December 2003 Archives

"Archbishop Alfred Hughes of New Orleans, chair of the U.S. bishops' ad hoc committee for the Implementation of the Catechism, reported the results of the committee's evaluation of catechetical books at the episcopate's conference last fall. He urged that bishops in their own dioceses restrict the use of catechetical texts to those that have received the judgment of conformity by the committee... Close to two-thirds of the conformity reviews we have conducted on high school catechetical materials have ended with a judgment that the materials were not only inadequate for conformity but also could not be amended." And we wonder why a younger generation has been raised, virtually ignorant of the faith of their fathers, but for the unmerited grace of God in a chosen few. May God bless and assist Archbishop Hughes and his staff in this work so critical for our times.

I was quite taken aback at my good fortune in finding the full gradual in reverent english, for Sundays and Holydays. I found it under a mound of documents called Project Canterbury. I am indebted to C. David Burt for his work in preparing it. To top it off, you'll find the entire gradual reproduced at that site in PDF format - all 417 pages! My only complaint is that the propers seem to always follow the simple chant tones, rather than the traditional gregorian tones. Never mind. This is a great start.

I ran across these three beautiful prayers, for use by choir members:

The Chorister's Meditation when vested in the Surplice
Cleanse me, O LORD, and keep me undefiled, that I
may be numbered among those blessed children, who
having washed their robes, and made them white in the
Blood of the LAMB, stand before Thy throne, and serve
Thee day and night in Thy temple. Amen.

The Chorister's Prayer after Divine Service
Grant, O LORD, that what I have sung with my
mouth, I may believe in my heart; and what I believe in my heart I may steadfastly fulfil; through JESUS CHRIST our LORD.

The issue of what to do with religious symbols really seems to have come to the fore in recent months; more so than at any other time I can recall. Peggy Noonan speaks from personal experience in this column about the banning of religious symbols: "Censoring doesn't work. Accommodation does. But a particular kind of accommodation. The answer is not banning religious symbols. This brings resentment and engenders a quiet seething that does not encourage peace and understanding. The answer is not to banish religious symbols from the public square. The answer--the pro-peace position if you will--is to fill the public square with the signs and symbols of faith. It is not to banish them from the schools, it is to teach them in the schools. "

In this book excerpt, from Gregorian Chant: A Barometer of Religious Fervor, by Stephen Thuis, O.S.B., we read an elaboration of what you might have already intuitively believed to be true: "We might dwell on the argument based upon the very nature of the ideas concerned, by stating that just as, according to the theological axiom, the lex credienti becomes the lex orandi, so the lex orandi should be the lex cantandi - that is, just as the rule of believing' becomes the 'rule of praying,' so the 'rule of praying should be the 'rule of singing.' This would result in the statement that that is the best form of church music which best corresponds to the lex orandi the 'rule of praying.' The next step would be to show that Gregorian Chant is the best musical expression of the prayer of the Church. But history confronts us with the fact that periods of religious fervor have been periods in which Chant flourished, and that periods of falling off in religious fervor have been accompanied by the decline of Chant. In fact, a survey of the synchronous histories of the Church and chant discloses a parallelism that is both striking and significant." The article, itself, is quite relevant for those of us who would promote the more prominent role of chant in the liturgy. Truth be told, I was also quite excited that the author made an inadvertent reference to the name of my blog.

Who's responsible for english music in the Liturgy? The bishops? Do they know enough about it to decide what is appropriate and what is not? I fear that those who have been advising the bishops on liturgical music care predominantly about selling liturgical resources. Why else would they sell hymnals that need to be replaced every year? I think what we need is the musical equivalent of the ICEL, representing the entire english-speaking world; a group of liturgical music specialists with a solid foundation in the Church's traditional music (OCP need not apply). This commission would be charged by Rome with the responsibility of creating a new musical foundation for english language liturgy, that would be totally analogous to the work of the Monks of Solesmes. The melodies would be as close as possible, but in english. For example, a Novus Ordo Mass for Christmas Day could either include the current Introit of the Mass in Latin: "Puer natus est nobis", or an english language equivalent, with virtually the same melody, thus retaining the beauty and sublimity of the original. And, once published, would be permanent, like the Liber Usualis. Does anyone know if such a thing already exists?

