A friend of mine told me several months ago that the Catholic church was changing the Roman Missal in order to sell more hymnals, sheet music and other relevant texts. Of course, everyone knew that the changes were going to drive up business for the liturgical publishing industry, but for it to be THE reason for the translation, now that’s just silly.
But I was reminded of the new translation’s ability to act as a mini economic stimulus in an article over the weekend on NPR’s website called New Liturgy Reanimates Catholic Music. Alec Harris, president of GIA Publications, was interviewed for the piece and he gave an insight into how well his company is doing thanks to the new Missal. Over 150,000 hymnals have been printed, 23 Masses have been written and GIA’s business has doubled since July. And as Harris said:
“Our sales are exceeding what we did at the height of the economy. So we’re doing beautifully right now.”
I’m happy for companies like GIA (and not just because they published two of my songs – haha!) – but for WLP, OCP and all the other publishing houses that are seeing a boom as a result of the changes.
The article also touched upon my last blog entry, pondering what kind of music the new translation will churn out. They talked to Jeffrey Tucker, managing editor of Sacred Music (learn more here), who has never shied away from blasting modern, contemporary (dare I say “pop-like”) music in favor of more traditional and chant-filled pieces. Tucker believes the new translation is laying the foundation for a return to his preferred musical styling:
“I think the time has passed. The experiment is ending now, in trying to sing pop tunes at Mass,” he says. “This, what’s called fun, bright, happy, silly — I think it’s superficial music — doesn’t really fit with a serious, substantive, theologically profound missal that has this language that is so solemn, and so inspired, and so prayerful.”
I love the music that Tucker speaks of. When done properly, it speaks at the core of a person’s soul and brings the experience of the Eucharist to an entirely new level. But I think modern music can do that, too. There is no one “right” style. At the end of the day, what matters most is what speaks to the individual – not the so-called experts who champion one style over another.
(I know I said I wouldn’t talk about the new translation anymore. Forgive me! It’s too relevant NOT to talk about it.)
- MW
When I hear the word “change,” I think of nickles, dimes and quarters. That’s what the Catholic Church had in mine when it copyrighted the new text, so we composers would have to contribute a share of our royalties to the Holy Cause. Some things never change. Is there such a thing as “freedom of religion”? Only if I give my music away for free.