of the reformed that translations should be “comprehensible” and “easily
liturgy in the vernacular, celebrated well. Perhaps I understandable” for “the people of our own time” (LA,
P M • J-J 2007 39
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25). I am condent that the translators are striving for and
achieving these qualities. But even if here and there the
new translations fall short of being immediately compre-
hensible, they will work. That is to say, they will work if
the celebration as a whole is working. Let us not waste
too much energy critiquing this or that word in the new
translations. We have too many other important things
demanding our energy: good musical leadership, good
congregational singing, good use of space and ritual, good
use of silence, good hospitality, good preaching, good
sense of mission to the wider world . . . and the list goes
on.
A Spiritual Task
I recently heard someone comment that she will not be
able to implement the new liturgical translations until she
is at peace in her own heart. This is an important insight:
For pastoral ministers and musicians, especially for those
skeptical of the new translations, the task is fundamentally
a spiritual one. How can ministers be at peace with the
new translations?
This is a deeply personal issue, and its solution will
vary depending on one’s personal journey of faith. I do
not mean to speak for others or tell others what to think
or feel. I oěer the following reections in the hope that
they might touch something in someone else’s heart.
Get beyond oppositional “us vs. them” thinking.
When trust breaks down within the community of the
Church, we nd it diĜcult to hear and respect what oth- Guidonian Hand, a medieval mnemonic device, aĴributed to Guido d’Arezzo,
used to assist singers in learningto sight sing. Image courtesy of the Music Library,
ers are saying. It becomes, for example, “us progressive
University of California, Berkeley.
liturgists vs. those Curial oĜcials.” It becomes a win-lose
game, where their win is our loss and vice versa. When we
are caught in a polarized situation, we must strive to see open to correction, and be open to surprises.
the common humanity and the common Christian identity Try to nd the positive in what I am critiquing. When
uniting us all. We are all on the same side. We are all in we are emotionally worked up, we fall into black-and
this together. We are all learners, and no one possesses the white-thinking, and we demonize the person or posi-
whole truth. Those who think diěerently—those Church tion with whom or with which we disagree. When we
oĜcials who look at things diěerently—have something are stuck in this rut, we must work especially hard to
to say to us, and we must try to be open to hearing it. see the good in the other. There is probably much good
in the new translation that critics are not yet able to see.
For pastoral ministers and musicians, For instance, the new translation uses clearer references
especially for those skeptical of the new to Scripture than some current texts do. We will be able,
for example, to quote Scripture directly before receiving
translations, the task is fundamentally a
holy Communion: “Lord, I am not worthy that you should
spiritual one. come under my roof.” In responsive dialogues, we will
use the vocabulary of St. Paul: “And with your Spirit.” In
my view, these are positive improvements over the cur-
rent translation.
Admit that I could be wrong. James Alison wrote a book Strive for spiritual detachment. When we are worked
titled The Joy of Being Wrong: Original Sin Through Easter up about something, we tend to make it much more im-
Eyes (New York: Crossroad, 1998). What a wonderful title; portant than it really is. There is emotional and liberat-
what a wonderful book! For Christians, being wrong is ing value in being able to throw up one’s hands and say:
not a personal defeat, it is a means of spiritual growth—a “Whatever.” By this I do not mean surrender to indiěer-
giĞ and even a joy. Critics of the new translation, when it ence or apathy; I mean embracing the hallowed virtue
nally appears and is put to good use, may nd that they of spiritual detachment. The translation issue is not as
were not entirely right about the new translation. Maybe important as we think it is. Popes come and popes go,
its implementation will go beĴer than they expected. Be translations come and translations go, musicians come
40 J-J 2007 • P M
30796_JJ 07 Main.indd 40 5/21/2007 12:21:51 PM
and musicians go. Only God is absolute, and everything We should not expect such revolutionary measures to
else is secondary. Let go. be easy, and we should not expect that it will all be gured
out within one or two or three generations. The leaders
of liturgical renewal and the pastoral musicians at the
Revolution: A Last Thought ground level have done outstanding work since Vatican
II, but surely they did not seĴle everything denitively.
The Church as a whole has not yet arrived at a general Nor will our generation, nor will the generation imme-
consensus on the meaning of the Second Vatican Council. diately aĞer us. Given the magnitude of the revolution
There is a theoretical debate going on about whether to that has occurred and is still occurring, the ride is bound
interpret the Council through the lens of continuity or of to be bumpy. When it comes to issues of translation, we
innovation. Some theologians and Church oĜcials are are on one of those bumps. There will be more to come.
calling for the hermeneutic of continuity, whereby the In the midst of it all, may we nd inner peace.
Council’s statements are understood in the context of the
whole preceding tradition of the Church rather than as a Notes
rupture with what went before. The “continuity” line of
thought has something going for it, for the Council did 1. See my article, “And with Your Spirit: On the Reception
build upon the whole tradition of the Church, and the of the New Translation of the Liturgy,” Assembly 33:1 (January
Council’s statements do explicitly call for continuity (e.g., 2007), Notre Dame Center for Pastoral Liturgy, 6–7.
in the use of Latin, Gregorian chant, and the treasury of 2. These are two words used in the proposed translations
sacred music). that come under sharp critique from various commentators,
especially from Bishop Donald Trautman in several addresses,
And yet, when I ponder the shiĞ from a clericalized
including his excellent address to the participants in the 2007
liturgy to a communal liturgy, the word “revolution” NPM Winter Colloquium.
seems too mild to describe what the Council began. When 3. Aidan Kavanagh, , “Theology of Celebration,” in Virgil
I think of the shiĞ from exclusive Latin to the admission C. Funk, ed., Music in Catholic Worship (Revised Edition): The NPM
of vernacular, the word “revolution” seems too tame. Commentary (Washington, DC: The Pastoral Press, 1983), 8.
With all due respect for tradition and continuity, Vatican 4. Gabe Huck, “You Have to Be There: Liturgy Requires Bod-
II was, in some senses, a revolution. ies,” Pastoral Music 22:5 (June-July 1998), 22.
P M • J-J 2007 41
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Chapter News
From the Council gional conventions will be within driving
distance and the perfect opportunity to
Christ the King Seminary in East Aurora,
New York. The convocation began with
gather folks for a road trip. an evening of recollection on Friday led
As you read this column, the Great Looking forward to seeing many of you by composer, teacher, and liturgist Bob
FiĞy Days of Easter are behind us and at the Chew and Chat, Directors’ Dinner, Hurd, who helped us explore the paschal
we have returned to Ordinary Time. As and other chapter events in Indianapo- mystery in our own lives. “Music in Service
the summer stretches before us, perhaps lis! of the Gospel” was the title of Saturday’s
this is an opportunity to review the past keynote address, also by Bob, connect-
year in your chapter. Thomas Stehle, chair ing our musical texts to the Gospels we
Are your chapter’s events regularly Washington, DC proclaim at Eucharist.
listed in “Chapter News?” If not, perhaps Mark Ignatovich Participants had their choice of several
you could be the catalyst for that to hap- Wilkes-Barre, Pennsylvania workshops on Saturday aĞernoon. These
pen. Or oěer to take digital photos and Ginny Miller included: “Prayer and Spirituality for the
e-mail them to Ginny Miller for inclusion Rochester, New York Pastoral Minister,” “Liturgy Basics 101,”
in the magazine. William Picher “The Extended Choir” (better choral
Did your chapter host an end-of-the- Orlando, Florida sound inspires fuller assembly singing),
year event? The time aĞer Easter is a Jacqueline SchniĴgrund and a special session for musical youth/
great time to renew relationships with Rapid City, South Dakota teens entitled “A Brief History of Church
colleagues and meet new ones. Perhaps Music for New Church Musicians Who
consider this kind of programming for
next year. From the Chapters Haven’t Heard About What’s Been Goin’
On for the Last 2006 Years.” The Con-
Does your chapter invite members vocation ended with the celebration of
to register together for the chapter con- Buěalo, New York Eucharist at 5:00 , followed by dinner
vention discount each year? If you were (optional).
unable to participate as a chapter in the Our NPM Chapter (Church Musicians’ Just a note: Categories of fees for the
National Convention in Indianapolis this Guild of Buěalo) held its Eighteenth convocation included member early reg-
year, perhaps one of next year’s three re- Annual Convocation on March 9–10 at istration, non-member early registration,
walk-ins, and a special rate of $15.00 to
encourage the aĴendance of those age
eighteen and younger.
Jeěrey Nowak
NEW! Chapter Director
Cincinnati, Ohio
(Miami Valley/Dayton Branch)
Whether you are responsible for
evaluating sung texts for your We are the Miami Valley Branch (Mi-
community or someone who crafts ami Valley Catholic Church Musicians),
texts for sung prayer, you’ll appreciate a subsection of the Cincinnati Chapter of
these insights! Throughout, the focus NPM. We have had a very vibrant section
is on the care that pastoral musicians of musicians and exciting performances
in our area in the past ten years.
must take to create and select the
We are planning an Easter Lessons and
words sung by worshiping assemblies.
Carols-type program with as many choirs
017285 $5.00 as possible in our area. This should be fun.
In order to encourage participation by as
More titles in the WorshipWorks Series available many people as possible, we are planning
online at www.wlpmusic.com! a wine and cheese evening for pastors and
directors. This event will allow us to share
our plans for the rest of the year as well
as solicit help from them.
World Library Publications • 800-566-6150 • www.wlpmusic.com Veronica Murphy
Branch Director
42 J-J 2007 • P M
30796_JJ 07 Main.indd 42 5/21/2007 12:21:56 PM
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P M • J-J 2007 43
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Galveston-Houston, Texas
We held our chapter’s 2006–2007 kickoě
event in August, when approximately 230
people gathered for an evening of fel-
lowship, prayer, and a concert featuring
Paul Tate. AĞer a potluck dinner, people
gathered in the church for evening prayer.
This was followed by a concert featuring
Paul with musicians from various parishes
serving as the band and backup singers.
