Gregorian Chant, chant, song

 

Sacramentum Caritatis

Liturgical song

 

42. In the ars celebrandi, liturgical song has a pre-eminent place. (126) Saint Augustine rightly says in a famous sermon that "the new man sings a new song. Singing is an expression of joy and, if we consider the matter, an expression of love" (127). The People of God assembled for the liturgy sings the praises of God. In the course of her two-thousand-year history, the Church has created, and still creates, music and songs which represent a rich patrimony of faith and love. This heritage must not be lost. Certainly as far as the liturgy is concerned, we cannot say that one song is as good as another. Generic improvisation or the introduction of musical genres which fail to respect the meaning of the liturgy should be avoided. As an element of the liturgy, song should be well integrated into the overall celebration (128). Consequently everything -- texts, music, execution -- ought to correspond to the meaning of the mystery being celebrated, the structure of the rite and the liturgical seasons (129). Finally, while respecting various styles and different and highly praiseworthy traditions, I desire, in accordance with the request advanced by the Synod Fathers, that Gregorian chant be suitably esteemed and employed (130) as the chant proper to the Roman liturgy (131).

 

The Latin language

 

62. None of the above observations should cast doubt upon the importance of such large-scale liturgies. I am thinking here particularly of celebrations at international gatherings, which nowadays are held with greater frequency. The most should be made of these occasions. In order to express more clearly the unity and universality of the Church, I wish to endorse the proposal made by the Synod of Bishops, in harmony with the directives of the Second Vatican Council, (182) that, with the exception of the readings, the homily and the prayer of the faithful, it is fitting that such liturgies be celebrated in Latin. Similarly, the better-known prayers (183) of the Church's tradition should be recited in Latin and, if possible, selections of Gregorian chant should be sung. Speaking more generally, I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant. (184)

 

Redemptionis Sacramentum—no references

 

Chirograph of John Paul II

7. Among the musical expressions that correspond best with the qualities demanded by the notion of sacred music, especially liturgical music, Gregorian chant has a special place. The Second Vatican Council recognized that "being specially suited to the Roman Liturgy"[17] it should be given, other things being equal, pride of place in liturgical services sung in Latin[18]. St Pius X pointed out that the Church had "inherited it from the Fathers of the Church", that she has "jealously guarded [it] for centuries in her liturgical codices" and still "proposes it to the faithful" as her own, considering it "the supreme model of sacred music"[19]. Thus, Gregorian chant continues also today to be an element of unity in the Roman Liturgy.

 

Like St Pius X, the Second Vatican Council also recognized that "other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations"[20]. It is therefore necessary to pay special attention to the new musical expressions to ascertain whether they too can express the inexhaustible riches of the Mystery proposed in the Liturgy and thereby encourage the active participation of the faithful in celebrations[21].

 

10. Since the Church has always recognized and fostered progress in the arts, it should not come as a surprise that in addition to Gregorian chant and polyphony she admits into celebrations even the most modern music, as long as it respects both the liturgical spirit and the true values of this art form. In compositions written for divine worship, therefore, the particular Churches in the various nations are permitted to make the most of "those special forms which may be said to constitute the special character of [their] native music"[27]. On the lines of my holy Predecessor and of what has been decreed more recently by the Constitution Sacrosanctum Concilium[28], I have also intended in the Encyclical Ecclesia de Eucharistia to make room for new musical contributions, mentioning in addition to the inspired Gregorian melodies, "the many, often great composers who sought to do justice to the liturgical texts of the Mass"[29].

 

12. With regard to compositions of liturgical music, I make my own the "general rule" that St Pius X formulated in these words:  "The more closely a composition for church approaches in its movement, inspiration and savour the Gregorian melodic form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple"[33]. It is not, of course, a question of imitating Gregorian chant but rather of ensuring that new compositions are imbued with the same spirit that inspired and little by little came to shape it. Only an artist who is profoundly steeped in the sensus Ecclesiae can attempt to perceive and express in melody the truth of the Mystery that is celebrated in the Liturgy[34]. In this perspective, in my Letter to Artists I wrote: "How many sacred works have been composed through the centuries by people deeply imbued with the sense of mystery! The faith of countless believers has been nourished by melodies flowing from the hearts of other believers, either introduced into the Liturgy or used as an aid to dignified worship. In song, faith is experienced as vibrant joy, love and confident expectation of the saving intervention of God"[35].

