Giving brief, essential information on some 700 works, this guide illustrates the scope of Mass and Requiem compositions of the United States from the early nineteenth century to the present day.

The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers’ gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

American Requiem offers a penetrating expose of the corruption, lying, cheating and self-dealing that pervades our government at all levels. The text presents a collection of essays chronicling the disastrous actions of Obama, the treasonous attempts to destroy Trump and the demonstrably stupid, but intentionally destructive policies of the Biden Administration, leading to socialism and catastrophe. A must read for all concerned Americans.

National Book Award winner: This story of a family torn apart by the Vietnam era is “a magnificent portrayal of two noble men who broke each other’s hearts” (Booklist). James Carroll grew up in a Catholic family that seemed blessed. His father, who had once dreamed of becoming a priest, instead began a career in J. Edgar Hoover’s FBI, rising through the ranks and eventually becoming one of the most powerful men in the Pentagon, the founder of the Defense Intelligence Agency. Young Jim lived a privileged life, dating the daughter of a vice president and meeting the pope—all in the shadow of nuclear war, waiting for the red telephone to ring in his parents’ house. James fulfilled the goal his father had abandoned, becoming a priest himself. His feelings toward his father leaned toward worship as well—until the tumult of the 1960s came between them. Their disagreements, over Martin Luther King, Jr. and the civil rights movement; turmoil in the Church; and finally, Vietnam—where the elder Carroll chose targets for US bombs—began to outweigh the bond between them. While one of James’s brothers fled to Canada, another was in law enforcement ferreting out draft dodgers. James, meanwhile, served as a chaplain at Boston University, protesting the war in the streets but ducking news cameras to avoid discovery. Their relationship would never be the same again. Only after Carroll left the priesthood to become a writer, and a husband with children of his own, did he begin to understand fully the struggles his father had faced. In An American Requiem, the New York Times bestselling author of Constantine’s Sword and Christ Actually offers a benediction, in “a moving memoir of the effect of the Vietnam War on his family that is at once personal and the story of a generation . . . at once heartbreaking and heroic, this is autobiography at its best” (Publishers Weekly).

Since the transformative 1960s, concert masses have incorporated a range of political and religious views that mirror their socio-cultural context. Those of the long 1960s (c1958-1975) reflect non-conformism and social activism; those of the 1980s, environmentalism; those of the 1990s, universalism; and those of the 2000s, cultural pluralism. Despite utilizing a format with its roots in the Roman Catholic liturgy, many of these politicized concert masses also reflect the increasing religious diversification of Western societies. By introducing non-Catholic and often non-Christian beliefs into masses that also remain respectful of Christian tradition, composers in the later twentieth century have employed the genre to promote a conciliatory way of being that promotes the value of heterogeneity and reinforces the need to protect the diversity of musics, species and spiritualities that enrich life. In combining the political with the religious, the case studies presented pose challenges for both supporters and detractors of the secularization paradigm. Overarchingly, they demonstrate that any binary division that separates life into either the religious or the secular and promotes one over the other denies the complexity of lived experience and constitutes a diminution of what it is to be human.