Incredible Advent/Christmas Resource for Families

My wife recently stumbled upon what I consider to be an incredible Advent/Christmas resource for families who wish to live the liturgical life more deeply within the home and who hope to incorporate music into their familial piety.

Catholic home schooling mother and blogger Jennifer Mackintosh has put together a daily calendar (download here) for the seasons of Advent and Christmas that contains not only the greatest Christian traditions surrounding the season and when they take place, but also a schedule of how to make preparations ahead of time so these wonderful customs don’t catch your family unawares. She also gives great musical resources, especially if you struggle to find Advent carols and hymns for your family. It also contains daily reading list and so much more (this is an understatement). Please take a look.

If you feel that Advent is already too busy, I hope you will re-read my post from last year (Your Family and Adventtide) challenging families to finish your shopping before Advent and to refocus the season on preparing for the birth of Christ.

Please know you and your families will be in my prayers and we enter into the blessed season of Advent.

Chorister Catechesis

Each year the Archdiocese of Kansas City (KS) hosts a vocation day for area 5th grade students and as part of the day, Archbishop Joseph Naumann celebrates Holy Mass for all of the students. Quite naturally, he speaks to them in his homily about vocations, both the universal call to holiness given to each person as well as the particular vocation God gives to each Christian in order to live out his call to holiness.

I wasn’t able to attend the Mass this year, but I heard afterward from the mother of one of my choristers (Matthias) that at one point in the homily, the archbishop asked the students what their purpose in live was. One student answered with Matthew Kelly’s to become the best version of yourself. The archbishop acknowledged that was true, but that he was looking for something else, so he asked the question again. Matthias shot his hand in the air and the archbishop called on him. With a volume that only a 5th grade boy can muster, he rattled off that his purpose in life was to know, love and serve God in this life, and to be happy with Him forever in the next. Archbishop Naumann acknowledged that this was what he wanted to hear, strait from the catechism. Matthias’ mother told she she beamed with prided thinking she had done her duty to make sure her son knew his purpose, but when she asked him about it afterward he told her that “part of the credit goes to Dr. Tappan, who makes us tell him at every choir practice what our purpose in life is.” I must confess that I felt a great amount of pride upon hearing that. It is true that I ask each one what his purpose in life is, both on that particular day and for all eternity. I often wonder if what I teach in choir has much of an eternal effect on the lives of my choristers—I hope it does.

In a similar vein, my wife’s aunt and uncle, cattle ranchers in the beautiful Kansas Flint Hills, have five children, four of whom are grown now, but the father told me once that every single day, when they awoke at 5:30 in the morning and put on the first pot of coffee, he asked his children to tell him what their purpose was in life, and they had to be able to answer as Matthias did. The father told me recently that he still asks that question daily of his two grown sons who work on the farm. He also asks his daughters whenever they visit.

About 10 years ago, the middle of their five children, a daughter of only 15 years, was diagnosed with cancer and the family watched as she succumbed to the agonizing disease over the course of more than a year. Still her father asked her that question. What is your purpose in this life?  He told me that he also had long conversations with her about the glory of Heaven and how she was truly blessed because she would arrive there before the others. He told her she would have to pray that the rest of the family made it.

As the cancer worsened, she refused morphine as much as possible, offering up the pain for the conversion of sinners and for the holy souls in purgatory. As her body became so emaciated she stopped having visitors for a time because she was embarrassed by how she looked. It wasn’t long, though, before she asked for visitors again and told her family it was just the devil working on her vanity. The night before she died her family gathered in her hospital room to pray the Rosary and the Stations of the Cross and afterward she told her family that that was the last time that they would pray together, that she was going to go home. She died peacefully the next day as her mom drove home from the hospital and her father was driving to it. It is the only time I can ever remember a parent being filled with joy that his child had made it “home.” I will never forget having had the privilege of chanting the In pardisum at the funeral.

As we remember all of the faithful departed during this month of November, be mindful of the immense power that you as a choir director having in orienting your choristers toward Heaven, so that they, too, might one day be counted among the faithful departed.

A Refresher on Chorister Training

It has been some time since last I wrote about chorister training, and now that the school year is fully underway, I thought it might be helpful to offer a refresher on the logistics of training our young people in the art of liturgical music.

