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The busy person's guide to relaxation
We all know how debilitating stress can be when we're living through a big bad day. And it doesn't just stop when the day (finally) ends: The corrosive hormones sent coursing through the blood during repeated bouts of aggravation can, over years without anxiety and stress management, raise your risk of heart disease, obesity, and depression. Plus, research shows that stress triggers damage at the cellular level. In other words, those anxiety-soaked experiences derail not only your day but your body, too.
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To help you get through these dark days with less wear and tear, we consulted the best-known stress management experts in the United States. Drawing on their own bad experiences, they talked about everything from minor annoyances to life-altering losses, revealing how they coped, what they learned, and the lessons for all of us.
7. Get back to the basics
"There's stress that's just uncomfortable, and there's stress that creates anxiety about your future, your well-being, and your stability," says Barbara De Angelis. "This story begins on 9/11, but it's not a 9/11 story. It's about the impact that day had on my career. I had spent two years on a book, What Women Want Men to Know, and a PBS special. They were the most important projects I'd ever undertaken.
"On September 11, I was in Nashville, three days into a tour for my book. I wept for days in that hotel—for everybody, for the state of humanity. It was only later that I realized my entire tour had vanished and the TV special would go unnoticed. I knew I'd pay a severe price for these projects that had gone down."
Her stress, she says, grew from fear of the unknown, not knowing what to do, and tremendous isolation. She finally got a flight home to Santa Barbara, CA, six days later, but her boyfriend, who was coming to live near her during a year's sabbatical from his teaching job in Rochester, NY, had no car and couldn't get a flight. In that moment, she decided to drive across the country and pick him up. "It wasn't logical. I was exhausted, and I have night blindness." But she knew she had to do it. "I drove 15 hours a day, because the only thing that mattered was being with the person I love.
"I didn't even listen to the radio; it was like meditation. I thought about what I was grateful for, what really mattered."
After De Angelis picked up her boyfriend, they began driving back. "On the way, we stopped at the Grand Canyon, which I'd never seen. As we stood there, the canyon gave off this sense of timelessness; it has endured so much—world wars, other disasters on the planet. There it was, silent, the wind moving through the trees, the animals, the rocks stubbornly in place. Unchanging. It was like a shrine. It was the best thing I could have done for myself, but I never would have chosen it consciously or logically."
The drive gave her more than she could have imagined. "It was a recommitment to love—not to my career, not to money, not to notoriety. In the most stressful time, what was my core value? It was love." The experience led her to the subject for her new book, and the heart of her advice:
Don't expect to dodge calamity. "We baby boomers were taught that if we did everything perfectly, we would get what we wanted. Our grandparents and parents were much better equipped for stress because they lived through wars and the Depression. We expect that if we do A, B, and C, we will get what we want, and we're shocked when we don't."
When the unexpected hits, get back to basics. "You have to remember what really counts in your life. For me it was love, and I drove cross-country for it."
Barbara De Angelis, PhD, is a writer and motivational speaker whose books on relationships, personal growth, and finding meaning in life have sold more than 8 million copies. Her most recent title is How Did I Get Here? Finding Your Way to Renewed Hope and Happiness When Life and Love Take Unexpected Turns.
More from Prevention: How Self-Compassion Can Heal You
Coping with Anxiety and Stress: Get Back to the Basics
coping, anxiety, stress, basics, health, emotions
get back to basicsTags: stressCopyright © 2017 Rodale Inc.
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Berries and Cream Cones
Be the first to review
READY IN: 30mins
Recipe by my3beachbabes
From the June/July 07 issue of Rachel Ray's magazine. Keeping it here for safe keeping.
See Discussion:
Ingredients Nutrition
- 1 cup sour cream
- 4 tablespoons sugar
- 1 lemon, juice and rind of, grated
- 1⁄4 lb fresh cherries, halved, plus
- 10 whole fresh cherries, for garnishing
- 1 pint blackberries or 1 pint blueberries or 1 pint raspberries
- 6 ounces milk chocolate or 6 ounces dark chocolate
- 20 sugar ice cream cones
Directions See How It's Made
- In a small bowl, combine the sour cream, 3 tablespoons sugar, 1 teaspoon lemon juice and the lemon peel. Mix well and refrigerate.
- In a medium bowl, toss the halved cherries and mixed berries with the remaining 1 tablespoon sugar and 1 to 2 teaspoons lemon juice. Refrigerate.
- Break the chocolate into small pieces and place in a microwaveable bowl. Microwave on high, 20 to 30 seconds at a time, until the chocolate just starts to melt. Stir until smooth. Using a pastry brush, paint the inside of the cones with the melted chocolate. Place on a parchment lined baking sheet and refrigerate until the chocolate hardens about 15 minutes.
- To serve, stand the sugar cones in narrow glasses. Place a dollop of the sour cream mixture in each cone, then fill with mixed berries. Top with another dollop of sour cream and garnish with a whole cherry.


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Download Awesome Weather apk 2.0.3 free for Android smartphone
Posted by Genius Cloud Apps in Weather | Oct. 9, 2014 | 1 Comments
Apk file size: 2.4 MB
Awesome Weather with iOS 7 UI Inspiration will provide you with current weather conditions and forecast in your city and multiple locations all around the world.
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- Atmospheric pressure with different units
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- Current condition, temperature and low and high temperatures
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★ More Advanced Features
- Probability of precipitation forecast
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- Multiple cities feature is perfect for a trip plan
- 24-hour & 7-day detailed weather forecast
- Animated Flat iOS 7 UI
- Swipe left for Delete option
- Exit completely with one click
How to add a place or city on Awesome Weather?
Awesome Weather > Add > Search > your city > Temperature Unit
Please help to improve this application. I appreciate your feedback by email or in the comments below.
For questions, comments or suggestions, please email us at [email protected]
Learn more about Awesome Weather by visiting our website: https://www.geniuscloud.us/portfolio
Keywords : world, weather, forecast, clock, date, rain, humidity, wind, awesome weather
Whats new
Fixed Fluid Adaptive and Responsive Tablets and Mobiles
Performance and stability improvements
Bug fixes
Genius Cloud Apps part of our Weather and have average installs from 100 to 500. Last Update Oct. 9, 2014. Google play rating is 50.0. Current verison is 2.0.3. Actual size 2.4 MB.
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1 Comments
Wim Van Der Donk
Would not download propperly no good


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I am a Manchester United fan!!!!!
I have lived close to and worked at Old Trafford (albeit selling pastries and drinks on match-days) and has experienced what the club means to its fans, the immediate community and the world at large....and as a HR person, it resonates strongly with me how organisations can and do get it really really bad when it comes to succession planning. The experience of football managers is not particularly a good reference point when discussing leadership and succession planning considering that the industry has a reputation for hiring and firing for very fickle reasons but I believe there is a lesson to be learnt from how things have transpired at this powerhouse of English and global football.
My love and recently painful affair with the Red devils started 18 years ago during the Ferguson era and the feeling of winning and success was a very prominent part of being a United fan. Since his retirement in 2013, the club has had 3 managers. That's 3 in 3 years compared to 26 previous years with one manager. This was obviously new territory for Manchester United FC
………………..With Alex Ferguson spending 26 years, you would assume as well that he had a very long time to figure out who would succeed him and when it will happen. In fact, he could afford to give birth to a successor and start training him from birth to one day eventually replace him. So what then happened?
Manchester United had just won the premiership for a record 20th time. We will never know how long it took for David Moyes his "carefully chosen" successor to be hired, but it was announced a day after the 2012/2013 season came to an end. Moyes had been in management for 15 years, without a trophy to his name, yet was appointed to lead a club that had experienced nothing but success for over two decades. Suffice to say it went horribly wrong as he signed a six year contract and ended up spending ten months with terrible results and uninventive football recurrent themes of his brief tenure.
