are used for these words in the right way, he won't produce good music. This is the most important thing of all. Recently in London, somebody was talking about the problem of language, and he said something which I think expresses a fundamental point. Language is codify immemorial reflexes and twists of feelings. Remembrance is a passion that transcends individual recall. Contour the colonial experience as subtly decisive as to contour the sky and land in which a civilization rises. An outsider can master a language as a writer masters his mother. He rarely becomes as one with his undefined subterranean motion. Now, it is that undefined subterranean motion that a composer is, first of all, concerned.

[01:05]

Latin for a long time was like left for the ordinary man, for the composer, left structurally in motion. A mother no longer is left to speak to her child in Latin. Lovers no longer address one another in Latin. And this is a very serious question, because it means that the language is nowadays deprived of all those overtones and undertones which cries when being used in the most intimate action that the human race. It is still an interlingua in certain parts of the world, among certain people and communities, but it is no longer a language in the sense that it is a living language, renewed, altered and developed by the experience of humanity. That's the first thing to remember. Therefore the rhythms of language, the phrases, the things that All this is something which every year, month, and day is getting further and further into the past, as far as the experience of contemporary man is concerned.

[02:13]

And therefore a composer can never really set his direction in the same way as he does his own native language. I'm not saying that this is necessarily a bad thing. I should point out that the two things, setting English in America and setting Latin, are now fundamentally very different. Before we go further, I think too I ought to point out that there are certain myths and legends which may get in the way when we are thinking about music for the vernacular history. You, as Benedictine chorus, have a particular clarity in the guardianship of Gregorian Charts. And I do not think that the Gregorian Charts need be uprooted on the liturgies. I think it can be adapted in many ways, and I think it can also serve as a basis for many future experiments.

[03:18]

But the first thing we've got to realise about the Gregorian Charts is that it's something I think that even Benedictine tends to be this. is that in the form we have it now, it is primarily a monastic creation. To the big extent of the proper choice, the elaborate symbolism of the radicals attached to Alleluia are, as we have them now, a creation not of the Roman Church at all, but of the French and West German monasteries of the 8th to 10th century. We do not know And we cannot, though, accept by surmise and influence what the simple basis of Roman chant was in the sixth century. You can say definitely that it comes from a Jewish original, that the methods of plain sign are not the normal methods of composition used in Western Europe at all. They are submitted methods. They consist of assembling together little tiny units of melody of two, three, four, and five notes.

[04:21]

which are all built according to Syria-type tasks, and this mosaic method of putting those together is a fundamentally Semitic way of composition. Therefore, Gregorius' child is, in its oldest origins, Semitic. But there is no certainty now that we can get back to anything like the primitive form of the Jewish child, which was adapted first to the Greek language, and then altered again to be readapted to the Latin language in the 4th and 5th century. and which then in the Dark Ages became the prophecies of the monastic communities of the West, and chiefly of the monastic communities of France and West Germany, and was further developed, added to, elaborated, expanded. Therefore, if you are going to use the Gordian Dark, you must always bear in mind that its present form is that of a child created for a liturgy. And one of the things, I'm sure I need to remind you of this, Such in benefits laid down in rule is, the monks must have plenty to do.

[05:23]

That's the implication behind the great many of the commanders of Christus and Giltus, I said. And one of the reasons why they later made evil developments in the Lycians, such as the Lycians at Clunix, for example, where you have the longest monastic liturgy of Western Christians, was simply to fill out what Crassiodorus called the vast leisure of the concert. Now this development was French and German, particularly French, and therefore it had many French characteristics, the love of decoration and the love of elaboration. And you know, too, that when polyphony started, it started as a decoration of the already decorated portions of charts. Instead of performing the decorations at the end of the existing charts, you performed them simultaneously. And so you got classical. And then the idea came up of singing different texts simultaneously, the so-called Gothic motets of the 13th century.

[06:29]

Then, in the 14th century, comes the polyphony, which is not created by church musicians, not created by monastic communities, It's created by the new Cappelli, a musical institution, first of all, of the place of faith, and then of the bishops, and then of kings and princes, and imitations of the faith, where each person takes his own group of musicians, you know, and instruments, who wrote music, which is not designed so much to give honor to Almighty God, but to show what a big guy the Catholic was. This is a very important point. and the growing secularization of music throughout the 14th, 15th, and early 16th centuries can be traced directly to the ostentation and the lack of display of the rulers of Europe. Now, when the Council of France laid down the lines on which the supposed reform of the Czech music was tested, it emphasized something which for the first time in music had become important.

