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hen we listen to a piece of performed by an we hear the melody, accompaniment, countermelodies and a whole W range of sounds that add richness and depth to the piece. But to understand the essence of a , we would start with the SING TO THE melody. The melody is the starting point for understanding the entire com- position. LORD: This article is like the melody line of a musical piece. In this case the full musical composition is the document, Sing to the Lord: Music in Divine MUSIC IN Worship. This document, which is a revision of the 1972 document, Music in Catholic Worship, was approved by the United States Conference of Catholic on November 14, 2007. It provides current guidelines for DMNE those who prepare the .

Sing to the Lord: Music in Divine Worship should be read in its entirety to WORSHIP be fully appreciated. Yet how many liturgical documents, books, magazines, and other publications sit on desks and coffee tables waiting to be read by A SUMMARY OF THE USCCB people with good intentions but with little time? DOCUMENT ON MUSIC This article is a summary of what is contained in Sing to the Lord: Music in Divine Worship. It is hoped that "hearing" the melody will give the the basic information found in the full composition. The numbers refer- Rev. ThomasB. lwanowski enced and the headings in this article correspond to the actual document. Capitalizations follow the style used in the document. I. WHY WE SING Our Lady of Czestochowa Liturgy uses words, gestures, signs, and symbols to proclaim the action of Jersey City, New Jersey God in our life and to give worship and praise to God. Among those words, gestures, signs, and symbols, there is none more powerful than the people of God united in . "God, the giver of song, is present whenever his people sing his praises." (1)

Each week, obedient to Christ and to the Church, the people of God gather for . "As our predecessors did, we find ourselves ' , hymns and spiritual with gratitude in [our] hearts to God.' (Colossians 3:16)" (5)

The document then restates one of the most significant lines from the earli- er document, Music in Catholic Worship, "Faith grows when it is well expressed in celebration. Good celebrations can foster and nourish faith. Poor celebrations may weaken it." (5)

Good celebrations, particularly inspired by music and song, not only nour- ish faith, they also lead the people of God to go forth to work for peace and justice, to show charity and compassion, and to spread the . (9)

In this issue: • Sing to the Lord: Music in Divine Worship - A Summary of the USCCB Document on Music Chapter One concludes by stressing the fice of Christ, and they learn to offer The i both a singer and a leader importance of the congregation's internal themselves. Part of that self-offering of the congregation. When no is and external participation in the Liturgy. involves giving themselves wholehearted- present, the cantor may sing in alternation We participate internally when we join ly to participation in the Liturgy. "Singing or dialogue with the congregation. The our mind to what is being said or sung. is one of the primary ways that the assem- cantor may also serve as the psalmist. The We truly listen with our heart. We partici- bly of the faithful participates in the cantor, except while singing the pate externally when we give expression Liturgy." (26) Such participation can be Responsorial Psalm, does not stand at the to the faith within us, particularly through enhanced if the music chosen is within the ambo. song. capability of the people and is part of a stable repertoire. (27) The Organist and Other Instrumentalists Participation in the Liturgy can be a chal- are there "to lead and sustain the singing lenge. At times the words that we are E. Ministers of Liturgical Music of the assembly and of the choir, cantor, invited to sing may not match what is in The Choir and Ensembles (a combination and psalmist, without dominating or over- our heart, or we may be distracted by the of singers and instrumentalists) enrich the powering them." (41) They can play alone cares of life. However, "Christ always celebration by adding musical elements before or after the Liturgy, during the invites us to enter into song, to rise above beyond the capabilities of a congregation. Preparation of the Gifts, or when a con- our own preoccupations." (14) They also sing various parts of the Mass gregational or choir piece ends before the in dialogue or alternation with the congre- ritual action is completed. II. THE CHURCH AT PRAYER gation. They may also sing alone at times; however, "the choir not minimize The Director of Music Ministries or Chapter Two deals with the persons and the musical participation of the faithful." music director works with the pastor in elements that guide the development and (28) When not exercising a particular role, planning, coordinating, and promoting all use of liturgical music. choir members join the congregation in aspects of the music program, in fostering song. Choir and ensemble members, as the singing of the congregation, and in A. The well as the psalmist and cantor, may dress encouraging those who fulfill special Assisted by his worship office and/or in or choir robes, or simply in clean, musical roles within the Liturgy. liturgical commission, the bishop has pri- presentable, and modest clothing, but not mary responsibility for the Liturgy in his in cassock and , which are more F. Leadership & Formation diocese. He fulfills this responsibility in properly clerical attire. (33). Those mentioned above are first of all dis- the area of sacred music by the way he ciples, part of the assembly of the bap- celebrates the Liturgy, by the example of The Psalmist sings the Responsorial tized faithful. They are worshippers who his own participation in song, by his Psalm after the first reading and leads the "need to hear the Gospel, experience con- attention to liturgical music in his cathe- people in the refrain. The psalmist may version, profess faith in Christ, and so dral and in the parishes of his diocese, and intone the Gospel Acclamation. In most proclaim the praise of God." (49) They , by his concern for the musical training of cases the duties of the psalmist are are not mere employees or volunteers. seminarians and the continuing musical entrusted to a cantor. They are liturgical ministers who share education and formation of clergy and the faith of the community they serve and ministers of music.

