Fr. Dominic Johner's "Chants of the Vatican Gradual" provides commentaries on many of the proper chants, so you may find some beneficial reflections there. The book is available as a free download from the resource page at http://musicasacra.com/ , or you can buy a copy in softcover -- which is probably cheaper than printing the whole thing out.

The words ministry, duty, and office (i.e. ministerium, munus, officium) are quite closely related in Catholic theology and not really separable. To the extent that music ministry is a ministry, those ministered to are the congregation as a whole, not the members of the ministry.

[color=purple]If you're giving spirits, I'll take a Jack Black![/color]

First, I would strenuously suggest the dropping of the idea that music at Mass is a kind of ministry -- because this concept usually requires adapting to those receiving ministrations -- and, rather, replace it with the idea of "Office".


The word Office implies rights: eg a priest has a certain office by virtue of his ordination, and thus has certain rights, irrespective of whether he meets his responsibilities or not.

Where as the word ministry implies work / service that I must do.

It is also a mistake to say that music-ministry is limited to Mass: especially as the number of priests decreases, we are likely to see a broadening of the the range of parish activities for which musical support is needed. For example, the people who lead a few hymns at our Eucharistic Adoration have as much right to music ministry support as our choir members do.

I cannot but offer my long-held feelings that ministry and the cooperative performance of musical drivel is basically an oxymoronic coupling of concepts . Ministry is the service to others of what is beneficial to them. Serving them rubbish, even if that is what they want, can hardly be called 'ministry'. It is more like offering a dope addict the heroine he or she desires and calling it ministry. Ministry, by definition, is the serving up of what is healthful. A more apt word than ministry for this sort of 'service' would be pandering. Playing fine hymns for people, along with chant and good choral music is ministry. Playing the down-dumbing sacro-pop to which they have become addicted is not ministry in any meaningful use of the word.

A rather brain-damaged flower child once asked, while raving about her "ministries" what my ministry was. I answered, "I play the damned organ. Sometimes I work the light switches."

Elevating lay people to do things that were once reserved to the priest alone is what has destroyed the church in the minds and hearts of many. The creation of false ministries. Francis could say it better.

I sort of thought this was going to be more of a "how to maximize my choir's attention TO the Mass, during Mass, while still performing their roles as choir members;" etc. Or even the choir director's.

We are considering having a choir retreat, perhaps including choirs from other parishes. Does anyone have experience of this?

The best spiritual nourishment for choir members, and in fact for all other musicians, is performing the best music available. For the schola or church choir, this means Gregorian chant and Sacred Polyphony. For organists, it means playing the greatest works of sacred organ music that have been written: for me it would be the Classic French repertoire, but that's just my view, YMMV. No music will draw them closer to God than that.

Maybe I should be more clear by saying we are an FSSP parish. So there is no need to split hairs about "ministry" or "office" or trying to clarify singers' role to the liturgy. We have no diva idea of our role toward the liturgy. We serve God through our music. I don't have to worry either about the choir program being involved in other ways. All our choirs serve through music at mass or other liturgical events at the parish. That's pretty much it. The sidetrack conversation above on the use of terms doesn't do anything to help me at all. It should be pretty clear even from my original post that by "ministry" or "ministering", what I mean is that I want to help foster greater personal interactions between members and depth of spiritual understanding of what we sing.
Choir member feedback recently indicated that new choir members didn't feel very incorporated; after even a whole year, they still feel a bit like an outsider, esp. if they can tell they may not be as "traditionally minded" as some of the other choir members. Maybe most of you can't relate to this kind of situation, if you are working more in the trenches within the NO mass parishes. Since we are beyond that kind of situation, I personally find that as you raise the bar of musical excellence, "cliques" can easily form if there is not enough stress on cooperative effort of ALL choir members, that each have their own vocal strengths and weaknesses to contribute, etc. I want to help my choir members grow in the spiritual nature of their "work" as singers, as well as the depth of meaning of the texts they sing. AND maintain a welcoming atmosphere to new singers, so that those with talent who find themselves at our parish, find the choir program as a place that helps them feel welcomed into the parish community. Whether you agree that the choir program should serve that purpose at all, it is a practical reality, especially if you have a larger parish. People who get themselves involved in different parish groups often do so as a way that makes them feel "at home" and connected to others, especially in this day and age of extended family likely not living close by. I myself, truly see my choir members and involved families, as my spiritual family.