[07:34]

that the music should, as far as possible, make the words easily heard, they should unwind the meaning and the mood of the words best, so that the people listening might thereby be moved to devotion and contemplation. Now, there is another frequent myth about Gregorian charts, that the Gregorian chart very often illustrates the meaning of the words and brings out their moods, and this is largely illusory. The idea The sensation of bringing up the meaning and mood of your words by the music has been lost. It is something you find no reference to in any medieval cities on chance. You find no concerns of talking about it at all until you get to the middle of the 16th century. And there are certain packages that may seem to bear the token charm. For example, there's one famous antiphon, Ascendo et Patrem Mea, which is often quoted in the book, where they have all these lovely, rising chair figures, and anybody with armour would have certainly been a fish.

[08:36]

But this child also exists to depict Dishenji in Hawthorne Man. There aren't any other examples. Now the 16th century does feel its concern in this sort of work. I won't go into all the ramifications of this now, why and how, it just happens at this time. It's linked up At the beginning of the idea that the word is not only a thing you hear, a form of anonymity of being a thing that they read, but at the time, for a very great number of people, something they could see in the printing book. The word of God was no longer something they just heard from the priest or the author, but something they could actually see for themselves in a book. And with the growth of cheaper printing, more and more people came to think of the word not only as a heard thing, but as a seen thing. and therefore they wanted more and more to represent both literally and audibly in music this word which they now heard and saw.

[09:42]

Well now, in bringing up the meaning of the word, music became more and more dramatic, and it led, in secular music, to the opera. And the history of church music, from the late 16th century onwards, is the incorporation of more and more dramatic traits in the music until, by the middle of the 17th century, it is dispensatorily operatic. Now, the attempt at reform which came in the 19th century set up what was in many ways a false ideal. One of the books that still remains to be written is an examination of faithful musicology, a kind of I think one of those books would often be published posthumously. I don't know. [...] we get a false picture, we also get a false description.

[10:53]

The idea that a certain style of music can be held up as an invariable model. It doesn't work because people feel different things about music in different ages. Gregorian Charles seems to be the average man today to be rather slow for this affair, but a great deal of it seems to him. But he doesn't know much to be a writer. bad affair rather gloomy. In other words, our whole musical effect is chaste, with one thousand years of musical history. And therefore, if we aren't devising new music, we have to take into account to break the increased experience of humanity in music. The fact that the average age-testing man today can and often doesn't know a good deal of music has made him serious. All hours of the day, if he lived in an American city, for example, he's likely to be surrounded with music, whether he likes it or not. And therefore, his reactions to music are going to be very, very different indeed.

[11:55]

You have two great periods of Gloria and John. The periods represented by our proper chants, which are the more ancient, from the rest. And then you have the periods represented by our teoreales, nearly all the melodies of which go from the text to the 14th century, which are based on very different musical principles, which are much more obviously true. Why should there not, therefore, now be a new third body of music? You see, the beauty of the church is ancient, but it is also new. and if the church cannot produce a new body of nature in response to the demand now being made, I think there will be something radically wrong. There is no reason why the old should not be preserved, but equally there is no reason why the old should be preserved to the exclusion of the new. This is something which has never happened before. We don't perform the music of the first importance of the two countries in church now. It would be quite unsuitable in the 21st century. It is kept alive by many devoted bodies, choirs, groups of musicians who perform it.

[12:59]

It's recorded. It's still there. It's still alive. But it is no longer suitable for our liturgy. And therefore, a great deal of our 16th and 17th and 18th century music will become something that is no longer suitable for the liturgy. It would still survive and have value as music. but it cannot now serve our needs. And if you really think about the situation in the church and the world today, in a real sense, the Middle Ages are, although a very important part, of course, in the history of the church, almost an interlude. The real church atmosphere, the surroundings in which the church lives, is much more typically the cosmopolitan society of our time. Remember, right up to the end of the 4th century, that was the milieu in which the church worked. St. Augustine worked in a cosmopolitan society. We've got the world in a cosmopolitan society today, in a worldwide civilization far larger than St.

