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The Catechetical programs of Archdiocese of Lingayen-Dagupan: basis for catechetical ministry action plan Rev. Antonio Ray R. Quintans Author: Quintans, Rev. Antonio Ray. Tags from this library: No tags from this library for this title.

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A fun and formative way to develop and maintain a youth choir, this presentation discusses how a week-long summer youth program which focuses on Gregorian chant can provide liturgical catechesis, foster Catholic identity, assist in music literacy, and assist in developing a sacred music program, particularly amongst the youth of a parish. A comparative review of three parish camps over a period of five years will be offered. Musical instruction, repertoire adaptability, and possible progression of such a program will be covered, as will challenges of administrative tasks and volunteer management.

I will discuss demonstrable areas of benefit to each parish following the chant camps in the areas of: building sacred music programs, including but not limited to youth choirs; engaging Catholic youth through participation in authentic, timeless, and universal sacred music; moving towards a deeper restoration of sung liturgy and fulfillment of the goals of the Second Vatican Council with regard to sacred music.

Not much has ever been written or talked concerning the need for pastoral care of the parish director of music and other parish musicians.

Probably this is the case because most pastors take the attitude that the parish musicians are just part of the paid assistants in the parish who have a certain expertise, and therefore it is assumed that their duties will be carried out without any need for pastoral care per se. Another part of the problem is that most Catholic pastors have little or no knowledge of music in general and specifically of Church music, with the result that there is a reluctance to speak about things to parish musicians of which the pastor has no first-hand knowledge.

And yet, the role of the parish musician goes far beyond just supplying adequate music for the Mass and other liturgical celebrations. The documents of the Second Vatican Council make clear that music is not something added onto to the Mass; church music is an integral part of the spiritual life of the parish. Just as the pastor is responsible for the pastoral care of his fellow priests in the rectory, and of his parishioners—the cure of their souls—so is he responsible for the spiritual well-being of the parish musician.

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In order to do so, the pastor must be conversant with and knowledgeable about both what the musician does and how he does it, and also knowledgeable about the peculiar areas of stress and difficulties that pertain to the vocation of a parish musician. To do this, the pastor must have a clear vision of the goals and purpose of the parish music program. He must see the music program as fulfilling a significant part of the spiritual needs of the parish.

He must then be able to be a real support to the parish musician, especially at those critical times when there is conflict within the parish. Pope Francis recently addressed a gathering of church musicians at a conference commemorating this anniversary, highlighting a number of ways in which the document speaks to sacred music in our time. Drawing on a few of the points highlighted by the pope, this presentation will discuss musical roles in the sacred liturgy and the notion of musical excellence, relating the words of the Holy Father to the interaction between sacred music, pastoral ministry, and religious education.

It is commonly held that beauty exists in the eye of the beholder and is therefore a subjective quality. True beauty, however, is a transcendental property, touching upon the eternal and reflecting aesthetic criteria. Through an approach that is both philosophical and theological, these criteria will be established and shown to be a necessary part of human experience. John Paul II.

The aesthetics of beauty will then be applied to Gregorian chant as sacred music par excellence. Why not ask Gregorian chant to reveal its secret in the languages and in the cultures of our time? The large body of Gregorian repertoire especially the antiphons of the Mass and Divine Office could possibly be the most expressive vocal music ever composed.

Corruptions over the last millennia e.

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The revival of Latin chant has been in the process of slow re-discovery over the last century and a half. I will endeavor to outline the process of adapting Latin chant into contemporary English as taught and practiced by Fr. Meinrad Archabbey :. I will then employ a series of musical examples of various English antiphon adaptations of Fr.

This patrimony will reach its fullest power in the comprehension of the vernacular text by the faithful, expressing the deepest meaning of its scriptural sources made ever more succinct by a myriad of composers over many centuries of contemplation. Parisian church musicians around faced a phalanx of related problems that are uncomfortably familiar to contemporary American Catholics: limited resources for music programs, low standards of musical training and performance in many parishes, disagreements over whether chant and polyphony or contemporary popular music should be heard at Mass, and ongoing tensions between Church and state.