M. Jackson Osborn - Thank you for the multiple suggestions! Our parish actually uses flocknotes, so that could be a beneficial way to use the "choir news" group on there: to send out monthly tidbits about the choir program.
Exactly what you mentioned about the pastors' involvement is exactly what I am wanting to try to make happen. we have 3 priests too, and being a TLM parish it is VERY true that when it comes from the priest, parishioners take more notice! They do thank us from time to time on the music, and have a pizza party w/ the main pastor after holy week, but like you mentioned, I would like to try to get more "spiritual/meditative advising" involved into it, even a few times a year/once per season. But I know to make that happen, it helps to give our priests something more detailed or concrete you have in mind, rather than leave it open ended. They are more likely to respond to your request if given a more guided request. So any ideas of specific topics/sources they could give mini lectures on for the choir?

Thank you chonak for your suggestion; I actually do have the Chants of the Vatican Gradual book, and use it sometimes w/ the women schola, but hadn't thought to peruse it more thoroughly and find ways to apply it to the choral groups' music. We do sing motets often though, based on the propers, so I should do that.

ClergetKubisz, we basically do what you say already, singing from the best treasury of vocal music the Catholic Church has to offer, but I find that just singing it is not necessarily enough. I want to help take my choirs the next step deeper; deeper understanding of the text, and really taking that poetic text to heart, and not being afraid to personally express it in our singing. Sometimes our singing is a bit "dry" or "vanilla", because I find TLM goers can be more reticent than most to express emotions to others outwardly. But to move the hearts of our fellow parishioners, to aid them in their prayer... I think it is important to make ourselves as singers, vulnerable to the music in this way.

bhcordova, thank you for the book suggestion!

Canadash: I will PM you. I would LOVE to know what resources/material you used to have the choir retreat.

JL,
I actually use that simple prayer with the children choirs. Thanks for the idea of setting it to a collect or psalm tone, though!

For those interested, I have a couple other prayers I have found and have given to choir members to tape in their music binder:
"Open my mouth, O Lord, in praise of Thy Holy Name. Cleanse my heart of all worldly thoughts, prepare my intellect and inflame my will that I may worthily sing this Divine Service. As we gather to sing thy praise, may we but touch one soul and lead it to thee. May our music foreshadow thy beauty which we shall see forever in Thy Kingdom. Through Christ Our Lord. Amen."

And another one:
"Dear Lord, Please bless this music, that it might glorify your name. May the talent you have bestowed upon us be used only to serve You. Let this music be a witness to your majesty and love, and remind us that You are always watching and listening, from your throne above. May your presence and beauty be found in every note, and may the words that are sung reach the hearts of your people so they will draw closer to You. May your Spirit guide us through every measure so that we might be the instruments of Your peace, and proclaim Your glory with glad voices. Amen."

I was wondering the same question as the OP. Some good ideas here. Any other thoughts. A book of short meditations on the spirituality of music making would be most helpful.

Reflections on the Spirituality of Gregorian Chant by Dom Jacques Hourlier is very good.

Anything else to consider?

Personally, I feel that this is a continuous and sustained educational effort, an essential part of our role as choir director (perhaps, truth be told, THE most important aspect of what we do). For the same reason, I think it is important that we teach concepts and theory - not simply learning music for the coming Sunday or feast day, but making a conscious effort to build and develop the people who will be the next leaders of liturgical music.

Participation in the Liturgy is simultaneously privilege and responsibility... that is, we are uniquely blessed to take part, but that degree of participation with which we are privileged carries with it a particular sense of duty. Unfortunately, it is too easy for all of us (directors and choir members) to take both of these aspects for granted unless we have periodic reminders. We don't have to fixate on the "why" behind participation in choir, but neither should we ignore it completely.