Louis van Gaal replaced him after a relatively successful 2014 world cup guiding the Netherlands to 3rd place. He spent two largely uneventful seasons and left with scant respect and recognition for winning the English FA cup in his last game as manager of Manchester United. Poor talent management and an insistence on repetitive drills and conformity to a rigid system stifled creativity and self-expression from his players.
Jose Mourinho was announced in May 2016 as Manchester United manager just days after the FA cup victory against Crystal Palace. He had managed at the top level of European football for over a decade and in that time had won league titles and cups in four countries (Portugal, England, Italy and Spain), as well as winning the UEFA Champions League twice – in 2004 with FC Porto and in 2010 with Inter Milan.
He however had been very interested in the job in 2013 and for many supporters, Ferguson's retirement seemed like the perfect opportunity to snap up the "Special One", considering he was due to part ways with Real Madrid that summer. How it then happened that Moyes became manager remains as much a mystery as the Bermuda Triangle. He has since his appointment assembled the most expensive squad in history but has flattered to impress, with key signings not having the desired impact and results largely disappointing.
Succession in succession planning means so much and is as clear as can be in terms of the impact it is expected to have. An organisation is in existence and as such has experienced success. For that success to continue, the organisation decides in its present to plan for the future to be able to meet long term objectives and add value to all that is a part of its existence. When organisations fail to prepare for when senior or key individuals leave, they essentially jeopardize their future and continued existence, exposing themselves to a multitude of risks.
The situation at Manchester United is a classic example demonstrating that myopic, short term replacements are often times, counter-productive. Short-term performance will suffer and there could be longer-term consequences, such as damage to culture, reputation, staff morale, financial and non-financial performance, as well as governance.
So what must organisations do to ensure that "success" continues as a formal and well thought through process???
Make sure your business is not exposed if a key person decides to move on - Organisations fail to adequately plan for senior or key individuals leaving. They incorrectly assume that they will be around forever or and are then left scratching their heads when those key individuals leave, and they need to quickly scramble to appoint a suitable replacement.
Your succession plan must be a living breathing process rather than a classy document gathering e-dust in some storage system - Companies that view succession planning as a one-time effort with deliverables that consists of nothing more than a framework with fancy diagrams and projections will be disappointed with the results they getting after investing time, energy and resources to the process
Plan for people to grow and develop from within - Companies that are successful at succession planning typically view it as a development process rather than a replacement process. When critical openings occur, they are filled with skilled, experienced internal candidates that have been exposed to the proper training and career development opportunities that guarantee continuity.
Succession planning is not a stand-alone process. It must align with other talent management practices - Job profiling, performance management, compensation, learning and development, reward and recognition are very important activities that must be carefully designed and implemented to ensure that human capital is developed and maximized.
It is my fervent hope and prayer that Jose Mourinho succeeds and restores Manchester United to the glory days, but it is clear that Succession Planning based on foundation principles in Strategic Human Resource Management results in sustainability and the continued success and relevance of corporate organisations!!!!!
Written by Oludare Sobajo
Other posts by House of Shield
House of Shield


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NFL Blitz 2000
a game by Midway
Platform: Nintendo 64
See also: Football Games, NFL Games, NFL Games
N64 fans can look forward to the latest version of Midway's Blitz to hit their system this September. Some new tweaks include the wind now affecting the ball (in passing, punting, etc.), and the ability to map a receiver directly to a button on the controller. If you want to pass to that receiver, you hold down the blitz pass button and the receiver button and the pass is made. The graphics will get a boost too.
Similar Games
No refs. No rules. No mercy! NFL Blitz is back as this year's exclusive 7-on-7 extreme-style football game with all the NFL teams, players and new hard-line features like... All-New Mini-Game Mode: Improve your skills and become a master of the controls. Exciting New Look: Awesome and outrageous animations and celebrations. New Killer Audio: Impressive sound FX, voice-overs and music. New Player Artificial Intelligence (AI): Easy to have fun, challenging to master. New stadiums, expanded play books, and updated rosters.
The speed and power of NFL football! Faster moves and breakaway speed for bigger plays. Body slams and collisions, drag-downs and de-cleaters, explosive sticking and crunching gang tackles. Ultra-fast blur moves, helmet-popping hits, more scoring, special animations, and in-your-face commentary. Multiplayer Franchise mode, authentic stadium atmosphere, Hot Routes, Madden Challenge and more!
The undisputed king of football returns... Experience the new Career Mode - bring youngsters through the ranks to create individual star players. Smoother animations and gameplay. ISS 2000 is the choice of champions - nothing gets as close to the beautiful game.
NFL Blitz 2000 DownloadsNFL Blitz 2000 download
People say:
If you're into "hardcore" football games. Blitz 2000 is your only choice (sorry NFL Xtreme 2). It's taken a year but Midway has produced a nearly arcade perfect version of Blitz '99. If you haven't overdosed on the arcade version (like we have) you'll want to check out the improvements over the original console Blitz. First and foremost, four-player is operational but a bit slow. That's the biggie, most of the other changes are small but they bring the game up to Blitz '99 standards. On fire mode, five new stadiums, snow and rain effects, 10 new secret heads and so on. In general, all the stuff you'll find in Blitz '99 at the arcade plus a bit more. The gameplay is essentially the same if not a bit smarter due to a beefed-up Al. The fields, stadiums and players have more texture as well. New animation amounts to endzone dances (they look really weird) and taunts. On-field moves are about the same except for helmet popping'. Rosters are updated along with the addition of the Browns and Titans. Beyond that stuff, a mess of new plays and a more comprehensive play editor are in place. In the end. if you already own Blitz, and you're not a huge fan, pass on this one. Outside of the four-player mode, the other improvements are nice but not tremendously important. If you are a fan, or you don't own Blitz, go buy Blitz 2000.
Graphically, Blitz on the N64 isn't as blocky as the PlayStation version, but it suffers from one major flaw-slowdown. Bad thing about that is when there's slowdown it gives your opponent more time to determine who you've just passed to. Other than that, both home versions have the same enhancements. Perhaps the slowdown problems could've been helped by RAM Pak support, but even with the slowdown, this is a good version of Blitz.
If you don't mind that this is only a minor upgrade over Blitz '99 (which only came out in arcades), but can appreciate that it is a major jump over the first NFL Blitz for N64, then by good golly, this cart is for you. The animation runs very smooth, except when it's broken up by the occasional heavy slowdown in thick traffic. The four-player mode, the ability to catch on fire and the new plays make this one of the best party games for the system.
You just can't go wrong with Blitz. Everything in the game just makes a lot of sense -from the play-selection screens to the gameplay itself to the various play modes. The Al opponents in the one-player mode put up a good fight, two-player battles are a blast and the newly added four-player mode is simply outstanding. It's just a fun game. In fact, the only gripe I have is the slowdown the game experiences when a lot is going on on the field.


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Timepiece make more sense to real men that understands fashion and how complementing wrist watches are for attires. Some people prefer luxury timepiece while some search for affordable piece with the best engine to tell time accurately. Whether you can make up to luxury watches of about $5000 to $10000 or not you can still get the best watch for your next business day. Most luxury timepiece owners seldom wear them that is why when planning for luxury watches remember your need. Today we want to share with you how you can look expensive with an affordable wrist watch.
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Adoremus, Society for the Renewal of the Sacred Liturgy
De musica sacra et sacra liturgia
Instruction on Sacred Music and Sacred Liturgy
Sacred Congregation for Rites – September 3, 1958
In our time the Supreme Pontiffs have issued three important documents on the subject of sacred music: the Motu proprio Inter sollicitudines of Saint Pius X, Nov. 22, 1903; the Apostolic constitution Divini cultus of Pius XI of happy memory, Dec. 20, 1928; and the encyclical Musicæ sacræ disciplina of the happily reigning Supreme Pontiff Pius XII, Dec. 25, 1955. Other papal documents have also been issued, along with decrees of the Sacred Congregation of Rites in regard to sacred music.