Joliet NPM Chapter participants in the January 19 choral reading workshop
Mr. Tate specically requested teens be
involved, and his performance also fea- get to know him a liĴle beĴer. We had Litany,” “All Will Be Well,” and “Christ
tured the music of two local composers. a wonderful time, and we are glad to Be Our Light,” accompanied by Lisa
Mr. Tate’s music was available for purchase report that Bishop J. Peter Sartain loves Roy, ute, and Judy Garber, keyboard
following the concert, and he made himself music! Participating in this event were and organ. Michele Binnings served as
available to the audience for conversation Linda Cerebona, David Mancini-Con- cantor. Faye Drobnik composed a special
and pictures. The evening was a great suc- way, Nicholas Thomas, Mary Bolton, psalm for the occasion. Linda Vollmer
cess and served as a major fundraiser. Carrie MarcoĴe, and Barbara Masters. led the talented group of musicians from
September’s meeting featured a read- Board members who could not aĴend around the diocese. The group hopes to
ing session of summer convention packets were Adrienne Rose and Connie Wilson. support many other retreats and missions
provided by WLP. In October, we invited On January 19, our chapter also spon- throughout the diocese.
parish music directors to gather for vicari- sored a choral reading workshop with Lynn Doucet
ate lunch breaks to facilitate discussion of Mary Beth Kunde-Anderson from World Chapter Director
concerns and needs for their parish music Library Publications. The program was
ministries as well as to foster fellowship held at St. Michael Church in Wheaton, Rapid City, South Dakota
and communication. In November many Illinois, with Megan Hassinger as our host.
parishes hosted NPM St. Cecilia Sing The group read through various selec- Our chapter’s winter meeting was held
concerts, including a large gathering for tions from Choral Companion, WLP’s new at St. Rose of Lima in Hill City on Janu-
Taizé Prayer. music resource. Each member received a ary 27. Maria Munoz, a native of Mexico,
Upcoming events include “Singing the complimentary copy of the collection. gave a beautiful presentation on bilingual
Mass, not at the Mass,” which will focus Nick Thomas music. Although most people immigrating
on the work of the Music SubcommiĴee Chapter Director to America try to learn English, she said,
of the Archdiocesan Liturgical Commis- they are naturally more comfortable with
sion in its year-and-a-half-long project to their own language. Munoz explained
promulgate truly singing the liturgy. The LafayeĴe, Louisiana that “the greatest evil in the world is
project is two-phase: 1) Dialogue with the not hatred but indiěerence.” She gave a
priests of the archdiocese to learn their The Acadiana Chapter of NPM gath- quick lesson on Spanish pronunciation,
vision of sacred music for their parishes ered on October 27, 2006, for “Evensong: enabling us to sing several bilingual
and to learn their needs and concerns; 2) An Ancient Prayer of the Church.” The songs. Accompanying her were Christy
work with the priests to help them learn group participated in readings, psalms, Leichtnam, piano, and Peg Westrich,
to sing (chant) the liturgy in whatever way and reections at the short but inspiring guitar. They lead music at the monthly
is appropriate for them, their voices, and service held on the campus of the Univer- Hispanic liturgy at Blessed Sacrament. Peg
their worshiping assemblies. Members sity of Louisiana at LafayeĴe. Later, the and Christy shared the blessings they
of the commission, along with members group met at a nearby restaurant to plan have reaped from their participation in
of the local chapter, will facilitate this the year, which was scheduled to include the group. All were encouraged to join
process which is geared toward support a visit by a “bell master” to assist bell with the musical ensemble sometime.
and encouragement of the priests to use choirs being formed in many parishes. Mary Ann Fanning distributed packets
their voices in singing the liturgy. At the dinner, Faye Drobnik from the of music from WLP complete with CD and
We are excited about this and all of LafayeĴe Diocese’s OĜce of Worship catalogues. Songs for every season and ev-
our plans for this year and look forward spoke on “Helping Each Other: The Call ery combination of voices were included.
to another large contingent aĴending the in Music and Worship.” About twenty-ve Sister Eleanor Solon, , spoke on the
Convention this summer in Indianapo- members aĴended. history and use of chant, citing examples
lis! On December 14 our chapter sponsored from our hymnals. She emphasized the ease
Kathleen Demny an Advent service held at St. Joseph in of singing, beauty, and memorable tunes.
Chapter Director Milton, which featured members of NPM Our next event was a March 3 presen-
as choir, cantors, and song leaders. Father tation which included these topics: basic
Joliet, Illinois Bill Gearherd presided and spoke on resources for small parishes, how to teach
the spirituality of St. John of the Cross. new music, music for the RCIA, and the
Our chapter oĜcers had a rather un- His homily was entitled, “God Wants an presider’s view of music in the liturgy.
usual event—“Take Your ‘New’ Bishop Undivided Heart.” An NPM children’s choir workshop is
to Lunch”—to let the bishop know about The music included “Advent Gathering planned for June to give potential leaders
our chapter and what we do and just Song,” “God Be in my Head,” “Eucharistic of children’s choirs the tools for recruit-
44 J-J 2007 • P M
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dition: recog- Stolk who organized the event
nizing college In October, NPM/DC sponsored cantor
students for workshops at Immaculate Heart of Mary
their previous in Lexington Park, Maryland, and at the
contribution to Cathedral of St. MaĴhew in downtown
music ministry Washington. Thanks to Carol Connolly,
in their home Mary Stevens, Tom Stehle, Bill Culver-
parish as well house, and Jennifer Goltz. Also in October,
as their current our Spanish-speaking pastoral musicians
involvement in gathered for an all-day workshop in Span-
parish or cam- ish with presentations on various aspects
pus worship. of ministry, liturgy, vocal technique, music
Those hon- reading, and psalm repertoire. Thanks to
ored in 2006 Fernando Delgado and those from Our
were Janelle Lady, Queen of the Americas, as well as
Borkowski, Lourdes Montgomery, Father Juan Puigbo,
College music ministers honored by the Rochester NPM Chapter in 2006
Peter Burke, Father Augustín Mateo, Jose Sacín, and
Michelle Cook, Adriana Balzán.
Katlyn Gor- In November, more than ninety sing-
ment, organization, and repertoire. The man, Spencer Herendeen, Grace Rob- ers from twenty-three parishes in three
focus will be on understanding the pur- inson, Kelly Soprano, Sarah Wood, and dioceses gathered for an all-day choral
pose of children’s choirs as well as ways Danielle Zimmer. An elegant reception workshop with Alan Hommerding at Our
to help children love the liturgy through followed. Lady of Mercy Parish in Potomac, which
their participation. Ginny Miller ended with Saturday evening liturgy with
Jacqueline SchniĴgrund Chapter Director Father Paul Colloton presiding. Thanks to
Chapter Director a long list of people who made that event
San Antonio, Texas a smashing success. On Friday, November
Rochester, New York 17, more than Ğy musicians gathered at
Our chapter is very excited about a St. Patrick in downtown Washington for
Our NPM chapter once again cel- special project for the fall of 2007 which vespers and a social celebrating the feast
ebrated the Feast of St. Cecilia in a festive has all the marks of becoming an an- of St. Cecilia. Bishop Martin Holley pre-
way. Participants gathered at Sacred Heart nual program. Tentatively titled “First sided, and he was joined by retired Bishop
Cathedral for a gala concert and reception Tuesdays,” the program in the fall of 2007 Leonard Olivier. Ronald Stolk, parish
on Friday evening, November 17, 2006. will focus on the psalms. organist and music director, led the music
Performers included the Osgood Brass This event will be co-sponsored by our and provided beautiful improvisations; a
Trio; Sarah Mancini (soprano); VOCE Vo- chapter, the Oblate School of Theology, small schola lent support and harmony to
cal Ensemble (Chris Yule, director); Joseph St. Mary’s University, the Archdiocesan vigorous congregational singing. A recep-
Ilardo (bass); St. Paul’s handbell choir; and Catechetical OĜce, and ACTS Missions, tion followed in the magnicent rectory
organists Ron Fabry and Rita Manners. which oversees the ACTS Retreats for the dining room. Thanks to Ronald, Msgr.
The future of NPM was represented by archdiocese and beyond. Salvatore Criscuolo (pastor of St. Patrick),
a young violinist, Dillon Kennedy, who A tentative list of topics includes: “His- and Charlene Dorrian and her crew who
played the rst movement of Mozart’s tory of the Psalms,” “Classications of the prepared treats from The NPM Cookbook:
Concerto No. 3 in G Major. The program Psalms/Praying with the Jewish People,” With Lyre, Harp, and Spatula. Rick Gibala,
concluded with participants singing “Ave “Praying the Psalms with the Risen Jesus to author of the cookbook, was on hand to
Verum” by Mozart in honor of the 250th the Father in the Liturgy of the Hours,” and autograph copies.
anniversary of the composer’s birth. “Connecting Psalms to the Lectionary” We are also excited to announce our
That evening we also honored Helen (arrangements for Sundays and feasts). new website. Visit us at www.npmdc.
Halligan, retired music director of St. Specics will be developed during the org.
Mary, Downtown Rochester, with our summer. Mary Beaudoin
chapter’s 2006 St. Cecilia Award. Helen John Halloran Chapter Director
has given her life to music ministry in the Chapter Director
Rochester Diocese, and she is known as an
excellent musician who has fostered the Washington, DC
appreciation and use of various styles of
liturgical music during her career. Helen Our board of directors has been very
was a member of the core team of the busy over the past several months pro-
Rochester 1986 and 2002 regional NPM viding a variety of programs for pastoral
conventions as well as a founding mem- musicians in our area. In September 2006, Did your read about your chapter in this
ber of our Rochester Chapter. Helen and we held our rst Catholic parish organ column? “News from the Chapters” may be
Ron Fabry, director of music at St. Paul, tour: Twenty “crawlers” visited three sent to Ginny Miller at [email protected].
Webster, were also presented with NPM downtown DC historic organs. Several Please single space using Times New Roman
former chapter director pins. had never seen the inside of a pipe organ font. Indented paragraphs are helpful. Photos
Our chapter also began a new tra- before this event. Thanks go to Ronald (digital or scanned) are most welcome!
P M • J-J 2007 45
30796_JJ 07 Main.indd 45 5/21/2007 12:21:59 PM
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Cantemos: Harmony in Faith:
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Tuesday, July 10, 9:30 – 10:30 PM Tuesday, July 10, 9:30 – 10:30 PM
Pedro Rubalcava, Pablo Sosa Rufino Zaragoza, OFM, Ricky
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Reviews
Psalmody emphasis always on the voice. Because of Here is a publication that should be
this, the songs are very adaptable, working on the shelf (beĴer yet, at the keyboard)
well with forces ranging from an unac- of all practicing liturgical musicians. The
Psallite companied cantor and congregation to team of Alonso and Huck has created text
an SATB choir with a keyboard and guitar and music that will enhance the prayer of
The Collegeville Composers Group. The accompaniment. In short, no maĴer what communities everywhere. By Heart oěers
Liturgical Press. Accompaniment/vocal your parish’s musical resources, you can seasonal music for gathering, general
edition three-volume set (Years A, B, and celebrate with these songs. intercessions, and Communion proces-
C), 978-0-8146-3060-0, $59.95, discount If you’re familiar with the classic sionals.
for ve or more copies. (Years B and C cur- Gelineau Psalter, you’ll understand these Many of the congregational refrains
rently available; Year A available in July psalms. The verse tones are original yet employ all or some familiar seasonal tunes
2007). not diĜcult. The antiphons are sometimes that range from chant and spirituals to
striking, sometimes sweet, but always the traditional Caribbean “Halle, Halle,
Inspired by the antiphons and psalms memorable. The texts for the verses are Halle” and “Take, O Take Me As I Am”
of the Roman Missal, Psallite contains set- from the Grail translation of the Psalter by John Bell. The book of bulletin inserts
tings for the opening song, responsorial (1993 revision), so they’re inclusive, for and a CD-ROM contain bulletin articles
psalm, and Communion processional for the most part. The biblical canticles are and table prayer for the home linked to
every Sunday, solemnity, and major feast taken from the NRSV with some original this music.
of the liturgical year. The heart of Psallite translations. This is music that comes from the
comes from the new Communion songs. This collection contains twenty-eight heart of the liturgy and from the heart
They take their texts and themes from titles from the Year C edition of Psallité. of two men imbued with the spirit of the
the liturgy of the Word, especially from If you’re not sure that you’re ready to liturgy. This music was born from their
the Gospel of the day, transformed into commit to the more than 600 songs of the experience of worship at St. Nicholas
processional music. full Psallite experience, this collection will Parish in Evanston, Illinois. Very highly
The ve members of the Collegeville serve as a great introduction to the collec- recommended!