B. The "No other single factor affects the Liturgy as much as the attitude, style, and bearing of the priest celebrant." (18) The priest's participation in the Liturgy "especially by singing, cannot be overemphasized." (19) The priest encourages sung participation in the Liturgy by his example and by his singing, as he is able, of the parts of the Liturgy expected to be sung.

C. The Like the priest, the deacon should provide an example of active participation in the Liturgy, particularly in song. should sing those parts of the Liturgy that pertain to them.

D. The Gathered Assembly At Mass, the people of God give thanks to God; with the priest they offer the sacri-

18 tions, and the need to bring the Church together in unity and peace. The Composer and Music of Our Day offer the Church "new ways to sing her love for God each new day." (83) To be suitable for use in the Liturgy a sung text must be doctrinally correct and in harmo- ny with the Catholic faith. The Sacred Scriptures and texts of the Liturgy provide sources of inspiration for new composi- tions.

B. Instruments The Human Voice is "the primary liturgi- cal instrument." (86) Musical instruments should be seen as a support and extension of the human voice.

Musical Instruments such as wind, stringed, or percussion, can enrich the cel- ebration of the Liturgy. However, the pipe organ is "accorded pride of place" who strive to show love of God and together in those parts of the because of its ability to lead and sustain neighbor through music. Such liturgical of the Mass which pertain to congregational singing, to give voice to ministers should receive appropriate for- them." (61) In this way, Latin, including the full range of human emotions, and its mation that equips them with the musical, , can be used at interna- suitability for solo playing at appropriate liturgical, and pastoral skills necessary to tional and multicultural . times. (87, 88) competently serve the Church. However, the document has the wisdom to note that if the Latin language poses an Instrumental Music can have a place "Professional directors of music ministries obstacle, "it would be more prudent to during preludes and postludes and at lim- and part-time pastoral music ministers employ a language in the ited times during the Liturgy, for example, should each receive appropriate wages Liturgy (64) ... and that form of the partici- the Preparation of the Gifts. (91, 174) and benefits that affirm the dignity of pation which best matches the capabilities their work ... and be provided with the of each congregation." (66). Recorded Music, since it is not produced . resources to carry out their admin- by the living liturgical assembly, does not istrative functions in a professional man- ill. THE MUSIC OF CATHOLIC have a place in the Liturgy. It might be ner." (53) WORSHIP used for outdoor processions and perhaps during times of silence during a commu- G. Catholic Schools A. Different Kinds of Music nal celebration of reconciliation. Catholic educational institutions should for the Liturgy "However, recorded music should never promote the joy of singing and "at a mini- Music for the Liturgy must be connected become a substitute for the community's mum help all of their students become to the ritual action and allow the people to singing." (94). singers." (55) School Liturgies should participate in what is taking place in the include selections from the typical Sunday Liturgy. The music should also increase C. Location of Mass repertoire. the sense of prayer, the unity of the con- and Their Instruments gregation, and the dignity of the ritual. H. Diverse Cultures and Languages Musicians and their instruments should be located in a space that allows the minis- In our increasingly diverse society, the Gregorian Chant is part of the Church's ters of music to interact with one another music chosen for the Liturgy should musical tradition, and according to the and with the assembly. They should be reflect the culture, language, and abilities "should be given able to participate in the Liturgy by seeing of the assembly. Efforts should be made to pride of place in liturgical services." (72) and hearing what is taking place. Visual use musical forms that can bring together The document mentions certain Latin and acoustical considerations should also different languages and ethnicities, and so chants that all congregations should know. be considered. highlight the unity that all groups share in However, the document wisely points out Christ. (59) that the Council balanced the phrase D. Acoustics "pride of place" with "other things being The acoustics of the worship space should I. Latin in the Liturgy equal." (73) These other things include support the choir and permit members of While the vernacular is the norm, the doc- liturgical and pastoral concerns, the right the assembly to hear their voices joined in ument encourages to ensure that of the congregation to its participation, common praise of God. "The acoustics of their people are able to "say or sing sensitivity to cultural and spiritual situa-

19 a church or chapel should be resonant so that there i no need for excessive amplifi- cation of musical sound in order to fill the pace and support the assembly's song." (104)

E. Copyrights and Participation Aids Churches have a legal and moral obliga- tion to seek proper permission when using or duplicating copyrighted materials and to pay all required fees and royalties. All musical texts written for the Liturgy must be approved by the bishop of the diocese where they are published. Such composi- tions must be faithful to the wording found in the approved liturgical texts.

