Professional Recognition

In the Fall 2010 edition of the Fine and Performing ARTS Magazine, I was mentioned and pictured on page 13. Friends and professors were also featured throughout the magazine that I am proud to know. 

The School of Music at UNL was a good education and a good experience.

Graduate

On May 8th, 2010, I graduated from the University of Nebraska-Lincoln with High Distinction and membership in the UNL Honors Program as well as membership in Phi Beta Kappa Honors society and the honors music society, Pi Kappa Lambda.
My Music major comes in handy with the establishment of my full-time piano studio and playing for weddings/funerals/banquets as well as part time work with the choir(s) that I direct and churches that I play for on the weekends. My English minor was a joy to attain as I studied literature that I loved, and I know it will be useful in whatever writing I end up doing, in helping me analyze what I read, and in the future when I homeschool my children.

On to what God has in store for me with teaching, singing, playing piano and organ, and getting married to start the real career goal and vocation God has given me: full-time wife and mother.

Thesis completion

Also, a news bulletin:

I have completed my senior thesis. My thesis title is: "A Blessing in Disguise: Stepping Back to Make Informed Decisions in the Performance of Gregorian Chant." It is a look at chant in the past 100 years or so.

Here is the abstract:
By studying the history and current practices of Gregorian chant, modern church musicians like myself can reach an informed decision regarding the choices facing them as Schola directors in the use of Gregorian chant. I begin by focusing on the movement of the monks of Solesmes at the turn of the 20th century because Solesmes spread a unified and more accessible practice of chant to Church musicians and Scholas. The Motu Proprio of Pope Pius X gave the Solesmes’ method a boost that spread the practice of Solesmes style chant around the world and gave commands for the cultivation of further editions of chant. Examples of the widespread use and development of chant according to Solesmes’ method are the work of Justine Ward and Mary Berry. Practice of chant fell drastically after the Second Vatican Council changed the order of the Catholic Mass, and Mary Berry’s own practice was shaken by the changes, but she used the time as an opportunity to do further research into Medieval chant practices. Selecting a few examples of scholars and practicing church musicians in the debates regarding interpretation of chant I find aids for the church musician like myself interested in selecting a suitable method of practicing chant.

Lenten Music

This year, while appreciating my files of music selections from years past when it comes to picking out hymns every Sunday, I have also begun using English Propers at Communion. The choir or myself sing the Propers from the Sacred Music Project. They're beautiful little melodies written in chant notation and a great way to begin introducing Propers to the congregation. We sing it and then sing a Communion hymn. It's especially beautiful for the choir to learn the way in which music is a part of the Mass as we sing something that goes perfectly with the readings and Gospel of the day--just as the Church intends.

Interesting article from V.II. In certain parts of the world, especially mission lands, there are peoples who have their own musical traditions, and these play a great part in their religious and social life. For this reason due importance is to be attached to their music, and a suitable place is to be given to it, not only in forming their attitude toward religion, but also in adapting worship to their native genius....

Of course, don't forget this part too: The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.

And that the Council called for more editions of Chant to be put forth!

http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19631204_sacrosanctum-concilium_en.html#_ftnref42

On these grounds Gregorian Chant has always been regarded as the supreme model for sacred music, so that it is fully legitimate to lay down the following rule: the more closely a composition for church approaches in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple.

Pope Pius X, in his 1903 Motu Proprio.

a Marian Celebration

The opportunity to direct the singing for a Marian Mass offered by the Bishop of Lincoln in honor of Our Lady of Fatima. We sang Salve Regina and Ave Maria as Communion meditation--the same as are and have been sung for years at the sites of Lourdes and Fatima and throughout the Church.