sacred music, 114.4, winter 1987; the journal of the church music association of america

8/14/2019 Sacred Music, 114.4, Winter 1987; The Journal of the Church Music Association of America

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SACRED MUSIC Volume 114, Number 4(Winter) 1987


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Saint Michael conquering the Dragon. Tympanum of the church of St.-Michael d'Etraignes, Angouleme. c. 1140.

SACRED MUSICVolume 114, Number 4, Winter 1987

FROM THE EDITORSConcerts in Church 3The Demise of the Devo tional 4Latin and the Novu s Ord o 5PARTICIPATIONMonsignor Richard J. Schuler 7

GREGORIAN SEMIOLOGY: THE NEW CHANT. PART IIIRobert M. Fowells 11CONCERTS IN CHURCHESDeclaration of the Congregation for Divine Worship 17

EDWARD M. CONNOR (1919-1987)Catherine M. Dower 22

ORG AN RESOURCE LIST 23REVIEWS 26

NEWS 29EDITORIAL NOTE S 30

CONTRIBUTORS 30INDEX TO VOLUME 114 31


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SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874,an d The Catholic Choirmaster, published by the Society of St. Gregory ofAmerica since 1915. Published quarterly by the Church Music Association ofAmerica. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota55103.Editorial Board: Rev. Msgr. Richard J. Schuler, Editor

Rev. Ralph S. March, S.O. Cist.Rev. John BuchananHarold HughesdonWilliam P. MahrtVirginia A. SchubertCal StepanRev. Richard M. HoganMary Ellen StrappJudy LabonNews: Rev. Msgr. Richard J. Schuler548 Lafond Avenue, Saint Paul, Minnesota 55103

Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1,West Germany

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Monsignor Richard J. SchulerGerhard TrackVirginia A. SchubertEarl D. HoganRev. Ralph S. March, S.O. Cist.Mrs. Donald G. VellekWilliam P. MahrtRev. Robert A. SkerisMembership in the CMAA includes a subscription to SACRED MUSIC.Voting membership, $12.50 annually; subscription membership, $10.00annually; student membership, $5.00 annually. Single copies, $3.00. Sendmembership applications and change of address to SACRED MUSIC, 548Lafond Avenue, St. Paul, Minnesota 55103. Make all checks payable toChurch Music Association of America.Second class postage paid at St. Paul, Minnesota.Library of Congress catalog card number: 62-6712/MNSacred Music is indexed in the Catholic Periodical and Literature Index,Music Index, and Music Article Guide.Front Cover: Roger van der Weyden. 15th cent. The Archangel Michaelweighing Souls. Detail of the Last Judgment, Hospice of Beaune, France.Copyright Church Music Association of America, 1987ISSN: 0036-2255474960


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FROM THE EDITORSConcerts in Church

Without doubt, most parish priests and musicians will be happy for the recentdeclaration of the Congregation for Divine Worship, entitled "Concerts inChurches," dated N ovem ber 5, 1987. Surely everything m ust be done to preserve thesacred character of a church as God's house and the very gate of heaven. Thedisappearance of the practice of maintaining silence in church has worked against theholiness of the place; construction of new churches and renovation of older buildingsin a style that is secular has also militated against a sacred atmosphere. But morethan anything else has been the giving over of the church to secular activities:meetings, political assemblies, and concerts of secular music. The churches in manycases have become meeting halls and concert auditoriums.The Holy See has now moved to stop this trend and to restore an atmosphere ofholiness to buildings that are dedicated to the worship and the service of God. All

else must be excluded. This is, of course, nothing new; the new Code of Canon Lawonly repeats what has long been the law. Canon 1210 is the basis for the moredetailed rules given in the recent document, which is printed in its entirety in thisissue of Sacred Music.In reading the document, however, one cannot help but wonder about some otheractivities that destroy the holiness of our churches. Not least is the music performed,not at concerts, but within the liturgy itself, music which is not sacred nor is it art.So much of the output of instrumental and vocal combos that one experiences sofrequently in parish liturgies today does more to secularize the church than mostconcert prog ram s. Most o rgan and orchestra concerts in church at least feature goo dmusic even though not always sacred. While making an effort to control concertperformances, authorities should exercise more control of the liturgical perform-ances so widely used today.Further, the docum ent m oves from its subject concerts in churches to com menton matters not directly concerned with the issue at hand. In paragraph 6, it says:"musical compo sitions which date from a period when the active participation of thefaithful was not emphasized as the source of the authentic Christian spirit are nolonger to be considered suitable for inclusion within liturgical celebrations." These,whatever they might be, are allowed for sacred concerts in church. But the questionthat arises is what is meant by the phrase, "a period when the active participation ofthe faithful was not emphasized." Most Gregorian chant was sung almost exclusivelyby monastic choirs. The music of Palestrina was written for sixteenth century poly-phonic choirs. And yet both those styles have continuously been upheld by thepopes for use and imitation as the proper music for liturgical celebrations. Thissentence is liable to cause problems if it is picked up by those who have tried so hardto destroy the art of sacred music, those who in the twenty years since the SecondVatican Council have nearly succeeded by disbanding choirs and forbidding the useof Latin, all in the name of participation.

The document gives good guidelines for regulating the use of churches for con-certs, which is i ts purpose. The extra comments, such as the one quoted above, arenot on the subject and may stir up false ideas about true participation. Each age didindeed participate in the liturgy; former eras cannot be judged by our standards ofthe means to participate. Indeed, differences even in today's world bring about thevariety that is witnessed in today's liturgies. Palestrina and the renaissance polypho-nists an d certa inly the Gr ego rian repe rtory, wh en listened to wi thin a liturgica l FROM THE EDITORS


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setting, can bring about a deep participation in the congregation through listening.(Cf. article on participation in this issue of Sacred Music.)Serious attention and obedience must be given to this declaration from Rome. Itcan bring about nothing but an improvement in making our churches the holy placesthat they should be. As musicians we have an important role through music topromote the sacred. R.J.S.The Demise of the Devotional

Much has been said about the loss of liturgical sense of the sacred, but little hasbeen said of the pivotal personage mainly responsible for this unfortunate develop-ment, the priest celebrant. It is he who sets the mood knowingly or unknowingly,creates the a tmo sphere del iberate ly or o therwise , whenever M ass is celebrated. Themanner in which he says Mass is a transparent index as to his convictions concerninghimself first of all, but also concerning his spiritual life and being, concerning hisunderstanding of the priesthood, and lastly, of the awesome act he is performing.Consciously or unconsciously, he betrays his piety or lack thereof, his dedicat ion orlack thereof, his culture and education or lack thereof, a sensitivity which will notallow him to impose or intrude his own personality upon the ritual he is enacting,that he himself is not hin g, bu t wh at he does is ineffable. Th e word one searches foran d finally finds is the wo rd "objectivity."

The preconciliar way of enacting the Mass was objective in the sense that itpermitted little display of the individual. Priests were tall or short, stout or thin, butwhen they put on the a lmost ubiquitous f iddleback vestment, they al l were s implypriests. The fiddleback was the great leveler of individuality. And when the fiddle-back mounted the altar steps the congregation knew subsconsciously that, likeMoses, he was going up to talk to God and that was what they were paying him for.The mystique of the Latin contributed to objectivity, uniformity. Even if he wantedto , in those far off times, there was little the priest could do to deprive the Mass of itsobjective sacredness. But then things got turned around, not just the altars, but thepriests themselves, degenerating as they did into a generation of thespians, and verypoor ones at that, becoming actors without being trained in the subteties of acting, inthe restraint, nuances and understatements which are the actors ' tool of trade. Theanonymous fiddleback was traded off for something closely resembling a horseblanket, the ample folds of which encourage wildly flaying gesticulation and othertheatricities. "Look at me in my horse blanket; am I not wonderf ul to beh old? " Thecongregation found themselves eye ball to eye ball with this hirsute anomaly nolonger an avenue to the deity but an obstacle thereunto. Their sensibilities devas-tated, they took off, carrying their offertory envelopes with them.

We priests could take a cue from the apostles, the founders of our ancient faith.Al thou gh they received their prie stho od directly from the dear Lord Himself, theywere largely a faceless, anonymous group. We know nothing of most of them exceptthat they preached the gospel and died because they did so. Liturgical anonymityand objectivity are achieved and can be restored by faithful observance of the rulesand rubrics . Do i t the way the book says and you have a holy Mass. The rules andrubrics leave little leeway for adlibbing, interpolation, innovation, intrusion of the"imaginative" individual .Meanwhile the side-shows go on and a shallow faith becomes shallower still .The characteristic of objectivity applies equally to that integral liturgical actionwhich is the proclamation of the word. The temptation is always there for thepreacher to insinuate himself as orator or comedian or rhetorician, the turner of the

FROM THE EDITORS artful, clever ph ras e. He must lea rn to obs cur e himself in the objec tive reality an d


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mystery of Christ, the objective reality and mystery of the truths of faith andrevelation. It was said of Saint Dominic that he never talked about anything butGod. All work and no play makes Jack a dull boy, and Dominic must have beensomewhat of a bore. But he had the right idea and therefore was a great priest.

But will the authorities intervene? It isn't likely. As we so often say, things are asthey are because the authorities want them that way. We hear them talking approv-ingly about "liturgies" which are "meaningful" and "imaginative" and "innovative."Meanwhile, according to professional pole gatherers, more and more Catholics stayaway from Mass, turned off and away by the puerile and amateurish ineptitudes towhich they are being subjected.

REV. JOHN BUCHANAN

Latin and the Novus OrdoT h e r e is still a l a ck of co r r ec t i n f o r m a t io n , and a lso a g o o d d ea l of m i s i n f o r m a -

t i o n , a b o u t the s t a t u s of L a t in in the C h u r c h on the one h a n d , and a b o u t the N o v u sO r d o and the T r i d e n t i n e M a s s on the o th e r . The s t a t e of affairs is exempl i f ied by ac o n v e r s a t i o n I had w i t h an old f r i en d so m e y ea r s ag o . I r e m e m b e r it b e c a u s e he is ani n t e l l i g en t , we l l - ed u ca t ed p r o f e s s io n a l man who is w e l l - i n f o r m e d on a l m o s t all mat-ters of cu r r en t i n t e r e s t , and a l so b ecau se at the t im e of our c o n v e r s a t i o n he hadr ecen t ly b een o r d a in ed a p e r m a n e n t d e a c o n .

