So he refers to "recent successes in the reform-the-reform movement" as being a "harsh reality". Guess he's talking about us, huh?

Don't know what to make of it, other than everything changes over time. He apparently doesn't like some of those changes. Off the top of my head, I can't think of a single thing written by him that I am familiar with. Maybe that is a harsh reality.

Priorities are all out of whack. The prayers of the mass are all that matter. Should one choose to present them musically, they are prayed in an elevated voice. What an arrogant affront to the almighty to bring commercial concerns and one's reputation to the forefront when composing for the transcendental ceremony which is the heart of our faith.

To hell wih business models and sale-ability of a tune.

"The praise-chorus crowd doesn't need texts that make sense..."

I, like Francis eloquently stated, do not wish to impugn Rory or his music personally. It is just that I've never, as part of Rorys demographic, read a more accurate representation of how business has been conducted over the last 30 years or so.
It is a wonder and a puzzle to hear those words above ascribed to the succeeding generation of whom our generation begat, and which the same sacropop cohort levels still against Liturgicam Authenticam/Vox Clara for MR3 for the opposite sensibilities. Reminds of the great 70's song: "Stuck in the middle with you." And tho' I mean Rory no ill will, he decries the youth culture about their needs with texts, at the same time that words he paraphrased from scripture such as "one foot in paradise, one in the waste" (Change our hearts) still adorn the major hymnals and pulp missals.

You know...I would really like to meet these kids that love this stuff. I live in a college town. The ones I encounter are all about the Latin and the chant. We had one student who would constantly tell us "I'm a Charismatic Catholic...except that I like traditional music." Same with the children's choir. They LOVE chant, and Latin Polyphony.

So really...where are all these "kids who like this stuff". From where I'm sitting the only people who like this stuff and the 50-70 somethings.

I am not a charismatic. I hate snakes! ;-) I am 65, and I didn't care for that music 45 years ago.

PaixGloiaAmor said:

...packs them in for this drivel - and yeah, a lot of the kids do really seem to be into it, singing along and enjoying themselves.

...just like we did when we were playing Mr. Cooney's music back in the 70s strumming our guitars, and it has all come and gone--just like any other fad--no depth required. Where did that leave most of us? Many never matured into the faith and they still run around chasing the winnowing wind dabbling in the next newest thing to come out to churn up their emotions all for the sake of the 'experience'... all to be part of 'the scene'. Unfortunately, the hierarchy, hand-in-hand with the publishing industry, perpetuates this stunted spiritual growth in almost all of our parishes nationally.

I just read the new journal of Sacred Music last night cover to cover. It addresses all of this quite succinctly. Especially the final article by Msgr. Andrew Wadsworth. I highly recommend everyone reads his piece.

Here are a couple of snippets to whet your appetite for truth:

"[speaking of Thomas Day's book, Why Catholics Can't Sing] ...just as much of his advice has gone unheeded in a liturgical culture which is too easily driven by the exigencies of publishers who for the most part are the architects of our liturgical repertoire, influencing choices of the liturgical music of which they are so often the slow purveyors. Let me be clear at this point, while I would want to register my appreciation for those publishers who are at the service of the church's liturgy, I would also wish to identify a serious lacuna in our direction of a liturgical culture which has latterly been shaped by a repertoire of liturgical music principally determined by publishers."

"Nowhere was this influence more keenly felt than in the realm of liturgical music, for the principle that a repertoire of liturgical chant which had been proper to the Mass, at least in its most solemn celebration, was largely and almost universally set aside in preference for music which might be most accurately described as "non-liturgical" in character, given its frequent lack of dependence on liturgical or biblical texts and its introduction into our liturgical celebrations of a voice which is in many ways alien to the spirit of the liturgy. We sing a lot of music in church which is anti-liturgical in character and then seem surprised that it has in fact destroyed any liturgical sense in our worship."

"It is absolutely vital to grasp that this is not only true of much music which is contemporary in style but it is also evident in hymnody which is so often of a devotional rather than liturgical character and which was transplanted into the Mass from non-catholic forms of worship which are constructed on entirely different principles. This is the modern-day inheritance of the "Low-Mass" culture which envisages a largely spoken liturgy punctuated at key moments by congregational singing."

