Choir

Sacramentum Caritatis—no references

Redemptionis Sacramentum

[128.] Holy Mass and other liturgical celebrations, which are acts of Christ and of the people of God hierarchically constituted, are ordered in such a way that the sacred ministers and the lay faithful manifestly take part in them each according to his own condition. It is preferable therefore that "Priests who are present at a Eucharistic Celebration, unless excused for a good reason, should as a rule exercise the office proper to their Order and thus take part as concelebrants, wearing the sacred vestments. Otherwise, they wear their proper choir dress or a surplice over a cassock".218 It is not fitting, except in rare and exceptional cases and with reasonable cause, for them to participate at Mass, as regards to externals, in the manner of the lay faithful.

Chirograph of John Paul II

8. The importance of preserving and increasing the centuries-old patrimony of the Church spurs us to take into particular consideration a specific exhortation of the Constitution Sacrosanctum Concilium: "Choirs must be assiduously developed, especially in cathedral churches"[22]. In turn, the Instruction Musicam Sacram explains the ministerial task of the choir: "Because of the liturgical ministry it exercises, the choir (cappella musicale or schola cantorum) should be mentioned here explicitly. The conciliar norms regarding the reform of the Liturgy have given the choir's function greater prominence and importance. The choir is responsible for the correct performance of its part, according to the differing types of song, to help the faithful to take an active part in the singing. Therefore,... choirs are to be developed with great care, especially in cathedrals and other major churches, in seminaries and in religious houses of study"[23]. The schola cantorum's task has not disappeared: indeed, it plays a role of guidance and support in the assembly and, at certain moments in the Liturgy, has a specific role of its own.

From the smooth coordination of all - the priest celebrant and the deacon, the acolytes, the altar servers, the readers, the psalmist, the schola cantorum, the musicians, the cantor and the assembly - flows the proper spiritual atmosphere which makes the liturgical moment truly intense, shared in and fruitful. The musical aspect of liturgical celebrations cannot, therefore, be left to improvisation or to the arbitration of individuals but must be well conducted and rehearsed in accordance with the norms and competencies resulting from a satisfactory liturgical formation.

JPII Address—no references

Paschale Solemnitatis

[Section on Palm Sunday] 32. During the procession, the choir and people should sing the chants proposed in the Roman Missal, especially Psalms 23 and 46, as well as other appropriate songs in honor of Christ the King.

93. The Easter Vigil liturgy should be celebrated in such a way as to offer to the Christian people the riches of the prayers and rites. It is, therefore, important that authenticity be respected, that the participation of the faithful be promoted, and that the celebration should not take place without servers, readers, and choir exercising their roles.

1975 GIRM

26. The entrance song is sung alternately either by the choir and the congregation or by the cantor and the congregation; or it is sung entirely by the congregation or by the choir alone. The antiphon and psalm of the "Graduale Romanum" or "The Simple Gradual" may be used, or another song that is suited to this part of the Mass, the day, or the seasons and that has a text approved by the conference of bishops.

If there is no singing for the entrance, the antiphon in the Missal is recited either by the faithful, by some of them, or by a reader; otherwise it is recited by the priest after the greeting.

Kyrie Eleison

30. Then the "Kyrie" begins, unless it has already been included as part of the penitential rite. Since it is a song by which the faithful praise the Lord and implore his mercy, it is ordinarily prayed by all, that is, alternately by the congregation and the choir or cantor.

As a rule each of the acclamations is said twice, but, because of the idiom of different languages, the music, or other circumstances, it may be said more than twice or a short verse (trope) may be interpolated. If the "Kyrie" is not sung, it is to be recited.

Gloria

31. The "Gloria" is an ancient hymn in which the Church, assembled in the Holy Spirit, praises and entreats the Father and the Lamb. It is sung by the congregation, or by the congregation alternately with the choir, or by the choir alone. If not sung, it is to be recited either by all together or in alternation.

The "Gloria" is sung or said on Sundays outside Advent and Lent, on solemnities and feasts, and in special, more solemn celebrations.

37. As the season requires, the "Alleluia" or another chant follows the second reading.

a. The "Alleluia" is sung in every season outside Lent. It is begun either by all present or by the choir or cantor; it may then be repeated. The verses are taken from the Lectionary or the "Graduale."

b. The other chant consists of the verse before the gospel or another psalm or tract, as found in the Lectionary or the "Graduale."

56. Since the eucharistic celebration is the paschal meal, it is right that the faithful who are properly disposed receive the Lord's body and blood as spiritual food as he commanded.[43] This is the purpose of the breaking of bread and the other preparatory rites that lead directly to the communion of the people:

a. Lord's Prayer: this is a petition both for daily food, which for Christians means also the eucharistic bread, and for the forgiveness of sin, so that what is holy may be given to those who are holy. The priest offers the invitation to pray, but all the faithful say the prayer with him; he alone adds the embolism, "Deliver us," which the people conclude with a doxology. The embolism, developing the last petition of the Lord's Prayer, begs on behalf of the entire community of the faithful deliverance from the power of evil. The invitation, the prayer itself, the embolism, and the people's doxology are sung or are recited aloud.

b. Rite of peace: before they share in the same bread, the faithful implore peace and unity for the Church and for the whole human family and offer some sign of their love for one another.

The form the sign of peace should take is left to the conference of bishops to determine, in accord with the culture and customs of the people.

c. Breaking of the bread: in apostolic times this gesture of Christ at the last supper gave the entire eucharistic action its name. This rite is not simply functional, but is a sign that in sharing in the one bread of life which is Christ we who are many are made one body (see 1 Cor 10:17).

d. Commingling: the celebrant drops a part of the host into the chalice.

e. "Agnus Dei": during the breaking of the bread and the commingling, the "Agnus Dei" is as a rule sung by the choir or cantor with the congregation responding; otherwise it is recited aloud. This invocation may be repeated as often as necessary to accompany the breaking of the bread. The final reprise concludes with the words, "grant us peace."

f. Personal preparation of the priest: the priest prepares himself by the prayer, said softly, that he may receive Christ's body and blood to good effect. The faithful do the same by silent prayer.

g. The priest then shows the eucharistic bread for communion to the faithful and with them recites the prayer of humility in words from the Gospels.

h. It is most desirable that the faithful receive the Lord's body from hosts consecrated at the same Mass and that, in the instances when it is permitted, they share in the chalice. Then even through the signs communion will stand out more clearly as a sharing in the sacrifice actually being celebrated.[44]

i. During the priest's and the faithful's reception of the sacrament the communion song is sung. Its function is to express outwardly the communicants' union in spirit by means of the unity of their voices, to give evidence of joy of heart, and to make the procession to receive Christ's body more fully an act of community. The song begins when the priest takes communion and continues for as long as seems appropriate while the faithful receive Christ's body. But the communion song should be ended in good time whenever there is to be a hymn after communion.

An antiphon from the "Graduale Romanum" may also be used, with or without the psalm, or an antiphon with psalm from "The Simple Gradual" or another suitable song approved by the conference of bishops. It is sung by the choir alone or by the choir or cantor with the congregation.