A s we t a l k e d a b o u t his new s t a t u s in the C h u r c h , it was ev id en t t h a t he wasd e v o t e d to his new d u t i e s and p r iv i l eg es , and was ap p ly in g h im se l f to t h em wi th r ea le n t h u s i a s m . We d i scu ssed his ro le in the l i tu rgy , and I m e n t i o n e d t h a t I a t t e n d a L a t inh i g h M a s s on S u n d a y s . He l o o k e d at me wi th su r p r i se , and w a n t e d to k n o w howp e r m i s s i o n had b e e n o b t a i n e d for a L a t i n M a s s .

It was my t u r n to be s u r p r i s e d to f ind tha t a p e r m a n e n t d e a c o n of the C h u r c h wasw i t h o u t p r o p e r k n o w l e d g e a b o u t the p lace of L a t i n . I a s s u r e d him t h a t not o n ly wasp e r m i s s i o n for the use of L a t in not r eq u i r ed , but t h a t L a t in is still the officiall a n g u a g e of the C h u r c h in the Lat in r i tes , and t h a t Va t i can II, w h i l e p e r m i t t i n g thev e r n a c u l a r , ha d sa id so in no u n c e r t a i n t e r m s .

In the d o c u m e n t s of Vat i can II, w h i c h I offered to b r i n g to him, we f ind thef o l lo win g in the c o n s t i t u t i o n on the sacred l i tu rgy , 36: 1,2:

Particular law remaining in force, the use of the Latin language is to be preserved in theLatin rites. But since the use of the mother tongue, whether in the Mass, the administra-tion of the sacraments, or other parts of the liturgy, may frequently be a great advantageto the people, the limits of its employment may be extended. . .M y f r i en d was sti l l skeptical and fe l t cer ta in tha t such a M a s s was no l o n g e r

a l l o w e d . I r ea l i z ed th en th a t to him a L a t i n M a s s m e a n t a T r i d e n t i n e M a s s . The twow e r e one and the s a m e in his m i n d . So I w e n t on to ex p la in t h a t the Lat in h ighM a s s e s t h a t I a t t e n d are a c c o r d i n g to the N o v u s O r d o , a s t a t e m e n t t h a t b r o u g h tf u r th e r p u zz l em en t u n t i l I p o i n t e d out t h a t t h i s m ean t the "new M a s s " t h e newf o r m of the M a s s a n d t h a t the use of L a t in w i th the N o v u s O r d o is not o n l yl eg i t im a te but v e r y m u c h in t u n e w i t h the i n s t r u c t i o n s of Vat i can II.

It is well to n o te t h a t Va t i can II tel ls us t h a t Latin is to be preserved, w h i l e use oft h e v e r n a c u l a r may be e x t e n d e d . T h a t s e e m s so s t r a i g h t f o r w a r d t h a t it a lmost def iesi n a d v e r t e n t m i s i n t e r p r e t a t i o n . But w h a t has h a p p e n e d , of c o u r s e , is t h a t the v e r n a c -u l a r has t ak en o v e r a lm o s t co m p le t e ly .

T h e i n d u l t to a l lo w the T r i d e n t i n e M a s s in r e s t r i c t ed c i r cu m s tan ces has f u r th e rc l o u d e d the i s su e , b ecau se the T r i d e n t i n e M a s s t h e "old M a s s " t h e M a s s of P o p e FROM THE EDITORS


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Pius Vmust be said in Latin. But that is a separate matter, and should not compli-cate our understanding of the proper places of Latin and the vernacular in the NovusOrdothe new ri te of the Mass.There is no question that the Mass according to the Novus Ordo can be celebratedwith b eauty and reverence and solemnity, w heth er in Latin or in English. It certainlyis at the Churc h of St. Agnes in Saint Paul, M inne sota. But the element of mystery inwo rship is mu ch m ore difficult to achieve in English, an d the use of English has led towidespread abuses and serious aberrations in many places. To say that such devia-tions are in direct defiance of authority is to speak the simple truth.Consider the instructions from the Sacred Congregation for the Sacraments andDivine Worship published with the approval of Pope John Paul II:

One who offers worship to God on the Church's behalf in a way contrary to thatwhich is laid down by the Church with God-given authority and which is customary inthe Church is guilty of falsification.No person, even if he be a priest, may add, remove or change anything in the liturgyon his own authority.Anyone who takes advantage of the reform to indulge in arbitrary experiments iswasting energy and offending the ecclesial sense.It is a very serious thing when division is introduced. . .in the liturgy and the Eucha-ristic Sacrifice, by the refusing of obedience to the norms laid down in the liturgicalsphere.Those instructions are so explicit that it should be difficult for any ordinaryCatholic to comprehend how they can be deliberately ignored. Whether because ofignorance or disobedience, it is inexcusable and deplorable.There is a continuing argument about whether the Tridentine Mass should be fullyrestored alongside the Novus Ordo, or with the Novus Ordo el iminated. The argu-ment ranges all the way from those who declare that the Novus Ordo change wasunwise to those who condemn it as invalid. Whether the Novus Ordo is entirely

responsible for the secularization and vulgarization of the liturgy is open to ques-tion, but it certainly presented the opportunity to those who were so inclined. Andthey seized it with a vengeance. So those who contend that the change to the NovusOrdo together with the vernacular was unwise may well have a reasonable argu-ment .It is some thing altogether different, however, to argue that the Nov us Or do resultsin an invalid Mass. That is far-fetched, extremist, and completely witho ut founda -tion. There can be no question whatsoever that the Mass according to the NovusOrdo is valid, and we should never let questions about its validity go unanswered.We are left with serious problems in regard to the liturgy. Proper instructionwould surely easily clarify the proper place for the use of Latin and the vernacular,as well as the present situation in regard to the Novus Ordo and the TridentineMasses.Eliminating the abuses now so prevalent will certainly be incomparably moredifficult because of the dissension and free-thinking that are tormen ting the Ch urch.A good starting point is to be aware that they are indeed abuses and in directdefiance of the instructions to "one who offers worship to God on the Church'sbehalf." DR. GERALD HOFMANN, Guest Editor

FROM THE EDITORS6


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PARTICIPATIONWith th e co n s t i t u t i o n o n th e l i t u r g y , Sacrosanctum Concilium, issued in 1965 by

th e Seco n d Va t i can Co u n c i l , ev e r y o n e b ecam e v e r y co n sc io u s o f p e r so n a l p a r t i c ip a -t i o n in t h e sac r ed l i t u r g y , p a r t i cu l a r ly i n t h e M ass .

But ac t ive par t ic i pa t ion in the l i tu rgy was no t a concep t c rea ted by the Secon dVa t i can Co u n c i l . I n d eed , ev en th e v e r y wo r d s actuosa participatio can be found inthe wr i t ing s of the po pe s fo r the pas t one hu nd red y ear s . Pop e Pius X ca l led fo r it inh is motu proprio, Tra le sollecitudini, p u b l i sh ed in 1 9 0 3 , wh en h e sa id t h a t " th efa i thfu l ass emb le to d ra w tha t sp i r i t f rom i t s p r im ar y and ind isp ens ab le source , tha tis , f rom ac t ive par t ic ipa t ion in the sacred myster ies and in the pub l ic and so lemnprayer o f the Church ."

Po p e P iu s XI i n h i s ap o s to l i c co n s t i t u t i o n , Divini cultus, wrote in 1928 , tha t ther e s to r a t io n o f Gr eg o r i an ch an t f o r t h e u se o f t h e p eo p le wo u ld p r o v id e th e m ean swhereby " the fa i th fu l may par t ic ipa te in d iv ine worsh ip more ac t ive ly ." Such par t ic i -p a t io n was to b e ach iev ed b o th b y s in g in g an d b y an ap p r ec i a t i o n o f t h e b eau ty o fthe l i tu rgy which s t i r s the hear t o f the worsh iper , who thereby en ters in to the sacredm y s te r i e s .In h is encycl ica ls , Mystici corporis in 1943 , and Mediator Dei in 1947 , Pope PiusXII used the te rm bu t carefu l ly ins is ted tha t t rue par t ic ipa t ion was no t mere ly ex ter -n a l b u t co n s i s t ed in a b ap t i sm a l u n io n w i th Ch r i s t i n H i s M y s t i ca l Bo d y , t h e Ch u r ch .

In 1958 , the Sacred Congregat ion o f Ri tes i ssued the ins t ruc t ion , De musica sacra,wh ich d i s t i n g u i sh ed sev e r a l q u a l i t i e s o f p a r t i c ip a t io n :

The Mass of its nature requires that all those present participate in it, in the fashionproper to each.This participation must primarily be interior (i.e., union with Christ the Priest;offering with and through Him).b) But the participation of those present becomes fuller (plenior) if to internal atten-tion is joined external participation, expressed, that is to say, by external actions such asthe position of the body (genuflecting, standing, sitting), ceremonial gestures, or, inparticular, the responses, prayers and singing. . .It is this harm onio us form of participatio n that is referred to in pontifical docum entswhen they speak of active participation (participatio actuosa), the principal example ofwhich is found in the celebrating priest and his ministers who, with due interior devo-tion and exact observance of the rubrics and ceremonies, minister at the altar.

c) Perfect participatio actuosa of the faithful, finally, is obtained when there is addedsacramental participation (by communion).d) Deliberate participatio actuosa of the faithful is not possible without their ade-quate instruction.I t i s m ad e c lear tha t i t i s the bap t i sm al ch arac ter tha t fo rm s the fou nd at i on o f

a c t i v e p a r t i c i p a t i o n .Vat ican I I in t roduced no rad ica l a l te ra t ion in the concep t o f participatio actuosa as

f o s t e red b y th e p o p es f o r t h e p a s t d e cad es . T h e g en e r a l p r in c ip l e i s co n ta in ed inAr t ic le 14 o f the const i tu t ion on the sacred l i tu rgy :

Mother Church earnestly desires that all the faithful should be led to that full, consciousand active participation in the ceremonies which is demanded by the very nature of theliturgy.Such participation by the Christian people as a "chosen race, a royal priesthood, aholy nation, a redeemed people" (I Pet. 2:9; 2: 4-5) is their right and duty by reason oftheir baptism.In the restoration and promotion of the sacred liturgy this full and active participa-tion by all the people is the aim to be considered before all else; for it is the primary andindispe nsable source from wh ich the faithful are to derive the true spirit of Ch rist. . . PARTICIPATION


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T h e wo r d " f u l l " (plena) r e f e r s t o t h e i n t eg r a l ly h u m an f a sh io n in wh ich th e b ap t i zedfa i th fu l take par t in the l i tu rgy , i .e . , in te rna l ly and ex terna l ly . The word "consc ious"(conscia) d em an d s a k n o wled g e o f wh a t o n e i s d o in g o n th e p a r t o f t h e f a i t h f u l ,ex c lu d in g an y su p e r s t i t i o n o r f a l se p i e ty . Bu t t h e wo r d " ac t iv e" (actuosa) r eq u i r e ss o m e g r e a t er e x a m i n a t i o n .

