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Showing posts with label Revisiting Articles. Show all posts
Showing posts with label Revisiting Articles. Show all posts

Friday, April 15, 2016

iSing, iPlay, iPray — using tablets in a parish music program

This material, written in late 2012, was originally published in the Fall 2013 issue of AIM Liturgy Resources, copyright © 2013 World Library Publications, wlpmusic.com. Reprinted with permission. All rights reserved. 
In a subsequent posting, I will include specific instructions on how to create the most useful PDF format from Finale for uploading (or directly loading) into ForScore. 
Specific questions? Add them to the "comments" area, and I'll try to answer those as well. If I can't, I bet another reader will.


ForScore app allows you to make fully
editable playlists: "Funeral" contains
80 songs I can reorder on the fly.
How we’re using tablets in our parish music program

What you’ll need: a tablet device (like an iPad); a desktop computer; a Dropbox or similar online storage account with sharing privileges (www.dropbox.com); a scanner; appropriate licensing or legal copies; “forScore” app (www.forscoreapp.com)

It didn’t take long from the day the iPad was released (April Fools day, 2010, for those keeping track of these things) before a lot of us realized the possibilities for adapting the use of these devices in music performance. Technological entrepreneurs began writing apps to showcase the versatility of Apple’s tablet, videos of performances by geek bands using only iPads for instruments began popping up on YouTube, and sound technicians wandered the stages of concert and theatrical venues, iPads in hand, adjusting sound with suddenly ultra-portable remote mixers.

It was about five minutes after I discovered that there was an app for importing, sorting, and storing musical scores that I dove into the tablet market myself. In the guise of a small and yet completely legitimate tax deduction, I bought a first generation iPad in July of 2010, and used it the following Sunday to play the charts for that day’s services. I’ve done so ever since, nearly every week, as well as used the iPad for workshops notes and presentations (Powerpoints, including movies), and as a replacement for notebooks of music when I occasionally do a concert in a parish. As those of you who have an iPad or a similar Android or other tablet know, this barely scratches the surface of what we use them for, but it’s the domain of this article, so here we go.

You can maintain multiple playlists, while
storing most of your catalog in a master
song list in your device and/or in cloud
storage like Dropbox.
Since my experience is with the iPad, I’m going to say “iPad” when I mean a tablet device, mostly because I’m not sure where they diverge from one another in their abilities and available apps.  ForScore is an app exclusively for iPad. MobileSheets is an analogous app for Android, but I have no firsthand knowledge of it. (Search for “mobilesheets” at play.google.com)

Right now we have about a dozen iPad users in the choir, to a greater or lesser extent. For some of us, the benefits outweigh the drawbacks, but there are some drawbacks. Here’s a bit of values clarification, stacking up the positive against the negative:

POSITIVE
Portable – goes everywhere, becomes a customary companion because of other uses.
Versatile – “forgotten” or misplaced music recovered on the fly
Eco-friendly – in the long run, especially as it replaces paper from the source (publisher) rather than at the end user (the church or user through scanning), less paper being consumed
Great app – the forScore app allows for multiple setlists, resizing on the fly, rearranging pages, setting up smart repeats (from page 5 back to page 2, for instance), and annotation with a stylus or a finger in different colors, as well as highlighting and typed notes (say, different hymn numbers in different worship books, or workshop/concert commentaries).
AirTurn – for instrumentalists especially, this Bluetooth-enabled pedal enables handless pageturns. Sweet!


NEGATIVE
Front-end labor intensive.  The first time any song is put into the database, it has to be scanned and uploaded, or purchased and downloaded. Once it’s there, of course, it can be moved around and indexed in various ways.
Page-turn psychodrama. 95% of the time, no issues. But for the nervous cantor or music director, there will be the time that the page turn doesn’t go the way you planned (user error) and it will always be on the song you didn’t quite have as committed to memory as you wished you had. Since receiving an AirTurn device as a gift, the page-turning issue has receded. Controlling page turns via Bluetooth has been more reliable for me.

Cost. At this time, it is not cost-efficient to buy an iPad specifically for church use. But most users would find church use a small percentage of the actual amount of time we use the tablet for. It is difficult to overstate the utility of a tablet computer, which is capable of being a Skype phone, movie player, e-reader, word processor, presentation source (and even creator), social networking tool, email system, gaming device,…The list goes on. If a tablet already fits your lifestyle needs, it will be most helpful at the piano bench or in choir. 

iPad® is a registered trademark of Apple, Inc.
PowerPoint® is a registered trademark of Microsoft Corporation in the United States and/or other countries.
YouTube™ and Android™ are registered trademarks of Google, Inc.
Bluetooth® is a registered trademark of Bluetooth SIG.

