Like most works that are more than a century old, though, it may occasionally use anachronistic language or present outdated scientific information.Accordingly, in offering this resource Catholic Answers does not thereby endorse every assertion or phrase in it.
Like most works that are more than a century old, though, it may occasionally use anachronistic language or present outdated scientific information.Accordingly, in offering this resource Catholic Answers does not thereby endorse every assertion or phrase in it.Now come along several fervent attempts to restore an ethos of Catholicism to Version II, wherein Latin chant and vernacular hymns and acclamations could coexist, and where the principles of sacrality, universality, holiness and beauty would be evident. If not, do we have a multiplicity of “Uses” within the American Church, distinguished partly by the music they sing and the language they use?Tags: English Essay WriterMarketing Strategy In Business PlanBusiness Plan Template In ExcelEssay On Athletic TrainerSafe Assign MatchingDemocracy EssayHelp Others EssayCreative Writing Magazine
Two of them even solicit donations to support their causes.
The aim of all three hymnals is to restore the solemnity, the reverence, the universality, the beauty and sacredness that have actually been demeaned by many in the hierarchy, by parish clergy, pastoral musicians, composers and even some academics who have driven the reforms so imperiously for the past five decades. There’s no denying that the pre-conciliar liturgy needed reform in a bad way and the council undertook its task with fervor.
The adherents of one would not be happy worshiping with adherents of the other.
One of the most troubling issues of the three hymnals is a theological one..
If there was one important thing to be gained by the Council’s authorization of Version II, it was that God is manifest to us in the present moment, not just in the past (as represented by a dead language), but through all vernacular languages and worthy musical idioms.
That is, the Incarnation was not merely an event in a manger; rather it is an event for all times and places.
How could the council fathers do otherwise than to state the historical obvious: that the musical heritage of the Roman Rite is synonymous with four-line staves and square notation and with polyphony sung by SATB choirs of men and boys?
That’s where one would look to find the “purest” expression of Roman Catholicism.
Because they have so much in common, the fact that they appeared almost simultaneously raises a number of probing questions.
The editors of all three volumes clearly believe that something has gone drastically wrong in the fifty intervening years since the council.