Mexico is a ample country and climate varies from one area to the other. Before you travel to this remarkable dystopia, one factor you consider is the weather of the area. One area in Mexico that has a consistent weather year round is Cuernavaca. Cuernavaca is the capital and grandest city of the state of Morelos. It is also known as the jewel city of Morelos. Because of its cheerful climate, it is now a well-known getaway area in Mexico. The climate makes the area more beautiful for green plants that makes it grow enriching the authentic view of the area's parks and garden. Cuernavaca sits in the heart of central surrounding holiday Mexico to Cuernavaca becomes packed with Mexico City folk heading south to get away from the capital for a break. The city's name comes from Nahuatl Cuauhnahuac or area near trees. The name was altered to Cuernavaca by influence of the spanish words cuerno ‘horn’ and vaca ‘cow’.
Aside from the climate, travelers all over the world prefer Cuernavaca because of its historical richness. This astounding city has ruins of ancient Aztec and Tlahuica cultures and of colonial buildings such as the Palacio de Cortes. Other attractions are some cathedrals, The Jardin Borda and some museums. Catedral de la Asuncion de Maria, one of the oldest churches in Mexico hosts some brilliant colonial architecture. In this cathedral, you'll find the Plaza de Armas, Palacio de Gobierno and the Palacio de Cortez, also known as Museo Cuauhnahuac. Jardin Borda is a house with a garden that was originally commissioned by a wealthy silver magnate in the 1700's while Museo Casa is a brilliant art gallery. It belongs to Robert Brady who resided in the area from 1960's to 1980's. There are also attractions located out of the city. Salto de San Anton is a small village hosting a brilliant waterfall where tourist can walk behind it and picnic there and another one is the Casa Maximiliano which was built in 1866 that has a Herb Garden.
The nightlife of the area has something for those looking to stay up, sitting around, drinking and talking into morning hours, as well as those looking for some club-scene partying that will go on until the sun comes up. Cuernavaca has a selection of night clubs. Some night clubs charge an all inclusive cover fee and some a smaller cover and drinks on top. Drinks are served all night. Nightclubs keep going all morning and most people will start to leave between 5 and 7 am. El Alebrije offers a brand new concept of nightclubs in Cuernavaca. This area plays great collection of music including rock in Spanish, salsa, merengue, hip-hop and pop from North America. Mambo Cafe is considered as one of the best places in Mexico with Latin, tropical and pop music concepts. They offer the best salsa and merengue lessons while Barbazul remains being one of the most important nightclubs in Cuernavaca and Mexico for this long. It is somehow cheaper than other nightclubs.
You can find several places to eat when you are in the area usually found near central plaza. To add more fun you can also visit the local markets and try the Mexican ‘antojitos’. These are snacks just found in stalls behind the markets. Pambazos are mouth watering. This is a bun with potato filling or the quesadilla with different kinds of fillings like rajas con queso, tinga de pollo, cesos de cuitlacoche. World class restaurant such as Las Mañanitas is known not only of the foods but for its big garden with free-roaming peacocks. They serve grand food in a cozy environment. Servings are collection of consisting of traditional Mexican and international cuisine. Other restaurants are Casa hidalgo and Terrarium.
One fascinating fact about the city is that the city has been one of the main places where foreigners come to learn spanish at one of the many language schools. Cuernavaca has a lot of language schools and has been sheltering tourists from around the world who want to learn spanish. So there you got it! The city offers a lot. And now, the opportunity to learn spanish might be the reason you visit or maybe stay in this astounding city.
Tuesday, August 31, 2010
How To Give Gifts To Men
Giving gifts to men is not that easy. They are not easy to shop for. Men, themselves don’t even give gifts unless there are special occasions. But here’s what you can do and some brainstorming ideas for gifts to give. Think of something that they would make them happy. Giving them a scrapbook full of your pictures together is OUT; Sports memorabilia is IN. Get them an authentic signed jersey or bat if you can and see his biggest smile.
Another good idea is buying concert tickets so you can see his favorite band together. Or you can buy a CD/DVD of his favorite music. How about an artistic gift for the musician husband or lover of global music in the form of handcrafted wood musical instruments? Most men like wrestling. If your man is one of the wrestling fanatics, they would surely love the WCW World Championship Replica Title Belt Plate with his name on it. They will really find it cool.
If your man is into collecting something, you can also give him an addition to it. Coins and stamps can be bought in sets online. Or if he has a green thumb and he likes caring for plants, you can give him elegant and exotic bonsai plants. The newest set of garden tools can also be an option.
For those who are dog lovers, you can give trendy collars and leashes they can use when walking their beloved pets. You can even go to the extent of buying apparel for their dogs if they love the pets that much. Pick a cool and stylish NBA and NFL dog jerseys. Or if you want to play safe, buy your handyman a cordless drill. It doesn’t matter of he already has one. As a man, you can never have too many cordless drills.
Another good idea is buying concert tickets so you can see his favorite band together. Or you can buy a CD/DVD of his favorite music. How about an artistic gift for the musician husband or lover of global music in the form of handcrafted wood musical instruments? Most men like wrestling. If your man is one of the wrestling fanatics, they would surely love the WCW World Championship Replica Title Belt Plate with his name on it. They will really find it cool.
If your man is into collecting something, you can also give him an addition to it. Coins and stamps can be bought in sets online. Or if he has a green thumb and he likes caring for plants, you can give him elegant and exotic bonsai plants. The newest set of garden tools can also be an option.
For those who are dog lovers, you can give trendy collars and leashes they can use when walking their beloved pets. You can even go to the extent of buying apparel for their dogs if they love the pets that much. Pick a cool and stylish NBA and NFL dog jerseys. Or if you want to play safe, buy your handyman a cordless drill. It doesn’t matter of he already has one. As a man, you can never have too many cordless drills.
Fsu Gang Members Get Nailed With Murder Sentence
Travis Daniel Westly and Richard James Dugan are members of a street gang called the FSU Gang, which is short for the Friends Stand United Street Gang. Travis Daniel Westly is 26 years old and Richard James Dugan is 27 years old. Both of these men were recently convicted in the deadly beating of Sean Thomas Gardhouse on June 23rd, 2006. The sentencing can go either way but there's a good chance they'll receive 25 years to life in prison.
The FSU Gang started in the late 1980's as a group of hard core Boston Rock Fans. They primarily listen to Rock Music and are notorious for their violence. However in recent years they have been proliferating all over the United States. How gangs operate in general is that they'll send 3-5 Members out to a new area to form a Chapter. For a week or two they will just observe the area and get to know it.
Then they'll start selling drugs, weapons, will run prostitution rings and will extort businesses for a percentage of their sales. They let others know they are around by committing overt acts of violence and start the intimidation process, in many cases making an example out of someone who is non-compliant.
The Business Owners who refuse can get assaulted or even killed. FSU Gang Members in particular are into the Punk Rock scene, and mainly yuppie type middle class Punk Rock teenagers blame them for making the music look bad because of their excessive violence at Punk Rock Concerts. There are excessive complaints against the FSU Gang for excessive violence particularly in the Seattle, WA. area.
The FSU Gang once even threatened a Punk Rock Band called the Daggers. They are a hard core band based out of California. They threatened serious violence if the Daggers played a song that made the gang look bad and made them appear violent.
Now back to the issue of Travis Daniel Westly and Richard James Dugan. I agree they committed a crime and should be held responsible for their actions. But I do not believe that they intentionally intended to kill Sean Thomas Gardhouse in front of the Jack in The Box on 1100 Ontario Street in Corona, CA. I think they were just being young and macho and trying to prove themselves to their fellow FSU Gang Associates. I think it was an accident and a game that unfortunately took a turn for the worst.
But whatever we think at this point, this is just another sad situation where the damage has been done, and now it's just time to let the chips fall where they may, that's all we can do. Hopefully these FSU Gang Members Travis Daniel Westly and Richard James Dugan will get some help while in prison.
They both have a chance to make something productive of themselves and possibly even help and preach to others maybe some constructive career paths. I believe in the future that we need to focus on educating young people to stay in school and stay away from Criminal Gangs so they can have a shot at a real future someday.
When I was growing up it was tough to stay away from the trouble makers, they were just about everywhere. But they were a different breed back then. You might get conned into smoking pot or ditching school or even a fight, but these days students seem to be brandishing firearms more often than pencils and pens.
The FSU Gang started in the late 1980's as a group of hard core Boston Rock Fans. They primarily listen to Rock Music and are notorious for their violence. However in recent years they have been proliferating all over the United States. How gangs operate in general is that they'll send 3-5 Members out to a new area to form a Chapter. For a week or two they will just observe the area and get to know it.
Then they'll start selling drugs, weapons, will run prostitution rings and will extort businesses for a percentage of their sales. They let others know they are around by committing overt acts of violence and start the intimidation process, in many cases making an example out of someone who is non-compliant.
The Business Owners who refuse can get assaulted or even killed. FSU Gang Members in particular are into the Punk Rock scene, and mainly yuppie type middle class Punk Rock teenagers blame them for making the music look bad because of their excessive violence at Punk Rock Concerts. There are excessive complaints against the FSU Gang for excessive violence particularly in the Seattle, WA. area.
The FSU Gang once even threatened a Punk Rock Band called the Daggers. They are a hard core band based out of California. They threatened serious violence if the Daggers played a song that made the gang look bad and made them appear violent.
Now back to the issue of Travis Daniel Westly and Richard James Dugan. I agree they committed a crime and should be held responsible for their actions. But I do not believe that they intentionally intended to kill Sean Thomas Gardhouse in front of the Jack in The Box on 1100 Ontario Street in Corona, CA. I think they were just being young and macho and trying to prove themselves to their fellow FSU Gang Associates. I think it was an accident and a game that unfortunately took a turn for the worst.
But whatever we think at this point, this is just another sad situation where the damage has been done, and now it's just time to let the chips fall where they may, that's all we can do. Hopefully these FSU Gang Members Travis Daniel Westly and Richard James Dugan will get some help while in prison.
They both have a chance to make something productive of themselves and possibly even help and preach to others maybe some constructive career paths. I believe in the future that we need to focus on educating young people to stay in school and stay away from Criminal Gangs so they can have a shot at a real future someday.
When I was growing up it was tough to stay away from the trouble makers, they were just about everywhere. But they were a different breed back then. You might get conned into smoking pot or ditching school or even a fight, but these days students seem to be brandishing firearms more often than pencils and pens.
Best Funny Christmas Party Games & Favourite Festive Songs People Will Play This Xmas
What are the best Christmas party games? This is difficult to answer because, one particular party game seen as fun in the eyes of some folk - may not be seen that way by others. Because of this we find ourselves in a catch 22 situation. So what do you do? Do you invite the people over for Christmas you know will like your selection of party games, or, those you prefer the company of, but won`t like your games. Do you dismiss the idea of having any Christmas party games at all? Not on your Nellie, come on this is the season of goodwill; it is a time for festive fun and cheer. Whatever games you play should make no difference, however if they do, then for the guests that refuse to jolly should be politely asked to leave. This may sound harsh but we cannot have one person or two at a push, spoiling your Christmas day.
Christmas is a time for happy gatherings, and if any kiljoy`s sit round the Christmas dinner table, or in front of an open log fire to play games, then "no happy" gathering it will be. Best Christmas party games you will find are played at office Xmas parties, Children's Christmas Parties, and at family celebrations, and why? Because they add fun and spread the Christmas spirit! Now let the fun begin with the dreaded word game.
This game has you give each guest on arrival a small token. Now announce to all a Christmas theme word. Tell all they are not to utter this word at all during the Christmas occasion you celebrate. Words like "tree" or "holly" are fine examples. If a guest overhears another guest utter this specific word at any time they take that person`s token. The guest with the most tokens at the specific designated time of ending the game wins a special gift!
Christmas Talent Contest!
If possible for this particular game is to avoid volunteers, as more often than not they can sing and do not embarrass easy. We want fun right, and if at someone else's expense then so be it (in a nice way). It's more fun to hear voices like that of a wailing banshee, or watching the footwork of those who believe they have feet like Micheal Flatly. Let everyone showcase their talent by singing or dancing. Contest winner tags should "Best Singer" "Best Dancer" "Worst vocalist" "Most Unique" "Most Funny" This game guarantees the air to fill with laughter.
Remember Christmas celebrations should cater for all age groups so organize for the young and old. Best Christmas party games are the ones people can join in with.
Pass the Bows another popular Christmas game
Have your guest's team up for this game. This game includes all participants of each side to hold hands while passing bows along a line. Hands must not unlock at any time while passing bows.
Divide the group into teams of 6 to 10 people and have the team's line up side by side, either sitting or standing next to each other. At one end of the line place a number of Christmas bows while at the other a bowl/bucket for bows to be placed. Now prompt each player to hold the right wrist of the person to their right. You can use a Christmas cracker bang to start the game - both teams must now pass bows down to one end and place them in the bucket or bowl.