IV. PREPARING MUSIC FOR CATHOLIC WORSHIP

A. What Parts Do We Sing? The Principle of Progressive Solemnity means that the use, style, amount and kind c. Refrains and Repeated Responses, C. Care in the Choice of Music of music should reflect the degree of the which are litany-like in form, are appro- for the Liturgy solemnity of the feast and/or liturgical priately sung. These include the In choosing music for the liturgy it must season. During , for example, (Lord Have Mercy), (Lamb of be kept in mind that "the primary role of musical instruments should be used with God), and the response to the Prayer of music in the Liturgy is to help the mem- moderation; their fuller use being reserved the Faithful. bers of the gathered assembly to join for Christmas. During , such instru- themselves with the action of Christ and ments should only be used to support the d. Hymns follow in importance. Hymns to give voice to the gift of faith." (125) singing of the assembly. In applying the include the Gloria of the Mass and ver- Music is not to dominate the Liturgy, to principle of progressive solemnity, the pri- nacular, congregational hymns that have entertain, or to bring attention to itself or mary role of liturgical music, namely, to been judged appropriate by the diocesan the musicians. Music serves the Liturgy. engage the congregation in the mystery bishop or Conference of Bishops. Such being celebrated, must not be forgotten. hymns, which should be appropriate to the D. Judging the Qualities of Music liturgical action, may be used at the for the Liturgy The Parts to Be Sung: there is an order Entrance, Preparation of the Gifts, The Three Judgments: One Evaluation of importance when determining which , and Recessional. The evaluation of music involves three parts of a Liturgy should be sung. (NOTE: judgments that must be considered togeth- The examples that follow are limited to Sacred Silence is part of the rhythm of er: the liturgical, pastoral, and musical. the Mass.) the Liturgy. "Silence in the Liturgy allows the community to reflect on what it has The Liturgical Judgment asks "is this a. Dialogues and Acclamations are of pri- heard and experienced, and to open its composition capable of meeting the struc- mary importance. Preference should be heart to the mystery being celebrated ... tural and textual requirements set forth by given to singing the dialogues that take The importance of silence in the Liturgy the liturgical books for this particular place between the people and the priest, cannot be overemphasized." (1l8). rite?" (127) deacon, or . The acclamations during Mass, which should be sung even at daily B. Who Prepares the Liturgy? The Pastoral Judgment asks "will this Mass, include the Gospel Acclamation, The preparation of the liturgy and the composition draw this particular people the , the , selection of music is the responsibility of closer to the mystery of Christ, which is at and the Great Amen. "Ideally, the people the pastor or priest celebrant. He should the heart of this liturgical celebration?" should know the acclamations by heart be guided by the spiritual good of the peo- (133) and should be able to sing them readily, ple he serves. The pastor may assign the even without accompaniment." (llS). director of music or a Liturgy or music The Musical Judgment asks "is this committee to prepare music for the cele- composition technically, aesthetically, and b. Antiphons and Psalms are next in bration. Such a committee should include expressively worthy?" (134) importance. The Responsorial Psalm and people with artistic skills, with knowledge the Entrance and Communion chants, with of and liturgical music, their verses taken from the psalms, are as well as representatives of the assembly. meant to be sung. 20 V. THE MUSICAL STRUCTURE OF The Liturgy of the Word consists of The Liturgy of the consists of CATHOLIC WORSHIP readings and responses from the the Preparation of the Gifts, the Scriptures. Eucharistic Prayer, and the Communion A. Music and the Structure of the Mass Rite. Those preparing the Liturgy and selecting The Readings from Sacred Scripture are music must have an understanding of the usually read. They may be sung, but such The Preparation of the Gifts: structure of the Liturgy. They must know singing "must serve to bring out the sense Procession is accompanied by an the parts of the Mass, the relationship of the words, not obscure them." (153) Offertory chant or song. (173) The among the parts, and the rhythm and flow When read, the concluding acclamation instructions governing this song are the of the celebration. (The Word of the Lord) may still be sung, same as those for the Entrance chant or even by someone other than the reader. song. Even when there is no procession, a The Introductory