Fr. Joseph Fessio, S.J., wrote an essay in 1999, called The Mass of Vatican II which, among many relevant insights, contains this startling revelation: "I called this wonderful rabbi in Manhattan and we had a long conversation. At the end, I said, 'I want to bring some focus to this, can you give me any idea what it sounded like when Jesus and his Apostles sang the Psalms?' He said, 'Of course, Father. It sounded like Gregorian Chant. You got it from us.' I was amazed. I called Professor William Mart, a Professor of Music at Stanford University and a friend. I said, 'Bill, is this true?' He said, 'Yes. The Psalm tones have their roots in ancient Jewish hymnody and psalmody.' So, you know something? If you sing the Psalms at Mass with the Gregorian tones, you are as close as you can get to praying with Jesus and Mary. They sang the Psalms in tones that have come down to us today in Gregorian Chant." All those liturgical innovators, who are striving to return the Mass to its roots in the early Church, should take special note.

Lucy E. Carroll, D.M.A., is organist and music director at the public chapel of the Carmelite monastery in Philadelphia, and is adjunct associate professor at Westminster Choir College, Princeton. She insists in her article: "While some liturgists may try to tell us that music becomes sacred by being used for worship, the notion that function (or use) creates form (or meaning) is hardly self-evident. Most musicians, musicologists and music therapists would strongly disagree -- not to mention Cardinal Ratzinger, the popes, and Vatican directives! The nature of the thing will determine its use, not vice versa." (emphasis in the original) Most of the music heard in parishes today does not conform to Vatican directives, and thus does not contribute to the authentic liturgical reform envisioned by the Council. Until the Western Church returns to the pipe organ as the primary liturgical instrument, we shall continue to be a people adrift, out at sea, battered by the waves of the whims and preferences of whomever happens to be director of music.

"Although Pope John Paul II watched at least part of Mel Gibson's film, 'The Passion of the Christ,' he made no comment about the film, said a senior Vatican official close to the pope. 'The Holy Father saw it, but he made no comment. He watched in silence,' the official told Catholic News Service Dec. 24. 'The Holy Father does not comment, does not give judgments on art,' the official said. 'I repeat: There was no declaration, no judgment from the pope...' The pope's spokesman, Joaquin Navarro-Valls, has refused to confirm the supposed papal quote, which was relayed to reporters by the film's co-producer, Steve McEveety.' " This new information supercedes the story posted December 18, both here, as well as elsewhere, that the Pope had reportedly said, "It is as it was." Whether he actually said it or not, we may never know. What is clear as of now is that someone does not want us to know what, if anything, the Pope really said.

Alan Jacobs, a Professor of English at Wheaton College, is not alone in having a problem with most modern translations of Holy Scripture. However, he is quite precise about describing what irks him: "My complaint can be easily stated: the [translator] does not know the difference between an idiom and a metaphor. It is a distinction both simple and vital... an idiom [is] a common phrase lacking an evident literal meaning." On the other hand, the meaning of a metaphor "may not be immediately evident to the average reader; but the scholar who on those grounds removes it does not translate but interprets... What is really being revealed here is not clarity or forcefulness of translation, but the modern biblical scholar’s mistrust of figurative language. Some years ago Gerald Hammond noted that many recent translations of the Bible 'eschew anything which smacks of imagery or metaphor—based on the curious assumption, I guess, that modern English is an image-free language.' " The context of Prof. Jacobs observations revolve around Protestant translations of the Bible; but clearly, the Catholic biblical world is not immune to this disease.

Zenit columnist, Father Edward McNamara, a professor at the Regina Apostolorum Pontifical Athenaeum, answers a question on guidelines for the use of Gregorian chant in a parish Mass: "Gregorian chant may be used in any parish, even when Mass is celebrated in the vernacular. Not only is it appropriate, but Church documents positively recommend that all Catholics know at least some Gregorian melodies."