Note: If a bow is dropped, it can only be retrieved while still joined to the wrist of a team member, and if the chain breaks all the bows currently being passed must move back to the beginning of the line. (Either the front - initial starting point or the bucket / bowl - the half way point.) Not to worry if you have no bows, I am sure you can find other as a substitute
Christmas Memory Game
Gather together 10 to 20 small Christmas items and place on a tray. Examples: bows, Christmas stocking, bells, Christmas tinsel, Christmas lights, gift labels, candles, Christmas video, nutcracker, etc…
Set the tray down and allow players to study it. Then hide tray contents by covering with a cloth. Now give the players paper and a pencil and have them write down as many of the items as they can remember. The one with the most correct items written down wins. Why not fill the tray with treats, like cookies, cake, tubbed jellies or assorted types of candy. The winner of the game gets to take home the treats. This fun game becomes more serious for the participants purely because of this. Well wouldn`t you want to take home a bag of yummies.
Kick start the festive spirit by providing everyone with a Christmas hat. Not only will this add "moving color" to the room, it will have everyone excite themselves even more. Listen to the laughter as each person puts on their hat. Paper hats are inexpensive. Kill two birds with one stone and buy Christmas crackers which contain hats. If there are any lively games to be played make sure the charismas tree or lighted candles or any type of breakables are moved out of the way. There are games you can play before sitting down to feast, however normally folk are famished and just want to get stuck into the turkey, so consider playing the best Christmas games after everyone has eaten and had time to digest their food.
Nevertheless if you want to keep your guests occupied till dinner is served, play the "guess me" game. This will include long heavy socks. Place varied Christmas items in the socks. You might stuff the socks with a small ornament, roll of tape, a fir cone etc. Have each person feel the contents of the sock and write down their guesses. The winner gets, you guessed it, one of the socks! This is why this game is best played with two socks so they get a pair for the prize.
Remember that music is the most ideal aside from playing the best Christmas games to get everyone in the mood.
Keep music lively; avoid slow and somber sounds as this can dampen a person`s sprits, who at this particular time may have something to feel saddened over. Your quest is to help this person, "not to forget," but to enjoy.
Slade`s 'Merry Xmas Everybody' has been voted the most loved Christmas song by the British public.
Other merry Christmas songs
Mariah Carey - All I want for Christmas is you
Wham - Last Christmas
Wizzard - I wish it could be Christmas everyday
Let us not forget why we celebrate Christmas day December the 25th. While we give gifts and pleasure in our kids delight and cook dinner we often overlook "the reason for the season", the birth of God's son, Jesus Christ.
A Christmas Prayer by Robert Louis Stevenson that
brings the lord back in sight and thought.
Loving Father, Help us remember the birth of Jesus
that we may share in the song of the angels, the gladness of the shepherds, and worship of the wise men. Close the door of hate and open the door of love all over the world. Let kindness come with every gift and good desires with every greeting. Deliver us from evil by the blessing which Christ brings, and teach us to be merry with clear hearts. May the Christmas morning make us happy to be thy children, and Christmas evening bring us to our beds with grateful thoughts, forgiving and forgiven, for Jesus' sake. Amen
Christmas is a time for happy gatherings, and if any kiljoy`s sit round the Christmas dinner table, or in front of an open log fire to play games, then "no happy" gathering it will be. Best Christmas party games you will find are played at office Xmas parties, Children's Christmas Parties, and at family celebrations, and why? Because they add fun and spread the Christmas spirit! Now let the fun begin with the dreaded word game.
This game has you give each guest on arrival a small token. Now announce to all a Christmas theme word. Tell all they are not to utter this word at all during the Christmas occasion you celebrate. Words like "tree" or "holly" are fine examples. If a guest overhears another guest utter this specific word at any time they take that person`s token. The guest with the most tokens at the specific designated time of ending the game wins a special gift!
Christmas Talent Contest!
If possible for this particular game is to avoid volunteers, as more often than not they can sing and do not embarrass easy. We want fun right, and if at someone else's expense then so be it (in a nice way). It's more fun to hear voices like that of a wailing banshee, or watching the footwork of those who believe they have feet like Micheal Flatly. Let everyone showcase their talent by singing or dancing. Contest winner tags should "Best Singer" "Best Dancer" "Worst vocalist" "Most Unique" "Most Funny" This game guarantees the air to fill with laughter.
Remember Christmas celebrations should cater for all age groups so organize for the young and old. Best Christmas party games are the ones people can join in with.
Pass the Bows another popular Christmas game
Have your guest's team up for this game. This game includes all participants of each side to hold hands while passing bows along a line. Hands must not unlock at any time while passing bows.
Divide the group into teams of 6 to 10 people and have the team's line up side by side, either sitting or standing next to each other. At one end of the line place a number of Christmas bows while at the other a bowl/bucket for bows to be placed. Now prompt each player to hold the right wrist of the person to their right. You can use a Christmas cracker bang to start the game - both teams must now pass bows down to one end and place them in the bucket or bowl.
Note: If a bow is dropped, it can only be retrieved while still joined to the wrist of a team member, and if the chain breaks all the bows currently being passed must move back to the beginning of the line. (Either the front - initial starting point or the bucket / bowl - the half way point.) Not to worry if you have no bows, I am sure you can find other as a substitute
Christmas Memory Game
Gather together 10 to 20 small Christmas items and place on a tray. Examples: bows, Christmas stocking, bells, Christmas tinsel, Christmas lights, gift labels, candles, Christmas video, nutcracker, etc…
Set the tray down and allow players to study it. Then hide tray contents by covering with a cloth. Now give the players paper and a pencil and have them write down as many of the items as they can remember. The one with the most correct items written down wins. Why not fill the tray with treats, like cookies, cake, tubbed jellies or assorted types of candy. The winner of the game gets to take home the treats. This fun game becomes more serious for the participants purely because of this. Well wouldn`t you want to take home a bag of yummies.
Kick start the festive spirit by providing everyone with a Christmas hat. Not only will this add "moving color" to the room, it will have everyone excite themselves even more. Listen to the laughter as each person puts on their hat. Paper hats are inexpensive. Kill two birds with one stone and buy Christmas crackers which contain hats. If there are any lively games to be played make sure the charismas tree or lighted candles or any type of breakables are moved out of the way. There are games you can play before sitting down to feast, however normally folk are famished and just want to get stuck into the turkey, so consider playing the best Christmas games after everyone has eaten and had time to digest their food.
Nevertheless if you want to keep your guests occupied till dinner is served, play the "guess me" game. This will include long heavy socks. Place varied Christmas items in the socks. You might stuff the socks with a small ornament, roll of tape, a fir cone etc. Have each person feel the contents of the sock and write down their guesses. The winner gets, you guessed it, one of the socks! This is why this game is best played with two socks so they get a pair for the prize.
Remember that music is the most ideal aside from playing the best Christmas games to get everyone in the mood.
Keep music lively; avoid slow and somber sounds as this can dampen a person`s sprits, who at this particular time may have something to feel saddened over. Your quest is to help this person, "not to forget," but to enjoy.
Slade`s 'Merry Xmas Everybody' has been voted the most loved Christmas song by the British public.
Other merry Christmas songs
Mariah Carey - All I want for Christmas is you
Wham - Last Christmas
Wizzard - I wish it could be Christmas everyday
Let us not forget why we celebrate Christmas day December the 25th. While we give gifts and pleasure in our kids delight and cook dinner we often overlook "the reason for the season", the birth of God's son, Jesus Christ.
A Christmas Prayer by Robert Louis Stevenson that
brings the lord back in sight and thought.
Loving Father, Help us remember the birth of Jesus
that we may share in the song of the angels, the gladness of the shepherds, and worship of the wise men. Close the door of hate and open the door of love all over the world. Let kindness come with every gift and good desires with every greeting. Deliver us from evil by the blessing which Christ brings, and teach us to be merry with clear hearts. May the Christmas morning make us happy to be thy children, and Christmas evening bring us to our beds with grateful thoughts, forgiving and forgiven, for Jesus' sake. Amen
Monday, August 30, 2010
Meditation And Brainwave Entrainment
So much has been written about meditation, but not so much has been written about brainwave entrainment. In fact, most people probably never even heard of the term "brainwave entrainment". In this article I hope to reveal how meditation and brainwave entrainment compliment each other and are inseparable. I also point out that brainwave entrainment can be used as a shortcut to meditation.
Meditation Defined
Although there are various definitions for meditation one of the main definitions for meditation is stillness of mind, letting go of stormy and distracting thoughts and emotions, and for a time remaining focused inwardly. Those who are intellectually inclined use meditation to clear their mind and to focus on just one thought, perhaps a thought about how to solve a certain problem, or entertaining the thought of a new idea. Those who are spiritually inclined use meditation for stilling their mind so they can focus all their energy and aspiration on the divine within. But we are barely scratching the surface in defining meditation in such simple terms.
Meditation and Brainwaves
Scientifically speaking meditation basically alters one’s brainwaves. Different brainwave states are associated with different benefits and experiences. For example when your mind is racing, stressed, unable to relax or be still, perhaps caught in emotional turmoil, arguing, hating, bitter, screaming, or confused, racing a zillion miles a second etc., you are probably plugged into a brainwave state at the beta or even gamma levels. Most of us live our waking day to day lives at the beta level. Even if we are generally a calm person we can still be at a beta level if we are unable to intellectually relax or take a mental break. If we feel we always need to be preoccupied with something we are probably living too much at the beta live, and in the long run this can potentially cause premature aging, stress, health problems, emotional issues, and so on. Healthy beta is ok. But our brain can be too beta wired which is not good.
Meditation helps train the brain to be more synchronized and balanced. Periods of regular meditation practice help bring the brain from a gamma or beta level to a more relaxed alpha level, or even deeper to a theta level, and ultimately in very deep, intense meditation you can reach the delta level. Delta is a very life-giving, rejuvenating state of mind, but few reach it often enough, not even when they sleep.
Following is a brief description of the beta, alpha, theta, and delta brainwave states:
Beta waves (13 to 40 Hz ) - Beta is identified with active, busy or anxious thinking and active concentration.
Alpha waves (8 to 12 Hz ) - When we begin to relax or begin to get drowsy, but are still awake and conscious, when we are day dreaming, we are at the alpha level.
Theta waves (4 to 8 Hz) - When we are asleep and have dreams, and experience rapid eye movement (REM), and have hallucinations, and even when we experience deep meditation, we are at the theta level. When we lucid dream (this is when you are conscious while you are dreaming) we are at the theta level.
Delta waves (0 to 4 Hz) - Delta waves are usually associated with deep, slow brain activity found in deep sleep. Delta waves are experienced predominantly in newborn infants, as well as in healthy adults in deep rejuvenating sleep, or in very deep states of brain enhancing, emotional cleansing, bodily renewing meditation.
The Difference Between Meditation and Sleep
By now you are probably thinking to yourself: "What is the point in meditating since I enter the alpha, theta, and sometimes delta levels every time I sleep? If I sleep 6 – 8 hours a night then am I not basically receiving the same benefits I would receive if I were doing 6 – 8 hours of meditation a day for my entire life?"
The main point here is deep, dreamless sleep at the delta level. Most people don’t sleep deep enough where the benefits of deep rejuvenating sleep take place. But if you take even only a "power nap" for an hour or two and enter a deep, dreamless sleep at the delta level at that time, when you wake up and come out of it there is a new sense of life, energy, awareness, well-being in you. In deep rejuvenating meditation you enter that same level, except that you are awake instead on unconscious. When you can enter that deep rejuvenating state of consciousness while remaining fully aware then you can carry over that state of mind in your day to day life and become the essence of who you are deep in your inner most being. It takes practice and daily trips to that deep place within.
In a nutshell meditation in this context is a fourth state of consciousness that is unique because it consists of high awareness with very low mental or physiological function. Meditation is an awareness of our inner spirit, as well as closeness to our spirit. Everyone comes "pre-wired" with the capacity for this type of meditative restful awareness. Alas few ever reach it during normal sleep. But daily meditation can help your sleep become deeper.
When reaching deep delta levels during sleep we feel so much refreshed and rejuvenated when we wake up. When we fall into deep sleep, the ego disappears as does all out mental programming and brainwashed mindset, we are closer to our pristine innocence. The closer we are to "home" so to speak the more recharged and healthy we are in our day to day life.
This clearly proves that the secret of attaining freshness and peace lies within, not outside. The goal of meditation is to become conscious while you are passing through dream and deep sleep states of your mind, and remaining conscious when you are in your spirit so to speak. And then the ultimate goal (practice makes perfect) is the carrying over of that awareness into your day to day life and maintaining it by intuitive living. This is when an entire life makeover takes place of which religious rules of conduct and morals and ethical living are all but cheap imitations of something that is natural and spontaneous due to the actual experience of “seeing God” in the depths of one’s being. But that is another subject.
Brainwave Entrainment: A Shortcut To Meditation
The primary emphasis in this article relates to a shortcut method for getting to that deep inward state where the physical, mental, emotional and spiritual benefits of meditation naturally follow. This is where "brainwave entrainment" comes in.
What Is Brainwave Entrainment?
Brainwave entrainment is a scientifically proven leading edge in brain/mind technology. Professionals in the areas of psychology, neurology, medical health and self-help are beginning to utilize the power of brainwave entrainment in their work with patients and clients. Advances in the effectiveness of brainwave entrainment have been significant and gaining ground.
Wikipedia defines brainwave entrainment this way:
"Brainwave synchronization or "brainwave entrainment," is any practice that aims to cause brainwave frequency to fall into step with a periodic stimulus having a frequency corresponding to the intended brain-state (for example, to induce sleep). It depends upon a "frequency following" response, a naturally occurring phenomenon where the human brain has a tendency to change its dominant EEG frequency towards the frequency of a dominant external stimulus. Such a stimulus may be aural, as in the case of binaural beats, monaural beats, and isochronic tones, or else visual, as with a dream-machine, a combination of the two with a mind machine, or even electromagnetic radiation."
