An Introduction to Gregorian Chant by Richard L. Crocker says this:

"When a solo voice intones a prayer, or a reading from Scripture, on a reciting pitch, the intonation on a single pitch can result in extreme resonance. The natural ability of the human voice to speak directly to our inner hearing is maximized with intonation and the resonance that it brings. This has a special application in Christian worship: when expressed by a strong clear solo voice, with the resonance reinforced by cathedral reverberation, this kind of intonation can penetrate the listener's heart, seeming to convey the truth of the words of doctrine.

"While a solo voice on a reciting pitch has the power to penetrate the listener's understanding, the sound of a chorus does not so much penetrate as envelop, gathering up the listener into a larger unity. The sound of the whole congregation intoning in unison is like no other musical experience. Unison singing by everyone is not just a 'symbol' of being together, it is an archebype, a primary experience of being together, one of which other experiences may be symbols.

"When psalms are sung this way in a reverberant acoustic space such as a cathedral, the reciting pitch builds up a very great resonance -- especially if the singers find the reciting pitch specific to that building, the particular pitch that resonates most strongly in it. As the sound continues minute after minute, it permeates the whole space and everyone in it. The walls reverberate, the building itself seems to reproduce the tone. Certain medieval churches have this effect to a remarkable degree, and recordings have been made that show an extreme development of the overtones produced by such resonance."


I'm interested in both his description of a performance technique and a primal experience of unity. We experienced the unity at Holy Trinity, where, during Ordinary Time, we chanted the Gloria "a capella" for over a year. We used that simple setting from John Lee's "Congregational Mass" (c) 1970, GIA. #254 in Gather Comprehensive. I wonder if they're still doing it? After I got out of their way, the microphone-hungry Karoke elitists came out in force again, (at least that's what I hear, and I don't ask).

St. Joseph Proto-Cathedral in Bardstown is now working on installing a very expensive sound system that counteracts the reverberation of the church to accommodate the modern Catholic mass. (Several speakers in each pew, and that IS what you need to sing the "Catholic Pop" style effectively in the older churches. I can't knock it too much. I'm an expert at "Catholic Pop" music) I hope that my exploring chant with the St. Joe choirs can help us all understand that the characteristics of that building are not just a disadvantage. I also hope somebody sees the need to put a switch convenient to the choir loft that lets the system be turned OFF.

Back to Crocker, I'm especially interested in that primal communication, that primal experience of unity that he described so well above.

The meanings of the Latin chant are stored in something that predates and is foundational to our Western languages. We probably still have the keys to unlock them, in areas of our cognition that are largely unrecognized, except what is exploited by mass-media advertising. I have no doubt that advertising keys in on the same space. The difference is the message.

I've always wondered to what extent the great prehistoric cave paintings are also associated with reveberant acoustic space.

I just ordered
Primer of Ecclesiastical Latin and Dictionary of Ecclesiastical Latin

Maybe I should talk to Barry and Judy (ArchLou Office of Worship) and tell them that I'd like to work with a parish develop a simple mass (Sunday, weekday) that is characterized by vocal music--Gregorian Chant and familiar songs. Just a phone call. Why not make it?