Composers Group—Carol Browning, tion. Accompaniments and reprintable Tim Dyksinski
Catherine Christmas, Cyprian Consiglio, antiphon graphics for the congregation
Paul Ford, and Paul Inwood—have con- are also included in the book.
tributed seĴings of these proper liturgical I love the musicality of these works
Choral Recitative
texts to this collection. The music can be and applaud the systematic eěort they
led by a cantor without accompaniment or May God Be Merciful to Us. Robert J.
represent. No maĴer your opinion of these
by a schola singing the verses and adding Powell. Two-part. Trinitas, 4528, $1.10. It’s
compositions as pieces of music, you must
choral embellishment. The music ranges a safe bet that when the names Robert
acknowledge the signicant contribution
from chant style to Afro-Caribbean to folk- Powell and Trinitas are found together
these composers are making through their
song. The music ows organically from the some worthwhile music is present, and
careful consideration of the use of music
liturgy and is sure to enhance the liturgical this composition is no exception. Using the
in the liturgy, their successful aĴempt to
prayer of celebrating communities. Psallite text of Psalm 67, Mr. Powell has craĞed a
place the voice in a position of musical
makes a needed contribution to musical forty-four-measure anthem that is mostly
prominence, and their commitment to the
liturgy. A “must have” resource for those unison with about eight measures of
singing of psalms as the primary prayer
responsible for music in the Church. two-part singing. The dynamic markings
language of the liturgical assembly.
Tim Dyksinski range from p to mf, and the tessitura lies
Joe Pellegrino
in a comfortable range. Key, meter, and
tempo changes provide added interest to
We Will Follow You, Lord: Congregation this three-page anthem, as do several chro-
Year C matic twists. Perfect for women’s choirs
By Heart: Seasonal Songs for and accomplished children’s choirs. Psalm
Music From Psallite. The Collegeville Gathering, Interceding, and 67 is used as the responsorial psalm on
Composers Group. The Liturgical Press. Ac- Communion Thanksgiving Day, the Solemnity of Mary,
companiment book, 0-8146-3075-8, $11.95. Mother of God (January 1), and at several
CD, 978-0-8146-7964-7, $16.95. Tony Alonso and Gabe Huck. GIA. other times during Ordinary Time.
SATB, cantor, congregation, keyboard,
Psallite: Sacred Song for Liturgy and Life guitar. Octavo collection, G-6541, $ 10.95. O Sweet and Sacred Feast. Michael Mc-
is an ambitious project that encompasses Full score, G-6541FS, $19.95. CD, G-624, Cabe. SATB. Trinitas, 4551, $1.30. The works
a wide variety of musical styles with the $16.95. Bulletin inserts, G-6541B, $24.95. of Michael McCabe are always well craĞed
48 J-J 2007 • P M
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and appealing. This is a worthy addition (three various); Eb instruments (two various); text. This would be an excellent choice
to seĴings of the English translation of “O bass clef instrument. GIA, G-6214, $1.50. for a gathering song at a special parish
Sacrum Convivium.” The choral writing This composition, which is also found occasion. Well within the grasp of most
is very eěective and well suited to the in the collection and CD Fountain of Life, parish choirs and congregations, here is
voices. Parish choirs will nd this music is reminiscent of the music of the Taizé music sure to nd favor with the whole
to be accessible and rewarding. Here is community. There are four vocal varia- liturgical assembly. To make it really
a welcome addition to liturgical choral tions (descants) oěered and seventeen dance, add a hand drum as the arranger
music on Eucharistic themes. Moderately instrumental parts. This would make ne suggests. Ideal for combined choirs and
easy, very highly recommended. processional music for Communion dur- ensembles. Worth looking into.
ing Advent, on Marian feasts, and all year
We Glory In Your Cross. Donald Pearson. long. If you don’t know about the Rizza When Grief Is Raw. David Haas. Choir, con-
SAB. Trinitas, 4537, $1.10. This marvelous collections, check the GIA catalogue. You gregation. GIA, G-6154, $1.50. Instruments,
text from the opening chant of the Triduum will be glad you did. G-6154INST, $4.00. Guitar, G-6154G, $3.00.
is set for choir alone, to be sung a cappella This seĴing has much to oěer pastoral
in refrain-verse style. The refrain is SAB Ave Maria. Tomás Luis de Victoria, ed. Rich- musicians looking for music and texts
while the rst verse of Psalm 67 is SA, the ard Proulx. SATB. GIA, G-6228, $1.50. This for funerals and for the FiĞh Sunday of
second is men in unison, and the third is venerable motet needs no introduction Lent, Year A. Many performance options
SAB. There is a starkness in this music, to most choral musicians. If your choir are available, from unison choir with
but it doesn’t sound severe. This is a very has not already sung Victoria’s classic congregation to SATB choral. In addition
short (two-page) but moderately diĜcult seĴing—or if your choir has not sung to the keyboard accompaniment, there are
seĴing. The creative pastoral musician will much sixteenth or seventeenth century parts available for guitar, C instrument,
nd a way to make this excellent piece part music—give this gem a try. Here is a and cello or bassoon. This composition
of the Holy Thursday liturgy, perhaps as a well edited and clean score. The chant would make a Ĵing selection for music
prelude. Very highly recommended. version precedes the motet and would at funeral vigil services; and funeral
be lovely as well preceding the singing choirs looking for prelude, preparation of
For the Fruit of All Creation. Alice Parker. of the motet. If this composition is not in giĞs, or anthem music will nd this piece
Two-part with congregation, keyboard. GIA, your choral library, here is the edition for satisfying, whether sung in four parts or
G-6264, $1.40. F. PraĴ Green’s wonderful you. Perfect for Advent, Christmas, and unison, with or without the instruments.
text is ideal for the Thanksgiving Day Marian feasts. Here is music that conveys compassion
celebration. As is her way, Alice Parker and hope. An excellent addition to the
provides a seĴing that makes the text Come, O Just One. Lynn Trapp. SATB, con- funeral repertoire for any parish.
come alive with even greater meaning. gregation, organ, oboe. GIA, G-6194, $1.75.
This is an easy and cheerful work that This introit hymn for the Advent Season Remember You Are Dust. Paul Tate. Can-
can be sung in many variations: two-part is of high quality and deserves to be used tor, congregation, keyboard, C instrument,
choir with congregation, adults and chil- in our Advent celebrations. The teaming guitar. GIA, G-6289, $1.50. Many commu-
dren, or two soloists and choir. The last artistry of Mr. Trapp and Benedictine Sister nities will nd this simple and singable
page oěers an SATB hymn version with Delores Dufner, coupled with the liturgical composition the right choice for the dis-
congregational response. Whatever your and pastoral insight of Rev. Greg Labus, tribution of ashes on Ash Wednesday. A
resources, large or small, this is for you! has produced a series of introit hymns for guitar and C instrument part are provided
Check it out and let your imagination go. various liturgical seasons and occasions. In in addition to the keyboard accompani-
This is a winner! this selection, using the tune N K ment. Very easy, practical, and eěective.
H H, the antiphon is im- Worthwhile.
Nova, Nova. Arr. Richard Proulx. Solo voices, mediately familiar and accessible to the Tim Dyksinski
unison choir, congregation, organ, recorder congregation. The original writing for the
or ute, hand drum or tambourine, nger SATB choral verses is moderately diĜcult
cymbals or triangle, three handbells (D, E, for average parish choirs. Organists will
Organ
G). GIA, G-6222, $1.50. This well-known relish the marvelous keyboard part with
medieval text and tune are cleverly set for its “Schiedt-like” intonation. A convinc- The Ultimate Organ Book: For
a congregation singing the simple refrain ing oboe line crowns and decorates this Weddings, Funerals, and the
in English or Latin with the verses split Advent processional. This selection could Church Year
between a narrator and vocalist taking also be done simply with cantor, congre-
the role of Gabriel. Adult and children’s gation, and organ. Consider using it as Hal H. Hopson, comp. and arr. Hope
choirs will nd this charming and pleas- the gathering song for the whole Advent Publishing. 8315, $49.95.
ing. From the recorder descant to the organ Season. Here is music that makes a real
accompaniment, the instrumental as well contribution to the Advent repertoire Most of the pieces in this collection are
as the vocal lines are very easy. Excellent liturgically and musically. Very highly arrangements or editions of music taken
for use on the Fourth Sunday of Advent recommended! from the established organ literature—
or the Solemnity of the Annunciation “works of Ğy-eight composers over a
(March 25). Christ, Our Host, We Come Adoring. period of ve centuries,” as the foreword
Arr. William Rowan. SATB, congregation, notes. From the standpoint of breadth
Magnicat. Margaret Rizza. Unison or mixed keyboard. GIA, G-5964, $1.50. A charming, and depth, this book would be a valuable
voices with congregation, organ, opt. C instru- anonymous sixteenth century English purchase for an intermediate level student
ments (seven various, duet); Bb instruments tune is used to set Mary Louise Bringle’s whose organ library and budget are lim-
P M • J-J 2007 49
30796_JJ 07 Main.indd 49 5/21/2007 12:22:26 PM
ited. At $49.95, one buys three pieces for a advantage. He calls for preachers to seek embodying the preaching event, and being
dollar in this book! The rst one hundred feedback and oěers proven methods for present to it. She highlights the Episco-
pages or so consist of music to be played doing so. pal/Anglican tradition of formation by
for weddings and include fourteen bridal Mulligan writes from the perspective liturgical immersion and situates preach-
fanfares in nine major keys, processionals, of the Disciples’ tradition of the double ing solidly in that context. She admits
and prelude music. In addition, Hopson banquet, which she explains briefly. to preaching mostly to people who are
has successfully arranged several clas- She then oěers some of her pedagogical relatively well-oě, so her advice regarding
sics such as Rachmaninoě ’s “Vocalise,” strategies—including practical pointers prophetic preaching in such a community
Mozart’s “Alleluia,” and Bach’s “Jesu, for the preacher—especially regarding is well taken. Her call to preachers to grow
Joy.” Matched with some volumes from preaching at weddings and funerals. in aĴentiveness to life around them chal-
Hopson’s “Creative Use” series, this col- Her tips for eěective delivery remind the lenges them to be sensory people who then
lection would be a practical resource for reader of the sound advice received in use sensory language in the pulpit, a most
many organists serving the church. speech and preaching classes. When she Ĵing style for the sensory experience we
Heather Martin Cooper refers to narrative preaching, however, call liturgy.
it is as if it were story-telling instead of The distinctions among the ve es-
a text constructed like a story, involving sayists delight the reader, while their
Books movement from beginning through plot unanimity about the need for prayer, the
development to the end. Her insistence similarities in the process of preparing to
Preaching at the Double Feast: upon the importance of theology in and preach, and their insistence on carefully
Homiletics for Eucharistic of the preaching is most welcome. exegeting the congregation give their
Worship Halvorsen describes the Orthodox advice an even more powerful voice.
perception that there is one liturgy not Honora Werner,
Michael Monshau, ed. The Liturgical divisible into two parts. He notes the
Press, 2006. 240 pages, paperback. ISBN- sacramental use of human language in the
13: 978-0-8146-2780-8; ISBN-10: 0-8146- Scriptures, preaching, hymns, litanies, and Liturgy and Law: Liturgical
2780-3. $21.95. prayers, all functioning as encounters with Law in the System of Roman
God, with Jesus. The preacher is a poet Catholic Canon Law
Each of the ve authors of the essays writing a liturgical text for one-time use.
in this work brings insights from various The preaching is the only part of the liturgy John M. Huels. Wilson & Laeur Ltée,
traditions of the double feast of Word and that is spoken, not sung, in Orthodox prac- 2006. 250 pages, paperback. ISBN 2-89127-
Table in a particular community: Roman tice, so it must be as musical as possible. 773-2. $34.95 (Canadian).