If there is no singing, the communion antiphon in the Missal is recited either by the people, by some of them, or by a reader. Otherwise the priest himself says it after he has received communion and before he gives communion to the faithful.

j. After communion, the priest and people may spend some time in silent prayer. If desired, a hymn, psalm, or other song of praise may be sung by the entire congregation.

k. In the prayer after communion, the priest petitions for the effects of the mystery just celebrated and by their acclamation, Amen, the people make the prayer their own.

63. The "schola cantorum" or choir exercises its own liturgical function within the assembly. Its task is to ensure that the parts proper to it, in keeping with the different types of chants, are carried out becomingly and to encourage active participation of the people in the singing.[51] What is said about the choir applies in a similar way to other musicians, especially the organist.

64. There should be a cantor or a choir director to lead and sustain the people in the singing. When in fact there is no choir, it is up to the cantor to lead the various songs, and the people take part in the way proper to them.

113. The priest then takes the eucharistic bread and breaks it over the paten. He places a small piece in the chalice, saying softly: "May this mingling."

Meanwhile the "Agnus Dei" is sung or recited by the choir and congregation (see no. 56 e).

168. The preface is said by the principal celebrant alone; the "Sanctus" is sung or recited by all the concelebrants with the congregation and the choir.

257. The people of God assembled at Mass possess an organic and hierarchical structure, expressed by the various ministries and actions for each part of the celebration. The general plan of the sacred edifice should be such that in some way it conveys the image of the gathered assembly. It should also allow the participants to take the place most appropriate to them and assist all to carry out their individual functions properly.

The congregation and the choir should have a place that facilitates their active participation.[78]

The priest and his ministers have their place in the sanctuary, that is, in the part of the church that brings out their distinctive role, namely, to preside over the prayers, to proclaim the word of God, or to minister at the altar.

Even though these elements must express a hierarchical arrangement and the diversity of offices, they should at the same time form a complete and organic unity, clearly expressive of the unity of the entire holy people. The character and beauty of the place and all its appointments should foster devotion and show the holiness of the mysteries celebrated there.

272. The dignity of the word of God requires the church to have a place that is suitable for proclamation of the word and is a natural focal point for the people during the liturgy of the word.[84]

As a rule the lectern or ambo should be stationary, not simply a movable stand. In keeping with the structure of each church, it must be so placed that the ministers may be easily seen and heard by the faithful.

The readings, responsorial psalm, and the Easter Proclamation ("Exsultet") are proclaimed from the lectern; it may be used also for the homily and general intercessions (prayer of the faithful).

It is better for the commentator, cantor, or choir director not to use the lectern.

IX. Choir, Organ, And Other Musical Instruments

274. In relation to the design of each church, the "schola cantorum" should be so placed that its character as a part of the assembly of the faithful that has a special function stands out clearly. The location should also assist the choir's liturgical ministry and readily allow each member complete, that is, sacramental participation in the Mass.[86]

275. The organ and other lawfully approved musical instruments are to be placed suitably in such a way that they can sustain the singing of the choir and congregation and be heard with ease when they are played alone.

313. The pastoral effectiveness of a celebration will be heightened if the texts of readings, prayers, and songs correspond as closely as possible to the needs, religious dispositions, and aptitude of the participants. This will be achieved by an intelligent use of the broad options described in this chapter.

In planning the celebration, then, the priest should consider the general spiritual good of the assembly rather than his personal outlook. He should be mindful that the choice of texts is to be made in consultation with the ministers and others who have a function in the celebration, including the faithful in regard to the parts that more directly belong to them.

Since a variety of options is provided for the different parts of the Mass, it is necessary for the deacon, readers, psalmists, cantors, commentator, and choir to be completely sure beforehand of those texts for which they are responsible so that nothing is improvised. A harmonious planning and execution will help dispose the people spiritually to take part in the eucharist.

Voluntati Obsequens—no references

Liturgicae Instaurationes—no references

Tres Abhinc

18. A Mass celebrated by a priest with failing sight or otherwise infirm and having an indult to say a votive Mass, may have the following arrangement.

a. The priest says the prayers and the preface of the votive Mass.

b. Another priest, a deacon, reader, or server is to do the readings from the Mass of the day or from a weekday Lectionary. If only a reader or server is present, he has permission also to read the gospel, but without the Munda cor meum, Iube, domine, benedicere and Dominus sit in corde meo. The celebrant however says the Dominus vobiscum before the reading of the gospel and at the end kisses the book.

c. The choir, the congregation, or even the reader may take the Entrance, Offertory, and Communion antiphons, and the chants between the readings.

Musicam Sacram

7. Between the solemn, fuller form of liturgical celebration, in which everything that demands singing is in fact sung, and the simplest form, in which singing is not used, there can be various degrees according to the greater or lesser place allotted to singing. However, in selecting the parts which are to be sung, one should start with those that are by their nature of greater importance, and especially those which are to be sung by the priest or by the ministers, with the people replying, or those which are to be sung by the priest and people together. The other parts may be gradually added according as they are proper to the people alone or to the choir alone.

9. In selecting the kind of sacred music to be used, whether it be for the choir or for the people, the capacities of those who are to sing the music must be taken into account. No kind of sacred music is prohibited from liturgical actions by the Church as long as it corresponds to the spirit of the liturgical celebration itself and the nature of its individual parts,7 and does not hinder the active participation of the people.8

13. Liturgical services are celebrations of the Church, that is, of the holy people, united under and directed by the bishop or priest.10 The priest and his ministers, because of the sacred order they have received, hold a special place in these celebrations, as do also -- by reason of the ministry they perform -- the servers, readers, commentators and those in the choir.

15. The faithful fulfil their liturgical role by making that full, conscious and active participation which is demanded by the nature of the Liturgy itself and which is, by reason of baptism, the right and duty of the Christian people.13 This participation

(a) Should be above all internal, in the sense that by it the faithful join their mind to what they pronounce or hear, and cooperate with heavenly grace,14

(b) Must be, on the other hand, external also, that is, such as to show the internal participation by gestures and bodily attitudes, by the acclamations, responses and singing.15

The faithful should also be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.

16. One cannot find anything more religious and more joyful in sacred celebrations than a whole congregation expressing its faith and devotion in song. Therefore the active participation of the whole people, which is shown in singing, is to be carefully promoted as follows:

(a) It should first of all include acclamations, responses to the greetings of the priest and ministers and to the prayers of litany form, and also antiphons and psalms, refrains or repeated responses, hymns and canticles.16

(b) Through suitable instruction and practices, the people should be gradually led to a fuller -- indeed, to a complete -- participation in those parts of the singing which pertain to them.

(c) Some of the people's song, however, especially if the faithful have not yet been sufficiently instructed, or if musical settings for several voices are used, can be handed over to the choir alone, provided that the people are not excluded from those parts that concern them. But the usage of entrusting to the choir alone the entire singing of the whole Proper and of the whole Ordinary, to the complete exclusion of the people's participation in the singing, is to be deprecated.

19. Because of the liturgical ministry it performs, the choir -- or the Capella musica, or schola cantorum -- deserves particular mention. Its role has become something of yet greater importance and weight by reason of the norms of the Council concerning the liturgical renewal. Its duty is, in effect, to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing. Therefore:

(a) There should be choirs, or Capellae, or scholae cantorum, especially in cathedrals and other major churches, in seminaries and religious houses of studies, and they should be carefully encouraged.