Thursday, October 30, 2014

The end of Year A (from Hosanna! magazine, 1993)

              "Lestat," she said, "it is the larger scheme which means nothing...It is the small act which means all...There are many nights when I lie awake, fully aware that there may be no personal God, and that the suffering of the children I see every day in our hospitals will never be balanced or redeemed. I think of those old arguments — you know, how can God justify the suffering of a child?...But it doesn't ultimately matter.
               "God may or may not exist. But misery is real. It is absolutely real, and utterly undeniable. And in that reality lies my commitment—the core of my faith. I have to do something about it!"
               "At at the hour of your death, if there is no God..."
               "So be it. I will know that I did what I could. The hour of my death could be now." She gave a little shrug. "I wouldn't feel any different."
                                                                                    from Tale of the Body Thief
                                                                                    by Anne Rice [Knopf, New York, 1992]
                        Born now in stillness, distant cry,
                        If you exist, if you pass by,
                        Be life within their longing.
                        If you are not and cannot be,
                        Unspoken word, resound in me:
                        No God for our adoring.
                        You know me well, you bind me tight.
                        I cry out "You" both day and night.
                        Could I forget your presence?
                        Could we be one yet still alone,
                        Be homeless, nameless, still unknown,
                        And not behold each other?
                                                Huub Oosterhuis, tr. Tom Conry
                                                "Song at the Foot of the Mountain"
                                                © 1987 TEAM Publications

            As we approach the end of Year A, what new insights have we come to regarding Christ's continuing presence in the world? "They shall call him, 'Emmanuel,' a name which means, 'God-with-us.'" These words were spoken on the Fourth Sunday of Advent, back in December 1992. Then at the end of the Easter season, we heard on the feast of the Ascension, "And know that I am with you always, until the end of the world."On the 22nd Sunday, there were these words from Jesus, taken again from Matthew's gospel: "Where two or three are gathered in my name, there am I in their midst.." Finally, coming up on the feast of Christ the King, we hear: "'Lord, when did we see you hungry and feed you or see you thirsty and give you drink?'....The king will answer them, 'I assure you, as often as you did it for one of my least (ones), you did it for me.'" The year stretches from one end to the other as a meditation on the great Easter question: how is Christ alive? What does "to rise from the dead" mean? In whom or in what have we discovered the real, living presence of the Christ of God?

            There have been other recurring themes this year: the parables of the reign of God have been heard on many Sundays since July. Have they opened our imagining to any new hope, any new joys? Have we had any insight into the great love and trust Jesus had for his Abba? Have his teachings that flow from that profound faith, teachings about living together peaceably, with forgiveness, and open to the great diversity of humankind, led us to any new behaviors as a community? How have we tried to sing that community into being?

            One great danger is that we have been "just praising the Lord" for the way things are, satisfied with our status quo, and not allowed the axe of God's word to strike at the roots of our complacency. The din of our merrymaking blots out the word. I suppose that we thus tempt God to leave us to our own devices ("Turn back, O Man, forswear thy foolish ways!") or to try a less subtle approach, something in the fire-and-brimstone department. (As I reconsider these words, it seems more likely that we simply are reveling too much to hear the sound of God's axe hacking at the root, since the word does not go forth without accomplishing what it was sent to do!)

            The last Sundays are sombre, but there is a great energy underlying them. It is the energy of something-about-to-happen. Beginning with the parable of the vineyard owner and going through the Solemnity of Christ the King, the gospels are largely calls to immediate action: to respond to the son, to render to God, to come to the banquet, to serve the rest, to stay awake, to live up to our abilities, to do unto the least ones. In each case, one of God's options is spelled out in the parable: destroying their city, weeping and grinding of teeth, letting in the bystanders, locking out in the cold, committing to the fire. These are not meant to be prophecies or predictions of an exact reality, but calls to action. Jesus does not expect the listener to fall asleep or ignore the needs of the little ones or refuse to come to the feast! As he did among listeners two millenia ago in the Bronze Age, Christ looks for a new way of living from those who hear in the age of silicon.

(For Hosanna! magazine, by Rory Cooney. Excerpt.)

Thursday, October 23, 2014

Triaging the Translation Wars

(This article was originally written for Pastoral Music, written in November 2009. I forgot which issue, but let's say early 2010!)

Those who wish to meaningfully assist after a disaster apply a strategy defined during the Great War by French battlefield physicians called triage. As many know, especially fans of the 70s sitcom M*A*S*H, medics group the wounded into three categories: those who will die with or without treatment, those who will survive with or without treatment, and those for whom treatment will matter the most in creating a positive outcome for survival and health. It is these who are attended to immediately, and whom doctors and other medical personnel attempt to evaluate in expeditious ways.

For anyone who, like me, thinks that the all-but-approved new translation of the liturgy is a disaster, this analog offers a compass for the next steps we should take, if we want to be helpful. A disciplined silence under the rubric primum non nocere, energized by life-giving principle of kenosis will be a good first step, and clearly not an easy one as we deal with the indignation of the unconsulted millions of priestly people who make new translations financially possible by the irrevocable placement of an hour or two of their lives in the collection plate and appeal envelopes every week or so. Maybe the furor will end with a whimper, but that doesn’t seem likely.