 

Renewed and deeper thought about the principles that must be the basis of the formation and dissemination of a high-quality repertoire is therefore required. Only in this way will musical expression be granted to serve appropriately its ultimate aim, which is "the glory of God and the sanctification of the faithful"[36].

 

I know well that also today there are numerous composers who are capable of making their indispensable contribution in this spirit, increasing with their competent collaboration the patrimony of music at the service of a Liturgy lived ever more intensely. To them I express my confidence, together with the most cordial exhortation to put their every effort into increasing the repertoire of compositions worthy of the exalted nature of the mysteries celebrated and, at the same time, suited to contemporary sensibilities.

 

13. Lastly, I would like to recall what St Pius X disposed at the practical level so as to encourage the effective application of the instructions set out in his Motu Proprio. Addressing the Bishops, he prescribed that they institute in their Dioceses "a special Commission of qualified persons competent in sacred music"[37]. Wherever the papal disposition was put into practice, it has yielded abundant fruit. At the present time there are numerous national, diocesan and interdiocesan commissions which make a precious contribution to preparing local repertoires, seeking to practise a discernment that takes into account the quality of the texts and music. I hope that the Bishops will continue to support the commitment of these commissions and encourage their effectiveness in the pastoral context[38].

 

In the light of the experience gained in recent years, the better to assure the fulfilment of the important task of regulating and promoting the sacred Liturgy, I ask the Congregation for Divine Worship and the Discipline of the Sacraments to increase its attention, in accordance with its institutional aims[39], in the sector of sacred liturgical music, availing itself of the competencies of the various commissions and institutions specialized in this field as well as of the contribution of the Pontifical Institute of Sacred Music. Indeed, it is important that the musical compositions used for liturgical celebrations correspond to the criteria appropriately set down by St Pius X and wisely developed by both the Second Vatican Council and the subsequent Magisterium of the Church. In this perspective, I am confident that the Bishops' Conferences will carefully examine texts destined for liturgical chant[40] and will devote special attention to evaluating and encouraging melodies that are truly suited to sacred use[41].

 

 

 

 

JPII Address

4. Dear brothers and sisters, 90 years after its foundation your institute, in gratitude to the Lord for the good it has achieved, is intending to turn its gaze to the new horizons awaiting it. We have entered a new millennium and the Church is wholly committed to the work of the new evangelization. May your contribution not lack this far-reaching missionary activity. Rigorous academic study combined with constant atttention to the liturgy and pastoral ministry are required of each of you. You, teachers and students, are asked to make the most of your artistic gifts, maintaining and furthering the study and practice of music and song in the forms and with the instruments privileged by the Second Vatican Council:  Gregorian chant, sacred polyphony and the organ. Only in this way will liturgical music worthily fulfil its function during the celebration of the sacraments and, especially, of Holy Mass.

 

May God help you faithfully to fulfill this mission at the service of the Gospel and the Ecclesial Community. May Mary, who sang the Magnificat, the canticle of true happiness to God, be your model. Down the centuries music has woven countless harmonies with the words of this canticle, and poets have developed it in an immense and moving repertoire of praise. May your voice also join theirs in magnifying the Lord and rejoicing in God our Savior.

 

On my part, I assure you of a constant remembrance in prayer and, as I hope that the new year just begun will be full of grace, reconciliation and inner renewal, I impart a special Apostolic Blessing to you all.

 

 

Paschale Solemnitatis

17. "In Lent, the altar should not be decorated with flowers, and musical instruments may be played only to give necessary support to the singing." [20] This is in order that the penitential character of the season be preserved.

 

18. Likewise, from the beginning of Lent until the Paschal Vigil, "Alleluia" is to be omitted in all celebrations, even on solemnities and feasts. [21]

 

19. The chants to be sung in celebrations, especially of the Eucharist, and also at devotional exercises should be in harmony with the spirit of the season and the liturgical texts.

 

[On Palm Sunday] 29. The commemoration of the entrance of the Lord into Jerusalem has, according to ancient custom, been celebrated with a solemn procession, in which the faithful in song and gesture imitate the Hebrew children who went to meet the Lord, singing "Hosanna." [33]

 

The procession may take place only once, before the Mass that has the largest attendance, even if this should be in the evening of either Saturday or Sunday. The congregation should assemble in a secondary church or chapel or in some other suitable place distinct from the church to which the procession will move.