Rites include an The people then sing their response song may still be used at this time. Entrance chant or song, the reverencing of (Thanks be to God). "Instrumental music is also appropriate." the , a greeting of the people, an Act (174). The Prayer over the Gifts may be of Penitence and the Kyrie (or the The Responsorial Psalm should be sung, said or sung in the way described for the Sprinkling Rite), the Gloria, and the ideally in a responsorial style. It may be . Collect (Opening Prayer.) The people sung without a response by the people. should always sing at least one of the fol- The musical setting of the Responsorial The Eucharistic Prayer is the center and lowing as a congregation: Entrance song, Psalm should "not overshadow the other summit of the entire Mass. It is a single Kyrie, Gloria. readings." (155) "Songs or hymns that do liturgical act with three acclamations (the not at least paraphrase a psalm may never Sanctus, the Memorial Acclamation, and The Entrance Song or Chant is sung to be used in place of the Responsorial the Great Arnen) that should be sung in a open the liturgy and to unite the congrega- Psalm." (159) unified musical style by the people, espe- tion. This song may be taken from the cially on Sundays. The priest should sing official liturgical books that provide an The Gospel Acclamation is a joyful wel- those parts of the prayer for which musi- antiphon and psalm for the entrance pro- come of the Lord who is about to speak to cal notation is provided, namely, the open- cession, or it may be taken from hymns or his people. This acclamation may be ing dialogue and the , the invita- songs that are appropriate to this part of repeated as necessary to accompany the tion to the Memorial Acclamation, and the the liturgy. In using any piece of music, Gospel procession. If not sung, this accla- concluding . "It is likewise the integrity of the composition should be mation may be omitted. It may also be appropriate for to sing the entire respected. omitted if there is only one reading before Eucharistic Prayer, especially on solemn the Gospel. (164) occasions." (182) The Act of Penitence allows for variable invocations of Christ when the third form The is a liturgical hymn sung The Communion Rite includes rites that is used. before the Gospel Acclamation and prepare people for the reception of Holy required on Easter Sunday and Pentecost Communion. The Kyrie Eleison is sung or said if it is Sunday. It may be sung by everyone, by not included in the Act of Penitence. It is the choir or cantor alone, or by the choir The Lord's Prayer may be sung by the generally sung as a dialogue between the or cantor alternating with the people. A entire assembly. When the Lord's Prayer assembly and choir or cantor. metrical paraphrase from an approved col- is sung, the assembly should also sing the of liturgical music may be used. doxology, and it is desirable that the The Blessing and Sprinkling of Water (166) presider sing both the invitation and the may take the place of the Act of Penitence . especially on Sundays during the Easter The Gospel is usually read, but it may be Season. A song accompanies the sprin- sung. (See the comments above regarding The Sign of Peace should not be pro- kling. The Gloria may not be used at this the readings.) longed with music. time. (150) The Creed is said by all because it The Rite and the Agnus Dei are expresses the faith of the people. It may The Gloria is a revered hymn that can be related. The Agnus Dei accompanies the be sung by everyone, by the people alter- sung entirely by the assembly, by the Fraction Rite. It is usually sung by the nating with the choir, or by the people assembly alternating with the choir or choir or cantor with the people respond- singing a refrain. cantor, or by the choir alone. Refrains ing. It may be repeated as necessary to accompany the rite. may be added to the Gloria to encourage The Prayer of the Faithful is usually the participation of the people. recited; however, the entire Prayer of the The Communion Chant or Song may be Faithful - or clearly defined elements - taken from any source indicated as appro- The Collect may be sung or said by the may be sung, provided the text can be priate for the Entrance chant. At this time priest. Even if said, the conclusion of the understood. For example, the prayers of unity, the song of the people "should be prayer may be sung, along with the (petitions) may be recited, while the invi- preeminent." (189) Psalms, appropriate to "Amen" of the people. tation and response are sung, or the the liturgical season and sung in the response alone may be sung. 21 responsorial style, or songs with easily the exorcism rite on the Third, Fourth, and Church." (220) memorized refrains are recommended at Fifth Sundays