A t r u e g r a sp o f t h e m ean in g o f p a r t i c ip a t io n in t h e l i t u r g y d em an d s a c l ea ru n d e r s t an d in g o f t h e n a tu r e o f t h e Ch u r ch an d ab o v e a l l o f Ch r i s t Himself. At th eb as i s o f so m u c h o f t o d ay ' s p r o b lem s in l i t u r g y l ie s a fa l se n o t i o n o f Ch r i s to lo g y an decc l e s io lo g y . Ch r i s t , t h e i n ca r n a t e Wo r d o f Go d , t r u e Go d an d t r u e M an , l i v e s o n inth is wo r ld no w. " I wi l l be wi th you a l l days un t i l the end o f the wo r ld ." Even th ou ghHe h as a r i sen an d a scen d ed in to h eav en , He l i v e s w i th u s . T h e Ch u r ch i s H i s m y s t i c a lBo d y , i n d eed H i s m y s t i c a l Pe r so n . We a r e t h e m em b er s o f t h a t Bo d y . I t s a c t iv i t y , t h eac t iv i ty o f t h e Ch u r ch , i s t h e ac t iv i ty of Ch r i s t , i t s He ad . T h e h i e r a r ch ica l p r i e s th o o df u n c t io n s i n t h e v e r y p e r so n o f Ch r i s t , d o in g H i s wo r k o f t e ach in g , r u l in g an dsan c t i f y in g . T h u s th e M ass an d th e sac r am en t s a r e Ch r i s t ' s a c t i o n s b r in g in g to a l l t h em e m b er s o f H i s Bo d y , t h e Ch u r ch , t h e v e r y li fe t h a t i s i n i t s He ad . P a r t i c ip a t io n inth a t l i f e d em an d s th a t ev e r y m em b er o f t h e Bo d y t ak e p a r t i n t h a t a c t io n , wh ich i sp r im ar i ly t h e l i t u r g i ca l a c t iv i t y o f t h e Ch u r ch . T h e l i t u r g y i s t h e p r im ar y so u r ce o ftha t d iv ine l i fe , and thus a l l must be jo ined to i t in an ac t ive way . Bap t ism is the keyth a t o p e n s t h e d o o r an d p e r m i t s o n e to b eco m e p a r t o f t h e li v in g Bo d y of Ch r i s t . T h eb ap t i zed Ch r i s t i an h a s n o t o n ly a r i g h t t o p a r t i c ip a t io n in t h e Ch u r ch ' s l i f e b u t a d u tya s we l l . I t i s o n ly t h e b ap t i zed p e r so n wh o can p a r t i c ip a t e .

T h e d i f f e r en ce b e tween p a r t i c ip a t io n in t h e l i t u r g y th a t c an b e ca l l ed activa a n dp a r t i c ip a t io n th a t c an b e l ab e l l ed actuosa res ts in the p resence in the sou l o f theb ap t i sm a l ch a r ac t e r , t h e sea l t h a t g r an t s o n e th e r i g h t t o p a r t i c ip a t e . Wi th o u t t h eb ap t i sm a l m ar k , a l l t h e ac t io n s o f s in g in g , wa lk in g , k n ee l in g o r an y th in g e l se can b et e r m e d " ac t iv e ," b u t t h e y d o n o t co n s t i t u t e participatio actuosa. O n l y t h e b a p t i s m a lch a r ac t e r c an m ak e an y ac t io n s t r u ly p a r t i c ip a to r y . L e t u s u se an ex am p le . L e t u s sayth a t a p io u s H in d u a t t en d s M ass , t ak e s p a r t i n t h e s in g in g an d ev en wa lk s i n ap r o cess io n w i th g r ea t p i e ty . I n t h e sam e ch u r ch i s a l so a Ca th o l i c w h o i s b l i n d an dd ea f an d w h o i s u n a b le t o l e av e h i s ch a i r ; h e can n e i th e r s in g n o r h ea r t h e r ead in g sn o r wa lk in t h e p r o cess io n . Wh ich o n e h a s t r u ly p a r t i c ip a t ed , t h e o n e wh o i s v e r yac t iv e , o r t h e o n e wh o h as co n f in ed h im se l f so l e ly t o h i s t h o u g h t s o f ad o r a t io n ?Ob v io u s ly , i t i s t h e b ap t i zed C a th o l i c w h o h a s ex e r c ised participatio actuosa d esp i t eh i s l a ck o f ex t e r n a l , p h y s i ca l m o v em en t . T h e H in d u ev en w i th h i s m an y ac t io n s h a sn o t b een cap ab le o f i t , s i n ce h e l a ck s t h e b ap t i sm a l ch a r ac t e r .

Gr an t in g th en th e ab so lu t e n ece ss i t y o f b ap t i sm , i t s t i l l i s im p e r a t iv e f o r t h eCh r i s t i an to t ak e p a r t i n t h e l i t u r g y ac t iv e ly b y a v a r i e ty o f a c t io n s . T h i s m ean s th a tth e i n t e r n a l actuosa participatio, w h i c h t h e b a p t i s m a l m a r k e m p o w e r s , m u s t b ea id ed b y th o se ex t e r n a l a c t io n s t h a t h e i s c ap a b le o f. H e sh o u ld d o th o se t h in g s t h a tth e Ch u r ch se t s o u t f o r h im acco r d in g to h i s r o l e i n t h e l i t u r g y an d th e v a r io u sco n d i t i o n s t h a t ag e , so c i a l p o s i t i o n an d cu l tu r a l b a ck g r o u n d d i c t a t e . He m u s t j o inparticipatio activa to his participatio actuosa wh ich h e ex e r c i se s a s a b ap t i zed p e r -s o n .

Wh a t a r e t h o se ac t io n s t h a t m ak e f o r t r u e ac t iv e p a r t i c ip a t io n in t h e l i t u r g y ?T h e se m u s t b e b o th i n t e r n a l an d ex t e r n a l i n q u a l i t y , s i n ce m an i s a r a t i o n a l c r ea tu r ewi th b o d y an d so u l . T h e ex t e r n a l a c t io n s m u s t b e i n t e l l i g en t an d u n d e r s to o d , s in ce r ea n d p i o u s i n t e r n a l l y . T h e C h u r c h p r o p o s e s m a n y b o d i l y p o s i t i o n s : k n e e l i n g , s t a n d -in g , wa lk in g , s i t t i n g , e t c . I t l i k ewise p r o p o se s m an y h u m an ac t io n s : s in g in g , sp eak -in g , l i s t en in g an d ab o v e a ll e l se , t h e r ecep t io n o f t h e Ho ly E u ch a r i s t . T h ey d e m an din t e r n a l a t t en t io n a s we l l a s ex t e r n a l ex ecu t io n .

PARTICIPATION O n e of th e m os t ac t iv e an d de m an di ng o f h u m a n ac t io ns i s tha t o f l i s ten ing . I t


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requires strict attention and sum mo ns up in a person his total concentrative effort. Itis possible, for example, to walk without really knowing that one is walking oradvert to where one is going. It is possible even to sing, especially a very familiartune, and not be conscious of actually singing. But one cannot truly listen withoutattention. Especially in our day of constant radio and TV broadcasting, we are ableto tune out almost every sound we wish. To listen attentively demands full humanconcentration. Listening can be the most active form of participation, demandingeffort and attention. Truly, as the scriptures tell us, faith demands hearing, fides exauditu.With that in mind, surely the baptized Christian who listens with care to theproclamation of the gospel or the singing of the preface at Mass truly has achievedpart icipat ion, both activa and actuosa.The Church does not have the entire congregation proclaim the gospel text, butrather the deacon or the priest does it. It is the duty of all to listen. The canon of theMass is not to be recited by everyone but all are to hear it. Listening is a mostimportant form of active participation.There is a variety of roles to be observed in the public celebration of the liturgy.There is the role of priest, deacon, reader, cantor, choir and congregation, amongmany others. Because each office has his own purpose and its own manner of actingwe have the basic reason for a distinction of roles. If the reader or the cantor is toread and sing, certainly the role of the others is to listen. If the choir is to sing,someone must listen and in so-doing participate actively in the liturgy, even if duringthe period of listening he is relatively inactive in a physical way.

Every age has participated in the liturgy through baptism, as members of theChurch and part of the mystical Body of Christ. All ages have shared in the right andduty of actuosa participatio. If, as Pius X insists, the liturgy is the pri m ary source ofthe Christian life, everyone must take part in it to achieve salvation. Active partici-pation is not an invention of our day; the Church throughout the ages constantlyshared the life of Christ with its members in the Mass and the sacraments, the veryactions of Christ Himself working through His Church and His priesthood. For eachage the activities deemed by it to be useful in promoting that participation havevaried according to the needs and ideas of the period. One cannot say that becausethe medieval period developed a chant that was largely the possession of monasticchoirs, the congregations who listened were not actively participating. Perhaps notaccording to post-Vatican II standards, but one must carefully avoid the error ofjudging the past by the present and applying to former times criteria that seemvaluable in our own times. Because Palestrina's polyphonic Masses require the sing-ing of trained choirs, can one assume that non-choir members in the renaissanceperiod were deprived of an active participation in the liturgy? No age could permitsuch a thing to happen and thus be deprived of the primary source of the spirituallife. The sixteenth-century baptized Roman did participate through listening alongwith other activities, as no doubt an eighteenth-century Austrian did when he hearda Mozart Mass performed by a choir and orchestra.

