by Fred Moleck

The New BCL Music Document: A Peak Inside

The day after the American bishops closed their annual meeting in Baltimore, an insider friend supplied for me a bootleg copy of the music document the bishops’ music committee presented to the conference.

No, the insider friend is not Rocco Palmo.

Entitled Sing to the Lord: Music in Divine Worship, the document is most hopeful.

Hopeful in the sense that it is faithful to the two historic documents on liturgical music by the Bishops’ Committee on the Liturgy—Music in Catholic Worship (1972, 1983) and Liturgical Music Today (1978).

What I see as one of the documents strongest points is that it also reflects current practices in music ministry. Within those practices are some refinements and corrections of some questionable practices. I find that very hopeful.

For example, it is no secret that I abhor—note: not dislike or find strange, but abhor—the cantor singing into the microphone. The document states that when the congregation sings with some confidence, the cantor should not sing with confidence, that is, loudly or amplified, but recede, that is, quietly.

Some consideration is given to gestures; they should be used sparingly and only when “genuinely needed.”

And a last example: When the congregation is singing familiar items such as hymns, acclamations, and songs, “the cantor need not be visible.”

I dare say that most of you have already weaned your cantors from the microphone and discontinue superfluous hand-waving, and have them sing the hymns and so forth from their chair.

That means you have contributed to the “common practice.”

Another important dimension is the official status of the document. It is not particular law; that is to say, it does not carry the weight of legislative binding power.

It is considered a “teaching document.” It sets out very clear directives and standards for the liturgical musician to establish a strategy and criteria for what we do and how we do it.

Imagine if it were particular law. For example, as director of music, you neglected to arrest the cantor’s hand signals. It would become a matter of conscience on you discerning whether it was a venial sin—the cantor was ten years old—or a mortal sin—the cantor was the dean of the local college’s liturgical music program.

It boggles my mind to think what the penances would be.

There are six chapters:

            I   Why We Sing
           II   The Church at Prayer
          III   The Music for Catholic Worship
          IV   Preparing Music for Catholic Worship
           V   The Musical Structure of Catholic Worship
          VI   Conclusion
I’ll try to be more specific next week. If I think the information I want to share will blow my cover, I’ll back pedal and write something on Favorite Advent Desserts, such as Sarum Blueberry Pancakes or Seven Wise Virgins Rum Cakes.

You can reach Fred Moleck via email at fmoleck@comcast.net

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