A Missing Link: A Manual for Church Musicians, 1964

Like many others on this forum, I have read the liturgy documents of Vatican II and wondered how we could have arrived at our current musical situation based on what those documents say. I recently ran across a little book that helps explain the transition, a missing link. It’s “A Manual for Church Musicians,” published in 1964 by the Liturgical Conference, a prominent American group in the pre-Vatican II liturgical movement. The book does not have a single author, but nine contributors (including Omer Westendorf) and a preface by Paul J. Hallinan, the Archbishop of Atlanta.

In the first chapter opens by hailing the recently promulgated Constitution on the Sacred Liturgy, and even more so, the American bishops: “It is to the shepherds of the American Church, however, that we owe the greater burden of our gratitude...” The reason given for this was the bishops’ action to implement the vernacular in the Mass and sacraments and to encourage experimentation pending the issuance of revised rites. These actions are characterized as a continuation of the Council’s action.

As far as the use of Gregorian chant, the authors acknowledge the ‘pride of place’ specified by the Constitution, but quickly note the “accompanying phrase ‘other things being equal,’” which they say underlines the pastoral concern of the Constitution. They interpret this pastoral concern primarily to mean immediate implementation of vernacular. They leave chant to monasteries, and disparage its use in parishes: “There is no need to fear that the chant will be lost, for the monastery will preserve it, whereas the parish never really possessed it.... It is the parish that is the first concern of the bishops, and intelligent participation the motive that underlies their liberal allowance for the use of English.” Previous efforts to promote chant were insufficient: “Some degree of participation was achieved throughout the Catholic world, but the barrier of the Latin language proved too difficult to overcome.”

The book extols the future glory of an “English High Mass” in which the directives of Pius X are modified: “The directives since 1903 remain in effect, save that the English language may be allowed; the promotion of the English language demands reinterpretation of former decrees, and the formation of a new, and authentic tradition.” In addition to Pius X’s criteria of holiness, goodness of form, and universality for sacred music, the role of music according to the constitution is further said to be communal, hierarchic, pastoral, and didactic. After this summary of music’s role, we read: “The vision of music as a utilitarian art, determined by consideration of the practical, is the beginning of the ‘Great Rediscovery’ of music, a time of creativity that will wed words with music once again, and possibly rival the period of the Gregorian chant in excellence.” While reading this book, one cannot help but ask, after this and many other statements: “And how did that work out?”

Many practices are proposed that today are the status quo: A simple melody like a Gelineau psalm antiphon for the ‘meditative song of response’ (recall this is 1964, so we don’t yet know the “responsorial psalm”); the three-fold Alleluia to replace the long melismatic chants of the Middle Ages; congregational music practice before Mass; the choir moved out of the loft; the cantor ‘using slight gestures of the hand”; the Creed is best recited; and so on. The chapter titled: “The Music of the Mass” reads like a blueprint for the four-hymn sandwich, although I must note this is meant for Low Mass, a term retained in this book. Suggestions are given for replacing the propers with psalms or hymns, and an appendix gives a short list of hymns for various seasons and occasions. Existing English hymns from Protestant traditions are recommended. Pieces from the then-new Lutheran “Service Book and Hymnal” and the 1940 Episcopal Hymnal are particularly pointed out as sources for both hymns and Mass parts.

This book fervently puts forth its program for immediate change: “To postpone the inevitable period of trial and adjustment until such time as a revised rite is available would be disastrous.” Another watchword is using only English for the Mass: “In principle, the English language must be maintained throughout the entire program of participation; as has been noted already, this will allow for unity of direction and continuity of practice.” Underlying this program is a sense that a new practice of English music can be substituted into the Mass, and everyone will move forward--not without hard work, and perhaps even a little ‘resentment’--into a new golden age. One thing the book does not do is to give any hint of the deluge to come with folk and contemporary music, nor of the sweeping changes of the 1969 Missal with its numerous options.