We must then carefully consider the roles of each individual, and we must con-sider the cultural and personal conditions of each one who must find in the liturgythe primary source of his spiritual life. A variety of opportunities for liturgicalactivity is needed, and good pastoral direction will supply the need. The Churchherself does so by the very rubrics of the liturgical books, directing what is to bedone. The Vatican Council taught the need of various functions and various roles tocarry out completely the liturgical actions.Surely the spoken an d sung responses and acclam ations in the liturgy are the rightand the duty of all present. But the practice of calling the Sanctus an ac cl am at io n is PARTICIPATION


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without foundation; it is a hymn, found in the Old Testament and sung by theangels. It is not the exclusive perogative of the congregation as it might be tho ught tobe if it is labelled an acclamation. As a hymn it can be given to a trained group andsung in a more elaborate setting. The same is true of the parts called the ordinary ofthe Mass, including the Credo, which may be listened to and consented to with greatfaith without having to be spoken by the congregation. The proper parts of theMass, because of the great variety of texts and settings, fall of necessity to trainedand practiced groups. One may, of course, never exclude the congregation totallyfrom participation by singing, but the variety of methods allows for many possibili-ties for participation by singing or by listening to singing. The possibilities of partici-pation are almost infinite.

Important too for any participation in the liturgy is the elevation of the spirit ofthe worshiper. Ultimately, liturgy is prayer, the supreme prayer of ador ation , than ks-giving, petition and reparation. Prayer is the raising of the heart and the mind toGo d as Creator, Redeemer a nd Sanctifier. T he me ans to achieve such elevation of thespirit in prayer involve all the activities of the human person, both spirit and body.Such means produce true actuosa participatio. Thus beauty, whether it appeals tothe sight, the ear, the imagination or any of the senses, is an important element inachieving participation. The architectural splendor of a great church or the sound ofgreat music, or the solemnity of ceremonial movement by ministers clothed in pre-cious vestments, or the beauty of the proclaimed wordall can effect a true andsalutary participation in one who himself has not sung a note or taken a step. But heis not a m ere silent spectator as some wo uld say; he is actively participating becauseof his baptismal character and the grace stirred up in him by what he is seeing andhearing, thinking and praying.

The Church has always promoted Gregorian chant. Especially during this pastcentury, the popes have fostered the music of the renaissance polyphonists. PopeJohn Paul II celebrated Mass in Saint Peter's Basilica with the Vienna orchestra andsingers doing M ozart 's Coronation Mass. Any one who was present on that m emora-ble occasion in that great church experienced true participation.Thus to limit participation to singing impoverishes seriously the opportunity ofthe Christian to take part in the most essential means for his salvation. One does nothave to sing to save his soul. But one must be active (actuosa participatio) in theliturgy, through baptism and other actions according to his ability, state, culture anddisposition, in order to enter into the mystery of the redemption wrought by Christ,outside of which there is no salvation.We can conclude with this definition of participatio actuosa:

(It is) that form of devout involvement in the liturgical action which, in the presentconditions of the Church, best promotes the exercise of the common priesthood of thebaptized: that is, their power to offer the sacrifice of the M ass with C hrist and to receivethe sacramen ts. It is clear that, concretely, this requires that the faithful understand theliturgical ceremonial; that they take part in it by bodily movements, standing, kneelingor sitting as the occasion may demand; that they join vocally in the parts which areintended for them. It also requires that they listen to, and unders tand, the liturgy of theword. It requires, too, that there be moments of silence when the import of the wholeceremonial may be absorbed and deeply personalized. (Colman E. O'Neill, "The Theo-logical Meaning of Actuosa Participatio in the Liturgy," in Sacred Music and LiturgyReform after Vatican II. Consociatio Internationalis Musicae Sacrae, Rome, 1969. p.105.)

MONSIGNOR RICHARD J . SCHULER

PARTICIPATION10


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GREGORIAN SEMIOLOGY: THE NEWCHANT. PART III(This is the third and final article in this series by Dr. Fowells.)The tw o previous articles discussed the history of the mysteries surroun ding medi-eval chant and gave a summary of the findings of Dom Eugene Cardine regarding therhythmic and interpretive implications contained in the medieval notation whichdisappeared w hen the large, square notation denoting exact pitch came into vogue inthe twelfth century. The revelations of his research become truly amazing whenviewed as part of the Gestalt which is made up of the combination of the text, themelodies, and the subtleties of the interpretive indications. No later notation wasever developed which conveyed the kinds of nuance found in these ancient neumes.Cardine's theories replaced the rhythmic system conceived by Dom M ocque reau atthe turn of the century and in some ways revert to the original instincts of DomPothier in the nineteenth century. Cardine has shown that the basic chant rhythmdepends first of all on the natural speech rhythm in which important words or

syllables receive more emphasis in one way or another th an the un im porta nt ones. Aseries of single notes may vary in length according to the movement of the Latin. Ifone says in English, "W here in the wo rld are my glasses?" the word s where, worldand glasses get more emphasis and a little more time than in the or are my eventhough they are not strictly counted out as quarter notes or eighth notes. To say eachsyllable as a quarter note would make the reader sound moronic. Despite the mensu-ralist contention that a choir needs a steady pulse to stay together, current practicewith semiology has proved this to be untrue. Any musical performance relies onphrasing and nuance for a truly musical effect and any listener to Dom Gajard'srecordings wou ld realize instantly that even he did not adhere to a strict, u nbend ingtempo. An interpretation based on semiology admittedly requires a greater flexibil-ity, but it is a flexibility that is mandated by the flow of the language and thenota t ion .

The hardest change for the traditional Gregorianist to accept is that neither thevertical episema or the division of the chant into groups of two or three notes is anylonger valid. Instead, the music moves generally in two types of motioneither thesyllabic beat which agrees with the movement of the spoken word or the melismaticbeat which is a somew hat faster mo vement that takes into consideration the fact thatneumes with multiple notes and melismas are actually ornaments and, as such,should be treated with less emphasis than the single pitches. Within these twomovements one also finds an occasional c (celeriter) which reminds the singer to singa note or a group of notes a bit lighter and faster than usual. One also finds thevarious ways of adding some emphasis and length to a notethe episema, the t(tenete) or the caesura. Thus, awareness of the types of tempo plus the neumaticvariations and alphabetical signs (the Romanus letters) forms the basis of the morerelaxed and even dramatic sound of the chant a la Cardine.An exciting musical phenomenon of the late twentieth century is the final marriagebetween the musicologist and the performer. Thanks largely to the popularity ofhigh-fidelity recording, artists with concert caliber imaginations have applied thefindings of the musicologists to old music and discovered beauties formerly un-known. Previously, early music was primarily the hobby of learned amateurs andmost performances of medieval music tended to be stiff and bland. We now knowthat their music can be as impassioned as their buildings or their literature. Themedieval musicologist has usually claimed that there was no madrigalism in the

cha nt, that it was by na tur e dignified and san ctim oni ou s. All indica tions of wo rd THE NEW CHANT11


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painting were dismissed as accidental phenomena to be ignored because there wereinstances of the same designs where no pictorialism was possible. Would we applythe same theory to Bach just because he sometimes applied his baroque vocabularyabstractly and thus ignore the exquisite examples of word painting in his vocalworks? Hardly! Medieval warnings against excess dramatics should not be taken tomean that none was intended.To offer some specific examples, let us first examine a rather simple but lovelychant, the introit for Christmas midnight Mass, Dominus dixit ad me.

. . Ps. 2, 7. If. 7. 2.-f r J . ,0- MI- NUS df- xit? "ad me :

Tf T 7 /r v v: _F i - l i - us meus es tu,

1 ,> I -A\.n - . n .A.1 -di- e ge- nu- i te.

TH E N EW C H A N T

This entire chant is an ornamentation of the tonic and dominan t tones of Mode II (dand f) , the falling minor third which characterizes so much of medieval and primitivemelody. In the text the Christ Child is speaking from the manger, saying, "The Lordhas said to me, 'Thou art my Son: this day have I begotten you.'" The chant beginswith an ornamented f, a scandicus with a c beside it to remind the singer that theclivis should be sung as lightly as the two dots that preceed it. Starting the chantwith a light ornament shows the gentleness of the baby's voice. The light repercus-sion of the unisons in the tristropha continue in the same mood. The Vatican Editiondots the single tractulus on -nus but neither the St. Gall or the Laon notation suggestit . All of the notes on dixit are also light. The St. Gall scribes used a tristropha with alowered first member to show the upward leap, the e {equaliter) simply remindingthe singers to start on the same pitch as the previous no te. The Laon no tation uses apes followed by an oriscus but the c confirms the same light movement as in theGerman notation.Speaking at a more adult pitch, the Lord is quoted on the ornamented tonic (c),the notes moving in an easy, melismatic flow except for the emphais on meus (my)where the pitch not only rises above the central pitch of recitation but the St. Gallscribe added an episema to the clivis on me- and used a square pes on -us, both ofwhich underline the importance of the word.The second half of the chan t is a variation of the first half. The neume on the firstsyllable of ego, however, now has an m (mediocriter) beside it, reminding us not tobe flippant this time because the Lord is speaking. (Notice that since ego andDominum are both part of the Trinity, they share the same melody.) The small s, inits old form, stands for sursum (rise) and reminds the singer to return to the tonicafter the lower cadence on c. The final words, genui te (begotten you), provide asmall, balanced form in themselvesan ornamented tonic on ge , an emphatic re-minder of the dominant with the bivirga on nu , a light ornam ent on the final syllableat the top of the melody on -i , and then a gentle return to the tonic on te .How does one learn all of these irregular variations? One learns them, to use M.Clement Morin's expression, as "little musical words." Each word and each group ofneumes in a melisma has its own musical design and personality which soon be-comes indelibly fixed into an entitythe word, its melody and its nuance becomingone thought. Once learned, one needs only the reminder from the neumes and theconductor's hand to achieve a unison performance.