[14:01]

Augustine could ever have dreamed of. Whereas the Middle Ages is a comparatively restricted period, it is, contrasted with the Roman period, and with our own period, a narrow-minded period by virtue of circumstance and situation, inadequate knowledge, inadequate communication. And it was a time, from the end of the 1st century onwards, when you had a radical hardening, you may say, of men's mental outcomes. When the church became more and more codified, you had the canon law, you had the strict codification of theology, the voting became more and more bureaucratic, more and more systematized. But the Reformation, as can be seen today, did in one sense, begin a breaking of the artificial barrier which the Church had tended to erect around the doctrine and message that it was built to broadcast to the world. And now we're starting to do it again. We're beginning to relax. We're beginning to take in the fruits of our secular civilization and realize that the Church doesn't necessarily have to go to places of opposition to every single sector.

[15:08]

It has to incorporate, to recreate, to reuse for itself all the good that is in the world. Therefore, there can be no distinction between sexual and sexual in this way. Everything can be used in a very good way, provided it is used in the proper way. And the only thing that suggests whether we are using it in the proper way are what we want to do in our worship, whether we want to make our worship as simple for people to understand the possible, and whether we are prepared, really, to go right back to the root of our tradition, the root of our worship of music, in producing the right source of heart for these purposes. Now we come down to the question of words again. We go next at the beginning, which is important, and because all these ways of looking at music have primarily been musical ways of teaching words, which does not necessarily stress the meaning of the words. For example, so many of those cheerful tear-gays in the Kyriale.

[16:13]

They weren't really attracted to the word Kyriale at all. They start off with Kyriale, and the rest of the text is probably parents of goodness, unbegotten father, radiant with splendor, that being to get a liaison. They are full of interpolated texts, which is why so many of the chants in the Kyriale seem to us today to be unspoken to their words. There's hardly a harmful theory in the theory out there, apart from glass number 18, which is one of the few really positive truths. But do you ever stop to think, why is it that we always sing Lord of Magic, Christ and Letters, that joyful music, if the music really is supposed to be the word? Well, to get back to the problem of words, first of all, I think it would be highly disastrous If any attempt to make a permanent fixed text was imposed on us today for music, there has to be a great deal of expression. And in the next 25 to 30 years, it is important that we introduce a really straight body of music, that there should be as much expression as possible.

[17:18]

There should be no attempt to make anything too definitive. It can only be temporary as far as the fact is concerned. because the final shape of the math ordinary has not been fixed. It's still under discussion in Rome. I have been told that it has been discussed, and almost settled that it's been largely pigeonholed, and that it may be produced at a later date. You know how slowly these things go. But, until that is done, we cannot really proceed with any certainty about the final shape of our list here, which is obviously going to interest us all if we really want the way to use it. We can always start making assessments based on this. Everything spoken aloud or sung must be intelligible to those listening, not to those listening. And it must be not only easy for the congregation to take part in those places where they should take part, but it must be made desirable. If only we could write the right sort of music, congregations aren't really going to feel the singing is either.

[18:20]

If the price was off in any place, what are they expecting for? A good composer should be able to write music that will make people want to sing it. If we can do that, a great deal of the opposition to singing it at the National Film League, and the more die-hard sections of the church, will disappear. Now, in England, and I think in America, I don't know very much about it, we have a very bad tradition of what I might call liturgical English. We have it in our manuals of prayer, sanctioned for us by our bishops and our bishops. We have it in the constant Latinization of our Catholic interest. We still talk about the Vindication and the Anastasia. We still even sometimes talk about the invention of the Holy Cross. But all the regrettable misunderstandings of it. We also talk about extreme punctuation, and we tend, when we are translating a Latin prayer, to substitute a lot of Latinary words, instead of putting the stencils and rosettes in the equivalent.