Over the centuries and even today many people use different methods in an attempt to enter a deep state of meditation. Some use breathing techniques. Some use chanting, others use dance, instruments, music, devotional exercises and so much more. All these are different methods used for basically entraining the brain and lowering the brainwave frequencies to a state of mind at the alpha, theta or delta levels.
Also used by some for entering deep states of meditation are brainwave mp3’s or cd’s which are embedded with binaural beats, monaural beats, or isochronic tones. It has been scientifically documented that periods of regular brainwave entrainment by means of listening to cd’s or mp3’s embedded with binaural betas, monaural beats, or isochronic tones can lead to an increase in overall emotional calmness, relaxation, deep inner peace, intelligence, creativity, focus and mental clarity also improving memory, raising IQ and creating a rise in energy, and reduction in stress levels. These are the same benefits one experiences during meditation.
All this info I shared may sound complicated and complex in some cases. The fact is that you no more need to understand exactly how this process works than you need to know how the engines on an airplane work to get you from one destination to another. What you really need to know is that brainwave entrainment is highly effective and easily fits into your daily routine. Just 20 minutes to an hour a day listening to brainwave entrainment mp3’s or cd’s you begin to reap the rewards.
Affordable High Quality Brainwave Mp3’s & CD’s (With Free Samples)
If you want to learn more about meditation and brainwave entrainment, and also listen to mp3 samples embedded with binaural beats, monaural beats and isochronic tones, please click on any of the links in the Author’s resource box below. Thank you for taking time to read this article.
Meditation Defined
Although there are various definitions for meditation one of the main definitions for meditation is stillness of mind, letting go of stormy and distracting thoughts and emotions, and for a time remaining focused inwardly. Those who are intellectually inclined use meditation to clear their mind and to focus on just one thought, perhaps a thought about how to solve a certain problem, or entertaining the thought of a new idea. Those who are spiritually inclined use meditation for stilling their mind so they can focus all their energy and aspiration on the divine within. But we are barely scratching the surface in defining meditation in such simple terms.
Meditation and Brainwaves
Scientifically speaking meditation basically alters one’s brainwaves. Different brainwave states are associated with different benefits and experiences. For example when your mind is racing, stressed, unable to relax or be still, perhaps caught in emotional turmoil, arguing, hating, bitter, screaming, or confused, racing a zillion miles a second etc., you are probably plugged into a brainwave state at the beta or even gamma levels. Most of us live our waking day to day lives at the beta level. Even if we are generally a calm person we can still be at a beta level if we are unable to intellectually relax or take a mental break. If we feel we always need to be preoccupied with something we are probably living too much at the beta live, and in the long run this can potentially cause premature aging, stress, health problems, emotional issues, and so on. Healthy beta is ok. But our brain can be too beta wired which is not good.
Meditation helps train the brain to be more synchronized and balanced. Periods of regular meditation practice help bring the brain from a gamma or beta level to a more relaxed alpha level, or even deeper to a theta level, and ultimately in very deep, intense meditation you can reach the delta level. Delta is a very life-giving, rejuvenating state of mind, but few reach it often enough, not even when they sleep.
Following is a brief description of the beta, alpha, theta, and delta brainwave states:
Beta waves (13 to 40 Hz ) - Beta is identified with active, busy or anxious thinking and active concentration.
Alpha waves (8 to 12 Hz ) - When we begin to relax or begin to get drowsy, but are still awake and conscious, when we are day dreaming, we are at the alpha level.
Theta waves (4 to 8 Hz) - When we are asleep and have dreams, and experience rapid eye movement (REM), and have hallucinations, and even when we experience deep meditation, we are at the theta level. When we lucid dream (this is when you are conscious while you are dreaming) we are at the theta level.
Delta waves (0 to 4 Hz) - Delta waves are usually associated with deep, slow brain activity found in deep sleep. Delta waves are experienced predominantly in newborn infants, as well as in healthy adults in deep rejuvenating sleep, or in very deep states of brain enhancing, emotional cleansing, bodily renewing meditation.
The Difference Between Meditation and Sleep
By now you are probably thinking to yourself: "What is the point in meditating since I enter the alpha, theta, and sometimes delta levels every time I sleep? If I sleep 6 – 8 hours a night then am I not basically receiving the same benefits I would receive if I were doing 6 – 8 hours of meditation a day for my entire life?"
The main point here is deep, dreamless sleep at the delta level. Most people don’t sleep deep enough where the benefits of deep rejuvenating sleep take place. But if you take even only a "power nap" for an hour or two and enter a deep, dreamless sleep at the delta level at that time, when you wake up and come out of it there is a new sense of life, energy, awareness, well-being in you. In deep rejuvenating meditation you enter that same level, except that you are awake instead on unconscious. When you can enter that deep rejuvenating state of consciousness while remaining fully aware then you can carry over that state of mind in your day to day life and become the essence of who you are deep in your inner most being. It takes practice and daily trips to that deep place within.
In a nutshell meditation in this context is a fourth state of consciousness that is unique because it consists of high awareness with very low mental or physiological function. Meditation is an awareness of our inner spirit, as well as closeness to our spirit. Everyone comes "pre-wired" with the capacity for this type of meditative restful awareness. Alas few ever reach it during normal sleep. But daily meditation can help your sleep become deeper.
When reaching deep delta levels during sleep we feel so much refreshed and rejuvenated when we wake up. When we fall into deep sleep, the ego disappears as does all out mental programming and brainwashed mindset, we are closer to our pristine innocence. The closer we are to "home" so to speak the more recharged and healthy we are in our day to day life.
This clearly proves that the secret of attaining freshness and peace lies within, not outside. The goal of meditation is to become conscious while you are passing through dream and deep sleep states of your mind, and remaining conscious when you are in your spirit so to speak. And then the ultimate goal (practice makes perfect) is the carrying over of that awareness into your day to day life and maintaining it by intuitive living. This is when an entire life makeover takes place of which religious rules of conduct and morals and ethical living are all but cheap imitations of something that is natural and spontaneous due to the actual experience of “seeing God” in the depths of one’s being. But that is another subject.
Brainwave Entrainment: A Shortcut To Meditation
The primary emphasis in this article relates to a shortcut method for getting to that deep inward state where the physical, mental, emotional and spiritual benefits of meditation naturally follow. This is where "brainwave entrainment" comes in.
What Is Brainwave Entrainment?
Brainwave entrainment is a scientifically proven leading edge in brain/mind technology. Professionals in the areas of psychology, neurology, medical health and self-help are beginning to utilize the power of brainwave entrainment in their work with patients and clients. Advances in the effectiveness of brainwave entrainment have been significant and gaining ground.
Wikipedia defines brainwave entrainment this way:
"Brainwave synchronization or "brainwave entrainment," is any practice that aims to cause brainwave frequency to fall into step with a periodic stimulus having a frequency corresponding to the intended brain-state (for example, to induce sleep). It depends upon a "frequency following" response, a naturally occurring phenomenon where the human brain has a tendency to change its dominant EEG frequency towards the frequency of a dominant external stimulus. Such a stimulus may be aural, as in the case of binaural beats, monaural beats, and isochronic tones, or else visual, as with a dream-machine, a combination of the two with a mind machine, or even electromagnetic radiation."
Over the centuries and even today many people use different methods in an attempt to enter a deep state of meditation. Some use breathing techniques. Some use chanting, others use dance, instruments, music, devotional exercises and so much more. All these are different methods used for basically entraining the brain and lowering the brainwave frequencies to a state of mind at the alpha, theta or delta levels.
Also used by some for entering deep states of meditation are brainwave mp3’s or cd’s which are embedded with binaural beats, monaural beats, or isochronic tones. It has been scientifically documented that periods of regular brainwave entrainment by means of listening to cd’s or mp3’s embedded with binaural betas, monaural beats, or isochronic tones can lead to an increase in overall emotional calmness, relaxation, deep inner peace, intelligence, creativity, focus and mental clarity also improving memory, raising IQ and creating a rise in energy, and reduction in stress levels. These are the same benefits one experiences during meditation.
All this info I shared may sound complicated and complex in some cases. The fact is that you no more need to understand exactly how this process works than you need to know how the engines on an airplane work to get you from one destination to another. What you really need to know is that brainwave entrainment is highly effective and easily fits into your daily routine. Just 20 minutes to an hour a day listening to brainwave entrainment mp3’s or cd’s you begin to reap the rewards.
Affordable High Quality Brainwave Mp3’s & CD’s (With Free Samples)
If you want to learn more about meditation and brainwave entrainment, and also listen to mp3 samples embedded with binaural beats, monaural beats and isochronic tones, please click on any of the links in the Author’s resource box below. Thank you for taking time to read this article.
Benefits Of Singing For Your Health
If any time you feel like singing, whether in the shower, in the car or even in your neighbor's infamous karaoke night, you must go ahead and sing. This is an ancient art that not only makes you feel good but also reduces your pain, rejuvenates and ensures your well-being and even prolongs your life span. Using your voice for singing and not only for conversations has a number of benefits.
There has been many studies and research completed on the relationship between singing and reduction in blood pressure, lessened stress level, and less rapid heartbeat. When a singer sings a favorite song there is an immediate lessening of tension and stress levels, which is one of the benefits of releasing emotions. Singing can assist us to calm down and chill out, so that we can relieve some depression and feel happier.
Some people in the medical professions consider singing as a way to encourage fitness which helps strengthen the abdomen, circulation, and breath support. When one sings, emotions tend to be released, which helps with those with physical or psychological problems. Some people who have experienced a stroke may have some change for the better as they improve in breathing and as well as the way they communicate with others.
The Alzheimer's Society believes in the concept of singing therapy. Chreanne Montgomery-Smith organized Singing for the Brain, which was organized especially for dementia or Alzheimer patients. Singing helps foster a feeling of well-being as well as a venue for personal expression that releases stress.
There are two portions of the brain that produce speech separately from the ability to comprehend music. It is possible for some people who cannot speak or express themselves through speech that can still take great delight and satisfaction in listening to their favorite music. Also, some studies demonstrated results which illustrate that singing boosts health and feelings of well being, which is great for people of all ages.
Singing can help seniors deal with issues with aging such as a boost in self-esteem and purpose when they sing with groups or solo. It is a great way to add the quality of a senior's life, as the recent movie Young at Heart can concur. From singing, one can benefit from improved lung capacity, asthma relief, better posture, high energy.
When one sings, it can help build up and support the lungs and diaphrgam so that the lungs hold more air. Hormones called endorphins can be released into the blood, which can also be a big boost to good breath support. Those who experience breathing troubles should try and join a chorus or choir (or sing on their own) so that they can enhance their physical and mental health.
Music therapy can include singing as a therapeutic interest that is applied in some of the health areas. Inquiries and certain investigations have revealed that it provides relief in those dealing with dementia, those suffering from prolonged sadness and negativity, stress ailments, and increasing the physical immune system. Realize that, if you sing regularly, you could be doing yourself a big favor in promoting a happy and longer life.
There has been many studies and research completed on the relationship between singing and reduction in blood pressure, lessened stress level, and less rapid heartbeat. When a singer sings a favorite song there is an immediate lessening of tension and stress levels, which is one of the benefits of releasing emotions. Singing can assist us to calm down and chill out, so that we can relieve some depression and feel happier.
Some people in the medical professions consider singing as a way to encourage fitness which helps strengthen the abdomen, circulation, and breath support. When one sings, emotions tend to be released, which helps with those with physical or psychological problems. Some people who have experienced a stroke may have some change for the better as they improve in breathing and as well as the way they communicate with others.
The Alzheimer's Society believes in the concept of singing therapy. Chreanne Montgomery-Smith organized Singing for the Brain, which was organized especially for dementia or Alzheimer patients. Singing helps foster a feeling of well-being as well as a venue for personal expression that releases stress.
There are two portions of the brain that produce speech separately from the ability to comprehend music. It is possible for some people who cannot speak or express themselves through speech that can still take great delight and satisfaction in listening to their favorite music. Also, some studies demonstrated results which illustrate that singing boosts health and feelings of well being, which is great for people of all ages.
Singing can help seniors deal with issues with aging such as a boost in self-esteem and purpose when they sing with groups or solo. It is a great way to add the quality of a senior's life, as the recent movie Young at Heart can concur. From singing, one can benefit from improved lung capacity, asthma relief, better posture, high energy.
When one sings, it can help build up and support the lungs and diaphrgam so that the lungs hold more air. Hormones called endorphins can be released into the blood, which can also be a big boost to good breath support. Those who experience breathing troubles should try and join a chorus or choir (or sing on their own) so that they can enhance their physical and mental health.
Music therapy can include singing as a therapeutic interest that is applied in some of the health areas. Inquiries and certain investigations have revealed that it provides relief in those dealing with dementia, those suffering from prolonged sadness and negativity, stress ailments, and increasing the physical immune system. Realize that, if you sing regularly, you could be doing yourself a big favor in promoting a happy and longer life.