 

In this procession, the faithful carry palm or other branches. The priest and the ministers, also carrying branches, precede the people. [34]

 

The palms or branches are blessed so that they can be carried in the procession. The palms should be taken home, where they will serve as a reminder of the victory of Christ, which they celebrated in the procession.

 

Pastors should make every effort to ensure that this procession in honor of Christ the King be so prepared and celebrated that it is of great spiritual significance in the life of the faithful.

 

The Missal, in order to commemorate the entrance of the Lord into Jerusalem, in addition to the solemn procession described above, gives two other forms, not simply for convenience, but to provide for those situations when it will not be possible to have the procession.

 

The second form is that of a solemn entrance, when the procession cannot take place outside of the church. The third form is a simple entrance such as is used at all Masses on this Sunday that do not have the solemn entrance.

 

 

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.

 

42. The chants of the people, and also of the ministers and the celebrating priest, are of special importance in the celebration of Holy Week and particularly of the Easter Triduum because they add to the solemnity of these days and also because the texts are more effective when sung.

 

The episcopal conferences are asked, unless provision has already been made, to provide music for those parts which should always be sung, namely:

 

a) the general intercessions of Good Friday; the deacon's invitation and the acclamation of the people;

 

b) chants for the showing and veneration of the cross;

 

c) the acclamations during the procession with the paschal candle and the Easter proclamation, the responsorial "Alleluia," the litany of the saints, and the acclamation after the blessing of water.

 

Since the purpose of sung texts is also to facilitate the participation of the faithful, they should not be lightly omitted; such texts should be set to music. If the text for use in the liturgy has not yet been set to music, it is possible, as a temporary measure, to select other similar texts that are set to music. It is, however, fitting that there should be a collection of texts set to music for these celebrations, paying special attention to:

 

a) chants for the procession and blessing of palms, and for the entrance into the church;

 

b) chants to accompany the procession with the Holy oils;

 

c) chants to accompany the procession with the gifts on Holy Thursday in the evening Mass of the Lord's Supper, and hymns to accompany the procession of the Blessed Sacrament to the place of repose;

 

d) the responsorial psalms at the Easter Vigil, and chants to accompany the sprinkling with blessed water.

 

Music should be provided for the passion narrative, the Easter proclamation, and the blessing of baptismal water. Obviously, the melodies should be of a simple nature in order to facilitate their use.

 

In larger churches where the resources permit, a more ample use should be made of the Church's musical heritage, both ancient and modern, always ensuring that this does not impede the active participation of the faithful.

 

[On Holy Thursday] 54. After the postcommunion prayer, the procession forms with the crossbearer at its head. The Blessed Sacrament, accompanied by lighted candles and incense, is carried through the church to the place of reservation, to the singing of the hymn "Pange lingua" or some other eucharistic song. [60] This rite of transfer of the Blessed Sacrament may not be carried out if the liturgy of the Lord's passion will not be celebrated in that same church on the following day.

 

[At the Good Friday Liturgy] 66. The readings are to be read in their entirety. The responsorial psalm and the chant before the gospel are to be sung in the usual manner. The narrative of the Lord's passion according to John is sung or read in the way prescribed for the previous Sunday (cf. n. 33). After the reading of the passion, a homily should be given, at the end of which the faithful may be invited to spend a short time in meditation.

 

68. For veneration of the cross, let a cross be used that is of appropriate size and beauty, and let one or other of the forms for this rite be carried out with the splendor worthy of the mystery of our salvation. Both the invitation pronounced at the unveiling of the cross and the people's response should be made in song, and a period of respectful silence is to be observed after each act of veneration, with the celebrant standing and holding the raised cross.

 

69. The cross is to be presented to each of the faithful individually for their adoration, since the personal adoration of the cross is a most important feature in this celebration. Only when necessitated by the large numbers of faithful present should the rite of veneration be made simultaneously by all present. [72]

 

Only one cross should be used for the veneration, as this contributes to the full symbolism of the rite. During the veneration of the cross, the antiphons, "Reproaches," and hymns should be sung so that the history of salvation be commemorated through song. [73] Other appropriate songs may also be sung (cf n. 42).

 

70. The priest sings the invitation to the Lord's Prayer, which is then sung by all. The sign of peace is not exchanged. The communion rite is as described in the Missal.

During the distribution of communion, Psalm 21 or another suitable song may be sung. When communion has been distributed, the pyx is taken to a place prepared for it outside of the church.