of Lent. this time. If the communion procession is Vocalists do not substitute for the partici- long, more than one song may be used. A As the of Initiation are cele- pation of the assembly and never draw choir or instrumental piece may follow the brated during the Easter Vigil, there are attention to themselves. first song by the people. many opportunities for song, namely, the Litany of Saints, the blessing of baptismal If the Rite of Marriage is celebrated dur- The Song After Communion is optional water, acclamations after each Baptism, as ing Mass, the usual norms for music with- and when used should not be sung until the neophytes are preparing for in Mass should be followed. However, Communion is complete and a period of Confirmation, and during Confirmation as instrumental music might be played while silence has been observed. Then all stand the neophytes are anointed. the liturgical ministers and wedding party and sing a song "focused on the mystery process forward. The assembly may then of Holy Communion." This Song After The Baptism of Children outside of join in song after all have taken their Communion should not call attention to Mass will often require cantors and other places. "After the blessing and exchange the choir or other musicians. (196) The ministers to develop the skill of singing of rings, a song or hymn of praise may be Prayer After Communion may be said or without accompaniment. Song may take sung." (222) sung in the way described for the Collect. place during the following times of the celebration: as the ministers process to the If the marriage is celebrated outside of The Concluding Rites include a blessing place where the parents and godparents Mass, the areas for music described above and that may be sung with the are gathered; during the procession into apply, except for those dealing with the people singing their response. A reces- the church for the readings; after the hom- Liturgy of the Eucharist. sional song is not required. If such a song ily; during the procession to the baptistry; is used, the procession of ministers should after the Profession of Faith; after each The Rites of Ordination call for music at reach the door as the recessional song Baptism; during the procession to the the beginning of the liturgy, during the comes to an end. This song by the people altar; and at the conclusion of the rite. Litany of Supplication, and as the newly may be replaced by a choir piece, instru- ordained are vested and receive the kiss of mental music, or by silence, especially The Baptism of Children During peace. A song of thanksgiving may be during the Lenten Season. Sunday Mass offers the following places sung after the distribution of Communion. for song in addition to those parts of the The norms that pertain to Mass apply. B. Music and the Other Sacraments Mass that should be sung: the interces- The liturgical books dealing with various sions and Litany of the Saints, an accla- The of the Anointing of the rites suggest areas where music is appro- mation following the Profession of Faith, Sick may be celebrated within Mass, and priate. and an acclamation after each child is if so, the norms that pertain to Mass baptized. apply. When the sacrament is celebrated The Sacraments of Initiation are in a large congregation the participation of Baptism, Confirmation, and Eucharist. The Sacrament of Confirmation when the people should be encouraged through celebrated during Mass calls for a sung appropriate songs. The Rite of Christian Initiation of acclamation or song following the Adults (RCIA) includes ritual celebra- Profession of Faith and during the anoint- The Sacrament of Penance when cele- tions that presuppose the presence and ing by the bishop. In addition, the parts of brated according to the "Rite for the participation of the assembly. Since the Mass that may be sung should be sung Reconciliation of Several Penitents with singing is one of the key ways the congre- at this Liturgy. If celebrated outside of Individual Confession and Absolution" gation participates in the Liturgy, such Mass, song may be used as the bishop and may have an entrance song, a sung rites should include congregational song ministers process to the sanctuary, after Responsorial Psalm and Gospel at appropriate times. the first reading, before the Gospel, after Acclamation, an optional hymn after the the Profession of Faith, and during the , a sung litany during the General In the Rite of Acceptance into the Order anointing by the bishop. Confession of Sins, the singing of the of Catechumens the assembly may join in Lord's Prayer, and a hymn of praise fol- song as the candidates and others gather The Rite of Marriage, which is "gov- lowing the confession of sins. outside the doors of the church, as the