Catholic, Disciples of Christ, Episcopal, He develops a section on the spirituality
and Orthodox communities. These in- of the preacher, relying on Chrysostom’s Liturgy and Law: Liturgical Law in the
sights include historical bases for the tra- advice for preachers. In another part of System of Roman Catholic Church Law is the
ditions’ practices, theological emphases, his essay, Halvorsen contrasts the inu- latest in the Gratianus collection of canon
and the role of preaching at the Eucharist ence of hours of media “preaching” the law texts. Authored by John M. Huels, a
in the traditions. Each author also pres- popular culture to the inuence of the tenured professor of canon law at Saint
ents a summary of how she or he teaches Ğeen-minute sermon. This observation, Paul University in Ontario, Canada, this
homiletics with an eye to the double for him, supports the patristic insistence book serves not only to place liturgical
feast. All include bibliographies—some on “the force of eloquence.” law in its appropriate context within the
annotated—making their contributions Wiesemann-Mills’s lyrical style and broader system of Catholic ecclesiastical
even more valuable. In reading this book, clarity make for delightful reading. Her law, it also provides clear, concise answers
veteran preachers will review and refresh treatment of the role of liturgical preach- to many frequently asked questions on
their understandings and reframe their ing in the Catholic Church oěers a focus liturgical issues.
experience of preaching, novices will re- for preachers torn between people’s need While I suspect this text will become
call aspects of preparation for preaching for catechesis and the call to proclaim a standard resource work for canonists
they may have forgoĴen or neglected, and the Gospel. Her section on images and and liturgists alike, it also belongs on the
teachers will have the joy of peering over imagination challenges the preacher to bookshelves of parish priests and chancery
colleagues’ shoulders to observe other stay alive in the present culture and in oĜcials. Both of these laĴer groups are
ways to teach key concepts. its artistic heritage as well. She highlights called upon frequently to answer liturgical
Each essayist oěers many giĞs, includ- the importance of the Trinity in preach- questions that involve canonical subtleties,
ing those noted here. Michael Monshau ing at the double feast. Also included are and the primary benet of Liturgy and Law
begins with a ne, albeit brief history appendices containing materials she uses is not only that it provides the proper
of the development of the ritual of the with her students, which is another valu- answers to common questions but also
double feast in Christian worship. As able giĞ. that Huels clearly and succinctly explains
he describes some teaching strategies, Clader begins her discussion from the the why underlying the answers. In fact,
he clearly explains focus, function, and perspective of an Episcopalian preacher a majority of the work focuses on the un-
moves drawn from both David BuĴrick with an emphasis on personal prayer—in derlying principles needed to understand
and Thomas Long (though he fails to cite preparing to preach, for the people who the development, interpretation, and
them in his bibliography!) and supplies will hear the preaching, and as one is adaptation of liturgical law properly.
good illustrations. His discussion of the preaching. Her comparison of the preacher It is diĜcult to overestimate the im-
diversity among hearers uses the Myers- to a musical instrument eěectively con- portance of this contribution to canonical
Briggs Personality Prole types to good veys the importance of breathing correctly, literature, given the recent revision of the
50 J-J 2007 • P M
30796_JJ 07 Main.indd 50 5/21/2007 12:22:27 PM
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Roman Missal and the number of docu- individual personality skills leads to
ments on the liturgy regularly issued by personal discernment, emotional health,
the dicasteries of the Roman Curia. Simply and happiness in using the strengths God
to identify whether or not a document is has given us. Ministry benets when indi-
legislatively binding is oĞen a challenge vidual skills are used in harmony. Natural
in itself before one can even aĴempt to personality skills, however, give rise to
interpret or apply it accurately. certain needs, which may be at odds with
Huels does an excellent job of illumi- the needs of others who lack specic skills
nating complex canonical concepts, like or who have seemingly opposite needs.
custom, which are oĞen invoked but For example, if two persons possess strong
frequently misunderstood. For example, leadership skills, they may both want to
canon twenty-four states, in part, that be the decision maker. If a staě member
no custom contrary to or beyond canon as one of the foremost experts on liturgi- is giĞed with organizational skills, her
law may obtain the force of law unless it cal law issues. With this newest book, he need for order may place her at odds with
is reasonable. Therefore, to understand oěers one of the most cogent explanations those who have a high tolerance for chaos
the canon properly, one must be able to of general administrative acts available in or exibility.
identify an unreasonable liturgical prac- English and rmly cements his growing Serious anxiety, depression, and ir-
tice. Instead of leaving this as a merely reputation as an authority on canonical rationality that continue for an extended
subjective standard, Huels provides a general norms. period may be signs of emotional illness.
concrete example from a recent document: Amy Strickland Over time, dealing with emotionally ill
Redemptionis Sacramentum, the instruction individuals can lead emotionally healthy
from the Congregation for Divine Worship ministers into some of these feelings and
and the Discipline of the Sacraments on When Ministry is Messy: behaviors themselves. Brown believes that
certain maĴers to be observed or avoided Practical Solutions to DiĜcult emotional illness in ministers not only has
regarding the Eucharist. Huels explicitly Problems an impact on other ministers but may also
asserts that the practices expressly repro- aěect the ministries themselves, as mani-
bated in Redemptionis Sacramentum must Richard C. Brown. St. Anthony Mes- fested in unjust employment practices, a
be considered unreasonable; therefore senger Press, 2006. 116 pages, paperback. decreased willingness by volunteers to
they may not be invoked as custom. ISBN 0-86716-777-7. $12.95. work in ministries led by the emotionally
These include: (1) the celebrant breaking ill, and a decline in the motivation of other
the host at the words of institution; (2) Richard Brown believes that there are ministers. These are particularly evident
altering liturgical texts; (3) laypersons of- lessons to be learned from the ministry of when it is the pastor who is emotionally
fering the homily during Mass; (4) persons Jesus that speak to conict within ministry ill.
distributing unconsecrated hosts or other and free ministers from the anxiety and Intentional sin is capable of doing
edible or inedible things before or dur- fear that arise from this conict. The oc- great harm to ministry, particularly if the
ing the Mass; (5) arbitrarily suspending currences of unjust practices in parish em- sinfulness can harm the ministry and has
the celebration of the Eucharist for the ployment and high instance of emotional an impact on many ministers or minis-
faithful on the pretext of “fasting” from illness in pastors, which Brown discovered tries. Brown identies the most common
the Sacrament; (6) using as sacred vessels in earlier research, motivated him to look categories of such sins as pride, injustice,
at Mass containers made of glass, clay, to these scriptural insights for solutions scandal, lack of courage, sloth, factions,
or earthenware or which are otherwise to conict situations. unjust accusations, envy and hatred,
common, lacking in quality and/or artis- Brown nds the scriptural foundation slander and lies, and enmity and strife.
tic merit, and easily susceptible to rust, for the identication of and solution to the Brown believes that Scripture provides
deterioration, or breakage; (7) celebrating primary sources of conict in MaĴhew a means of overcoming these causes of
Mass without proper vestments; and (8) 23. In Jesus’ denunciation of those scribes conict. Through an aĴitude of loving
inappropriately relying upon the use of and Pharisees opposed to his teaching or servanthood (MaĴ. 23:11, 20:27–28, 1
extraordinary ministers in the presence unfaithful to their own interpretation of Cor. 9:19), ministers are able to place the
of suĜcient ordinary ministers. the Torah, Brown identies personality needs of those served above the needs
The book concludes with several useful diěerences, emotional illness, and sin as arising from their own personality traits.
appendices: a listing of principal liturgi- the root causes of the hypocrisy of these A broader understanding of logic as the
cal books and rites; the current Vatican Pharisees. In Brown’s view, Jesus responds creative use of our intellectual capabili-
documents on the Roman liturgy; a table to this hypocrisy by calling for loving ser- ties is seen by Brown in the writings of
of correspondence between the former vanthood, the use of logic, loving forgive- John of the Cross and Teresa of Avila and
General Instruction of the Roman Missal and ness, and a willingness to act. These same in the Gospel of John. By using creative
the current text; and an essay on literary responses, posits Brown, can overcome logic, ministers can raise questions about
forms in canon law. The laĴermost of these conicts among church ministers. conict situations and develop creative
is the most important, since, for example, The three principal causes of dysfunc- solutions which focus on the needs of the
it makes clear distinctions between those tional conict within parish ministry ministry and not the ministers. The many
canons which are unambiguous prohibi- presented in the book are personality examples in Scripture of Jesus calling us
tions or absolute demands versus those diěerences, emotional illness, and sin. to loving forgiveness invite ministers to
which are merely suggestions or recom- Brown sees differences in individual be more aware of the needs of others and
mendations by the legislator. personality skills as part of God’s overall less judgmental and confrontational in
Huels has already established himself plan and believes that knowledge of our handling conict situations. Finally, tak-
52 J-J 2007 • P M
30796_JJ 07 Main.indd 52 5/21/2007 12:22:29 PM
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ing action (MaĴ. 23) is a necessary step in About Reviewers Publishers
eliminating destructive conict. Accord-
ing to Brown, when ministers adopt the Ms. Linda Budney, a canonist, is the pas- GIA Publications, 7404 S. Mason Avenue,
aĴitudes and perspectives of servanthood, toral associate for adult faith formation Chicago, IL 60638. (800) 442-1358; web:
logic, and loving forgiveness, the causes at Our Lady of Mercy Parish in Potomac, www.giamusic.com.
of conict can be prevented, identied, or Maryland.
remedied before serious harm is done. Hope Publishing Co., 380 S. Main Place,
Brown’s use of concrete examples Ms. Heather Martin Cooper is the director Carol Stream, IL 60188. (800) 323-1049;
to illustrate situations that can lead to of liturgical music at St. Monica Parish, St. web: www.hopepublishing.com.
harmful conict helps the reader appre- Louis, Missouri.
ciate the value of his approach. At times, The Liturgical Press, PO Box 7500, Col-
however, his interpretation of Scripture as Mr. Tim Dyksinski is the director of liturgy legeville, MN 56321-7500. (800) 858-5450,
the foundation of solutions to these situ- and music at St. Richard of Chichester ext. 2560; web: www.litpress.org.
ations seems a bit forced, particularly in Church, Racine, Wisconsin.
cases of personality conict. Although the OCP Publications, 5536 NE Hassalo,
remedies identied by Brown seem plau- Dr. Joe Pellegrino is an assistant professor
Portland, OR 97213. (800) 548-8749; web:
sible, it would have been helpful to address in the Languages, Literature, and Com-
www.ocp.org.
how specic management strategies—for position Department at the University
example, developing sound administra- of South Carolina Upstate, Spartanburg,
South Carolina. St. Anthony Messenger Press, 28 W.
tive structures or insisting on a collabora-
Liberty Street, Cincinnati, OH 45210-
tive working environment—might serve
Ms. Amy Strickland is a canonist for 1298. (800) 488-0488; web: hĴp://catalog.
as tools for implementing the insights
the Archdiocese of Boston and teaches americancatholic.org.
gleaned from Scripture. That said, Brown’s
book provides a clear understanding of canon law at Saint John’s Seminary and
the eěects of conict on pastoral care and Weston Jesuit Theology Seminary in Mas- Trinitas—see OCP.
encourages those in positions of ministry sachuseĴs.
to address these conicts for the good of Wilson & Laeur Ltée., 40 rue Notre-
each other and the faithful. Sister Honora Werner, , is a Dominican Dame E, Montréal, Québec, H2Y 1B9. (800)
Linda Budney religious living in Caldwell, New Jersey. 363-2327; web: www.wilsonlaeur.com.
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Professional Concerns also choose four measures per system—a
choice which can also be adjusted freely.
I’m now presented a page with ten staves
and four measures. This represents one
system, and due to the number of staves,
B R R. R, J. I’ll keep the composition to one system
per page.