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CO. VI rrPs. 709, 3

,y ffN splcnd6- ri-bus sanct6- rum,* ex u- te- ro '

an- te lu- ci- fe-rum - ge- nu- i teIf the concept of using light notes to depict the Christ Child's words seems far-fetched, let us look at the communion from the very same Mass. Here the Lordspeaks, saying, "In holy splendor, from the womb before the daystar have I begottenyou." This time, the notes abound with signs for lengtheningmadrigalesque dig-nity! In the first phrase, only the unimportant syllables lack emphasis as they dipdown to the minor third below the note of recitation. Is it entirely an accident thatthe highest note appears on the word "daystar" and that it is the only note in the

chant that leaps out of its original hexachord? If the birth of Christ can be embla-zoned in stained glass as a visual aid for the non-reader when plain glass would havelet in the light, should we strip the sung text of all drama? Evidently they did not.The descriptive content of the chant is by no means new at Solesmes. A detailedexposition of the sensitive setting of these two chants appears in a recent publicationfrom the abbey, a volume of writings by Dom Gajard which was published by theabbey in hono r of his centenary. (Les plus belles melodies Greg oriennes comm enteespar Dom Gajard, Solesmes, 1985.)

^J) r ..S 4 Is. 9, 6 ; Ps. 9 7

l ~ U-ER * natus est no- bjs, et fi- li- us

da- tus est no- bis17! *cu- ius impe- r i - um su-p er

hu- m e- rum e-

Any chant for which we have the old notation shows examples of signs whichdeny the sameness of all notes and which add designs that underscore syllables andenliven the movement of the melody. In the introit for the Mass for Christmas day,Puer natus est, we find first a square pes on the first syllable of Puer telling us to bedeliberate in the announcement of the news and, incidentally, imitating a trumpetsignal. The first phrase is an ornamented intonation on d and the letter c turns theneume on the first syllable of nobis into a simple "baroque" ornament. The worddatus (given) is emphasized by virtue of the caesura which adds emphasis to the firstnote. The importance of the word imperium (government) is shown not only by thesquare pes which rarely appears at the top of a melody but by the height of the topnote, being the only one in the chant that exceeds the original hexachord. The phrasecomes to a cadence on the word eius (His) which is melismatic both by virtue of itsimportance and because it is cadential. Without semiology we would have a mean-dering nine-note figure. With semiology we have a definite designa lengthenedclivis at the beginning and the end with a turn figure between them which is light-ened by the c. TH E N EW C H A N T13


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/ Ay> / / /rme- a.

j

MD6mi-

k.B PL*f ( .^ /fnus :

A lovely example of the gracefulness that a simple tenete can add to an otherwisecommon figure appears twice in Domus mea. Although on different scale degrees,the same figure is used for mea and Dominus (being the same). Sung with equalemphasis on each note the m elody is common; adding a slight hold at the top note asindicated gives the figure an elegant lilt.Any chant we turn to would provide examples of the interpretive signals discussedabove. To apply the principles, one needs simply to study the tables of neums givenin the front of Gregorian Semiology, noting the shape of the neumes in their mostsimple forms and then the multiplicity of variations possible. The Romanum lettersare obvious and the changes made by episemas or square forms present no problemonce the original design is familiar.It takes a little more familiarity to identify the neumatic breaks, the caesura, butthese constitute Cardine's most im por tant discovery. The fact that the note before thebreak must be emphasized and slightly lengthened not only throws emphasis onimportant syllables but, in the case of long melismas on a single syllable, changeswhat would otherwise be a meandering series of notes into intelligible groups "littlemusical words"groups which incidentally agree with the words w hich were addedlater in medieval troping as memory aids.

VIII

For example, look at the melisma which is sung on the word Ave in this AveMaria. Transcribed into note-heads, this is a formless succession of pitches withalmost no sense of direction.

THE NEW CHANT

veBut if it is sung with the note before the caesura slightly lengthened it breaks intofour, easily remembered designs. Considering the number of Alleluias and cadentialmelismas in the repertory, this discovery has changed what were once performancehurdles into attractive designs.

4A L-le-lfi-ia. ' JU14


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In this melisma on the last syllable of the Alleluia of Dies sanctificatus the caesurasbreak the the pattern into four, four-note figures, each one ending with a tenete toemphasize its separation from the next pattern, th e last one also being extended w iththe quilisma figure which re-iterates the former tenete pattern. The word "break,"incidentally, does not mean a break in the sound but a slight lengthening of a notewhich interrupts the regular flow.

- pnn-ci-pes i A . / "

In the gradual, Constitues eos, the setting of principes (princes) amounts to a seriesof four-note groups in the type of melisma that was probably intended to serve as ameditation on the word. The first four set the entire word, using a deliberate clivis on-pes. The next two groups also end with two deliberate notes, although the VaticanEdition does not accurately reflect the tenete in both the St. Gall and Laon versionsbecause the lozenges are used to notate both the punctum (dot) and the tractulus(dash), the first signifying light motion and the last normal speed. The third groupwarns of a change in pattern with the tenete on the first note and it also ends with atenete. Th e final figure begins with three lengthene d notes an d, in effect, lengthen sthe fourth again by virtue of the pressus which repeats the note instead of holding it,and then cadences onto the final note.

In the gradual, Locus iste, the final es t before the double bar provides an excellentexample of the deliberate notation of the caesura. It could have been notatedas /njjl//in/l OT


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the first being a sort of up-beat, and the second having both a tenete and a caesura.The next two re-iterations of the note are ornamented with the upper half-step. Thehigh notes on the following Domine are emphasized by both the caesura and thetenete; the middle syllable has simply a familiar ornament, and the final syllableagain has a tenete on the reciting note as well as the final cadence.

V I-de-runt Q- mn es * fi-nes ter- r a e -For a final example of the function of the caesura in emphasizing important wordsand in delineating melodic designs let us examine the first l ine of the gradual,Viderunt omnes. The first phrase is an or nam ented intonat ion on mi an d sol of ModeV. The neumes on Viderunt move at a simple, syllabic tempo as they set us thor-oughly in the mod e. However, the word omnes (all) is greatly expanded, probably to

emphasize i ts meaning. The first note on omnes should be st ressed, as shown b y thecaesura between the first and second notes of the podatus ( J ) wh ich could have beenwritten in i ts usual form (y) if nothing but pitch direction was intended. After thatfirst note there follows a nine-note ornament made up of three three-note figures setoff from each other by the tenete at the end of the first two groups. The word omnesis set to this balanced design, . Except for two neighboring notes, the textfines terrae (ends of the earth) uses only re-i terations of the mi and fa, making i t al lthe more necessary to derive some sort of pattern to avoid monotony. The two-notefigures on fines are stressed by using a square pes and a clivis with a tenete, contrast-ing with the faster melismatic tempo of the preceeding word. On terrae the repeti-t ions are broken into patterns by the two figures marked c, the last three-clivis figurewith the celeriter in the middle being a common cadence pat tern.This series of art icles, intended no t only to bring the church m usician u p to date o nmatters of Gregorian interpretation, but hopefully to encourage the use of theChurch's greatest musical tradit ion where i t may be appropriate in the new service,has been devoted to an expose of the theories of Dom Eugene Cardine on Gregorianrhythm and the interpretive indications inherent in the ancient, unheightenedneumes. For the full story, the reader should refer to the following books:1. Gregorian Semiology by Dom Eugene Cardine, t ranslated by this author fromthe original Semiologie Gregorienne. Both are published by Solesmes Abbey.2. Graduale Triplex, the complete l i turgy for the Mass printed with not only theusual square notation for the pitch but with the ancient neumes from St. Gall belowthe notes and those from Laon above, from which the singer reads the performance

directions discussed in the semiology. This is also published by the abbe y a nd i t is thebest reference source to date for the music history student. It not only contains theold notation, but i t agrees with the new li turgy which the Liber Usualis does not .For those who read French, there are numerous other works of interest to the chantlover available. Simply write for the catalogue from Abbaye St. Pierre de Solesmes,F-72300 Sable-sur-Sarthe, France.Although these new interpretations may seem complex at first , singing the chantin this manner is infinitely easier for the uninit iated than i t was with the formersystem with i ts groups of twos and threes. With the new discoveries the chant has anew life, an even more beautiful flow, and hopefully a more authentic sound in i tsfaithfulness to the medieval original in keeping with Solesmes' tradit ion.THE NEW CHANT RO BER T M . FOW ELLS16


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Monf St. Michel, France

CONCERTS IN CHURCHES(The following declaration of the Congregation for Divine Worship was sent to thepresidents of the national conferences of bishops and through them to commissions onliturgy and sacred art. It has protocol num ber 1251/87, and is dated N ovemb er 5, 1987.)

I. MUSIC IN CHURCHES OTHER THAN DURING LITURGICAL CELEBRA-T I O N S1. The interest shown in music is one of the marks of contemporary culture. Theease with which it is possible to listen at home to classical works, by means of radio,records, cassettes and television, has in no way diminished the pleasure of attendinglive concerts, but on the contrary has actually enhanced it. This is encouraging,because music and song contribute to elevating the human spirit .The increase in the number of concerts in general has in some countries given riseto a mo re frequent use of churc hes for such eve nts. Various reasons are given for this:local needs, where for example it is not easy to find suitable places; acousticalconsiderations, for which churches are often ideal; aesthetic reasons of fittingness,that is to present the works in the setting for which they were originally written;purely practical reasons, for example facilities for organ recitals: in a word churches

are considered to be in many ways apt places for holding a concert. CONCERTS17


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2. Alongside this contemporary development a new situation has arisen in theChurch.The Scholae cantorum have not had frequent occasion to execute their traditionalrepertory of sacred polyphonic music within the context of a liturgical celebration.For this reason, the initiative has been taken to perform this sacred music in churchin the form of a concert. The same has happened with Gregorian chant, which hascome to form part of concert programmes both inside and outside the church.Another important factor emerges from the so-called "spiritual concerts," so-termed because the music performed in them can be considered as religious, becauseof the theme chosen, or on account of the nature of the texts set to music, or becauseof the venue for the performance.Such events are in some cases accompanied by readings, prayers and mom ents ofsilence. Given such features they can almost be compared to a "devotional exercise."3. The increased numbers of concerts held in churches has given rise to doubts inthe minds of pastors and rectors of churches as to the extent to which such events arereally necessary.A general opening of churches for concerts could give rise to complaints by anumber of the faithful, yet on the other hand an outright refusal could lead to somemisunderstanding.Firstly, it is necessary to consider the significance and purpose of a Christianchurch. For this, the Congregation for Divine Worship considers it opportune topropose to the episcopal conferences, and in so far as it concerns them, to thenational commissions of liturgy and music, some observations and interpretationsfor the canonical norms concerning the use of churches for various kinds of music:music and song, music of religious inspiration and music of non-religious character.4. At this juncture it is necessary to re-read recent documents which treat of thesubject, in particular the constitution on the liturgy Sacrosanctum Concilium, theinstruction Musicam sacram of March 5, 1967, the instruction Liturgicae instaura-tiones of September 5, 1970, in addition to the prescriptions of the Code of CanonLaw, can. 1210, 1213 and 1222.In this present letter the primary concern is with musical performances outside ofthe celebration of the liturgy.The Congregation for Divine Worship wishes in this way to help individual bish-ops to make valid pastoral decisions, bearing in mind the socio-cultural situation ofthe area.II. POINTS FOR CONSIDERATIONThe character and purpose of churches

