The CMAA is pleased to present a reprint of a classic essay from Sacred Music: Liturgy and Church Music by then Joseph Cardinal Ratzinger (1985). Excerpt:

In a way which we could not imagine thirty years ago, music has become the decisive vehicle of a counter-religion and thus calls for a parting of the ways. Since rock music seeks release through liberation from the personality and its responsibil­ity, it can be on the one hand precisely classified among the anarchic ideas of freedom which today predominate more openly in the West than in the East. But that is precisely why rock music is so completely antithetical to the Christian concept of redemption and freedom, indeed its exact opposite. Hence, music of this type must be excluded from the Church on principle, and not merely for aesthetic reasons, or because of restorative crankiness or historical inflexibility.

If we were to continue our analysis of the anthropological foundations of various types of music, we could render our question even more concrete. There is an agitational type of music which animates men for various collective goals. There is a sensuous type of music which brings man into the realm of the erotic or in some other way essentially tends toward feelings of sensual desire. There is a purely entertaining type of music which desires to express nothing more than an interruption of silence. And there is a rationalistic type of music in which the tones only serve rational constructs, and in which there is no real penetration of spirit and senses. Many dry catechism hymns and many modern songs constructed by committees belong to this category. Music truly appropriate to the worship of the incarnate Lord exalted on the cross exists on the strength of a different, a greater, a much more truly comprehensive synthesis of spirit, intuition and audible sound. We might say that western music derives from the inner richness of this synthesis, indeed has developed and unfolded in a fullness of possibilities ranging from Gregorian chant and the music of the cathedrals via the great polyphony and the music of the renaissance and the baroque up to Bruckner and beyond. This pre-eminence is found only in the West because it could arise only out of an anthropological foundation which unites the spiritual and the profane in an ultimate human unity. And the pre-eminence disap­pears to the degree that this anthropology vanishes. For me, the greatness of this music is the most obvious and immediate verification of the Christian image of man and of the Christian faith in the Redemption which could be found. Those who are truly impressed by this grandeur somehow realize from their innermost depths that the faith is true, even though they may need to travel some distance in order to carry out this insight with deliberate, understanding.

With the byline "Everything you need to know about Gregorian chant!" G.I.A. Publications announces A Gregorian Chant Handbook by Dr. William Tortolano.

This writer would be interested in a comparison between this book and other available titles, especially The Beginner's Book of Chant: A Simple Guide for Parishes, Schools and Communities by A Benedictine Monk, published by Saint Michael's Abbey Press.

On Monday, August 15, the Feast of the Assumption of Our Lady, Mater Ecclesiae Roman Catholic Church of Berlin, NJ, which uses only the Traditional Roman Rite, celebrated its Fifth Annual Mass of Thanksgiving at the Cathedral of the Immaculate Conception in Camden. Hundreds filled the cathedral to its capacity, and there were at least sixteen priests and seminarians in attendance. The Rev. Robert C. Pasley, KHS, Rector of Mater Ecclesiae and an active member of the CMAA, was the celebrant and homilist.

Many, including committee members, sacristans, altar servers, and the musicians made great efforts to ensure the solemnity of this marvelous occasion. The gifts of the laity are bearing much fruit at Mater Ecclesiae.

Perhaps one of the more striking elements of the Traditional Latin Mass is the rich symbolism that it contains. These liturgical gems not only give cause for inspiration, but serve as a homily in action. The words of the Introit, for example (Rev. 12.1: A great sign appeared in heaven...), illustrate a scriptural basis for our belief in the Assumption and the Queenship of Mary. The many genuflections by those in the sanctuary emphasize belief in the real presence of Christ in the Eucharist and the reverence that is due to so great a sacrament. One of the more interesting details involves the subdeacon resting the Last Gospel on his head while the priest reads it. There is a great courtliness and formality, too, which communicates the seriousness of the action that is taking place. There are many other items, of course, all of which come together to make a liturgy which nobly strives to be an anticipation of the Heavenly Worship.