erned by appropriate liturgical norms," Instrumental music or singing may be candidates are signed with the cross, and presents "particular challenges and oppor- used while individual confessions are tak- as the candidates enter the church for the tunities." (217,218) The choice of music ing place. readings. is governed by the three judgments (litur- gical, pastoral, and musical) mentioned C. Music and the Liturgy of the Hours During the Rite of Election an appropriate earlier. ", even though it "As much as possible, the communal cele- psalm or song may be sung as the Book of may emphasize the love of the spouses for bration of the Liturgy of the Hours with the Elect is signed. one another, is not appropriate for the singing is to be preferred to private recita- Sacred Liturgy. Songs that are chosen for tion." (231) The psalms and canticles may During the Scrutinies the assembly may the Liturgy should be appropriate for the be sung responsorially, antiphonally, or sing an appropriate psalm or song after celebration and express the faith of the through composed. 22 Responsorial means the psalmist or choir the is displayed on the takes place during which a psalm or song sings the verses of the psalm and the altar in a or for ado- is sung. If the Funeral Liturgy is a Mass assembly responds with a brief antiphon. ration by the people, is a liturgical act. the norms pertaining to Mass apply. This is the form most often used for the Following the Prayer After Communion, Responsorial Psalm at Mass. Music for exposition includes a song as the final commendation takes place during the Blessed Sacrament is placed on the which a song of farewell is sung. "It Antiphonal means the text of the psalm is altar, songs during a prolonged period of should be sung to a melody simple shared by the assembly which is divided exposition, a song of adoration while the enough for all to sing." (254) Following into two groups. Each group alternately Sacrament is incensed, and a sung or the invitation to join the procession to the sings a section of the psalm. recited acclamation after the Eucharistic place of committal, one or more of the blessing and reposition. Songs for exposi- psalms suggested in the rite may be sung. Through-Composed means the musical tion should be appropriate for adoration of material is not repeated. This form is not the Blessed Sacrament rather than for the Rite of Committal is the conclusion of the generally for a congregation, but rather reception of Communion. funeral rite. This committal service may for a soloist, soloist and choir, or the choir end with song. This section concludes by alone. Order of Christian Funerals encouraging the formation of funeral The Importance of Music in the Order of that can support the assembly in Metrical Psalms are psalms that have Christian Funerals should lead to the use song during the Funeral Liturgy. been structured to fit a hymn melody. of music at the vigil, the funeral Mass, and if possible, the rite of committal. E. Devotions Formula Tones are available and well "Funeral music should express the Music is encouraged in all popular devo- suited for psalms and canticles in the ver- Paschal Mystery and the Christian's share tions, in particular the psalms, sacred nacular. in it. .. Secular music, even though it may music from old and new sources, and also reflect on the background, character, inter- compositions, which though no longer Other Elements should be considered ests, or personal preferences of the appropriate for the Liturgy, can foster when preparing the Liturgy of Hours, deceased or mourners, is not appropriate meditation on the mystery of God's love. such as varying the manner in which the for the Sacred Liturgy." (246) psalms and canticles are sung or recited VI. CONCLUSION and varying their accompaniment. The Vigilfor the Deceased begins with "As the Church in the United States con- the greeting those present, a song tinues its journey of liturgical renewal and D. Other Liturgical Rites then follows. The Responsorial Psalm, spiritual growth, we hope that this docu- Sunday Celebrations in the Absence of generally Psalm 27, follows the reading. ment will be a further encouragement in a Priest should normally include song. The psalm may be sung or said. Silence or our progress along that course. The words song concludes the vigil. of St. Augustine remind us of our pilgrim- Worship of the Eucharist Outside Mass age: 'You should sing as wayfarers do- can be devotional or liturgical. Adoration The Funeral Liturgy ordinarily begins sing but continue your journey. Do not of the Eucharist reserved in the tabernacle with the reception of the body at the grow tired, but sing with joy! '" (259) is devotional. Exposition, during which church. The procession to the altar then