In my groups, I discuss the dual purpose for which we exist as a choir - that we strive, by our participation in the Liturgy, to increase the honor and glory of God; that we endeavor, through the medium of our music, to draw souls to Christ. I've selected two patron saints (neither one connected to music) who each epitomize one of these purposes. We sing a prayer before and after every practice, invoking these patron saints each time. I will periodically mention these considerations (briefly) through the year, but spend significantly more time in our end-of-year meeting developing these thoughts, tying the purpose for which we exist as a choir back to the concepts of privilege and responsibility.

Every so often, I propose certain events that give us opportunity to focus on this purpose. This is the intent behind the Sacred Music Retreat that we held in 2018
(https://forum.musicasacra.com/forum/discussion/15491/sacred-music-retreat#Item_1) and of the Sacred Music Pilgrimage that will take place in 2023 (more information forth-coming). This is also one of the reasons why I think it important to foster opportunities for partnerships with other parishes and other groups - as a group, we learn from others; as a group we share some ideas and concepts with others... and sacred music benefits across the board.

I'm also trying to extend this education to the parishioners. I print out a monthly music program at a high level with an explanation of how it connects to the season and the focus of that particular month. I explain some of the reasoning behind the scheduled music and also talk about the composers whose music we sing. Very high-level, but it underscores the purpose we strive toward as a choir.

This kind of thought-process - recognizing that the educational aspect of our role (whether tied to the spirituality of the choir or the mechanics that we strive to perfect so that we can become better at accomplishing our purpose) - should influence EVERYTHING else that we do as choir directors. If we truly want to accomplish the purpose for which we exist as a choir... if we truly believe that our role as musicians in His service is meaningful... then we ought to take the time to develop our choir structure; to build time for development of new members; to plan our music and practice schedules - instead of simply skating by from week to week through personal talent (or the talent of our group).

Palestrina wept bitter tears for having composed non-Sacred music earlier in his life. Lambilotte bitterly regretted that he did not more closely adhere to the mind of the Church in his music at times. How much will we have to regret at the end of our time?

Let me know if it is not allowed to resurrect this, but I am in the same boat as the OP looking to spiritually form my choir. Any more books or meditations about the mass, liturgical year, readings, or propers that you have found helpful? Just some tidbits to share at the beginning of rehearsal every week. Thanks!

Emma

Here is one https://forum.musicasacra.com/forum/discussion/16009/do-you-pray-as-a-choirschola/p1

I regularly educate my choir on what we are singing and why. We begin every rehearsal with prayer, frequently the divine praises and another prayer written specifically for our choir. We will do extemporaneous prayers in front of the Blessèd Sacrament as well.

Sometimes I will draw on books about the liturgy that talk about specific chants (or their texts) such as Dom Prosper's Liturgical Year and other such works. The choir is very receptive to all of it.

It can be very powerful too... I specifically remember the day we sang Rorate Cæli desuper... discussing "jerusalem is a wasteland" and relating that to what is going on in the church today and why it's so important that we are extra holy to make reparations etc.

There are also books that discuss the chants themselves (from a musical perspective) which can be interesting too. "Hosanna Filio David" opens up with a fanfare-like motive, which scholars believe is no accident. They are hailing our Lord and we are singing horn calls as we repeat their words.

Many years ago (this was in the early days of Walsingham, of which I am the founding choirmaster) I drew up two short 'offices' for before and after choir rehearsals, and one before mass on Sundays and feasts.

They each consisted of opening versicles and responses, a music-oriented psalm or portion thereof, a music oriented 'chapter' (old or new Testament), a collect for choirs and church musicians in general, suffrages, Our Father, Hail Mary, and dismissal.

Each of these took no more than two or three minutes - four at the very most.

They were typically sung.
Also, at my choir rehearsals all wore their cassocks.
Also, we rehearsef a capella, and if a pitch was ever needed it came from a tuning fork

Also, we would often read that part of the coming day's lectionary which pertained to the chosen offertory and communion anthems and comment on its pertinence.