I think the largest hurdle most choir directors face is actually working with children (if that is not one’s cup of tea). As always, there are both joys and drawback working with children as opposed to teenagers or even adults. Children bring an enthusiasm to choir rehearsal that is rarely topped and they have no preconceived bias toward learning to sight-sing. While your adult sopranos will begin to squirm as soon as you warm them up above a G or A below high C, that won’t be the case with children. On the other hand, if you have a great group of adults, they will move through music at an incredible rate of speed, which is the cause of deep satisfaction in the director AND the singers. Adults generally spare you discipline problems that spill out of children and there is the joy of adult interaction. Regardless, there are three areas that are especially helpful to be competent in when working with children.

First is the creation of routine. Routine helps children to grow. A proper routine can also steer children away from discipline problems. Every choir needs to have a healthy routine so the children know from the moment they walk through the door what is expected of them. I would highly recommend the book The First Days of School by Wong and Wong. It deals primarily with the classroom setting, but the routine of a choir is no different. If you set a certain tone in the first few rehearsals, you and your choristers will be off to a great start.

Second is the teaching of children. Knowing how different boys and girls are and how these differences help them learn differently is crucially important. Also important is knowing the difference between the way children and adults learn. Even within children, there are different learning styles depending upon the age and maturity of a child. If you are running a choral program from children in kindergarten through high school, I would suggest you acquaint yourself with the 3 main learning styles in the classical model: the grammar, logic and rhetorical stages. This is especially helpful when teaching younger children. As for working with junior high and high school children I would suggest reading Teach Like a Champion by Doug Lemov. All too often choir directors rely on a couple of key singers to support the entire choir as opposed to building everyone up into an effective choral unit. How do you help underachievers to work at the level of your best choristers? How do you help every child understand that he/she is absolutely crucial to the choir and that they need to work as if they, too, know that? Teach Like a Champion gives so many helps toward this goal that I can’t recommend it highly enough. I would warn you though, you must practice many of these concepts in front of a mirror before you use them in the class room.

Third, you will have to have a basic understanding of psychology. The same group of singers will one day make you think you have the best choir in the world and the next day make you wonder if they have ever sung two notes together. They will have a terrible pre-concert rehearsal and then dazzle you in the concert itself. On the flip side, they will also rehearse so well before Mass that you can’t understand why they sound awful 15 minutes later when Mass begins. Do you ride out the terrible music or is there a way to turn around a bad situation in the middle of it? Sports psychology is especially helpful here and there are so many of these books that you could probably choose one whose author and specific subject matter appeals to you personally and be fine.

Once you find yourself settling down to the actual teaching, the obvious question is how? For the traditional English way adapted to the Catholic setting (especially for the ancient form of the Mass) your first read should be Sir Richard Terry’s Catholic Church Music. His early time at Westminster Cathedral coincided with a flowering of liturgical and musical life within both the Catholic and Anglican spheres and many major English choir directors were writing books to explain to smaller parish choirs how the cathedrals did it. You can find many of these free and online at Google Books, but again, just start with Terry. You will find that while the cathedral music scene in England (Catholic or Anglican) has changed through the decades in regard to music choice, you will nevertheless find that the method is still rather the same. At the same time, I would say that the method has been broadened and deep by the addition of singing coaches and mandatory piano lessons (if not other lessons) for choristers. Every student you are able to coax into piano lessons will be nothing but a step forward for your choir. I can almost always tell the difference between choristers with similar abilities when one plays the piano and the other doesn’t.

If you find joy in creating a music curriculum for your students (and you should always try to deepen their musical knowledge), then all you need to do is decide what skills and to what level children need to learn them and then create a plan to systematically teach them. If this is not your forte, you might want to look at some of the current choral music training programs. Perhaps the Ward Method, Kodaly Method or Voices for Life (from the Royal School of Church Music) are right for you. I also highly recommend anything written by John Bertalot. I will caution that it takes an enormous amount of time to teach sight-singing, so many choral directors skip it. Please don’t. You are cheating your students and depriving them of a skill set that will provide one of life’s great experiences, being able to both create and perform music to a high level.

