NPM Competition for a New Mass Setting
  • marajoymarajoy
    Posts: 783
    This is interesting. I know there will be lots of snide comments about the kind of music will probably be chosen as the winner... but it wouldn't hurt to have some composers on here apply!


    The National Association of Pastoral Musicians (NPM) is sponsoring a competition for new Mass settings using the new translation of the Order of Mass that will be implemented with the publication of the American version of the third typical edition of the Roman Missal. Judges will choose as finalists four settings from among those submitted. Selected movements from the four finalists will be sung and evaluated by participants during the 2010 NPM National Convention in Detroit, Michigan, to be held July 12 -16. The winning entry will be chosen by a poll of those attending the convention. The composer of the winning entry will receive a cash prize of $1,500.

    Composers are invited to submit a new Mass setting in English using the translation to be implemented following publication of the new Roman Missal. The texts may be found at http://www.usccb.org/romanmissal/OrdoMissaeWhiteBook.pdf. Entries may not be under current consideration by any publisher.

    Composers must utilize the new English text. Some reasonable repetition of words is permitted, but there can be no alterations, additions, or omissions. Bilingual or multilingual settings may be submitted as long as the official English text is included in its entirety.

    The submitted setting must include at least the following parts of the Mass:

    * Kyrie
    * Gloria
    * Alleluia and Lenten Gospel Acclamation
    * Acclamations of the Eucharistic Prayer: Sanctus, Mystery of Faith, and Amen
    * Agnus Dei

    Other parts may also be included, such as the Act of Penitence, Creed, Prayer of the Faithful, and Our Father.

    The manuscript for each Mass setting must contain at least a melody line for the assembly and keyboard accompaniment. Other elements may also be included, such as parts for choir and cantor, guitar accompaniment, and instrumental parts. Each manuscript should have a cover page with the name and contact information of the composer. Since all judging will be done anonymously, the rest of the manuscript should not include the name of the composer or any identifying markings.

    Copyright for the submitted Mass settings will remain with the composer. After the competition winner has been announced, composers (including the winner and finalists) may submit their entries to publishers as they wish.

    By submitting an entry, entrants

    * attest that the music is original and their own work;
    * agree that the melody line may be duplicated for use at the 2010 NPM National Convention;
    * agree that all other parts may be duplicated for use of music leaders at the convention;
    * agree that the submitted setting will not be sent for publisher consideration before July 16, 2010.
    * agree that published versions of the winning entry will include the following line directly under the title: “Winner of the NPM Competition for a New Mass Setting, July 2010”

    Each entry must be accompanied by a non-refundable ten dollar ($10.00) entry fee payable to the National Association of Pastoral Musicians. Only one entry per person may be submitted. Entries may be submitted as PDF documents to mcmahon@npm.org or by mail to NPM Mass Setting Competition, 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910. Deadline for all submissions is January 31, 2010. Manuscripts and other entry materials will not be returned.
  • IanWIanW
    Posts: 762
    Interesting.
  • marajoymarajoy
    Posts: 783
    another interesting point, is that even if yours doesn't win, (if it is one of the top 4,) it will be *sung* by thousands of people at the NPM conference...who might then go on home thinking that they liked yours.
  • This is not meant as sarcasm: Can someone identify a hymn, song, Mass setting or whatnot whose genesis was a "contest" that you have or would use(d) at service? (Ala "Gift of Finest Wheat," which I think was the result of a commission, not competition.)
    All I can envision are those "arena anthems" such as those of the LA REC, or the various Eucharistic Congresses, late of Montreal. Those types of events have provided items such as Dana's "We are one body" or Jaime Cortez's "Somos el Cuerpo de Cristo."
    Knowing that all things are possible, is it likely that this "contest" will bear fruit for the finest of banquets?
    Again, asked in all sincerity.
  • GavinGavin
    Posts: 2,799
    I shared Mara's optimism, then Charles's pessimism. The work chosen will be the most entertaining.

    I will say that I'm a big fan of "Gift of Finest Wheat", but besides that I can't think of any other "competition pieces" that do much for me.
  • Donnaswan
    Posts: 585
    I am thinking of who actually attends NPM Conventions. So many are carrying guitar cases! LOL

    Donna
  • GavinGavin
    Posts: 2,799
    I'm tempted to write one, with guitars, drums, electric bass, and lots of clapping. It'd win for sure - I'd use 2 chords: E and A.