Much ink has already been spilled both in defense of Vox Clara and ICEL and in repudiation of their work. If Comme le prevoit, Paul VI’s translation mandate that with cultural respect authorized dynamic equivalence with the Latin editio typica as the model for vernacular versions, was the document of entente that put flesh on the spirit of aggiornamento and global Catholicism, then LIturgiam Authenticam, demanding formal equivalence with the Latin edition, was the ecclesiastical equivalent of eminent domain, a taking back of land once ceded to and owned by the people, and a pious declaration of war on  our pathetically perceived ability to pray in our own language. The suggestion that the English translation had to be reined in because it is the de facto international language used to translate the Roman rite into other languages has been countered by the sane suggestion that a scholarly formal translation be used for such cases, and that a pastorally sensitive, poetic and musical, dynamic equivalent translation be used for Anglophone worship. The suggestion has fallen on the mitered deaf ears of the plenipotentiaries of the appropriate dicastery. The run-on sentence and embedded conditional clause are about to make a big comeback in American worship.

As I see it, the issue that remains to be resolved in the United States, however, is not whether the folks in the pews, us folks, will adapt to the elephantine lilt of the new old English, but whether bishops and priests will. Let’s just say “priests,” because, let’s face it, bishops can do whatever they want, for better or worse, in their own dioceses. But this submission to the rite, however ill-conceived the new transliteration is, by those specifically charged with its implementation, is an important issue of justice. Let me just make a few observations about the liturgical dialogues under the ancien régime of the 1973 version, the catechetical and therefore ecclesiological repercussions of those, and let you draw your own conclusions. Luckily, blessedly for us, there is also good news, because we’re neither the beginning nor the end of the story. I’ll finish up, briefly, with an appeal both to Sacrosanctum Concilium and the New Testament, which, again, luckily, blessedly, are not covered by any anathemas or those chilling words, “anything prior to the contrary notwithstanding.”

Among the functions of ritual, particularly those of important initiation rituals like the Eucharist, two important ones for this discussion are that ritual defines the boundaries of a group’s identity and that it establishes relationships among the group’s members. My last parish, St. Jerome’s in Phoenix, was among the top 5% of Boy Scout troops in the United States in producing Eagle Scouts, and during my years there, I attended dozens of courts of honor. Within those evening celebrations, one witnessed the core values of scouting made visible: love of the outdoors, good citizenship, respect for elders, what one might call civil virtue. At the same time, all the various rankings of scouts were present in the emblems of their rank and participation, including many adult Eagle Scouts who had long before added that status, and all that it represents, to their résumé. The ritual of becoming an Eagle Scout vividly and robustly demonstrates the values of scouting and the relationships among its leaders, members, and their families.

The Eucharist, and really, all the sacraments, being of the anthropological genus “rite,” have analogous dynamics of identity and relationship. Both in what we do and in how we do it, we express our nature as baptized children of God, resident aliens in another empire, incorporated by the gift of the Holy Spirit into the living Christ who, in pouring self out for the life of the world, offers a perfect sacrifice of agape that adoringly, mimetically, mirrors the nature of Abba, the One from whom he is sent. At the same time, the liturgy incarnates the diversity of the Holy Spirit’s gifts and the myriad ways we are sent into the world as its foot-washers and meal hosts. There are church orders within the liturgy: bishops, priests and deacons, the faithful, and catechumens. There are different ministries among the faithful. We interact with one another in the act of worship in which we are caught up with Jesus in offering praise and thanksgiving to God.

But among these orders and ministries, within the carrying out of our rites, certain aspects of our faith are never forgotten or misrepresented. Primarily, there is the faith that God is God and we are not; that Jesus, dead and risen, has handed his Spirit over to us from the cross so that the messianic mission might continue; that God is agape, “world-making love” that is at once the fullness of life and the complete giving-away of it, the paschal mystery. Also among these is the conviction that “poder es servir,” or as Scripture has it, “those who would be first among you must serve the rest.” Another is that, among the children of God, “there is no Greek nor Jew, servant or free, woman or man,” that there is a universal equality in the human race that is ontological, by virtue of creation, but explicitly embraced by the baptized.

Because this equality shines through the rite in the important dialogues between the presider and the assembly, it matters that the priest sings, “The Lord be with you,” and we respond, “And with your spirit” (or “And also with you,” or “Back atcha,” or whatever ICEL concocts in the future.) While the language matters, it is more important that the dialogue be exchanged with ritual integrity. When we make that exchange of faith  which proclaims the Lord’s presence, we are acting as equals, as partners, all of us equally submitting to the discipline of the rite as a means of acknowledging our common bond as the children of God.  No one is free to fudge the syntax (for instance, for the priest to change the subjunctive verb in his greeting to an indicative one, “The Lord is with you.”) Nor are we free to improvise or riff on the text: “The Lord be with each and every one of you”. This is not because one or the other is truer to the Latin, however, which is verbless and of unknown origin. It is because the rite interprets us, and not the other way around. We submit to the rite’s discipline so that we learn its relentless incarnate message of equality. If Father can improvise, we can all improvise, and instead of a body, we have a mob. What is the right response to, “ The God of Jesus is with each one of you”? Those who have experienced this at Sunday worship, and we are legion, know the kind of ritual confusion this improvisation begets. Change the scene to a mixed congregation at a funeral or wedding of people from various communities unaccustomed to the personal quirks of the parish’s priest, and the simplest of responses (“Amen?” “Glory to you, O Lord?”) become anemic and inaudible. We don’t know, in fact, whether we should say Amen! It is quite possible, in the archdiocese in which I live, at least, to attend a mass where hardly a sentence of the rite is delivered integrally until well into the Eucharistic prayer. Everything is riffed. Prayers, even the Eucharistic prayers, are fudged to reflect the homiletic bons mots of the priest. If the priest can take these kinds of liberties, why shouldn’t everyone else? And the real question is, if priests don’t take the current translation and its connection to authentic ecclesial rite seriously, why on earth will they do so with a more arcane, Harry-Potteresque semantic field?