Forty years after the start of the Second Vatican Council, Father Richard Neuhaus shares with us his views on the promulgation of "Dignitatis Humanae", the 1965 declaration on religious freedom, in this interview: "Certain 'exemptions' for religious faith and practice are not enough. Religious freedom is not toleration. The state that extends toleration can also withdraw toleration. Religious freedom is a God-given right that is grounded in the dignity of the human person, in natural law, and in divine revelation. That is the argument of the declaration, and it is an argument that, everywhere in the world, must be made again and again." Please excuse me if I go on a bit of a tangent, but this makes me think of the modern-day misconception of the virtue of tolerance. If we tolerate an evil while actively yet charitably working toward overturning it, that's one thing. However, if we tolerate evil by standing behind a live-and-let-live mantra, we are merely using it as a shield to protect ourselves from controversy, confrontation or condemnation. Pick your poison: abortion, contraception, adultery, fornication. There is certainly no shortage of evils; the adherents to which we do a great disservice by giving tacit approval of their actions. When it comes to questions of good and evil, we must be clear about which side we are on. Our Lord expects no less.

Dr. Dimitri Conomos discusses Early Christian and Byzantine Music: "The answer to this question is not unique to the Christian Church. Nearly all religions have built their services around the communal repetition of sacred texts - not silent repetition, but sounded repetition, through which the holy words could be heard, mouthed and absorbed by all. And for such 'sounded repetition', singing has seemed more natural than speaking. Apart from the tediousness and sheer ugliness of communal speaking, the rhythm of song - even when it is a comparatively free rhythm - keeps everyone together and allows for audibility. And the melody of song helps people to remember the words."

The Holy Father, in his Ad Limina address to the US Bishops in 1998, reminded them: "The use of the vernacular has certainly opened up the treasures of the liturgy to all who take part, but this does not mean that the Latin language, and especially the chants which are so superbly adapted to the genius of the Roman Rite, should be wholly abandoned. If subconscious experience is ignored in worship, an affective and devotional vacuum is created and the liturgy can become not only too verbal but also too cerebral. Yet the Roman Rite is again distinctive in the balance it strikes between a spareness and a richness of emotion: it feeds the heart and the mind, the body and the soul."

Deacon Robert Barnard seems to have stumbled upon a very interesting idea: that cathedrals were designed for chant. "I was reading something recently which indicated that some churches, in particular cathedrals such as Chartres and Notre Dame, were designed with the musical modes in mind. It was stated that the architural (sic) dimensions were in direct relation to the movement of the musical modes. The book I was reading (one of Thomas Merton's) mentioned it only in passing..." Does anyone know more about this?

"[R]eports of the pope's incapacity are premature, said George Weigel, a papal biographer. Weigel said he dined with John Paul, 83, last Monday and found him 'strikingly stronger than in October,' when the pope presided over the celebrations of the 25th anniversary of his papacy. 'I thought then we were in the final phase. But he's fooled us again,' Weigel said." Being fooled in this manner is always a happy occasion. May God grant him good health and many more years.

Even in 1974, the Sacred Congregation for Divine Worship was concerned about the trend of downplaying Gregorian Chant in favor of vernacular music. "Down the centuries, Gregorian chant has accompanied liturgical celebrations in the Roman rite, has nourished men's faith and has fostered their piety, while in the process achieving an artistic perfection which the Church rightly considers a patrimony of inestimable value and which the Council recognized as 'the chant especially suited to the Roman liturgy' [Constitution on the Liturgy, no. 116]... When vernacular singing is concerned, the liturgical reform offers 'a challenge to the creativity and the pastoral zeal of every local church' [Instruction, Musicam Sacram, no. 54]. Poets and musicians are therefore to be encouraged to put their talents at the service of such a cause, so that a popular chant may emerge which is truly artistic, is worthy of the praise of God, of the liturgical action of which it forms part and of the faith which it expresses. The liturgical reform has opened up new perspectives for sacred music and for chant. 'One hopes for a new flowering of the art of religious music in our time. Since the vernacular is admitted to worship in every country it ought not to be denied the beauty and the power of expression of religious music and appropriate chant' [Address of Pope Paul VI to Consociatio Internationalis Musicae Sacrae, 12 October 1973
]... At the same time, the liturgical reform does not and indeed cannot deny the past. Rather does it 'preserve and foster it with the greatest care' [Constitution on the Liturgy, no. 114]. It cultivates and transmits all that is in it of high religious, cultural and artistic worth and especially those elements which can express even externally the unity of believers." Can you believe the discussion in 1974 revolved around Gregorian versus vernacular chant? Today, in most places, I think the word "chant" is not even on the radar.