Despite objections that are often raised to the contrary, this Mass was not a nostalgic trip to the 1950's. This was the Mass of all time, celebrated by clergy and laity of the 21st century, many of whom were not even born before the II Vatican Council had ended. The people in attendance desired to imitate neither the uninvolved congregations of the pre-conciliar era, nor the uninvolved congregations of the post-conciliar era. They are demonstrating that the tradition-minded Catholic need not be nostalgic nor fearful of the future, but may indeed live in the present day with a confidence that can only come from being well-rooted in the patrimony of the faith.

Perhaps the greatest demonstration of this is the fact that many decrees of the II Vatican Council are being better implemented at Mater Ecclesiae than they are in the average parish church.

The Council said that, in the liturgical renewal, the full and active participation of the faithful, both external and internal, is to be considered before all else. It might be assumed that this is an impossible objective to achieve in the Traditional Rite, but anyone who arrived at the Assumption Mass with this idea most likely did not retain it for long. The people not only followed along with precision for cues as to which posture to take, they also involved themselves in the dialogue with the priest and often engaged in silent prayer. In addition to all of this, the vigor with which the hymns were sung was overwhelming.

The Council also called for the renewal of sacred music, especially Gregorian chant and polyphony, and Mater Ecclesiae has been particularly dedicated to this cause. The schola cantorum, under the leadership of Mr. Nicholas Beck, sang the propers of the Mass with a precision and beauty that is very worthy of imitation by other groups. Mr. Jonathan Coopersmith led the Ars Laudis Festival Chorus in singing Palestrina's Missa Assumpta Est Maria, a beautiful work which lends its own commentary to the liturgical action and creates a gateway to heaven, like all good sacred art, by a "materialization of the spirit and a spiritualizaton of matter." (Quotation from M. Deutinger)

In his homily, Fr. Pasley spoke of the beauty of Mary, a beauty which comes from her virtue and obedience to God's will. He then addressed the wonderful ceremony of the evening. Many in our era, he said, question the efficacy of such splendor when it comes to encouraging people in the faith. He admitted that it's possible that a spectator could attend this Mass merely to enjoy its solemnity and never gain any spiritual benefit from it, but then asked, "How is that the fault of the music?" Noting that attendees of this Mass with the proper disposition can be quite inspired to grow in the faith, he inquired whether mediocrity and sloppy ceremony have ever inspired similar growth. "Never," was his conclusion, and I agree.

How many Catholics who suffer through mediocre and sloppy liturgies each week would be surprised to find out, upon assisting at one, that they like the Traditional Latin Mass? How many of the faithful, sincere in their belief yet bored with banal worship, would be reinvigorated by the beauty of this most venerable rite? Are there not more than a few Catholics who desire a more Christocentric worship, the worship of a community that is gathered by and focused on Christ, rather than turned in on itself?

I submit that one of the key ingredients to a successful "Reform of the Reform" of the sacred liturgy is a more widespread availability of the Mass according to the 1962 Missale Romanum, properly and reverently celebrated. For this Mass, which Fr. Frederick Faber called "the most beautiful thing this side of heaven," teaches lessons that must be learned in the current liturgical climate.