By default, all staves have the treble
clef. Brackets and braces can be added
where needed, so I’ll brace the boĴom
Using Notation ing produced—choir, orchestra, piano,
guitar? Is there a need for a conductor’s
two staves to make a piano staě, bracket
the next two up for the choir, bracket the
Software: Encore score—a master plan for the whole piece
of music?
second through fourth for the brass, and
leave the others clear. Clefs can be changed
If you are composing for choir, will each as needed, by measure or by the whole
For centuries, the best way to tell other
voice part need its own separate staě, or staě.
musicians how to play what you had writ-
can the soprano/alto be on one staě ? Will One thing that those Italians in the
ten was to use the ve-line-four-space staě
there be a need for a piano score, or is the middle ages seemed to realize is that the
originated by the Italians in the middle
piece a cappella with no need for a piano human eye likes to see things in easy-to-
ages; this arrangement had more or less
rehearsal reduction? comprehend groups, preferably small
evolved from the four-line-three-space
Most notation soĞware will pose sev- ones, about ve items in a group. That’s
staě still used to notate chant.
eral questions as soon as the program is part of why the staě we know and love
While the Italians didn’t invent every-
opened, but before you even get to that uses ve lines. In this score we’re creat-
thing about our current notation system,
point, you have to answer other important ing, there are three groups of two staves
they did rene and standardize many
questions. Will the computer you plan to (piano, choir, unmarked) and one group
things about it, including note values and
use have the resources it needs to handle of three (brass).
spacing requirements.
this soĞware? Is there enough space on Top to boĴom, the staves are alto sax,
As I was taught, every rule about
the hard drive for the program to run? trumpet one, trumpet two, trombone, gui-
music can be broken (including the rule
Is there enough RAM for the program to tar, bass, soprano/alto, tenor/bass, piano
that every rule can be broken). But there
run without the computer crashing? Will treble, piano bass. These can be labeled
are a few things about music that re-
the printer be able to print what you’ve once at the beginning or once per page.
ally shouldn’t be broken, and many of us
created? There are several options for adding the
learned about those—or will learn about
Assuming that you have answered notes to the staves. These include using a
them—in theory class. I’ll touch on a few
these preliminary questions positively, mouse to insert what’s needed manually,
of them below, but my list will not be
let’s get into some great qualities of nota- playing the notes in with a keyboard
complete by any means.
tion soĞware. Although I will be referring that’s hooked into the computer either
mainly to Encore, many other notation by MIDI or USB, or using the computer
Notation Basics software packages operate in similar keyboard to insert notes, rests, and other
manners. Take the time to know your items manually.
Let’s begin with a brief background. The soĞware. Here’s a rule that shouldn’t be If you are using the mouse, there are
notes we use are based on their value as broken (though it oĞen is): Peruse (read) drop-down paleĴes or paleĴes that can
if they were in a measure with four beats, the manual! If that’s not in your plans, be kept visible. These paleĴes include:
and a quarter note gets one beat. This is then become good friends with the “undo” notes and rests, tools (including slurs,
also known as common time. We start with command. ties, octave markings, and other items),
a whole note, divide its value by adding a
symbols (holds, trills, tremolos, drummer
stem, divide it further by adding a lled
head, divide it further by adding a ag,
Using Encore symbols, and the like), clefs (including
alto, drum, and others), graphic tools (text
and so on.
When you open Encore, you are oěered boxes, lyric insertion, shapes, lines, etc.),
To avoid confusion between time signa-
the choice of starting a new le (song) or dynamic and expressive markings, colors
tures, a half note will always be two beats,
opening a previous one. If you choose (text and notes and more), and assorted
a quarter note will always be one, and so
“new,” then you face the question of how miscellaneous markings.
forth. This will hold true for time signa-
to set up what’s about to be brought into If you are using an external keyboard
tures with a four on the boĴom, regardless
existence. The user chooses a piano score, a or synthesizer via a MIDI or USB connec-
of the top number. Naturally, there cannot
piano-vocal score, or a single stave option tion, you have to set a tempo as well as a
be a note with more value than the top
(with boxes that oěer choices of number of click track. Additionally, you must set up
number of the time signature.
staves per system and number of systems the smallest note value. If you know that
When you start to write or arrange mu-
per page as well as number of measures you’ll only go down to eighth notes, set
sic on notation soĞware, the time signature
per system). the value there. The smaller the note value
is but one of the important ingredients
For this example, I’ll choose two staves chosen at this point, the more exact the
to consider. For whom is the music be-
for the choir, two staves for piano, and six program will be with what is transcribes,
Mr. Richard R. Reed, Jr., is the director staves for other instruments, for a total and that’s when you’ll nd out whether
of music ministries at St. Philip Benizi Par- of ten staves. (Staves can be added or your timing is oě.
ish in Jonesboro, Georgia. deleted at any point in the process.) I’ll Every fraction of a beat that your play-
56 J-J 2007 • P M
30796_JJ 07 Main.indd 56 5/21/2007 12:22:37 PM
ing is oě from the beat you set will be
shown by the computer. I suggest playing
slower than you think you’ll need so that
the timing will work out beĴer. Notes can
be moved and values adjusted at any point
in the process.
If you are using the computer keyboard
to insert notes and rests, learn any short-
cuts available to speed the process.
If using the mouse or computer key-
board to make your music, you will have to
add measures as needed. If you are using
the music keyboard and record function,
measures will be automatically added
until you hit the stop command.
Save your work oĞen! This holds true
for any computer work, but please don’t
forget it for notation work.
Copyright
If you are writing an original composi-
tion or creating your own arrangement
of a public domain work, then you will arrangement of Bobby Fisher’s “This Is the without a lead electric guitar.
want to copyright that original work, Day.” We were going to have two trumpets,
but you won’t have to get copyright an alto sax, and a trombone. The guitars Only a Tool
permission from anyone else. However, and bass worked from the published guitar
if you are working from copyrighted score and the piano from the published Notation soĞware is a tool; it cannot
sources or incorporating copyrighted piano score. I contacted Bobby through replace the skills and knowledge gener-
materials—seĴing a copyrighted text to the publisher and obtained permission ated by the human mind. In fact, Keyboard
music, for example—then you have to with one stipulation: The existing single magazine, in a test, found that a skilled
ascertain the copyright owner in advance trumpet part had to remain as is. arranger could do the task faster by hand
and contact that person or institution in That stipulation alone made the task than by using a computer. Where notation
order to get appropriate permission to quite a bit harder, but the two trumpeters soĞware shines is in the details. Say you
use that work (“appropriate” depends on we had were very skilled and experienced, have an arrangement in D, wriĴen for a
your contemplated use of the copyrighted so that helped. Bobby also wanted to see specic soprano. She gets a sore throat, and
materials). the arrangement before we used it, so your star alto says she knows the song. Pull
Arrangements bring their own set I had to get that to him in time. Things up the arrangement on your computer, hit
of copyright issues. If you are making a worked out well in the end, but the two the transpose key, and voilà! Additionally,
horn arrangement of an existing piece of trumpet parts jumped around each other. extracting individual instrument or vocal
music that has been copyrighted, then (First trumpet didn’t stay above second staves is quick and easy in most soĞware
you have to contact the composer(s) or trumpet.) programs.
copyright holders for permission to make I had an easier task in creating a horn Think of using notation soĞware as
that arrangement. You might also ask if accompaniment for Grayson Warren similar to using word processing on
they already have such an arrangement Brown’s “Go Tell It On the Mountain.” a computer. The task can be done by
available. Sometimes a song is published, Neither Grayson nor his arrangers had hand—possibly as fast or faster than do-
and the composer adds other parts later. created such accompaniments yet, so I ing it by machine—but making changes
Once you’ve obtained permission to was able to start from scratch. Using the in the text or the music and performing
make an arrangement of a copyrighted existing piano score as a guide, I found other editing functions are what make
composition, get to work! In most cases, it easy to let the horns complement the soĞware worth the cost and the eěort.
the horns for which you’re arranging will singers and piano. But soĞware programs diěer, so take time
be playing the published accompaniment. One last example: I wanted to create to compare various soĞware programs
If you’re going to change that accompa- an arrangement of the Trans-Siberian to see which will best meet your needs.
niment, you need permission from the Orchestra’s “Christmas Canon” for my MIDI or USB keyboards are well worth the
copyright holders. But before you go choir. I sought permission from the copy- cost if you’re planning to use composing
through all this work, if you are arrang- right holders and was told that if I were soĞware, and they can be obtained rather
ing for less experienced players, be sure only going to use it for my personal use inexpensively.
to know the players’ limits—especially (i.e., for the choir I’m directing) and not A what-if discussion that comes up now
younger trumpeters. going to sell it, permission wasn’t neces- and again asks what Mozart or Beethoven
sary. My arrangement ended up being might have done if they had had the tools
Some Arranged Examples SATB, piano, guitar, bass, two trumpets, we have today. My take is that they’d have
alto sax, trombone, and drum kit. I was had lots of fun making music with the best
A few years ago, I was asked to make an able to keep rather faithful to the recording tools available.
P M • J-J 2007 57
30796_JJ 07 Main.indd 57 5/21/2007 12:22:37 PM
Hotline
Hotline is a service provided by the with necessary degree. Send résumé, sal-
Membership Department at the National ary expectations, and questions via e-mail
OĜce. Listings include members seeking or fax. HLP-6948.
employment, churches seeking staě, and
occasionally church music supplies or Music Director. St. Leo Catholic Church,
products for sale. We encourage institu- 28290 Beaumont Road, Bonita Springs, FL
tions oěering salaried positions to include 34134. Fax: (239) 992-5282; e-mail: stleolit-
the salary range in the ad. Other useful [email protected]. St. Leo the Great Catho-
information: instruments in use (pipe or lic Church, a vibrant and growing parish
electronic organ, piano), size of choirs, and of 1,800 families, seeks a full-time music
the names of music resources/hymnals in director who has a thorough understand-
use at the parish. ing and appreciation of Catholic liturgy.
A listing may be posted: Close to beach and Naples Philharmonic.
Requirements include: minimum of BA
i on the web page—www.npm.org— in music with excellent organ, keyboard,
for a period of two months ($50 for and vocal skills. Responsibilities include:
members/$75 for non-members); planning and preparation for six weekend
i in print twice—once in each of the liturgies, holy days, weddings, and funer-
next available issues of Pastoral Music als and training, directing, and scheduling
and Notebook ($50 for members/$75 for choirs and cantors. Salary and benets
non-members); are commensurate with education and
i both on the web page and in print from classical to contemporary. Three- experience. Please fax or e-mail résumé to
($75 for members/$125 for non-mem- manual Rodgers organ with MIDI. Seiler St. Leo Catholic Church—Music Director
bers). grand piano. Excellent acoustics. Accom- Search CommiĴee as soon as possible.
pany choirs and/or cantors at weekend HLP-6949.
Ads will be posted on the web page as soon liturgies and special services and events.
as possible; ads will appear in print in ac- Sixty-voice adult choir, twenty-voice high Director of Music and Liturgy. St. Mar-
cord with our publication schedule. school/college choir, thirty-ve-voice el- tin de Porres Catholic Church, Jensen
Format: Following the header informa- ementary/junior high choir. Instrumental Beach, FL. Fax: (772) 334-8627; e-mail:
tion (position title, church or organization ensemble. The accompanist reports to the [email protected]; website: hĴp://
name, address, phone, fax, e-mail, and/or director of music and liturgy. Position is www.stmartindp.com. Full-time posi-
website addresses), ads are limited to a approximately twenty hours a week. Open tion in 2,500-member parish in Diocese
maximum of 100 words. beginning May 1, 2007. HLP-6959. of Palm Beach. Responsibilities include
Ads may be submiĴed by e-mail to npm- adult, children’s, and handbell choirs;
[email protected], faxed to (240) 247-3001, or F cantor training. Must be available for
mailed to: Hotline Ads, 962 Wayne Avenue, or coordinate music for weekend litur-
Suite 210, Silver Spring, MD 20910-4461. Assistant Music Director/Accompa- gies, weddings, funerals, and feast days.