 

72. Devotions, such as the Way of the Cross, processions of the passion, and commemorations of the sorrows of the Blessed Virgin Mary are not, for pastoral reasons, to be neglected. The texts and songs used, however, should be adapted to the spirit of the liturgy of this day. Such devotions should be assigned to a time of day that makes it quite clear that the liturgical celebration, by its very nature, far surpasses them in importance.

 

[At the Easter Vigil] 86. The typological import of the Old Testament texts is rooted in the New and is made plain by the prayer pronounced by the celebrating priest after each reading; but it will also be helpful to introduce the people to the meaning of each reading by means of a brief introduction. This introduction may be given by the priest himself or by a deacon.

 

National or diocesan liturgical commissions will prepare aids for pastors.

 

Each reading is followed by the singing of a psalm, to which the people respond.

 

Melodies that are capable of promoting the people's participation and devotion should be provided for these responses. [92] Great care is to be taken that trivial songs do not take the place of the psalms.

 

89. Next follows the renewal of baptismal promises, introduced by some words on the part of the celebrating priest. The faithful reply to the questions put to them, standing and holding lighted candles in their hands. They are then sprinkled with water; in this way the gestures and words recall to them the baptism they have received. The celebrating priest sprinkles the people by passing through the main part of the church while all sing the antiphon "Vidi aquam" or another suitable song of a baptismal character.

 

91. Great care should be taken that this eucharistic liturgy is not celebrated in haste, indeed, all the rites and words must be given their full force: the general intercessions, in which the neophytes for the first time as members of the faithful exercise their priesthood; [99] the procession at the offertory, in which the neophytes, if there are any, take part; the first, second, or third Eucharistic Prayer, preferably sung, with the proper embolisms; [100] and finally eucharistic communion as the moment of full participation in the mystery that is being celebrated. It is appropriate that at communion there be sung Psalm 117 with the antiphon "Pascha nostrum" or Psalm 33 with the antiphon "Alleluia, alleluia, alleluia" or some other song of Easter exultation.

 

B. Easter Day

 

97. Mass is to be celebrated on Easter Day with great solemnity. It is appropriate that the penitential rite on this day take the form of a sprinkling with water blessed at the Vigil, during which the antiphon "Vidi aquam" or some other song of baptismal character should be sung. The entrance steps to the church should also be filled with the same water.

 

98. The tradition of celebrating baptismal Vespers on Easter Day with the singing of psalms during the procession to the font should be maintained where it is still in force and, as appropriate, restored.

 

1975 GIRM

33. Readings from Scripture and the chants between the readings form the main part of the liturgy of the word. The homily, profession of faith, and general intercessions or prayer of the faithful expand and complete this part of the Mass. In the readings, explained by the homily, God is speaking to his people,[31] opening up to them the mystery of redemption and salvation, and nourishing their spirit; Christ is present to the faithful through his own word.[32] Through the chants the people make God's word their own and through the profession of faith affirm their adherence to it. Finally, having been fed by this word, they make their petitions in the general intercessions for the needs of the Church and for the salvation of the whole world.

 

Chants Between The Readings

36. After the first reading comes the responsorial psalm or gradual, an integral part of the liturgy of the word. The psalm as a rule is drawn from the Lectionary because the individual psalm texts are directly connected with the individual readings: the choice of psalm depends therefore on the readings. Nevertheless, in order that the people may be able to join in the responsorial psalm more readily, some texts of responses and psalms have been chosen, according to the different seasons of the year and classes of saints, for optional use, whenever the psalm is sung, in place of the text corresponding to the reading.

The psalmist or cantor of the psalm sings the verses of the psalm at the lectern or other suitable place. The people remain seated and listen, but also as a rule take part by singing the response, except when the psalm is sung straight through without the response.

The psalm when sung may be either the psalm assigned in the Lectionary or the gradual from the "Graduale Romanum" or the responsorial psalm or the psalm with "Alleluia" as the response from The "Simple Gradual" in the form they have in those books.

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."

38. When there is only one reading before the gospel:

a. during a season calling for the "Alleluia," there is an option to use either the psalm with "Alleluia" as the response, or the responsorial psalm and the "Alleluia" with its verse, or just the psalm, or just the "Alleluia";

b. during the season when the "Alleluia" is not allowed, either the responsorial psalm or the verse before the gospel may be used.

