#072: What Music Will Young People Sing? (with the One Call Institute)

OCI participants at the end-of-week concert.

This past summer saw the second iteration of the One Call Institute for young pastoral musicians and their advocates. We are well on our way to planning next summer’s program, and we’re excited about new opportunities on the horizon. Specifically, we are pleased to offer short, local programs to train and form young people and those who work with young people in addition to our week-long summer institute.

In fact, a week ago, the first day-long One Call Institute was presented at a combined gathering of the Kansas City, Kansas and Kansans City, Missouri NPM chapters. There will also be a special pre-convention One Call experience for youth and adults this coming summer at the NPM convention in Louisville, Kentucky. If you are interested in finding out more about the One Call summer program, or about bringing One Call to your home community, you can visit the program website, onecallinstitute.org. 

One of the most common questions we get asked is, “what music appeals to young people?” To address this question, we’re sharing with you today the music of One Call. The Open Your Hymnal podcast produced a special episode that explored the variety of musical styles and genres used at the 2019 summer program. You’ll hear much of the music used at prayer, at the end-of-week concert, and at the Sunday liturgy. In exploring this repertoire, we hope you’ll come to realize that the musical tastes of young people are wide and varied, from chant to contemporary, and hymnody to praise and worship. The common threads, however, are intentionality, relevance, and authenticity.

SHOW NOTES

For more information about the One Call Institute, visit www.onecallinstitute.org.

You can learn more about the Open Your Hymnal podcast and listen to past episodes by visiting www.openyourhymnal.com.

The recording of "Now Thank We All Our God" (NUNN DANKET) was produced by Liturgical Press.

Visit NPM's digital resource library, referenced at the end of the episode. 

All content of this podcast is property of the National Association of Pastoral Musicians or its content suppliers and is protected by United States and international copyright laws. For information about the podcast and its use, please contact us.

#060: A Holy Week Companion

It’s Monday of Holy Week, and we’ve got a long road ahead of us. We all need a little more time for preparation – if not a few minutes more to rehearse, set the environment, prepare worship aids or scripts, then to prepare ourselves for the holiest days of the year. 

So, for today, I’m sharing with you an episode of the Open Your Hymnal podcast. Open Your Hymnal is an independent podcast project hosted by Zack Stachowski and by me. This episode is a special celebration of Lenten music. You’ll hear a range of great seasonal music from a variety of composers arranged around the final three Gospel readings for Lent, the “Scrutiny Gospels.” These readings are shared with us by composers Meredith Augustin, Ian Callanan, and Luke Rosen. We hope that this presentation serves as both a companion and a source of nourishment.  

Episode links

For more information on the “Open Your Hymnal” podcast, visit www.openyourhymnal.com.

You can purchase the song recordings you heard in this episode: “Parce Domine/Ubi Caritas” (arr. Jeremy Young), piano instrumental of “Lenten Suite” (Paul Tate), “Turn My Heart” (Marty Haugen), “Restless is the Heart” (Bernadette Farrell), “Lead Me, Lord” (Samuel Wesley), “Hosea” (Gregory Norbet), "piano instrumental of “Attende Domine” (Jerry Galipeau), “He Healed the Darkness of My Mind” (David Haas), “Open My Eyes” (Benedetto Marcello, arr. Dale Grotenhuis), “I Want to Walk as a Child of the Light” (Kathleen Thomerson), “Brille Tu Luz” (Stella Garcia Lopez, Rudy Lopez), quodlibet on “Were You There/Amazing Grace” (arr. Marcy Weckler Barr), piano instrumental on “Precious Lord” (Fr. Robert Koopmann, OSB), “With the Lord There is Mercy” (Val Parker), “When Jesus Wept” (William Billings), “We Shall Rise Again” (Jeremy Young), “Give Me Jesus” (arr. Meredith Augustin), and “Attende Domine” (arr. Trevor Thompson).

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All content of this podcast is property of the National Association of Pastoral Musicians or its content suppliers and is protected by United States and international copyright laws. For information about the podcast and its use, please contact us.

#059: Hymns from Yesterday for Tomorrow (ft. Dr. Don Saliers)

Dr. Don Saliers

At the end of each episode every week, I make a general ask for your suggestions of topics for future episodes. It’s been interesting to see what issues are on your minds, and I’ve done my best to incorporate the needs you’ve shared into the conversations we host. Often, the topics shared with me have to do in one way or another with repertoire development. So, today we’re going to open the repertoire conversation, but know that we’ll be picking up more repertoire-related topics in future episodes and NPM content. In fact, as coincidence would have it, the upcoming May issue of Pastoral Musicmagazine will focus on building repertoire.

So, let’s begin with hymnody. Hymns – both in reference to text and to tune – are so very important in the congregational life of the Church. Often, however, some communities think of hymns as artifacts rather than possibilities. Today we’ll challenge this assumption. To do so, we’ll hear from an article written by Dr. Don Saliers. Originally published in the April 1981 issue of Pastoral Music, Don helps break open what constitutes a “good” hymn and shares insight into the importance of hymn singing and the development of new hymns.

SHOW NOTES

For more information about Dr. Don Saliers, visit his biography page at the Candler School of Theology. You can read the full text of his article from the April 1981 issue of Pastoral Music magazine on the NPM website.

The recording of “Three Days” (THAXTED, arr. Jeffery Honore, text by MD Ridge) is published by OCP. The recordings of “Jesus, Keep Me Near the Cross” (William Howard Doane, text by Fanny Crosby) and “Jerusalem, My Destiny” (Rory Cooney) are published by GIA Publications.

Visit NPM's digital resource library, referenced at the end of the episode. 

All content of this podcast is property of the National Association of Pastoral Musicians or its content suppliers and is protected by United States and international copyright laws. For information about the podcast and its use, please contact us.