As everyone realizes, sacred music and sacred liturgy are so naturally inter- woven that laws cannot be made for the one without affecting the other. Indeed in the papal documents, and the decrees of the Sacred Congregation of Rites we find materials common to both sacred music, and sacred liturgy.
Before his encyclical on sacred music, the Supreme Pontiff, Pius XII, issued another encyclical on the sacred liturgy, Mediator Dei (November 20, 1947), which very clearly explains, and demonstrates the relation between liturgical doctrine, and pastoral needs. It has therefore been considered appropriate to put together from the above documents a special instruction containing all the main points on sacred liturgy, sacred music, and the pastoral advantages of both. In this way their directives may be more easily, and securely put into practice.
It is for this purpose that the present instruction has been prepared. Experts in sacred music, and the Pontifical Commission for the General Restoration of the Liturgy have given advice and assistance.
The organization of this instruction is as follows:
Chapter I: General Concepts (no. 1-10).
Chapter II: General Norms (no. 11-21).
Chapter III: -1. Principal liturgical functions in which sacred music is used.
Special Norms (no. 11-21).
Chapter III -2. Kinds of Sacred Music.
Chapter III-3. Books of Liturgical Chant.
Chapter III-4. Musical instruments and bells.
Chapter III-5. Persons having principal functions in sacred music and the sacred liturgy
Chapter III-6. Duty to cultivate sacred music and sacred liturgy.
1. Principal liturgical functions in which sacred music is used.
A. Mass.
a. General principles regarding the participation of the faithful (no. 22-23).
b. Participation of the faithful in sung Mass (no. 24-27).
c. Participation of the faithful in low Mass (no. 28-34).
d. Conventual Mass, or the Mass in choir (no. 35-37).
e. Assistance of priests in the Holy Sacrifice of the Mass, and so-called "synchronized" Masses (no. 38-39).
B. Divine Office (no. 40-46).
C. Benediction of the Blessed Sacrament (no. 47).
2. Kinds of sacred music.
A. Sacred polyphony (no. 48-49).
B. Modern sacred music (no. 50).
C. Hymns (no. 51-53).
D. Religious music (no. 54-55).
3. Books of liturgical chant (no. 56-59).
4. Musical instruments and bells.
A. General principles (no. 60).
B. Classic organ, and similar instruments (no. 61-67).
C. Sacred instrumental music (no. 68-69).
D. Musical instruments, and mechanical devices (no. 70-73).
E. Broadcasting, and television of sacred functions (no. 74-79).
F. Times when the playing of musical instruments is forbidden (no. 80-85).
G. Bells (no. 86-92).
5. Persons having principal functions in sacred music and the sacred liturgy (no. 93-103).
6. Duty to cultivate sacred music and sacred liturgy.
A. Training of the clergy, and people (no. 104-112).
B. Public, and private schools of sacred music (no. 113-118).
Chapter I explains a few general concepts; chapter II then takes up the general norms for the use of sacred music in the liturgy. With this background chapter III presents the entire subject of sacred music, and sacred liturgy in detail. Each section establishes its own general principles, and then applies them to particular cases.
1. "The sacred liturgy comprises the entire public worship of the Mystical Body of Jesus Christ, Head and members" (Mediator Dei, Nov. 20, 1947: AAS 39 [1947] 528-529). "Liturgical ceremonies" are sacred rites instituted by Jesus Christ or the Church; they are carried out by persons lawfully appointed, and according to the prescriptions of liturgical books approved by the Holy See; their purpose is to give due worship to God, the Saints, and the Blessed (cf. canon 1256). Any other services, whether performed inside or outside the church, are called "private devotions", even though a priest is present or conducts them.
2. The holy sacrifice of the Mass is an act of worship offered to God in the name of Christ and the Church; of its nature, it is public, regardless of the place or manner of its celebration. Thus, the term "private Mass" should never be used.
3. There are two kinds of Masses: the sung Mass ("Missa in cantu"), and the read Mass ("Missa lecta"), commonly called low Mass.
There are two kinds of sung Mass: one called a solemn Mass if it is celebrated with the assistance of other ministers, a deacon and a sub-deacon; the other called a high Mass if there is only the priest celebrant who sings all the parts proper to the sacred ministers.
4. "Sacred music" includes the following: a) Gregorian chant; b) sacred polyphony; c) modern sacred music; d) sacred organ music; e) hymns; and f) religious music.
5. Gregorian chant, which is used in liturgical ceremonies, is the sacred music proper to the Roman Church; it is to be found in the liturgical books approved by the Holy See. This music has been reverently, and faithfully fostered, and developed from most ancient, and venerable traditions; and even in recent times new chants have been composed in the style of this tradition. This style of music has no need of organ or other instrumental accompaniment.
6. Sacred polyphony is measured music which arose from the tradition of Gregorian chant. It is choral music written in many voice-parts, and sung without instrumental accompaniment. It began to flourish in the Latin Church in the Middle Ages, and reached its height in the art of Giovanni Pierluigi Palestrina (1524-1594) in the latter half of the sixteenth century; distinguished musicians of our time still cultivate this art.
7. Modern sacred music is likewise sung in many voice-parts, but at times with instrumental accompaniment. Its composition is of more recent date, and in a more advanced style, developed from the previous centuries. When this music is composed specifically for liturgical use it must be animated by a spirit of devotion, and piety; only on this condition can it be admitted as suitable accompaniment for these services.
8. Sacred music for organ is music composed for the organ alone. Ever since the pipe organ came into use this music has been widely cultivated by famous masters of the art. If such music complies with the laws for sacred music, it is an important contribution to the beauty of the sacred liturgy.
9. Hymns are songs which spontaneously arise from the religious impulses with which mankind has been endowed by its Creator. Thus they are universally sung among all peoples.
This music had a fine effect on the lives of the faithful, imbuing both their private, and social lives with a true Christian spirit (cf. Eph 5:18-20; Col 3:16). It was encouraged from the earliest times, and in our day it is still to be recommended for fostering the piety of the faithful, and enhancing their private devotions. Even such music can, at times, be admitted to liturgical ceremonies (This music had a fine effect on the lives of the faithful, imbuing both their private, and social lives with a true Christian spirit (cf. Eph 5:18-20; Col 3:16). It was encouraged from the earliest times, and in our day it is still to be recommended for fostering the piety of the faithful, and enhancing their private devotions. Even such music can, at times, be admitted to liturgical ceremonies (Musicæ sacræ disciplina, Dec. 25, 1955; AAS 48 [1956] 13-14)., Dec. 25, 1955; AAS 48 [1956] 13-14).
10. Religious music is any music which, either by the intention of the composer or by the subject or purpose of the composition, serves to arouse devotion, and religious sentiments. Such music "is an effective aid to religion" (Musicæ sacræ disciplina, idem.). But since it was not intended for divine worship, and was composed in a free style, it is not to be used during liturgical ceremonies.
11. This instruction is binding on all rites of the Latin Church. Thus, what is said of Gregorian chant applies to all the chants which are used in other Latin rites.
Sacred music is to be taken generally in this instruction as embracing both vocal and instrumental music. But at times it will be limited to instrumental music only, as will be clear from the context.
A church ordinarily means any sacred place; this includes a church in the strict sense, as well as public, semipublic, and private oratories; again the context itself may restrict the meaning to a church in the strict sense.
12. Liturgical ceremonies are to be carried out as indicated in the liturgical books approved by the Holy See; this applies to the universal Church, to particular churches, and to religious communities (cf. canon 1257). Private devotions, however, may be conducted according to local or community customs if they have been approved by competent ecclesiastical authority (cf. canon 1259).
Liturgical ceremonies, and private devotions are not to be mixed; but if the situation allows, such devotions may either precede or follow a liturgical ceremony.