Only if everyone submits to the new rite will it demonstrate the ecclesial equality of the children of God. The ritual of the Eucharist is a roadmap and rehearsal script of service and gospel life, in which all receive the life of the Spirit as God's gift and, as the body of Christ, render back to God the "perfect sacrifice of praise" (or however the groovy new translations puts it.) But in order for the equality to be apparent in the ritual, everyone has to play by the rules. If one person (the presider) is improvising, riffing on the texts as so many are doing with the 1973 text, being less formal, and not more so, as one would expect from the structuralist rhetoric of the formalists, then we're not equal. If I'm stuck with, "and with your spirit", but the priest can say, "the Lord is with you" or "the Lord be with each and every one of you" or "good morning," and then says "thank you" when we reply, well, we don't have ritual equality. That very priest might imagine himself to be a champion of lay leadership and collegiality, but in fact every ritual word he speaks undermines the foundation of the ecclesia.

The new translation itself is a problem because it confuses archaism with reverence and  opacity with mystery. The Sacramentary and its General Instruction are overweighted toward maleness, toward the sanctifying (rather than diaconal) role of the priest, and emphasize courtly-imperial obeisance (rather than diakonia) as reverence. But it is the fact that priests aren't going to submit to it any more than they are to the current translation that is the greater problem.

My only entry point into this new translation, which goes against every instinct I have and my religious and catechetical experience of being a Catholic for nearly six decades, is that when all is said and done, it’s only liturgy. As important as liturgy is for keeping us together and focused on the truths mentioned above (God is God, we are not, the Holy Spirit dwelling in the Church, &c),”the sacred liturgy does not exhaust the entire activity of the Church.” (SC, 9). This salvific sentence at the very source of liturgical renewal hearkens back to the language of the prophets, serving to remind us that sacraments, even the Eucharist, even the meals of Jesus himself, are symbols of the rest of life, and for there to be truth in the symbols, life has to be lived well. As Sing to the Lord further explains, “The Paschal hymn, of course, does not cease when a liturgical celebration ends. Christ, whose praises we have sung, remains with us and leads us through church doors to the whole world, with its joys and hopes, griefs and anxieties...Charity, justice, and evangelization are thus the normal consequences of liturgical celebration.” (SttL, 8-9) It will thus continue to be true that the quality of the translation, as well as the efficacy of the liturgy itself, will be judged not on how well we sing it, say it, or abuse it, but how the neighborhoods are being changed, how we are voting, and whether or not the “poor are filled with good things.” Neither we, nor this new translation, are God’s last chance.

Here’s how the triage metaphor plays out, then: the old translation, and all the music and authentic worship it engendered, is going to die. For it to survive will take an act of God, so I’m out of that picture. The Church is going to survive no matter what, especially that vast majority of folks who don’t really care whose side wins the translation war, or even know that there was a battle on, or that there was anything at stake worth fighting about. God will see that that Church survives, thrives, in fact, so I’m out of that picture, except, fortunately, to be on the receiving end of grace. What I have some control over, what I can attend to, is the making explicit of this link between submitting to the rite and the ecclesiology that underlies it. “The word of God is not chained,” writes St. Paul to Timothy, and it is not chained even in the golden prison of the liturgy. The only true orthodoxy is unity; unity comes from understanding, dialogue, and finally the service of the other, especially the stranger, especially enemies, that flows from agape. Everything else is ideology.


Over the years, as I’ve reflected on my life as a human being, husband, father, and Catholic, I’ve come to the gradual conclusion that “being right”, that most prized of Catholic virtues, is overrated. I have learned this from Jesus Christ, who “though he was in the form of God, did not regard equality with God something to be grasped.” You can’t be more “right” than being God, and yet Christ laid all that aside, and “became sin” for us (2 Cor. 5: 21). What matters most is not being right, but being one. When we get to the place where conscience conflicts with the prevailing wind, where “rights” begin to clash, the Christian must try to act in agape like the Master. Focus on the gospel. Change the neighborhood. When the Latinate syntax swirls in incomprehensible churchspeak, it will be of some comfort to know that our actions speak louder than words, more beautifully and convincingly than our music. At least, that is, until the parousia, when word and deed will be reconciled, and all will be one.

Thursday, October 16, 2014

A fiction of Holy Thursday

I have a number of files on my hard drive that are so old and from such diverse programs (AppleWorks) and OSs and held together by such tired electrons that they would be the modern version of Dead Sea Scrolls, paragraphs of text degenerating into digital gibberish, unrecoverable. This is part of an article I wrote about Holy Thursday around 1991. I have no idea how it ends, but it began with this fiction, preceded by the word "Remember."