39. If the psalm after the reading is not sung, it is to be recited. If not sung, the "Alleluia" or the verse before the gospel may be omitted.

40. Sequences are optional, except on Easter Sunday and Pentecost.

 

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.

 

80. The following are also to be prepared:

a. next to the priest's chair: the missal and, as may be useful, a book with the chants;

b. at the lectern: the lectionary;

c. on a side table: the chalice, corporal, purificator, and, if useful, a pall; a paten and ciboria, if needed, with the bread for the communion of the ministers and the people, together with cruets containing wine and water, unless all of these are brought in by the faithful at the presentation of the gifts; communion plate for the communion of the faithful; the requisites for the washing of hands. The chalice should be covered with a veil, which may always be white.

 

90. After the reading, the psalmist or cantor of the psalm, or even the reader, sings or recites the psalm and the congregation sings or recites the response (see no. 36).

91. Then, if there is a second reading before the gospel, the reader reads it at the lectern as before. All sit and listen and make the acclamation at the end.

92. The "Alleluia" or other chant, according to the season, follows (see nos. 37-39).

93. During the singing of the "Alleluia" or other chant, if incense is being used, the priest puts some into the censer. Then with hands joined he bows before the altar and says softly the prayer, "Almighty God, cleanse my heart."

 

96. If no reader is present, the priest himself proclaims all the readings at the lectern and there also, if necessary, the chants between the readings. If incense is used, he puts some into the censer at the lectern and then, bowing, says the prayer, "Almighty God, cleanse my heart."

 

131. If incense is used, the deacon assists the priest when he puts incense in the censer during the singing of the "Alleluia" or other chant. Then he bows before the priest and asks for the blessing, saying in a low voice: "Father, give me your blessing." The priest blesses him: "The Lord be in your heart."

The deacon answers: "Amen."

If the Book of the Gospels is on the altar, he takes it and goes to the lectern; the servers, if there are any, precede, carrying candles and the censer when used. At the lectern the deacon greets the people, incenses the book, and proclaims the gospel. After the reading, he kisses the book, saying softly: "May the words of the gospel wipe away our sins," and returns to the priest. If there is no homily or profession of faith, he may remain at the lectern for the general intercessions, but the servers leave.

 

[Mass without a Congregation] 217. After the opening prayer, the server or the priest himself reads the first reading and psalm, the second reading, when it is to be said, and the "Alleluia" verse or other chant.

 

Song

324. The norms laid down in their proper places are to be observed for the choice of chants between the readings and the songs for the processions at the entrance, presentation of the gifts, and communion.

 

328. In all the Masses for various needs and occasions, unless otherwise indicated, the weekday readings and the chants between them may be used, if they are suited to the celebration.

 

Voluntati Obsequens

The following is a translation of a letter that was sent to all bishops and heads of religious orders, together with a book of chants, "Jubilate Deo". The letter was published in Latin in the April 1974 issue of Notitiae, (pages 123-126) and in French in "La Documentation Catholique" June 2, 1974.

 

Eminence, Excellency,

 

Our congregation has prepared a booklet entitled, "Jubilate Deo", which contains a minimum selection of sacred chants. This was done in response to a desire which the Holy Father had frequently expressed, that all the faithful should know at least some Latin Gregorian chants, such as, for example, the "Gloria", the "Credo", the "Sanctus", and the "Agnus Dei".[1]

 

It gives me great pleasure to send you a copy of it, as a personal gift from His Holiness, Pope Paul VI. May I take this opportunity of recommending to your pastoral solicitude this new initiative, whose purpose is to facilitate the observance of the recommendation of the Second Vatican Council "...steps must be taken to ensure that the faithful are able to chant together in Latin those parts of the ordinary of the Mass which pertain to them.[2]

 

In effect, when the faithful gather together for prayer they manifest at once the diversity of a people drawn "from every tribe, language and nation (Ap. 5:9) and its unity in faith and charity. Their diversity is manifested in the present multiplicity of liturgical languages and in the vernacular chants which, in the context of one shared faith, give expression to each people's religious sentiment in music drawn from its culture and traditions. On the other hand, their unity finds particularly apt and even sensible expression through the use of Latin Gregorian chant.