13.a) Latin is the language of liturgical ceremonies; however, the liturgical books mentioned above, if they have been approved for general use or for a particular place or community, may make use of another language for certain liturgical ceremonies, and in such cases, this will be explicitly stated. Any exceptions to the general rule of Latin will be mentioned later in this Instruction.
b) Special permission is needed for the use of the vernacular which is a word-for-word translation in the celebration of sung liturgical ceremonies (Motu proprio Inter sollicitudines AAS 36 [1903-1904] 334; Decr. auth. S.R.C. 4121).
c) Individual exceptions to the exclusive use of Latin in liturgical ceremonies which have already been granted by the Holy See still remain in effect. These permissions are not to be modified in their meaning nor extended to other regions without authorization from the Holy See.
d) In private devotions any language more suited to the faithful may be used.
14. a) In sung Masses only Latin is to be used. This applies not only to the celebrant, and his ministers, but also to the choir or congregation.
"However, popular vernacular hymns may be sung at the solemn Eucharistic Sacrifice (sung Masses), after the liturgical texts have been sung in Latin, in those places where such a centenary or immemorial custom has obtained. Local ordinaries may permit the continuation of this custom 'if they judge that it cannot prudently be discontinued because of the circumstances of the locality or the people' (cf. canon 5)" (Musicæ sacræ disciplina: AAS 48 [1956] 16-17).
b) At low Mass the faithful who participate directly in the liturgical ceremonies with the celebrant by reciting aloud the parts of the Mass which belong to them must, along with the priest and his server, use Latin exclusively.
But if, in addition to this direct participation in the liturgy, the faithful wish to add some prayers or popular hymns, according to local custom, these may be recited or sung in the vernacular.
c) It is strictly forbidden for the faithful in unison or for a commentator to recite aloud with the priest the parts of the Proper, Ordinary, and canon of the Mass. This prohibition extends to both Latin, and a vernacular word-for-word translation. Exceptions will be enumerated in paragraph 31.However, it is desirable that a lector read the Epistle and Gospel in the vernacular for the benefit of the faithful at low Masses on Sundays and feast days. Between the Consecration, and the Pater noster a holy silence is fitting.
Sacred Processions
15. In sacred processions conducted according to the liturgical books, only the language prescribed or permitted by these books should be used. In other processions, held as private devotions, the language more suited to the faithful may be used.
16. Gregorian chant is the music characteristic of the Roman Church. Therefore, its use is not only permitted, but encouraged at all liturgical ceremonies above all other styles of music, unless circumstances demand otherwise. From this it follows that:
a) The language of Gregorian chant, because of its character as liturgical music, must be exclusively Latin.
b) The priest and his ministers must use only the Gregorian melodies given in the standard editions when they sing their parts according to the rubrics of the liturgical ceremonies. Any sort of instrumental accompaniment is forbidden.
This is binding also on choir, and congregation when they answer the chants of the priest or his ministers according to the rubrics.
c) Finally, if a particular indult has been granted for the priest, deacon, subdeacon, or lector to read solemnly the Epistle, Lesson, or Gospel in the vernacular after they have been chanted in their Gregorian melodies, they must be read in a loud and clear voice, without any attempt to imitate the Gregorian melodies (cf. no. 96e).
17. When the choir is capable of singing it, sacred polyphony may be used in all liturgical ceremonies. This type of sacred music is specially appropriate for ceremonies celebrated with greater splendor, and solemnity.
18. Modern sacred music may also be used in all liturgical ceremonies if it conforms to the dignity, solemnity, and sacredness of the service, and if there is a choir capable of rendering it artistically.
19. Hymns may be freely used in private devotions. But in liturgical ceremonies the principles laid down in paragraphs 13-15 should be strictly observed.
20. Religious music should be entirely excluded from all liturgical functions; however, such music may be used in private devotions. With regard to concerts in church, the principles stated below in paragraphs 54, and 55 are to be observed.
The Sacred Text
21. Everything which the liturgical books prescribe to be sung, either by the priest and his ministers, or by the choir or congregation, forms an integral part of the sacred liturgy. Therefore:
a) It is strictly forbidden to change in any way the sung text, to alter or omit words, or to introduce inappropriate repetitions. This applies also to compositions of sacred polyphony, and modern sacred music: each word should be clearly, and distinctly audible.
b) It is explicitly forbidden to omit either the whole or a part of any liturgical text unless the rubrics provide for such a change.
c) But if for some reason a choir cannot sing one or another liturgical text according to the music printed in the liturgical books, the only permissible substitution is this: that it be sung either recto tono, i.e., on a straight tone, or set to one of the psalm tones. Organ accompaniment may be used. Typical reasons for permitting such a change are an insufficient number of singers, or their lack of musical training, or even, at times, the length of a particular rite or chant.
Chapter III-1. Principal liturgical functions in which sacred music is used.
A. Mass
a. General principles regarding the participation of the faithful:
22. By its very nature, the Mass requires that all present take part in it, each having a particular function.
a) Interior participation is the most important; this consists in paying devout attention, and in lifting up the heart to God in prayer. In this way the faithful "are intimately joined with their High Priest…and together with Him, and through Him offer (the Sacrifice), making themselves one with Him" (Mediator Dei, Nov. 20, 1947: AAS 39 [1947] 552).
b) The participation of the congregation becomes more complete, however, when, in addition to this interior disposition, exterior participation is manifested by external acts, such as bodily position (kneeling, standing, sitting), ceremonial signs, and especially responses, prayers, and singing.
The Supreme Pontiff Pius XII, in his encyclical on the sacred liturgy, Mediator Dei, recommended this form of participation:
"Those who are working for the exterior participation of the congregation in the sacred ceremonies are to be warmly commended. This can be accomplished in more than one way. The congregation may answer the words of the priest, as prescribed by the rubrics, or sing hymns appropriate to the different parts of the Mass, or do both. Also, at solemn ceremonies, they may alternate in singing the liturgical chant (AAS 39 [1947] 560)".
When the papal documents treat of "active participation" they are speaking of this general participation (Mediator Dei: AAS 39 [1947] 530-537), of which the outstanding example is the priest, and his ministers who serve at the altar with the proper interior dispositions, and carefully observe the rubrics, and ceremonies.
c) Active participation is perfect when "sacramental" participation is included. In this way "the people receive the Holy Eucharist not only by spiritual desire, but also sacramentally, and thus obtain greater benefit from this most holy Sacrifice". (Council of Trent, Sess. 22, ch. 6; cf. also Mediator Dei: AAS 39 [1947] 565: "It is most appropriate, as the liturgy itself prescribes, for the people to come to holy Communion after the priest has received at the altar".)
d) Since adequate instruction is necessary before the faithful can intelligently, and actively participate in the mass, it will help to note here a very wise law enacted by the Council of Trent: "This holy Council orders that pastors, and all those who are entrusted with the care of souls shall frequently give a commentary on one of the texts used at Mass, either personally or through others, and, in addition, explain some aspect of the mystery of this holy Sacrifice; this should be done especially on Sundays, and feast days in the sermon which follows the Gospel (or "when the people are being instructed in the catechism)" (Council of Trent, Sess. 22, ch. 8; Musicæ sacræ disciplina: AAS 48 [1956] 17).
More Perfect Worship
23. The primary end of general participation is the more perfect worship of God, and the edification of the faithful. Thus the various means of congregational participation should be so controlled that there is no danger of abuse, and this end is effectively achieved.
b. Participation of the faithful in sung Mass.
24. The more noble form of the Eucharistic celebration is the solemn Mass because in it the solemnities of ceremonies, ministers, and sacred music all combine to express the magnificence of the divine mysteries, and to impress upon the minds of the faithful the devotion with which they should contemplate them. Therefore, we must strive that the faithful have the respect due to this form of worship by properly participating in it in the ways described below.