“What makes this night different from all other nights?”

Simon Peter lay curled on the damp, sour straw of his cell. The words of his young visitor, John Mark, invaded the tedious half-light of the Roman spring evening like a voice from another time. Pesach, he thought, remembering his wife, parents, children, and neighbors gathering around the table in Capernaum, year after circling year. New faces and old, now this one appears, that one gone since the last time. A lifetime ago it was, before we met Yeshua at the lake that day. “Jesus,” he tried again, the foreign sound of it still confounding his tongue, reminding him of his own captors, and of the events that had transpired during the spring festival so many years ago.

The night had begun like so many others, but in Jesus there was a foreboding. Every word, every gesture was a like a farewell. “Remember” was a word that had stuck with Simon from that night, and a word he had repeated a thousand times in telling the story of what had happened. Every meal that the little band had taken together was a story to be told. Sometimes the eating itself had been illegal, made him a little uneasy even, the conscience of the little Jewish boy within sternly reprimanded by the teachers of his childhood. Sometimes they had eaten with local synagogue leaders, and others who wanted to hear from the master’s mouth the words that had excited the countryside. Jesus would invite to table anyone he met, women and men, healed and healthy, sinner and saint. Evening after evening the feast went on: they had gotten a reputation of being gluttons and drunkards. Peter smiled at that, thinking about the filthy fare of his latter days. Things have changed.

He still could not think of what had happened in those hours without a wincing prayer: the master disrobing, washing their feet like a slave, telling them to remember. Always “remember.” Then the arrest, the trial. The bloody day he had watched from great distances of grief and cowardice, jealous of the women who had abandoned all self-concern to lavish their presence on his brutal isolation from whatever closeness they were allowed. The darkness, the storm. And running, running, running...

And the wonder of the days that followed. The women again, and their report of his empty tomb, a report he had verified himself. The real adventure had begun then. Every time they had reached for bread, eyes would meet and they would...remember. Reports from here and there, Emmaus, the lake shore in Galilee, right there in Jerusalem. The fire that began to blaze in us when we realized what was happening, when first the upper room and then the whole city, the whole world seemed too small to contain it. More days, more broken bread, more poured out wine—poured out blood. So much blood into the ground since then, and so many of the sisters and brothers who knew him are gone now; and now, they are saying, Jerusalem is to be sieged.

The Romans seem bloodthirsty, but their quest for power was really sprung from a yearning for the same thing Yeshua had wanted: “that they all be one.” Rome wants to make the world one by force, Peter thought. Yeshua had a different way: he wants the world to be one by surrender. Surrender to gratitude, mostly. Surrender to forgiveness. Surrender to healing. The Romans are ripe for the words of the Master, Peter muses. Already, many have come to the Way. It is really so simple. Let us sit down and eat together. Let us give thanks that we are alive in a world full of the Spirit of God, and remember who is the Creator, our light and our freedom. It is a harder message for the powerful to embrace, but to the lowly, it sings! For my ancestors in Egypt as for my little flock here in Rome, this is a day to keep festival and remember these things. What was that, John Mark?

“Why is this night different from all other nights?”

In the darkness of the cell, Peter raised himself and spoke aloud to his visitor: “It is the Passover of the Lord.”

Tuesday, October 7, 2014

Takin' It to the Streets

Do our songs make it outside of the church doors? Should they?


And did not Jesus sing a song that night
When utmost evil strove against the light?
Then let us sing, for whom he won the fight:
Alleluia, alleluia, alleluia.[i]
Nebuchadnezzar's face became livid with utter rage against Shadrach, Meshach, and Abednego. He ordered the furnace to be heated seven times more than usual and had some of the strongest men in his army bind Shadrach, Meshach, and Abednego and cast them into the white-hot furnace.…They walked about in the flames, singing to God and blessing the Lord. "Blessed are you, and praiseworthy, O Lord, the God of our fathers, and glorious forever is your name.” (Dan. 3: 18-26 passim)
In Sister Helen Prejean’s Dead Man Walking, she writes of the final hours of the young murderer with whom she has stood through the time leading up to his execution. She has arranged for a small prayer service, and only the priest, she, and the prisoner, Pat Sonnier are present. It is the day preceding his scheduled execution.

…The old priest arrives around three o’clock for the prayer service…I suggest a plan to him for the prayer service and he nods his head in agreement.
         I turn on the audiotaped hymn:
         If you cross the barren desert
         You shall not die of thirst…
         Be not afraid, I go before you always…
         If you stand before the fires of hell
         And death is at your side…
         Be not afraid.
         The harmony of the young Jesuits is sweet and close, a song that promises strength for difficult journeys. Pat’s head is lowered, his ear cocked close to the metal door, intent on every word.
         I picture the words of the song echoing from room to room within the death house, the words filling the place where the witnesses will sit, where the executioner will stand, the tender, merciful God-words, traveling across the hundred feet of tiled floor that must be walked to where the electric chair waits…I know the words may not stop the death that is about to take place, but the words can breathe courage and dignity into the one who must walk to this oak chair and sit in it.[ii]

How is our liturgical music, specifically, music that expresses the church’s longing for the “peaceable kingdom” of divine justice and mercy, making it into the centers of mainstream culture? Does any of our music make the journey to where people are actually living, working, voting, shopping, studying, protesting, and suffering, or is its usefulness and influence limited to the anointed walls of our churches and multi-purpose buildings?

