Thursday, February 4, 2010
Wednesday, February 3, 2010
More rants on Copyrighting.
This time, I'll let someone else explain.
Well, technically that's trademarking, but it's all based on the same principle.
Well, technically that's trademarking, but it's all based on the same principle.
New art.
A couple, made for Peaceful Revolution, a friend on Gaiaonline.
Siriah, a Gaia mod.
I have seven requests in the shop right now, more than I've had since I opened in September. D:
This cover, right here
..Is the cover of my second oldest issue Of Shonen Jump. Well, this isn't the actual cover, but it's the same issue. My oldest, from February 06' is missing at the moment.
I wonder how many deacons/priests know this?
"In accordance with the centuries-old tradition of the Latin rite, the Latin language is to be retained by clerics in the divine office. But in individual cases the ordinary has the power of granting the use of a vernacular translation to those clerics for whom the use of Latin constitutes a grave obstacle to their praying the office properly. The vernacular version, however, must be one that is drawn up according to the provision of Art. 36."
-Sacrosanctum Concilium,no. 101.
I had heard that Vatican II required priests and deacons to say the office in Latin unless given permission by the Bishop, but thought it was unsubstantiated and probably untrue.
I retract that claim now.
And also:
"96. Clerics not bound to office in choir, if they are in major orders, are bound to pray the entire office every day, either in common or individually, as laid down in Art. 89."
-Sacrosanctum Concilium, no. 96
I had been told that clerics only had to recite lauds and vespers, and that all other hours were optional. Now I see that that's not true either.
It's what I've been saying all along.*Edited*
That music really can be sacred.
And I mean music. The actual music. The little dots written on the little lines can be sacred. Not the words, not the text, but the actual music being sung in itself can have a sacred quality. And there's a test for it too. Take something, play it with the instruments appropriate for it, sing the tune without the words. Does it seem like anything other than church music? Does it sound like a commercial jingle? Does it sound like a rock ballad? Does it sound like a pop song?* Does it sound like something from a Broadway musical? Then it's probably not sacred music.Compare it with something like this. Even if the music was just being sung on a single vowel, it does'nt sound like something you'd hear at a club, or something you'd rock out to on the radio. That's the basic distinction made by Pius X in Tra Le Sollecitudini when he said:
And:
There is of course, music already written with these principles. It's the music that any and all modern compositions should be based on. Gregorian chant. The popes of liturgical reform, from Pius X even to Benedict XVI, gloriously reigning, have taught and reiterated that Gregorian chant is the music of the Roman rite. It's the music of the Roman rite in the same sense that rails are the means of going for a train. They were made for each other, and so inextricably bound up that to remove it and replace it with something else derails the whole operation. And just as rails guide a train, Gregorian chant is supposed to guide composers in sacred music.
I'll give you some examples here. Ave Maris stella, Marcel Dupre, Veni Creator, Durufle.
You can see, just from these organ works the principle at work. You can hear the tune for the gregorian hymn 'Ave Maris Stella' in Dupre's work. You can hear the music for the Gregorian hymn 'Veni Creator Spiritus' in Durufle's work. And what you see here in this organ music is also, as it should be, in choral music. Hans Leo Hassler's Ave Maris stella.Woven into the polyphony is the gregorian chant, just as Vatican II and Pius X said it should be. The same goes for mass settings. Palestrina set his missa "Nigra Sum" to the chant of the same name, which comes from the divine office. Even till fairly recently, composers like Durufle and Messien were writing their masses on the sacred chants of the church.
But then something happenned. People decided that 'Sacred' did'nt really mean anything in particular. Anything could be sacred. Any music, any song, if you say it's sacred, that it is.Hence it is that much of the 'sacred' music being used in parishes is admittedly, not set apart, not holy, not kept from anything profane. Instead, they try to be what is profane, in the sense that, whatever is commonly used outside of the church in music must become the church's music.
