Reviewed by: The Heart of Our Music ed. by John Foley Carolyn Pirtle John Foley, ed. The Heart of Our Music, 3 vol. Collegeville, MN: Liturgical Press, 2015 87pages. Paperback. $12.95 (for each volume). The Heart of Our Music consists of three brief volumes of essays by members of the Liturgical Composers Forum, an organization founded in 1998 by John Foley, S.J., editor of the collection and contributor of two essays. Membership in this organization “consists [End Page 58] of persons who have composed a representative body of ritual and vocal music that is (1) published by a recognized publisher of liturgical music, (2) intended primarily for Roman Catholic liturgy, and (3) rooted in participation by the assembly” (vol. 1, viii, endnote 3). (Full disclosure: I am also a member of this organization and have attended several of its annual gatherings.) Overall, the series is designed to elucidate topics of interest to composers of liturgical music; however, as Foley states in the Preface, the intended audience is broader in scope, encompassing “everyone interested in liturgy—especially those concerned with pastoral music in the English-speaking world” (vol. 1, vii). Within this category, Foley includes “pastors, deacons, liturgists, musicians, ministers of the liturgy, people in the pews, and last, but definitely not least, those interested in the future of Christian worship” (ibid.). Certainly, members within each of these groups may benefit from reading this collection, but without doubt, it will appeal first and foremost to those involved in liturgical music ministry, particularly those who aspire to compose music for the liturgical celebration. This first volume of the series is entitled Underpinning Our Thinking, and seeks to provide a theological context for the task of liturgical music composition. The contributors represent a breadth of experiences and a variety of approaches to the questions concerning liturgical music ministry. Many if not most of them are actively working in parishes throughout the United States as liturgical musicians; however, some are also teachers or administrators of programs in liturgical formation, and others work in the liturgical music publishing industry. Given this breadth of experience, then, it should come as no surprise that the essays within the series as a whole cover a broad spectrum not only in terms of topics, but also writing style and theological acuity. Some essays read like scholarly articles written for peer-reviewed journals, while others read like pastoral reflections based on personal experiences. It is within this latter category that the question of theological soundness comes into play, and the reader would do well to recall in such cases that these essays represent the personal viewpoints of practitioners of liturgical music—viewpoints that, at times, are even contradicted by other contributors in other volumes. Given this reality, some of the insights offered may be (and perhaps ought to be) subjected to charitable critique. For example, Rory Cooney’s statement that “our singing will ‘sing a [End Page 59] new God into reality’ in this world by ‘singing different hymns than the conventions of royal reality’” (vol. 1, 42) is not only theologically problematic in its implication that a congregation can in a certain sense create God through music (and a new God at that), but it is also contradicted (and corrected) by Steven C. Warner’s essay in volume two: “Our coming together [in worship and song] does not bring God into being. God is being” (vol. 2, 17). That being said, several essays offer thought-provoking and edifying insights for those interested in liturgical music ministry. The first volume begins with an essay that provides a theological framework for the entire series, as Alan Hommerding grounds liturgical music composition in the idea of kenosis, or self-emptying. Hommerding views such composition not as the means by which one builds up the self (composer as celebrity), but rather as the means by which one builds up the Church (composer as servant). He writes, “When we compose for the church [the Body of Christ], we are writing music for Christ to sing. Far from being a cause for self-aggrandizement, this reality must return us again and again to the emptying, humbling dynamic of kenosis” (vol. 1, 5). One...