As I start this article, I suppose that I want to have grand aspirations about this. I don’t mean hearing Catholic liturgical songs on mainstream radio stations, like we heard Judy Collins sing “Amazing Grace” or Cat Stevens sing “Morning Has Broken” in our young years. (We did, however, recently hear Phantom star Michael Crawford record an arrangement of “On Eagle’s Wings.”) But I wanted to discover stories of people singing our newer (meaning, from the last 40 years or so) repertoire in public and important ways.

There is a long history of church music entering the world outside the church, and I’ll confine a few examples to the kind of music we’re trying to focus on, music of peace and justice. In Parting the Waters, Taylor Branch’s Pulitzer Prize-winning book about America during the ministry of Dr. Martin Luther King, Jr., the story is related of events surrounding the integration of Ole Miss, and Dr. King’s Southern Christian Leadership Conference convention in Birmingham in 1962. During the closing announcements, a self-professed Nazi walked to the stage and punched Dr. King on the cheek. King staggered backward, the three hundred or so attendees in the crowd were stunned. The man pressed the attack, hitting King again and again. People felt “physically jolted by the force of the violence—from both the attack on King and the flash of hatred through the auditorium…After being knocked backward by one of the last blows, King turned to face him while dropping his hands.” While the other dignitaries surged toward the attacker, King shouted, “Don’t touch him! Don’t touch him. We have to pray for him.” A circle of protection enclosed the attacker from reprisal, and King spoke to him quietly. “…A hastily organized quartet of singers moved to the microphone to hold off the crowd, singing ‘I Want Jesus to Walk with Me’ and the somber slave spiritual ‘Steal Away to Jesus.’ James Bevel interrupted to say this was no funeral—Dr. King was all right and they had weathered a stern test of non-violence…He started them off in a rendition of ‘I’m on My Way to Freedom Land,’ which gathered volume until the auditorium shook.”[iii]

David Halberstam in The Children describes the metamorphosis of “an old black church song” called “I’ll Be All Right Some Day” in the crucible of the civil rights movement in Nashville in 1960[iv]. Invited to lead a song at a demonstration, a white folksinger by the name of Guy Carawan sang “I Shall Overcome,” using a lyric that had become politicized during a strike of black women in mid-1940’s in Charleston. “From the start, their singing had been a critical part of their demonstrations. When they had been arrested, they had instantly become the jail choir, and that had not only given them strength, it had helped bond them together…On this particular day, their music was to become even more important. ‘We shall overcome,’ Guy Carawan began to sing as he picked his guitar. ‘We shall overcome some day.’ Some of the leaders…who had already heard the song took it up immediately…It was perfect for the movement; its words, its chords, above all its faith seemed to reflect their determination and resonate to their purpose perfectly….Others who had heard it before but had not sung it during a demonstration took it up. Suddenly the sound seemed to sweep across the courthouse square. It was a modern spiritual which seemed to have its roots in the ages…It was easy to sing…it was religious and gentle, but its force and power were not to be underestimated…It was an important moment: the students now had their anthem.”[v]

What a journey “We Shall Overcome” has had, from church song, to folk song, back to church song. Just hearing the strains of the song evokes a time, a movement, and inspires a new hope in us and in people all over the world. One independent journal reported recently: “Thousands marched through Guyana’s capital on Mar. 20, demanding the government order an independent investigation into claims of a state-sponsored hit squad blamed for more than 40 killings in the past year. …Shouting anti-government slogans and singing hymns like “We Shall Overcome,” more than 3,000 protesters converged at a rally near President Bharrat Jagdeo’s office in Georgetown.”[vi] This folk hymn continues to serve the church both inside and outside the walls of worship.

There’s also a history of music outside the church being “baptized” and coming in with the people. This drives purists crazy, but it’s an engine driven by two pistons: one is a need for something that doesn’t exist inside the building already, the other is the participation in the living faith of people that some non-ecclesially born songs are. Most of us who have been in this ministry from the beginning can remember with some pieces like this: the use of “Day by Day” from Godspell  in the mid 1970’s (the text of which, after all, is the prayer of St. Richard of Chichester, and appears in hymnals with other melodies, like many of the Godspell songs), and the foray of folksongs, worksongs, and protest songs into liturgies when there wasn’t an adequate vernacular with which we could blend our voices at worship. Most of that is past now, but I still notice, in more informal, quasi-domestic gatherings for eucharist, that some analogous non-liturgical music finds its way into worship.