(b) It would also be desirable for similar choirs to be set up in smaller churches.

20. Large choirs (Capellae musicae) existing in basilicas, cathedrals, monasteries and other major churches, which have in the course of centuries earned for themselves high renown by preserving and developing a musical heritage of inestimable value, should be retained for sacred celebrations of a more elaborate kind, according to their own traditional norms, recognized and approved by the Ordinary.

However, the directors of these choirs and the rectors of the churches should take care that the people always associate themselves with the singing by performing at least the easier sections of those parts which belong to them.

21. Provision should be made for at least one or two properly trained singers, especially where there is no possibility of setting up even a small choir. The singer will present some simpler musical settings, with the people taking part, and can lead and support the faithful as far as is needed. The presence of such a singer is desirable even in churches which have a choir, for those celebrations in which the choir cannot take part but which may fittingly be performed with some solemnity and therefore with singing.

22. The choir can consist, according to the customs of each country and other circumstances, of either men and boys, or men and boys only, or men and women, or even, where there is a genuine case for it, of women only.

23. Taking into account the layout of each church, the choir should be placed in such a way:

(a) That its nature should be clearly apparent-namely, that it is a part of the whole congregation, and that it fulfills a special role;

(b) That it is easier for it to fulfil its liturgical function;20

Whenever the choir also includes women, it should be placed outside the sanctuary (presbyterium).

24. Besides musical formation, suitable liturgical and spiritual formation must also be given to the members of the choir, in such a way that the proper performance of their liturgical role will not only enhance the beauty of the celebration and be an excellent example for the faithful, but will bring spiritual benefit to the choir-members themselves.

26. The priest, the sacred ministers and the servers, the reader and those in the choir, and also the commentator, should perform the parts assigned to them in a way which is comprehensible to the people, in order that the responses of the people, when the rite requires it, may be made easy and spontaneous. It is desirable that the priest, and the ministers of every degree, should join their voices to the voice of the whole faithful in those parts which concern the people.

34. The songs which are called the "Ordinary of the Mass", if they are sung by musical settings written for several voices may be performed by the choir according to the customary norms, either a capella, or with instrumental accompaniment, as long as the people are not completely excluded from taking part in the singing.

In other cases, the parts of the Ordinary of the Mass can be divided between the choir and the people or even between two sections of the people themselves: one can alternate by verses, or one can follow other suitable divisions which divide the text into larger sections. In these cases, the following points are to be noted: it is preferable that the Creed, since it is a formula of profession of faith, should be sung by all, or in such a way as to permit a fitting participation by the faithful; it is preferable that the Sanctus, as the concluding acclamation of the Preface, should normally be sung by the whole congregation together with the priest; the Agnus Dei may be repeated as often as necessary, especially in concelebrations, where it accompanies the Fraction; it is desirable that the people should participate in this song, as least by the final invocation.

37. The sung celebration of the Divine Office is the form which best accords with the nature of this prayer. It expresses its solemnity in a fuller way and expresses a deeper union of hearts in performing the praises of God. That is why, in accordance with the wish of the Constitution on the Liturgy,23 this sung form is strongly recommended to those who celebrate the Office in choir or in common.

38. When the Divine Office is to be celebrated in sung form, a principle of "progressive" solemnity can be used, inasmuch as those parts which lend themselves more directly to a sung form, e.g. dialogues, hymns, verses and canticles, may be sung, and the rest recited. This does not change the rules at present in force for those obliged to choir, nor does it change particular indults.

41. In accordance with the norm of the Constitution on the Liturgy and the centuries-old tradition of the Latin rite, the Latin language is to be retained for clerics celebrating the Divine Office in choir.24 Since however the same Liturgy Constitution25 concedes the use of the vernacular in the Divine Office both by the faithful and by nuns and other members of Institutes professing the evangelical virtues, who are not clerics, due care should be taken that melodies are prepared which may be used in the singing of the Divine Office in the vernacular.

53. New works of sacred music should conform faithfully to the principles and norms set out above. In this way they will have "the qualities proper to genuine sacred music, being within the capacities not merely of large choirs but of smaller choirs, facilitating the participation of all the faithful."

65. In sung or said Masses, the organ, or other instrument legitimately admitted, can be used to accompany the singing of the choir and the people; it can also be played solo at the beginning before the priest reaches the altar, at the Offertory, at the Communion, and at the end of Mass.

The same rule, with the necessary adaptations, can be applied to other sacred celebrations.

Inter Oecumenici

32. Parts belonging to the choir or to the people and sung or recited by them are not said privately by the celebrant.

36. In order that liturgical services may manifest a noble simplicity more attuned to the spirit of the times:

a. the celebrant and ministers shall bow to the choir only at the beginning and end of a service;

b. incensation of the clergy, apart from those who are bishops, shall take place toward each side of the choir, with three swings of the censer;

c. incensation shall be limited to the one altar where the liturgical rite is being celebrated;

d. kissing of the hand and of objects presented or received shall be omitted.

48. Until reform of the entire Ordo Missae, the points that follow are to be observed:

a. The celebrant is not to say privately those parts of the Proper sung or recited by the choir or the congregation.

b. The celebrant may sing or recite the parts of the Ordinary together with the congregation or choir.

c. In the prayers at the foot of the altar at the beginning of Mass Psalm 42 is omitted. All the prayers at the foot of the altar are omitted whenever there is another liturgical rite immediately preceding.

d. In solemn Mass the subdeacon does not hold the paten but leaves it on the altar.

e. In sung Masses the secret prayer or prayer over the gifts is sung and in other Masses recited aloud.

f. The doxology at the end of the canon, from Per ipsum through Per omnia saecula saeculorum. R. Amen, is to be sung or recited aloud. Throughout the whole doxology the celebrant slightly elevates the chalice with the host, omitting the signs of the cross, and genuflects at the end after the Amen response by the people.

g. In recited Masses the congregation may recite the Lord's Prayer in the vernacular along with the celebrant; in sung Masses the people may sing it in Latin along with the celebrant and, should the territorial ecclesiastical authority have so decreed, also in the vernacular, using melodies approved by the same authority.

h. The embolism after the Lord's Prayer shall be sung or recited aloud.

i. The formulary for distributing holy communion is to be, Corpus Christi. As he says these words, the celebrant holds the host slightly above the ciborium and shows it to the communicant, who responds: Amen, then receives communion from the celebrant, the sign of the cross with the host being omitted.

j. The last gospel is omitted; the Leonine Prayers are suppressed.

k. It is lawful to celebrate a sung Mass with only a deacon assisting.

l. It is lawful, when necessary, for bishops to celebrate a sung Mass following the form used by priests.

I. CELEBRATION OF DIVINE OFFICE BY THOSE BOUND TO CHOIR

78. Until reform of the divine office is completed:

a. Communities of canons, monks, nuns, other regulars or religious bound to choir by law or constitutions must, in addition to the conventual Mass, celebrate the entire divine office daily in choir.

