FREE FROM SACRED SONG TO RITUAL MUSIC: TWENTIETH-CENTURY UNDERSTANDINGS OF ROMAN CATHOLIC WORSHIP MUSIC PDF

Jan Michael Joncas | 128 pages | 01 May 1997 | Liturgical Press | 9780814623527 | English | Collegeville, MN, United States Liturgical Music, Theology and Practice of |

Particular churches. Philosophy, theology, and fundamental theory of law. Juridic and physical persons. Associations of the faithful. Institute of . Society of apostolic life. is the title of an instruction on Roman Catholic sacred music issued by the Sacred Congregation of Rites on 5 March in conjunction with the . From Wikipedia, the free encyclopedia. Part of a series on the of the Ius vigens current law. . c. Oriental law. Liturgical law. Sacramental law. Matrimonial law. Supreme authority, particular churchesand canonical structures. Temporal goods property. Law of persons. Person canon law Formal act of defection from the Catholic Church Canonical age Emancipation Exemption Clerics Obligation of celibacy Clerics and public office Incardination and excardination Laicization dispensation Office Juridic and physical persons Jus patronatus Associations of the faithful Consecrated life. Canonical documents. Penal law. Canon Canon canon law List of excommunicable offences in the Catholic Church List of people excommunicated by the Catholic Church List of excommunicated cardinals Internal forum Laicization penal Latae sententiae Lifetime of prayer From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music penance Canonical admonitions . Procedural law. Legal practice and scholarship. Law of consecrated life. Joncas, Jan Michael Collegeville, Minnesota: Liturgical Press. Musicam Sacram. Retrieved 18 October Catholicism portal. Categories : documents in Christianity Christian liturgical music Documents of the Congregation for Divine Worship and the Discipline of the Sacraments Liturgical law Catholic Church document stubs. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Nederlands Edit links. Part of a series on the. Legal history Jus antiquum c. Law of persons Person canon law Formal act of defection from the Catholic Church Canonical age Emancipation Exemption Clerics Secular clergy Regular clergy Obligation of celibacy Clerics and public office Incardination and excardination Laicization dispensation Canonical faculties Office Canonical provision Canonical election Juridic and physical persons Jus patronatus Associations of the faithful Consecrated life. Penal law Canon Canon Censure canon law De delictis gravioribus Complicit absolution Crimen sollicitationis Excommunication List of excommunicable offences in the Catholic Church From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music of people excommunicated by the Catholic Church List of excommunicated cardinals Interdict Internal forum Laicization penal Latae sententiae Lifetime of prayer and penance Canonical admonitions Ecclesiastical prison. This article related to an document of the Catholic Church is a stub. You can help Wikipedia by expanding it. Twenty-four Questions on Sacred Music | Church Music Association of America

From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music Michael Joncas is assistant professor of theology at the University of St. Thomas, St. Paul, Minnesota. He has served in work and campus ministry and is a composer and editor of liturgical music. Jan Michael Joncas. From Sacred Song to Ritual Music identifies the shifts in understanding that have led to From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music changes in Roman Catholic worship music theory and practice during the twentieth century. In this guide, nine documents are chosen to answer five questions for the future: What is Roman-Catholic worship music? What is its purpose? What are its qualities? Who makes it? Father Joncas documents the changing attitudes about Roman Catholic worship music in papal, conciliar, and curial documents for the Roman Rite throughout the world, and then narrows his focus to bishops' conference and scholarly documents produced in the United States. He concludes with reflections on the theories and practices marking the United States' liturgical renewal. From Sacred Song to Ritual Music clearly identifies for Roman Catholic church musicians, pastors, and liturgists the revolution that has occurred both in theory and in practice this century. Father Joncas shows that these nine documents are a source of inspiration and encouragement for all who generate, participate in, lead, sustain, and evaluate the worship music of the Roman rite in its journey "from sacred song to ritual music. Thomas University"For the pastoral musician who is confused about the diversity of styles and celebration models present in the Catholic Church today, From Sacred Song to Ritual Music is must reading. For the pastoral musician familiar with the Church's legislation, From Sacred Song to Ritual Music provides a fresh look at years of evolving viewpoints. For the more advanced music minister and practitioner, this is an excellent resource to explore the various commentaries on pastoral liturgical music practice.? What Is the Purpose of Roman Catholic. (PDF) Liturgy and Music: Norms Regarding the Liturgical Music | renil karathra -

