The Intermountain Catholic. (Salt Lake City [Utah] ;) 1899-1920, 1901-11-30
Church Music, Good and Evil.

u lights and shadows, is the espe-
cial feature of The New World,
Catholic organ of the archdiocese of
! Chicago, in it's issue of Nov. 16. 1t is
very appropriately named "Cecilian
Musical Number"
The subjects comprehend everything
from plain hymns to what is not in
aptly termed operatic mass music, and
while the contributors to this feature
of the "Cecilian" New World are per-
sons of musical education, there is an
absence of stilted language and tech
nicaI phrases in their selections nearly
always found in musical literature and
the use of which is so demoralizing to
the lay reader in search of knowledge
| instead of flats and sharps. Most of
us have an ear for music and readily
judge between the good and the bad,
or even mediocre: but few of us have
the inclination or ambition to cultivate
the voice or master even such a little
thing as the jews-harp
Because of this negligence of talent
as we'll as need of confidence in our
vocal powers, congregational singing
has rarely been attempted in Catholic
churches in this country. We allude
to the vesper and benediction service,
heard so often, and so easy to learn
that it would seem to be within the
compass of almost every voice. There
fore we sympathize with "Piccolo' in
the New World, church organist, who
is urging congregational singing and
hopes to succeed through the children
who will become grown-up men and
women in the next decade. Even if
we do wait until that time, it's appear
ance will be a recompense for all past
and patient effort.
Some years ago the bishop of James
town, N. D., was a priest in the cathe-
dral parish of st. Paul. He is a Win
some speaker and, like his chief, Arch
bishop Ireland, a most uncompromis-
ing temperance advocate; but with all
his powers of persuasion, in spite of
every effort in the pulpit directed to-
ward congregational singing at the
benediction service, this priest was
obliged to acknowledge failure. Per-
haps hundred at first responded, but |
instead of voices increasing in number !
and volume, even these rapidly melted /
away, leaving his own strong voice to
blend with that of the choir in thei
organ loft. 1t can hardly be expected |
of persons who respond to the rosary
only above whisper, to lift up their
voices in the vesper-hymn. So, in the
light of "PiccoIo's'' reasoning, we must
patiently bide the time when the chill
dren of the present become the church
pillars of the future.
Writing of abuses that have crept
INTO church music. Rev. F. N. Perry,
rector of Our Lady of Lourdes, Chi
cago, says they are not confined to
inconsistencies between the music and
he words. Because the composers do
lot know Latin, and, perhaps, not even
he translation of the common hymns
md psalms of the Church, which can
De found in any prayer book, and also
because they wish to please ambitious
they, therefore, make many
,lunders. We have listened to an "Ecce
oanis" in which the composer, in order
o make his composition as dramatic
is possible, has emphasized the mon"
# the words mon mittendus canibus,"
" adding of his own accord three
additional mons" Every one knows
nat two mons" are equivalent to an
and that four mons only
the affirmation. The text,
onseqeuntly, becomes truly blasphem-
us.
Father Perry is right in his charges
nd music like that described is too :
ften repeated in Catholic churches
'ut what shall be said of orchestral !
lusic? Violins, drums, bugles, TAX
1g the place of the organ in the mass, c
he reed instrument only used in re- t
ponding to the priest informing the a
acrifice? If we recollect Alright, such