5 . Ac c ord i n g t o t r a d i t i on a s e xp re s s e d in t he r i t e fo r t he de d i c a t i o n o f a c hu rc h a n da l t a r , c hu rc he s a re p r i m a r i l y p l a c e s whe re t he pe op l e o f God ga t he r , a nd a re "m a deone a s t he F a t he r , t he S on a nd t he Ho l y S p i r i t a r e one , a nd a re t he C hurc h , t het e m p l e o f G od bu i l t w i t h l i v i ng s t one s , i n wh i c h t he F a t he r is wo rs h i pe d i n s p i r i t a n di n t ru t h . " R i gh t l y s o , f rom a nc i e n t t i m e s t he na m e "c hu rc h" ha s be e n e x t e nde d t o t hebu i l d i ng i n wh i c h t he C hr i s t i a n c om m uni t y un i t e s t o he a r t he word o f God , t o p ra yt oge t he r , t o r e c e i ve t he s a c ra m e n t s , t o c e l e b ra t e t he Euc ha r i s t a nd t o p ro l ong i t sc e l e b ra t i on i n t he a do r a t i o n o f the B le s s ed S a c ra m e n t (C f . O rd e r o f t he De d i c a t i on o fa C hurc h , c h . I I , 1 ) .

C h urc he s , how e ve r , c a n no t be c ons i de re d s i m p l y a s pub l i c p l a c e s fo r a ny k i nd o fm e e t i ng . The y a re s a c re d p l a c e s , t ha t i s , " s e t a pa r t " i n a pe rm a ne n t wa y fo r d i v i newors h i p by t he i r de d i c a t i on a nd b l e s s i ng .

As v i s i b l e c ons t ruc t i ons , c hu rc he s a re s i gns o f t he p i l g r i m C hurc h on e a r t h ; t he yCONCERTS a re i m a ge s t ha t p ro c l a i m t he he a v e n l y J e ru s a l e m , p l a c e s i n wh i c h a re a c t ua l i z e d t he

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mystery of the communion between man and God. Both in urban areas and in thecountryside, the church remains the house of God, and the sign of His dwellingamong men. It remains a sacred place, even when no liturgical celebration is takingplace.

In a society disturbed by noise, especially in the big cities, churches are also anoasis where men gather, in silence and in prayer, to seek peace of soul and the light offaith.That will only be possible in so far as churches maintain their specific identity.When churches are used for ends other than those for which they were built, theirrole as a sign of the Christian mystery is put at risk, with more or less serious harm tothe teaching of the faith and to the sensitivity of the People of God, according to theLord's words: "My house is a house of prayer" (Lk 19, 46).Importance of Sacred Music

6 . S a c re d m us i c , whe t he r voc a l or i n s t r u m e n t a l , is of i m p o r t a n c e . M u s i c is s a c re d"in so far as it is c o m p o s e d for the c e l e b ra t i on of d i v i n e w o s h i p and pos s e s s e si n t e g r i t y of f o r m " (Musicam sacram n. 4a). The C h u r c h c o n s i d e r s it a " t r e a s u re ofi ne s t i m a b l e va l ue , g re a t e r e ve n t ha n t ha t of any o t h e r art," r e c ogn i z i ng t ha t it has a"minis te r ia l func t ion in the se rv ice of the L o r d " (Cf. SC n. 112); and r e c o m m e n d i n gt h a t it be "p re s e rve d and fos te red wi th grea t ca re" (SC n. 114).

A n y p e r f o r m a n c e of s a c re d m us i c wh i c h t a ke s p l a c e du r i ng a c e l e b ra t i on , s hou l dbe ful ly in ha rm ony wi t h t ha t c e l e b ra t i on . Th i s o f t e n m e a ns t ha t m us i c a l c om pos i -t i ons wh i c h da t e f rom a p e r i o d w h e n the a c t i ve pa r t i c i pa t i on of the fa i thfu l was note m p h a s i z e d as the s ou rc e of the a u t he n t i c C hr i s t i a n s p i r i t (SC n. 14; P i us X Tra lesollecitudini) are no l o n g e r to be c ons i de re d s u i t a b l e for i nc l u s i on wi t h i n l i t u rg i c a lc e l e b ra t i ons .

A n a l o g o u s c h a n g e s of p e r c e p t i o n and a w a r e n e s s h a v e o c c u r r e d in o t h e r a r e a si n v o l v i n g the a r t i s t i c a spec t of d i v i n e w o r s h i p : for e x a m p l e , the s a n c t u a r y has b e e nre s t uc t u re d , w i t h the pre s i de n t ' s c ha i r , the a m b o and the a l t a r versus populum. S uc hc ha nge s ha ve not b e e n m a d e in a spi r i t of d i s r e g a r d for the p a s t , bu t ha ve be e nd e e m e d n e c e s s a r y in the p u r s u i t of an end of g r e a t e r i m p o r t a n c e , n a m e l y the a c t i vep a r t i c i p a t i o n of the fa i thfu l . The l i m i t a t i o n w h i c h s u c h c h a n g e s i m p o s e on c e r t a i nm u s i c a l w o r k s can be o v e r c o m e by a r r a n g i n g for t he i r pe r fo rm a nc e ou t s i de thec on t e x t of l i turg ica l ce lebra t ion in a c onc e r t of s a c re d m us i c .Organ

7. The p e r f o r m a n c e of pure l y i n s t rum e n t a l p i e c e s on the orga n du r i ng l i t u rg i c a lc e l e b ra t i ons t oda y is l i m i t e d . In the p a s t the o r g a n t o o k the p l a c e of the ac t ivep a r t i c i p a t i o n of the fa i thfu l , and r e d u c e d the p e o p l e to the ro l e of "si lent and i ne r ts pe c t a t o r s " of the c e l e b ra t i on (P i u s XI, Divini cultus, n. 9).

It is l e g i t i m a t e for the o r g a n to a c c o m p a n y and s us t a i n the s inging e i the r of thea s s e m b l y or the c h o i r w i t h i n the c e l e b ra t i on . On the o t h e r h a n d , the o r g a n m u s tn e v e r be u s e d to a c c o m p a n y the p r a y e r s or c h a n t s of the c e l e b ra n t nor the r e a d i n g sp r o c l a i m e d by the r e a d e r or the d e a c o n .

In a c c o rda nc e wi t h t r a d i t i on , the orga n s hou l d r e m a i n s i l e n t du r i ng pe n i t e n t i a ls e a s ons (Le n t and H o l y W e e k ) , d u r i n g A d v e n t and the l i t u rgy for the d e a d . W h e n ,howe ve r , t he re is r e a l pa s t o ra l ne e d , the o r g a n can be us e d to s u p p o r t the s i ng i ng .

It is f i t t ing tha t the o r g a n be p l a ye d be fo re and after a c e l e b ra t i on as a p r e p a r a t i o na n d c o n c l u s i o n of the c e l e b ra t i on .

It is of c o n s i d e r a b l e i m p o r t a n c e t h a t in all c h u r c h e s , and e s pe c i a l l y t hos e of s o m ei m p o r t a n c e , t h e r e s h o u l d be t r a i ne d m us i c i a ns and i n s t r u m e n t s of good qua l i t y . C a res h o u l d be g i ve n to the m a i n t e n a n c e of o r g a n s and r e s pe c t s hown t owa rds t he i rh i s t o r i c a l c ha ra c t e r bo t h in fo rm and tone. CONCERTS

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I I I . PRACTICAL DIRECTIVES8 . The r e gu l a t i on o f t he u s e o f c hu rc he s i s s t i pu l a t e d by c a non 1210 o f t he C ode o f

C a n o n L a w :"In a sac red p lace only those th ings a re to be pe rmi t ted which se rve to exe rc i se or

p r o m o t e w o r s h i p , p i e t y a n d r e l i g i o n . A n y t h i n g o u t o f h a r m o n y w i t h t h e h o l i n e s s o ft he p l a c e i s fo rb i dde n . T he Or d i na ry m a y , howe ve r , fo r i nd i v i dua l c a s e s , pe rm i to t he r u s e s , p rov i de d t he y a re no t c on t ra ry t o t he s a c re d c ha ra c t e r o f t he p l a c e . "Th e p r i nc i p l e t ha t t he u s e o f t he c hu rc h m us t no t o f f end t he s a c re dne s s of t he p l a c ede t e rm i ne s t he c r i t e r i a by wh i c h t he doo r s o f a c hu rc h m a y be ope ne d t o a c onc e r t o fs a c re d o r r e l i g i ous m us i c , a s a l s o t he c onc om i t a n t e xc l u s i on o f e ve ry o t he r t ype o fm u s i c . Th e m os t be a u t i fu l s ym ph on i c m us i c , fo r e xa m pl e , i s no t in it se lf o f r e l i g i ousc ha ra c t e r . The de f i n i t i on o f s a c re d o r r e l i g i ous m us i c de pe nds e xp l i c i t l y on t heo r i g i na l i n t e nde d u s e o f t he m us i c a l p i e c e s o r s ongs , a nd l i ke wi s e on t he i r c on t e n t . I ti s no t l e g i t i m a t e t o p ro v i d e fo r t he e xe c u t i on i n t he c hu rc h o f m us i c wh i c h i s no t o fr e l i g i ous i n s p i r a t i on a nd wh i c h wa s c om pos e d wi t h a v i e w t o pe r fo rm a nc e i n ac e r t a i n p re c i s e s e c u l a r c on t e x t , i r r e s pe c t i ve o f whe t he r t he m us i c wou l d be j udge dc l a s s i c a l o r c on t e m pora ry , o f h i gh qua l i t y o r o f a popu l a r na t u re . On t he o t he r ha nd ,s uc h pe r fo rm a nc e s wou l d no t r e s pe c t t he s a c re d c ha ra c t e r o f t he c hu rc h , a nd on t heo t he r , wou l d r e s u l t i n t he m us i c be i ng pe r fo rm e d i n a n un f i t t i ng c on t e x t .