In all official Vatican documents, the term "sacred music" is used to name the music used at, or appropriate for the liturgy. Musicam sacram expanded the current definition of sacred music beyond gregorian chant and polyphony to include music indigenous to missionary countries. Like the categories "religious music" and " church music ," "sacred music" has a broad and rather nebulous meaning which does not necessarily relate to the liturgy at all. The phrase "liturgical music" was introduced to correct the older understanding. Some liturgists have argued that the term "liturgical music" tends to subordinate liturgy to music, and have suggested an alternative term, "musical liturgy. In order to clarify music's role in the liturgy, some writers toward the end of the twentieth century settled on the term "Christian ritual music," while others chose "Catholic liturgical music. This entry covers developments in the theology and practice of liturgical music in the Roman Catholic Church From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music the end of the Second Vatican Council. For the history and practice of Roman Catholic church music before Vatican II, see liturgical music, history of. The Second Vatican Council had paved the way for an interaction between reflection on liturgical music and the practice of liturgical music which was one of the most creative, challenging, and confusing in the history of church music. The new energy sparked by this interaction was reflected in musical composition and experiments in musical performance as well as in a fundamental shift in understanding both the liturgy itself and, subsequently, the role of liturgical music. That shift was caused not only by From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music introduction From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music the vernacular but also by the shift in primary responsibility for music from the choir to the whole assembly, and, more subtly, by the subsequent influence of culture on the music and the rite itself. Finally, this period engaged countless From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music musicians, trained or simply inspired, in the pastoral practice of church music. The theoretical reflection on music took place in official documents issued by the Vatican and by the U. Conference of Catholic Bishops as well as non-episcopal initiatives, both international and specifically American. The U. Conference of Catholic Bishops issued, either as a statement by the whole conference or by one of its committees, documents that also reflected both theory and practice. They include: Music in Catholic Worshiprev. The theology of liturgical music is embedded in the ecclesiology that is the foundation for Christian liturgy and in liturgical theology built on that foundation. While the development of ecclesiology and liturgical theology, which influenced the theology of liturgical music during this period of renewal, owed a great debt to individual theologians such as Dom Odo casel, Edward Schillebeeckx, OP, Karl rahner, SJ, and Edward kilmartin, SJ, this article examines the theology of liturgical music expressed in the literature described above. The few attempts by individual authors to craft a theology of liturgical music did not significantly influence the practice From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music in this entry. As important as the documentary reflection, therefore, was pastoral practice. The opportunities for new compositions, the involvement of new persons in ministry, the shift in a basic understanding of liturgy from the action of the priest, assisted by various ministers, to the action of the gathered assembly were not worked out only on paper; they were shaped and reshaped by pastoral practice. Musical practice significantly influenced both official and non-official documents, and, no doubt, the documents influenced practice. In addition to the major blocks of pastoral practice described here there are less noticed, but equally true, positions articulated in the documentation, including the Vatican documents, that advocate specific pastoral practices. Theology is the study of God and, in a Christian context, of God's involvement with humanity, including specific divine interventions on behalf of particular people in certain historical periods. The theological purpose or ultimate end of liturgical music falls within the general purpose of all liturgical action, which is to associate the church with Christ in the "great work wherein God is perfectly glorified and the recipients made holy 7. The end of liturgical music, therefore, is "the glorification of God and the sanctification of the faithful" SCMS 4. Diverse interpretations of the way music is to accomplish this goal, using diverse approaches to music, have developed within the Catholic Church in the past years. While all of these would agree that the ultimate end finem of liturgical music is its twofold transcendental and incarnational purpose, the ways in which God becomes personally manifests is widely debated. One approach focuses on an incarnational ecclesiology: By becoming fully human, one achieves the completion of humanity's teleology and reaches, through divine grace, participation in the divinity of God. Another believes that by transcending normal experience through participating, e. The function of liturgical music or, to use a scholastic theological From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music, its proximate end the way music moves toward achievement of its ultimate end is also debated among these various approaches. Within the official documents, the function munus ministeriale has been stated in diverse terms, reflecting the differing approaches to the theology of liturgical music which influenced those developing a particular document. One such approach would maintain that the three elements of holiness, beauty, and universality are key elements of any art used in the liturgy to achieve the transcendent goal of the act, so they are required as well of the musical art form used in liturgical worship. Another would maintain that "sacred music will be the more holy the more closely it is joined to the liturgical rite" SCemphasizing an incarnational approach to music. In short, there are disagreements even within the official documents regarding the function or proximate end of liturgical music. By way of introduction, the theology of liturgical music has been profoundly influenced by "the doing" of music. For example, the use from to of the Liber Usualisa collection of the official chants for the Eucharist and the daily offices prepared by the Benedictines of Solesmes "to