The Recovering Choir Director

In the final part of the first chapter of Catholic Church Music, Paul Hume places the task of renewing sacred music squarely on the shoulders of the seminary and the Church musician.

Plenty of juicy quotes here.

But to believe that the problems of church music can be solved merely by authoritative tightening up on the regulations would be an optimistic view indeed. Music just doesn’t work so simply. It is a subject that produces complex reactions. It may be simple professional prejudice but I would put music right up there with religion and politics as a generator of strong emotion strongly expressed. And very often the most violent negative views on the subject are held by those who actually know least about it….This hostility—does it spring from anti-intellectualism or sour grapes or a combination of the two?—gets particularly warm when the subjects of music and religion mix.

Usually, however, the problem is not one of hostility but simply of complete and supreme indifference….

Total oblivion of the Church’s music regulations is not limited to pastors who don’t like music. The pastor who is so fond of music that he lets his particular preference move from the rectory parlor to the choir loft is not much of an improvement….

[I]f every student passing through on his way to Holy Orders were indoctrinated in Church music as carefully as he is in theology and philosophy, the next generation of choir directors would quickly run out of [horror] stories.

John’s comment, however, illustrates that classroom education on sacred music for seminarians is not enough. The knowledge must be applied. And without explicit encouragement from those in authority, a sound roadmap on how to apply such knowledge at the parish level, and musicians who will help assist the clergy in the authentic renewal of sacred music, it won’t be.