Friday, February 24, 2012

Some resources on' brick by brick' approach for the Holy Father's "Reform of the Reform' in Sacrded music and the Liturgy

One of my schola member asked me recently how a diocese can help to bring more sacred music to parishes in this area.

I wrote,
first, mandate Missal chants that US Bishops put out in English in every parish at least for a year. Many dioceses are doing it. They are in their website, both recordings and scores.
Those are the exact same melodies of the "Jubilate Deo" setting for Ordinary parts that Pope Paul VI set aside after the Vatican II. They are the simpest Latin settings that the Church and the Pope desire all the Catholics learn to sing.

"Steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them." (Section 54, the Second Vatican Council, in its Constitution on the Sacred Liturgy)

The Missal chants in English are the first step towards singing the Latin chants, as in the Church's instruction above. (not just in Lent but in Ordinary times)

Next step is having Propers sung by choirs, cantors, intead of random hymns, (or in addition to hymns, if it not possible to have just Porpers). In English first, starting with one Proper such as Communio.(and then have a communion hymn.)

And the next step is offering workshops to help the priest to chant their parts, starting with something they can do well, like Doxology, Preface dialogue (the one that Fr. Warren sings at the Res. church.) If the pastors and priests want the congregation sing, they need to lead them by example by singing their parts in Holy Mass, so the congregations can reply in singing their parts, so that the congreagation become confident in singing by starting with easy parts.

There are dedicated musicians and priests who give workshops and train them to sing chants, such as

Fr. Columba Kelly

Fr. Johansen

Fr. Mark Kirby.

There are so many chant workshops everywhere these days.
And she should also attend Colloquium to experience beautiful and authentic liturgy.

It is a long time process, but read and learn more tradition to understand and intepret the Church's recent documents. Without knowledge of the Catholic Tradition, readers will be confused on interpreting GIRM, because it is based on previous documents and the tradition. The recent documents assume that people who reads them know the tradition and don't mention everything.

Especially the following two documents are very important.
Motu Proprio: Tra Le Sollecitudini (1903)
Musicam Sacram (1967)

There are many posted in
(under Church documents.)

Also there are so many books, such as

The Spirit of the Liturgy by Cardinal Ratzinger,
A New Song for The Lord by Peope Benedict XVI
The Musical Shape of the Liturgy By Dr. Marht

Thursday, February 23, 2012

Schoal: March Calendar

Saturday Mass (8:15AM) (Warm - up at 7:40)
March 3, 17, 31

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Ubi Caritas (3/3)
Stabat Mater (3/17)
Adoramus Te Christe (3/31)
Ave Regina Caelorum

At Resurrection Church
Satruday Mass (9AM) (Warm-up starts at 8:30)
March 10, 24

Kyrie XVII
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Parce Domine (3/10)
Jesu Dulcis (3/24)
Ave Regina Caelorum

Stations at the church of Resurrection
March 16, 7 PM

Stabat Mater
Attende Domine

Holy Hour and Benediction at St. Benedict
March 24 at 5 PM

1. Anima Christi (Children sing; during Preparation of the Holy Hour)

2. O Salutaris Hostia (everyone)


3. Adoro te devote (children and men)
4. O Panis Dulcissime (children)
5. Ave verum Corpus (children)
6. Jesu Dulcis Memoria (Adults)

Scripture Reading: 1 Samuel 3:8 – 10

7. Veni Creator Spiritus (children)
8. Ubi caritas (adults & children)
9. Adoramus te Christe (Adults)

Prayer for Vocations

10. Salve Regina (Solemn tone, Adults)
11. Ave Regina caelorum (men)

Scripture Reading: Matthew 4:18 - 22

12. Ave Maria (Mode VI, children)
13. Ave Maria (Mode I, children)
14. Immutemur Habitu (adult)


15. Tantum Ergo (everyone)

Priest: Panem de caelo praestitisti eis
Response (all): Omne delectamentum in se habentem

Prayer (priest)

Divine Praises (chanted by cantor/everyone.
Music and words are at the end of this packet.)

Final chant (schola)
16. Christus vincit

Children's Schola

First Friday Mass at OLPH
March 2, 8:15 AM (warm up starts at 7:45 AM)

Kyrie VIII
Gospel Accl.
Offertory: Attende Domine
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion: O Panis Dulcissime
O Salutaris Hostia (Benediction)

Wednesday Mass at St. Paul
March 7, 14, 21, 28, 8AM

Kyrie XVI
Gospel Accl.
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Communion chant

Thursday, February 16, 2012

"Singing the Mass: Sacred music's role in evangelization".

The distinction between religious music and liturgical music (cf. part one of this series) embodies this double movement: religious music is, we might say, the earthly expression of a given culture's faith in Christ; liturgical music is the sacramental expression of Christ and the true nature of the Church. The former tends to be particular, individual, temporal and profane; the latter tends to be universal, communal, eternal and sacred. Religious music comes from human hearts yearning for God; liturgical music comes from Christ's heart, the heart of the Church, longing for us.


Some might ask: should not the mention of the word assimilation give us pause, or even make us somewhat nervous? If we submit ourselves to this assimilation — with all our musical preferences, tastes, and cultural differences — to the concrete musical sources of the Church's liturgy (i.e., the Roman Missal itself, Graduale Romanum, Graduale Simplex, vernacular translations and adaptations thereof, etc.), will we not entirely lose ourselves, our individuality and creativity? Is there not a danger of the Church becoming irrelevant and therefore powerless in her liturgical expressions, a mere museum of "old" music?

To answer these concerns, we could extend the Church's teaching on the new translation to the use of liturgical music: "So the liturgy of the Church must not be foreign to any country, people or individual, and at the same time it should transcend the particularity of race and nation. It must be capable of expressing itself in every human culture, all the while maintaining its identity through fidelity to the tradition which comes to it from the Lord" (Liturgiam Authenticam, 4).

In other words, the Church, though existing in many cultures, has her own authentic culture because she has authentic liturgy… both which come to her from Christ. The unity and integrity of the Roman Rite is embodied in the Rite's sacred texts and musical forms, as a vine is expressed in its branches. Growth requires pruning and nourishing, but never ignoring or starting from scratch.