You will of course need repertoire for your choirs, and repertoire that is appropriate to where your choristers are musically. I have said it before and will say it many times again, I would rather hear children sing a hymn in unison or a piece of plainchant to a high degree that to hear them butcher even the simplest of 4 part motets. If you struggle finding repertoire don’t hesitate to ask online at places like the CMAA Forum. Look through the Corpus Christi Watershed website or Cantica Nova. Visit music lists of cathedrals or churches with a children’s choir at the same level as yours. I would even suggest simply teaching your choristers the liturgical music currently in use at your parish, but to a high degree. They will already have heard much of it, but your parishioners will notice it being sung well by a choir as opposed to being belted at various levels of competency through a microphone by one of your cantors. Do not be afraid to start with SIMPLE, as long as the text and music are of a high quality.

Lastly, try to get as much parental involvement as you can. You will need it to handle large groups of children and you will also widen your sphere of influence in the parish. If even a few influential parents in your parish think that you provide a program of high quality for their children, they will tell others and make your life (and recruiting) much easier. In the end, you will create life long friendship that will bring great joy to your good days and comfort to those difficult ones.

Leeds Cathedral and the Schools Singing Program

Train up a child in the way he should go, and when he is old he will not depart from it. (Proverbs 22:6)

Today I would like to highlight the wonderful choral music program from the Diocese of Leeds, England, and the work they do on a weekly basis with more than 3,500 youth from around the diocese. According to Thomas Leech, the director of the schools singing program for the diocese, “this is the largest church music program in the country. It’s a diocesan program rather than a cathedral-centred approach. Although the cathedral choirs are of an extremely high standard, it’s always been important to us that the school-based work is most important—that then reaches out to the elite choirs, rather than the other way around.” (Music Teacher Magazine, September 2018, pg. 65) And reaching out they do, leading choirs in 53 schools, plus 6 professional boys’ choirs, six professional girls’ choirs, five mixed choirs, two youth choirs, and three university choirs. Needless to say, it takes a large staff to keep such an undertaking afloat: 6 full-time and 1 part-time musicians, a development administrator, 2 organ scholars, 1 choral conducting scholar, and 12 choral scholars.

One particular item of note is that the boys and girls are more often separated into different choirs than not, and the boys’ choirs have usually been founded before the girls’ choirs. This is very important if we ever hope to see boys and men singing in our church choirs in great numbers again. Unfortunately, militant feminism has driven males from many aspects of church life, but none probably more so than music.

I should also mention that many of these students come from impoverished areas, and if statistics in Leeds are similar to other urban areas in the western world, the majority probably come from broken homes as well. The schools singing program might well be one of the most stable forces in the lives of many of these children, which provides an incredible entry point for evangelization, and from what I have read, Mr. Leech and the diocese work to capitalize on this opportunity.

I have often felt that in addition to great choir schools at our cathedrals, the Church needs grass roots programs like this throughout our parishes. It is within the parish that most Catholics receive their sacraments and live the life of Faith. This model seems to be extremely well suited to providing high quality sacred programs within the reach of all young people, whether from rural or urban areas. I would personally love to hear from archdiocesan directors of music in these US of A and find out how feasible this might be. It seems that if it were to be successfully implemented even once in a few strategic geographical locations other dioceses would be willing to try it.

As a parting gift, I leave you with the following video of the massed cathedral choirs singing Ding! Dong! Merrily on High.

 

MPHM Chorister Abby Ferrell Singing in the National Catholic Youth Choir (Summer 2018)

Abby Ferrell, a Senior Chorister (alto) in the Most Pure Heart of Mary Schola Cantorum spent a week last summer singing in the National Catholic Youth Choir under the direction of Andre Heywood. Below is a clip of the choir singing Palestrina’s beautiful Sicut cervus. Enjoy!

 

Click here for pictures and here for videos of the 2018 choir. Congratulations Abby!

MPHM Schola Cantorum Welcomes Largest Group of New Singers

The Most Pure Heart of Mary Schola Cantorum welcomed its largest incoming class of new singers (Probationers) this year with 22 in all: 9 boys and 13 girls. It no doubt helped that the choir hosted a choir camp in early August for more than 40 children. All agreed it was a wonderful week of music, which culminated in a sung Mass for the Feast of St. Lawrence.

Activities ranged from learning about the kinds of notes and clapping rhythms to singing folk songs and Gregorian chant. Of course, it wouldn’t have been a proper choir camp without solfege (do, re, mi…) and needless to say all of the children can now sing the major scale (with hand signs) up and down and had fun performing various renditions of Do, A Dear from The Sound of Music.

