Description
Book SynopsisThe Roman Catholic Church has always been concerned with the quality of the music used in the liturgy, and the essays in this volume trace the church’s efforts, during the nineteenth century and the first half of the twentieth, to cultivate a more appropriate liturgical music for its Latin Rite. The task of restoration – expressed, for example, in the chant revival associated with the monks of Solesmes, the efforts of the Cecilian movement, and Pius X’s determination to reform sacred music in the universal church – is a recurring theme in the book. Meanwhile resistance, particularly to the reforms decreed by the pope’s 1903
motu proprio, also finds a voice in the volume. The essays collected here describe selected scenes and episodes from the unending story of imperfect human beings trying to express in their music the perfection of God.
Table of ContentsContents: Thomas Day: Foreword – Eckhard Jaschinski: The Renewal of Catholic Church Music in Germany/Austria, France and Italy in the Nineteenth Century – Paul Collins: Emissaries to ‘a believing and a singing land’: Belgian and German organists in Ireland, 1859-1916 – Kieran Anthony Daly: The Dublin Eucharistic Congress:
Tra le sollecitudini in the Phoenix Park – Helen Phelan: Ireland, Music, and the Modern Liturgical Movement – Bennett Zon: Victorian Anti-Semitism and the Origin of Gregorian Chant – Thomas E. Muir: Catholic Church Music in England: The 1950s – Keith F. Pecklers: The Evolution of Liturgical Music in the United States of America, 1850-1962 – Ann L. Silverberg: Cecilian Reform in Baltimore, 1868-1903 – Robert A. Skeris:
Musica sacra in the Archdiocese of Milwaukee, 1858-1958 – Susan Treacy: A Chronicle of Attitudes towards Gregorian Chant in
Orate Fratres/Worship, 1926-1962 – John de Luca:
Disputatur inter Doctores: A Disagreement between Two Australian Bishops on the Binding Nature of a Papal
Motu Proprio – John Henry Byrne: Archbishop Daniel Mannix and Church Music in Melbourne, 1913-1963.