 

Down the centuries, Gregorian chant has accompanied liturgical celebrations in the Roman rite, has nourished men's faith and has fostered their piety, while in the process achieving an artistic perfection which the Church rightly considers a patrimony of inestimable value and which the Council recognized as "the chant especially suited to the Roman liturgy."[3]

 

One of the objectives of the liturgical reform is to promote community singing in assemblies of the faithful, so that they might the better express the festive, communal and fraternal character of liturgical celebrations. In effect, "the liturgical action becomes more dignified when it is accompanied by chant, when each minister fulfills his own role and the faithful also take part.[4]

 

Those who are charged with responsibility for the liturgical reform are particularly anxious to achieve this difficult objective. To that end, the Sacred Congregation for Divine Worship appeals once again, as they have often done in the past, for the proper development of singing by the faithful.

 

Vernacular Singing

When vernacular singing is concerned, the liturgical reform offers "a challenge to the creativity and the pastoral zeal of every local church."[5] Poets and musicians are therefore to be encouraged to put their talents at the service of such a cause, so that a popular chant may emerge which is truly artistic, is worthy of the praise of God, of the liturgical action of which it forms part and of the faith which it expresses. The liturgical reform has opened up new perspectives for sacred music and for chant. "One hopes for a new flowering of the art of religious music in our time. Since the vernacular is admitted to worship in every country it ought not to be denied the beauty and the power of expression of religious music and appropriate chant.[6]

 

 

--------------------------------------------------------------------------------

 

Gregorian Chant

At the same time, the liturgical reform does not and indeed cannot deny the past. Rather does it "preserve and foster it with the greatest care."[7] It cultivates and transmits all that is in it of high religious, cultural and artistic worth and especially those elements which can express even externally the unity of believers.

This minimum repertoire of Gregorian chant has been prepared with that purpose in mind: to make it easier for Christians to achieve unity and spiritual harmony with their brothers and with the living traditions of the past. Hence it is that those who are trying to improve the quality of congregational singing cannot refuse to Gregorian chant the place which is due to it. And this becomes all the more imperative as we approach the Holy Year of 1975, during which the faithful of different languages, nations and origins, will find themselves side by side for the common celebration of the Lord.

 

Those who because of their special vocation in the Church need to have a deeper knowledge of sacred music ought to be particularly careful to observe a proper balance between popular chant and Gregorian chant. For this reason the Holy Father recommended that "Gregorian chant be preserved and be sung in monasteries, other religious houses and seminaries, as a special form of chanted prayer and as something of high cultural and pedagogic value."[8]

 

Further, the study and the performance of Gregorian chant remain "because of its special characteristics, a very useful foundation for the cultivation of sacred music."[9]

 

In presenting the Holy Father's gift to you, may I at the same time remind you of the desire which he has often expressed that the Conciliar constitution on the liturgy be increasingly better implemented. Would you therefore, in collaboration with the competent diocesan and national agencies for the liturgy, sacred music and catechetics, decide on the best ways of teaching the faithful the Latin chants of "Jubilate Deo" and of having them sing them, and also of promoting the preservation and execution of Gregorian chant in the communities mentioned above. You will thus be performing a new service for the Church in the domain of liturgical renewal.

 

The contents of this booklet may be reproduced free of charge. To help people understand these texts, one may add the normal vernacular translation.

 

Liturgicae Instaurationes

3. The liturgical texts themselves, composed by the Church, are to be treated with the highest respect. No one, then, may take it on himself to make changes, substitutions, deletions, or additions. [12]

 

a. There is special reason to keep the Order of Mass intact. Under no consideration, not even the pretext of singing the Mass, may the official translations of its formularies be altered. There are, of course, optional forms, noted in the context of the various rites, for certain parts of the Mass: the penitential rite, the eucharistic prayers, acclamations, final blessing.

 

b. Sources for the entrance and communion antiphons are: the Graduale romanum, The Simple Gradual, the Roman Missal, and the compilations approved by the conferences of bishops. In choosing chants for Mass, the conferences should take into account not only suitability to the times and differing circumstances of the liturgical services, but also the needs of the faithful using them.

 

c. Congregational singing is to be fostered by every means possible, even by use of new types of music suited to the culture of the people and to the contemporary spirit. The conferences of bishops should authorize a list of songs that are to be used in Masses with special groups, for example, with youth or children, and that in text, melody, rhythm, and instrumentation are suited to the dignity and holiness of the place and of divine worship.