Check it out: Test 1-2-3 at AudLink

Father William Saunders, in the Arlington Catholic Herald, explains the meaning of the Seven-Fold Announcement: "The 'O Antiphons' refer to the seven antiphons that are recited (or chanted) preceding the Magnificat during Vespers of the Liturgy of the Hours. They cover the special period of Advent preparation known as the Octave before Christmas, Dec. 17 to Dec. 23, with Dec. 24 being Christmas Eve and Vespers for that evening being for the Christmas Vigil... The importance of 'O Antiphons' is twofold. Each one highlights a title for the Messiah: O Sapientia (O Wisdom), O Adonai (O Lord), O Radix Jesse (O Root of Jesse), O Clavis David (O Key of David), O Oriens (O Rising Sun), O Rex Gentium (O King of the Nations) and O Emmanuel [O God with us]. Also, each one refers to the prophecy of Isaiah of the coming of the Messiah... According to Professor Robert Greenberg of the San Francisco Conservatory of Music, the Benedictine monks arranged these antiphons with a definite purpose. If one starts with the last title and takes the first letter of each one - Emmanuel, Rex, Oriens, Clavis, Radix, Adonai, Sapientia — the Latin words ero cras are formed, meaning, 'Tomorrow, I will come.'" Heady stuff, that.

It's no wonder that "Msgr. Joseph F. Schaedel, vicar general of the Indianapolis Archdiocese and pastor of Holy Rosary Parish in Indianapolis, describes altar serving as a lost art and an underused tool in promoting vocations." With the introduction of girls at the altar, who are told they're not permitted to pursue a priestly vocation, the mentor relationship between priest and altar boy is fractured. Any boy who takes seriously the call to the priesthood does not want to serve Mass with girls. Even he senses that the two sexes do not mix in this environment. The introduction of girls at the altar is a sure-fire way to put the last nail in the coffin of new vocations; that is, snuff them out right at their inception.

Dr. Lucy Carroll points out that it is not by accident that the pipe organ has been used to accompany the human voice in liturgical music for over 1200 years. "The pipe organ is not only powerful and authoritative because of its depth and volume, but because it mimics the human voice, a fact alluded to by Pope Saint Pius X. That is, air is pumped through pipes (organ pipe/human windpipe) via a wind chest (lungs and diaphragm) and follows a nice straight path out the round opening (pipe opening/human mouth). This means that, like a singer, a pipe organ can actually breathe." See what else she has to say in the September 2003 Adoremus Bulletin.

Phyllis Schlafly, the author of First Reader and Child Abuse in the Classroom, taught her six children to read before they entered school, and all had outstanding academic careers. She explains that, "A Great Debate has been going on for years between the advocates of Phonics (i.e., teaching the child to sound out the syllables of the English language and put them together like building blocks) and the advocates of Whole Language (i.e., teaching the child to guess at the words by looking at the pictures and to substitute words that fit the context of the story)." As a result of the virtually wholesale acceptance of the Whole Language approach, "30% to 40% of urban children can't read at all and more than 50% can't read at their grade level." Can this be an organized, deliberate attempt to breed a generation (or more) of illiterates? Wouldn't the Evil One approve?

Thus, the five-word answer to the question posed to the Holy Father: "What did you think of Gibson's Passion?" Pope John Paul II recently viewed a pre-release version of the movie in the papal apartments. Peggy Noonan also has some insightful commentary on the subject; including this gem on why church officials seem to be so reluctant to take a stand on the movie, yet feign authority on matters well beyond their competence: "The church is very odd these days in that it dodges those controversies on which it has known authority and expertise, and seems to embrace those controversies on which it seems to have nothing to add but airy non sequiturs."

Zenit columnist, Father Edward McNamara, a professor at the Regina Apostolorum Pontifical Athenaeum, comments on John Paul II's recent documents on the sacred liturgy. Among many good points, he says the documents call for "... the removal of unsuitable music from the Church's repertoire. Pius X summed up the qualities of good liturgical music in three principles: sanctity, goodness of form, and universality... Pius X's third principle of 'universality' still applies to music destined for the liturgy while leaving ample space for the particular genius of each region to express itself. Universality means that nobody from another nation should be left with a bad impression on hearing the particular music of his hosts. It also means that the liturgy is no place to test new musical forms and expressions which cause unease due to their unfamiliarity."