Selling Beats On Soundclick
Hey how's it going? My name is Chris Bala, and I am an online beat-seller for almost a year now. My first month I generated over $2,000. The craziest part about it was I didn't even have my own beat-selling website. All I had was a VIP page on a site called soundclick.com. Now I know you have heard of that site before. So if you are reading this you probably want to know what is the best way to sell beats on soundclick.com.. Well I think I can help you out. Here are my best tips for selling beats on soundclick.
Tip #1: Be Unique
It is important to be making beats that sound hot and follow current trends. But it is more important to have a unique style. You see, without a unique style, how will you ever be remembered? You have to remember, Soundclick has thousands of producers on there creating beats that sound alike, so the chances of you being remembered are not likely if you sound like the rest. Be creative, and create a sound that is unique.
Tip #2: Set Your Prices Correctly
The average price for beats being sold on soundclick are as follows: Leases- $24.99, Exclusives - $250-$400. So use these guides for setting your prices and you should be in good standing with the customers who visit the site. There are however a few producers who price their beats alot higher than this, but this is because they have a whole lot of leverage to do so,, they have been on soundclick since it started, so they have a huge fan base that has been following them from day one. But if you are just getting started, you are looked upon as the new guy, so you better have your prices reasonable. Then in the future when you build a big-enough fanbase, you can increase your prices.
Tip #3: Graphics
When you sell beats on soundclick.com, you want to make sure you page looks professional. Remember, there are thousands of producers on soundclick, so if your page doesn't even meet the standards of the next producers page, you are automatically looked down on, and you will lose sales big time. So make sure your page is professional looking. There are many ways to get your page looking nice. You can hire a graphic designer online to make a nice layout for you, or you can do it yourself if you know how.
Tip #4: Charts Position
If you want to make serious cash on soundclick.com from your beats, you better be on the top of the charts. There are numerous ways to get high on the charts. You can go on myspace and hit up as many rappers you know to play your soundclick player, you can send emails to your mailing list to check out your new beats, you can go on facebook and promote your new tracks, and you can participate in forums and exchange song plays. All of these work, and when you do each one efficiently, your actions will add up, and you will move in the charts for sure. Remember, there is no way to cheat the system, you have to work hard at getting your beats played!
So these are a few tips of mine that you should really consider implementing, but if you would like more good tips on selling beats on soundclick, you can get more tips for free on my page - sellbeatsbetter.com if you want.
Tip #1: Be Unique
It is important to be making beats that sound hot and follow current trends. But it is more important to have a unique style. You see, without a unique style, how will you ever be remembered? You have to remember, Soundclick has thousands of producers on there creating beats that sound alike, so the chances of you being remembered are not likely if you sound like the rest. Be creative, and create a sound that is unique.
Tip #2: Set Your Prices Correctly
The average price for beats being sold on soundclick are as follows: Leases- $24.99, Exclusives - $250-$400. So use these guides for setting your prices and you should be in good standing with the customers who visit the site. There are however a few producers who price their beats alot higher than this, but this is because they have a whole lot of leverage to do so,, they have been on soundclick since it started, so they have a huge fan base that has been following them from day one. But if you are just getting started, you are looked upon as the new guy, so you better have your prices reasonable. Then in the future when you build a big-enough fanbase, you can increase your prices.
Tip #3: Graphics
When you sell beats on soundclick.com, you want to make sure you page looks professional. Remember, there are thousands of producers on soundclick, so if your page doesn't even meet the standards of the next producers page, you are automatically looked down on, and you will lose sales big time. So make sure your page is professional looking. There are many ways to get your page looking nice. You can hire a graphic designer online to make a nice layout for you, or you can do it yourself if you know how.
Tip #4: Charts Position
If you want to make serious cash on soundclick.com from your beats, you better be on the top of the charts. There are numerous ways to get high on the charts. You can go on myspace and hit up as many rappers you know to play your soundclick player, you can send emails to your mailing list to check out your new beats, you can go on facebook and promote your new tracks, and you can participate in forums and exchange song plays. All of these work, and when you do each one efficiently, your actions will add up, and you will move in the charts for sure. Remember, there is no way to cheat the system, you have to work hard at getting your beats played!
So these are a few tips of mine that you should really consider implementing, but if you would like more good tips on selling beats on soundclick, you can get more tips for free on my page - sellbeatsbetter.com if you want.
Sunday, August 29, 2010
Making The Most Of Music Copyright Laws
Knowledge of music copyrighting pros and cons should come easily to me for several reasons. The first reason is because I went to school to learn all about music production and the music business. Secondly, my husband is a professional musician and has been for as long as I have known him. Though he does not make a lot of money from his playing, there are certainly times when the extra money adds up quickly. He has been in a variety of bands, and I have learned a lot about what is right in what is wrong.
One of the first things I learned a bout music copyright was something that I already knew. Just like any other creative endeavor, a song, or even a melody, is under copyright the moment it is created. There are legal steps you should take however, to ensure that your music copyright is upheld. Even though you may have a copyright on your material, there are still many ways people can steal your music from you. Those who freely share music online without the artist benefiting from it are in breach of almost every music copyright law there is.
Perhaps the problem began with how people think about music. They can hear the songs on the radio for free, so they just assume that the music is free. If you worked in a factory and created machines, cars, or any other type of gadget, you are creating something in the same way a musician creates music. The company you work for would not go out on the street and give away everything you have made for free, and a musician would not want to do the same thing either. When you go to a concert you pay an admission price, and when you buy an album you are buying the songs on the album.
Music copyrighting means that the artist is protected. No one can reproduce and give away or sell their music without their permission. Fans don’t realize that when a copy a CD, or share music files online, they are breaking the law. Music copyright protects them and says that if there is a profit to be made they are the only ones that should be making it. It also means that if you make an illegal copy of any song or album you are depriving that musician of a sale. The next time you copy a CD, think about music copyright and remember that even know you may not get caught, you are not doing your favor artist any favors.
One of the first things I learned a bout music copyright was something that I already knew. Just like any other creative endeavor, a song, or even a melody, is under copyright the moment it is created. There are legal steps you should take however, to ensure that your music copyright is upheld. Even though you may have a copyright on your material, there are still many ways people can steal your music from you. Those who freely share music online without the artist benefiting from it are in breach of almost every music copyright law there is.
Perhaps the problem began with how people think about music. They can hear the songs on the radio for free, so they just assume that the music is free. If you worked in a factory and created machines, cars, or any other type of gadget, you are creating something in the same way a musician creates music. The company you work for would not go out on the street and give away everything you have made for free, and a musician would not want to do the same thing either. When you go to a concert you pay an admission price, and when you buy an album you are buying the songs on the album.
Music copyrighting means that the artist is protected. No one can reproduce and give away or sell their music without their permission. Fans don’t realize that when a copy a CD, or share music files online, they are breaking the law. Music copyright protects them and says that if there is a profit to be made they are the only ones that should be making it. It also means that if you make an illegal copy of any song or album you are depriving that musician of a sale. The next time you copy a CD, think about music copyright and remember that even know you may not get caught, you are not doing your favor artist any favors.
Saturday, August 28, 2010
What Music Executives Accomplish
If there's any profession in the world that's more maligned than music executive, it's probably along the lines of "Nigerian Spammer" or "Bail Bondsman". Let's shed some light on the subject. Music executives are like executives at any other company – they have to maintain a steady stream of product rollouts and keep customers attuned and regularly buying their core brands. In the case of music execs, those core brands are recording artists.
Most people don't buy Britney Spears' albums because they're published by Atlantic Records, they buy Britney's albums because they're by Britney, and the reason for that is because music executives learned how to package her singing talent, age, prior career as a Disney "good girl" and nascent sex appeal into a product that sold millions of albums.Music executives are the gateways of popular taste and are responsible to their shareholders for delivering profits. Unfortunately, those profits are coming under siege – and have been for more than a decade.
You see, the concept that you can sell music relies on the fact that making copies of music is expensive enough or difficult enough that people will pay money for a legitimate copy rather than make their own. On this basic principle, music companies have built an edifice of production gear, recording contracts and more…and the rise of the MP3 digital music format has kicked the underpinnings out from beneath them.They're now trying to put the genie back in the bottle, with Digital Rights Management and copy protection, their professional organization is trying to use copyright laws as a blunt club, and in general, they're building a lot of negative publicity for their industry.
There's a lot at stake, more so than those who make parody videos about music executives trying to preserve their multi-million dollar bonuses. One of them is making sure that artists are compensated for their work on an ongoing basis. You wouldn't do your job for free, yet most people seem to feel that music should just be freely downloadable off the internet with no compensation going to the artists.
In light of this, there's a growing movement towards online media stores, like Apple iTunes or Rhapsody, places where customers can buy songs individually, legally, in a convenient way. These have had a great deal of success, but the money they've taken in hasn't matched the declining revenue from CD sales, and that has the shareholders of music companies worried.
Most people don't buy Britney Spears' albums because they're published by Atlantic Records, they buy Britney's albums because they're by Britney, and the reason for that is because music executives learned how to package her singing talent, age, prior career as a Disney "good girl" and nascent sex appeal into a product that sold millions of albums.Music executives are the gateways of popular taste and are responsible to their shareholders for delivering profits. Unfortunately, those profits are coming under siege – and have been for more than a decade.
There's a lot at stake, more so than those who make parody videos about music executives trying to preserve their multi-million dollar bonuses. One of them is making sure that artists are compensated for their work on an ongoing basis. You wouldn't do your job for free, yet most people seem to feel that music should just be freely downloadable off the internet with no compensation going to the artists.
In light of this, there's a growing movement towards online media stores, like Apple iTunes or Rhapsody, places where customers can buy songs individually, legally, in a convenient way. These have had a great deal of success, but the money they've taken in hasn't matched the declining revenue from CD sales, and that has the shareholders of music companies worried.
Finding The Right Music Distribution Service
Don't give up or get discouraged when searching for music distributors. According to the Indie Music Distribution site, even if you can't find a distributor after months of searching. Distributors get a lot of packages on their desks every week, so it's imperative that you contact them first before you send a package. When calling a distributor, you may get them on the first try, or it may take you weeks before you get a live person to talk to.
You can go to college for music if you are interested in music jobs, but you should know that most people don’t find this type of job as a result of going to college. Though you can indeed do so by getting special training, many people with jobs in the music industry start out by helping friends and local bands, and they work their way up to good jobs with experience.
This is one industry where live experience and learning the ropes the hard way pays off in the end.Music jobs can be anything. You can get involved with promotions, management, bookings, or even perhaps record companies. You might also want to do something like be a roadie, instrument tech, or you can do live sound or lights. Many people who have good music jobs in any of these areas often started out with a band when they were new and playing in their hometown clubs. As the band moved up and spread out, they gave the music jobs to those who had been with them from the beginning. This is not only a reward for loyalty and for working with little to no pay, it is also practical. Someone who has been working with a band knows what they need and how they like things without having to learn.
Music jobs can sometimes be high paying, but you should know that not everyone who starts out as a roadie ends up as one. It depends on the band and how far they go. If you start with someone who ends up touring the world, you are going to make a lot of money, and you get to see the world with them. If you pick a band that doesn’t go very far, you might want to let them go and find someone else if you really want to find the good and high paying music jobs.
If you want to be a sound or light technician, you might want to learn what you are doing by helping someone who does it for a living. You may not get paid to help, but the free education you are getting is worth it, and you may find that this is the best way to learn anything, and you will learn all aspects of the music business this way. Remember that not all music jobs are glamorous, and not all of them will take you around the world. However, if you love what you do, and you find that it keeps you busy and you can make a living from doing it, you will probably be happy anyway.
You can go to college for music if you are interested in music jobs, but you should know that most people don’t find this type of job as a result of going to college. Though you can indeed do so by getting special training, many people with jobs in the music industry start out by helping friends and local bands, and they work their way up to good jobs with experience.
This is one industry where live experience and learning the ropes the hard way pays off in the end.Music jobs can be anything. You can get involved with promotions, management, bookings, or even perhaps record companies. You might also want to do something like be a roadie, instrument tech, or you can do live sound or lights. Many people who have good music jobs in any of these areas often started out with a band when they were new and playing in their hometown clubs. As the band moved up and spread out, they gave the music jobs to those who had been with them from the beginning. This is not only a reward for loyalty and for working with little to no pay, it is also practical. Someone who has been working with a band knows what they need and how they like things without having to learn.
Music jobs can sometimes be high paying, but you should know that not everyone who starts out as a roadie ends up as one. It depends on the band and how far they go. If you start with someone who ends up touring the world, you are going to make a lot of money, and you get to see the world with them. If you pick a band that doesn’t go very far, you might want to let them go and find someone else if you really want to find the good and high paying music jobs.
If you want to be a sound or light technician, you might want to learn what you are doing by helping someone who does it for a living. You may not get paid to help, but the free education you are getting is worth it, and you may find that this is the best way to learn anything, and you will learn all aspects of the music business this way. Remember that not all music jobs are glamorous, and not all of them will take you around the world. However, if you love what you do, and you find that it keeps you busy and you can make a living from doing it, you will probably be happy anyway.
The Influence Of Indie Rock
Indie music, or Indie rock, is a term used to refer to artists who are unsigned or are signed with independent labels. In the beginning, Indie music was not a term used to reference to a specific genre of music. As years have passed, it has become the generic term for a sound of a particular band or bands that they have influenced. The styles associated with Indie rock is similar to regular rock music, but it is connected to a variety of underground culture. The genres and subgenres that are usually associated with Indie rock include post-rock, C86, math rock, sad core, and lo-fi. Shoegazing and Indie pop are also genres associated with Indie rock.
