Himself was dialing past, and I was working on a tax return (as I ought now...,) and a man somewhere in Latin America, who works with the poorest of the poor, the most troubled of the troubled, riskiest of the at-risk children was talking about a music program that rescues them.
I had a quick glimpse of someone, (him?,) playing the violin and another of a string orchestra made up of children.
The style of music was formal, foreign to the children, outside their normal experience.
Why?
He was explaining (to Bob Simon, maybe?) the absolute necessity of not using mundane music, not using sounds from their every day experience of life, which they would associate with something else.
Why are so many in positions of power in the programming of church music unable to see this same necessity in their work?
The experiences from which he wishes to separate these children are not of course, merely saecular and profane, they are often horrible (I think he used the example of pop styled music being that to which the father who beats the child may listen,) but the principle is surely the same.
Do we really want the music that accompanies the foretaste of the Wedding Banquet of the Lamb to remind you of ... well, what you danced to with that cute cousin of the groom at the last wedding reception you attended?
Universalis, your very own breviary in pixels...
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2 comments:
G,
If you could say a prayer for me concerning the music colloquium, I'd appreciate it. I have yet to come up with the money I need to be able to go without making myself broke, and payment is due in the next month. I am determined to go even if it makes me broke, but I hope that does not end up being the case.
Prayers going up.
(I'm not sure, but I think there is a little scholarship money available. Have you contacted the CMAA about that?)
(Save the Liturgy, Save the World)
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