There are some similarities between internet blogs and Father Neuhaus' monthly While We're At It segment. Search for the word "blogger" in the December 2002 issue of First Things. In it, he says, "This space is, I admit, largely composed of running and mostly random reflections and reactions occasioned by events, arguments, and sundry curiosities loosely related to the mix of religion, culture, and public life. And it is unabashedly personal. Yet I would prefer not to be classed with the bloggers." Blog or no-blog, Father Neuhaus' insightful wit, in this regular segment of the journal, is a joy to read. Further, I admit that his is an inspiration for my own blog. Were it half as literate and a quarter poignant as his, I'd still consider it a smashing success.

Cardinal Ratzinger notes that many have lost their way along the path of liturgical reform. "Speaking at the 40th anniversary celebrations of Sacrosanctum Concilium in Trier, Germany, on 4 December, the prefect of the Vatican’s Congregation for the Doctrine of the Faith warned against trends which reduced the liturgy to banal levels." Cardinal Ratzinger says we need to cut out the torrents of talk. " 'In a society that lives ever more frenetically, bewildered by rumours and distracted in the ephemeral, it is vital to rediscover the value of silence,' he said. 'It is no accident that beyond Christian worship, meditation practices are spreading that give importance to recollection.' " The original reference is from The Tablet.

An excerpt from an interview with Cardinal Ratzinger, where he is asked how the Christian world will remember Pope John Paul II. One aspect of his reply focuses on the Holy Father's encyclicals: "I think some documents will be important forever: I want to mention the encyclicals 'Redemptoris Missio', 'Veritatis Splendor', 'Evangelium Vitae', and also 'Fides et Ratio'. These are four documents that will really be monuments for the future." See more of the good Cardinal's advice in this interview.

George Weigel throws his hat into the ring of the controversy surrounding whether or not condoms actually reduce the spread of AIDS, in his article, Latex and life. He reminds us that "...the most successful African AIDS prevention campaign is in Uganda, where a national 'ABC' program stresses abstinence and marital fidelity as 'social vaccines' against AIDS... Uganda's national infection rate has been reduced from 21% to 6% among pregnant women. As President Yoweri Museveni of Uganda puts it, he and his people refuse to believe that 'only a thin piece of rubber stands between us and the death of our continent.' Uganda's highest priority in AIDS-prevention, the President argues, is to 'convince our people to return to their traditional values of chastity and faithfulness.' " Now there is a president who has true love and concern for his people. May God bless him.

From the Apostolic Letter of the Holy Father on the Sacred Liturgy On the 40th Anniversary of the Constitution "Sancrosanctum Concilium" on the Sacred Liturgy, whose English text, translated by Zenit, was released today. Here is paragraph 4, that talks about sacred music: "In regard to the diverse realities implied in the liturgical celebration, the Constitution pays special attention to the importance of 'musica sacra.' The Council exalts it indicating as its end 'the glory of God and the sanctification of the faithful.' In fact, sacred music is a privileged means to facilitate an active participation of the faithful in the sacred action, as already desired by my venerable predecessor St. Pius X in the motu proprio 'Tra le sollecitudini,' of which this year is the centenary. Precisely this anniversary has recently given me the occasion to confirm that, according to the directives of 'Sacrosanctum Concilium,' music must conserve and increase its role in liturgical celebrations, taking account of the character itself of the Liturgy as well as of the sensibility of our time and of the musical traditions of the different regions of the world." I'm not exactly sure what the Holy Father means when he says "sensibility of our time", except that it seems to imply that music of the past does not take such into account. Ouch! What does that say about the tradition of Gregorian Chant? Help! Can anyone else see this statement in a more positive light?

George Weigel reflects on his favorite memory of Pope John Paul II in The great Christian witness of our time. Was it when he asked him to write his biography? No. Was it when he almost single-handedly brought down the Berlin Wall? No. Was it when he promptly forgave the terrorist who would have him dead? No. Read on to see why this man, the successor of Peter, is so favored by heaven.