    Then, I'd use my rights as composer to ensure it was never, ever performed again.
  • * agree that the melody line may be duplicated for use at the 2010 NPM National Convention;
    * agree that all other parts may be duplicated for use of music leaders at the convention;

    Such an insult, the NPM members are not musicians enough to sing four parts, so just expect them to sing the melody.

    * agree that the submitted setting will not be sent for publisher consideration before July 16, 2010.

    Entries may not be under current consideration by any publisher.

    So OCP and GIA can have a bidding war at NPM? What publisher would not love to find that something that they have picked to publish on its own merit is the winner. Here the winner can get the award and be escorted off the stage by the big guys with the big bucks.

    This is not right.
    This is not just.
    So, what's new?</>
  • CharlesW
    Posts: 11,974
    I wonder if it will contain a new Celtic Sanctus or Agnus Dei of Creation?
  • priorstf
    Posts: 460
    The best way to ensure that the quality of the Mass is beneath the standards the CMAA would like to see is for none of CMAA's talented composers to submit their work.

    One person has posted here that this year's NPM convention showed some signs of a move towards greater reverence. Others have mentioned that there is a younger generation participating whose musical roots are less founded in the 60s and 70s. Take those factors -- and the guidance of the Holy Spirit -- and this could be an opportunity for change.
  • Okay, I've re-read Marajoy's original transcription of the announcement....and I'm even more put off than Gavin rightly perceived the first time around.

    *"Judges will choose..." What judges? Judge Roy Bean, Judge Judy, Judge Funk, Judge Wagnalls??? What if the judges are the usual suspects like Moleck, Batastini, Rendler, or composers emeriti such as Joncas, Chepponis, Nestor, Proulx? How can this not be akin to Beltway politicking? Does anyone really think that NPM will think outside the box? Even if they get a panel of James Jordan, John Ferguson and Alice Parker, or samesuch from the choral world, or James McMillan, Skippy Lauridsen and Randy Stroope from the compositional world, NPM will clearly have an unpublished criteria and pre-audition committees that will separate what it deems wheat from chaff. And will their wheat be ground in humility, or fortified with a plethora of extra nutrients that will "benefit" all?

    *"Composers are invited..." I'd be more interested to know if certain composers are NOT invited. When Yoko has her annual John Lennon Songwriting Competition, it's pretty clear that Elton John and Andrew Lloyd Webber cannot submit items. When ACDA has its annual student choral composition contest, it's pretty apparent that Eric Whitacre cannot submit entries. Yes, I know that everything's supposed to be sealed, anonymous and all that. But the whole holistic thing, scores for guitar, organ, SATB, congregation, cantors, brass and tympani, jaw harp, shakuhachi, and Uileann Pipes and Drum Corps, makes me kind of think: "Hey, that sounds a lot like Chris Walker, don't it?" Even if it wasn't.

    *"Composers must utilize the new English text...Bilingual or multilingual settings may be submitted as long as the official English text is included in its entirety." Huh? I mean, really, if one's trying to set a high standard for a setting using a faithful English translation whose birthpangs and labor stretched over decades, doesn't that little codicil defeat the ideal purpose of the "contest" both in philosophy and practice?

    Well, I've probably killed another thread, so I'll finish with this- If, when I've been moved to create a new setting over the years for use at my own parish, I determine the folks in the pews are taking it up through consistent usage and feedback (which is fairly instantaneous,) I figure that's enough for me. Take, Lord, receive.
    OTOH, if Kevin Allen wants to level the playing field with McMahon et al, by all means, have at 'em.
  • GavinGavin
    Posts: 2,799
    "If, when I've been moved to create a new setting over the years for use at my own parish, I determine the folks in the pews are taking it up through consistent usage and feedback (which is fairly instantaneous,) I figure that's enough for me."