This episode in history can thus provide a valuable model for contemporary Catholics seeking a renewal of their own musical traditions. Bryan W. Jerabek, J. Although its focus on liturgy is rather minimal in proportion to the entire document , and deals mostly with questions of inculturation, it does contain one particularly invaluable and likely overlooked indication:. Appreciating the spaces of the existing culture, including the church buildings themselves, is an essential task for evangelizing culture.

Along these lines, the creation of Catholic cultural centers should be encouraged. They are especially needed in the poorest areas, where access to culture and augmenting respect for the human is all the more urgent. Pius X famously called for partecipazione attiva on the part of the Christian faithful, and he also called for the restoration of Gregorian Chant.

The juxtaposition of these two prescriptions is not a coincidence. No, this was not a merely functional, but a theological prescription: grounded in theological principles and having theological implications. When we sing at the liturgy, or sing the liturgy, we are giving sung voice to our theology. Thus, what we sing matters.

Not any music of the moment, but Chant and the forms developed from it, will most fully realize our liturgical participation. They developed not only practical, but theological foundations for the work that continues today. Musicians and clergy today need a fuller appreciation and appropriation of the Pian theological principles and their subsequent development. Such appropriation and continued development will ground our own thought and praxis today, and will provide the tools we need to break free of the constraints of our own dominant culture, and fully realize the object of liturgical participation: the extension of the salvific work of Christ into the world.

This presentation will provide a look at our Buela Youth Orchestra, Hispanic Ministry in Minnesota, and other examples. We will explore how to reach diverse communities within the parish boundaries with invitations to study music, especially those without transportation or income for private study. How does sacred music make present and anticipate the song of heaven? Through perceptible signs, we are able to catch a glimpse of the glory of God, and in particular, the sacramental sign of liturgical music points towards heaven making present the song of the Trinity and the choirs of angels.

In this musical offering, in uniting ourselves with the offering of Christ, we allow our very selves to be transformed by these holy mysteries. How do we invite the faithful to enter into a deeper understanding of the very act in which they are participating? Mystagogical catechesis is a process of formation that leads to a deeper understanding of the mysteries being celebrated by proceeding from the sign to the thing signified, from the visible to the invisible, or, in the case of sacred music, the audible to the inaudible.

This presentation began as a series of talks exploring the nature of music as a sacramental sign. It will focus on music and heaven, and provide practical suggestions to lead choir members and all of the faithful to a deeper understand of the sacramental significance of music in the Liturgy.

This presentation will aim to illustrate the role of Gregorian chant in the liturgical life of the Church as well as the practical considerations involved in introducing and developing its use in different communities of worship, ie: parish, grammar school, seminary, and religious house. We will give a general outline of the intellectual, technical, and spiritual formation for the clergy, chant schola, and the congregation in the body and spirit of Gregorian chant.

Then, drawing from our personal experience of liturgical formation as religious of the Canons Regular of St. John Cantius, we will describe the liturgical environment at St. John Cantius Parish, its impact on the religious and the lay faithful, and how we have set about sharing this liturgical experience, of which Gregorian Chant is a significant element. Common challenges in communicating the spirit of Gregorian chant will also be addressed.

Beginning with a short history of Boys Town, this presentation will focus on the work of Fr. Francis Schmitt and the development of the choir, noting especially how sacred music changed the lives of the boys and shaped the life of the community at Boys Town. We will also discuss the famous summer music programs held at Boys Town and the eventual downfall of the sacred music program, leading to the collection of sacred music being housed at Duquesne University. Instruction of students in sacred music is a task that uniquely belongs to the Catholic school. It is not only consistent with the intellectual mission of the school but is also an integral part of the formation of the Catholic student, which instruction is ultimately ordered to the fitting worship of God.

Drawing on over twenty-five years of experience in Catholic education as a headmaster, dean, teacher, organist, and choral conductor, the presenter will argue that such instruction is not only consistent with the intellectual mission of the Catholic school but is a necessary step in the restoration of sacred music. First attempts at worthy projects rarely contain all of the elements for success.