This is my favorite article by Peggy Noonan: John Paul the Great. If you've ever dreamt of meeting the Holy Father, but know that's an impossibility this side of the Great Veil, then try living the experience vicariously through the pen of Ms. Noonan. You won't regret the time spent. By the way, I'm anxiously awaiting the release of her forthcoming book of the same title. It's been delayed from a September release. It's now supposed to be January 2004. Check for it here.

Jeff Miller's post on The Litany of Blog Humility is a hoot! Perfect for all those blog startups who have visions of being featured on the late night talk show circuit.

I've been looking for this document on the net for the past several years: Behold Your Mother: Woman of Faith. I've heard it said that it was the best document on the Blessed Virgin Mary ever to come out of the US Bishops' Office (1973). I'll tell you one thing: I've never anywhere read a better description of how Mary's presence is woven throughout Scripture; and how she is the thread that links the whole work together. It gave me an entirely new, yet thoroughly Catholic, appreciation for Our Lady and her role in the unfolding of salvation history.

Father Andrew Apostoli says, "There is nothing as powerful as a saint whose time has come. We can look at the Church here in America and see that Archbishop Sheen was a moral leader, a great example for our priests and bishops — a voice for our times. As he himself would say, 'we need a voice that’s right when everyone else is wrong.'" Father Apostoli is the U.S. Vice-Postulator for Archbishop Fulton J. Sheen’s Cause for Canonization. I fell in love with Archbishop Sheen a few years ago, after having read Three to Get Married. Everything he wrote just seems to be so prophetic. Since then, I've purchased a number of his books in second hand shops. Thankfully, his books are among the ones that no one wants (i.e. the ones promoting traditional Catholicism), so they are typically the cheapest to buy.

I've been added to this list of SOME CATHOLIC BLOGS.

I've applied to become a member of the St. Blog's Parish webring. Now, I am waiting on pins and needles, to see if I am accepted...

Four beautiful Marian Antiphons, in Latin, from the National Shrine of Saint Francis of Assisi in San Francisco. There is one for each season of the liturgical year. I am teaching these to myself and my children, so we can tack a nightly chant onto the end of our night-time prayer ritual. Bill White is already doing this in his family.

"Twelve Latin Chants Every Catholic Should Know" from Crisis Magazine. I hope to nail these down one by one, teaching them first to myself, and then to my family.

Pope John Paul II insists that, "Music must be appropriate for liturgical celebration." Now, why would he need to say that, unless there were a widespread problem of inappropriate liturgical music? In observing the 100th anniversary of "Tra le sollecitudini", by Pope St. Pius X, we can only hope that the momentum is building for a return to the Church's immemorial tradition of using Gregorian Chant and organ in the liturgy. Click here to see the document in Italian. The document seems to be a moving target. If that link does not work, try this one. According to CNS, the chirograph was an Italian-only release.

The Cantemus Domino blog (Confessions of a Recovering Choir Director) proposes a lay apostolate for chant, using the guild framework. This is a great idea, which I hope will catch on. It would encourage excellence, by establishing apprentice-type relationships. Using this approach will gradually but surely bring those learning up to speed on the vast ocean of chants that make up the Church's musical tradition.

Study aims to salvage image of fatherhood: "University researchers hope to debunk the pop-culture image of fathers as incompetent bumblers with the first major national study of male parenting." I found it hard to believe that the report of such a study does not include the plain old run-of-the-mill dad from a traditional family, where the dad is the bread-winner, the mom stays at home, and there are oodles of children to round out the house. It seems to me that they have excluded a critical reference point. The important question to ask is, "Where does the future of the family lie?" There are many ways to answer that question, but clearly, from the most basic angle, you'd have to admit that the future of the family lies squarely on the shoulders of those families who are numerically preserving themselves.

"Hewlett-Packard Co. will announce Thursday a new way of selling computers to its business customers that puts a modern twist on an old idea." It the all-new, yet ever-familiar Blade PC. Wha-da-ya know, it's a PC that can be remotely shared by anyone on the network. What a concept! Sounds like a mainframe environment to me. You know what they say... What goes around, comes around.

OK, here we go. This is my first post. My blog is officially off the ground.