ensure uniformity in the rendering of the Chant of the Church," profoundly determined an understanding by those who used this resource of the purpose ultimate end and function proximate end of liturgical music — not because of any theoretical statement or a rational reflection on experience, but because of the actual singing of the chants themselves and the experience of God which they created or failed to create in the participants. The theology of liturgical music, clearly, is shaped by its pastoral practice. Second Vatican Council and Its Aftermath — This chapter reflects two positions on sacred music which existed prior to the Second Vatican Council, drawn from two papal documents — Tra le sollecitudine and Mediator Dei — and especially from pastoral practice influenced by use of the Liber Usualis. Chapter VI, as already noted, defines the purpose of sacred music to be "the glorification of God and the sanctification of the faithful" SC The two positions mentioned above dealt with the ritual function the munus ministeriale of sacred music to achieve that purpose. The first position affirms that the treasury of sacred music is to be preserved and Gregorian chant is be fostered SC; the second states that the people's own songs are to be encouraged and due importance is to be attached to their music SC So while the basic trust of the Council was to develop full, conscious, and active participation of the whole assembly as "the aim to be considered before all else" SC 14and despite the encouragement given to new compositions SCin accord with existing documentation the bishops gave pride of place to music from a treasury containing products of ages that, on comparison with the theology of liturgy articulated in the Constitution on the Sacred Liturgydo not represent an ideal in theological-liturgical thinking. That tension between the liturgical theology articulated at the Council and the recommended musical practices to express that theology did not take long to From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music itself. In fact, the tension surfaced inat two important meetings of liturgical musicians in the United States. Both meetings proved to be heated exchanges. Bishops' Advisory Board on Music, and who was present at both meetings, challenged the participants with an analysis of the Romantic influences underlying the assumptions regarding Gregorian chant and polyphony that existed in past historical documents as well as in Chapter VI of the Constitution on the Sacred Liturgy: "We cannot preserve the treasures of the past without coming to terms with the false liturgical orientations that give birth to this music, nor can we preserve them according to the false aesthetic judgments of the last century. American musicians took up the challenge, whether they were classically trained composers such as From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music. Alexander Peloquin, ethnically based musicians such as Rev. Clarence Jos. Rivers, or popularly oriented writers such as Joe Wise and Carey Landry. The growing struggle over correct application of the Council's principles did not go unnoticed by the Vatican. On March 5,the Sacred Congregation of Rites From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music Musicam sacramwhose purpose was to provide clarification regarding "some problems about music and its ministerial function" munus minsteriale, Musicam Sacram 2. Musicam sacram first reiterated the transcendent and imminent purpose of music, "for the glory of God and the sanctification of the faithful" MS 4then it expanded the definition of "sacred music" by including both Gregorian chant and sacred polyphony as well as the "sacred, i. It thus united paragraphs — of the Constitution on the Sacred Liturgy with — Further, it offered a new description of sacred music: "Music is 'sacred' insofar as it is composed for the celebration of divine worship and possesses integrity of form" MS 4. It followed this intentional definition of sacred music with a description of such music functions or proximate ends of sacred music 5. Such music is used: i to provide a more graceful expression to prayer; ii to bring out more distinctly the hierarchic character of the liturgy and the specific make- up of the community; iii To achieve a closer union of hearts through the union of voices; iv to raise minds more readily to heavenly realities through the splendor of the rites; v to make the whole celebration a From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music striking symbol of the celebration to come in the heavenly Jerusalem. Previously, in Tra le sollecitudinePius X had described the functions of sacred music to be holiness, beauty, and universality which produce an art form. In mediator deiPius XII stated a more emotional and eschatological view:. A congregation that is devoutly present at the sacrifice, in which our Savior together with His children redeemed with His sacred blood sings the Nuptial Hymn of His immense love, cannot keep silent, for "song befits the lover," and, as the ancient saying has it, "he who sings well prays twice. A close reading of the functions named in Musicam sacram in comparison with these earlier statements, especially Pius XII 's evocation of the divine nuptial song and the heavenly liturgy, shows how the list of functions reflects an understanding of music that has shifted from Pius X's extra-liturgical measure of liturgical music as an art form to the more intra-liturgical understanding of music as "the more holy the more closely it is joined to the liturgical rite" SC In addition, Musicam sacram added a third element to the discussion, clearly influenced by pastoral practice: "The choice of the style of music for a choir or congregation should be guided by the abilities of those who must do the singing" MS 9. Itself influenced by the experience of the previous five years, the General Instruction in turn influenced the developing theology of