    I question the utility of a piece of music that isn't altered the first few dozen times it's sung by the performers (in this case the assembly). This competition kind of makes that difficult, I'd think, since there's not much time to toy with the settings of the new text.
  • Which, if not clearly implied as integral to my processes, does factor into my statement, Gavin. I trust you got that.
    No one was more happy with the advent of notation software than I, if for the access to revision and editing ease alone.
  • Dan F.Dan F.
    Posts: 205
    I am not a composer, nor do I have any experience with publishing a piece of music, set for mass or no. Perhaps I am naive. But the tone of some of the above responses seems to me far too negative. Sure, the winner will have to pass through a judges panel and then be selected by self-filtered attendees of the NPM convention. This would be true of any competition: the "best" composition will depend upon the definition held by the judges. I am a teacher, and I completely define what an "A" grade means for my course. Based upon this known bias, one may judge it not worth his or her effort to submit a work. But in general, the only way to ensure that good mass settings never become "popular" settings is to not try. I hope that some composers who belong to the CMAA would submit a worthwhile setting.
  • chonakchonak
    Posts: 9,211
    To give credit where it's due, I thought it was laudable for the contest rules to emphasize that the new ICEL English Mass texts must be presented without alterations, additions or omissions, that is: in accord with basic liturgical norms.
  • GavinGavin
    Posts: 2,799
    Right, Charles, I was reinforcing your implication, and agree 100%.
  • mjballoumjballou
    Posts: 994
    I would actually assume that one of the "usual suspects" would win, unless the competition is specifically designed to eliminate the composers already in the publishers' stables. (I was stunned by the amount of space Marty Haugen got in the latest GIA catalogue.)

    I'd rather enter the Pillsbury Bake-Off.
  • Dan F.,
    I really appreciate your POV, but I'd like (as I'm also a teacher) to offer for your consideration that my observations reflect more of, let's say, an earnest skepticism, an experience-honed wariness, and an empirical knowledge of the group-think processes of the sponsoring organization (not a dig), rather than a mere tone of negativity.
    I cannot but agree that if a gifted work is not offered for consideration, it has opportunity zero of being sung, heard and lauded by NPM conventioneers. I cite my exhortation to Kevin Allen as proof of that agreement.
    But I also cannot help but wonder if participation in these "competitions" just continues to "feed the machine."
    Richard, yes to the laudable effort. But couldn't they have resisted diluting that rule in the following paragraph which contravenes said rule with "reasonable repetitions" and "bi- and multilingual" portions accepted within reason?
  • ghmus7
    Posts: 1,482
    Hey, this may be a case of lighting the candle in darkness. If more of us write good music, and more of us attend these conventions to vote for it, things might change. Actually, when you compare NPM to where it was ten years ago, it is quite different, there is more chant, the organ is more honored, and more accomplished people are getting involved it the thing. As a composer, if I can get the time to submit anything, I will try.
  • G
    Posts: 1,400
    I know not everyone has access to choirs and copy machines, but what, other than time, money and energy, (which all figure into every equation,) is to prevent a composer from making a dozen copies of his work and singing it through with people who are sight-reading, and perhaps on second go-round with a few more people trying to pick it up only by ear, simulating what happens in an actual attempt at congregational singing? allowing for the "corrections" that the assembly dictates to be incorporated into the submitted composition?
    (Last week I tried a new something with my choir and realized, nope, they were never gonna put the syllables of a certain word where I wanted them in a triplet -- I bowed to their wisdom.)

    I've read through plenty of drek and a few gems, with ad hoc "casts" of actors helping out playwrights in this wise.

    I would be proud to do this for anyone whose work we sang at the Colloquium new music session, and I'm certain small groups could be arranged around the country for similar purpose without exorbitant effort.

    (Save the Liturgy, Save the World)
  • priorstf
    Posts: 460
    Agreed G. Our DM often has a quartet of us who can sightread go through the music selections for the choir to get a feel for what they are like. How much more valuable that would be for a new composition.

    Gavin makes a good point that you wouldn't want to submit any composition -- much less a Mass -- that hadn't gone through some rigorous trials ahead of time. So what a wonderful opportunity to compose a Mass, get your choir experience reading through new material (and be ready when the date for the new translation is announced!) and perhaps offer up something that is NOT, as mjb points out, the "usual suspects".

    I share Charles in CA's concern about whether "contest" hymns will really do much. I'd never select a Mozart or Schubert Mass because it said "Winner of the Vienna Pastoral Musician Award" on the cover. But it would be nice to get past the cynicism others have shown. If you have faith in the Holy Spirit's guidance, this may be the opportunity for something good to happen. And if you don't, then what in heaven's name are you doing here?
  • ghmus7 posits with great hope, "If more of us write good music, and more of us attend these conventions to vote for it, things might change."