When submiĴing your ad, please include nist. St. Brendan Catholic Church, 1000 Development of resurrection choir and
your membership number and the name of Oceanshore Boulevard, Ormond Beach, other events as scheduled. Also organize
the person to whom or institution to which FL 32176. Phone: (386) 441-1505, fax: (386) and facilitate liturgy commiĴee. Must be
the invoice should be mailed. 441-0774; e-mail: [email protected]. procient in piano and organ. Degree in
Part-time assistant to director of liturgy the music eld and three to ve years
Position Available and music, two weekend Masses, one experience in Catholic liturgy preferred.
choir rehearsal. Parish has a Wicks pipe Benet package including health insur-
C organ and a baby grand piano. Choir ance available. Salary commensurate
of forty-ve or more members is well with experience and education. Please fax
Accompanist. Padre Serra Parish, 5205 developed SATB. For major solemnities or e-mail résumé, references, and salary
Upland Road, Camarillo, CA 93012. parish employs violins, harps, cello, requirements to the aĴention of Father
Phone: (805) 482-6417, ext. 127; e-mail: and brass. Tradition and beautiful lit- James Molgano. HLP-6951.
[email protected]. Padre Serra urgy are the hallmarks of our ocean-side
Parish is a Catholic community of 2,800 parish. Candidate will have opportuni- I
families with a commitment to excellence ty to teach part-time in parish school if
in music and liturgy. Repertoire ranges securing Florida teaching certication and Director of Music-Organist. Saint Rich-
58 J-J 2007 • P M
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30796_JJ 07 Main.indd 59 5/21/2007 12:22:40 PM
ard Parish, 5030 South Kostner Avenue, cerville Road, Burtonsville, MD 20866.
FROM THE NATIONAL Chicago, IL 60632. E-mail: saintrichard- Phone: (301) 476-9499; fax: (301) 476-9299;
ASSOCIATION OF [email protected]. Vibrant faith com- e-mail: [email protected]. Growing
munity (1,600+ families) seeks individual non-denominational church seeks both an
PASTORAL MUSICIANS who embraces the spirituality of Vatican energetic, experienced director of music
II with appreciation for diverse styles and a talented keyboardist. Applicants
FOR CANTORS, PSALMISTS, of liturgical music and music degree or
equivalent experience. Full- or part-time.
will have professed Jesus Christ as Lord
and Savior, appreciate diverse praise and
CHOIRS, AND CHOIR Must be an experienced organist and worship selections (e.g., Gospel, contem-
choir director. Responsibilities include: porary, hymns), and have the ability to
DIRECTORS providing music for Sunday, holy day, incorporate new music/trends. Church
and school liturgies; recruiting, training, uses piano, keyboard, drums, guitar;
and overseeing choirs—adult, children, can add others. Responsibilities: lead
Four Issues a Year and resurrection funeral—and cantors; be vocalists/musicians; prepare/arrange song
part of parish staě and liturgy commiĴee. selections; lead 10:45 Sunday service,
Eight Pages Packed with Help
Full-time position would include teaching special services, and rehearsals. Degree
music in the parish school (PreK–8). Salary in music/related eld preferred. Part-time
The Liturgical Singer commensurate with experience. Full-time salary $18,000–$20,000. Keyboardist will
position eligible for benets. Position play for Sunday services, rehearsals, and
A Consistent Resource: available July 1, 2007. Send résumé to Rev. other events. Must read music, play by
• practical help for your growing Thomas Bernas. HLP-6941. ear. Part-time salary $100.00–$200.00 per
service/event. HLP-6960.
understanding of the liturgy,
Staě Cantor. St. Emeric Catholic Church,
• the singer’s role in the liturgy, M
4330 W. 180th Street, Country Club Hills,
• and usable vocal techniques. IL 60478. E-mail: [email protected]. We
are a diverse and welcoming community Director of Music Ministry. St. Zepherin
The Liturgical Singer in search of a pastoral musician for the Parish, 99 Main Street, Wayland, MA
provides a perfect blend of newly created position of staě cantor. We 01778. E-mail: fatherronatstz@comcast.
immediate practical help and seek a person of Christian faith and belief net. Part-time position in welcoming,
long-term formation. who is familiar with Roman Catholic litur- suburban Boston Vatican II parish (950
gical practice. We are particularly open to families). Candidate should possess ex-
students preparing for ministry in church cellent musical skills, be well-versed
Each issue highlights a particular
music. We seek a person with a pleasant in both traditional and contemporary
ministry or ministerial seĴing. repertoire, and be a commiĴed Catholic
singing voice (second tenor/baritone or
Each issue also oěers practical mezzo-soprano) with excellent pitch, with a strong liturgical background. Du-
suggestions, stories “from the intonation, sight-singing ability, and an ties include providing music for parish
trenches,” prayers, and hymns. engaging “stage presence.” Our liturgical liturgies; recruiting and training parish
style is informal, with both the organ and musicians including volunteer cantors;
Not just for choir directors! piano used at every Mass. The position is and being an integral part of the parish,
Consider a bulk subscription for nine hours per week. HLP-6955. staě, and worship commiĴee. Worship
your cantors and choir members. aids: Gather Comprehensive and OCP’s Spirit
M and Song. Bi-manual Rodgers organ with
Sample copy available online at MIDI, ve-year-old Boston grand piano,
Organist. St. Mark the Evangelist Church, and most importantly a singing assembly.
www.npm.org
7501 Adelphi Road, HyaĴsville, MD 20783. Mail or e-mail leĴer of interest and résumé
Phone: (301) 422-8300; fax: (301) 422-2313; to Father Ron Bourgault. HLP-6944.
website: www.stmarkhyattsville.org.
The person in this position plays for all M
Sunday morning Masses in English (7:30,
O-Y S 9:00, 10:30), holy days (Christmas, Ash Director of Music and Liturgy. St. John
Wednesday, Easter, Triduum, etc.), and the Baptist Catholic Church, 4625 West
mailed to individual addresses: accompanies one choral rehearsal (Thurs- 125th Street, Savage, MN 55378. Suburban
❖ Single copy: $22 days, 7:00–8:30) from September to May. parish and school of 2,800 households.
❖ 2–9 copies: $17 per subscription (may Reports to director of music. Weddings Candidate must have understanding of
be mailed to one or more addresses) and funerals additional. Compensation Church’s liturgy and be willing to as-
approximately $17,000. Four weeks vaca- sume responsibility for the musical and
mailed to one address: tion. Contact: JeanneĴe Oliver, Director liturgical life of the parish. Music ministry
❖ 10–24 copies: $11 per subscription of Music, by phone—(301) 405-5565 day; includes both adult and children’s choirs.
❖ 25–49 copies: $9 per subscription
(301) 890-8223 evening—or e-mail at jlo@ Candidate should ideally have experience
❖ 50 or more copies: $7 per subscription
umd.edu. HLP-6953. in choral direction and organ and piano
Canadian Postage: Please add $4 per keyboard skills. We seek a strong leader
subscription. Postage to all other countries, Director of Music and Keyboardist, Val- with experience, excellent communication
please add $7 per subscription. ley Brook Community Church, 3333 Spen- abilities, and organizational skills who
60 J-J 2007 • P M
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has enthusiasm for music and liturgy and for liturgical and musical coordination for
works with all people including children. all Sunday and holy day liturgies. Salary
Position begins on or about June 15, 2007. commensurate with education and experi-
Salary commensurate with experience. ence. Full-time or part-time as suited to
Send leĴer of interest and résumé to Father the individual. Please send cover leĴer,
Mike Tix. HLP-6942. résumé, and references via mail, fax, or
e-mail to the aĴention of Alissa Yatcko.
M HLP-6947.
Liturgist/Music Director. St. James Catho- O
lic Church, 309 S. Stewart Road, Liberty,
MO 64068. Phone: (816) 781-4343; e-mail: Pastoral Minister of Music. St. Pius X
[email protected]; website: Parish, 1280 NW Saltzman Road, Portland,
www.stjames-liberty.org. Responsibilities OR 97229. Fax: (503) 626-6540; e-mail: ecol-
include music planning and directing for [email protected]. 2,850-household
choirs/cantors/ensembles at ve weekend St. Pius X Parish in Archdiocese of Port-
Masses, playing for liturgies including land, Oregon, seeks minister responsible
funerals and weddings, planning liturgical for music at four English Masses, choirs
celebrations, and overseeing the liturgi- (adult and children), cantors; coordinate
cal ministries. Excellent keyboard and music/song leaders for children’s liturgy
SUMMER ’07
choral direction skills as well as thorough and youth Mass; knowledge of Catholic
knowledge of Catholic theology and rites repertoire. Assist with reconciliation,
required. Ideal candidate is a practicing weddings, funerals, etc. Piano/keyboard,
Catholic possessing strong organizational vocal, people skills; recruiting and su- June
and people skills, vocal and keyboard pervising music makers; commitment to
proficiency, and choral background. Vatican II liturgy. Music/theology degree 29–July 1
Minimum bachelor’s degree in music or or parish experience, competitive salary Cantor Express, Chicago, IL
equivalent experience. Mail résumé to Lit- and benets. Résumé with two references Cantor Express, Lake Charles, LA
urgist/Music Director Search CommiĴee to PMM Search CommiĴee. HLP-6961.
or e-mail Father MaĴ Link. HLP-6958.
July
W
N
9–13
Director of Liturgical Music. St. MaĴhias
NATIONAL CONVENTION
Pastoral Minister Working with Litur- Parish, 9306 W. Beloit Road, Milwaukee,
Indianapolis, IN
gies. Creighton University, 2500 California WI 53227. Phone: (414) 321-0893; fax: (414)
16–20
Plaza, Omaha, NE 68178. Campus Min- 321-1330; e-mail: jvandalen@stmaĴhias-
Choir Director, Alexandria, VA
istry seeks a full-time pastoral minister milw.org; website: www.stmaĴhias-milw.
20–22
beginning in August 2007. Creighton is org. Dynamic parish of 3,200+ families
Cantor Express, PiĴsburgh, PA
a Catholic Jesuit university serving ap- with strong congregational singing. Must
Cantor Express, Tampa, FL
proximately 6,700 students. The ideal be knowledgeable in Roman Catholic
23–27
candidate will be Catholic and able to liturgy, keyboard procient in organ and
Guitar & Ensemble, Erlanger, KY
work collaboratively with our liturgy team piano. Direct adult and handbell choir,
Pastoral Liturgy, Providence, RI
to coordinate our university and parish train cantors and musicians. Play for all
31–August 2
liturgies. The person will be an integral weekend, holy day, and school liturgies.
