The gift of which I am speaking is the great tradition of sacred music which began with the singing of Jesus and the Apostles, and from there developed with inspired beauty throughout the world. It is the magnificent heritage of all the Catholic and Orthodox Churches, East and West, who trace their form of worship and governance with organic continuity back to the earliest Christian community. But its intended audience goes far beyond the walls of these Churches, to include all people of good will without exception.

While this music is imbued with spiritual power, it does not overpower. Rather, it draws people into a place of stillness and awareness, so as to facilitate their search for truth and love. It is by nature mystical – not in any esoteric sense of the word, but rather in the sense that it corresponds to the need of every person to experience the intimate presence and love of God.

Have you ever experienced such music? I am not speaking here of the great sacred works of brilliant composers such as Bach, Handel, Mozart, Haydn, Beethoven, and Bruckner. These are themselves a great treasure, and a sublime testimony to transcendent realities. But their form is of an elaborate nature which requires an advanced level of musical training to perform, and a certain level of cultural sophistication to appreciate. By their nature they cannot be performed or experienced by most people on a regular basis.

I am speaking rather of the living tradition of chant and polyphony which is rooted in ancient Jewish worship, and united to the Eucharistic Liturgy which Jesus instituted at the Last Supper. Through the Apostles it was brought to the far reaches of the earth, through the apostolic centers of Antioch, Alexandria, Rome, and Constantinople. While this music was adapted, restructured, and developed to resonate with the various cultures it encountered, it has maintained its shared fundamental principles across the centuries, in all the different Rites and Churches in which it has been faithfully preserved.

Here is a preliminary list of some of these principles:

It clothes the text of the Sacred Liturgy, which was instituted by Christ as a privileged place of reverent adoration and loving communion between God and man.
It is primarily vocal, and as such engages people in an intimate and immediate way: the human voice, in contrast to man-made instruments, is united to our mind, body, and heart – in a sense, it is us.
It clearly announces, through its modes, melodic figures, and rhythms, that its purpose is sacred rather than secular, i.e., that we are being called to encounter God with profound reverence, rather than casually approach a mundane activity or event.
It maintains a certain modesty of form, so as to always point beyond itself to the Divine worship and communion which it is meant to facilitate.
It has a universal quality – at least in its proper cultural sphere – which allows it to resonate with people of widely different backgrounds, temperaments, and personalities, in the full spectrum of life experiences.
In its full stature it is done with appropriate style and humble skill, so as to maintain the integrity of the message of text and music. Such skill and style are well within the reach of most communities.
In its full stature it is done with depth of spirituality and virtue – again, not esoteric but rather accessible - which allows the contemplative dimension of the music to be clearly communicated to those present.

In the West, and particularly in the Roman Rite of the Catholic Church, this tradition has come down to us primarily in the forms of Gregorian chant, classic polyphony, and newer works which have grown organically from these forms. I dare to speak confidently about this Western tradition because I have had the privilege of participating in it over many years – and have known many others who have shared in this transformative experience. And I dare to speak of the sacred music of the Eastern Rites and Churches, through the witness of my dear friends who have been immersed in their Liturgies over many years: Armenian, Coptic, Syriac, Maronite, Melkite, Russian Orthodox, Serbian Orthodox, and Ukrainian Greek Catholic. These experiences and these witnesses have lead me to much study, practice, and reflection.

In the weeks and months to come, I wish to share with you many of the insights I have received through this participation and study. Often these insights, however deep and broad and certain, lead to new questions and exciting explorations; and so the process of lively learning seems at times to be almost endless. For this reason it seems more natural and fruitful for me to address an audience or class in an ongoing conversation, rather than merely writing down ideas on paper which are isolated from the refining fire of dialogue.

And so, I warmly invite you - the reader or listener – to help me, through your participation in this conversation, through your sincere questions and comments. In this way our dialogue can come to its full fruition through our combined lively search for truth and wisdom.

I would like to address this fervent request to three groups in particular:

those of you who have little or no idea of what I am talking about, but who are fascinated by these reflections on sacred music and would like to learn more. There are no requirements here for previous religious or musical experience; in fact, such lack of previous experience, combined with honesty and respect, can often provide an invaluable fresh perspective for everyone else.
those of you who have participated in Catholic, Orthodox, or other Christian Liturgies and thus have a frame of reference from which to direct your valued input.
those of you who are responsible as stewards of this gift of inestimable value – priests, deacons, and church musicians. To you I bow with respect and gratitude for your devoted and persevering labors. But I also challenge you to see more clearly the gift of our great living tradition of sacred music, to be formed by its genius, and to lead your communities with wisdom and grace to a fuller participation in this precious gift.

So let's get started – I look forward to hearing from you soon!

“The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” [i]

[i] Sacrosanctum Concilium, Constitution on the Liturgy, Second Vatican Council (1963), Art. 112

The Gift of the Living Tradition