They often appeal to the example of the great masters, who wrote masses and motets based on secular art songs. But their work was different from that of modern composers. They wrote sacred music based on secular tunes.They did not take sacred texts and set them to secular tunes, or purpousely write masses to sound like secular music rather than sacred music.Theire writing was like a tapestry.From the secular tune, they wove a complex musical composition different from the tune, yet containing the tune interwoven in the harmonies. Similar to Hassler's setting of the Ave Maris Stella. The tune is in the music, but it does not encompass the music. The music of the modern writers is more like a screenprinting. They take the secular genres, and paste the texts of the sacred music onto them. This is divorced both from the musical tradition of the church and the liturgical tradition.
The Second Vatican Council called and pleaded for a return to the use of Gregorian Chant, sacred polyphony (The music written based on Gregorian chant) and the composition of new works with Gregorian chant as it;s reference and base.Somehow, we have (as in so many things) see the complete opposite happen.
*I'm a terrible person.With few exceptions, I share my brother's dislike of pop music.Actually, he hates it, and sounding like pop music is the worse insult you can say to him.
And I mean music. The actual music. The little dots written on the little lines can be sacred. Not the words, not the text, but the actual music being sung in itself can have a sacred quality. And there's a test for it too. Take something, play it with the instruments appropriate for it, sing the tune without the words. Does it seem like anything other than church music? Does it sound like a commercial jingle? Does it sound like a rock ballad? Does it sound like a pop song?* Does it sound like something from a Broadway musical? Then it's probably not sacred music.Compare it with something like this. Even if the music was just being sung on a single vowel, it does'nt sound like something you'd hear at a club, or something you'd rock out to on the radio. That's the basic distinction made by Pius X in Tra Le Sollecitudini when he said:
"It must be holy, and must, therefore, exclude all profanity not only in itself, but in the manner in which it is presented by those who execute it."
And:
"Still, since modern music has risen mainly to serve profane uses, greater care must be taken with regard to it, in order that the musical compositions of modern style which are admitted in the Church may contain nothing profane, be free from reminiscences of motifs adopted in the theaters, and be not fashioned even in their external forms after the manner of profane pieces."
There is of course, music already written with these principles. It's the music that any and all modern compositions should be based on. Gregorian chant. The popes of liturgical reform, from Pius X even to Benedict XVI, gloriously reigning, have taught and reiterated that Gregorian chant is the music of the Roman rite. It's the music of the Roman rite in the same sense that rails are the means of going for a train. They were made for each other, and so inextricably bound up that to remove it and replace it with something else derails the whole operation. And just as rails guide a train, Gregorian chant is supposed to guide composers in sacred music.
I'll give you some examples here. Ave Maris stella, Marcel Dupre, Veni Creator, Durufle.
You can see, just from these organ works the principle at work. You can hear the tune for the gregorian hymn 'Ave Maris Stella' in Dupre's work. You can hear the music for the Gregorian hymn 'Veni Creator Spiritus' in Durufle's work. And what you see here in this organ music is also, as it should be, in choral music. Hans Leo Hassler's Ave Maris stella.Woven into the polyphony is the gregorian chant, just as Vatican II and Pius X said it should be. The same goes for mass settings. Palestrina set his missa "Nigra Sum" to the chant of the same name, which comes from the divine office. Even till fairly recently, composers like Durufle and Messien were writing their masses on the sacred chants of the church.
But then something happenned. People decided that 'Sacred' did'nt really mean anything in particular. Anything could be sacred. Any music, any song, if you say it's sacred, that it is.Hence it is that much of the 'sacred' music being used in parishes is admittedly, not set apart, not holy, not kept from anything profane. Instead, they try to be what is profane, in the sense that, whatever is commonly used outside of the church in music must become the church's music.
They often appeal to the example of the great masters, who wrote masses and motets based on secular art songs. But their work was different from that of modern composers. They wrote sacred music based on secular tunes.They did not take sacred texts and set them to secular tunes, or purpousely write masses to sound like secular music rather than sacred music.Theire writing was like a tapestry.From the secular tune, they wove a complex musical composition different from the tune, yet containing the tune interwoven in the harmonies. Similar to Hassler's setting of the Ave Maris Stella. The tune is in the music, but it does not encompass the music. The music of the modern writers is more like a screenprinting. They take the secular genres, and paste the texts of the sacred music onto them. This is divorced both from the musical tradition of the church and the liturgical tradition.
