I direct your attention to the NLM which has posted an interesting entry taking to task the "The August/September issue of Pastoral Music, published by the National Association of Pastoral Musicians, is dedicated to liturgical ensembles. The pictures of musicians in various parish settings tell the story."
After Pastoral Music exalts photos of ghastly things, they print an "op-ed sized article called "Interior As Well As Exterior" by….Pius XII! It’s an excerpt from Mediator Dei (1947)".
You should attend to how the NLM piece examines what Pastoral Music does with Pius XII, in light of what Pius actually said and what Pastoral Music actually promotes.
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This is an example of how people initially react, when they know they’ve been had. Their first instinct will be to try to control the conversation on the subject in question, as if their detractors didn’t manage to prepare themselves for this moment, simply by knowing the real deal. Any reasonable person who wants to know more, will most likely do so on their own terms, and will go to the true sources for themselves.
At least that’s how it worked for me.
“photos of ghastly things” —
“The cover has a flute player … next to two cellists in front of a youth choir. … Page 24 has two flute players with a recorder player in front of a youth choir. Page 26 has a cellist and a violinist. Page 27 has a string bass player plucking his instrument. … Page 31 has a pianist with a clarinetist, two flute players, a violist, and a trumpet player. Page 33 shows another flute player.”
Since when are flutes, cellos, violins, bass, clarinets, and trumpets “ghastly things”?
BC seems to have left out ALL of the depictions of conga drums, guitars and singers huddled around microphones… those are the ghastly things!
BC, these musical instruments are not ghastly in and of themselves; they are just being put to inappropriate use. Notice how the pipe organ was not featured. In some of our parishes, the organ is all but forbidden as it is too “transculural” (too Catholic). Mass is holy and the music by which it is embelished should be holy. The publishers of this magasine have been mislead; and they are in turn misleading others.
I’m suprised NPM doesn’t quote paragraph 61 of Mediator Dei out of context and against the New Liturgical Movement:
The same reasoning holds in the case of some persons who are bent on the restoration of all the ancient rites and ceremonies indiscriminately. The liturgy of the early ages is most certainly worthy of all veneration. But ancient usage must not be esteemed more suitable and proper, either in its own right or in its significance for later times and new situations, on the simple ground that it carries the savor and aroma of antiquity. The more recent liturgical rites likewise deserve reverence and respect. They, too, owe their inspiration to the Holy Spirit, who assists the Church in every age even to the consummation of the world. They are equally the resources used by the majestic Spouse of Jesus Christ to promote and procure the sanctity of man.
Another Tom’s above comment (re-worded slightly) was addressed on the NLM discussion for the article in question. As for PM quoting the passage out of context in a future publication, I wouldn’t bet against it.
(The anti-spam word for this comment was “continuity”, FWIW.)
Another Tom, Dear Friend, if what we’ve had the last forty years had produced at least one worthwhile improvement/advancement to our Sacred Rites, I’d say you have a case. Sorry, so very sorry.
At the Holy Sacrifice of the Mass, I would prefer a non-trained hack of an organist over a great guitarist (which I have never heard at a folk Mass)any day. I believe the Holy See has given some instruction on appropriate instruments for the Holy Sacrifice of the Mass. So at the end of the day, our personal preferences really should not matter.