On the Feast of the Assumption, Monday, August 15, 2005 at 7:00 PM, Mater Ecclesiae Roman Catholic Church will celebrate the fifth annual Mass of Thanksgiving at the Cathedral of the Immaculate Conception, Broadway and Market St., Camden, NJ. The Solemn High Tridentine Mass will be celebrated according to the 1962 Traditional Roman Rite and will once again feature the Ars Laudis Festival Chorus and Orchestra.
The Mass setting will be the Missa Assumpta est Maria in Caelum, as well as the five voice and six voice antiphon Assumpta est Maria, by Giovanni Pierluigi da Palestrina, as well as the Ave Maria by Josquin de Pres, the Virgo Prudentissima by Gioseffo Zarlino (1517-1590), Sonata for two Trumpets and Organ, by Jean Thilde, "Grazioso" and "Tranquillo" from Heroic Music by G.P. Telemann, and the Toccata in D Major for 2 Trumpets & Organ by Alesandro Scarlatti conducted by Mr. Jonathan Coopersmith. The singing of the Gregorian Propers will be directed by our Cantor, Mr. Nicholas Beck. The Organist is Mr. Robert Gallagher.
For the fifth consecutive year, the Reverend Robert C. Pasley, KHS, Rector of Mater Ecclesiae, Berlin, NJ, will celebrate this Solemn Mass in thanksgiving for the canonical establishment of Mater Ecclesiae. Assisting Father Pasley will be the Reverend Michael Magiera, FSSP, deacon, and the Reverend James Bartoloma, subdeacon.
Secure parking is available adjacent to the cathedral. For more information, please call 856-753-3408.
Mater Ecclesiae is a mission of St. Edward’s parish, Pine Hill, in the diocese of Camden New Jersey. Responding to the Holy Father’s Motu Proprio Ecclesia Dei, former Bishop of Camden, His Excellency, the Most Reverend Nicolas DiMarzio, established Mater Ecclesiae on October 13, 2000, the anniversary of the final apparition of Our Lady at Fatima. Masses and Sacraments are celebrated according to the liturgical books of 1962, in Latin, the original language of the Holy Roman Catholic Church.
We thank the Most Reverend Joseph Galante, present Bishop of Camden, for allowing this tradition to continue and flourish.

All Catholic Books has announced the availability of a reprint of the standard reference work Papal Legislation on Sacred Music [A.D. 95 - 1977] by Monsignor Robert F. Hayburn (Archdiocese of San Francisco, +1991), a founding member of the CMAA. This volume was originally published by The Liturgical Press and has been reprinted by Roman Catholic Books.

Greetings to friends of sacred music! As the incoming president of the Church Music Association of America I wish to invite you to join in the conversation about our common goals. Those who attended the Colloquium at Catholic University this summer will remember that the most lively session was the one discussing the General Instruction on the Roman Missal, in which so many in attendance had urgent concerns about what is fitting, proper, and legitimate in the face of the new formulations of liturgical rubrics. We should continue that discussion here. In the forthcoming weeks, I will suggest a few topics that might be a basis for it. You may have your own concerns, which you are free to propose. To post a message or a comment, you need a "name" and a password, for which you may make application by e-mail to David J. Hughes: davidjhughes@gmail.com.

Here is a basic issue of the relation of music and liturgy: Musicam sacram (1967) proposes degrees of solemnity according to how much of the liturgy is sung (pars. 27-31). The first degree includes the fundamental priest's parts, the versicles and responses, the prayers, the preface together with the Sanctus, the Lord's Prayer and its embolism. The second and third should not be employed without the first; in other words, what constitutes a solemn liturgy most of all is that the priest sings his parts. The second degree is the sung parts of the ordinary and the intercessions; the third degree is the sung parts of the proper of the Mass together with the lessons.

These degrees are proposed in order that it will be easier for a congregation to make the Mass more solemn. But they are also proposed in the context of a declaration that Mass with singing should be the norm and that the distinction between the solemn, the high, and the low Mass is to be retained. (Solemn meaning a sung Mass with sacred ministers, i.e., deacons or deacon and sub-deacon; high Mass, a Mass sung by a priest, and low Mass, a spoken Mass.) Thus, these degrees should be seen as progressive, with the high Mass as the goal. With the priest singing his parts, the congregation could begin to sing one or two of the simpler parts of the Ordinary, the Sanctus first, then perhaps the Kyrie or the Agnus Dei. When these have been assimilated well, another part can be added. Likewise, the parts of the proper of the Mass could be added one at a time, perhaps the Communion first, since time usually allows this freely and since the chants are simpler and can be repeated with psalm verses. Still, I would propose that at least for the principle Mass on a Sunday, one should not ultimately be satisfied with a mixed Mass, partly spoken, partly sung, but rather aim for the ideal, the achievement of a high Mass, as the document proposes. For some, the full high Mass will not be attainable in the near future; but when the norm and the ideal is kept in mind, even its imperfect realization is improved.