The Second Vatican Council called and pleaded for a return to the use of Gregorian Chant, sacred polyphony (The music written based on Gregorian chant) and the composition of new works with Gregorian chant as it;s reference and base.Somehow, we have (as in so many things) see the complete opposite happen.
*I'm a terrible person.With few exceptions, I share my brother's dislike of pop music.Actually, he hates it, and sounding like pop music is the worse insult you can say to him.
Thank you, Google.
Norman Rockwell happens to be my favorite American Artist.
(Joe, who totally wasted his last Border's Rewards coupon to buy a $50 book of all of Norman Rockwell's collecting drawings and illustrations. It was half price, mind you, so it was really only $25)
Candor est lucis aeterne...
..Et speculum sine macula.
I'm very happy that the Liturgia Horarum gives you the option to chose appropriate antiphons and hymns that may be different from those given, when there is no written melody or setting given for them in Gregorian chant. For the most part, I haven't taken this option. I think I've only done it on the feast of Our Lady of Mercy.
But I'm going to do it again very soon.
I'm using the antiphons from the old office 'Candor est lucis aeterne', the office for the feast of Our Lady of Lourdes before the Council. I am using the benedictus antiphon for Lauds, "praeclara salutis", but at I vespers I'm using the antiphon 'Ista est columba mea', and at II vespers, the antiphon 'Hodie gloriosa caeli regina' for the magnificat. Hymns, readings, and responsories from the common. Of course, the only problem is that I'll need nine antiphons for the office, but I'll only have five. For the other four, I can either repeat antiphons, or take some from the office of the immaculate conception.
I'm very happy that the Liturgia Horarum gives you the option to chose appropriate antiphons and hymns that may be different from those given, when there is no written melody or setting given for them in Gregorian chant. For the most part, I haven't taken this option. I think I've only done it on the feast of Our Lady of Mercy.
But I'm going to do it again very soon.
I'm using the antiphons from the old office 'Candor est lucis aeterne', the office for the feast of Our Lady of Lourdes before the Council. I am using the benedictus antiphon for Lauds, "praeclara salutis", but at I vespers I'm using the antiphon 'Ista est columba mea', and at II vespers, the antiphon 'Hodie gloriosa caeli regina' for the magnificat. Hymns, readings, and responsories from the common. Of course, the only problem is that I'll need nine antiphons for the office, but I'll only have five. For the other four, I can either repeat antiphons, or take some from the office of the immaculate conception.
Tuesday, February 2, 2010
Candlemas.
Collect of the day:*
ALMIGHTY and everlasting God, we humbly beseech thy majesty, that as Thine only-begotten Son was this day presented in the temple in the substance of our flesh,so too Thou wouldst grant us to be presented unto thee with purified souls.Through our Lord.
At the blessing of candles:
1st prayer:
O GOD, fount and origin of all light. who as on this day didst shew to Just Simeon thy light for the revelation to the gentiles: We humbly pray thee, that thou wouldst deign to santify + and bless these candles, which thy people devotedly receive. That they who assemble to carry them to the laud of thy name may through the paths of virtues, merit to arrive at the light which never faileth. Through our Lord.
2nd prayer:
O GOD, the true light and propagator of the eternal light, pour forth into the hearts of thy faithful the brightness of thy perpetual light. That whosoever commemorateth thy presentation in the holy temple, in the splendour of thy brightness, may joyfully arrive at the glory of thy light. Who liveth.
*All prayers are from the modern Roman missal.
Monday, February 1, 2010
Practice went well.
I'm glad.Though the boat bearer didn't show, and I'll probably want to explain some things to him later.Boat bearer is of course, a rather difficult and complicated job.You know, you have to follow the thurifer around just holding something and standing there for a while.It's easy to get confused!
And the torchbearers from midnight mass won't be torchbearers for the feast day.They'll be 'in choro'.
Hmmmm....
...So I have three bottles: One of which I know is holy water, because I've used it since I got it.Then I have two more bottles of water: One if which is holy water, and the other is just a bottle of spring water that I brought up for Ginger to drink. Only I don't know which is the holy water and which is just spring water. So I don't know what to do. Dispose of both in the yard? Use both anyway? Go to South Street near 4th where the goths hang out, throw a bottle at one, and whichever makes them burn is the right one?
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