My favorite comment came from a boy named Isaiah, who exclaimed somewhat surprised after the 1st day, “Dr. Tappan, this camp is actually fun!” The second day was only half over when he told me he was definitely going to join the choir. I related the story to his mother, who laughed and said she wasn’t going tell him that he never had a choice in the first place.

Summer Camp III
Summer Camp II
Summer Camp I

A Problem with the Universal Prayer of the Church

“The Catholic liturgy is the supreme example of an objectively established rule of spiritual life. It has been able to develop… in every direction, and in accordance with all places, times, and types of human culture. Therefore it will be the best teacher of the via ordinaria–the regulation of the religious life in common, with, at the same time, a view to actual needs and requirements.” (R. Guardini, The Spirit of the Liturgy)

The great problem with the Universal Prayer of the Roman Catholic Church today is that for all practical purposes (speaking subjectively) it has ceased to be the Universal Prayer of the Roman Catholic Church. Those things that allowed the Mystical Body of Christ to worship as one family, transcending both the limitations of time and space, have been shoved aside if not outright discarded. It amazes me that within living memory the average Catholic could travel anywhere in the world in which the Latin Rite was celebrated, trusty hand missal in tow, and pray the Mass, even in foreign lands. The homily might have been in a different language or the Mass might have had a certain European, American, African or Asian feel, depending upon where one found oneself on Sunday morning, but the differences were rather minor–but no more.

Contrast this with the experience of typical Catholics today, who go to Mass in their  own state or country and wonder if they still inhabited the same planet, much less attend the same Mass. Anymore, the Holy Sacrifice has taken on the fluidity of one’s gender. What, you don’t like it? Just change it and make it whatever you want it to be! Admittedly, the experimentation is NOT what it was in the 70s, nevertheless, the mentality exists that the Sacred Liturgy can be adapted and personalized in an almost unlimited number of ways.

Our liturgical problem is really symptomatic of a much deeper problem, the loss of Faith in Christ and in His Church (really the two problems are deeply connected). Thankfully I meet more and more young people who are seriously embracing Faith in Christ and the Church. As they do so, they are discovering the great cultural riches of the Church, whether in Her Liturgy or prayer life, the lives of Her saints or in Her moral life. This group of people is by no means a majority, but it is a strong and vibrant minority. I also see holy priests coming from among them, and Deo gratias for that.

Young people today aren’t yearning for the ancient expressions of the Church’s liturgical life merely due to a distorted view of a supposedly golden former age, but because their very souls  and their humanity need these things to pray in the first place. Young people are mired in individualism and simply handing out more of it in the form of giving them “what they want” is not going to bring them to Christ. Rather, the answer lies in uniting them to the universal, to what is True, Beautiful and Good–to God; uniting them to the Church Militant, the Church Suffering and the Church Triumphant. The Sacred Liturgy used to have the power to do this (again, subjectively speaking).

What follows is a very simplistic list, in no particular order, of some of the externals in the Church’s liturgical life that had the power to draw the believer out of his own little kingdom and into the universal family of the Church. Would that return sooner rather than later.