Perhaps the most famous and enduring example of the baptism of a non-liturgical song is this one. Sy Miller tells this story of how a song he and his wife, Jill Jackson, wrote for a summer camp took flight:
“One summer evening in 1955, a group of 180 teenagers of all races and religions, meeting at a workshop high in the California mountains locked arms, formed a circle and sang a song of peace. They felt that singing the song, with its simple basic sentiment – 'Let there be peace on earth and let it begin with me,' helped to create a climate for world peace and understanding. When they came down from the mountain, these inspired young people brought the song with them and started sharing it. And, as though on wings, 'Let There Be Peace on Earth' began an amazing journey around the globe.”[vii]

Now in dozens of hymnals, “Let There Be Peace on Earth” started as a camp song, and has been recorded by artists as diverse as Liberace, Mahalia Jackson, and Vince Gill.

Barely two generations later, we seem to live in a different world. People don’t sing much, outside of those ritual times when we’re expected: the seventh inning stretch at a Cubs game, for example, or around the table at our child’s birthday. Even that is slipping into disuse, isn’t it, as anyone knows who has gone to one of those annoying restaurants where the waitstaff comes out singing some ill-conceived substitute for the copyrighted “Happy Birthday,” and it comes out sounding like an atonal, arrhythmic rap that is painful to hear. David Koyzis, professor of political science at Redeemer University College in Ancaster, Ontario, wonders whether the “ubiquitous presence of commercial (i.e., recorded) popular music” over the last century or so may not be having an effect on folk singing and “folks singing,” just the kind of public singing I’m wondering about. He writes,

For North Americans, music is no longer something that springs from the heart of a community's lived experience. For those making the music, it is often seen as little more than an expression of the individual's ego—driven in large measure, of course, by the profit motive.  Aesthetic criteria, if there are any, would seem to be beside the point. For the rest of us, music has become a commodity, available, like everything else, for purchase on the open market.[viii]

A teacher, commenting on his article, refers to a substantial body of professional literature which demonstrates the decline in the ability to sing (people who say, “I can’t sing”) is directly attributable to the rise in “recording technology and sound amplification.” Singing is a learned behavior and skill, and as children experience their parents singing less, they tend to sing less themselves.

Over a century ago, at the dawn of recording technology and amplification, Chesterton bemoaned the lack of singing in industrial society in a quirky essay called “The Little Birds Who Won’t Sing.” Wondering aloud, after seeing medieval engravings of workers in various walks of life singing, why bankers and postal workers don’t sing while they work, he concocts a few work songs for them, and suggests they give them a try. When he’s turned away in his various attempts to market his idea, he muses,
…There is something spiritually suffocating about our life; not about our laws merely, but about our life. Bank-clerks are without songs, not because they are poor, but because they are sad. Sailors are much poorer. As I passed homewards I passed a little tin building of some religious sort, which was shaken with shouting as a trumpet is torn with its own tongue. THEY were singing anyhow; and I had for an instant a fancy I had often had before: that with us the super-human is the only place where you can find the human.
Human nature is hunted and has fled into sanctuary.[ix]

And yet, “singing is normal when people have something to sing about[x]” has almost become an axiom in our trade. “People in love makes signs of love[xi],” we are told. American Catholic communal singing, at least in the liturgical context, is more vibrant than ever. But our newer repertoire hasn’t really had much time to become heart music, and we’re still searching out our identity as Christians in the modern world. Our Scripture and ritual books are Eurocentric, anthropocentric, largely pre-Copernican and pre-industrial. There is little public discussion or even formal acknowledgment of the theological or moral significance of advances in physics, biology, anthropology, psychology, or even philosophy. On the other hand, assemblies are increasingly educated in these areas, and increasingly unable to integrate their experience in their work life and home life with the world of the gospel. There is a great sense in which we are at sea, and perhaps our ritual time together, with its singing, affirms a simple truth that may strengthen our endeavor to reconcile the worlds of modern life and the gospel: we can announce the rule of God if we stay together, assured that the God of these ancient scriptures is the God of m-theory and the genome.

Anyway, it occurs to me that I am, to some extent, examining the wrong end of the horse, “looking for love in all the wrong places.” Maybe it’s not the song getting outside, it’s the song getting inside that matters. What happens to people who sing the songs is what matters. So I asked them what they thought, and I looked at what is happening in my parish. There are hugely generous social ministries at St. Anne’s that begin with family-based projects of young children, continue through a van-based soup ministry by our teens, and go on to a thrift shop staffed by parish volunteers, an annual garage sale that raises about $100,000 for Project Hope, our main social outreach ministry, and an ongoing relationship with an Chicago parish and a food pantry. My own family was the recipient of two weeks worth of extraordinary generosity, including huge meals for six delivered every other night for the two weeks preceding Christmas, while I was recuperating from surgery and my wife was caring for me. And this was not an isolated act, but one coordinated by our Women’s Club that has been repeated many times for others.