Artists who practice Indie rock are in complete control of their music, by releasing their own albums and often starting their own record labels. They rely on spreading the word of their music with touring around different areas, word of mouth, and airplay time on college radio stations or independent radio stations. After time, they eventually move to larger labels, but it takes a strong amount of determination and patience.
In the UK, ‘The Smiths’ are regarded as the most successful Indie artists of the 1980s, while the ‘Pixies’ were one of the main influences in the US. During this time period, Indie rock was referred to as a broad variety of musical styles, especially experimental. As we entered into the 1990s, Indie rock became more mainstream into the musical culture, as more Indie bands began to be successful with larger record labels. The US was slightly different, with Indie rock being a generic term for “underground” music.
In our world today, Indie rock attracts mostly college students. Many of the Indie bands have started their careers by offering free concerts at universities and colleges. Arts Councils have been large contributors to some of the independent bands, but the UK has benefits from the fact that the term “mainstream” and “Indie” have overlapped genres. There are many Indie bands, both in the US and in the UK, that continue to make experimental music without trying to achieve mainstream success.
Online companies, such as CFTA, or “CDs-From-The-Artist.Com” helps promote artists that specialize in Indie rock. The company’s mission is to help independent artists accomplish their own promoting website, list audio clips of their music, and sell their CDs. Companies such as CFTA are beneficial to Indie artists to help promote their work. Many of these sites were created by artists and music lovers alike with the mission to provide the latest and greatest web technology. The services are usually free, and often they are supplied by college students who are wanting to practice in their particular field of study.
If you are an Indie rock artist who is trying to get your name out there, the best advice that could be given is to immerse yourself into your local scene. Be involved in any music aspect that you can find, especially the college scene. This is where true success lies. Look for music parties in your area where all different types of artists come together and practice their music. These are often companies that host the music parties and help to promote your music in the process.
Artists who practice Indie rock are in complete control of their music, by releasing their own albums and often starting their own record labels. They rely on spreading the word of their music with touring around different areas, word of mouth, and airplay time on college radio stations or independent radio stations. After time, they eventually move to larger labels, but it takes a strong amount of determination and patience.
In the UK, ‘The Smiths’ are regarded as the most successful Indie artists of the 1980s, while the ‘Pixies’ were one of the main influences in the US. During this time period, Indie rock was referred to as a broad variety of musical styles, especially experimental. As we entered into the 1990s, Indie rock became more mainstream into the musical culture, as more Indie bands began to be successful with larger record labels. The US was slightly different, with Indie rock being a generic term for “underground” music.
In our world today, Indie rock attracts mostly college students. Many of the Indie bands have started their careers by offering free concerts at universities and colleges. Arts Councils have been large contributors to some of the independent bands, but the UK has benefits from the fact that the term “mainstream” and “Indie” have overlapped genres. There are many Indie bands, both in the US and in the UK, that continue to make experimental music without trying to achieve mainstream success.
Online companies, such as CFTA, or “CDs-From-The-Artist.Com” helps promote artists that specialize in Indie rock. The company’s mission is to help independent artists accomplish their own promoting website, list audio clips of their music, and sell their CDs. Companies such as CFTA are beneficial to Indie artists to help promote their work. Many of these sites were created by artists and music lovers alike with the mission to provide the latest and greatest web technology. The services are usually free, and often they are supplied by college students who are wanting to practice in their particular field of study.
If you are an Indie rock artist who is trying to get your name out there, the best advice that could be given is to immerse yourself into your local scene. Be involved in any music aspect that you can find, especially the college scene. This is where true success lies. Look for music parties in your area where all different types of artists come together and practice their music. These are often companies that host the music parties and help to promote your music in the process.
Minneapolis Offers Music Lessons And More
While children advance more quickly at music when they are young, any person could start a musical instrument. Age does not matter; it is the perseverance that is important. If you are looking into music lessons for yourself or for your child then you are choosing a great investment for the future. Children benefit greatly from music lessons because it helps build character and gives them confidence in all areas of their life. The same is true for adults as well. Minneapolis is bursting at the seams with music and there are many locations where you can learn the art of music.
The MacPhail Center for Music, which is located at 501 S 2nd ST in Minneapolis. The Center is thought of as an extraordinary asset to the community with a very long history in the city. It is considered to be a wonderful place to work and learn the art of music. There is instruction for individual students and groups, depending on your particular need. They can teach to people of all ages, and their main concept is that it is never too late to learn.
For kids, there are always camps going on during the summer, such as the Hip-Hop Camp. It is conducted August 18 through August 22. In one given semester, there are more than 2,000 students that take individual lessons on a variety of instruments. You can learn how to play the French horn, trombone, all types of guitar, piano, percussion, woodwind instruments, and voice lessons. Almost any instrument that you could imagine, you can learn to play it at the Center.
When you register for lessons at MacPhail, your tuition covers a large variety of activities that go above and beyond your weekly lessons. Your tuition covers the following:
Private lessons that are tailored to your needs.
Recital opportunities
Master classes with nationally and locally known musicians.
Discount rates on events going on within the Center.
Other than MacPhail, the West Bank School of Music, located at 1813 South 6th Street in Minneapolis is another popular place to learn the art of music. The complex has been meeting the needs of those wanting to learn a musical instrument since the 1970s. You can join as a beginner or as a performing artist. Either way, the faculty helps each student choose the correct lessons choices depending on their flexibility and needs.
The instructors are available for private lessons, group classes, and student ensembles. They are also available for teaching in conjunction with 25 musical instruments, as well as voice lessons in a wide range of genre, from jazz to bluegrass. The lessons are affordable for all types of people and it will be a great asset to your future.
You can view information about both schools online, as well as view prices and semester terms. There is a vast resource of private teachers listed on the Internet for the Minneapolis area. Make sure that if you are hiring a teacher privately instead of through a school that you ask for references and credentials to ensure that they can indeed teach you the art of the musical instrument.
The MacPhail Center for Music, which is located at 501 S 2nd ST in Minneapolis. The Center is thought of as an extraordinary asset to the community with a very long history in the city. It is considered to be a wonderful place to work and learn the art of music. There is instruction for individual students and groups, depending on your particular need. They can teach to people of all ages, and their main concept is that it is never too late to learn.
For kids, there are always camps going on during the summer, such as the Hip-Hop Camp. It is conducted August 18 through August 22. In one given semester, there are more than 2,000 students that take individual lessons on a variety of instruments. You can learn how to play the French horn, trombone, all types of guitar, piano, percussion, woodwind instruments, and voice lessons. Almost any instrument that you could imagine, you can learn to play it at the Center.
When you register for lessons at MacPhail, your tuition covers a large variety of activities that go above and beyond your weekly lessons. Your tuition covers the following:
Private lessons that are tailored to your needs.
Recital opportunities
Master classes with nationally and locally known musicians.
Discount rates on events going on within the Center.
Other than MacPhail, the West Bank School of Music, located at 1813 South 6th Street in Minneapolis is another popular place to learn the art of music. The complex has been meeting the needs of those wanting to learn a musical instrument since the 1970s. You can join as a beginner or as a performing artist. Either way, the faculty helps each student choose the correct lessons choices depending on their flexibility and needs.
The instructors are available for private lessons, group classes, and student ensembles. They are also available for teaching in conjunction with 25 musical instruments, as well as voice lessons in a wide range of genre, from jazz to bluegrass. The lessons are affordable for all types of people and it will be a great asset to your future.
You can view information about both schools online, as well as view prices and semester terms. There is a vast resource of private teachers listed on the Internet for the Minneapolis area. Make sure that if you are hiring a teacher privately instead of through a school that you ask for references and credentials to ensure that they can indeed teach you the art of the musical instrument.
Where To Find Trumpet Music Books
Playing the trumpet is one of the most common instruments most people will pick when they decide to join a marching or symphonic band – the trumpet is a pretty easy instrument to pick up, play and maintain compared to a few of the others. This is why the trumpet, with its bright and versatile sound, is considered to be one of the most popular band instruments. To become good at playing the trumpet you have to have some means of practicing on the instrument on your own time without the presence of other band members. This is when having trumpet music books can be helpful.
Trumpet music books have different kinds of practice pieces in them at all skill levels, from beginner to advanced. Also, trumpet music books contain parts to different TV show themes, popular song themes rearranged and movie themes. The website http://trumpetpuppy.com offers a selection of trumpet music books divided by genre. These books are well-organized by skill level and content. The songs can be used to practice scales, slurred note techniques and any other element of playing the trumpet you can think of. Also, trumpet music books help the player to become better at sight reading.
Sight reading is just what it sounds like: taking a piece of music without ever having seen or studied it before and playing it on an instrument. Many music competitions and music classes will have this as part of their curriculum, so it’s best to learn this skill as soon as possible.
Local music stores, libraries or schools will also have trumpet music books available to buy, or at least borrow for a while. The most likely music books you’ll find are the basic technique-based ones, which show you how to play the trumpet from proper posture to increasing your note range. These types of trumpet instruction books also found on http://trumpetpuppy.com, teach you how to properly hold and clean the trumpet for when you’re not playing it. One of the most important things to know about playing the trumpet is that it requires good, erect posture. The breath has to come from the diaphragm, otherwise the sound gets pinched by the muscles of the throat and doesn’t sound good at all. Another mistake seen in many beginners is that they lift their fingers high off the buttons when not pressing them. This is a bad habit, because it takes time and effort to bring the fingers back down onto the valves. On that note, always keep trumpet valves oiled. There isn’t anything more embarrassing for a trumpet player than to have valves get stuck in the middle of a performance.
The best principles of playing basic trumpet can be found in many trumpet instruction books, but even with the best book, it’s not a substitute for a good, qualified teacher. A good trumpet teacher, such as a band director, will be able to spot mistakes in posture or form and correct them before they become too ingrained in the mind.
Trumpet music books have different kinds of practice pieces in them at all skill levels, from beginner to advanced. Also, trumpet music books contain parts to different TV show themes, popular song themes rearranged and movie themes. The website http://trumpetpuppy.com offers a selection of trumpet music books divided by genre. These books are well-organized by skill level and content. The songs can be used to practice scales, slurred note techniques and any other element of playing the trumpet you can think of. Also, trumpet music books help the player to become better at sight reading.
Sight reading is just what it sounds like: taking a piece of music without ever having seen or studied it before and playing it on an instrument. Many music competitions and music classes will have this as part of their curriculum, so it’s best to learn this skill as soon as possible.
Local music stores, libraries or schools will also have trumpet music books available to buy, or at least borrow for a while. The most likely music books you’ll find are the basic technique-based ones, which show you how to play the trumpet from proper posture to increasing your note range. These types of trumpet instruction books also found on http://trumpetpuppy.com, teach you how to properly hold and clean the trumpet for when you’re not playing it. One of the most important things to know about playing the trumpet is that it requires good, erect posture. The breath has to come from the diaphragm, otherwise the sound gets pinched by the muscles of the throat and doesn’t sound good at all. Another mistake seen in many beginners is that they lift their fingers high off the buttons when not pressing them. This is a bad habit, because it takes time and effort to bring the fingers back down onto the valves. On that note, always keep trumpet valves oiled. There isn’t anything more embarrassing for a trumpet player than to have valves get stuck in the middle of a performance.
The best principles of playing basic trumpet can be found in many trumpet instruction books, but even with the best book, it’s not a substitute for a good, qualified teacher. A good trumpet teacher, such as a band director, will be able to spot mistakes in posture or form and correct them before they become too ingrained in the mind.
Finding Work As A Film Music Composer
When you are thinking about how to use your interest and talent in music for a professional purpose, you will find that there are many different options open to you. One of the most attractive jobs that you might be interested in is that of film score composer, but how is this a job that you are going to get? As you might suspect, this is a position that pays extremely well and is amazing resume builder if you can get it; there are many things that make this job extremely attractive, but what you do you need to know to see if it is something that you are capable of doing?
In the first place, you need to know the genre. Composing for film is much different than composing for any other genre of music, though it has some correspondence to orchestral composition. When you are looking to break into the industry, you will find that you need to listen to what other people are doing and learn what you can. John Williams, Danny Elfman, Hans Zimmer, Thomas Newman and Danny Elfman have routinely pulled down many of the major scores over the years, and getting accustomed to their work is something that any aspiring film score composer should do.
You should also be aware of the fact that you are going to be working from a storyboard version of the film or from a first cut of the film. With that in mind, you will need to figure out what moments are going to call for musical highlights and what sort of emotions the score needs to help the movie evoke. Although the score is something that is a part of the background, it is a very important tool when it comes to making sure that the people who are watching the film get the right idea.
When you are writing music for a film, always remember that you should write more music than is called for. Assume that the scenes will run the longest that they can run and never shortchange a scene when it comes the music. To get some experience with this, you will find that working with aspiring film students can help. Offer to do scores for them, or try rewriting the scores for movies that you are familiar with.
Remember that a rock solid background in music composition at the university level is extremely important as well. Listen and learn and remember that this is a position that takes a great deal of work!
In the first place, you need to know the genre. Composing for film is much different than composing for any other genre of music, though it has some correspondence to orchestral composition. When you are looking to break into the industry, you will find that you need to listen to what other people are doing and learn what you can. John Williams, Danny Elfman, Hans Zimmer, Thomas Newman and Danny Elfman have routinely pulled down many of the major scores over the years, and getting accustomed to their work is something that any aspiring film score composer should do.