Music with Children, SeaĴle, WA
member of the campus ministry staě and Plan music for liturgies and play at wed-
collaborate with parish staě. Familiarity dings and funerals. Oversee directors of
with Catholic Jesuit higher education and youth choir and youth handbell choirs. August
Ignatian spirituality is desirable. Send a Work with director of liturgy. Bachelor’s
current résumé and leĴer of interest to degree in music with focus on liturgical 17–19
Laura A. Weber, Ph.D., Director, Campus music and/or signicantly related experi- Cantor Express, Tucson, AZ
Ministry. HLP-6836. ence required. Apply by sending résumé
and employment application (available on
N J news page of parish web site) to address
above. HLP-6956. Information and Registration
Director of Worship and Music Minis-
tries. The Church of the Sacred Heart, • See pages 31–38 in this issue
481 Sanford Avenue, Newark, NJ 07106.
• Phone: (240) 247-3000
Phone: (973) 373-9790; fax: (973) 373-3837; More Hotline
• Web: www.npm.org
e-mail: [email protected];
website: www.sacredheart-vailsburg. Check the NPM website for additional
org. Active, diverse, urban parish seeks Hotline ads and for the latest openings NPM
energetic, creative individual to build on and available resources: hĴp://www.npm. 962 Wayne Avenue, Suite 210
our thriving music program. Responsible org/Membership/hotline.html. Silver Spring, MD 20910-4461
P M • J-J 2007 61
30796_JJ 07 Main.indd 61 5/21/2007 12:22:43 PM
Bookstore . . . at the Convention, too!
Publications and other resources available from the National Association of Pastoral Musicians
ise d!
Publications Rev
Hiring a Director of Music Ministries:
A Handbook and Guide—Revised Edition
This helpful booklet makes the task of hiring the right
LITURGY FORMATION RESOURCES director of music ministries easier and more productive by
Ministries in Sung Worship: oěering tested and proven suggestions. Director of Music
Ministries Division, Professional Concerns CommiĴee
A Documentary and Pastoral Resource
Item #PRO-8 .......Single copy ....................................... $6.00
Documentation from oĜcial instructions and ritual books
and pastoral applications for each musical ministry.
National Certication Standards is ed!
J. Michael McMahon and Gordon E. TruiĴ
Item #LFR-5 ..........Single copy ..................................... $15.00
for Lay Ecclesial Ministers Rev
Standards for lay ecclesial ministry approved by the USCCB
Commission on Certication and Accreditation. Includes
Psalmist & Cantor: standards for Certied Director of Music Ministries. Eng-
A Pastoral Music Resource lish/Spanish edition.
A collection of practical articles drawn from Pastoral Music Item #PRO-7 .......Single copy ..................................... $14.95
and Liturgical Singer. Various authors
Item #LFR-6 ..........Single copy ....................................... $7.00 Catholic Connections to Music
Catholic Connections to Music
in the National Standards for Arts Education
!
in the National Standards for Arts Education
New
The Choir in the Liturgy: A genuine, comprehensive, and qualitative vision for music
A Pastoral Music Resource education in a Catholic school and parish seĴing.
Practical advice for choirs and choir directors about the Music Education Division
National Association of Pastoral Musicians Free download from www.npm.org
role of the choir in liturgy, rehearsals, and how to form NPM Publications 2006 • Washington, DC
Item #MED-3 ......Single printed copy ......................... $5.00
children’s and youth choirs. Various authors
Item #LFR-8 .........Single copy ....................................... $7.00 LITURGICAL DOCUMENTS
Why We Sing Pamphlet Built of Living Stones
Item #LFR-1 ................Packet of 50....................................... $7.50 Guidelines from the USCCB on art, architecture, and wor-
ship.
Keep Silence Pamphlet Item #LD-1 .............1–9 copies .............................. $11.95 each
Item #LFR-2 ................Packet of 50....................................... $7.50 ..................................10–24 copies .......................... $10.95 each
..................................25+ copies ................................ $9.95 each
Singing Our Worship
A Pastoral Musician’s Guide to the General Instruction 2000 The Music Documents:
with American adaptations. Music in Catholic Worship & Liturgical Music Today
J. Michael McMahon The 1983 revised text of Music in Catholic Worship and a 1982
Item #LFR-3 .............Single copy ....................................... $4.00 statement published ten years aĞer the original MCW.
...................................10 or more copies ................... $3.50 each Item #LD-6 .............Single copy ....................................... $5.95
The Way We Worship General Instruction of the Roman Missal
Pastoral Reections on the General Instruction of the Roman The oĜcial English translation with adaptations for the
Missal. U.S.A.
Edited by Gordon E. TruiĴ Item #LD-4 ............Single copy ..................................... $12.95
Item #LFR-4 ..........Single copy ....................................... $7.00 .................................10–24 copies .......................... $10.95 each
.................................25+ copies ................................ $8.95 each
Introduction to the Order of Mass
PROFESSIONAL ISSUES A Pastoral Resource of the Bishops’ CommiĴee on the
Liturgy.
NPM Workbook: Job Descriptions, Contracts, Salary. Item #LD-5 ............Single copy ....................................... $9.95
Revised Edition, 1996 .................................10–24 copies ............................ $8.95 each
A method for developing a contract, job description, and an .................................25+ copies ................................ $7.95 each
appropriate salary for a pastoral musician, with sections for THE HOVDA LECTURES
the pastoral musician, parish, and diocese. Virgil C. Funk
Item #PRO-4 ........Single copy .................................... $15.00 Toward Ritual Transformation (Hovda • Series I)
Remembering Robert Hovda: Essays challenging us to
Sample Contract continue the pilgrimage toward beauty and justice in
The sample contract found in the NPM Workbook. liturgy. Liturgical Press.
Item #PRO-5 ..............................Single copy ....................................... $2.00 Gabe Huck, Robert Hovda, Virgil Funk, J. Michael Joncas, Nathan
Mitchell, James Savage, and John Foley,
Work and Remuneration: A Statement and Worksheet Item #PR-11 .........Single copy ..................................... $15.95
Because music is integral to liturgy, the employment of
well-trained directors of music ministries is vital, and the Singing Faith into Practice
Church has a moral obligation to pay its musicians fair and Essays in Honor of Robert W. Hovda • Series II
equitable salaries. Director of Music Ministries Division Six pastoral scholars reect on the impact of Vatican II’s Constitution on
Item #PRO-6 ........Single copy ....................................... $5.00 the Sacred Liturgy on liturgy and other aspects of Church life.
Various authors
Item #LFR-7 ...............................Single copy ..................................... $10.00
30796_JJ 07 Main.indd 62 5/21/2007 12:22:45 PM
Sacred Signs: Commitment and Healing Pastoral Resources
Essays in Honor of Robert W. Hovda • Series III
Five pastoral scholars oěer insights into the Church’s
Sacred Signs:
These resources from other publishers are also available from
Commitment and Healing sacramental sense, initiation, marriage, and the anointing
Essays in Honor of Robert W. Hovda
Series III
Paul F. Ford
of the sick. Various authors
NPM. Order them today to enrich your ministry.
James M. Schellman
Gordon E. Truitt
Paul Covino
NPM Publications John K. Leonard
Item #LFR-9 ..............Single copy ............................... $10.00
Cantor Basics, Revised Edition
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Calendar
CONCERTS AND FESTIVALS FLORIDA St. Louis
July 20–21
INDIANA Jacksonville Children’s Choirs in Churches. Presenter: Helen
July 22–August 3 Kemp. Sponsored by Choristers Guild. Place: Cen-
Bloomington Liturgy in a Formative Environment (L.I.F.E.). A tral Presbyterian Church, St. Louis. Information:
June 17–August 4 two-week program oěering immersion in praying, Choristers Guild, 2834 W. Kingsley Road, Garland,
Indiana University Summer Music Festival. More learning about, and reecting on the Church’s TX 75041-2498. Phone: (800) 246-7478; fax: (972)
than thirty events in Bloomington, including an life of liturgical prayer—a holistic experience 840-3113; e-mail: [email protected]; web: www.
opera theater production, orchestral concerts, a of the daily and weekly rhythms of the Paschal choristersguild.org/conferences.
chamber music series, outdoor band concerts, the Mystery. Facilitators: Joyce Ann Zimmerman, ..
Festival Jazz Orchestra, solo performances, the nal ., Kathleen Harmon, . Place: Marywood NORTH CAROLINA
concert of the Seventh U.S.A. International Harp Retreat and Conference Center of the Diocese of St.
Competition, and a performance (July 6) by Chan- Augustine. Contact: Father Tom Willis, Diocese of Asheville
ticleer. Sponsored by the IU Jacobs School of Music. St. Augustine, 11625 Old St. Augustine Road, Jack- June 15–16
For more information and a complete list of perfor- sonville, FL 32258. E-mail: twillis@dosa.com. Children’s Choirs in Churches. Presenter: Helen
mances, go to hĴp://music.indiana.edu/summer. Kemp. Sponsored by Choristers Guild. Place: Grace
HAWAI’I United Methodist Church, Asheville. Information:
PENNSYLVANIA Choristers Guild, 2834 W. Kingsley Road, Garland,
November 1–3 TX 75041-2498. Phone: (800) 246-7478; fax: (972)
Kutztown Hawai’i National Park 840-3113; e-mail: [email protected]; web: www.
June 30–July 8 The Big Island Liturgy and Arts Conference. Pre- choristersguild.org/conferences.
Kutztown Festival, celebrating Pennsylvania Dutch senters include David Haas, Marty Haugen, Tony
folk life. Music, dancing, and entertainment on six Alonso, Kate Cuddy, and Bobby Fisher. Concerts Lake Junaluska
stages plus folklore programs, quilt show, folk art and workshops. Place: Kilauea Military Camp in June 17–22
and craĞs, and children’s activities. Musical perfor- Hawai’i National Park. Contact Joe Camacho: (808) Music and Liturgical Arts Week. Theme: From
mances include folk singing, country ddling, and 967-7788. Jerusalem to Joy: A Journey through a Holy Week.
brass bands. Special performances of Mennonite Sponsored by the Fellowship of United Methodists
singing by an a cappella choir. Information: (610) MINNESOTA in Music and Worship Arts. Leaders include Mi-
683-1597; web: hĴp://www.kutztownfestival.com. chael Burkhardt, Heather Murray Elkins, Roxanne
St. Paul Golden, Michael Helman, Arnold Sherman, Mark
July 31–August 5 Miller, Kevin Presley, Jerry Ulrich. Clinicians in
Music Ministry Alive! Institute for Youth and Youth dance, drama, children’s choir, and more. Place:
Leaders. Presenters include: David Haas, Lori True, Lake Junaluska Conference and Retreat Center.
Kate Cuddy, Tony Alonso, Michael Joncas, Marty Contact: www.sejmusicweek.com.
Haugen, Ray East, Paul Tate, Bonnie Faber, Rob
CONFERENCES Glover, Bobby Fisher, Stephen Petrunak, and Rob PENNSYLVANIA
Strusinski. Sponsored by The Emmaus Center and
CONNECTICUT The College of St. Catherine. Place: The College of New Wilmington
St. Catherine. Information: (651) 994-1366; e-mail: July 8–13
Mystic [email protected]. Presbyterian Association of Musicians’ Westminster
June 3–8 Conference on Worship and Music. Focus: reclaim-
Gregorian Chant Week. A week-long study of MISSOURI ing the sacramental heart of Presbyterian worship
Gregorian modes, neumes, chironomy, and Latin and the relationship between font and table and
and English texts. Daily sung liturgies. Instruc- St. Louis sacramental living in the Great FiĞy Days. Events
tor: Dr. William Tortolano. Place: Saint Edmund’s July 16–19 include music, worship, fellowship, discussion,
Retreat. Contact: Saint Edmund’s Retreat, PO Box 2007 Convocation of the Fellowship of United classes, Bible study, and evening prayer. Musical
399, Mystic, CT 06355-0399. Phone: (860) 536-0565; Methodists in Music and Worship Arts. Plenary events: organ recital, chamber choir concert, youth/
web: www.endersisland.com. presenter: Cleophus J. LaRue. Intensive classes, children talent show, and a hymn festival. Place:
workshop sessions, hymn festival with Michael Westminster College, New Wilmington. Informa-
Burkhardt, organ concert with Felix Hell, worship. tion: www.presbymusic.org.