Staff Editor Rev. Thomas A. Dente

Design/Layout Rev. Michael C. Santoro

Editorial Board Joan Conroy, Rev. James Ferry, Rev. Peter K. Funesti, Rev. Msgr. Richard Groncki, Rev. Thomas B. Iwanowski, Patricia Krema, Susan Zaremba Malone, Mark Pacoe, Rev. Charles Pinyan, Rev. Michael C. Santoro, Kathy Skrupskis.

Contributors Rev. Thomas B. Iwanowski and the staff of the Worship Office

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23 Sing to the Lord Music in Divine Worship Sing to the Lord: Music in Divine Worship is the latest document on music in the liturgy published by the United States Conference of Catholic Bishops. It recalls the rich musical tradition of the Church as it provides basic guidelines for understanding the role and ministry of music in the liturgy.

Standing on the foundational work of the Council fathers, Sing to the Lord echoes the call to full, active, and conscious participation in the Liturgy through its sung elements. It addresses the practical concerns of pastoral leaders-appropriate ministers, cultural diversity, instrumentation, formation, acoustics, and copyrights. It also outlines considerations for preparing and judging music for worship with an in-depth review of the musical structure of Liturgy. Use Sing to the Lord to: evaluate your parish's current musical repertoire; better understand your role in sung worship; prepare particular sacramental liturgies; train parish music ministers. Softcover, 96 pages 6 x 9 Fax: 973.497.4314,24 hours a Day, 7 Days a Week Mail: Office of Divine Worship, Archdiocesan Center, 171 Clifton Ave., Newark, NJ 07104,973.497.4361

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