The Effects of the Traditional Liturgy in Culture and Society
This thread is made to compile all the effects of the Traditional Liturgy in culture and society.

I really need this for something that I am writing at the moment, and would appreciate all of your help.

Thank you!
Well we know that much if not most of the art of the Middle Ages and Renaissance flowed from the sacred liturgies not only as inspiration but also so that they might help people contemplate God and grow in virtue. Hieronymus Bosch is a perhaps more obscure but delightful example (I mean, it's shooting fish in a barrel to come up with examples here).

I also find it very interesting that Andras Schiff, a renowned interpreter of Bach's music (among many others), noted that Bach must have sought a place of silence and peace in order to produce his prodigious musical output, something impossible if around his large family; hence he probably went often to a private work room. But Schiff continues and comments on our present society--he doesn't believe we could have another Bach today precisely because it seems almost impossible to have a person be formed with such a delicate balance of perception of nature, piety to God, and the peace required for profound music.

Of course, Bach was a Protestant, but I don't see why such an observation wouldn't also apply to the Catholic composers who wrote for the Latin Mass.
Along the same lines of richgr, this:

Quote:Yet in modern times some religious pieces may be cited of Lesueur, Wagner, Berlioz, and Cæsar Franck, and in these again we are conscious of the artist underlying his work, the artist determined to show his skill, thinking to exalt his own glory, and therefore leaving God out. We feel ourselves in the presence of superior men, but men with their weaknesses, their inseparable vanity, and even the vice of their senses. In the liturgical chant, created almost always anonymously in the depth of the cloisters, was an extraterrestrial well, without taint of sin or trace of art. It was an uprising of souls already freed from the slavery of the flesh, an explosion of elevated tenderness and pure joy, it was also the idiom of the Church, a musical gospel appealing like the Gospel itself at once to the most refined and the most humble.
Ah! the true proof of Catholicism was that art which it had founded, an art which has never been surpassed; in painting and sculpture the Early Masters, mystics in poetry and in prose, in music plain chant, in architecture the Romanesque and Gothic styles. And all this held together and blazed in one sheaf, on one and the same altar; all was reconciled in one unique cluster of thoughts: to revere, adore and serve the Dispenser, showing to Him reflected in the soul of His creature, as in a faithful mirror, the still immaculate treasure of His gifts.
Then in those marvellous Middle Ages, wherein Art, foster-child of the Church, encroached on death and advanced to the threshold of Eternity, and to God, the divine concept and the heavenly form were guessed and half-perceived, for the first and perhaps for the last time by man. They answered and echoed each other—art calling to art.


The Middle Ages have left us these [the liturgy] to help us to save, if it may be, the soul of the modern and dead fine gentleman.

Anyway, this is a hard thing to quantify, isn't it. I suppose one would have to look at the whole of Christendom, even though half-imperfect as it was.

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