25. In solemn Mass there are three degrees of the participation of the faithful:
a) First, the congregation can sing the liturgical responses. These are: Amen; Et cum spiritu tuo; Gloria tibi, Domine; Habemus ad Dominum; Dignum et justum est; Sed libera nos a malo; Deo gratias. Every effort must be made that the faithful of the entire world learn to sing these responses.
b) Secondly, the congregation can sing the parts of the Ordinary of the Mass: Kyrie, eleison; Gloria in excelsis Deo; Credo; Sanctus-Benedictus; Agnus Dei. Every effort must be made that the faithful learn to sing these parts, particularly according to the simpler Gregorian melodies. But if they are unable to sing all these parts, there is no reason why they cannot sing the easier ones: Kyrie, eleison; Sanctus-Benedictus; Agnus Dei; the choir, then, can sing the Gloria, and Credo.
Recommended Chants
In connection with this, the following Gregorian melodies, because of their simplicity, should be learned by the faithful throughout the world: the Kyrie, eleison; Sanctus-Benedictus; Agnus Dei of Mass XVI from the Roman Gradual; the Gloria in excelsis Deo, and Ite, missa est-Deo gratias of Mass XV; and either Credo I or Credo III. In this way it will be possible to achieve that most highly desirable goal of having the Christian faithful throughout the world manifest their common faith by active participation in the holy Sacrifice of the Mass, and by common and joyful song (Musicæ sacræ disciplina: AAS 48 [1956] 16).
c) Thirdly, if those present are well trained in Gregorian chant, they can sing the parts of the Proper of the Mass. This form of participation should be carried out particularly in religious congregations and seminaries.
26. High Mass, too, has its special place, even though it lacks the sacred ministers, and the full magnificence of the ceremonies of solemn Mass, for it is nonetheless enriched with the beauty of chant, and sacred music.
It is desirable that on Sundays, and feast days the parish or principal Mass be a sung Mass.
What has been said above in paragraph 25 about the participation of the faithful in Solemn High Mass also applies to the High Mass.
27. Also note the following points with regard to the sung Mass:
a) If the priest and his ministers go in procession by a long aisle, it would be permissible for the choir, after the singing of the Introit antiphon, and its psalm verse, to continue singing additional verses of the same psalm. The antiphon itself may be repeated after each verse or after every other verse; when the celebrant has reached the altar, the psalm ceases, and the Gloria Patri is sung, and finally the antiphon is repeated to conclude the Introit procession.
b) After the Offertory antiphon is sung, it is also allowed to sing the ancient Gregorian melodies of the original Offertory verses which once were sung after the antiphon.
Additional Verses
But if the Offertory antiphon is taken from a psalm, it is then permitted to sing additional verses of this same psalm. In this case, too, the antiphon may be repeated after each verse of the psalm, or after every second verse; when the offertory rite is finished at the altar the psalm is ended with the Gloria Patri, and the antiphon is repeated. If the antiphon is not taken from a psalm, then any psalm suited to the feast may be used. Another possibility is that any Latin song may be used after the Offertory antiphon provided it is suited to the spirit of this part of the Mass. The singing should never last beyond the "Secret".
c) The proper time for the chanting of the Communion antiphon is while the priest is receiving the holy Eucharist. But if the faithful are also to go to Communion the antiphon should be sung while they receive. If this antiphon, too, is taken from a psalm, additional verses of this psalm may be sung. In this case, too, the antiphon is repeated after each, or every second verse of the psalm; when distribution of Communion is finished, the psalm is closed with the Gloria Patri, and the antiphon is once again repeated. If the antiphon is not taken from a psalm, any psalm may be used which is suited to the feast, and to this part of the mass.
After the Communion antiphon is sung, and the distribution of Communion to the faithful still continues, it is also permitted to sing another Latin song in keeping with this part of the Mass.
Before coming to Communion the faithful may recite the three-fold Domine, non sum dignus together with the priest.
d) If the Sanctus-Benedictus are sung in Gregorian chant, they should be put together without interruption; otherwise, the Benedictus should be sung after the Consecration.
e) During the Consecration, the singing must stop, and there should be no playing of instruments; if this has been the custom, it should be discontinued.
f) Between the Consecration, and the Pater Noster a devout silence is recommended.
g) While the priest is giving the blessing to the faithful at the end of the Mass, there should be no organ playing; also, the celebrant must pronounce the words of the blessing so that all the faithful can understand them.
At Low Mass
c. Participation of the faithful in low Mass.
28. Care must be taken that the faithful assist at low Mass, too, "not as strangers or mute spectators" (Divini cultus, Dec. 20, 1928: AAS 21 [1929] 40), but as exercising that kind of participation demanded by so great, and fruitful a mystery.
29. The first way the faithful can participate in the low Mass is for each one, on his own initiative, to pay devout attention to the more important parts of the Mass (interior participation), or by following the approved customs in various localities (exterior participation).
Those who use a small missal, suitable to their own understanding, and pray with priest in the very words of the Church, are worthy of special praise. But all are not equally capable of correctly understanding the rites, and liturgical formulas; nor does everyone possess the same spiritual needs; nor do these needs remain constant in the same individual. Therefore, these people may find a more suitable or easier method of participation in the Mass when "they meditate devoutly on the mysteries of Jesus Christ, or perform other devotional exercises, and offer prayers which, though different in form from those of the sacred rites, are in essential harmony with them" (Mediator Dei, AAS 39 [1947] 560-561).
In this regard, it must be noted that if any local custom of playing the organ during low Mass might interfere with the participation of the faithful, either by common prayer or song, the custom is to be abolished. This applies not only to the organ, but also to the harmonium or any other musical instrument which is played without interruption. Therefore, in such Masses, there should be no instrumental music at the following times:
a. After the priest reaches the altar until the Offertory;
b. From the first versicles before the Preface until the Sanctus inclusive;
c. From the Consecration until the Pater Noster, where the custom obtains;
d. From the Pater Noster to the Agnus Dei inclusive; at the Confiteor before the Communion of the faithful ; while the Postcommunion prayer is being said, and during the Blessing at the end of the Mass.
Prayers and Hymns
30. The faithful can participate another way at the Eucharistic Sacrifice by saying prayers together or by singing hymns. The prayers and hymns must be chosen appropriately for the respective parts of the Mass, and as indicated in paragraph 14c.
31. A final method of participation, and the most perfect form, is for the congregation to make the liturgical responses to the prayers of the priest, thus holding a sort of dialogue with him, and reciting aloud the parts which properly belong to them.
There are four degrees or stages of this participation:
a) First, the congregation may make the easier liturgical responses to the prayers of the priest: Amen; Et cum spiritu tuo; Deo gratias; Gloria tibi Domine; Laus tibi, Christe; Habemus ad Dominum; Dignum et justum est; Sed libera nos a malo;
b) Secondly, the congregation may also say prayers, which, according to the rubrics, are said by the server, including the Confiteor, and the triple Domine non sum dignus before the faithful receive Holy Communion;
c) Thirdly, the congregation may say aloud with the celebrant parts of the Ordinary of the Mass: Gloria in excelsis Deo; Credo; Sanctus-Benedictus; Agnus Dei;
d) Fourthly, the congregation may also recite with the priest parts of the Proper of the Mass: Introit, Gradual, Offertory, Communion. Only more advanced groups who have been well trained will be able to participate with becoming dignity in this manner.
32. Since the Pater Noster is a fitting, and ancient prayer of preparation for Communion, the entire congregation may recite this prayer in unison with the priest in low Masses; the Amen at the end is to be said by all. This is to be done only in Latin, never in the vernacular.
33. The faithful may sing hymns during low Mass, if they are appropriate to the various parts of the mass.
34. Where the rubrics prescribe the clara voce, the celebrant must recite the prayers loud enough so that the faithful can properly, and conveniently follow the sacred rites. This must be given special attention in a large church, and before a large congregation.
The Mass in Choir
d. Conventual Mass, or the Mass in Choir.
35. The conventual Mass, among all other liturgical ceremonies, has a special dignity: this is the Mass which must be celebrated daily in connection with the Divine Office by those whom the Church obliges to choir service.
For the Mass, together with the Divine Office, is the summit of all Christian worship; it is the fullness of praise offered daily to Almighty God in public, and external ceremony.