I t pe r t a i n s t o t he e c c l e s i a s t i c a l a u t ho r i t y t o e xe rc i s e wi t hou t c ons t r a i n t i t s gove rn -ance of sac red p laces (Cf . canon 1213) , and hence to regula te the use of churches ins uc h a wa y a s t o s a fe gua rd t he i r s a c re d c ha ra c t e r .

9 . S a c re d m us i c , t ha t i s t o s a y m us i c wh i c h wa s c om pos e d fo r t he l i t u rgy , bu twh i c h fo r va r i ous r e a s ons c a n no l onge r be pe r fo rm e d du r i ng a l i t u rg i c a l c e l e b ra t i on ,and re l ig ious mus ic , tha t i s to say mus ic inspi red by the tex t of sac red sc r ip ture or thel i t u rgy a nd wh i c h ha s r e fe re nc e t o God , t he B l e s s e d Vi rg i n Ma ry , t o t he s a i n t s o r t ot he C hurc h , m a y bo t h f i nd a p l a c e i n t he c hu rc h bu i l d i ng , bu t ou t s i de l i t u rg i c a lc e l e b r a t i o n . T h e p l a y i n g o f t h e o r g a n o r o t h e r m u s i c a l p e r f o r m a n c e , w h e t h e r v o c a lo r i n s t rum e n t a l , m a y : " s e rve t o p rom ot e p i e t y o r r e l i g i on . " In pa r t i c u l a r t he y m a y :

a . prepare for the ma jor l i turg ica l feas t s , or l end to these a more fes t ive cha rac te rb e y o n d t h e m o m e n t o f a c t u a l c e l e b r a t io n ;b . br i ng ou t t he pa r t i c u l a r c ha ra c t e r o f t he d i f f e re n t l i t u rg i c a l s e a s ons ;c . c r e a t e i n c hu rc he s a s e t t i ng o f be a u t y c onduc i ve t o m e d i t a t i on , s o a s t o a rous e

e ve n i n t hos e who a re d i s t a n t f rom t he C hurc h a n ope nne s s t o s p i r i t ua l va l ue s ;d . c r e a t e a c on t e x t wh i c h f a vo r s a nd m a ke s a c c e s s i b l e t he p roc l a m a t i on o f God ' s

word , a s fo r e xa m pl e , a s u s t a i ne d r e a d i ng o f t he gos pe l ;e . ke e p a l i ve t he t r e a s u re s o f c hu rc h m us i c wh i c h m us t no t be l o s t ; m us i c a l p i e c e s

a nd s ongs c om pos e d fo r t he l i t u rgy bu t wh i c h c a nno t i n a ny wa y be c onve n i e n t l yi nc o rpo ra t e d i n t o l i t u rg i c a l c e l e b ra t i ons i n m ode rn t i m e s ; s p i r i t ua l m us i c , s uc h a so ra t o r i o s a nd r e l i g i ous c a n t a t a s wh i c h c a n s t i l l s e rve a s ve h i c l e s fo r s p i r i t ua l c om m u-n i c a t i o n ;f . a s s i s t v i s i t o r s a nd t ou r i s t s t o g ra s p m ore fu l l y t he s a c re d c ha ra c t e r o f a c hu rc h ,b y m e a n s o f o r g a n c o n c e r t s a t p r e a r r a n g e d t i m e s .

10 . W he n t he p ro po s a l is m a d e t ha t t he re s ho u l d be a c onc e r t i n a c hu rc h , t h eO r d i n a r y i s t o g r a n t t h e p e r m i s s i o n per modum actus. T h e s e c o n c e r t s s h o u l d b eoc c a s i ona l e ve n t s . Th i s e xc l ude s pe rm i s s i on fo r a s e r i e s o f c onc e r t s , fo r e xa m pl e i nthe case of a fe s t iva l or a cyc le of concer t s .

W he n t he Ord i na ry c ons i de r s i t t o be ne c e s s a ry , he c a n , i n t he c ond i t i ons fo re s e e ni n t he C od e o f C a no n La w (c a n . 1222 , pa ra . 2 ) de s i gna t e a c hu rc h t h a t i s no l onge rus e d fo r d i v i ne s e rv i c e , t o be a n "a ud i t o r i um " fo r t he pe r fo rm a nc e o f s a c re d o rre l i g i ous m us i c , a nd a l s o o f m us i c no t s pe c i f i c a l l y r e l i g i ous bu t i n ke e p i ng wi t h th e

CONCERTS ch ara cte r of th e pla ce.20


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In th is task the b ishop shou ld be ass is ted by the d iocesan commiss ion fo r l i tu rgyan d sac r ed m u s ic .

In o rder tha t the sacred charac ter o f a church be conserved in the mat te r o fco n ce r t s , t h e Or d in a r y can sp ec i f y t h a t :

a . Requests a re to be made in wr i t ing , in good t ime, ind ica t ing the da te and t ime ofth e p r o p o sed co n ce r t , t h e p r o g r am m e g iv in g th e wo r k s an d th e n am es o f t h e co m -p o s e r s .

b . Af te r h av in g r ece iv ed th e au th o r i za t io n o f t h e Or d in a r y , t h e r ec to r s an d p a r i shp r i e s t s o f t h e ch u r ch es sh o u ld a r r an g e d e t a i l s w i th t h e ch o i r an d o r ch es t r a so t h a t t h er eq u i s i t e n o r m s a r e o b se r v ed .

c . E n t r an ce to t h e ch u r ch m u s t b e w i th o u t p ay m en t an d o p en to a l l .d . T h e p e r f o r m er s a n d th e au d ien c e m u s t b e d r e s sed in a m an n e r wh ich i s f i tt i n g to

the sacred charac ter o f the p lace .e . T h e m u s ic i an s an d th e s in g e r s sh o u ld n o t b e p l aced in t h e san c tu a r y . T h e

grea tes t respec t i s to be sho wn to the a l ta r , the p res iden t ' s cha i r and the a m bo .f . The Blessed Sacrament shou ld be , as fa r as poss ib le , r eserved in a s ide chapel o r

in an o th e r sa f e an d su i t ab ly ad o r n ed p l ace ( Cf . C . I .C . , c an 9 3 8 , p a r . 4 ) .g . T h e co n ce r t sh o u ld b e p r e sen ted o r i n t r o d u ced n o t o n ly w i th h i s to r i ca l o rt e ch n ica l d e t a i l s , b u t a l so i n a way th a t f o s t e r s a d eep e r u n d e r s t an d in g an d an

in ter io r par t ic ipa t ion on the par t o f the l i s teners .h . The o rgan izer o f the concer t wi l l dec lare in wr i t ing tha t he accep ts lega l respon-

s ib i l i ty fo r expenses invo lved , fo r leav ing the church in o rder and fo r any poss ib led a m a g e i n c u r r e d .

1 1 . T h e ab o v e p r ac t i c a l d i r ec t iv e s sh o u ld b e o f a s s i s t an ce to t h e b i sh o p s an drec to rs o f churches in the i r pas to ra l responsib i l i ty to main ta in the sacred charac ter o fth e i r ch u r ch es , d e s ig n ed f o r s ac r ed ce l eb r a t io n s , p r ay e r an d s i l en ce .

Such ind ica t ions shou ld no t be in te rp re ted as a lack o f in te res t in the a r t o f music .T h e t r ea su r y o f s ac r ed m u s ic i s a w i tn e ss t o t h e way in wh ich th e Ch r i s t i an f a i t h

p r o m o t e s c u l t u r e .By u n d e r l i n in g th e t r u e v a lu e o f s ac r ed o r r e l i g io u s m u s ic , C h r i s t i an m u s ic i an s a n dm e m b e r s o f scholae cantorum shou ld fee l tha t they are be ing encouraged to con t inueth is t rad i t ion and to keep i t a l ive fo r the serv ice o f the fa i th , as expressed by theSecond Vat ican Counci l in i t s message to a r t i s t s :

"Do no t hes i ta te to pu t your ta len t a t the serv ice o f the d iv ine t ru th . The wor ld inwhich we l ive has need o f beau ty in o rder no t to lose hope . Beau ty , l ike t ru th , f i l l st h e h ea r t w i th j oy . A n d th i s , t h a n k s to y o u r h an d s " (Cf . Seco n d Va t i can Co u n c i l ,M essag e to Ar t i s t s , Decem b er 8 , 1 9 6 5 ) .R o m e , N o v e m b e r 5 , 1 9 8 7P a u l A u g u s t i n e C a r d . M a y e r , O . S . B .Prefec tV i r g i l i o No eT i t . Ar ch b p . o f Vo n ca r i aS e c r e t a r y