You should also be aware of the fact that you are going to be working from a storyboard version of the film or from a first cut of the film. With that in mind, you will need to figure out what moments are going to call for musical highlights and what sort of emotions the score needs to help the movie evoke. Although the score is something that is a part of the background, it is a very important tool when it comes to making sure that the people who are watching the film get the right idea.
When you are writing music for a film, always remember that you should write more music than is called for. Assume that the scenes will run the longest that they can run and never shortchange a scene when it comes the music. To get some experience with this, you will find that working with aspiring film students can help. Offer to do scores for them, or try rewriting the scores for movies that you are familiar with.
Remember that a rock solid background in music composition at the university level is extremely important as well. Listen and learn and remember that this is a position that takes a great deal of work!
Shaping The Career Of Bob Marley
When visiting Jamaica’s beautiful Ocho Rios make sure you take some time out of your vacationing, water sporting, fun in the sun, and exciting nightlife partying to visit the Bob Marley Nine Mile, the community that helped shape the life and career of one of the most famous musicians of all time. Even if you’re not a particular fan of the man’s music, you’ll get a real sense of what he was about.
Many Bob Marley fans come to Ocho Rios specifically for this unparalleled experience. The quaint village of Nine Mile is nestled high in magnificent mountains of St. Ann, and serves not only as the birthplace of the legendary Reggae King (1945), but also where he was laid to rest in 1981. Fans of Marley have described the Nine Mile experience as one that allowed them to get more in touch with the musician’s roots, to understand the depths of his lyrics, and to come away from it feeling a renewed sense of faith about what’s most important in life.
Be sure to check out the small family house—where the Bob Marley legend all began. Some of Marley’s family are still there, most notably his mother (“Mother B”) and Uncle Lloyd. The small home is littered with photos of the renowned late musician, and you will likely hear stories of Marley’s childhood and early musical career from his mother and/or uncle, as well as the guide. You should also visit Mount Zion Rock (the famous Bob Marley meditation spot), the Fireside, where he cooked many meals, and finally, the mausoleum, the King of Reggae’s final resting place.
If you’re not quite sure how to go about touring through the Bob Marley community, try a Nine Mile guided tour complete with an authentic Rastafarian guide (in authentic Rastafarian garb, no less!) who will take you through the village from one important element to the next, so you don’t miss anything and so you can soak in the entire experience from beginning to end.
Many Bob Marley fans come to Ocho Rios specifically for this unparalleled experience. The quaint village of Nine Mile is nestled high in magnificent mountains of St. Ann, and serves not only as the birthplace of the legendary Reggae King (1945), but also where he was laid to rest in 1981. Fans of Marley have described the Nine Mile experience as one that allowed them to get more in touch with the musician’s roots, to understand the depths of his lyrics, and to come away from it feeling a renewed sense of faith about what’s most important in life.
Be sure to check out the small family house—where the Bob Marley legend all began. Some of Marley’s family are still there, most notably his mother (“Mother B”) and Uncle Lloyd. The small home is littered with photos of the renowned late musician, and you will likely hear stories of Marley’s childhood and early musical career from his mother and/or uncle, as well as the guide. You should also visit Mount Zion Rock (the famous Bob Marley meditation spot), the Fireside, where he cooked many meals, and finally, the mausoleum, the King of Reggae’s final resting place.
If you’re not quite sure how to go about touring through the Bob Marley community, try a Nine Mile guided tour complete with an authentic Rastafarian guide (in authentic Rastafarian garb, no less!) who will take you through the village from one important element to the next, so you don’t miss anything and so you can soak in the entire experience from beginning to end.
Friday, August 27, 2010
We Cannot Say That One Song Is As Good As Another
The music at Mass has long been a topic of conversation among Catholics, and many articles have appeared in various publications either praising or deploring the current state of liturgical music. Recently the debate has intensified as a result of the US bishops’ discussion and vote on a Directory on Music and the Liturgy at the November 2006 meeting of the United States Conference of Catholic Bishops (USCCB).
The music directory was a response to the requirement of Liturgiam authenticam 108 that bishops’ conferences compile “a directory or repertory of texts intended for liturgical singing” and submit it for approval (recognitio) of the Holy See. The directory approved by the US bishops awaits recognitio.
Their debate and vote appears to be the first time in almost forty years that the US bishops’ conference has had a detailed discussion of music for the liturgy in its plenary session. (Documents like “Music in Catholic Worship” and “Liturgical Music Today”, usually said to be mandated by the bishops, were actually issued by the Bishops’ Committee on the Liturgy only and were never considered by the full conference.) Thus, most of the liturgical music practices following the Second Vatican Council were initiated and developed with little or no direction from the bishops — this despite the fact that official documents give the conference of bishops authority over this aspect of the liturgy. In particular, the General Instruction of the Roman Missal (GIRM) gives conferences authority to approve texts of hymns to be sung at the liturgy. For example 48 (as adapted in 2002 by the USCCB) says:
The music directory was a response to the requirement of Liturgiam authenticam 108 that bishops’ conferences compile “a directory or repertory of texts intended for liturgical singing” and submit it for approval (recognitio) of the Holy See. The directory approved by the US bishops awaits recognitio.
Their debate and vote appears to be the first time in almost forty years that the US bishops’ conference has had a detailed discussion of music for the liturgy in its plenary session. (Documents like “Music in Catholic Worship” and “Liturgical Music Today”, usually said to be mandated by the bishops, were actually issued by the Bishops’ Committee on the Liturgy only and were never considered by the full conference.) Thus, most of the liturgical music practices following the Second Vatican Council were initiated and developed with little or no direction from the bishops — this despite the fact that official documents give the conference of bishops authority over this aspect of the liturgy. In particular, the General Instruction of the Roman Missal (GIRM) gives conferences authority to approve texts of hymns to be sung at the liturgy. For example 48 (as adapted in 2002 by the USCCB) says:
…In the dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song similarly approved by the Conference of Bishops or the Diocesan Bishop.
If there is no singing at the entrance, the antiphon in the Missal is recited either by the faithful, or by some of them, or by a lector.…
Similar options are given for singing at the Offertory and Communion. In practice, it is the fourth option — “a suitable liturgical song” — that is almost always employed. Note that this song must have official approval. In the Latin text of GIRM 48 it is clear that it is the text that must be approved, and that the approval is to come from the full conference of bishops. The option for approval by the diocesan bishop was added as an adaptation for the US. However, there is no real procedure or set policy for reviewing the texts of songs used in the liturgy.
With no mechanism for episcopal review in place, composers produced a constant stream of new music — and publishers strenuously promoted it through their publications and workshops. For many reasons, this “contemporary” music for use in the liturgy virtually supplanted any other kind, in the decades following the Council. As a result of this musical “rupture”, the “rich patrimony of faith” of the Church’s musical heritage was all but lost.
In order to begin to regain this heritage the bishops’ current discussion and decisions about the approval of songs and hymn texts for use in the Sacred Liturgy must recognize two fundamental facts: first, that these recent songs and hymns are, in fact, substitutes for the texts and melodies given in official liturgical books; and second, that these neglected official texts remain the preferred choice for what is to be sung at Mass. At present, the practice of singing contemporary songs at Mass has become so prevalent that few people are even aware that these specified texts and melodies exist, and even fewer know where they are to be found. And despite some positive signs of revival of authentic liturgical music, too often the discussions of the selection for music at Mass concentrate exclusively on selecting “suitable liturgical songs”.
The Voice of the Church
Abandoning the traditional music and texts of the Mass was clearly not the intention of the Council, whose Constitution on the Sacred Liturgy, Sacrosanctum Concilium (1963), decreed that “the treasury of sacred music is to be preserved and fostered with great care” (SC 114). This principle was further clarified in 1969 by the Consilium (the group of bishops and experts set up by Pope Paul VI to implement the Constitution on the Liturgy), who responded to an inquiry on whether the permission for singing vernacular hymns at a low Mass — given in the instruction De musica sacra et sacra liturgia of September 3, 1958 — was still in effect. (Before the Council the hymns sung at low Mass did not replace the prescribed Mass texts, but were an addition to them, and were considered only an “indirect” form of participation.)
The Consilium’s response was very clear :
With no mechanism for episcopal review in place, composers produced a constant stream of new music — and publishers strenuously promoted it through their publications and workshops. For many reasons, this “contemporary” music for use in the liturgy virtually supplanted any other kind, in the decades following the Council. As a result of this musical “rupture”, the “rich patrimony of faith” of the Church’s musical heritage was all but lost.
In order to begin to regain this heritage the bishops’ current discussion and decisions about the approval of songs and hymn texts for use in the Sacred Liturgy must recognize two fundamental facts: first, that these recent songs and hymns are, in fact, substitutes for the texts and melodies given in official liturgical books; and second, that these neglected official texts remain the preferred choice for what is to be sung at Mass. At present, the practice of singing contemporary songs at Mass has become so prevalent that few people are even aware that these specified texts and melodies exist, and even fewer know where they are to be found. And despite some positive signs of revival of authentic liturgical music, too often the discussions of the selection for music at Mass concentrate exclusively on selecting “suitable liturgical songs”.
The Voice of the Church
Abandoning the traditional music and texts of the Mass was clearly not the intention of the Council, whose Constitution on the Sacred Liturgy, Sacrosanctum Concilium (1963), decreed that “the treasury of sacred music is to be preserved and fostered with great care” (SC 114). This principle was further clarified in 1969 by the Consilium (the group of bishops and experts set up by Pope Paul VI to implement the Constitution on the Liturgy), who responded to an inquiry on whether the permission for singing vernacular hymns at a low Mass — given in the instruction De musica sacra et sacra liturgia of September 3, 1958 — was still in effect. (Before the Council the hymns sung at low Mass did not replace the prescribed Mass texts, but were an addition to them, and were considered only an “indirect” form of participation.)
The Consilium’s response was very clear :
That rule [permitting vernacular hymns] has been superseded. What must be sung is the Mass, its Ordinary and Proper, not “something”, no matter how consistent, that is imposed on the Mass. Because the liturgical service is one, it has only one countenance, one motif, one voice, the voice of the Church. To continue to replace the texts of the Mass being celebrated with motets that are reverent and devout, yet out of keeping with the Mass of the day amounts to continuing an unacceptable ambiguity: it is to cheat the people. Liturgical song involves not mere melody, but words, text, thought and the sentiments that the poetry and music contain. Thus texts must be those of the Mass, not others, and singing means singing the Mass not just singing during Mass.
(Original emphasis. The response was published in Italian in the Consilium’s official journal Notitiae 5 [1969] p. 406. An English translation appeared in the Bishops’ Committee on the Liturgy’s BCL Newsletter, August-September 1993.)
The Proper of the Mass was to be sung. This ruling was utterly ignored, however. Almost forty years later the average Catholic at Sunday Mass will join in singing “something” at the Entrance, at Communion and perhaps the Offertory. Almost never will the actual texts prescribed for these processions be heard.
The Propers and the Roman Gradual
These liturgical texts that are specific (or “proper”) to a particular day or feast are called the Proper of the Mass. The texts of the Propers are mainly direct quotes from Scripture, and many have been associated with the same feast or solemnity for centuries. Their traditional musical settings are collected into an official liturgical book, the Graduale Romanum (Roman Gradual).
Before the Missal of 1970, the specific texts of the Proper were required to be read or sung at each Mass. There was freedom to employ other musical settings than those in the Graduale, but the text itself was not to be altered.
As part of the reform of the Mass initiated by the Second Vatican Council, several things happened to affect the use of the Propers. Two of them were direct responses to the Constitution on the Sacred Liturgy, Sacrosanctum Concilium. SC 117 said:
The Propers and the Roman Gradual
These liturgical texts that are specific (or “proper”) to a particular day or feast are called the Proper of the Mass. The texts of the Propers are mainly direct quotes from Scripture, and many have been associated with the same feast or solemnity for centuries. Their traditional musical settings are collected into an official liturgical book, the Graduale Romanum (Roman Gradual).
Before the Missal of 1970, the specific texts of the Proper were required to be read or sung at each Mass. There was freedom to employ other musical settings than those in the Graduale, but the text itself was not to be altered.
As part of the reform of the Mass initiated by the Second Vatican Council, several things happened to affect the use of the Propers. Two of them were direct responses to the Constitution on the Sacred Liturgy, Sacrosanctum Concilium. SC 117 said:
The editio typica [official edition] of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by Saint Pius X.
It is desirable also that an edition be prepared containing simpler melodies, for use in small churches.
In response to the first provision a new edition of the Graduale Romanum was published. However, since the new edition had to be revised to accommodate the reform of the liturgical calendar as well, the complete revision was not published for more than ten years (it was published in 1974).
In response to the second provision — to provide “simpler melodies for use in small churches” — an official set of alternate texts and musical settings was published. The collection, known as the Graduale Simplex (Simple Gradual), was published in 1967. The intended purpose of this simpler edition was to enable smaller churches to have the Proper of the Mass sung according to Gregorian melodies. The committee charged with compiling this simpler edition produced a collection that had a few sets of chants — in the form of a short refrain alternated with Psalm verses — for each liturgical season, rather than a different set for each Sunday and feast
So there are two sets of official (Latin) texts for singing during the processions at Mass: a complete set for every Sunday and feast of the liturgical calendar (and for some weekdays) in the Graduale Romanum, and a set of simpler seasonal musical settings in the Graduale Simplex.