Since, however, this perfection of public, and corporate worship cannot be realized daily in every church, it is performed vicariously by those who have the "choir obligation", and are deputed for this service. This is especially true of cathedral churches acting in the name of the entire diocese.
Thus all "choir" ceremonies should be performed with special dignity and solemnity, making use of both chant and sacred music.
36. the conventual Mass should, therefore, be a solemn Mass, or at least a high Mass.
Even if particular laws or indults have dispensed from the solemnity of the "choir" Mass, the canonical hours are not to be recited during the conventual Mass. It would be more appropriate to celebrate a conventual low Mass according to the manner outlined in paragraph 31; however, any use of the vernacular is to be excluded.
The Conventual Mass
37. Regarding the conventual Mass, the following prescriptions are to be observed:
a) On each day only one conventual Mass is to be celebrated; this must correspond to the Office recited in choir unless the rubrics direct otherwise (Additiones et variationes in rubricis Missalis, ti. I, n. 4). However, if there are pious foundations or other legitimate reasons which require more than one conventual Mass, they still remain in force.
b) The conventual Mass follows the rules of a sung or low Mass.
c) Unless the superior of a community decides that it should be said after Sext or None, and this only for a serious reason, the conventual Mass is to be said after Terce.
d) Conventual Masses "outside the choir", which until now were sometimes prescribed by the rubrics, are now abolished.
e.) Assistance of priests in the Holy Sacrifice of the Mass, and so-called "synchronized" Masses.
38. In the Latin Church sacramental concelebration is limited by law to two specifically stated cases. The Supreme Sacred Congregation of the Holy Office, in a decision of May 23, 1947 (AAS 49 [1957] 370), declared invalid the concelebration of the sacrifice of the Mass by priests who do not pronounce the words of consecration, even though they wear the sacred vestments, and no matter what their intention may be. But when there are many priests gathered for a meeting, it is permissible "for only one of their number to celebrate a Mass at which the others (whether all of them or many) are present, and receive Holy Communion from one priest celebrant". However, "this is to be done only for a justifiable reason, and provided the Bishop has not forbidden it because of the danger that the faithful might think it strange"; also, the practice must not be motivated by the error, pointed out by the Supreme Pontiff Pius XII, which taught that "the celebration of one Mass at which a hundred priests devoutly assist is equal to a hundred Masses celebrated by a hundred priests" (cf. Address to Cardinals and Bishops, Nov. 2, 1954: AAS 46 [1954] 669-670; and Address to International Congress on Pastoral Liturgy at Assisi, Sep. 22, 1956: AAS 48 [1956] 716-717).
39. So-called "synchronized" Masses, are, however, forbidden. These are Masses in which two or more priests simultaneously, on one or more altars, so time their celebration of Mass that all their words, and actions are pronounced, and performed together at one and the same time, even with the aid of modern instruments to assure absolute uniformity or "synchronization", particularly if many priests are celebrating.
The "Opus Dei"
B. Divine Office.
40. The Divine Office is said either in choir, in common, or alone.
The Office is said in choir when it is recited by a community obliged by Church law to choir duty; it is said in common when recited by a community not bound to choir duty.
However it is said, whether in choir, in common, or alone, it must always be looked upon as an act of public worship offered to God in the name of the Church, if it said by persons deputed to this obligation by the Church.
41. The Divine Office by its very nature is so constructed that it should be performed by mutually alternating voices; moreover, some parts even presuppose that they be sung.
42. Thus the celebration of the Divine Office in choir must be retained, and promoted. Likewise, its performance in common, including the singing of at least some parts of the Office, is earnestly recommended when circumstances of places, persons, and time permit.
43. The recitation of the psalms in choir or in common, whether sung in Gregorian chant or simply recited, should be performed in a solemn, and becoming manner; care should be taken that the proper tones, appropriate pauses, and perfect harmony be preserved.
44. If the psalms of a particular canonical hour are to be sung, they should be sung at least partly according to the Gregorian tones; this may be done either with alternate psalms, or with alternate verses of the same psalm.
Vespers When Possible
45. Where the ancient, and venerable custom of singing Vespers according to the rubrics together with the people on Sundays, and feast days is still practiced, it should be continued; where this is not done, it should be re-introduced, as far as possible, at least several times a year.
The local Ordinary should take care that the celebration of evening Masses does not interfere with the practice of singing Vespers on Sundays, and feast days. For evening Masses, which the local Ordinary may permit "for the spiritual good of a sizable number of the faithful" (Apostolic Constitution Christus Dominus, Jan. 6, 1953: AAS 45 [1953] 15-24; Instruction of the Supreme Congregation of the Holy Office, same day: AAS 45 [1953] 47-51; Motu Proprio Sacram Communionem, March 19, 1957: AAS 49 [1957] 177-178), must not be at the expense of other liturgical services, and private devotions by which the people ordinarily sanctify the holy days.
Hence, the custom of singing Vespers or of holding private devotions with Benediction should be retained wherever such is done, even though evening Mass is celebrated.
46. In clerical seminaries, however, both diocesan and religious, at least part of the Divine Office should frequently be said in common; so far as possible if should be sung. On Sundays and feast days, Vespers at least must be sung (cf. canon 1367, 3).
47. Benediction of the Blessed Sacrament is a true liturgical ceremony; hence it must be conducted in accordance with the "Roman Ritual", ti. X, ch V, no.5.
Wherever an immemorial custom exists of imparting the Eucharistic Benediction in another way, the Ordinary may give his permission for the custom to continue; but it is recommended that the Roman custom of giving Benediction be prudently given preference.
Chapter III-2. Kinds of Sacred Music.
A. Sacred polyphony.
48. Compositions of sacred polyphony, by the old masters as well as by contemporary artists, are not to be introduced into the liturgy unless it has first been established that, either in their original form or in arrangements, they comply fully with the ideals, and admonitions set forth in the encyclical Musicæ sacræ disciplina (AAS 48 [1956] 18-20). If there is any doubt, the diocesan commission on sacred music is to be consulted.
49. Ancient manuscripts of this music still lying about in archives should be uncovered, and if necessary, steps taken for their preservation. Musicologists should make critical editions of them as well as editions suitable for liturgical use.
B. Modern sacred music.
50. Modern compositions of sacred music are only to be used during liturgical ceremonies if they conform to the spirit of the liturgy, and to the ideals of sacred music as laid down in the encyclical Musicæ sacræ disciplina (AAS 48 [1956] 19-20). Judgments in this matter are to be made by the diocesan commission of sacred music.
C. Popular Religious Song
51. Hymns ought to be highly encouraged, and fostered, for this form of music does much to imbue the Christian with a deep religious spirit, and to raise the thoughts of the faithful to the truths of our faith.
Hymns have their own part to play in all the festive solemnities of Christian life, whether public or of a more personal nature; they also find their part in the daily labors of the Christian. But they attain their ideal usefulness in all private devotions, whether conducted outside or inside the church. At times their use is even permitted during liturgical functions, in accord with the directions given above in paragraphs 13-15.
52. If hymns are to attain their purpose, their texts "must conform to the doctrine of the Catholic Church, plainly stating, and explaining it. The vocabulary should be simple, and free of dramatic, and meaningless verbiage. Their tunes, however brief, and easy, should evince a religious dignity and propriety" (Musicæ sacræ disciplina (AAS 48 [1956] 20). Local Ordinaries should carefully see that these ideals are observed.
53. All who have the training should be encouraged to compile serviceable collections of these hymns which have been handed down either orally or in writing, even the most ancient, and to publish them for the use of the faithful, with the approval of the local Ordinary.
D. Religious music.
54. The type of music which inspires its hearers with religious sentiments, and even devotion, and yet, because of its special character cannot be used in liturgical functions, is nevertheless worthy of high esteem, and ought to be cultivated in its proper time. This music justly merits, therefore, the title "religious music".
55. The proper places for the performance of such music are concert halls, theaters, or auditoriums, but not the church, which is consecrated to the worship of God.