[19:29]

Then there are the peculiarities of English in writing words for music. The way English continually authors the pitch of the voice, something that other languages do not necessarily do. are mixtures of vowels that are nearly all different. Then that strange sound which phonetically is called a neutral he. Well, a word like the, the sort of strange half-vowel sound you get an unjust syllable. Something which isn't nearly as noticeable in American pronunciation of English as it is in English, because you people do preserve a lot of the older pronunciation of English. It also tends to be a far more Potentially the syllables, which in English would be so connected as to be hardly vocalized. Therefore, I think there may be a difference between English and American settings of the lyrics. So it's very exciting for a composer to come over and hear the language to be new to you, which one knows is from one studied in the history of language.

[20:31]

In ways which are very little, so we say 17th and 18th century in many ways. The way you pronounce certain syllables, the way you stress certain syllables, all can be traced back to the 17th century when your emphasis came over here. And therefore, I think in many ways you do preserve a far healthier English language that we do in English. We are telling you that one more click. One more click. The blunder. I have been listening to American singing in church, and again, it is noticeable how it alters the whole sentence of words. For example, take a word like sanctuary, which I had possessed some years ago in the world. Now, in English, if you're going to be at some meetings in England, it's only just sanctuary. You can't do sanctuary, whereas the American must do intense, I can't even say it myself, to bring out those three syllables without stressing them. In other words, you do tend to give a little more weight and time when you have a mini-syllable word to the X word.

[21:34]

Syllables would follow on the X-synced part and therefore make it much easier to set the music. We have many variations of script and of weight. The variety in our monosyllable, the word like length, takes much longer to say and therefore to put the music properly than a word like stick. Here are some examples of translation, which I am discussing entirely in the biblical point of view. It's a translation of the Exultet, which is surely a piece of liturgy that you'll want to keep when you're living at Hellenistic. I'll just read the Latin to remind you of the rhythm. Exultet Iare Angelica Turba Caelorum Exultet Divina Mysteria Explicanti Regis Victoria Turba Inferne Salitati You notice the wonderful song with which it impregnates me. Exultant Divina Mysteria.

[22:34]

Exultant Divina Mysteria. Exultant Divina Mysteria. Now here is the worst translation I could find. Deliberately chosen as an example of things which are not quite so bad, which you can find over and over again in translation. It's taken from a booklet published in India. Why the Indians should be that afflicted, I don't know. Here it is. Rejoice now, you angelic choir. Rejoice, you ministers of God, and let the trumpets of victory blare for the great triumph of our king. Rejoice, O earth, flooded with such great light. You looming by the splendors of the eternal king, may it know that the darkness of the entire universe has been dispelled.

[23:42]

Wherefore, beloved brethren, who stand here in the marvellous splendour of this holy light, I beseech you, add your voices to mine, invoking the mercy of Almighty God. Well, it is an accurate translation. But it has no rhythm. But that's just a thing well the nude eagle can talk about. Also, notice. What I can only describe, it would be described in English as Form 3B Latin. To make it know that the darkness of the entire universe, it's like a small child has just discovered a subjuncted moon. Illuminates like a friend of the eternal change. You see, a Latin word where an English word would do. Now here is Monsignor Knox, which of course is much better. It's not very suitable for musical setting. He didn't design it for that. And he always finds great difficulty in writing texts for music. He once said to me in a letter, I haven't a note. And the evidence of how beautiful pieces are and beautiful translations are often very difficult to think about a congregation.

[24:49]

Because he always lets the fence run over from one line to another. Whereas the average congregation looks upon the end of the lie as a place for taking breath for the next. and therefore you find yourself in a not-translation breaking off at awkward moments. Here is his translation of the exultation. Now let the angelic heavenly choirs exult. Let joy pervade the unknown beings who surround God's throne. And let the trumpet of salvation sound the triumph of our mighty King. Let us too be joyful in the radiance of this great splendor, enlightened by the glory of our eternal King. Let her feel that from the whole round world the darkness has been lifted. Well, of course, it is very, very much so. And yet, for what is music, it lacks direction. Why does it have to dance in voice all the time? Now let the angelic heaven require the insult. Why insult? Why not rejoice? Let joy pervade the unknown being. I'm not quite clear why that is a translation of exultant divina misteria.