(Sacred Music, Vol. 139, pg.66, par.3---and on)

"The music you grew up with? So that would be songs from the 90s, then?" (smile)

I intend to write on these two very revealing posts by our colleage Rory Cooney fairly soon. But in the meantime, did it occur to anyone else that there's almost a sense of cynicism evident immediately in the articles' title themselves? "So you think you want to write.. .." Wendy and I love the Fox reality show "So you think you can dance?" as there is no other such show where the whole of the dance community of "amateurs" (in David Andrew's meaning) literally comes together both in competition and in support of each other. But Rory's take, the title seems to be a sort of warning or admonition. "Well, let me set you straight about how things really are, youngster. I been there, done that, and in the end you get a T shirt." Lastly for this comment, a type of remorse is evident between the tug of war whether to be first faithful to one's calling as a parish musician, and the demands, literally, that force one to follow the circuit commercially to huckster the latest product unveiling. It's not healthy and it does lead to loss and pain. I've seen it so many times with "composers" of our generation. And you know I'd bet our friend, Todd, would agree with that last observation. How can you grow as a DM, learn chant as MACW cries out, and know the breadth of that glut, if you're "out there" immersed in your own music 24/7?
Again, I'm astonished at the "true confessions" nature of these two articles by Mr. Cooney. Unvarnished truth and regret.

Everything about these articles confirms for me that:

1. My personal philosophy regarding Intellectual Property and free distribution is, if not the right model for everyone, certainly the right model for me.

2. If a person's philosophy/worldview about how things ought to be conflicts with the reality of how things actually are, the result will always be pain and heartache.

Regarding (2): The pain and heartache may be worthwhile, if (for example) you are called by God to engage in changing how things are to how things ought to be. More often, though, I think the pain and heartache would be much alleviated by realizing that some things are just the way they are, and we need to get on with life anyway.

"Those who live by the times of their age also die by those same times..." Charles Taylor.

To quote the famous poet...

Think not to win the fight, 'tis won.
Think not completion: all is done.
'Tis ours then only loud to sing,
and serve, and work, and 'wait our King.

Re: intellectual property, and the publishing industry, et al

I do love that there are composers willing to labor, basically for free, and willing to do it on the side of their full time church work. And the quality of the work they produce is good!

But I also can see that someone who is trying to make a living off of this "music thing," and for whom composing is a piece of that puzzle, cannot simply put things online for free. They have to work with traditional publishing houses and try to make money off of their work.

I think most of the Chanabel composers, etc. are laboring for ideology, to improve the liturgical landscape. And I'm grateful!!! But they are making their money (to live on) somewhere else - probably as DOM's, organists, etc.

For whatever reason, people who publish are often relying on that income as part of their living - you see this especially in the "big names" who probably make almost all of their money from composing, recording, speaking at conventions and conferences, etc.

Changing how things are is a difficult endeavor, as it says in Sirach, 'If you aspire to serve the Lord, prepare yourself for an ordeal!" (paraphrased)

melo:

I made the caveat that I was speaking to the industry in general terms. We are NOT bashing Mr. Cooney, we are bashing the method at which publishers suck in 'talent' and then use if for their own gain, and then discard people once they are 'used up'. People who jump into the game with the publishers can only blame themselves. It takes two to tango. I feel sorry for Mr. Cooney, and my prayers are that he finds a new way to utilize his gifts.

I want to make this clear. I did not start this thread capriciously (there, I've used this word twice in a week.) My motivation accurately precluded my statement of purpose and was not some arbitrary, out of the blue "sting operation" to further bad blood between "music war" encampments. On the contrary, I find Mr. Cooney's remarks refreshingly honest and candid about the rigors of going "commercial" in the liturgical music scene. And I want to state that as a Christian brother, I take his motivation to pass on his revelations and experiences as lessons, well-intentioned, to be learned by the young and old alike. There has been some back-stage concern that this thread will go all fire and brimstone, as happened a couple of weeks ago with the deacon and his brother. I believe the commentary thus far has been on point and fair, and I plead that it remain so.
If it is any consolation to those who monitor these boards for whatever purposes, I may not use "Change our hearts" anymore, never have used "I, Myself....", but I do sing Rory's beautiful setting of the Naomi/Ruth "Song of Commitment" at the few weddings we take.
None of this is personal on my part. Amen.

Yeah, but Kevin, I wear some of those labels with pride. Being called old fashioned, an elitist or an elitist snob by the NPM-type guitar thumpers is a badge of honor. I can say this, since I am of the same age as many of them. Those with-it, Vatican II darlings are not as young, cute and clever as they once thought they were. The freshness has worn off those roses.

Charles, you do understand, I hope that I do not condemn guitar players - at least the competent ones. Guitars were used in liturgies long ago, and quite successfully. It's the three-chord-strummers I have issue with. Many of them couldn't even fairly be called musicians. I used to wonder how some of them could be so bad, and yet so arrogant.

I too grow weary of the "say nothing that could be construed as not positive" camp ...