Individual members of these communities who are in major orders or solemnly professed, except for lay brothers, are obliged, even if lawfully dispensed from choir, to private recitation each day of the hours they do not celebrate in choir.

b. Cathedral and collegiate chapters must, besides the conventual Mass, celebrate in choir those parts of the office imposed on them by common or particular law.

Individual chapter members, besides the canonical hours obligatory for all clerics in major orders (see SC art. 96 and 89), must recite in private the hours that are celebrated by their chapter.

c. In mission regions, while preserving the religious or capitular choral discipline established by law, religious or capitulars who are lawfully absent from choir by reason of pastoral ministry may, with permission of the local Ordinary (not of his vicar general or delegate), use the concession granted by the Motu Proprio Sacram Liturgiam no. VI.

85. In reciting the divine office in choir clerics are bound to retain the Latin language.

97. The choir and organ shall occupy a place clearly showing that the singers and the organist form part of the united community of the faithful and allowing them best to fulfill their part in the liturgy.

Sacram Liturgiam

VI.

Although the Divine Office has not yet been revised and renewed according to the norms of Article 89, we nevertheless grant immediately the following permission to all who are obliged to recite the Divine Office.

From February 16, in recitation of the office outside of choir, they may omit the hour of Prime and choose from among the three other little hours one that best suits the time of day, always without prejudice to the dispositions of Articles 95 and 96 of the Constitution.

We make this concession with strong confidence that this will not detract in any way from the piety of the clergy, but rather that in diligently carrying out the duties of their priestly office for the love of God, they may feel more closely united to God throughout the day.

Sacrosanctum Concilium

29. Servers, lectors commentators, and members of the choir also exercise a genuine liturgical function. They ought, therefore, to discharge their office with the sincere piety and decorum demanded by so exalted a ministry and rightly expected of them by God's people.

Consequently they must all be deeply imbued with the spirit of the Liturgy, each in his own measure, and they must be trained to perform their functions in a correct and orderly manner.

89. Therefore, when the Office is revised, these norms are to be observed:

a) By the venerable tradition of the universal Church, Lauds as morning prayer and Vespers as evening prayer are the two hinges on which the daily Office turns; hence they are to be considered as the chief hours and are to be celebrated as such.

b) Compline is to be drawn up so that it will be a suitable prayer for the end of the day.

c) The hour known as Matins, although it should retain the character of nocturnal praise when celebrated in choir, shall be adapted so that it may be recited at any hour of the day; it shall be made up of fewer Psalms and longer readings.

d) The hour of Prime is to be suppressed.

e) In choir the hours of Terce, Sext, and None are to be observed. But outside choir it will be lawful to select any one of these three, according to the respective time of the day.

95. Communities obliged to choral office are bound to celebrate the Office in choir every day in addition to the conventual Mass. In particular:

a) Orders of canons, of monks and of nuns, and of other regulars bound by law or constitutions to choral Office must celebrate the entire Office.

b) Cathedral or collegiate chapters are bound to recite those parts of the Office imposed on them by general or particular law.

c) All members of the above communities who are in major orders or who are solemnly professed, except for lay brothers, are bound to recite individually those canonical Hours which they do not pray in choir.

96. Clerics not bound to Office in choir, if they are in major orders, are bound to pray the entire Office every day, either in common or individually, as laid down in Art. 89.

99. Since the Divine Office is the voice of the Church, that is of the whole Mystical Body publicly praising God, those clerics who are not obliged to Office in choir, especially priests who live together or who assemble for any purpose, are urged to pray at least some part of the Divine Office in common.

All who pray the Divine Ofice, whether in choir or in common, should fulfill the task entrusted to them as perfectly as possible: this refers not only to the internal devotion of their minds but also to their external manner of celebration.

It is, moreover, fitting that the Office, both in choir and in common, be sung when possible.

101. 1. In accordance with the centuries-old tradition of the Latin rite, the Latin language is to be retained by clerics in the Divine Office. But in individual cases the ordinary has the power of granting the use of a vernacular translation to those clerics for whom the use of Latin constitutes a grave obstacle to their praying the Office properly. The vernacular version, however, must be one that is drawn up according to the provision of Art. 36.

2. The competent superior has the power to grant the use of the vernacular in the celebration of the Divine Office, even in choir, to nuns and to members of institutes dedicated to acquiring perfection, both men who are not clerics and women. The version, however, must be one that is approved.

3. Any cleric bound to the Divine Office fulfills his obligation if he prays the Office in the vernacular together with a group of the faithful or with those mentioned in 52 above provided that the text of the translation is approved.

114. The treasure of sacred music is to be preserved and fostered with great care. Choirs must be diligently promoted, especially in cathedral churches; but bishops and other pastors of souls must be at pains to ensure that, whenever the sacred action is to be celebrated with song, the whole body of the faithful may be able to contribute that active participation which is rightly theirs, as laid down in Art. 28 and 30.

121. Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures.

Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful.

The texts intended to be sung must always be in conformity with Catholic doctrine; indeed they should be drawn chiefly from Holy Scripture and from liturgical sources.

De Musica Sacra

14. a) In sung Masses only Latin is to be used. This applies not only to the celebrant, and his ministers, but also to the choir or congregation.

"However, popular vernacular hymns may be sung at the solemn Eucharistic Sacrifice (sung Masses), after the liturgical texts have been sung in Latin, in those places where such a centenary or immemorial custom has obtained. Local ordinaries may permit the continuation of this custom 'if they judge that it cannot prudently be discontinued because of the circumstances of the locality or the people' (cf. canon 5)" (Musicæ sacræ disciplina: AAS 48 [1956] 16-17).

b) At low Mass the faithful who participate directly in the liturgical ceremonies with the celebrant by reciting aloud the parts of the Mass which belong to them must, along with the priest and his server, use Latin exclusively.

But if, in addition to this direct participation in the liturgy, the faithful wish to add some prayers or popular hymns, according to local custom, these may be recited or sung in the vernacular.

c) It is strictly forbidden for the faithful in unison or for a commentator to recite aloud with the priest the parts of the Proper, Ordinary, and canon of the Mass. This prohibition extends to both Latin, and a vernacular word-for-word translation. Exceptions will be enumerated in paragraph 31.However, it is desirable that a lector read the Epistle and Gospel in the vernacular for the benefit of the faithful at low Masses on Sundays and feast days. Between the Consecration, and the Pater noster a holy silence is fitting.

16. Gregorian chant is the music characteristic of the Roman Church. Therefore, its use is not only permitted, but encouraged at all liturgical ceremonies above all other styles of music, unless circumstances demand otherwise. From this it follows that:

a) The language of Gregorian chant, because of its character as liturgical music, must be exclusively Latin.

b) The priest and his ministers must use only the Gregorian melodies given in the standard editions when they sing their parts according to the rubrics of the liturgical ceremonies. Any sort of instrumental accompaniment is forbidden.

This is binding also on choir, and congregation when they answer the chants of the priest or his ministers according to the rubrics.

c) Finally, if a particular indult has been granted for the priest, deacon, subdeacon, or lector to read solemnly the Epistle, Lesson, or Gospel in the vernacular after they have been chanted in their Gregorian melodies, they must be read in a loud and clear voice, without any attempt to imitate the Gregorian melodies (cf. no. 96e).

