Father Skeris' article from the September 1996 issue of Crisis Magazine attempts to shed more light on the dignity of sacred music, and its contrast from the profane:
What does sacred mean? ... Profane simply means the unexceptional, that which belongs to the realm of the normal, the average, the everyday. A "preeminently sacred action," then, will be simply the accomplishment of an action, performed by a community in a nonordinary way.
But some may think that any music which is put to liturgical use thus becomes sacred. Not so, says Father Skeris:
It is not the music in itself that determines the distinction between sacred and profane, but rather its expression and the soil in which it develops, along with its interpretation or signification in the act of being received by the congregation -- in short, its associations. It is not sufficient if the music merely serves as an expression of the community's (perhaps secular) life.
Father Skeris realizes that a widespread change in attitude is the only thing standing between the status quo and a rightful return of liturgical music to its authentic sacred foundation.
But the present is no time to stand idle. Books have been written, courses are being offered, techniques and tools are already available. This eleventh hour must be filled, not with noise, but with study, teaching, and carefully wrought performance -- all governed by the pastoral good sense... A perceptible change will come about only through greater willingness toward interior conversion that leads to a new and more profound reflection on the spiritual level.
Meaning no disrespect, but I would appreciate knowing what courses (other, of course, than those listed on-line with this weblog or that of "Recovering Choir Director") have been developed for teaching how to be a *Real* Roman Catholic choral director.
For musicianship, theory and composition, voice, choral direction and music history, I dare say one could get what one needed at a University or Conservatory, but where does one go to get a sound knowledge of liturgical and musical practice of Gregorian chant, of polyphony, or of the Catholic music of the world (not just U.S. music, but European (Eastern and Western), African, and Asian), as the Vatican II statement "Musicam Sacram" would seem to require?
Any takers?
Mr. Brandt:
Three answers, approximately from least to most congruent to the question:
1. My answer: You really do not need anything apart from a good musical education. Everything else is (or begins) in the Roman (and Solesmes) documents and books.
2. Another answer: Pontificium Institutum Sacrae Musicae. Possibly the Rome School of Music at C.U. Ave Maria University?
3. I think your question is really for Father Robert Skeris, the president of the Church Music Association of America. His contact information is at the Association's Web site: www.musicasacra.com Ask him to explain himself.
With reference to your parenthetical remark:
I think that we are only obliged to be familiar with the music of the cultures with which we commonly come into contact, and I would even add that this is relevant only when those cultures have a valid musical memory, which seems to be increasingly rare whether one refers to liturgical or folk music. E.g., OCP has been as effective a bulldozer as MTV.
Also, if you are really interested in Eastern chant, you ought to read the papers and attend meetings or have contact with the CMAA's umbrella group, the Consociatio Internationalis Musicae Sacrae. Their and Maria Laach's interest seemed to lie in that direction at least during the last decade: meetings in the Middle East, etc.
More than four decades of experience, in the trenches and out, have convinced me that a "real" RC choral director is simply a) the first-class product of a good school of music, who b) has experienced the musica sacra of the Roman Church (cantus gregorianus and polyphony ancient and modern) in its worship setting, under the best available expert guidance.
Bernard Brandt has correctly indicated the path to success in the first area. I would add only that although instrumental skills (e.g. organ competence) are a very useful tool, the choir conductor's instrument is the human voice. Hence vocal skills (some solo, much ensemble singing experience under very good conductors in the great works of the repertory) are essential. But the sine qua non is : solfeggio -- and NOT spoken! The ability to sing at sight a given part, is the basic constituent of musical literacy.
The second area is more of a challenge in the ecclesia in mundo hujus temporis. The indispensable "course" here is : "Theology of Worship and of its Music." As far as I can tell, it is not currently offered anywhere. For suggestions, contact me privately.
There are a few choirs which offer opportunities to experience this repertory; one should seek them out, inquire about "apprenticeships," attend rehearsals etc. For Gregorian chant, I suggest consulting a website such as www.musicasacra.com under educational efforts, and publications. I will be happy to offer further advice, preferably by telephone.