Mystic Place: Millennium Hotel, St. Louis. Contact: Amy
October 26–28 Law, 2007 Event Chair, First UMC, 307 E 4th Street, TENNESSEE
Gregorian Chant Weekend. An intensive opportu- StuĴgart, AR 72160. Phone (870) 673-1131; fax: (870)
nity to study Gregorian chant for beginners and for 673-4146; e-mail: music@stuĴgartfumc.org. Or: Da- Brentwood
those who want a review. Instructor: Dr. William vid Bone, Executive Director, FUMMWA, PO Box October 19–20
Tortolano. Place: Saint Edmund’s Retreat. Contact: 24787, Nashville, TN 37202. Phone: (800) 952-8977; Conference: Ideas and Resources to Renew Your
Saint Edmund’s Retreat, PO Box 399, Mystic, CT fax: (615) 749-6874; e-mail: [email protected]. Children’s Choir Program. Presenter: Michael
06355-0399. Phone: (860) 536-0565; web: www. Website: hĴp://www.gbod.org/worship/fummwa/ Burkhardt. Co-sponsored by Choristers Guild and
endersisland.com. default.html. MorningStar Music Publishers. Place: Brentwood
64 J-J 2007 • P M
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GREECE
Athens and Other Sites
January 22–28, 2008
Familiarization tour: In the Footsteps of St. Paul.
Subsidized and inclusive continuing education
program sponsored by Peter’s Way Choir Tours.
Contact: Peter’s Way Tours, Inc., 25 South Service
Road, Suite 240, Jericho, NY 11753. Phone: (800)
225-7662; fax: (516) 997-4388; e-mail: peter@
petersway.com or aneĴ[email protected]; web:
www.petersway.com.
IRELAND
Dublin and Other Sites
January 28–February 4, 2008
Familiarization tour: Land of Saints and Scholars.
Subsidized and inclusive continuing education
program sponsored by Peter’s Way Choir Tours.
Contact: Peter’s Way Tours, Inc., 25 South Service
Road, Suite 240, Jericho, NY 11753. Phone: (800)
225-7662; fax: (516) 997-4388; e-mail: peter@
petersway.com or aneĴ[email protected]; web:
www.petersway.com.
Church of Mary Magdalene, Mount of Olives, Jerusalem
ISRAEL AND PALESTINE
Tel Aviv and Other Sites
January 10–19, 2008
United Methodist Church. Information: Choristers Generation to Generation. Presenters include: Dr.
Guild, 2834 W. Kingsley Road, Garland, TX 75041- Don Saliers, the Rev. John Nunes, and the Rev.
Familiarization tour: Holy Land—Song of the
2498. Phone: (800) 246-7478; fax: (972) 840-3113; David Miller. Musical presentations include the
Scriptures. Subsidized and inclusive continuing
e-mail: [email protected]; web: www.choristers- Houston Chamber Choir; the Bach Magnicat for
education program sponsored by Peter’s Way Choir
guild.org/conferences. Vespers as sung by the Houston Bach Society; and
Tours. Contact: Peter’s Way Tours, Inc., 25 South
organists Aaron David Miller, Mary Preston, Hans
Service Road, Suite 240, Jericho, NY 11753. Phone:
TEXAS Davidsson, and Robert Bates. Daily morning prayer
(800) 225-7662; fax: (516) 997-4388; e-mail: peter@
and compline. Workshops. Place: Hilton Americas,
petersway.com or aneĴ[email protected]; web:
Austin Houston. Information: hĴp://www.alcm.org/news/
www.petersway.com.
October 26–28 national/national.asp.
United States Catholic Mission Association Annual
ITALY
Mission Conference. Theme: “Are Not Our Hearts WASHINGTON
Burning?” Spirituality of Mission in the Twenty-
Rome
First Century. Keynote speakers: Gerald Arbuckle, Lynwood
January 10–17, 2008
, and Ron Rolheiser, . Panel, dialogue October 26–27
Familiarization tour: Roman Polyphony. Subsidized
sessions. Place: Wyndham Garden Hotel and Conference: Ideas and Resources to Renew Your
and inclusive continuing education program spon-
Woodward Conference Center, Austin. Information: Children’s Choir Program. Presenter: Michael
sored by Peter’s Way Choir Tours. Contact: Peter’s
(202) 832-3112; e-mail: meetings@uscatholicmission. Burkhardt. Co-sponsored by Choristers Guild
Way Tours, Inc., 25 South Service Road, Suite 240,
org; web: www.uscatholicmission.org. and MorningStar Music Publishers. Place: Trin-
Jericho, NY 11753. Phone: (800) 225-7662; fax: (516)
ity Lutheran Church, Lynwood. Information:
997-4388; e-mail: [email protected] or aneĴe@
Houston Choristers Guild, 2834 W. Kingsley Road, Garland,
peterswaysales.com; web: www.petersway.com.
July 7 TX 75041-2498. Phone: (800) 246-7478; fax: (972)
Making Worship Work Today: Choirs, Handbells, 840-3113; e-mail: [email protected]; web: www.
Rome
Congregational Song. Pre-ALCM Conference choristersguild.org/conferences.
January 10–17, 2008
event sponsored by the Association of Lutheran
Tenth Gregorian Chant Study Week in Italy. Chant
Church Musicians, Augsburg Fortress Music
masters: Rev. Anthony Sorgie, Rev. Alberto Turco,
Clinics, Concordia Publishing House, MorningStar OVERSEAS
Mr. James GoeĴsche, and professors from the
Music Publishers, and Choristers Guild. Presenters
Pontico Instituto di Musica Sacra. Contact: Peter’s
include: David Cherwien, Mark Sedio, and Venita FRANCE
Way Tours, Inc., 25 South Service Road, Suite 240,
MacGorman. Place: St. John the Divine Episcopal
Jericho, NY 11753. Phone: (800) 225-7662; fax: (516)
Church, Houston. Information: Choristers Guild, Paris and Other Cities
997-4388; e-mail: [email protected] or aneĴe@
2834 W. Kingsley Road, Garland, TX 75041-2498. January 17–24, 2008
peterswaysales.com; web: www.petersway.com.
Phone: (800) 246-7478; fax: (972) 840-3113; e-mail: Familiarization tour: Best of French Liturgical
[email protected]; web: www.choristersguild. Music. Subsidized and inclusive continuing educa-
org/conferences. tion program sponsored by Peter’s Way Choir
Tours. Contact: Peter’s Way Tours, Inc., 25 South
Houston Service Road, Suite 240, Jericho, NY 11753. Phone: Please send announcements for Calendar to: Dr.
July 8–12 (800) 225-7662; fax: (516) 997-4388; e-mail: peter@ Gordon E. TruiĴ, NPM, 962 Wayne Avenue, Suite 210,
Biennial Worship Conference of the Association petersway.com or aneĴ[email protected]; web: Silver Spring, MD 20910-4461. E-mail: npmedit@npm.
of Lutheran Church Musicians. Theme: From www.petersway.com. org.
66 J-J 2007 • P M
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Abingdon Press / United Methodist Publishing House—I Want Jesus to Walk With Me; Go Make of All Disciples; Wash,
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P M • J-J 2007 67
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Word and Music in Worship:
A Powerful Combination
T
ext joined to music is powerful. It is so powerful sung,” and they were oěered directions about translat-
a combination in worship that the Second Vatican ing the texts in ways that reected “the form of singing
Council dealt with the combination of text and which is proper to every liturgical action and to each of
music at length—more, in fact, than any other its parts” (Comme le prévoit, 36).
council of the Church. The bishops at Vatican II called Another principle guiding the translators was the
sacred music “a treasure of inestimable value,” and the theology of the Church embraced and proclaimed by the
Council’s Constitution on the Sacred Liturgy Sacrosanctum Second Vatican Council—a theology based on baptism as
Concilium calls song bound to text “a necessary or integral our common heritage and as the foundation of our liturgi-
part of the solemn liturgy.” cal participation. This theology was captured in the image
Because the combination of word and song is so power- of the Church as the “people of God” and a vision of the
ful, Catholics have always been cautious about the texts liturgy as an act of the whole Church—Christ and all the
we sing in the liturgy as well as the music we use for baptized—in which we are all engaged fully, consciously,
worship. Several times in the history of Christian liturgy, and actively. Only such total engagement in the liturgi-
new combinations of text and music in worship have led cal act, the Council said, provides the rm “source from
to heated discussions and even violent condemnations. which the faithful are to derive the true Christian spirit”
Among the major times that disputes broke out over as- (Sacrosanctum Concilium, 14).
pects of sung worship were the early baĴles over the use
F
of instruments in church (they were banned for centuries); or forty years, Latin Church Catholics around the
the introduction of the Roman Empire’s oĜcial language world have been worshiping in their own language
(Latin) into the liturgy instead of the familiar vernacular as well as in Latin. While those vernacular texts have
(Greek); the extensive introduction of psalmody, under become familiar, it has been clear to many people that the
the inuence of the rising monastic communities in the rst translations of the Latin texts were rushed, and some
fourth and Ğh centuries, to replace earlier and beloved of the translations were poorly done. Acknowledging
hymns; the introduction of the organ into Western liturgy that this is so, the group of experts responsible for the
(it has never been part of Eastern Christian worship); the English texts, under the leadership of the bishops of the
introduction of vernacular hymns in Catholic worship International Commission on English in the Liturgy, has
in imitation of the Evangelical and Reformed churches been working for nearly twenty years on an improved
during the sixteenth century European Reformation; the English translation of the Mass. Some of that work was
introduction of popular styles of music into church during short-circuited by the appearance of a new edition of
the baroque and rococo periods (the work of composers the Latin Missale Romanum and a new set of translation
such as Mozart, Beethoven, and their contemporaries); guidelines that, in some instances, provided principles that
the introduction of a particular style of Gregorian chant contradicted the rst set of guidelines from 1969, under
in the early twentieth century (prepared by the monks which the translators had been working. But much of the
of Solesmes); the introduction of vernacular texts and work has not been lost, and the experience of forty years
popular musical styles in the decades aĞer the Second of vernacular worship has also been brought to bear on
Vatican Council; and the increased use of psalmody and the new translation that is in the works.
psalm-tone music to replace hymns in recent decades. Like all other texts of the liturgy down the centuries,
When the liturgy of the Latin Catholic Church (the these new translations will be carried by music to the ears
Roman Rite) was translated into contemporary language and the hearts of those who use them in worship. These
immediately aĞer the Second Vatican Council, transla- revised texts will change the way the Mass sounds, and
tors developed a set of principles to guide the work. The some people will nd the change very diĜcult. But as
texts were intended faithfully to “communicate to a given with all other texts that the Church has used for prayer,
people, and in their own language, that which the Church the intent of these texts is to break open the Scriptures
by means of this given text originally intended to com- and our faith tradition and to illuminate the meaning of
municate to another people in another time” (Instruction the sacraments, to provide both familiar and new ways
Comme le prévoit [January 25, 1969], 6). Translators were for the Spirit to touch us and transform us and shape us
told to take “particular care . . . for texts which are to be into what we are through baptism—the Body of Christ.
Copyright © 2007 National Association of Pastoral Musicians. This page may be reproduced in its entirety as a bulletin insert by parish members
of NPM without further reprint permission. A pdf version is available at www.npm.org. For other uses, contact the NPM editorial oĜce by e-
mail: [email protected].
30796_JJ 07 Main.indd 68 5/21/2007 12:23:54 PM
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