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EDWARD M. CONNOR (1919-1987)Composer of hymns, Edward M. Connor died September 19, 1987, in New YorkCity, where he had just retired as organist and choir director of the Church of NotreDame at Morningside Heights. In fact, he played the novena service on Tuesday anddied the following Saturday. At his funeral in New York, the choir of Notre DameChurch sang his Mass.Born in Chicopee, Massachusetts, he attended Saint Patrick's School in ChicopeeFalls and graduated in 1936 from Cathedral H igh School in Springfield, where he wassalutatorian of his class. He attended the Pius X School of Liturgical Music ofManhattanville College, and from 1941 to 1946 he taught chant and chant accompa-niment there . He also taught summer school in Newton, M assachusetts, Providence,Rhode Island, and N ewburgh, New York. Since 1946, he was director of several malechoirs in Bergen County, New Jersey.He was greatly involved in the world of the Church. He trained many New Yorkand New Jersey choirs in the singing of Gregorian chant, and he composed a greatdeal of church music including the Mass in honor of Pope Paul VI, which appears in

the Paluch Seasonal Missalette. He was author of two books, Prophecy for Todayand Recent Apparitions of Our Lady, and also published several articles in Catholicpublications. From 1954, he was a member of the National Board of Film Reviewand was musical editor for their magazine, Films in Review. He was a member of theNational Catholic Office for Motion Pictures and the Legion of Decency for whichhe contributed hundreds of articles. He wrote also for Screen Facts and ScreenCareers.He was a specialist in the subject of angels. He lectured and wrote about true andfalse apparitions, the eastern rites, Gregorian chant and prophecy. His writing wasclear, stimulating, refreshing and enlightening. His articles were highly recom-mended reading for those interested in the app aritions of Mary and the basic mean-ing of these apparitions.On the lighter side, he loved to read mysteries, and showing his multi-facetedpersonality, from 1978 to 1984, he published many booklets entitled Fun to SolveCrosswords for Lakewood Pub lications of Minneapo lis, Minnesota. T hese includedanagram puzzles, fun with words, cryptograms and crossword puzzles that he hadcreated.His friends in the service of the Church became more conscious of their ministrythrough his dedication. O n hearing the Brahms' chorale prelude, O wie selig seid ihrdoch, ihr fromm en (Blessed are ye faithful souls) played, and his own Holy, Holy,Holy and his Lamb of God sung by the congregation at his funeral in the Church ofSaint Patrick in Chicopee Falls, one could not help but think of his contribution toAmerican church music and to his patience and dedication as a teacher, and hisdevotion to the cause of good church music.He left two brothers, Paul J. and Francis M., and a sister, Annamae Crevier, all ofChicopee Falls. His othe r bro ther, the late Rev. Raym ond J. Con nor of the Society ofSt. Sulpice, died in 1984. Another sister, Mary Rose Chaput Conner, died in 1985.CATHERINE M. DOWER

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ORGAN RESOURCE LIST(The Organ Resource Centre is a project of the Royal Can adian College of O rganis ts. Its headquar ters are at 515McLeod Building, 10136 100th Street, Edmonton, Alberta, Canada T5J 0P1. This bibliography is reprinted inSacred Music with permission. Materials listed here may be obtained from the Organ Resource Centre.)

BooksChurch Organs: A Guide to Selection and Pur-chase. John Ogasapian. Baker Book House,Grand Rapids, MI 49506. US $6.95.Hymna l Studies 4: Organ Planning Askingthe Right Questions. John Fesperman. ChurchHymnal Corp., 800 Second Avenue, New York,NY 10017. US $4.95.The Organ Handbook. Hans Klotz , t rans .Gerhard Krapf. Concordia Publishing House,3558 S. Jefferson Avenue, Saint Louis, MO63118. US $11.Acoustics of Worship Spaces. David Lubmanand Ewart A. Wetherill, ed. Acoustical Societyof America, 335 East 45th Street, New York,NY 10017. US $15.Acoustical Designing in Architecture. Vern O.Knudsen and Cyril M. Harris. Acoustical Soci-ety of Ame rica, 335 East 45th Street, New York,NY 10017. US $15.

Articles, Pamphlets,BrochuresG E N E R A L : O R G A N I Z I N G T H E O R G A NCOMMITTEEChoosing a Church Organ. Philip Clemens.Mennonite Publishing House, 616 Walnut Ave-nue , Scottsdale, PA 15683. US $.50.Buying an Organ. John Ogasapian, Carlton T.Russell. American Guild of Organists, 814 Sec-ond Avenue, Suite 318, New York, NY 10017.U S $ 2 .The Church Organ: A Guide to its Selection.Philip Gehring. Organ Resource Centre, 515McLeod Building, 10136 100th Street, Edmon-ton, Alberta, Canada T5J 0P1. Free.

Objectives of the Organ Advisory Com mittee.Council for the Care of Churches. Free."On Buying a New Organ" in The AmericanOrganist. US $.40."Wilhelm Organ Congregational Style" by Mi-chele Johns in The American O rganist. US$.40."How to Buy a Pipe Organ" by Anna MarieEttel in Sacred Music. US $.50."Purchasing an Organ" by Scott R. Riedel inYour Church. US $.40.

ACOUSTICS"Acoustics." American Pipe Organ Building As-sociation. US $.20."Sound Reinforcing Systems in ReverberantChurches." Council for the Care of Churches.U S $ 2 ."Acoustics in Worship Spaces." American Guildof Organists, 815 Second Avenue, Suite 318.New York, NY 10017. US $2."The Acoustics of Worship Spaces." by Da vid L.Klepper in The American Organist. US $.40."Sound Amplification in Churches." Councilfor the Care of Churches. US $4."Acoustic Treatment for Places of Worship."Council for the Care of Churches. US $5."Acoustics in Worship Spaces: Preparing forSound Improvement" by Thomas Foster in TheAmerican Organist. US $.20."Acoustics in Worship Space, I" by Scott Riedelin Diapason. US $.60."Acoustics in W orship Space, II" by Scott R iedelin Diapason. US $.40."Theology of Acoustics." American Pipe OrganBuilding Association. US $.20."Carpeting and Singing." American Pipe OrganBuilding Association. US $.20."Small Organs in Small Churches." AmericanPipe Organ Building. Association. The Ameri-can Organist. US $.30. ORGAN

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ORGAN PLANNING FOR ARCHITECTS COSTS AND FUNDRAISINGProcedures for New Church Buildings. Councilfor the Care of Churches. US $1.25.A Theology of Church Design. Council for theCare of Churches. US $5."The Church Musician and the Design Process"by Gorden E. Johnson in The American Organ-ist. US $.50."Architecture" by Frederick L. Mitchell in Th eAmerican Organist. US $.30."A New Church An Old Problem" by GeorgeSchofield in The American Organist. US $.30."Organ Planning for Architects" by Pieter A.Visser in Diapason. US $.30.THE ORGAN/MUSIC IN WORSHIP"Let Everything that Hath Breath Praise theLord" by Robert Wurm in The American Or-ganist. US $.20."The Role of the Organ in the Church Service"by Donald Williams in The American Organist.US $.40."The Organ in Worship: A Reappraisal" byQuentin Falkner in Diapason. US $.40."Martin Luther in Praise of Music" by EndelKallas in Journal of Church Music. US $.50."Music in the Ch urch" by Rev. The odore F. Sch-neider in The American Organist. US $.20."What Went Wrong?" by James W. Evans inThe American Organist. US $.40.ORGAN CARE AND MAINTENANCE"Practice is Good for Your Organ" by Harry E.Cooper in The American Organist. US $.20."The Energy Squeeze and the Pipe Organ."American Pipe Organ Building Association. US$.20."Temperature, Humidity and Organs." Ameri-can Pipe Organ Building Association. US $.20."Breathing Longer Life into Pipe Organs."American Pipe Organ Building Association. US$.30."Tuning." American Pipe Org an Building Asso -ciation. US $.30."Music in the Stratosphere." American Pipe O r-gan Building Association. US $.30.A Guide for the Conservation and Maintenanceof Pipe Organs. David Kinsela. Organ Litera-ture Foundation, 45 Norfolk Road, Braintree,ORGAN MA 02184. US $6.

"Fundraising for Organ Restorations" by Ray-mond A. Biswanger in The American Organist.US $.40."Does a Pipe Organ Really Cost so Much?"American Pipe Organ Building Association. US$.20."So You Want a Pipe Organ for Your Church!How are you going to Pay for it?" by Gene R.Bedient in The American Organist. US $.70."W hat is the Price of a Pipe Org an? " Am ericanPipe Organ Building Association. US $.40."Pipe Organ Pr ices ." American Pipe OrganBuilding Association. US $.30.

WHAT SIZE ORGAN?"A On e-m anua l Happ ening" by Robert Cun kickin The American Organist. US $.30."But You Can't Play Anyth ing on a O ne-m anu alOrg an" by Earl M . Miller in Diapason. US$.40."Designing the Small Organ." American PipeOrgan Building Association. US $.20.Repertoire for the Small Organ. Amer icanGuild of Organists, 815 Second Avenue, Suite318, New York, NY 10017. US $2."Repertoire for the One-manual Organ: AWealth of Literature for the Entire Church Year"by Naomi Rowley in Journal of Church Music.US $.50."The Versatile One-manual Organ" by BarbaraOwen in Journal of Church Music. US $.60."A Pipe Organ in the Home" by James A.Caldwell in The American Organist. US $.60."Organs for Small Churches" by John Ogasa-pian in Journal of Church Music. US $.60.

SELECTING AN ORGAN BUILDER"How to Buy a Pipe Organ" by Anna MarieEttel in Sacred Music. US $.50."How to Select an Organ Builder." AmericanPipe Organ Builders Association. US $.30."Checking it Out." American Pipe Or gan Build-ers Association. US $.40."Some Advice to the Organ Buyer." AmericanPipe Organ Builders Association. US $.20.

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KEY ACTIONS"The Tracker Movement and the Organist" byG. McMahon in The American Organist. US$.30."Wha t is Electro-mechanical Action ?" Am eri-can Pipe Organ Building Association. US $.20."Organ Renovations" by John A. Schantz inThe American Organist. US $.20.D E V E L O P IN G A C H U R C H M U S IC P R O -G R A M"Music in the Church" by Theodore F. Sch-neider in The American Organist. US $.20."Rondo: Church Music Back to the Am ateurs?"by Jean Harm on in The American Organist. US$.30."Clergy-Musicians Relationships" by Paul Wes-termeyer in The American Organist. US $.50.PIPE OR ELECTRONIC?"The Third Kind of Organ" by Lawrence Phelpsin Diapason. US $1.30."Introspection" by Lawrence Phelps in Diapa-son US $.60."Retro-suspect ion" by Peter Planyavsky inDiapason. US $.40."The Future of the Organ" by Lawrence Phelpsin Diapason. US $.80."The Nature of the Organ and i ts Future" byGeorge Bozeman, Jr. in Diapason. US $.60."The Electronic Organ: An Examination" byRoderick Junor in Diapason. US $.90."Pipe Organ Replaces Electronic in Colorado"in The American Organist. US $.30.Concerning Pipe O

sacred music, 114.4, winter 1987; the journal of the church music association of america

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