However, if none of these places are available, and the local Ordinary judges that a concert of religious music might be advantageous for the spiritual welfare of the faithful, he may permit a concert of this kind to be held in a church, provided the following provisions are observed:
a) The local Ordinary must give his permission for each concert in writing.
b) Requests for such permissions must also be in writing, stating the date of the concert, the compositions to be performed, the names of the directors (organist, and choral director), and the performers.
c) The local Ordinary is not to give this permission without first consulting the diocesan commission of sacred music, and perhaps other authorities upon whose judgment he may rely, and then only if he knows that the music is not only outstanding for its true artistic value, but also for its sincere Christian spirit; he must also be assured that the performers possess the qualities to be mentioned below in paragraphs 97, and 98.
d) Before the concert, the Blessed Sacrament should be removed from the church, and reserved in one of the chapels, or even in the sacristy, is a respectful way. If this cannot be done, the audience should be told that the Blessed Sacrament is present in the church, and the pastor should see to it that there is no danger of irreverence.
e) The main body of the church is not to be used for selling admission tickets or distributing programs of the concert.
f) The musicians, singers, and audience should conduct themselves, and dress in a manner befitting the seriousness, and holiness of the sacred edifice in which they are present.
g) If circumstances permit, the concert should be concluded by some private devotion, or better still, with benediction of the Blessed Sacrament. In this way the devotion, and edification of the faithful, which was the purpose of the concert, will be crowned by a religious service.
Chapter III-3. Books of Liturgical Chant.
56. The standard editions of the liturgical chant of the Roman Church are:
Roman Gradual, with the Ordinary of the Mass.
Roman Antiphonal, for the Day Hours.
Offices of the Dead, Holy Week, and Christmas.
57. All publication rights to the Gregorian melodies as they appear in the liturgical books approved by the Roman Church are the property of the Holy See.
58. The following decrees of the Sacred Congregation of Rites remain in force:
Instruction on the Publication, and Approval of Books Containing the Gregorian Liturgical Chant, Aug. 11, 1905 (Decr. Auth. SRC 4166)
Declaration Concerning the Publication and Approval of Books Containing the Gregorian Liturgical Chant, Feb. 14, 1906 (Decr. Auth. SRC 4178); and the decree which treats of particular questions regarding the approval of books containing the chant for the "Propers" of certain dioceses, and religious congregations, issued Feb. 24, 1911 (Decr. Auth. SRC 4260).
The rules established by the Sacred Congregation of Rites on Authorization to Publish Liturgical Books, Aug. 10, 1946 (AAS 38 [1946} 371-372), also apply to books of liturgical chant.
59. Thus, the authentic Gregorian chant is that which is published in the standard Vatican editions, or which has been approved by the Sacred Congregation of Rites for a particular church or religious community. Publishers who have this authorization are obliged, therefore, to reproduce both the melody, and the text exactly as approved in all details.
The rhythmic signs which have been inserted into some chant editions on private authority are permitted so long as they not alter the melodic line of the grouping of the notes, as they appear in the Vatican editions.
Chapter III-4. Musical instruments and bells.
A. Some General principles.
60. The following principles for the use of musical instruments in the sacred liturgy are to be recalled:
a) Because of the nature, sanctity, and dignity of the sacred liturgy, the playing of any musical instrument should be as perfect as possible. It would be preferable to omit the use of instruments entirely (whether it be the organ only, or any other instrument), than to play them in a manner unbecoming their purpose. As a general rule it is better to do something well, however modest, than to attempt something more elaborate without the proper means.
b) The difference between sacred, and secular music must be taken into consideration. Some musical instruments, such as the classic organ, are naturally appropriate for sacred music; others, such as string instruments which are played with a bow, are easily adapted to liturgical use. But there are some instruments which, by common estimation, are so associated with secular music that they are not at all adaptable for sacred use.
c) Finally, only instruments which are personally played by a performer are to be used in the sacred liturgy, not those which are played mechanically or automatically.
B. The classic organ and similar instruments.
61. The principal musical instrument for solemn liturgical ceremonies of the Latin Church has been and remains the classic pipe organ.
62. An organ destined for liturgical use, even if small, should be designed according to the norms of organ building, and be equipped with the type of pipes suitable for sacred use. Before it is to be used it should be properly blessed, and as a sacred object, receive proper care.
63. Besides the classic organ, the harmonium or reed organ may also be used provided that its tonal quality, and volume are suitable for sacred use.
64. As a substitute, the electronic organ may be tolerated temporarily for liturgical functions, if the means for obtaining even a small pipe organ are not available. In each case, however, the explicit permission of the local Ordinary is required. He, on his part, should consult the diocesan commission on sacred music, and others trained in this field, who can make suggestions for rendering such an instrument more suitable for sacred use.
65. The musicians who play the instruments mentioned in paragraphs 61-64 should be sufficiently skilled in their art so that they can accompany the sacred chant or any other music, and can also play alone with appropriate skill. Indeed, since it is also often necessary to be able to improvise music suited to the various phases of the liturgical action, they should possess sufficient knowledge of, and capability in the techniques of organ playing , and of sacred music.
Organists should religiously care for the instruments entrusted to them. Whenever they are seated at the organ during sacred functions, organists should be conscious of the active part they are taking in glorifying God, and edifying the faithful.
66. The organ playing, whether during liturgical functions or private devotions, should be carefully adapted to the liturgical season and feast day, to the nature of the rites and exercises themselves, and to their various parts.
67. The organ should be located in a suitable place near the main altar, unless ancient custom or a special reason approved by the local Ordinary demand otherwise; but the location should be such that the singers or musicians occupying a raised platform are not conspicuous to the congregation in the main body of the church.
C. Sacred instrumental music.
68. Other instruments besides the organ, especially the smaller bowed instruments, may be used during the liturgical functions, particularly on days of greater solemnity. These may be used together with the organ or without it, for instrumental numbers of for accompanying the singing. However, the following rules derived from the principles stated above (no.60) are to strictly observed:
a) the instruments are truly suitable for sacred use;
b) they are to be played with such seriousness, and religious devotion that every suggestion of raucous secular music is avoided, and the devotion of the faithful is fostered;
c) the director, organist, and other instrume


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Vietnamese War Attacking Propaganda Poster
The poster is telling the Vietnamese to completely wipe out the enemy.
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"My experience in LGI"
About: Leeds General Infirmary Leeds General Infirmary Leeds LS1 3EX
Posted by Anonymous
Anything else?
My 3 week old baby was transferred to LGI requiring heart surgery. I can not praise enough the ambulance team that got us there to the nurses, doctors and surgeons. We were kept informed at every stage of the treatment and this helped us cope with the shock of it all.
Response from Leeds Teaching Hospitals NHS Trust 4 years ago
Dear Anonymous
The Patient Experience Team at LTHT would like to thank you for taking the time to place these positive comments. It must have been a very stressful time for you so we particularly appreciate the time and effort you have taken in letting us know about your positive experience. Such feedback is valuable to us.
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Welcome to Bethany Baptist Church.
We are so glad you are here!
Here at Bethany we celebrate God's story. God's story is good news! It is the continuing story of God 's amazing love as he brings together people of every nation, language and ethnicity to be united in Christ and live out his peace. Come join us in living God's story together.
New to Bethany?
Worship with us Sunday mornings at 10:30AM. Children's programming birth – age 3 is available at 10:30AM and programming for children age 4 – 4th grade begins after our worship time. Youth group is grades 5th-8th grade and they meet the 2nd and 4th Sundays of the month and their programming begins after the worship time as well.
To learn more about our children's programming, Youth Group or Wednesday nights click Here.
There are many ways to get connected at Bethany. One of those ways is to join a VineLife Group. For a list of groups and meeting times click Here.
We are excited to see you soon.