17. When the choir is capable of singing it, sacred polyphony may be used in all liturgical ceremonies. This type of sacred music is specially appropriate for ceremonies celebrated with greater splendor, and solemnity.

18. Modern sacred music may also be used in all liturgical ceremonies if it conforms to the dignity, solemnity, and sacredness of the service, and if there is a choir capable of rendering it artistically.

21. Everything which the liturgical books prescribe to be sung, either by the priest and his ministers, or by the choir or congregation, forms an integral part of the sacred liturgy. Therefore:

a) It is strictly forbidden to change in any way the sung text, to alter or omit words, or to introduce inappropriate repetitions. This applies also to compositions of sacred polyphony, and modern sacred music: each word should be clearly, and distinctly audible.

b) It is explicitly forbidden to omit either the whole or a part of any liturgical text unless the rubrics provide for such a change.

c) But if for some reason a choir cannot sing one or another liturgical text according to the music printed in the liturgical books, the only permissible substitution is this: that it be sung either recto tono, i.e., on a straight tone, or set to one of the psalm tones. Organ accompaniment may be used. Typical reasons for permitting such a change are an insufficient number of singers, or their lack of musical training, or even, at times, the length of a particular rite or chant.

25. In solemn Mass there are three degrees of the participation of the faithful:

a) First, the congregation can sing the liturgical responses. These are: Amen; Et cum spiritu tuo; Gloria tibi, Domine; Habemus ad Dominum; Dignum et justum est; Sed libera nos a malo; Deo gratias. Every effort must be made that the faithful of the entire world learn to sing these responses.

b) Secondly, the congregation can sing the parts of the Ordinary of the Mass: Kyrie, eleison; Gloria in excelsis Deo; Credo; Sanctus-Benedictus; Agnus Dei. Every effort must be made that the faithful learn to sing these parts, particularly according to the simpler Gregorian melodies. But if they are unable to sing all these parts, there is no reason why they cannot sing the easier ones: Kyrie, eleison; Sanctus-Benedictus; Agnus Dei; the choir, then, can sing the Gloria, and Credo.

27. Also note the following points with regard to the sung Mass:

a) If the priest and his ministers go in procession by a long aisle, it would be permissible for the choir, after the singing of the Introit antiphon, and its psalm verse, to continue singing additional verses of the same psalm. The antiphon itself may be repeated after each verse or after every other verse; when the celebrant has reached the altar, the psalm ceases, and the Gloria Patri is sung, and finally the antiphon is repeated to conclude the Introit procession.

b) After the Offertory antiphon is sung, it is also allowed to sing the ancient Gregorian melodies of the original Offertory verses which once were sung after the antiphon.

The Mass in Choir

d. Conventual Mass, or the Mass in Choir.

35. The conventual Mass, among all other liturgical ceremonies, has a special dignity: this is the Mass which must be celebrated daily in connection with the Divine Office by those whom the Church obliges to choir service.

For the Mass, together with the Divine Office, is the summit of all Christian worship; it is the fullness of praise offered daily to Almighty God in public, and external ceremony.

Since, however, this perfection of public, and corporate worship cannot be realized daily in every church, it is performed vicariously by those who have the "choir obligation", and are deputed for this service. This is especially true of cathedral churches acting in the name of the entire diocese.

Thus all "choir" ceremonies should be performed with special dignity and solemnity, making use of both chant and sacred music.

36. the conventual Mass should, therefore, be a solemn Mass, or at least a high Mass.

Even if particular laws or indults have dispensed from the solemnity of the "choir" Mass, the canonical hours are not to be recited during the conventual Mass. It would be more appropriate to celebrate a conventual low Mass according to the manner outlined in paragraph 31; however, any use of the vernacular is to be excluded.

The Conventual Mass

37. Regarding the conventual Mass, the following prescriptions are to be observed:

a) On each day only one conventual Mass is to be celebrated; this must correspond to the Office recited in choir unless the rubrics direct otherwise (Additiones et variationes in rubricis Missalis, ti. I, n. 4). However, if there are pious foundations or other legitimate reasons which require more than one conventual Mass, they still remain in force.

b) The conventual Mass follows the rules of a sung or low Mass.

c) Unless the superior of a community decides that it should be said after Sext or None, and this only for a serious reason, the conventual Mass is to be said after Terce.

d) Conventual Masses "outside the choir", which until now were sometimes prescribed by the rubrics, are now abolished.

e.) Assistance of priests in the Holy Sacrifice of the Mass, and so-called "synchronized" Masses.

The "Opus Dei"

B. Divine Office.

40. The Divine Office is said either in choir, in common, or alone.

The Office is said in choir when it is recited by a community obliged by Church law to choir duty; it is said in common when recited by a community not bound to choir duty.

However it is said, whether in choir, in common, or alone, it must always be looked upon as an act of public worship offered to God in the name of the Church, if it said by persons deputed to this obligation by the Church.

41. The Divine Office by its very nature is so constructed that it should be performed by mutually alternating voices; moreover, some parts even presuppose that they be sung.

42. Thus the celebration of the Divine Office in choir must be retained, and promoted. Likewise, its performance in common, including the singing of at least some parts of the Office, is earnestly recommended when circumstances of places, persons, and time permit.

43. The recitation of the psalms in choir or in common, whether sung in Gregorian chant or simply recited, should be performed in a solemn, and becoming manner; care should be taken that the proper tones, appropriate pauses, and perfect harmony be preserved.

44. If the psalms of a particular canonical hour are to be sung, they should be sung at least partly according to the Gregorian tones; this may be done either with alternate psalms, or with alternate verses of the same psalm.

71. The use of automatic instruments and machines, such as the automatic organ, phonograph, radio, tape or wire recorders, and other similar machines, is absolutely forbidden in liturgical functions and private devotions, whether they are held inside or outside the church, even if these machines be used only to transmit sermons or sacred music, or to substitute for the singing of the choir or faithful, or even just to support it.

However, such machines may be used, even inside the church, but not during services of any kind, whether liturgical or private, in order to give the people a chance to listen to the voice of the Supreme Pontiff or the local Ordinary, or the sermons of others. These mechanical devices may be also be used to instruct the faithful in Christian doctrine or in the sacred chant or hymn singing; finally they may be used in processions which take place outside the church, as a means of directing, and supporting the singing of the people.

93. The priest-celebrant is the presiding officer in all liturgical functions. All others participate in the service in their own proper manner. Thus:

a) Clerics present at a liturgical ceremony in the manner, and form prescribed by the rubrics, who fulfill the role of sacred or minor ministers or sing in the choir or schola cantorum, exercise a liturgical ministry which is direct, and proper to them by virtue of their ordination or elevation to the clerical state.

b) The laity also participate actively in the liturgy by virtue of their baptismal character which enables them, in their own way, to offer the divine Victim to God he Father with the priest in the holy sacrifice of the Mass itself (cf. Mystici Corporis Christi, June 29, 1943; AAS 35 [1943] 232-233; Mediator Dei, Nov. 20, 1947: AAS 39 [1947] 555-556).

c) Therefore, laity of the male sex, whether boys, young men, or adults, when appointed by competent ecclesiastical authority to serve at the altar or to perform the sacred music, and when they fulfill this office in the manner, and form prescribed by the rubrics, exercise a liturgical ministry which is direct, though delegated. If they are singers, they must be a part of the choir or schola cantorum.

