One of the major pastoral opportunities facing those of us in ministry is in the area of representation. With increasingly diverse membership, even in rural and outlying communities, there isn’t a parish in existence that shouldn’t be evaluating their practice carefully. As our cultural paradigm shifts from “believing leads to belonging” to “belonging leads to believing,” our success in gathering, leading, and ministering to a community starts with whether the members of that community feel they belong in the first place.
In our last episode, Diana Macalintal challenged us to consider the issue of representation when we process and evaluate our liturgical celebrations. In particular, Diana challenged us to ask how much of our liturgical music repertoire was composed by women. In this episode, we explore that challenge more deeply through conversation with two important voices: Sarah Hart and Kate Williams. In doing so, we consider the progress that women composers have made in liturgical circles, the barriers that remain, and we ask, “what, exactly, is the feminine compositional voice”?
To join us this summer at the national convention in Baltimore, Maryland, visit the 2018 NPM convention website.
You can find out more about Sarah Hart, her compositions, and her other work by visiting her composer page at www.ocp.org and her personal website at www.sarahhart.com. Her article, "Finding the Feminine Voice: A Woman Composer in the Church," was published in the March 2018 issue of Pastoral Music.
You can read Dolly Sokol's article, "Liturgical Principles for a New Consciousness," in the NPM digital publications archive. It is found in the October-November 1987 issue of Pastoral Music.
For more information about composing and publishing liturgical music, consult the links below, arranged alphabetically (NOTE: This is an incomplete list of resources. Please contact us if you would like additional links listed).
Visit NPM's digital resource library, referenced at the end of the episode.
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