And there are the stories of the songs themselves going beyond the walls of the church and into the domestic church. Some of them are small and local, as when the dad of the Kidchoir third grader wrote to me, “…After the tree lighting ceremony (with John Bell) we often, in our house, say ‘oh yes I know, oh yes I know’ when a simple ‘yes’ will do.  Further, we still sing ‘oh happy day’ to capture the excitement of last year's Easter ceremony.” Some of them are more far-reaching, even global, as pilgrim and choir member Diane writes, “The most profound experience I can recall was in 2002 in the rural town of Citeje, three hours from Mexico City.  Our group spent the day planting trees to prevent erosion and painting their church.  We were welcomed by the mayor and local residents who danced and sang for us. Later, after they served us lunch, I played "Lord, When You Came" (“Pescador de Hombres”) on guitar and we sang it in Spanish.  All the people knew this song and joined in.  Some of the men played their guitars along with me.  It was awesome!  We felt like one big family united in our faith and the music.” 

Then, there’s the longer letter I had from Phyllis, one of our bereavement ministers who recently had lost her own husband. Getting a note like this makes me remember why we do the work we do, and be glad for the call that brought me to it, and that strengthens me in it daily. Her italicized references are to the text of “Covenant Hymn,” a song by Gary Daigle and me that is part of our liturgical repertoire at St. Anne:

I told you several years ago that I thought Covenant Hymn was the most beautiful love song ever written.  It is a song about love, commitment, the uncertainties of life, the challenges of a relationship and finally the acceptance of death.  And life after death.

Cliff experienced a great deal of pain during his last months.  When the pain medications weren't working effectively during those hours, we would pray and sing and sometimes cry.  But we always got through the dark night.

I came to see everything as part of our journey, part of God's plan for us.  …
At one point, I moved into the hospital with Cliff.  Wherever you live is my home. And the so the journey continued, and mountains before us were vast.

While at home after the amputation, Cliff lost his balance when trying to get off the couch.  I'll raise you from where you have fallen.

And then suddenly everything started to fall apart.  I had to call 911 and he was readmitted to the hospital…I knew we were at the end.  When I was sure that we had done all we could medically for Cliff, I said we would take him home.  Your fears and your doubts I will calm.  He hated hospitals.  I knew, however, that he only had a few days left.

But he seemed to be afraid to let go.  I tried to think about what his fears and doubts might be.  I talked to him about those things. Even though he was no longer talking and seemed to be asleep he clearly understood what I had said.  There was less tension in his body and was breathing more easily.  Later that day,  our youngest daughter and I were with him, she on one side of the bed and I on the other.  We talked to him as he went home. Wherever you die, I will be there.  He was so peaceful, with a little smile on his face and then he was gone.

As I said, the Covenant Hymn was my daily prayer, my daily promise, my focus but also my map for the journey.

Several of the great songs of scripture, while we know them to have been liturgical, seem to arise out of the hearts of their “singers” in moments far from temple and liturgy. Miriam’s great “Canticle at the Sea,” the latter Miriam’s “Magnificat,” the song of the Three Young Men from the book of Daniel cited above, these are sung at times and in places not associated with the temple cult. The psalms are on the lips of Jesus as he makes his exodus and hands over the spirit to the Church. Yet all of these songs have their origin in the community, in the cultic worship of the people of God. Perhaps for us, too, when the need will arise, whether on the shore of some liberation, or in the bedroom of decision or revelation, or in the fiery Abu Ghraib of some modern Nebuchadnezzar, the music of our own worship, the songs and psalms of our modern prayer, will carry us together through doubt, fire, and sea. We musicians have both to teach people to sing and teach them the songs. After that, it will be Christ who will give us words in the time of need. It will be the Spirit who will say, “Sing!” And the Church, God willing, will sing.

for Pastoral Music magazine.  Completed January 15, 2005, birthday of Dr. M. L. King, Jr.  © 2005





[i] “When in Our Music God Is Glorified,” by Fred Pratt Green, 1903-2000, © 1972, Hope Publishing Co.
[ii] Helen Prejean, Dead Man Walking. Vintage Books, New York, © 1993, 1994. Pp. 80-81.
[iii] David Halberstam, The Children, © 1998 by The Amateurs Ltd., published by Random House, New York. P. 655.
[iv] In another interview, Pete Seeger recalled singing “We Shall Overcome” for Dr. King in 1957 or 1958. In the interdependent world of folksinging, it is entirely possible that Carawan had learned the song from Seeger. Branch, however, makes no mention of this.
[v] Taylor Branch, Parting the Waters: America in the King Years 1954-1963, 1988, Touchstone Books, Simon and Schuster, New York. P. 231-232
[vi] Asheville Global Report, #309 (Dec 16-22, 2004) www.agrnews.org
[vii] from the Jan-Lee music website, copyright owners, www.jan-leemusic.com/history.htm
[viii] from “Comment,” an online publication of the Work Research Foundation, “broadening and deepening public dialogue on work and economic life, Volume 22, number 5. See http://wrf.ca/comment/2004/0601/64.
[ix] Excerpted from “Little Birds Who Won’t Sing,” from Tremendous Trifles, by G. K. Chesterton, (Project Gutenberg online edition), Chapter 30. www.literaturepost.com/chapter/6335.html
[x] see, for instance, Aidan Kavanagh, Elements of Rite, Pueblo Press, New York, © 1982, p. 31
[xi] “Music in Catholic Worship,” Bishops’ Committee on Liturgy, NCCB, 1972. Pp. 4.