Good Example Required

97. Those who have a part in the sacred music -- composers, organists, choir directors, singers, and instrumentalists -- should above all be outstanding Christians, and give example to the rest of the faithful, conformable to their role as direct or indirect participants in the sacred liturgy.

98. Besides excelling in Christian faith and morals, these persons must also possess the training necessary to fulfill their particular role of participation in the liturgy.

a) Composers of sacred music should have a thorough knowledge of the historical, dogmatic or doctrinal, practical, and rubrical aspects of the liturgy; they should know Latin; and finally they should be well trained in the art, and the history of both sacred, and secular music.

b) Organists, and choir directors should also have a comprehensive knowledge of the liturgy, and a sufficient understanding of Latin; and finally they should be well trained in their art, and able to carry out their role worthily, and competently.

c) Singers, both boys and adults, should be taught the meaning of the liturgical functions, and of the texts they sing insofar as they are capable of comprehending, for then their singing will be inspired by an understanding mind, and a loving heart, and be truly rendered as befits the service of an intelligent person. They should also be taught to pronounce the Latin words correctly, and distinctly. Pastors, and those directly in charge must see to it that good order, and true devotion reign in that part of the church occupied by the singers.

d) Instrumentalists who perform sacred music should not only be well trained in the techniques of their instruments, but should also know how to adapt them to the playing of sacred music. They should be well enough instructed in the sacred liturgy that their devotion will be evidenced by an artistic performance.

The Schola Cantorum

99. It is highly desirable that a choir or schola cantorum be established in all cathedral churches, in parish churches, and all other churches of importance where the liturgical functions can be carried out as described in paragraph 93a, and c.

100. Wherever such a choir cannot be organized, a choir of the faithful, either mixed or consisting only of women or girls, can be permitted. But such a choir should take its place outside the sanctuary or Communion rail. The men should be separated from the women or girls so that anything unbecoming may be avoided. Local Ordinaries are to issue precise regulations about these matters, and pastors are to see to their enforcement (Decr. Auth. SCR 3964, 4210, 4231, and the encyclical Musicæ sacræ disciplina: AAS [1956] 23).

101. It would be ideal, and worthy of commendation if organists, choir directors, singers, instrumentalists, and others engaged in the service of the Church, would contribute their talents for the love of God, and in the spirit of religious devotion, without salary; should they be unable to offer their services free of charge, Christian justice, and charity demand that the church give them a just wage, according to the recognized standards of the locality, and provisions of law.

114. The boy choir, an organization praised over and over by the Holy See (Apostolic constitution Divini cultus: AAS 21 [1929] 28; Musicæ sacræ disciplina: AAS 48 [1956] 23), is even more important to the performance of sacred music, and the singing of hymns.

It is desirable, and every effort should be made, that every church have its own boy choir. The boys should be thoroughly instructed in the sacred liturgy, and particularly in the art of singing with devotion.

Diocesan Institutes

115. Moreover, it is recommended that every diocese have a school or institute of chant and organ where organists, choir directors, singers and instrumentalists can be properly trained.

In some cases a number of dioceses will prefer to collaborate in organizing such a school. Pastors and others in charge should be alert in detecting, and sending talented young men to these schools, and encourage them in their studies.

Musicae Sacrae

11. There are many statements of the fathers and ecclesiastical writers testifying that after freedom and peace had been restored to the Church the psalms and hymns of liturgical worship were in almost daily use. Moreover, new forms of sacred chant were gradually created and new types of songs were invented. These were developed more and more by the choir schools attached to cathedrals and other important churches, especially by the School of Singers in Rome.

34. It is easy to infer from what has just been said that the dignity and force of sacred music are greater the closer sacred music itself approaches to the supreme act of Christian worship, the Eucharistic sacrifice of the altar. There can be nothing more exalted or sublime than its function of accompanying with beautiful sound the voice of the priest offering up the Divine Victim, answering him joyfully with the people who are present and enhancing the whole liturgical ceremony with its noble art.

35. To this highest function of sacred music We must add another which closely resembles it, that is its function of accompanying and beautifying other liturgical ceremonies, particularly the recitation of the Divine Office in choir. Thus the highest honor and praise must be given to liturgical music.

74. Where it is impossible to have schools of singers or where there are not enough choir boys, it is allowed that "a group of men and women or girls, located in a place outside the sanctuary set apart for the exclusive use of this group, can sing the liturgical texts at Solemn Mass, as long as the men are completely separated from the women and girls and everything unbecoming is avoided. The Ordinary is bound in conscience in this matter."

Mediator Dei

145. To this lofty dignity of the Church's prayer, there should correspond earnest devotion in our souls. For when in prayer the voice repeats those hymns written under the inspiration of the Holy Ghost and extols God's infinite perfections, it is necessary that the interior sentiment of our souls should accompany the voice so as to make those sentiments our own in which we are elevated to heaven, adoring and giving due praise and thanks to the Blessed Trinity; "so let us chant in choir that mind and voice may accord together."[140] It is not merely a question of recitation or of singing which, however perfect according to norms of music and the sacred rites, only reaches the ear, but it is especially a question of the ascent of the mind and heart to God so that, united with Christ, we may completely dedicate ourselves and all our actions to Him.

192. Besides, "so that the faithful take a more active part in divine worship, let Gregorian chant be restored to popular use in the parts proper to the people. Indeed it is very necessary that the faithful attend the sacred ceremonies not as if they were outsiders or mute onlookers, but let them fully appreciate the beauty of the liturgy and take part in the sacred ceremonies, alternating their voices with the priest and the choir, according to the prescribed norms. If, please God, this is done, it will not happen that the congregation hardly ever or only in a low murmur answer the prayers in Latin or in the vernacular."[173] 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"[174] and, as the ancient saying has it, "he who sings well prays twice." Thus the Church militant, faithful as well as clergy, joins in the hymns of the Church triumphant and with the choirs of angels, and, all together, sing a wondrous and eternal hymn of praise to the most Holy Trinity in keeping with words of the preface, "with whom our voices, too, thou wouldst bid to be admitted."

195. What We have said about music, applies to the other fine arts, especially to architecture, sculpture and painting. Recent works of art which lend themselves to the materials of modern composition, should not be universally despised and rejected through prejudice. Modern art should be given free scope in the due and reverent service of the church and the sacred rites, provided that they preserve a correct balance between styles tending neither to extreme realism nor to excessive "symbolism," and that the needs of the Christian community are taken into consideration rather than the particular taste or talent of the individual artist. Thus modern art will be able to join its voice to that wonderful choir of praise to which have contributed, in honor of the Catholic faith, the greatest artists throughout the centuries. Nevertheless, in keeping with the duty of Our office, We cannot help deploring and condemning those works of art, recently introduced by some, which seem to be a distortion and perversion of true art and which at times openly shock Christian taste, modesty and devotion, and shamefully offend the true religious sense. These must be entirely excluded and banished from our churches, like "anything else that is not in keeping with the sanctity of the place."

