We are not just material beings, but spiritual persons with a need for meaning, purpose, and fulfillment that transcends the visible confines of this world. This longing for transcendence is a longing for truth, goodness, and beauty. Truth, goodness, and beauty are called the transcendentals of being, because they are aspects of being. Everything in existence has these transcendentals to some extent. God, of course, as the source of all truth, goodness, and beauty, has these transcendentals to an infinite degree. Oftentimes, He draws us to Himself primarily through one of these transcendentals. St. Augustine, who was drawn to beauty in all its creaturely forms, found the ultimate beauty he was seeking in God, his creator, the beauty “ever ancient, ever new.”―Sister Gabriella Yi, O.P.

Bishop Lopes: A Pledged Troth. A pastoral letter on Amoris Laetitia.

Wednesday, January 28, 2015

Pope St. Pius X: a word to drummers.



The following excerpt is from Pius X, A Country Priest (Pio X, Un Prete di Campagna) by Igino Giordani. Translation by Rt. Rev. Thomas J. Tobin (Bruce Publishing, 1954).
Having become pope, he desired that in every diocese a director of sacred music should be appointed, one endowed with sure taste for Church music, so that he might, in turn, form a nucleus of singers prepared to take their rightful part in the sacred liturgy.

(Pope Saint) Pius X knew music, and his secretary, Merry del Val, recalls that he could read any score on sight, beating time with his hand. "Those who heard him chant the Mass in St. Peter's or intone solemn Benediction in the Sistine Chapel will recall his suave, melodious voice."

At Solzano he had entrusted the direction of Church music to capable musicians, correct in taste, the Cusinati brothers, with instructions not to have popular melodies or ballet music in church and not to use drums and percussion instruments, as was then the custom. There were protests by parishioners who could not understand how the God of hosts could properly be praised without a roll of drums; but their parish priest remained firm in defending the decorum of the church and its sacred functions: the drums and cymbals had to maintain a silence quite foreign to their function in life.—p.172
'Nuff said?

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