The Record Newspaper 22 October 1987

THE RECORD

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A: Octo

r 22. 1987

is

i -d pth coverage ialsyn O with a four-page comprehensive ro nd-up beg" ni g o e a co inui go es 5, 6 an 7.

umber 2554

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As ith all motherhood topics, eads all nod in approval a the tatement that modern ociety run do nhill becau e of its film • tele i ion. r dio nd pres .

We are not ure of the hit list. flash o nudity and four letter expleti e are bad. Footy iolence i a ceptabl and he ightl , oap-opera pap i harmles , e no ingly decide.

Are the really destructive force o ub le hat e c n scarcely detect em? The media la t ee ga e food for thought ...

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ho. for example, i Oerryn inch? must ha e ondered la t ee

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Synod reports: See also pages S, 6 and 7.

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Talked of Mass reading.!

Never try to teach a pig to sing •••

". 'ever try to teach a pig to sing," said a greeting card I once received. "It's a waste of time and it only annoys the pig."

Because of my great interest in music, I got a kick out of the card, especially when I heard that Martin Luth r once called a congregation a herd of pig because he was so upset with their un-Chri tian

lives,

Some mu. ic leaders, trying to get parish congregation to ,ing

by Father LAWRENCE MICK

at Mass, may think the parallel is accurate; the effort often seems a waste of time and the only clear result i that people get annoyed.

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• 'onethel s . I persist in my belief that people can learn to sing at church servi-

ces and will enjoy singing if given half a chance.

Music does stimulate "Sacred music should. . • stimulate love amons the brethren. It should form the community, brtnslns about the fusion of voices and of hearts, and reunltlns souls In one s,eat yeamlns In the praise of God, Creator of the universe and Father of all."

(Pope John Paul II speaklns at the Pontlflcal I nstltute of Sacred Music, November

1985)

Music by nature ls dynamic.

Each piece of music moves forward at a certain pace, whether slow or fast; drtvlns forces within the music slve It a distinct flavour.

In fact, people often wlll describe a musical work as powerful.

They speak of the stlrrtns effects of the musical Its power to reach within them and to move them.

Or they speak of th abl ty a sons or symphony hH to communicate a mood that Is "melancholy" or

"passionate" or

"excltlns" or "relaxln&".

Music Is a dynamic sort of

lansuase.

It speaks to people.

It Is a dynamic form of expression that addreHes more than the 11•tener'• ear. It speaks to the heart.

In working with parishioners, I find that many complain about how difficult it can he to ing in church. Their complaints often are similar: "I don't know those hymns. the music I!, too slow or uneven. and the) play everything too high!"

Any parish that i seriou about wanting people to participate muvically in the liturg) must be willing to put time and effort and money toward that goal.

The first prerequi it is to have musicians and

music leaders who are competent to lead a congregation.

They do not need a master's degree in mu ic (Prai e God if they have one!I. but th y need to be abl to play the hymns with proper accompaniment, keep a regular and lively tempo. and know how to u their instrument effectively to lead others. whether organ, guitar, flute or whatever.

Some parishes are able

to find competent volunteers. But there are times when poor musicianship is tolerated because it co ts so little.

DOD

Second, a congregation needs a consistent repertoire of music.

That does not mean using thn same hymn every week: at m an that mu ic ha, to be familiar to people. Thi requires the use or a olid hymnal as the beslc resource, Having a hymnal i. important ,pcdally for introdur ing n w mu fc to a congregation. II re i an approach that I have found very sue-

So me

years ago, Mercy Sister Suzanne Toolan's high school' students thought she was the author of St John's Gospel. "They would come in on Monday and tell me that one of the readings at Mass on Sunday was from one of

cessful in several parishes, • The week before the song is to be used for the first time, teach the refrain or the first verse before Mass. Take the verse a Sf>c.:tion at a time and repeat eac:h section often enough for people to grow comfortable with it.

• The next week, take time for a brief review of the new m uvic ju t before Ma and use it during the service.

• U the new prece th following week a w II and again within the next two wee k s.

Then it can be. t a Ide for a time, hut not sn long that it c:an be forgotten.

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In a related way, music can h Ip to develop a nnse of unity amons those who worship tosether In th church.

stated munity," Father Ron Brassard.

a director of music and liturgy at Our Lady of the Sorrows shrine.

But to build a comm uni tv

through

music can be a special challenge at a shrine

bySTANUY KONIECZNY

where, on a Sunday Father morning.

Brassard may have 600 to 1000 worship-

c" scattered through at

a

6000-sea t

amphitheater "It I difficult to find music that is singable, but

beautiful and

well-crafted," Father Brassard admitted.

"Yet good music can take the faith experience and bring it to

a

WH11 Sa I hc.tme deeply Hpl'tsHd, Dnid too/r

IN aa to play. Tlis refr sited Sa I ind lift" /,iS /ti /tar, God's /mafes�, OxmHr H ,.