Divini Cultus

These public prayers, called at first "the work of God" and later "the divine office" or the daily "debt" which man owes to God, used to be offered both day and night in the presence of a great concourse of the faithful. From the earliest times the simple chants which graced the sacred prayers and the Liturgy gave a wonderful impulse to the piety of the people. History tells us how in the ancient basilicas, where bishop, clergy and people alternately sang the divine praises, the liturgical chant played no small part in converting many barbarians to Christianity and civilization. It was in the churches that heretics came to understand more fully the meaning of the communion of saints; thus the Emperor Valens, an Arian, being present at Mass celebrated by Saint Basil, was overcome by an extraordinary seizure and fainted. At Milan, Saint Ambrose was accused by heretics of attracting the crowds by means of liturgical chants. It was due to these that Saint Augustine made up his mind to become a Christian. It was in the churches, finally, where practically the whole city formed a great joint choir, that the workers, builders, artists, sculptors and writers gained from the Liturgy that deep knowledge of theology which is now so apparent in the monuments of the Middle Ages.

In our times too, the chief object of Pope Pius X, in the Motu Proprio [Tra le Sollecitudini] which he issued twenty-five years ago, making certain prescriptions concerning Gregorian Chant and sacred music, was to arouse and foster a Christian spirit in the faithful, by wisely excluding all that might ill befit the sacredness and majesty of our churches. The faithful come to church in order to derive piety from its chief source, by taking an active part in the venerated mysteries and the public solemn prayers of the Church. It is of the utmost importance, therefore, that anything that is used to adorn the Liturgy should be controlled by the Church, so that the arts may take their proper place as most noble ministers in sacred worship. Far from resulting in a loss to art, such an arrangement will certainly make for the greater splendor and dignity of the arts that are used in the Church. This has been especially true of sacred music. Wherever the regulations on this subject have been carefully observed, a new life has been given to this delightful art, and the spirit of religion has prospered; the faithful have gained a deeper understanding of the sacred Liturgy, and have taken part with greater zest in the ceremonies of the Mass, in the singing of the psalms and the public prayers. Of this We Ourselves had happy experience when, in the first year of Our Pontificate, We celebrated solemn High Mass in the Vatican Basilica to the noble accompaniment of a choir of clerics of all nationalities, singing in Gregorian Chant.

In seminaries, and in other houses of study for the formation of the clergy both secular and regular there should be a frequent and almost daily lecture or practice -- however short -- in Gregorian Chant and sacred music. If this is carried out in the spirit of the Liturgy, the students will find it a relief rather than a burden to their minds, after the study of the more exacting subjects. Thus a more complete education of both branches of the clergy in liturgical music will result in the restoration to its former dignity and splendor of the choral Office, a most important part of divine worship; moreover, the scholae and choirs will be invested again with their ancient glory.

Those who are responsible for, and engaged in divine worship in basilicas and cathedrals, in collegiate and conventual churches of religious, should use all their endeavors to see that the choral Office is carried out duly -- i.e. in accordance with the prescriptions of the Church. And this, not only as regards the precept of reciting the divine Office "worthily, attentive and devoutly", but also as regards the chant. In singing the psalms attention should be paid to the right tone, with its appropriate mediation and termination, and a suitable pause at the asterisk; so that every verse of the psalms and every strophe of the hymns may be sung by all in perfect time together. If this were rightly observed, then all who worthily sing the psalms would signify their unity of intention in worshipping God and, as one side of the choir sings in answer to the other, would seem to emulate the everlasting praise of the Seraphim who cried one to the other "Holy, Holy, Holy".

Lest anyone in future should invent easy excuses for exempting himself from obedience to the laws of the Church, let every chapter and religious community deal with these matters at meetings held for the purpose; and just as formerly there used to be a "Cantor" or director of the choir, so in future let one be chosen from each chapter or choir of religious, whose duty it will be to see that the rules of the Liturgy and of choral chant are observed and, both individually and generally, to correct the faults of the choir. In this connection it should be observed that, according to the ancient discipline of the Church and the constitutions of chapters still in force, all those at least who are bound to office in choir, are obliged to be familiar with Gregorian Chant. And the Gregorian Chant which is to be used in every church of whatever order, is the text which, revised according to the ancient manuscripts, has been authentically published by the Church from the Vatican Press.

We wish here to recommend, to those whom it may concern, the formation of choirs. These in the course of time came to replace the ancient scholae and were established in the basilicas and greater churches especially for the singing of polyphonic music. Sacred polyphony, We may here remark, is rightly held second only to Gregorian Chant. We are desirous, therefore, that such choirs, as they flourished from the fourteenth to the sixteenth century, should now also be created anew and prosper especially in churches where the scale on which the Liturgy is carried out demands a greater number and a more careful selection of singers.

Choir-schools for boys should be established not only for the greater churches and cathedrals, but also for smaller parish churches. The boys should be taught by the choirmaster to sing properly, so that, in accordance with the ancient custom of the Church, they may sing in the choir with the men, especially as in polyphonic music the highest part, the cantus, ought to be sung by boys. Choir-boys, especially in the sixteenth century, have given us masters of polyphony: first and foremost among them, the great Palestrina.

As We have learned that in some places an attempt is being made to reintroduce a type of music which is not entirely in keeping with the performance of the sacred Office, particularly owing to the excessive use made of musical instruments, We hereby declare that singing with orchestra accompaniment is not regarded by the Church as a more perfect form of music or as more suitable for sacred purposes. Voices, rather than instruments, ought to be heard in the church: the voices of the clergy, the choir and the congregation. Nor should it be deemed that the Church, in preferring the human voice to any musical instrument, is obstructing the progress of music; for no instrument, however perfect, however excellent, can surpass the human voice in expressing human thought, especially when it is used by the mind to offer up prayer and praise to Almighty God.

The traditionally appropriate musical instrument of the Church is the organ, which, by reason of its extraordinary grandeur and majesty, has been considered a worthy adjunct to the Liturgy, whether for accompanying the chant or, when the choir is silent, for playing harmonious music at the prescribed times. But here too must be avoided that mixture of the profane with the sacred which, through the fault partly of organ-builders and partly of certain performers who are partial to the singularities of modern music, may result eventually in diverting this magnificent instrument from the purpose for which it is intended. We wish, within the limits prescribed by the Liturgy, to encourage the development of all that concerns the organ; but We cannot but lament the fact that, as in the case of certain types of music which the Church has rightly forbidden in the past, so now attempts are being made to introduce a profane spirit into the Church by modern forms of music; which forms, if they begin to enter in, the Church would likewise be bound to condemn. Let our churches resound with organ-music that gives expression to the majesty of the edifice and breathes the sacredness of the religious rites; in this way will the art both of those who build the organs and of those who play them flourish afresh and render effective service to the sacred liturgy.

In order that the faithful may more actively participate in divine worship, let them be made once more to sing the Gregorian Chant, so far as it belongs to them to take part in it. It is most important that when the faithful assist at the sacred ceremonies, or when pious sodalities take part with the clergy in a procession, they should not be merely detached and silent spectators, but, filled with a deep sense of the beauty of the Liturgy, they should sing alternately with the clergy or the choir, as it is prescribed. If this is done, then it will no longer happen that the people either make no answer at all to the public prayers -- whether in the language of the Liturgy or in the vernacular -- or at best utter the responses in a low and subdued manner.