 

The Church does not bar any style of sacred music from the liturgy [13]. Still, not every style or the sound of every song or instrument deserves equal status as an aid to prayer and an expression of the mystery of Christ. All musical elements have as their one purpose the celebration of divine worship. They must, then, possess sacredness and soundness of form[14], fit in with the spirit of the liturgical service and the nature of its particular parts; they must not be a hindrance to an intense participation of the assembly [15] but must direct the mind's attention and the heart's sentiments toward the rites.

 

More specific determinations belong to the conferences of bishops or where there are no general norms as yet, to the bishop within his diocese [16]. Every attention is to be given to the choice of musical instruments; limited in number and suited to the region and to community culture, they should prompt devotion and not be too loud.

 

d. Broad options are given for the choice of prayers. Especially on weekdays in Ordinary Time the sources are any one of the Mass prayers from the thirty-four weeks of Ordinary Time or the prayers from the Masses for Various Occasions [17] or from the votive Masses.

 

For translations of the prayers the conferences of bishops are empowered to use the special norms in no. 34 of the Instruction on translations of liturgical texts for celebrations with a congregation, issued by the Consilium, January 25, 1969 [18].

 

e. As for readings, besides those assigned for every Sunday, feast, and weekday, there are many others for use in celebrating the sacraments or for other special occasions. In Masses for special groups the option is granted to choose texts best suited to the particular celebration, as long as they come from an authorized lectionary [19].

 

f. The priest may say a very few words to the congregation at the beginning of the Mass and before the readings, the preface, and the dismissal [20], but should give no instruction during the eucharistic prayer. Whatever he says should be brief and to the point, thought out ahead of time. Any other instructions that might be needed should be the responsibility of the "moderator" of the assembly, who is to avoid going on and on and say only what is strictly necessary.

 

g. The general intercessions in addition to the intentions for the Church, the world, and those in need may properly include one pertinent to the local community. That will forestall adding intentions to Eucharistic Prayer I (Roman Canon) in the commemorations of the living and the dead. Intentions for the general intercessions are to be prepared and written out beforehand and in a form consistent with the genre of the prayer[21]. The reading of the intentions may be assigned to one or more of those present at the liturgy.

 

Used intelligently, these faculties afford such broad options that there is no reason for resorting to individualistic creations Accordingly priests are instructed to prepare their celebrations with their mind on the actual circumstances and the spiritual needs of the people and with faithful adherence to the limits set by the General Instruction of the Roman Missal.

 

 

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

 

4. It is to be hoped that pastors of souls, musicians and the faithful will gladly accept these norms and put them into practice, uniting their efforts to attain the true purpose of sacred music, "which is the glory of God and the sanctification of the faithful."1

(a) By sacred music is understood that which, being created for the celebration of divine worship, is endowed with a certain holy sincerity of form.2

(b) The following come under the title of sacred music here: Gregorian chant, sacred polyphony in its various forms both ancient and modern, sacred music for the organ and other approved instruments, and sacred popular music, be it liturgical or simply religious.

50. In sung liturgical services celebrated in Latin:

(a) Gregorian chant, as proper to the Roman liturgy, should be given pride of place, other things being equal.34 Its melodies, contained in the "typical" editions, should be used, to the extent that this is possible.

(b) "It is also desirable that an edition be prepared containing simpler melodies, for use in smaller churches."36

(c) Other musical settings, written for one or more voices, be they taken from the traditional heritage or from new works, should be held in honor, encouraged and used as the occasion demands.36

52. In order to preserve the heritage of sacred music and genuinely promote the new forms of sacred singing, "great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutes and schools," especially in those higher institutes intended specially for this.37 Above all, the study and practice of Gregorian chant is to be promoted, because, with its special characteristics, it is a basis of great importance for the development of sacred music.

 

Inter Oecumenici

37. In places without a priest and where none is available for celebration of Mass on Sundays and holydays of obligation, a sacred celebration of the word of God with a deacon or even a properly appointed layperson presiding, shall be arranged, at the discretion of the local Ordinary.

 

The plan of such a celebration shall be almost the same as that of the liturgy of the word at Mass. Normally the epistle and gospel from the Mass of the day shall be read in the vernacular, with chants, especially from the psalms, before and between the readings. If the one presiding is a deacon, he shall give a homily; a nondeacon shall read a homily chosen by the bishop or the pastor. The whole celebration is to end with the universal prayer or prayer of the faithful and the Lord's Prayer.

