As I mentioned in an earlier review of Winter's autobiography ("The Singer and the Song"), I will be hearing her speak at a conference this summer. "Why Sing?" is her doctoral dissertation from Princeton Theological Seminary, written under Karlfried Froehlich, Professor of Ecclesiastical History. As a dissertation in this area, it deals with the history of papal legislation on Roman Catholic music in worship, the effects of Vatican II, and "theological bases for the use of music in the liturgy." As a Protestant, it is always good for me to be reminded that Roman Catholics have both more guidelines for music in worship than I do and more strict papal legislation.
This book was published in 1984. Winter had already published and recorded her earliest folk-like worship songs. Roman Catholic congregations were still experiencing early permission to sing non-canonical texts. In her conclusion Winter notes that "two liturgical foci emerge from 'Sacrosanctum concilium.` Theological priority is given to a cathedral liturgy . . . as the preeminent manifestation of the Church. The pastoral challenge, however, still lies with the parish, in its struggle to cultivate and communicate a sense of community as the visible Church constituted throughout the world." (240)
Thus, "two streams of music, rooted in diverse theological orientations and validated by legislation, now coexist in the Catholic Church. . . . The first is . . . [supported] by the liturgical principles and norms that call for active participation and imply the value of pastoral song. The second . . . calls for a continuation of the Church's rich musical tradition, both in the preservation of its precious heritage and by transmitting its values through future compositions." (240)
See my WordPress blog, Sabbaticalling, for additional thoughts.
for anyone who wonders why catholics do this or say that, this is a good start. great explanations of liturgy and the importance--or the lack thereof--of different sung mass parts.