• Abstract and Figures
• Public Full-text

LITURGICAL MUSIC TODAY Guidelines for The Catholic Church Liturgical Musician A statement by the United States Catholic Conference of Bishops INTRODUCTION 1. Liturgical music today exhibits signs of great vitality and creativity. During the nearly twenty years that have passed since the promulgation of the CONSTITUTION ON THE SACRED LITURGY of the Second Vatican Council, the ministerial role of liturgical music has received growing acceptance and greater appreciation by the Christian people. The sung prayer of our assemblies, often timid and weak but a few years ago, has taken on the characteristics of confidence and strength. In the liturgical ministry of music, more and more capable persons are assuming roles of leadership as cantors, instrumentalists and members of choirs. New musical compositions are appearing in great numbers and the quality of their craftsmanship and beauty is improving. All these developments serve as signs of hope for the present and future of liturgical music. 2. Ten years ago the Bishop's Committee on the Liturgy published MUSIC IN CATHOLIC WORSHIP, itself the revision of an earlier revision of an earlier statement.[1] That document has proven to be very useful in setting out the principles for Church music in the reformed liturgy. It has served well over these years. 3. Since the Roman liturgical books were still in the process of revision ten years ago, the Committee recognizes that there are subjects that MUSIC IN CATHOLIC WORSHIP addressed only briefly or not at all, such as music within sacramental rites and in the Liturgy of the Hours. Moreover, the passage of time has raised a number of unforeseen issues in need of clarification and questions revealing new possibilities for liturgical music. We take this opportunity to note these developments. This statement, therefore, should be read as a companion to MUSIC IN CATHOLIC WORSHIP and ENVIRONMENT AND ART IN CATHOLIC WORSHIP.[2] 4. The introduction to MUSIC IN CATHOLIC WORSHIP includes these words: "...mere observance of a patter or rule of sung liturgy will not create a living and authentic celebration of worship in Christian congregations. That is the reason why statements such as this must take the form of recommendation and attempts at guidance."[3] These words continue to be true. Guidelines, far from being absolute, need to be adapted to particular circumstances. But first they must be read, reflected upon, and valued for the insights they contain. And ultimately they will be successful to the extent that they are implemented, to the extent that the context out of which they grow is communicated and understood. 5. These guidelines concern the Church's liturgy, which is inherently musical. If music is not valued within the liturgy, then this statement will have little to offer. On the other hand, if music 1 is appreciated as a necessarily normal dimension of every experience of communal worship, then what follows may help to promote continued understanding of the liturgy, dialogue among those responsible for its implementation, and music itself as sung prayer. GENERAL PRINCIPLES THE STRUCTURE OF THE LITURGY 6. A sacrament is celebrated either within Mass or with a liturgy of the word. This is the larger context for making judgments about what will be sung. This consideration will help to preserve the integrity of the entire liturgical prayer experience while, at the same time preventing the celebration from being top heavy in one or other part, and ensuring a good flow throughout. 7. In all liturgical celebrations proper use should be made of the musical elements within the liturgy of the word, i.e., responsorial psalm, gospel acclamation, and sometimes an acclamation after the homily or profession of faith. MUSIC IN CATHOLIC WORSHIP treated these sung prayers in its discussion of eucharistic celebrations.[4] What was said there is applicable to all other liturgical celebrations which include a liturgy of the word. Further efforts are needed to make the assembly's responses in song the normal pastoral practice in the celebration of God's Word. THE PLACE OF SONG 8. The structure of the liturgical unit will disclose the elements to be enhanced by music. For example, the liturgy of baptism or confirmation is placed between the liturgy of the word and the liturgy of the eucharist when celebrated at mass. Each rite is composed of a number of elements, some of which lend themselves to singing. The first place to look for guidance in the use and choice of music is the rite itself. Often the rubrics contained in the approved liturgical books will indicated the place for song, and will also prescribe or suggest an appropriate text to be set musically. Thus, in confirmation, the ritual recommends singing at the end of the renewal of baptismal promises and during the anointing.[5] In baptism, the acclamations after the profession of faith and after the baptism itself demand song, since they are by nature forms.