liturgical music by focusing its directives on a functional approach to music, as to other liturgical elements, providing specific directions regarding practice. This functional approach suggested that the theology and practice of liturgical music was to be determined by the liturgy itself and not by extra- liturgical factors. Therefore, the Instruction describes the function or purpose of each section of the liturgy and follows it with a set of practical instructions on how that function is to be expressed. For example, the general aim of the introductory rites is to help the faithful who have come together to "take on the form of a community and prepare themselves to listen to God's word and celebrate the eucharist properly" GIRM Within that general purpose, the role of the entrance song is "to open the celebration, intensify the unity of the gathered people, lead their thoughts to the mystery of the season or feast, and accompany the procession of priest and ministers" GIRM Then follows the practical instruction "The entrance song is sung alternately either by the choir and congregation or by the cantor and the congregation, or it is sung entirely by the congregation or by the choir alone … etc. By establishing a ritual function followed by the celebrative model, the General Instruction provides not only specific directives about what should be done but establishes the criteria by which the ritual act may be judged to be accomplished or not. Each element of the liturgy is similarly described in the General Instructionproviding criteria based on history and purpose whereby ritual participation can be measured against theological purpose. Slowly, but deliberately, these principles guided the creative development of the rite, freed from a false rubrical rigidity. Liturgical music practice during this period in the United States was driven by three factors: the official generic encouragement of singing, especially congregational singing, the legal expectation of the General Instruction that at least some singing would be normative in the Roman Rite, and the need to discover or create a repertoire with vernacular texts. In the United States at this time, the focus was on English texts, though the need for musical settings of Spanish texts quickly became obvious as well. But there was little or no repertoire with English texts and certainly not settings of official liturgical texts in English. There was a significant effort to adapt Gregorian chant for use with vernacular texts, but it failed, and composers were ill-equipped to launch a massive and coordinated program of creating new music for English liturgical texts. Some settings From Sacred Song to Ritual Music: Twentieth-Century Understandings of Roman Catholic Worship Music biblical texts, such as an English translation that used the psalmody developed by Joseph Gelineau, SJ, were used successfully, but interest soon turned in another direction. Urged on by the social and political climate of change in secular society, the primary influence on composers came from pop-folk music, either as an inspiration for "instant song" that could be readily learned e. Universal and national legislation in permitted the use of "another song" for the entrance, presentation, and communion processions in place of assigned liturgical texts and the chant models that existed, e. Appendix56i. An available repertoire of such songs, and one that had already been used to a limited extent and masses before Vatican II, was the huge collection of Protestant hymnody, which became the mainstay of worship aids produced to support congregational participation. Once such resources became available, pastoral practice began to reinterpret the Council's call for full participation. While the liturgical documents envisioned participation as an engagement through ritual activity in the divine mysteries, with music as one way to assist such participation, pastoral practice often focused on participation as a call to get the people "more involved" in singing — mistakenly making singing the final end of the liturgy. The Influence of Music in Catholic Worship. Inthe U. This document established a theology of music based on a theology of celebration: "We are Christians because through the Christian community we have met Jesus Christ, heard his word in invitation, and responded to him in faith. We gather at Mass that we may hear and express our faith again in this assembly and, by expressing it, renew and deepen it" MCW 1. Interior and exterior participation are understood as aspects of one act: "We are celebrating when we involve ourselves meaningfully in the thoughts, words, songs, and gestures of the worshipping community — when everything we do is wholehearted and authentic for us — when we mean the words and want to do what is done" MCW 2. And, boldly, echoing Pope Pius XII and subsequent documents: "People in love make signs of love, not only to express their love but also to deepen it. Love must be expressed in the signs and symbols of celebration or [it] will die" MCW 4. Perhaps the most challenging statement for practicing musicians as for other liturgical ministers appeared in MCW 6: "Good celebrations foster and nourish faith. Poor celebrations may weaken or destroy it. This document had the most significant influence on From Sacred Song to Ritual Music: Twentieth- Century Understandings of Roman Catholic Worship Music American theology of music and its practice in the decades immediately after the Council, because it was profound and practical, and it engaged the American religious imagination. It also offered a threefold practical judgment as a way to "determine the value of a given musical element in a liturgical celebration" 25 : The judgement has three aspects — musical, liturgical, and pastoral: Is it good music? Does it relate to the liturgical function? Does my community sing it? This was, for the Catholic Church in the United States, the first document on inculturation.