Marri• Hay s, fr

His much-loved song "On Eagle's Wings" provides a good example. my songs," the comCindy Father Joncas attribposer laughs today. uted the immense popuLiebhart That wasn't all bad. larity of that sng to two main factors. First, the In fact, Sister Toolan scripture text that related, some of the underlies the song. same students have Psalm 91, "is stunningly Perhaps best-known come back to her over beautiful" with its for her 1970 song "I Am the years and told her the Bread of Life," Sister image of God as a mother eagle protecting those songs "have Toolan recently comand caring for her offsphelped them through posed an entrance song ring. he said. Second.

- incorporating 20 lanthe words are clothed in trying times of their guages spoken in the a grand melodv that lives."

San Francisco area "mirrors the strengh For a composer who for Pope John Paul ll's and confidence of the tries through music Mass. text." Quite simply, it moves people. to make the words of "There are all sorts of Scripture come alive worshipping communiin people's lives, that Music has the power to ties to struggling unite a worshipping express their faith," might be considered assembly, she believes. Father Joncas noted. high praise.

"Music is a language The question for comthat crosses through posers becomes "how do other languages and you find a war of giving cultures. Good music expression to their faith, passes through the bar- their struggle, their riers of age and race and earch, their social status" pirituality."

Music also "helps us to use our whole person voice. breath, emotions - in a way that pulls us beyond ourselves," she said. " ly sound is uniMusic is an "integral ted with the sounds of and necessary part of others and together it worship," Father Joncas makes a sound you said. "It allows certain couldn't do by yourself. ritual acts to take place It is a way of commu- that without music nally expressing faith in could not take place." a deep, deep way and yet He pointed to the a very earthy, bodily acclamation sung just way," before the Gospel reading as an example.

When the Alleluia i sung jubilantly, people Scripture also forms the mean"experience the base for much of the ing of the text.

Singing it music Father liturgical Michael Joncas com- engages the whole perposes. "The Psalms. for son - and the whole example, which are the assembly - in praising backbone in my prayer God." eral of music to pieces lions that the spoken Both Father Joncas and work cannot." said Gary correlate with them. and the prayer of the Jesuit Father John Foley, Beckmann. music di rec· And he frequently uses church.. eventually tor at St Teresa of the a song of thanksgiving will well up into a song." also a composer, draw distinctions between after Communion to he said.

Child Jesus Parish.

Father Joncas, jokingly their music and "perremind the congregaHe believes music is a tion that it has gathered describes some of his sonal witness music" or special form of prayer. together to celebrate early works heavil · the "Christian easy lis"Music should not be influenced by popular tening" often heard on and give thanks. looked at as something For Beckmann, all the folk music of the 1960 . the radio. That kind or that takes up space and elements of good liturgi- as "The Mamas and the music is intended much time during \,fass," said cal music came together Papas Go to Mass." more for private reflecBeckmann. For him, the he his lion and meditation.

Today regards during memorial serviability to pray through , lusicat Mass is meant ces for retired Belleville musical style as "very the music is an imporBishop Albert Zuro- American" and "edec- to be an expression of tant factor to consider weste, who died in tic". He counts the work the faith of the comwhen deciding what \larch 1987. The music of George Gershwin and munity, said Father music should besungby for the service of the Aaron Copland as influ- Foley, whose songs the community during a reception of the body at ences upon him, along include "One Bread, Mass. the diocese's Cathedral with Broadway music One Body" and "DwelAmong other factors to of St Peter was somber. and Appalachian folk ling Place".

During the liturgy Yet by the day of the music. A bit of the blues consider in planning music for the Mass are funeral liturgy, the even creeps into his "you do not ordinarily have personal testimthe scripture reading for music had a lighter, songs.

But the music is always ony," he said. Likewise, that day and other more joyful tone to conthemes of the liturgy - ve hope in the resur- grounded in the text, he the music is not such as the theme of recllon. Through music, said. "I try to allow a intended to express the thankfulness. Beck- the diocesan family worshipping as embly faith of the individual mann begins by going found an outlet for the to grasp th meaning of alone, for "we have aried feelings asso- that text and then gathered to listen and to through the scripture express 'our faith'" express it themsel ciated with death. readings, choosing sevThe Record, October 22, 1987 9

nity through • • music m the Mass One purpose of music during the Mass "is to build com-

Within the church, music Is a "lansuas•" of faith. For thoH who hear It, music has the power to evoke Instincts of faith. It ellclts a response from a people response of the heart.

In addition, music - Ilk• prayer helps to expreu the faith of those who perform It or sins It. Music Is a form of prayer In the church.

The power of music to create a senu of community amons people Is of particular Interest In the church. Everyone understands how music draws p ople tosether and elves them a senu of shared purpose In oth r setttnss: at football ral es, for example.

new

level

of

expre ion."

Fath r Brassard expenenced this during the shrines annual Youth Sing Praise programe, ··we had a soloist. who

did a gospel piece, 'Taste and See' I looked out and t saw 70 teens and voung adults with tears in their eves because thev were so moved by what he was doing and h · their participation m this \lass," the priest recalled.

"I would like to see people touched in some wav at the celebration of the liturgy," he said "I am not advocating we start playing with propies emotions. I simply want to use music to communicate honestly with people, to inspire them Great music can do that."

"Music ha" the power to evoke feelings, experien • ideas and emo-

They thought sister wrote the Gospel By

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