[6] THE FUNCTION OF SONG 9. The various functions of sung prayer must be distinguished within liturgical rites. Sometimes song is meant to accompany ritual actions. In such cases the song is not independent but services, rather, or support the prayer of the assembly when an action requires a longer period of time or when the action is going to be repeated several times. The music enriches themoments and keeps it from becoming burdensome. Ritual actions which employ use of song include: the enrollment of names at the Election of Catechumens;[7] the processions in the celebration of baptism;[8] the vesting and sign of peace at an ordination;[9] the presentation of the Bible at the institution of a reader;[10] the anointing with chrism at confirmation[11] and ordination.[12] 10. At other places in the liturgical action the sung prayer itself is a constituent element of the 2 rite. While it is being prayed, no other ritual action is being performed. Such would be: the song of praise, which may be sung after communion;[13] the litany of saints at celebrations of Christian initiation,[14] ordination,[15] religious profession,[16] or the dedication of a church;[17] the proclamation of praise for God's mercy at the conclusion of the rite or reconciliation;[18] acclamations to conclude the baptismal profession of faith,[19] blessing of water,[20] or the thanksgiving over oil.[21] Even more important is the solemn chanting of the prayer of consecration by the bishop at ordinations,[22] or the prayer of dedication of a church.[23] In each of these cases the music does not serve as a mere accompaniment, but as the integral mode by which the mystery is proclaimed and presented. THE FORM OF SONG 11. Beyond determining the moments when song is needed, the musical form employed must match its liturgical function. For instance, at the end of the baptismal profession of faith the assembly may express its assent by an acclamation. In place of the text provided ("This is our faith...") another appropriate formula or suitable song may be substituted.[24] An acclamation - - a short, direct and strong declarative statement of the community's faith -- will usually be more suitable for this than the several verses of a metrical hymn. The hymn form, appropriate in other contexts, may not work here because its form is usually less compact, less intense. PASTORAL CONCERNS 12. The pastoral judgment discussed in MUSIC IN CATHOLIC WORSHIP must always be applied when choosing music. Sacramental celebrations are significant moments in an individual's life, but just as importantly they are constitutive events of the community's life in Christ. The music selected must express the prayer of those who celebrate, while at the same time guarding against the imposition of private meanings on public rites. Individual preference is not, of itself, a sufficient principle for the choice of music in the liturgy. It must be balanced with liturgical and musical judgments and with the community's needs. Planning is a team undertaking, involving presider, the musicians and the assembly. PROGRESSIVE SOLEMNITY 13. Music should be considered a normal and ordinary part of any liturgical celebration. However, this general principle is to be interpreted in the light of another one, namely, the principle of progressive solemnity.[25] This latter principle takes into account the abilities of the assembly, the relative importance of the individual rites and their constituent parts, and the relative festivity of the liturgical day. With regard to the Liturgy of the Hours, formerly a sung office meant a service in which everything was sung. Today the elements which lend themselves to singing (the psalms and canticles with their antiphons, the hymns, responsories, litanies and prayers, and the acclamations, greetings and responses) should be sung in accordance with the relative solemnity of the celebration. This principle likewise applies to the music sung in all other liturgical celebrations. 3 LANGUAGE AND MUSICAL IDIOMS 14. Different languages may be used in the same celebration.[26] This may also be said of mixing different musical idioms and media. For example, pastoral reasons might suggest that in a given liturgical celebration some music reflect classical hymnody, with other music drawn from gospel or "folk" idioms, from contemporary service music, or from the plainsong or polyphonic repertoires. In the same celebration music may be rendered in various ways: unaccompanied; or accompanied by organ, piano, guitar or other instruments. 15. While this principle upholding musical plurality has pastoral value, it should never be employed as a license for including poor music. At the same time, it needs to be recognized that a certain musical integrity within a liturgical prayer or rite can be achieved only by unity in the musical composition.

Load more

  15

Copy Link