[25:53]

Let joy pervade the unknown beings that surround God's strength. And let the trumpet of salvation sound the time. Let us too be joyful. I think that is really deplorable. Let her feel from the whole round globe. Surely all this is unnecessarily elaborate. Why can't you use the imperative move rather than the seductive? Well, four years ago I was writing an oratorio about Easter. and I wanted to use the last section of this, and so I was looking for texts. And after looking through many texts, I decided to prepare my own, but using a basis of Knox where he provided a happy place. And I visited my selection. Rejoice, O choir of angels in the heavens! Rejoice, ye mysteries around the throne of God! Sound the trumpet of salvation for the triumph of our mighty king! You notice it's direct all the time. You've got a rhythm there. Rejoice, O choir of angels in the heavens. Rejoice, ye mysteries around the throne of God, down in the trumpet of salvation for the triumph of our mighty King.

[27:00]

Rejoice, O earth, in the radiance of this great splendor. Know that from all thy globes darkness has been scattered, not less our faithful. Know it, O God, from all thy globes that darkness has been scattered. O dear brethren who are here with me at this wondrous lighting of the holy flame, join me and proclaim the mercy of our God. Now we come to the process of music in the mass. What sort of music? Or what portion of the mass? The mass ordinary, I think it will be agreed by everybody, is to write province of the congregation. Originally it was so designed for church, and therefore we must restore the man's ordinary, first and foremost, to the country. Some simple Gregorian chants, I think the very simple one of the Kyriales, could be adaptive to the church.

[28:06]

Now these are fixed would help probably to follow the lines of those made by the Lutherans converted in the 16th century, who took many proportions and adapted them for the German world. There are people who, in England and in America, take the child and speak the English to it without altering the lips of the child. Consequently, you find yourself off with an elaborate melisma on the word the. Such is adaptation. Do not take into account that music should be made to fit words, not words music. You can't get a really artistic result if you fit words simply with music. If you want to do that, you must radically alter your music. Now, our Gregorian card appears in a highly decorated form. It contains lots of what the harmony teachers would call unessential notes.

[29:08]

Notes that are not fundamental to the wheelchairs of the melody. And it would be easy to strip away some of those little decorations. In making a tune which would fit in these words, did you want to do them instead when they adapted the TPS yourself? I have four machines of example to play, but they haven't got a piano yet. That is what they did in assessing some of the melodies and materiales. And this, I think, could still be done. You would have, of course, to analyze your chart, find out the radical shapes behind it. That, again, would demand some scholarship and some musical knowledge, but that's a great piece. And then you would have to make a shape which would fit your already designed set, which, of course, must be designed in places of rhythm. plenty of good cadences and to give you an easy-going flow of syllables. I had up a place job in Minnesota last week, and several of the fathers there were working on this problem.

[30:09]

They hadn't been sticking to any thick translations. They had been choosing from several translations and trying to make perfect words for each child, but to flow naturally with the music. But I thought it out to the that a lot of their charts were still too elaborate. They had one or two melismas in the end, and they didn't think of getting rid of it, because they had the mistaken notion that every note from the Gregorian Chinese that now exists must be preserved if you are putting English to it, and this you can't do in between some musical results. On the other hand, you can take the fundamental skeleton, as it were, of the melody, and use that That part was just a little better anyway, I could show you some examples. I'm not good at singing, and so I like to complicate that a bit. This will also apply to the proper... Of course, the proper sign will not be named anything that doesn't fall. As you know, in any of the store jiggity, we could have the full intro at the start,

[31:14]

We should probably have a full office every day. We may even have a full bread order. And we should probably have that kind of salary chance for the community. Now, not all of these are necessarily the prerogative of the people. And there are two particular kinds that I think should not be the prerogative of the people. The first is the opposite of it, when the collection is made. The second is the gradual, which from time immemorial has been the province of the professional singer in the church. The whole shape of the gradual, its organisation, the style, the complexity of the music, are those of professional musical performers. And we should maintain them. There should always be a place in our new liturgy for the professional musician to consider a feat for his own. Only the elaborate chart, I am sure, can be adapted if we want. There is no reason why you should always have a pulse-fired agro-boreal rectum

[32:17]

The gradual could be the place, and the operatively could be the place, where polyphonic settings of the property were allowed and encouraged, thus giving a place for the maintenance of the litany in our city. We should abandon the practice of having a motet after the Gregorian operatively. Instead, the operatory text itself, probably enlarged to a sound text, should be made the basis for any polyphonic reading at this point. We shouldn't import divisional literature into the maths after the option. In setting these texts, we must always be aware of the different types of texts we are setting, and therefore of the necessary function of the text in the maths. The Kyrie, the Sanctus, the Agnus Dei are simple things. The Kyrie and the Agnus Dei are the big, big things. And therefore, they are takes that accept themselves easily to musical repetitions or some kind of rondo structure where you have two tunes which alternate with one another.