Practical reflections of a nascent program may prove helpful in shortening the learning curve for any of those who feel called to begin a program at the parish or even diocesan level. Beginning with a weeklong sacred music camp which then transitions into weekly classes throughout the school year has proven to be a successful model.

Yet there are other things to consider. One should have a clear objective of educating the whole child through the medium of music. Additionally, one should foster a formation in the liturgy that gives glory to God, sanctifying and edifying the faithful through sacred, beautiful, and universal music.

One also cannot overlook the significance of pastors and parents who share in the same educative goals. Finally, pedagogical approaches, such as the Ward Method, along with an emphasis on vocal tone, artistry, music literacy, and truly sacred and artful repertoire are of great import. Catechesis teaches the truths of our faith.

Most frequently associated with its historic football program, and later, its reputation for controversy in its relationship with the Magisterium, Notre Dame has only recently—in the past thirteen years—established and developed an official academic department of sacred music that forms organists, vocalists, and choral conductors for professional work in the Church.

This official department, however, has only finally put a title on a project that has been going on for a number of decades at the University. This presentation will give an account of the quieter history of sacred music at the University of Notre Dame. It will focus on a number of great teachers and musicians who developed small but excellent programs of sacred music in both the music department and at the Basilica of the Sacred Heart on campus. Special attention will be given to the Notre Dame Liturgical Choir, a choral group of little renown but of very special importance to the campus liturgical life.

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This account will conclude with a report of the current state of sacred music at Notre Dame and a reflection on the work done by the rising leaders on campus who have been formed by the Second Vatican Council and the efforts of the reform of the reform. The poetry of the psalms has neither rhyme nor meter; rather its poetry consists of parallelismus membrorum , in which each line of the psalm is constituted by two parallel statements, usually grammatically complete and complementary in one way or another.

These have usually been considered as equal statements. However, Robert Alter, in The Art of Biblical Poetry , has challenged this equality, showing rather, that there is a dynamic relation between the two members of the psalm verse. Often the second exceeds the first with greater force. Parallelism has often been pointed out in Gregorian chant, particularly in the verses of the psalms chanted in the Divine Office. But when the discrete melodies of the chant are considered, the dynamic parallelism can be seen as the foundation for an even more dynamic relation between the two parts of the verse.

This can be accomplished by distinctions of pitch, melodic contour, or melismatic elaboration. Notation will be provided for the pieces, but very little musical preparation will be required to observe the dynamism of the melodies. Gregorian chant makes motivic statements of cultural identity, postnational melding, and resistance to oppression. Houstonian Daniel Knaggs, an emerging composer and church musician, and Lebanese-Parisian Naji Hakim both turn to Gregorian chant as faith statements in early compositions.

Arizona composer Pamela Decker melds Latin influences with the familiar. This is the siren call for our time. The Co-Cathedral of the Sacred Heart is a multi-lingual parish in a rapidly-growing metropolitan area in the Southwestern United States. For more than a decade, Gregorian chant and polyphony have been established as a parish tradition via various strategies.

Music Teacher Educator Perspectives on Social Justice

Gregorian chant ordinaries and Latin are unifiers between three language communities English, Spanish, Vietnamese. For children, music instruction is included in CCE. All parishioners share in the heritage of sacred music. Spanish-language liturgies are growing nationwide. Music for first, second, and third generation Spanish-speakers is seen as a challenge. Specific methods to accomplish these goals musically are left to the derivation of the reader in the National Pastoral Plan for Hispanic Ministry.

In the coming years, how will educators and pastoral musicians use sacred music from abroad and from this continent in Spanish liturgies? In , some polyphony of the Americas is known, and some Propers have been translated. But what did Spanish-speaking Catholics sing and play in Houston historically? The intent of this presentation will be to show first of all why solemnity is essential to the sacred liturgy.

Turning then to the question of how a sense of solemnity is achieved, the role of the senses will be explained, and in particular, the necessity that what the eyes see at the altar and what the ears hear from the choir must convey a common message that what is taking place, and what we are doing, is serious and deserving of the utmost reverence.