  1. The beauty of a common, sacral language. Whether you like to admit it or not, the Latin Rite was formed by the Latin Language, which provided a basis for communication for Catholics across the globe, and the loss of that language and the communication it allowed has proved a travesty. The fact that the majority of fathers at the Second Vatican Council could communicate with each other reasonably well, not withstanding such diverse backgrounds, was a minor miracle. Latin Rite Catholics could take part in the Mass or Divine Office wherever they found themselves and Latin provided the sacred vehicle for that prayer, removed from the vulgarities of everyday speech. Interestingly, the Latin, via beautiful translations, supported and shaped sacral speech in the vernacular. Now each Catholic is marooned on his own linguistical island, islands which tend to be culturally impoverished and bereft of any beauty. I chuckle when I pray the Gloria using inclusive language (peace to his people on earth) but then switch to “sexist” language in the Creed (and became man). Then there are the Responsorial Psalm antiphon translations, which don’t match the translations of the psalms themselves because each one was translated from different different versions of the scriptures. And these problems pale in comparison to the general tone of the English texts–common, common, common. One would think the translators despised beauty and poetry altogether, although what we currently have is infinitely superior to what we had 10 years ago.
  2. The priest visibly standing in the Sacred Liturgy in persona Christi. Quite frankly, it shouldn’t matter if the celebrant is “Faaaather Bowwwb.” or HE, the Cardinal Archbishop of such and such… They and their personalities shouldn’t matter–it is Christ Who matters. Why have we allowed the regrettable “tradition” of naming all of the participants in a particular “liturgy?” “…Our celebrant for this liturgy is Faaaaather Bowwwwb; our lectors are Mary Smith and Jane Thomas; our servers are Jane Smith, Lucy Jones and Samantha Jones; our Eucharistic Ministers are Helen Quick, Nancy Slow, Marcia High and Janet Low; our musicians are terrible, oh I mean Mary Right and Kenny Wrong; our ushers are ……….” (All joking aside, I have experienced this in real life.) On and on and on. I don’t know any of them, and quite frankly it wouldn’t matter if I did. It isn’t about the priest, the “ministers” or me–not in that sense. It is about God. The habit of naming everyone physically taking part in Mass belies the assumption that the priest is an MC whose job it is to stir up good vibes among those “assembled” instead of another Christ, offering Himself to the Father through the Holy Spirit. I can’t imagine Christ having worried about stirring up good vibes in the apostles at the Last Supper. Christ, as head of the Mystical Body of Christ, focused on the Father, which provides an excellent segue into plea for worshipping ad orientem. There is no reason for me to keep beating the horse here, but I firmly believe that the simple act of facing east would probably do more than anything in the Novus Ordo to reverse the travesty of Mass being about the priest and people rather than about God.
  3. A classical (and shared) view of what constitutes Christian architecture, art and music. In times past one could visit the city of Cincinnati or Tokyo, it wouldn’t matter, and make an educated guess at which buildings were Catholic Churches (or at least churches) and which ones weren’t. Christians shared a common symbolic language in their architecture and art. The same could be said for music, but in the rush to be relevant (to society, but not, ironically, to God) we have jettisoned much of what is beautiful in Catholicism and replaced it with what is fashionable.
  4. A rich life of piety and Christian Community. In former times, families came together daily to make the Morning Offering and to pray the Rosary, parishes hosted processions, novenas and May crownings, people sang hymns in their homes and young people formed dance bands and played for their friends on Saturday nights at the local barn or community hall. That is all gone now and we shove everything, even the Sacraments, from Weddings and Confirmations to Baptisms and Anointings, into the Mass. On the flip side, the Church has tried to make all devotions outside of Mass conform to the Liturgy of the Word, complete with readings and petitions. No wonder many cultural Catholics think the Mass is all that’s left, so they shove evening thing into it, from the band they formed to the pop music they like to the Sacraments and many other more or less important life events. The richness of the Divine Office (the other part of the Sacred Liturgy) and Benediction, which found a home in so many normal parishes prior to the 1960s have been forgotten. All this means that the Universal Prayer of the Church, Her Sacred Liturgy, must be adapted to every situation, whim or need of a particular church and its members. No wonder so many people leave Mass early. If you aren’t from such and such parish or if the menagerie of speakers who stroll into the sanctuary at the end of Mass to talk about this or that don’t touch on what’s important to you, why stay to the end for an extra 10 minutes of irrelevant community announcements.

I would like to end where I began, with Gaurdini. He writes “The primary and exclusive aim of the liturgy is not the expression of the individual’s reverence and worship for God. It is not even concerned with the awakening, formation, and sanctification of the individual soul as such. Nor does the onus of liturgical action and prayer rest with the individual. It does not even rest with the collective groups, composed of numerous individuals, who periodically achieve a limited and intermittent unity in their capacity as the congregation of a church. The liturgical entity consists rather of the united Body of the faithful as such–the Church–a body which infinitely outnumbers the mere congregation.

I don’t hope or even desire that every Mass be exactly the same, but I should be able to experience the reality of the Mystical Body of Christ instead of banging my individualism up against someone else’s. This is something I hope we can all pray for.