[33:18]

Also, such sounds easily accept themselves to synaptic taking. Not worse, I think, than when I have a simple take that's just a very elaborate which is what alerted Cyclones to conservation. On the other hand, the gloria and the creed will require a more elaborate organization. I'm sure you know that they're called embryos in the gloria, in the Cereale, which is really a kind of style. They have a simple tone which is repeated over and over again for each phase or sentence of each gloria. That will be one way of handling the method of gloria. It could also be the way of handling of an actual queen. But something would have to be done with the text of both of those photos. In order to make them really easily sound, I need to conjugate, because so many of our present translations are not very good. With the creed, of course, you would have the difficulty. There's an English term which says, the moral aid is indeed the most important thing is the creed.

[34:24]

Defining a new translation for the creed that would really be musically suitable and doctrinally correct is one, I think, that would take a good deal of time and effort. but I'm equally sure that it could be done if we wanted it. Now the people should properly, I think, share in the intro and they should share in the conclusion. You know the many uses that have been made of this consortium, I think. How the people sing an antiphon, a short antiphon, which is interspersed between the verses of the psalm of infant sung by the choir or folk. This is an eminently perceptible process. And it would be possible to build up a repository of short antiphons that the congregation could learn. It might even be possible, as I seem to guess it out here, I told this lecture, that there should only be a few enjoyed songs that are over here, perhaps four, for the main liturgical theme.

[35:28]

which could be used over and over again, and thus the conjugation would kind of know the sound, and in time, the conjugation might therefore be brought to singing the sound, instead of being confined to singing about it. Because, although the responsorial method of sound singing is helpful, and it's easy, and it's effective, I think these days, we should not rest content with this. We want the Christian people to be able to know that sound must get at the end of every breath, and therefore we must divide ways of singing them before making it as easy as possible for them. I think the Gelino method of sound singing is good. I think the Gelino method of text would preserve something of the original rhythm of the people, because it gives them easily sound rhythm and one which people can pick up very quickly. On the other hand, while I admire the Eleanor Psalms in the original language, I do not think that the translations that have been made of many of these psalms into the original truth are good.

[36:28]

For example, take the 33rd Psalm, which begins, The shepherd is my Lord. I didn't think that was the very same. The Lord is my shepherd. And then you come to the end of that verse where you have to revive my drooping spirit. Well, that is regrettable in itself. But you get the word like spirit. Now, spirit is one of those words where you do not in any way touch the final syllable. There are only two ways of setting the word spirit adequately. One in which the second note is lower than the first, or in which the second note is the same as the first, but unthinking. But of course, in the Jell-O sound, you get lyrics, which of course means that if any congregation sings that tune, they are going to have a great deal of emphasis placed on the last syllable of that word. That's what I mean by bad musical technique. The sort of thing that always happens when you try to stick new words to a tune which has not originally existed before. Again, adaptation could undoubtedly be made in the Jell-O sound tune.

[37:31]

But they're not all that wonderful. There are some very beautiful ones, but in my opinion, there are a lot which are very dull. And also, some of them are infected with a particularly French type of sentimentality, which I do not see anything right to be indicated either in England or in America. In fact, I think we ought to be especially careful in view of our past, of him, to avoid anything that is malicious, effectively. There was a much more robust put it this way or the other way. But while of course it must be truly devotional, I think we ought to realise that a lot of our devotions, our devotional practices, are still surrounded by an almost 19th century romanticism, which has very, very little to do with our present century life and life and man. Also, too, there is no need for imitation modalism There are many people who think that a piece becomes immediately religious in tone if you just have a few flat and bleeding notes in the dory and most.

