In a manner that refelcts his broad historical and musical knowledge of the Church's liturgy, Father Deiss takes us step-by-step through the Eucharistic celebration of the Mass, paying attention not only to the liturgy's repertoire of music and song but also to its participants as well: the roles of the priest, the choir, the music director, the organist, the cantor - even the singing congregation He discusses every musical aspect and offers suggestions for improvement and sound, creative ideas about what the future may hold for Christian liturgy as we enter the twenty-first century.

This volume will show how various intellectual disciplines (most found within the modern university) can learn from theology and philosophy in primarily methodological and substantitive terms. It will explore the possible ways in which current presuppositions and practices of the displine might be challenged. It will also indicate the possibilities of both a "Christian Culture" in relation to that discipline or the way in which that discipline might look within a real or theoretical Christian university.

Preparing Parish Liturgies provides historical background, synopses, and careful outlines of the Church's major liturgical books and documents. Then, with easy-to-understand language, helpful charts, and sound liturgical principles, the author arms both the veteran and the novice with practical tools for preparing parish liturgies that are both faithful to the Church's rich tradition and sensitive to the pastoral needs of their assemblies.

From Sacred Song to Ritual Music is a guide to changes in Roman Catholic worship music theory and practice in the twentieth century. Nine papal, conciliar, curial, bishops' conference, and scholars' documents treat: 1) What is Roman Catholic worship music? 2) What is its purpose? 3) What are its qualities? 4) Who sings it? 5) Who plays it?

How does the entrance song of the Mass function within the Roman Rite? What can it express theologically? What should Roman Catholics sing at the beginning of Mass? In this groundbreaking study, Jason McFarland answers these and other important questions by exploring the history and theology of the entrance song of Mass. After a careful history of the entrance song, he investigates its place in church documents. He proposes several models of the entrance song for liturgical celebration today. Finally, he offers a skillful theological analysis of the entrance song genre, focusing on the song for the Holy Thursday Evening Mass-arguably the most important entrance song of the entire liturgical year. Announcing the Feast provides the most comprehensive treatment of the Roman Rite entrance song to date. It is unique in that it bridges the disciplines of liturgical studies, musicology, and theological method.

Examining the history of altar decorations, this study of the visual liturgy grapples with many of the previous theoretical frameworks to reveal the evolution and function of these ritual objects. Using an interdisciplinary approach, this book uses traditional art-historical methodologies and media technology theory to reexamine ritual objects. Previous analysis has not considered the in-between nature of these objects as deliberate and virtual conduits to the divine. The liturgy, the altarpiece, the altar environment, relics, and their reliquaries are media. In a series of case studies, several objects tell a different story about culture and society in medieval Europe. In essence, they reveal that media and media technologies generate and modulate the individual and collective structure of feelings of sacredness among assemblages of humans and nonhumans. The book will be of interest to scholars working in art history, medieval studies, early modern studies, and architectural history.

Down in the valley, God asked the prophet Ezekiel a mighty question: 'Mortal, can these dry bones live?' (Ezekiel 37:3). Today, this question is being posed once more to those who are charged with the preparation and celebration of the Sunday liturgy--the assembly that celebrates, the ministers from within that assembly who prepare and serve, and those ordained as priests or bishops who preside. We have a come a long way since the early days of the conciliar reform of the liturgy: Assemblies respond and sing, the word is proclaimed with dignity and reverence, careful attention is given to environment and season, and all come to the communion table. Many assemblies strive to realize fully week after week the vision of the Council: that the eucharistic liturgy be seen, heard, felt, and smelt as the 'summit toward which the activity of the church is directed . . . the source from which all its power flows.' This is critical work if we are utterly convinced that 'the preeminent manifestation of the church is present in the full, active participation of all God's holy people in these liturgical celebrations.' But many still know liturgical assemblies that are but shadows of who they are called to be and celebrations are slivers of what they could be. Many stand at the brink of the valley and behold dry bones. And when we come to the eucharistic prayer, named the central prayer of the Sunday liturgy, we behold very dry bones indeed. The question is put forth: Can these dry bones live? We have come to realize that liturgy is something people do, something people live. The eucharistic prayer is more than its words: It is a way of praying and living. What lies in the ritual book must be enfleshed when we gather. We come together and breathe life into our rituals and their words. We can do this because we have first been sealed in the Spirit, the one who aids us in our weakness to pray 'that the very Spirit intercedes with sighs too deep for words' (Romans 8:26). --from Chapter 1