    I hope this reflection upon that is not regarded as cynicism. Somewhere in the last 20 years it dawned to me that we (generic sense) already had plenty of "good music" to formulate a stable repertoire throughout many generations to come, AND that the inexorable glut of new products being wedged into our "hymnals" came both at the expense of affirming that stability and the disappearance of many excellent hymns, songs (chant had been excised already! ;-P) and service music from both traditional and modern sources. This observation is not concerned with choral literature, per se.
    It is my understanding that CMAA's "mission," if you will, is to promote that which is the most holy, beautiful and enduring music at service to the Lord within the guidance of the Church's canons and traditions. This doesn't necessarily exclude new compositions as being necessary and essential to liturgy as time passes.
    But I stand by my concerns about "feeding the machine" which created the glut I mentioned above. The PBC, the CCL, CPDL, the myriad of repertoire resources available online gratis, and the projects such as PBEH are not top-down generated constructs. The suggested chants for the new ICEL translation exist. Why look a gift horse in the mouth and say, "Nope, I'll take the appaloosa, please?" Other settings will emerge and those most worthy will come to the fore, with or without NPM/CMAA and the publishers. That's all I'm saying.
  • Mr. Z
    Posts: 159
    I just thing the "prize" is rather paltry. Almost insulting.

    Other than that I think Jeff O.'s music is well put together- sonorous- very singable - elevating, all things you want it to be. Do you think A "Mass of the Good Shepard" would do, based on his terrific Chanabal Psalm 23. He can win, I would think. Kevin Allen is the best ensemble writing I have heard amongst the present day's composers, though I don't know (haven't yet heard any) about his congregation friendly stuff.
  • chonakchonak
    Posts: 9,211
    Since entrants must "agree that published versions of the winning entry will include the following line directly under the title: 'Winner of the NPM Competition for a New Mass Setting, July 2010'", NPM gets some promotion in return for their prize.

    Is this an unusual condition for a contest?
  • Mr. Z
    Posts: 159
    Since entrants must "agree that published versions of the winning entry will include the following line directly under the title: 'Winner of the NPM Competition for a New Mass Setting, July 2010'", NPM gets some promotion in return for their prize.

    Is this an unusual condition for a contest?



    It really "cheezifies" the whole thing. If I were the "Van Cliburn Piano Contest" winner, I would WANT to advertise that, no need for an arm twist. The fact that they think it needs to be contracted indicates what they must already understand about their group. It does not, by its very name, speak "Quality." Worse, it may well speak "Questionable material to follow." This is enough to get me off my temporary "hooray" for any chance to put up a CMAA alternative.

    I will be grateful when the Catholic world (western) loses the chicken little-ness.
  • chonakchonak
    Posts: 9,211
    Good point.

    A tip about posting: to mark off someone else's text as a quotation, you can use HTML tags such as <i> ... </i> or <blockquote> ... </blockquote> around the quoted material.
  • Mr. Z
    Posts: 159
    Good point.

    A tip about posting: to mark off someone else's text as a quotation, you can use HTML tags such as ... or
    ...
    around the quoted material.


    Like so?
  • marajoymarajoy
    Posts: 783
    (cool! thanks!)
  • eft94530eft94530
    Posts: 1,577
    "to be held July 12 -16"
    "setting will not be sent for publisher consideration before July 16"
    So I guess the expectation is the winner drops their pre-stamped-pre-addressed-to-each-publisher
    winning score packages in the hotel lobby mailbox on that Friday afternoon
    before flagging a taxi to the bank and airport.

    "must contain at least a melody line for the assembly and keyboard accompaniment"
    So, does that rule out "a capella" or just mean a keyboard staff with 239 measures of whole note rests is required?

    "Bilingual"
    That means Latin can be included.
  • As can Esperanto. ;-)
  • Mr. Z
    Posts: 159
    I would think they would not seriously consider "a capella" anything, probably not ban it, but would not see the light of day.
  • priorstf
    Posts: 460
    Mr. Z - Why not write them and ask?
  • G
    Posts: 1,400
    "Winner of the NPM Competition for a New Mass Setting, July 2010"

    So, if you win follow it with, "and my Springer Spaniel doesn't cower under the piano and howl as if suffering the agonies of the damned when I sing it at home."*

    Of if that's too verbose, , just add, ".... for whatever that's worth."

    Seriously, for any probable unfortunate outcome -- we have to engage the LIC.