Although few Catholics have seen a copy of either Graduale, most have noticed that there are texts of an Entrance Antiphon and a Communion Antiphon in the disposable Missals used in parishes — and these are the same antiphons that appear in the current Sacramentary (1973/74 edition). But they are not the same as the antiphons in the either official Graduale. So where did these texts come from?
A Third Collection of Propers…
The antiphons in the “missalettes” and the Sacramentary are, in fact, a third set of texts for parts of the Proper — intended specifically for Masses in which the proper texts are not sung. They are designated for spoken Masses only. Some may incorrectly assume that these additional antiphons are intended to be sung and/or that they are taken from the Graduale Romanum. The antiphons for the Introits in the Missal often do correspond to the Graduale Romanum, but none of them includes the psalm verse that is part of the full Introit.
The texts in this third collection of Propers were chosen specifically for recitation at Masses in which there was no singing. (More details on this can be found in the article “Graduale or Missale: The Confusion Resolved” by Christopher Tietze in the Winter 2006 issue of Sacred Music, the quarterly publication of the Church Music Association of America; online at: www.musicasacra.com/publications/sacredmusic/pdf/sm133-4.pdf.)
The Apostolic Constitution Missale Romanum, by which the “Roman Missal revised by decree of the Second Vatican Ecumenical Council” was promulgated, made special mention of the revised antiphons and their intended use:
In response to the second provision — to provide “simpler melodies for use in small churches” — an official set of alternate texts and musical settings was published. The collection, known as the Graduale Simplex (Simple Gradual), was published in 1967. The intended purpose of this simpler edition was to enable smaller churches to have the Proper of the Mass sung according to Gregorian melodies. The committee charged with compiling this simpler edition produced a collection that had a few sets of chants — in the form of a short refrain alternated with Psalm verses — for each liturgical season, rather than a different set for each Sunday and feast
So there are two sets of official (Latin) texts for singing during the processions at Mass: a complete set for every Sunday and feast of the liturgical calendar (and for some weekdays) in the Graduale Romanum, and a set of simpler seasonal musical settings in the Graduale Simplex.
Although few Catholics have seen a copy of either Graduale, most have noticed that there are texts of an Entrance Antiphon and a Communion Antiphon in the disposable Missals used in parishes — and these are the same antiphons that appear in the current Sacramentary (1973/74 edition). But they are not the same as the antiphons in the either official Graduale. So where did these texts come from?
A Third Collection of Propers…
The antiphons in the “missalettes” and the Sacramentary are, in fact, a third set of texts for parts of the Proper — intended specifically for Masses in which the proper texts are not sung. They are designated for spoken Masses only. Some may incorrectly assume that these additional antiphons are intended to be sung and/or that they are taken from the Graduale Romanum. The antiphons for the Introits in the Missal often do correspond to the Graduale Romanum, but none of them includes the psalm verse that is part of the full Introit.
The texts in this third collection of Propers were chosen specifically for recitation at Masses in which there was no singing. (More details on this can be found in the article “Graduale or Missale: The Confusion Resolved” by Christopher Tietze in the Winter 2006 issue of Sacred Music, the quarterly publication of the Church Music Association of America; online at: www.musicasacra.com/publications/sacredmusic/pdf/sm133-4.pdf.)
The Apostolic Constitution Missale Romanum, by which the “Roman Missal revised by decree of the Second Vatican Ecumenical Council” was promulgated, made special mention of the revised antiphons and their intended use:
The text of the Graduale Romanum has not been changed as far as the music is concerned. In the interest of their being more readily understood, however … the entrance and communion antiphons have been revised for use in Masses that are not sung.
Despite having three sets of official texts for the processionals for Mass, the Propers were virtually lost in the implementation of the reform. Why?
Losing Our Heritage
As usual, to understand why the Council’s liturgical reform got off track requires a look into the past to see how it was accomplished.
The implementation of the post-conciliar reform of the Mass was done in stages. The first reforms were introduced on November 29, 1964, less than a year after Sacrosanctum Concilium had been promulgated. The revised Mass rite and rubrics had not yet been formulated, but a few parts of the Mass were altered and several parts, including the Proper, could be said or sung in English. Many liturgists wanted the maximum possible use of the vernacular and also as much vocal participation by the people as possible. So hymns were promoted.
For example, in 1964 the Liturgical Conference published a “Parish Worship Program” — a series of books and other material to instruct pastors, musicians and others how to implement the liturgical reform. This organization was very influential in the “liturgical movement” of the time, and its instructional material was apparently prepared before any official instructions on implementing the Constitution on the Liturgy were published.
One of the main books in this program, Priest’s Guide to Parish Worship, gives detailed instructions of what should be done at Mass. The program is described as “ideal in terms of the Church’s present understanding of the meaning and function of liturgy”, and pastors are advised that it will not require any serious modification within the foreseeable future. (pp. 59-60)
The Priest’s Guide puts great stress on singing by the entire congregation, and the details of the proposed program make it clear that this “ideal” form of participation is within a “low Mass”. The writers’ opinion on singing the actual liturgical texts is decidedly negative.
Another book in this program, Manual for Church Musicians, recommends that the priest should not sing any of the greetings or prayers. Thus all Masses would be “low Masses”, and hymns in English could be substituted for the Propers.
The “Parish Worship Program” was published before any of the official alternatives to the Proper — e.g. the Simple Gradual — had appeared. However, when these alternative texts for the Proper were authorized, the opinion that prevailed was that the very existence of an official alternative effectively made any alternative legitimate.
Monsignor Frederick McManus, for example, whose influence on such decisions was unparalleled (and who wrote the preface to Priest’s Guide to Parish Worship), advanced this view. Speaking at a symposium sponsored by the Liturgical Conference, Monsignor McManus evaluated the significance of the Simple Gradual — even before it was published:
Losing Our Heritage
As usual, to understand why the Council’s liturgical reform got off track requires a look into the past to see how it was accomplished.
The implementation of the post-conciliar reform of the Mass was done in stages. The first reforms were introduced on November 29, 1964, less than a year after Sacrosanctum Concilium had been promulgated. The revised Mass rite and rubrics had not yet been formulated, but a few parts of the Mass were altered and several parts, including the Proper, could be said or sung in English. Many liturgists wanted the maximum possible use of the vernacular and also as much vocal participation by the people as possible. So hymns were promoted.
For example, in 1964 the Liturgical Conference published a “Parish Worship Program” — a series of books and other material to instruct pastors, musicians and others how to implement the liturgical reform. This organization was very influential in the “liturgical movement” of the time, and its instructional material was apparently prepared before any official instructions on implementing the Constitution on the Liturgy were published.
One of the main books in this program, Priest’s Guide to Parish Worship, gives detailed instructions of what should be done at Mass. The program is described as “ideal in terms of the Church’s present understanding of the meaning and function of liturgy”, and pastors are advised that it will not require any serious modification within the foreseeable future. (pp. 59-60)
The Priest’s Guide puts great stress on singing by the entire congregation, and the details of the proposed program make it clear that this “ideal” form of participation is within a “low Mass”. The writers’ opinion on singing the actual liturgical texts is decidedly negative.
Another book in this program, Manual for Church Musicians, recommends that the priest should not sing any of the greetings or prayers. Thus all Masses would be “low Masses”, and hymns in English could be substituted for the Propers.
The “Parish Worship Program” was published before any of the official alternatives to the Proper — e.g. the Simple Gradual — had appeared. However, when these alternative texts for the Proper were authorized, the opinion that prevailed was that the very existence of an official alternative effectively made any alternative legitimate.
Monsignor Frederick McManus, for example, whose influence on such decisions was unparalleled (and who wrote the preface to Priest’s Guide to Parish Worship), advanced this view. Speaking at a symposium sponsored by the Liturgical Conference, Monsignor McManus evaluated the significance of the Simple Gradual — even before it was published:
the first alternative to the proper chants of the Roman gradual is officially provided, and the door thus opened to greater diversity and adaptation. (Crisis in Church Music?, Washington, DC: The Liturgical Conference, 1967, p. 20)
Monsignor McManus had been president of the Liturgical Conference for several years, and later was Director of the Bishops’ Committee on the Liturgy Secretariat. He was also professor of canon law at Catholic University of America. Again, in 1969, the new General Instruction of the Roman Missal (GIRM) allowed hymns as one alternative to the Propers. Monsignor McManus, writing in American Ecclesiastical Review, proclaimed this an “open door” to free choice of Mass texts.
The reference in the revised order to “other song” opens the door as wide as may be and creates the first of many instances where priests, consulting with others, are responsible for sound choices of texts suited for Mass. (American Ecclesiastical Review vol. 161, p. 196)
Note that Monsignor McManus does not even mention the Church’s official preference for the prescribed Proper, or the need for the texts used for Mass to have the approval of the bishops’ conference.
Later in the same commentary, Monsignor McManus explains why he thinks such alternatives are important. The “present rigidity of the Roman liturgy”, he says, must be overcome:
Later in the same commentary, Monsignor McManus explains why he thinks such alternatives are important. The “present rigidity of the Roman liturgy”, he says, must be overcome:
The real official inflexibility lies in the texts themselves, in the official language, in the demand that, with few exceptions like the prayer of the faithful, an appointed text be adhered to. (p. 400)
Given the overwhelming influence of liturgical experts who believed that they were to be “shapers” of a new liturgy, it is hardly surprising, that now — four decades later — most people believe, incorrectly, that singing vernacular hymns at Mass was a “reform” expressly intended by the Council.
Though a hymn can be legitimately used, parish liturgy committees almost never take the official text into consideration when making their choices. In fact, any planning committee who wanted to relate their selection to the Proper would likely have trouble finding the proper (that is, correct) text. As noted above, only the Entrance and Communion antiphons, as revised for spoken Masses, appear in the altar Missal and in available “worship aids”.
The fact that only one of the three sets of official texts for the Propers is easily available has led to genuine confusion about the purpose of the antiphons in the Missal.
Unfortunately confusion on this point is evident even in the 2002 GIRM as adapted by the US bishops’ conference. (See Tietze pp.7-8). For example,
GIRM 48. The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone. In the dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song similarly approved by the Conference of Bishops or the Diocesan Bishop.
The first option in GIRM 48 (quoted above) speaks of “the antiphon from the Roman Missal or the Psalm from the Roman Gradual”. This seems to assume that the antiphon in the Missal is intended for singing and has a musical setting in the Missal. But neither assumption is correct. This paragraph could also be understood as saying that only the Psalm from the Roman Gradual, not the antiphon found there, is to be sung at Mass in the US Church.
Selecting Hymns
Given the combination of genuine confusion and bad advice, it is not surprising that publications that advise parish committees on the selection of hymns include only the texts intended to be spoken.
Today’s Liturgy, a quarterly planning guide published by Oregon Catholic Press (OCP), for example, lists the Entrance and Communion antiphon from the Missal. It would make more sense to give the texts from the Graduale Romanum intended for singing. The texts for the Propers at a spoken Mass often do not correspond to the Graduale texts. Even when the Introit antiphon corresponds, the Missal text lacks the Psalm verse always included in the sung Introit. And there is no text for the Offertory in the Missal. Since there is no directive that the Offertory be spoken, there are no Offertory texts provided for spoken Masses — but there are texts for singing the Offertory in the Graduale.
Confusion may be understandable. But even the antiphons in the Missal have little apparent influence on the texts of hymns that are suggested by music publishers. (Recall that the Introit is supposed to introduce our “thoughts to the mystery of the liturgical season or festivity” GIRM 47.)
The most recent edition of Today’s Liturgy, for Fall Ordinary Time, covers the Sundays from the 22nd Sunday in Ordinary Time through the Feast of Christ the King, as well as All Saints and Thanksgiving Day. Let us consider some of their choices to replace the Introit on Sundays when the texts for spoken and sung antiphons are identical.
Today’s Liturgy usually lists 4 to 6 suggested hymns for each of several parts of the Mass, and there is a code to indicate when a selection corresponds to a prescribed antiphon or reading. There is only one Sunday (the 24th in Ordinary Time) when any of the suggestions for the Entrance correspond (in the compiler’s opinion) to the Introit antiphon. On that day the antiphon is from the Book of Sirach:
Though a hymn can be legitimately used, parish liturgy committees almost never take the official text into consideration when making their choices. In fact, any planning committee who wanted to relate their selection to the Proper would likely have trouble finding the proper (that is, correct) text. As noted above, only the Entrance and Communion antiphons, as revised for spoken Masses, appear in the altar Missal and in available “worship aids”.
The fact that only one of the three sets of official texts for the Propers is easily available has led to genuine confusion about the purpose of the antiphons in the Missal.
Unfortunately confusion on this point is evident even in the 2002 GIRM as adapted by the US bishops’ conference. (See Tietze pp.7-8). For example,
GIRM 48. The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone. In the dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song similarly approved by the Conference of Bishops or the Diocesan Bishop.
The first option in GIRM 48 (quoted above) speaks of “the antiphon from the Roman Missal or the Psalm from the Roman Gradual”. This seems to assume that the antiphon in the Missal is intended for singing and has a musical setting in the Missal. But neither assumption is correct. This paragraph could also be understood as saying that only the Psalm from the Roman Gradual, not the antiphon found there, is to be sung at Mass in the US Church.