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|James Garrison <...@athensgroup.com>
|IIS Redirector & Authentication
|Thu, 11 Apr 2002 20:02:51 GMT
I've scanned the archives and found several discussions about IIS authentication vs Tomcat, but nothing seems to apply to my situation. I have IIS configured as described in other messages, where IIS does not do any authentication. When I try to access a JSP through IIS the request gets transmitted to Tomcat without prompting for authentication, but Tomcat rejects it with the following: > Apache Tomcat/4.0.2 - HTTP Status 403 - Access to the requested resource has been denied > type Status report > message Access to the requested resource has been denied > description Access to the specified resource (Access to the requested resource has been denied) has been forbidden. IIS communicates with Tomcat over ajp13, and I've examined the traffic with a packet sniffer. There are only two packets transmitted. One from IIS to Tomcat containing the request, and the 403 result page back from Tomcat to IIS. The Tomcat log for the interaction says "Already Authenticated {}" with no other explanation. Any ideas? -- James Garrison Athens Group, Inc. mailto:email@example.com 5608 Parkcrest Dr http://www.athensgroup.com Austin, TX 78731 PGP: RSA=0x92E90A3B DH/DSS=0x498D331C (512) 345-0600 x150 -- To unsubscribe: <mailto:email@example.com> For additional commands: <mailto:email@example.com> Troubles with the list: <mailto:firstname.lastname@example.com>
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News By Tag
Industry News
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Industry News
CULTURE & COCKTAILS Attracts 60+ Fans to 1st 'Conversation' in Lake Worth
Cultural Council of Palm Beach County Hosts CULTURE & COCKTAILS at New Home in Lake Worth
CULTURE & COCKTAILS at New Home in Lake Worth
The popular series CULTURE & COCKTAILS, hosted by the Palm Beach County Cultural Council, recently attracted approximate more than 60 supporters to the second one-on-one "Conversation"
The topic was ALL THAT GLITTERS: A Conversation Between Collector Fred Sharf and Scholar Beth Ram about Trabert & Hoeffer-Mauboussin, the Glamorous Jewelers to Palm Beach Society During the 1930s & 40s. Miss Ram shared numerous anecdotes about various shiny baubles complete with pictures of stars like Katherine Hepburn and Claudette Colbert actually wearing them.
The next CULTURE & COCKTAILS will be held on Monday, January 7, at The Colony Hotel Pavilion, 155 Hammon Avenue in Palm Beach. The topic is HOPE: A Conversation with Hope Alswang, the Executive Director and Chief Executive Officer of the Norton Museum of Art. She will be interviewed by her South County counterpart, Steven Maklansky, Director of the Boca Raton Museum of Art.
Admission to CULTURE & COCKTAILS programs is $50 per person, and free for members of the Cultural Council ($250 level and above). All proceeds go to the nonprofit Cultural Council of Palm Beach County.
Each event will run from 5 to 7 p.m., with registration and cocktails from 5 to 5:45 p.m., and the "Conversation"
The Colony Hotel will serve complimentary beverages and an array of specially prepared hors' d'oeuvres, plus free valet parking. As an added bonus, attendees will be offered a free bottle of wine with dinner or two-for-one drinks at The Colony's celebrated Polo Steaks & Seafoods immediately following the Conversation.
People interested in attending CULTURE & COCKTAILS can RSVP before each event by calling the Cultural Council at 561.472.3330.
The 2012-2013 season of CULTURE & COCKTAILS is once again generously sponsored by The Milton and Tamar Maltz Family Foundation, with additional support from The Palm Beach Daily News and PR-BS, a Boca-based public relations firm.
Attached Jpegs:
(All IDs are L-R -- Photos by Corby Kaye's Studio Palm Beach)
1. Rena Blades, Fred Sharf, Beth Ram
2. Tracy Kamerer, Jean Sharf
3. Janice & Michael Barry
4. Alexander W. Dreyfoos, Rena Blades
5. Phyllis Verducci, Shirley Cowen, Barbara McDonald, Bobbi Horwich, Deborah Pollack, Linda Wartow
6. Jim & Lois Yashar
7. Barry & Mary Ann Seidman
8. Sandy Krakoff, Fred Sharf
9. Judy & Stanley Katz
10. Dr. Robert & Mary Katherine Flucke
11. Katie Deits, Lesley Hogan
12. Michael Hamilton, Beth Ram
13. Bobbi Horwich, Lucille Hume
Gary Schweikhart
PR-BS, Inc.
Laura Tingo
Cultural Council of Palm Beach County
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A beautiful thought from my niece Hannah (4 years old) as she was sharing a moment with me and her Nanna. Hannah and Nanna were talking about Time (I was unaware of the context) when Hannah turned to me with a big smile and said "Belinda does Time in Rainbow's." "Yay" I replied. Hannah continued "… Read more >>
For Queensland Centres
So we have arrived in Brisbane (8 Mile Plains) from Perth, and it was such a long and lovely adventure as we crossed 5 states of this GREAT country. We have made this short video clip on YouTube just for you, the centres that we will be visiting whilst in Queensland. We look forward to meeting you all soon. In … Read more >>
Outback with our Cat – Brewarrina
Outback with our Cat – Brewarrina
This is a video blog that Belinda and I did on our adventure from Perth.
So we're near Brewarrina here, on the Barwon River, 3520 kilometres into our trip from Perth. And we're getting a little Inspiration from the rising river and waterways as we flood ourselves with excitment, in anticipation of sharing with … Read more >>
How a Beautiful Moment of Clairvoyance created Unity in a Programming Consult.
We arrived to begin a day consultation at a beautiful Early Years' Service. The request was to focus on programming and to bring the team together to create on an enjoyable and meaningful approach to programming.
From the beginning of the day as we sat with the Director and Educational Leader it was clear this was to be a Spirited … Read more >>
Every Boring Moment has a Song – Mindfulness
Hello everyone!
This is a short story about mindfulness I guess.
It's 520am and I haven't been able to sleep for the last 3-4 hours. Strange times. But familiar times…..
I realised after a while that I was doing the usual – tossing and turning in bed ever so quietly as my partner and … Read more >>
Music to us soothes the Soul, frees the Spirit, and lets our Heart Sing!
Music is Unity in Diversity, it is the expression and language showcasing the richness of cultures and is a universal language.
We absolutely love the sounds of Nature and the instruments that come from the Earth, in particular using didgeridoo's, drums and flutes to create peaceful … Read more >>


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'On Monday, August 26, thirty-six écus were voted by the Council to Eustace Vincent, equestrian herald, to go for Master Calvin, the preacher, at Strasburg.' It was announced in the Council, August 29, that Master Calvin was to arrive one of these days.
They talked of the lodgings which must be assigned to him, and propositions rapidly succeeded each another. At first they thought of the house which was occupied by the pastor Bernard, whom they would remove to the house of la Chantrerie. Then, September 4, there was further discussion. 'La Chantrerie, being opposite to St. Peter's church, is most suitable,' they said, 'for the abode of Master Calvin, and some garden (curtil) will be provided for him.' On the 9th it was announced in the Council that he was to arrive the same evening. The houses in question being, doubtless, in an unfit state, orders were given to Messieurs Jacques des Arts and Jean Chautemps to make ready for him the house of the Sieur de Fréneville, situated in the Rue des Chanoines, between the house of Bonivard, on the west, and that of the Abbé de Bonmont, on the east. But after all it was in another house, the fourth proposed, that he was to he received.
It does not appear that Calvin had himself announced to the Council the day of his arrival; nor are we acquainted with any document which in a clear and positive manner indicates this date, worthy of remark though it be. All that we know is that on the 13th he was there, and appeared before the Council. Instead of the 9th he may have arrived on the 10th, the 11th, or even the 12th. We may suppose that Calvin wished the Genevese not to know the day of his arrival, fearing lest they should give him a rather noisy reception.*
Calvin's return was more stupendous than his earlier departure. And now he was here to stay, and to exert enormous influence.
*J. H. Merle D'aubigné D.D. and William L. R. Cates, History of the Reformation in Europe in the Time of Calvin (vol. 7; London: Longmans, Green, and Co., 1876), 61–62.