prospects of a Council, that this would set the seal on the wonderful achievements of the Church in the Twentieth Century and continue current thinking and trends in the Church. The Council would endorse and institutionalize the ideals of the classic litur gical movement. In fact I remember clearly, because I was working in Chicago at the time of the council, when Cardinal Meyer came back from a session of the Council to assure his seminarians that despite the new document on the liturgy (Sacrosanctum Concilium) the canon of the Mass would never be celebrated in any language in the Roman Rite other than Latin. But the ideas that were in the air were pretty much things like having the readings almost always in the vernacular and perhaps simplifying some of the ceremonies. The idea of a whole different kind of music was not thought of much at all before the Council by anybody as far as I know, with the exception of perhaps a few very advanced European types like Pere Gelineau.
KP: In your current position at the seminary in Detroit you have seminarians-future priests-in your charge. What do you consider the most important thing(s) to teach them?
cs: There are three, really. The rector of the seminary has pretty much outlined his idea of what should be going on. The first, very practical, is that everyone who grad uates from the seminary be able to sing the Mass. There are required courses on this on both the college level and the graduate level. Secondly, there is a great desire on the part of the rector to instill in the seminarians the basic principles of sacred music. Again there are two required courses, one on the undergraduate level and one on the graduate theology level on the principles, history, development, and philosophy of liturgical music from the point of view of what the Church actually requires and en courages. Thirdly, there is an exposure to sacred music of various styles, but all safe ly within the parameters of the Church's actual mandates in the daily services-Mass and Office in the Chapel. Hence, there is an emphasis upon singing the actual text of the liturgy at Mass as opposed to substituting a lot of hymns. There is a considerable emphasis on chant and polyphony about which the seminarians are quite eager. In general I try to provide seminarians with a sense that there is more to sacred music than what they may hear in their local suburban parishes so that when they emerge as the clergy of tomorrow they will be able to influence the course of church music in this country. That is a part of the rector's mandate to me. He likes to say that he wants everyone who graduates from his seminary to be able to explain to people why the Vexilla Regis is a better hymn that the Old Rugged Cross.
KP: You have seminarians rom the Archdiocese of Detroit, and rom where else? CS: From a number of other dioceses in Michigan including Gaylord, Marquette, Kalamazoo, and Lansing, from a couple of dioceses in Illinois, from a diocese in Wisconsin, a diocese in Iowa, and a diocese as far away as Helena, Montana. Although the majority of the seminarians are from the Archdiocese of Detroit there is a rather healthy representation from other places and they expect that diversity of region to in crease each year.
KP: Is the seminary's sacred music program a draw or is it something they are even aware of?
CS: I think that the seminary's principle draw is for its orthodoxy and academic standards. A very competent and able and solid faculty, plus the reputation of Bishop Vigneron himself-the rector-and many of his close colleagues and friends in the episcopate are influenced by the fact that he is the rector. Since I have only been in place for a year and have made some fairly significant changes in the music program I doubt that would be a draw as yet, nor do I know if it would be a significant factor ini tially in attracting people or not