[38:35]

There is no need for this at all. I think that there are many new ways of writing music which can suggest religious feelings and devotions without feeling that you've got to go back to an archaic stuff. We've got to produce music which sounds really contemporary and I don't mean that it's got to have full of gay videos but it's got to be popular in style. It should be popular in the real meaning of that word. It should be a music that people will watch the day, and then it will become a people's music. And a good deal of propaganda is going to be necessary. You know how the Lutheran chorales were played in Germany. They were itinerant singers who went around some town to town, and they get into a marketplace that starts singing these new songs to these children. And gradually the people would get around, and they would teach them a new sort of a doctrine, which we knew all right. And that's the tune we play today. Now, these tunes were not in the form you know them today. Say, something like a sacred hymn surrounded, if you will, in four beats with a bar, we know it now.

[39:39]

But originally it was in a mixture of triple time and duple time. Fa, fa, an, fa, an, fa, la, fa, la, fa, an, fa, la, fa. And nearly all of the Roman chorales were in a free mixture of triple and duple rhythm. And it was only through the 17th century that the differences in the rhythm were gradually ironed out until you got our 4-4 time and our 3-4 time in which we sing the chorales. We should also, I think, look at Anglican and Episcopalian settings of the English Book of Common Prayer. Because of course, these were the same settings of what we should call the ordinary of the West. All the texts that we use in the ordinary are to be found in the Antiquity Median text. And remember the key? Texts have been texts for four hundred years now. And there is a great deal of accumulated tradition and experience there. We can learn that there is no half of us without it.

[40:41]

It's great. If you want to preserve your 16th century visit to churches for a while, while the congregation is still learning some of the new music, why not sing in some of the Anglican churches? Why not sing in the bird settings of the Lord have mercy on us, the bird gloria, the firstfell see thee? Why not sing these things? Because you would be introducing the music words to the congregation. You would be making them expect high musical standards. And you would also be preserving that heritage of musical tradition, which of course the church must always preserve. There can be no radical break with the past. Anything that is new must be grasped in order. But we must realize that it would take time, and so there are people's feelings to be considered. There's also the fact that even the ordinary common man doesn't like changing normally to take place too fast. And there will be a most persuasive argument for the new music and the new text if we can show how much the screen is cut from the past. I don't think we need emphasize the new bits.

[41:44]

What we are doing is crazy. It would have linked us to what has been new in the past and which we now think of as being old. Then we will have a very good argument to recommend. Also, many of the so-called angles of the algorithm with which we play the initiative are translations of the cross-section of the map. They could therefore be used as choral introits, gradual, officeries, and galerias. We have a great gift of vernacular liturgical music for the choir, ready made there, if we want to use it. A lot of choral music will be released at the beginning, when the listening becomes almost wholly vernacular, because we won't have enough good music with it. Also, clarifications will take time to learn their full share in the festival. There are other parts about the music. I am not sure that this should be observed always.

[42:57]

The reason, of course, for the chanting of prayers and lessons in the old days was strictly that a monoclonal body carried much further in a large building as a spoken But now, since all modern churches have a built-in loudspeaker system, it is really necessary to have monitoring lists in place. It will mean that the clergy will have to be trained more than they are at the moment in voicing up an elocution. but that surely is a desirable thing, isn't it? This monotone, this one thing, why should it not be kept on certain occasions, on an occasion, like on typical masses? Then it would be a very easy thing indeed to adapt the Gregorian system of intonation, freck, intone, and the fiscal tone that they use for questions to the English language. All we have to make sure is that the little turns of melody at the end of the section are adapted to fit the new stresses of the world in no state.

[44:06]

That should prevent no difficulties. I expect you've heard Desmond Fitzpatrick's English Mass. I thought his timing of the lessons worked very well indeed. I thought the rest of the music was very, very dull. I think that's the sort of music people want. that actually I'm trying to do is not encourage them to finish. There is no need for the leadership to be quite so doubtful. And there is no need either to insult your congregation by telling them in so many words, this is all you can do for this. I think I don't. A congregation would like to be credited with intelligence. And if you can provide the stimulating unit that people will want to see, I anticipate no real difficulty. I'm basing this on the experience that I've had here. I've brought over a vernacular complex. They protect the beauty and beauty of the Hebrew in the wisdom of the original Hebrew. And I've been taking it to a lot of places as an illustration of what I've been saying in this talk. And I've found that people have picked it up at sight and have done it loudly and joyfully simply because they find, I think, that it could say something which is interesting and enjoyable to think.