    (Save the Liturgy, Save the World)

    *Which, incidentally, is one of the few truthful compliments I can pay a setting i did of St Teresa's lines from her Breviary...
  • Mr. Z
    Posts: 159
    Well,

    I am not a "mind reader" but this is not a back to 1962 group, and the "state of the art" so to speak is an accompanied mass with a reinforced melody line piping away
    on, more often than not, piano, or keyboard, sometimes the old standby -- do you REALLY want to play THAT -- organ. That is, or would seem to be the status quo, and it may be changing in increments. But...

    We have a church in which the preferred option is to SING the lessons or readings, Who is doing that? What percentage, .05? So, to say that they will actively promote (It seems this is a concern for them) an "a capella" piece seems a bit of a stretch. It is kinda like asking if the girl in the 1920's swimsuit has a chance in the Miss Universe contest. Yes, the rule say she CAN where whatever she wants, as long as this and that is covered up, but I don't think she will be winning, not this year.
  • I would imagine that if your composition won, and you didn't write parts for drums, bass and C instruments to go with it, they would have one of their "staff musicians" provide them when it was published. It would be appropriate for them to turn down a submission of mine since I judge and turn down their submissions every Sunday. I have to agree with some of the above posts though.... when was the last time anything of real quality and value came out of a contest? Is this like "American Liturgical Idol"?
  • GavinGavin
    Posts: 2,799
    The rumor is that this convention will be much better than the previous ones. I wonder if a) that is from an outside source in the diocese, and b) this is a way to get around such pressure - "But someone else wrote it!"
  • G
    Posts: 1,400
    I would imagine that if your composition won, and you didn't write parts for drums, bass and C instruments to go with it, they would have one of their "staff musicians" provide them when it was published.


    Which the composer would be perfectly free to forbid.
    Whether that led to him not being published by one of the Big 3, I can't say, but certainly my Gather contains settings for which the composers, (Proulx is one, IIRC) refuse to allow guitar chords to be published.

    And as for no accompaniment, even if that is a composer's ideal, surely no composer here would be so churlish as to not provide a keyboard reduction of the vocal lines,(or some light chords to support a single line chant,)for those whose choirs can read, or whose congregations are not slaves to some sort of relative pitch-based reality...

    (Save the Liturgy, Save the World)
  • Oh, G - I haven't thought of the word "churlish" for at least a week. And yes, keyboard reductions and optional accompaniment are both useful to musicians and give the music a much greater chance of being performed.
  • francis
    Posts: 10,811
    Snide? I would say my comments are a bit disparaging perhaps, but certainly not false or deceptive.

    I have watched the 'liturgical publishing machine" for the past 40 years and I don't feel any better about the direction things are going.

    Why create another round of temporary mass parts for the mechanism that mainly sees this as an opportunity to put more big bucks in their pockets at the expense of the dignity of the Mass? Contest? $10 per submission? Wake up people! Keep the focus. Stay the course. Win the race. The temptation here is fame and glory for self (and a little bit of money thrown in), for those who will sell out.

    Let's see... who owns the new text? The church at large? No... hold on, let me check...

    Stupid me! It's on the top of EVERY PAGE of the whitebook PDF!


    English translation of The Order of Mass I
    © 2006, 2008, International Committee on English in the Liturgy, Inc. All rights reserved.


    So who gets lots of new money from your willingness to submit your creative effort and YOUR $10? ... and your comittment to let them have what you have created to do with as they please? (jeez people... did you forget about the thirty pieces of silver?)

    To drive this point home, everyone who composed a Gloria or Sanctus in English in the past ??? years is about to have their music permanently retired from the publishing machine AND from the vernacular liturgy in the United States. Odd. The text was absolutely acceptable for all those years as we celebrated the sacred liturgy, and all of sudden it is not acceptable?! It is either licit or isn't folks! Which one is it? (Do I hear a thunderous applause on behalf of the Newspaper Missalettes?)

    Do I see a comparison to a nose ring emerging?



    Bulls are powerful and sometimes unpredictable animals which, if uncontrolled, can kill or severely injure their handlers. [1][2] The nose ring assists the handler to control a dangerous animal with minimal risk of injury or disruption by exerting stress on one of the most sensitive parts of the animal, the nose. (from wikipedia)



    In this case, composers, they exert stress on one of your most sensitive parts... your ego!

    Long Live the Dead Latin Language (EF)
  • francis
    Posts: 10,811
    This raises another question...

    Are all the English Gloria and Sanctus settings in ALL existing hymnals about to be extirpated in a whim?

    What are we doing people! Could I dare say that this is the ultimate in liturgical abuse?