Let's allow free discussion. We're all adults. If we can't be called names, even, and I have been by parishioners none the less, than we need to seriously thicken up our skin or go home.

Cage match Wood and Cooney. Blood and anguish will be plentiful. Tickets available for a "reasonable" price.

PGA, no one's trying to stifle free discussion. But at the same time do understand that there's likely a fairly large amount of normal, everyday RC's, not just musicians, who think we're just bat sh*t crazy and angry all the time. This I do believe. So, if we can freely discuss without the negative stereotypes, we'll attract more bees to the hive.
AW- I dunno, Adam, go over to Rory's site and represent, do what you do, wax philosophic and smile, darn ya smile! Or you could do a reaction piece at your blog or Cafe.
CDub, I know that. My fondest memories of NPM nationals and regionals are of sessions in bars/lounges/restaurants, sessions in empty ballrooms and hallways where you could show the strummers the joys of finger picking, arpeggiation and bass note movement, and meeting old friends. My worst memories were their Masses. What's wrong with that picture?
But we've yakked on about establishing a presence if not relationship with NPM. That'll never happen if we're preconceived as the Angry Byrds. I copyrighted that just now.

PGA, no one's trying to stifle free discussion.

Charles, there have been 43 entries on this thread and, so far (unless I've missed something), the only person to even mention anything written by Rory Cooney is yourself:

If it is any consolation to those who monitor these boards for whatever purposes, I may not use "Change our hearts" anymore, never have used "I, Myself....", but I do sing Rory's beautiful setting of the Naomi/Ruth "Song of Commitment" at the few weddings we take.

I'm wondering what you expected when you began this thread. A real discussion of Rory’s texts and tunes? And what has the thread produced so far? Zero comments on Rory’s texts and tunes, and very little about anything else that much matters. Some have tried to tell Rory how he should spent his time instead of composing. Some have bashed publishers, or bashed composers besides Rory who do not write certain kinds of music or who write in certain styles they do not like.

Probably the only good criticism a hymn writer or composer ever receives about his or her work is from close, knowledgable friends and from really good editors. Unfortunately, both are rare in real life. And the Forum is not a forum for friends and editors of composers and text writers. So why should there be any expectation of fair, honest, thorough - and charitable - criticism?

I do not know much of Rory’s music. In GIA’s four most recent hymnals his contributions are the following: Gather 3 – 15 entries; Worship IV – 2 entries; Lead Me, Guide Me-second edition – 1 entry; Oramos Cantando/We Pray in Song – 2 entries. OCP’s 2003 JourneySongs – 4 entries.

Rory’s 2005 “Heart of a Shepherd is a fine recent composition of his. Basically it is the Joseph Gelineau setting of Psalm 23 (using Gelineau’s own tone) with Rory’s lyric refrain, which expands on John 21:15:

If you love me, feed my lambs; Be my heart, my voice, my hands. If you love me, feed my sheep. And for my part, I give you the heart of a shepherd.

I’d hazard a guess that this piece was sung at more ordination Masses this spring than almost anything else.

@MHI: Rory's two blogs on "So you think you want to write..." have to do with his experience as a composer and song writer. IMO, one cannot begin to get a handle on that without some reference to his songs and compositions.

Consequently, it is no surprise that there has been little if no development at all in this discussion.

Is it the tenor of the times that I find it difficult to bear a tone of a discussion that has strayed perhaps too close to personal comments, in spite of what I take to have been good intent on the part of the OP. After these base remarks of mine, I think I'd best use the worm to go bass fishing.

Fr. Ron, it is interesting to have had two publisher insiders question my motives by perceiving the original post as an "attack" on Rory and/or his work. As a former teacher in jr/snr high and at the collegiate level, I'm constantly wondering if anybody actually reads, much less comprehends whatever's in their view?
To answer your question, "what I expected" has been considered rather seriously by those who've commented thus far, and without the rancor that you and my other friend have projected would occur. As Adam succinctly states, RC's articles are of interest and worthwhile. I believe I have been as transparent about my interest, and I have my own stories about being on the other side of those 12 member gatekeeper panels in Oregon and Chicago, but I'm NOT going to insert myself into that equation. (Besides, I was not representing myself or my work, but that of a known artist for whom I arranged his last collection.)
My quotes of only three of Rory's songs were mentioned only within the context of some of the upshots of Rory's observations in his article. And the one that was critically related was balanced a mention of appreciation for another song.
So, where is the beef? Who is demonizing whom here?
If everything that gets discussed here is monitored and regarded by what I mirthfully call "the loyal opposition" as the product of ignorant misanthropes, we might as well pack it all up and hunker down with romance novels at home.