[45:16]

But to get back to the reading and the challenge, Here again, new texts can help very much indeed. You do not have to prepare a new text if a lesson is going to be read or charged in a monitor. On the other hand, many of these history translations are awkward and ugly in many places. They lack a sense of taste. And one of the things about 20th century prose is that it seems to avoid the cadences of the 18th, 19th, and 17th centuries. And while it may be undesirable in If you want language to sound effectively in a large building, then occasional prose is necessary. You must have language that has a very strong rhythm. I don't mean meek, poetic meek, but I do mean a language that is organised with an ear of rhythmic cadence. Here again, the Anglican model can help so much. The Book of Common Prayer contains a great many wonderful pieces of English text.

[46:23]

I'm sure you know that. And these again could serve as our models. We must follow them, ladies and gentlemen, because the syntax, the grammar, and the cadence of the language, of course, is also very supposed to exist there. But at least we can use them to inspire us in the way we should get. Last of all, Simple music does not mean dull music. It does mean, though, that you've got to have good compose, because to compose is truly both tasks simple music. It's perhaps the most difficult task a composer can set himself. We'll have to arrive at what Eliot in another context calls a condition of utter simplicity, costing not less than everything. And it may seem that sometimes we are paying a very high cut For a composer, I think it may be very difficult. A composer may, in many cases, appear to have to abandon all that he could learn. And I think only if he puts himself at the focus of the piece, if he doesn't think of any personal challenge, if he tries always to produce something which is really going to make people want this, which should be an effective vehicle of the return of the piece,

[47:41]

Then he will produce something really worthwhile. But there is far under this time to be a great deal of experimentation, and we've all got to realise that many of our experiments are inevitably going to disappear. All we can hope is that we can start now to make a face which in the next hundred years can be purged, twisted and, let us remember, adapted and developed just as the Gregorian chant was in its own day and the Lutheran chorales were in their day. To make something which becomes a really shared body of musical stuff. Something that can be shared by the clergy and the people alike. Something that can become a real tradition of music and thus preserve all the best in our experiment except the Gregorian child in its thirty-four, and the Lutheran corrals in their thirty-four, preserve the basics among their experts. We're only at the beginning of it all. We can't go too quickly, and I do not think that we should try and adapt any very radical measures all at once.

[48:45]

We should continue this experiment as much as possible, and here it seems to me phrases like this are ideal sensitive experiences. A point made to me at St. John's, Minnesota, when I was there last weekend. How much focus do just by being an independent valet, largely independent as a bishop, for although he could advise, could not command, in latter cases. And by having this surgical independence, they were therefore able to make all sorts of experiments, which would not necessarily have been tolerated elsewhere. And also, places like this have, as I'm sure you feel, a duty always to be in the forefront of focus. Make sure the experiment is used and the propaganda is festive so the people can know what can be done. But the prescriptions of the Vatican Council are exploited to the full. In this period, then, the composer and the church leaders have what must be, in contrast to their almost dictatorial release this past century, a very humble task.

[49:52]

It may sometimes seem a very rewarding one, but I like to think that we have a model. Remember, in Christ himself, whose entity shows faith in the form of the self, if we could look at our experience and check what is that way, we could find it much easier, we could find an inspiration, and we would still produce something which would show me truly worthy of the worship that we seek. Thank you. I will, yes indeed. I bought some coffee, but I didn't know there would be any time, because I have a fairly tight shift here. Do you have a recording of it?

[50:54]

I have a recording, yes. Do you have a gramophone? Yes. Couldn't we all move now up in St. Joseph? No, unfortunately. Can it be played into the refectory? No, it's only 15 minutes long. No, it's only 15 minutes long. Do you have a computer? I do. Would it be good to hear it? I've got a copy at least for every pair of you, if not one each. Could you just sing it now? Oh, this is very, very exciting. Well, it would take a long time without a piano to a coffee and whatnot. I think you'll find it much easier if you listen to a bit of it first in that time, I think it is. Why don't we go and listen to that? Yeah.

[51:48]

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