Tra le Sollicitudini

8. As the texts that may be rendered in music, and the order in which they are to be rendered, are determined for every liturgical function, it is not lawful to confuse this order or to change the prescribed texts for others selected at will, or to omit them either entirely or even in part, unless when the rubrics allow that some versicles of the text be supplied with the organ, while these versicles are simply recited in the choir. However, it is permissible, according to the custom of the Roman Church, to sing a motet to the Blessed Sacrament after the Benedictus in a solemn Mass. It is also permitted, after the Offertory prescribed for the mass has been sung, to execute during the time that remains a brief motet to words approved by the Church.

9. The liturgical text must be sung as it is in the books, without alteration or inversion of the words, without undue repetition, without breaking syllables, and always in a manner intelligible to the faithful who listen.

11. In particular the following rules are to be observed:

(a) The Kyrie, Gloria, Credo, etc., of the Mass must preserve the unity of composition proper to the text. It is not lawful, therefore, to compose them in separate movements, in such a way that each of these movements form a complete composition in itself, and be capable of being detached from the rest and substituted by another.

(b) In the office of Vespers it should be the rule to follow the Caeremoniale Episcoporum, which prescribes Gregorian Chant for the psalmody and permits figured music for the versicles of the Gloria Patri and the hymn.

It will nevertheless be lawful on greater solemnities to alternate the Gregorian Chant of the choir with the so called falsi-bordoni or with verses similarly composed in a proper manner.

It is also permissible occasionally to render single psalms in their entirety in music, provided the form proper to psalmody be preserved in such compositions; that is to say, provided the singers seem to be psalmodising among themselves, either with new motifs or with those taken from Gregorian Chant or based upon it.

The psalms known as di concerto are therefore forever excluded and prohibited.

(c) In the hymns of the Church the traditional form of the hymn is preserved. It is not lawful, therefore, to compose, for instance, a Tantum ergo in such wise that the first strophe presents a romanza, a cavatina, an adagio and the Genitori an allegro.

(d) The antiphons of the Vespers must be as a rule rendered with the Gregorian melody proper to each. Should they, however, in some special case be sung in figured music, they must never have either the form of a concert melody or the fullness of a motet or a cantata.

12. With the exception of the melodies proper to the celebrant at the altar and to the ministers, which must be always sung in Gregorian Chant, and without accompaniment of the organ, all the rest of the liturgical chant belongs to the choir of levites, and, therefore, singers in the church, even when they are laymen, are really taking the place of the ecclesiastical choir. Hence the music rendered by them must, at least for the greater part, retain the character of choral music.

By this it is not to be understood that solos are entirely excluded. But solo singing should never predominate to such an extent as to have the greater part of the liturgical chant executed in that manner; the solo phrase should have the character or hint of a melodic projection (spunto), and be strictly bound up with the rest of the choral composition.

13. On the same principle it follows that singers in church have a real liturgical office, and that therefore women, being incapable of exercising such office, cannot be admitted to form part of the choir. Whenever, then, it is desired to employ the acute voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church.

14. Finally, only men of known piety and probity of life are to be admitted to form part of the choir of a church, and these men should by their modest and devout bearing during the liturgical functions show that they are worthy of the holy office they exercise. It will also be fitting that singers while singing in church wear the ecclesiastical habit and surplice, and that they be hidden behind gratings when the choir is excessively open to the public gaze.

28. Let efforts be made to support and promote, in the best way possible, the higher schools of sacred music where these already exist, and to help in founding them where they do not. It is of the utmost importance that the Church herself provide for the instruction of her choirmasters, organists, and singers, according to the true principles of sacred art.

29. Finally, it is recommended to choirmasters, singers, members of the clergy, superiors of seminaries, ecclesiastical institutions, and religious communities, parish priests and rectors of churches, canons of collegiate churches and cathedrals, and, above all, to the diocesan ordinaries to favor with all zeal these prudent reforms, long desired and demanded with united voice by all; so that the authority of the Church, which herself has repeatedly proposed them, and now inculcates them, may not fall into contempt.

Section of Letter to the Cardinal Vicar of Rome: Even a little reflection on the end for which art is admitted to the service of public worship, and on the supreme fitness of offering to the Lord only things in themselves good, and where possible excellent, will at once serve to show that the prescriptions of the Church regarding sacred music are but the immediate application of those two fundamental principles. When the clergy and choirmasters are penetrated with them, good sacred music flourishes spontaneously, as has been constantly observed, and continues to be observed in a great many places; when on the contrary those principles are neglected, neither prayers, admonitions, severe and repeated orders nor threats of canonical penalties suffice to effect any change; for passion, and when not passion a shameful and inexcusable ignorance, always finds a means of eluding the will of the Church, and continuing for years in the same reprehensible way.

You, therefore, Lord cardinal, in your high office as Our Vicar in Rome for spiritual matters, will, We are sure, exert yourself with the gentleness that is characteristic of you, but with equal firmness, to the end that the music executed in the churches and the chapels of the secular and regular clergy of this City may be in entire harmony with Our instructions. There is much to be corrected or removed in the chants of the mass, of the Litany of Loretto, of the Eucharistic hymn, but that which needs a thorough renewal is the singing of the Vespers of the feasts celebrated in the different churches and basilicas. The liturgical prescriptions of the Caeremoniale Episcoporum and the beautiful musical traditions of the classical Roman school are no longer to be found. For the devout psalmody of the clergy, in which the people also used to join, there have been substituted interminable musical compositions on the words of the psalms, all of them modeled on old theatrical works, and most of them of such meager artistic value that they would not be tolerated for a moment even in our second-rate concerts. It is certain that Christian piety and devotion are not promoted by them; the curiosity of some of the less intelligent is fed, but the majority, disgusted and scandalized, wonder how it is that such an abuse can still survive. We therefore wish the cause to be completely extirpated, and that the solemnity of Vespers should be celebrated according to the liturgical rules indicated by Us. The Patriarchal basilicas will lead the way by the example of solicitous care and enlightened zeal of the Lord cardinals who preside over them, and with these will vie especially the minor basilicas, and the collegiate and parochial churches, as well as the churches and chapels of the religious orders. And do you Lord cardinal, neither accept excuses nor concede delays. The difficulty is not diminished but rather augmented by postponement, and since the thing is to be done, let it be done immediately and resolutely. Let all have confidence in Us and in Our word, with which heavenly grace and blessing are united. At first the novelty will produce some wonder among individuals; here and there a leader or director of a choir may find himself somewhat unprepared; but little by little things will right themselves, and in the perfect harmony between the music with the liturgical rules and the nature of the psalmody all will discern a beauty and a goodness which have perhaps never been observed. The Vespers service will indeed be notably shortened. But if the rectors of the churches desire on a special occasion to prolong the function somewhat. in order to detain the people who are wont so laudably to go in the evening to the particular church where the feast is being celebrated, there is nothing to hinder themnay, it will rather be so much gained for the piety and edification of the faithful -- if they have a suitable sermon after the Vespers, closed with Solemn Benediction of the Most Holy Sacrament.