Photographs from First Mass of Deaconal Service

Thanks to a parishioner, Allan Goodman, I am able to share these beautiful photographs from Pentecost Sunday, 2018, when the Rev. Mr. Nicholas Ashmore served his first Mass as a Deacon. The MPHM Schola Cantorum was privileged to sing for the occasion.

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MPHM Schola Cantorum
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Singing the Sequence for Pentecost.
Chanting the Communion antiphon.
Chanting the Communion antiphon.
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Choristers receive Holy Communion.

 

This Sunday the Most Pure Heart of Mary Schola Cantorum, Gentlemen and Children of the Choir, begins the Choral Year!

Join the Most Pure Heart of Mary Schola Cantorum this Sunday for the 11:30 a.m. Holy Mass at Most Pure Heart of Mary Catholic Church in Topeka as the choir begins the choral year with Scarlatti’s Exultate Deo and Elgar’s Ave verum corpus. In all that they do, may God be glorified!

Choral Music Lists (Autumn 2018)

 

Qui bene cantat bis orat–in Detroit!

To sing well is to pray twice. There is such musicality in the Latin original–Qui bene cantat… St. Augustine might not have said it, but he should have. If one takes the phrase “to sing well” both in a literal sense and in a spiritual sense, it then encompasses the vocation of the Christian, to praise God in the quiet of his heart and as well as in the actions of his life. It reminds me of the blessing given to cantors by decree of the Council of Carthage (c. 398 AD): Vide, ut quod ore cantas, corde credas, et quod corde credis, operibus comprobes (See that what thou singest with thy lips thou dost believe in thine heart, and that what thou believest in thine heart thou dost show forth in thy works).

To sing well is to pray twice. We have all heard the phrase bantered about by well meaning, but exasperated Christians, whether it comes from a pastor whose congregation won’t sing or a mother whose sons refuse to sway to the churchy tunes (perhaps in our secularized world most young people prefer not to pray, much less pray twice). Unfortunately the emphasis is always on the outward act of singing, with little attention given to the interior formation that must take place before the outward forms mean anything. Fortunately for the Church in America, the Archdiocese of Detroit recently announced a plan to cultivate the sweet vintage of sanctity (interior) and sacred music (exterior) via the creation of an archdiocesan choral foundation at the Cathedral of the Most Blessed Sacrament in the tradition of the English choir school. As I understand it, this is the fruition of a long held dream of Archbishop Vigneron and I firmly believe the Church in Michigan will be better for it.

Officially named the Cathedral Choir Academy of Detroit and open to students in grades 3-9, its mission is “to provide an experience in which choristers encounter Christ through sacred music, grow in faith and musical excellence, and give witness to the Word Incarnate.  The program is clearly rooted in faith formation and in step with the New Evangelization.” It is hoped that within five years the program will be expanded to serve youth in the first and second grades (pre-chorister music training) through high school. Susan Lindquist, a veteran music teacher in the archdiocese of Detroit will lead the program, working in concert with Cathedral Rector Fr. J. J. Mech and Cathedral Music Director, Joe Balistreri. I have been privileged to know Susan for a couple of years and can testify to her orthodox faith and love for sacred music as well as her ability to teach children and communicate the choir school’s mission and vision to others. Her enthusiasm really is quite infectious and it was through her that I learned one of my favorite phrases regarding the importance of teaching children good music… While it is true that children can produce beautiful music, it is more important that beautiful music can form beautiful children.

Susan took over the cathedral children’s choir last year, which until then had been somewhat of an ad hoc adventure with the emphasis on cute rather than beautiful, and grew the program to three times its size while expecting the choristers to hold their own alongside the cathedral’s fine adult choir. In its current form, the program consists of a training choir as well as a children’s choir, which sings once a month. This allows choristers to continue singing in their own parish choirs as well as at the cathedral. By partnering with children choir across the archdiocese the Cathedral Choir Academy hopes to share its work with individual parishes, fostering Faith and music in the youth. The Choir Academy has also entered into a partnership with the Sistine Chapel Choir, and while the particular details of that relationship are currently being hashed out, it shows the desire of Susan Lindquist and the entire cathedral community to fostering the Church’s musical heritage to a high degree, especially in the youth, and drawing them ever more closely to Christ.

Please join your prayers to mine for the success of this new venture, perhaps even offering up a Te Deum in the fullest sense of actual participation. Qui bene cantat bis orat.