Selecting Hymns
Given the combination of genuine confusion and bad advice, it is not surprising that publications that advise parish committees on the selection of hymns include only the texts intended to be spoken.
Today’s Liturgy, a quarterly planning guide published by Oregon Catholic Press (OCP), for example, lists the Entrance and Communion antiphon from the Missal. It would make more sense to give the texts from the Graduale Romanum intended for singing. The texts for the Propers at a spoken Mass often do not correspond to the Graduale texts. Even when the Introit antiphon corresponds, the Missal text lacks the Psalm verse always included in the sung Introit. And there is no text for the Offertory in the Missal. Since there is no directive that the Offertory be spoken, there are no Offertory texts provided for spoken Masses — but there are texts for singing the Offertory in the Graduale.
Confusion may be understandable. But even the antiphons in the Missal have little apparent influence on the texts of hymns that are suggested by music publishers. (Recall that the Introit is supposed to introduce our “thoughts to the mystery of the liturgical season or festivity” GIRM 47.)
The most recent edition of Today’s Liturgy, for Fall Ordinary Time, covers the Sundays from the 22nd Sunday in Ordinary Time through the Feast of Christ the King, as well as All Saints and Thanksgiving Day. Let us consider some of their choices to replace the Introit on Sundays when the texts for spoken and sung antiphons are identical.
Today’s Liturgy usually lists 4 to 6 suggested hymns for each of several parts of the Mass, and there is a code to indicate when a selection corresponds to a prescribed antiphon or reading. There is only one Sunday (the 24th in Ordinary Time) when any of the suggestions for the Entrance correspond (in the compiler’s opinion) to the Introit antiphon. On that day the antiphon is from the Book of Sirach:
Give peace, Lord, to those who wait for you and your prophets will proclaim you as you deserve. Hear the prayers of your servant and of your people Israel.
The hymns that are alleged to correspond to the antiphon are “Praise, My Soul, the King of Heaven”, whose text is based on Psalm 103; and “Rejoice the Lord is King”, which is based on the Christus Vincit. Neither has any real connection with the antiphon from Sirach.
In some cases the suggested hymns are very far removed from the substance and spirit of the prescribed text. Consider, for example, the 28th Sunday in Ordinary Time. The prescribed antiphon from the Missal (and Gradual) is: “If you, O Lord, laid bare our guilt, who could endure it? But you are forgiving, God of Israel.”
This is a verse from Psalm 130 (129) whose first verse, “Out of the depths I cry to you, O Lord”, is the prescribed psalm verse for the Introit. This is the text the Church proposes to congregations to “introduce their thoughts to the mystery of the liturgical season”.
What does Today’s Liturgy suggest for the Entrance hymn on this Sunday? First on the list is “Sing a New Song” by Dan Schutte, said to be “based on” Psalm 98. The refrain has us “singing alleluia”, and in the first verse we “dance for joy” and play “glad tambourines”.
Such lyrics, along with the rather bouncy melody, turn our thoughts in a very different direction from the solemn words of the prescribed antiphon. On what basis is “Sing a New Song” thought to be an appropriate substitute? The OCP guide does not enlighten us.
“Pastoral” Judgment
Hymns and songs, whether connected with the prescribed antiphon or not, are usually justified on the grounds that they enhance the people’s participation. Using the Latin text and elaborate music of the Roman Gradual, it is said, would deprive the people of their “right” to sing the liturgy. Songs or psalm paraphrases with antiphons are thought to make it easier for people to sing — thus to participate in the liturgy. This equates participation with external action, of course. The Constitution on the Liturgy, on the other hand, says that all must participate “in the Liturgy both internally and externally” (see SC 19) and this includes “reverent silence” (SC 30).
In his 1986 book on the liturgy, Feast of Faith (Ignatius Press), Cardinal Joseph Ratzinger (Pope Benedict XVI) stresses the need for internal participation:
In some cases the suggested hymns are very far removed from the substance and spirit of the prescribed text. Consider, for example, the 28th Sunday in Ordinary Time. The prescribed antiphon from the Missal (and Gradual) is: “If you, O Lord, laid bare our guilt, who could endure it? But you are forgiving, God of Israel.”
This is a verse from Psalm 130 (129) whose first verse, “Out of the depths I cry to you, O Lord”, is the prescribed psalm verse for the Introit. This is the text the Church proposes to congregations to “introduce their thoughts to the mystery of the liturgical season”.
What does Today’s Liturgy suggest for the Entrance hymn on this Sunday? First on the list is “Sing a New Song” by Dan Schutte, said to be “based on” Psalm 98. The refrain has us “singing alleluia”, and in the first verse we “dance for joy” and play “glad tambourines”.
Such lyrics, along with the rather bouncy melody, turn our thoughts in a very different direction from the solemn words of the prescribed antiphon. On what basis is “Sing a New Song” thought to be an appropriate substitute? The OCP guide does not enlighten us.
“Pastoral” Judgment
Hymns and songs, whether connected with the prescribed antiphon or not, are usually justified on the grounds that they enhance the people’s participation. Using the Latin text and elaborate music of the Roman Gradual, it is said, would deprive the people of their “right” to sing the liturgy. Songs or psalm paraphrases with antiphons are thought to make it easier for people to sing — thus to participate in the liturgy. This equates participation with external action, of course. The Constitution on the Liturgy, on the other hand, says that all must participate “in the Liturgy both internally and externally” (see SC 19) and this includes “reverent silence” (SC 30).
In his 1986 book on the liturgy, Feast of Faith (Ignatius Press), Cardinal Joseph Ratzinger (Pope Benedict XVI) stresses the need for internal participation:
For community to exist, there must be some common expression; but, lest this expression be merely external, there must be also a common movement of internalization, a shared path inward (and upward).… It becomes genuinely possible for people to share in a common expression once this interiorization has taken place under the guidance of the common prayers of the Church and the experience of the Body of Christ which they contain.… Only in this way can community come about. (pp. 69-70, original emphasis)
Note his emphasis: true participation must be guided by the common prayers of the Church. Among these common prayers are the texts of the Proper.
Yet many liturgists and composers actually believe that the official texts are inappropriate. Among them is Sister Delores Dufner, OSB, who wrote “Sing a New Church Into Being”. In the August-September 2007 issue of Pastoral Music, published by the National Association of Pastoral Musicians (NPM), Sister Delores says:
Yet many liturgists and composers actually believe that the official texts are inappropriate. Among them is Sister Delores Dufner, OSB, who wrote “Sing a New Church Into Being”. In the August-September 2007 issue of Pastoral Music, published by the National Association of Pastoral Musicians (NPM), Sister Delores says:
[P]astoral experience leads me to doubt that the average churchgoer is readily led into prayer by the language and imagery of the psalms, which reflect a biblical culture far removed from the culture of our times. (p. 20)
She believes that the use of psalms excludes “those who have not formally studied Scripture and theology”. (p. 20) Furthermore, she anticipates problems due to the introduction of the new translation of the Mass with its more elevated language.
From a pastoral perspective, we will then have an even greater need for liturgical hymns and songs to interpret the prayers and readings of the liturgy in good contemporary English… (p. 20, emphasis added)
Catholic people, in other words, are incapable of understanding either Scripture or the prayers of the Mass, without song writers to interpret it for them. (How musicians and liturgy planners who usually have no more formal training in theology or Scripture than the average person in the congregation can decide what is a good interpretation is not explained.)
Sister Delores also objects to the form of the prescribed processionals in the Gradual, which she finds too “hierarchical”. The rubrics specify that the people sing the antiphon, alternating with the choir, who sings the verses. Thus she prefers a more egalitarian selection: a hymn.
The NPM staff seems to share this preference. In their online survey of the words of hymns rated as favorites, they mention particularly a song by Marty Haugen called “All Are Welcome”, which speaks repeatedly of a house that we build. They say it gives “a wonderful vision of the Church”. Considering the treatment of the Church in general in the favorite hymns, they admit:
Sister Delores also objects to the form of the prescribed processionals in the Gradual, which she finds too “hierarchical”. The rubrics specify that the people sing the antiphon, alternating with the choir, who sings the verses. Thus she prefers a more egalitarian selection: a hymn.
The NPM staff seems to share this preference. In their online survey of the words of hymns rated as favorites, they mention particularly a song by Marty Haugen called “All Are Welcome”, which speaks repeatedly of a house that we build. They say it gives “a wonderful vision of the Church”. Considering the treatment of the Church in general in the favorite hymns, they admit:
There is very little, in these hymns and songs, of the hierarchical Church or of the apostolic tradition preserved through history, but in many ways the fallible human side of the Church appears with all of its failures, weaknesses, struggles, and hopes. (p. 30)
Some liturgists find support for their preference in the Bishops’ Committee on the Liturgy document Music in Catholic Worship (MCW). Composer David Haas, in his monthly column in Ministry and Liturgy for September 2007, says of MCW:
I believe it to be a most profound document, proclaiming a vision of music and worship that we still have yet to tap and experience fully. (p. 34)
He mentions its threefold scheme for judging liturgical music: musical, liturgical and pastoral. But he believes the pastoral must overrule both musical quality and liturgical rubrics.
[A]ll of this pales in comparison and bows to whether or not the music chosen, prepared, and proclaimed in the liturgy truly becomes a vehicle by which people are freed to express their faith, celebrate this faith, and be transformed by their faith story. (p. 34)
But the “faith story” of any one person — or even of a single congregation — is not the faith of the Church. Any song text that focuses on the faith of some people now — no matter how vigorously it is sung — is woefully inadequate.
This kind of singing is not, and cannot be, participating in the Church’s liturgy as effectively as thoughtful interior reflection on the text of the prescribed Introit sung by a choir. When people have no access to the authentic texts of the Church, and must sing substitute songs at Mass, they are prevented from interiorizing the prayers of the Church. This inhibits their true participation in the liturgy.
Authentic Liturgy and True Freedom
To increase genuine participation in the liturgy, then, we must regain our lost musical heritage, the “rich patrimony of faith” contained in the Graduale Romanum. This cannot be accomplished overnight, but a beginning can be made. Hymns whose texts are at the very least related to the Proper texts should be chosen. Choirs can begin to learn some musical settings from the Gradual, and the translation could be provided so that people can interiorize it as the choir sings. The Latin texts might be combined with the vernacular, so that the additional psalm verses and the repeated refrain could be sung in English, for example. And appropriate new musical settings of these texts (in Latin or approved translation) could add to our “musical treasury”, and strengthen our connection to our Catholic heritage.
Using “pastoral judgment” to justify complete departure from the Church’s official texts is, in fact, unpastoral. If worshippers are deprived of the full expression of their faith — the faith of the Church, in the texts the Church herself gives us — they will not be “freed”, but constrained. In Feast of Faith — Approaches to a Theology of the Liturgy, written nearly twenty years ago, Pope Benedict (then Cardinal Ratzinger) said of the obligatory form of the liturgy:
[A]ll of this pales in comparison and bows to whether or not the music chosen, prepared, and proclaimed in the liturgy truly becomes a vehicle by which people are freed to express their faith, celebrate this faith, and be transformed by their faith story. (p. 34)
But the “faith story” of any one person — or even of a single congregation — is not the faith of the Church. Any song text that focuses on the faith of some people now — no matter how vigorously it is sung — is woefully inadequate.
This kind of singing is not, and cannot be, participating in the Church’s liturgy as effectively as thoughtful interior reflection on the text of the prescribed Introit sung by a choir. When people have no access to the authentic texts of the Church, and must sing substitute songs at Mass, they are prevented from interiorizing the prayers of the Church. This inhibits their true participation in the liturgy.
Authentic Liturgy and True Freedom
To increase genuine participation in the liturgy, then, we must regain our lost musical heritage, the “rich patrimony of faith” contained in the Graduale Romanum. This cannot be accomplished overnight, but a beginning can be made. Hymns whose texts are at the very least related to the Proper texts should be chosen. Choirs can begin to learn some musical settings from the Gradual, and the translation could be provided so that people can interiorize it as the choir sings. The Latin texts might be combined with the vernacular, so that the additional psalm verses and the repeated refrain could be sung in English, for example. And appropriate new musical settings of these texts (in Latin or approved translation) could add to our “musical treasury”, and strengthen our connection to our Catholic heritage.
Using “pastoral judgment” to justify complete departure from the Church’s official texts is, in fact, unpastoral. If worshippers are deprived of the full expression of their faith — the faith of the Church, in the texts the Church herself gives us — they will not be “freed”, but constrained. In Feast of Faith — Approaches to a Theology of the Liturgy, written nearly twenty years ago, Pope Benedict (then Cardinal Ratzinger) said of the obligatory form of the liturgy:
We may hope for the recovery of this freedom!It is a guarantee, testifying to the fact that something greater is taking place here than can be brought about by any individual community or group of people. It expresses the gift of joy, the gift of participation in the cosmic drama of Christ’s Resurrection, by which liturgy stands or falls. Moreover the obligatory character of the essential parts of the liturgy also guarantees the true freedom of the faithful: it makes sure that they are not victims of something fabricated by an individual or a group, that they are sharing in the same liturgy that binds the priest, the bishop and the pope. In the liturgy, we are all given the freedom to appropriate, in our own personal way, the mystery which addresses us. (Feast of Faith, p. 67)
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