49. In Masses celebrated with a congregation, the lessons, epistle, and gospel are to be read or sung facing the people:

 

a. at the lectern or at the edge of the sanctuary in solemn Masses;

 

b. at the altar, lectern, or the edge of the sanctuary -- whichever is more convenient -- in sung or recited Masses if sung or read by the celebrant; at the lectern or at the edge of the sanctuary if sung or read by someone else.

 

50. In nonsolemn Masses celebrated with the faithful participating a qualified reader or the server reads the lessons and epistles with the intervening chants; the celebrant sits and listens. A deacon or a second priest may read the gospel and he says the Munda cor meum, asks for the blessing, and, at the end, presents the Book of the Gospels for the celebrant to kiss.

 

51. In sung Masses, the lessons, epistle, and gospel, if in the vernacular, may simply be read.

 

52. For the reading or singing of the lessons, epistle, intervening chants, and gospel, the following is the procedure.

 

a. In solemn Masses the celebrant sits and listens to the lessons, the epistle, and chants. After singing or reading the epistle, the subdeacon goes to the celebrant for the blessing. At this point the celebrant, remaining seated, puts incense into the thurible and blesses it. During the singing of the Alleluia and verse or toward the end of other chants after the epistle, the celebrant rises to bless the deacon. From his place he listens to the gospel, kisses the Book of the Gospels, and, after the homily, intones the Credo, when prescribed. At the end of the Credo he returns to the altar with the ministers, unless he is to lead the prayer of the faithful.

 

b. The celebrant follows the same procedures in sung or recited Masses in which the lessons, epistle, intervening chants, and the gospel are sung or recited by the minister mentioned in no. 50.

 

c. In sung or recited Masses in which the celebrant sings or recites the gospel, during the singing or saying of the Alleluia and verse or toward the end of other chants after the epistle, he goes to the foot of the altar and there, bowing profoundly, says the Munda cor meum. He then goes to the lectern or to the edge of the sanctuary to sing or recite the gospel.

 

d. But in a sung or recited Mass if the celebrant sings or reads all the lessons at the lectern or at the edge of the sanctuary, he also, if necessary, recites the chants after the lessons and the epistle standing in the same place; then he says the Munda cor meum, facing the altar.

57. For Masses, whether sung or recited, celebrated with a congregation, the competent, territorial ecclesiastical authority on approval, that is, confirmation, of its decisions by the Holy See, may introduce the vernacular into:

 

a. the proclaiming of the lessons, epistle, and gospel; the universal prayer or prayer of the faithful;

 

b. as befits the circumstances of the place, the chants of the Ordinary of the Mass, namely, the Kyrie, Gloria, Credo, Sanctus-Benedictus, Agnus Dei, as well as the introit, offertory, and communion antiphons and the chants between the readings;

 

c. acclamations, greeting, and dialogue formularies, the Ecce Agnus Dei, Domine, non sum dignus, Corpus Christi at the communion of the faithful, and the Lord's Prayer with its introduction and embolism.

 

Missals to be used in the liturgy, however, shall contain besides the vernacular version the Latin text as well.

 

58. The Holy See alone can grant permission for use of the vernacular in those parts of the Mass that the celebrant sings or recites alone.

 

59. Pastors shall carefully see to it that the Christian faithful, especially members of lay religious institutes, also know how to recite or sing together in Latin, mainly with simple melodies, the parts of the Ordinary of the Mass proper to them.

 

Sacram Liturgiam—no references

 

Sacrosanctum Concilium

 

116. The Church acknowledges Gregorian chant as specially suited to the Roman Liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.

But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art. 30.

117. The editio typica of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by Saint Pius X.

It is desirable also that an edition be prepared containing simpler melodies, for use in small churches.

 

De Musica Sacra

4. "Sacred music" includes the following: a) Gregorian chant; b) sacred polyphony; c) modern sacred music; d) sacred organ music; e) hymns; and f) religious music.

 

5. Gregorian chant, which is used in liturgical ceremonies, is the sacred music proper to the Roman Church; it is to be found in the liturgical books approved by the Holy See. This music has been reverently, and faithfully fostered, and developed from most ancient, and venerable traditions; and even in recent times new chants have been composed in the style of this tradition. This style of music has no need of organ or other instrumental accompaniment.

 

6. Sacred polyphony is measured music which arose from the tradition of Gregorian chant. It is choral music written in many voice-parts, and sung without instrumental accompaniment. It began to flourish in the Latin Church in the Middle Ages, and reached its height in the art of Giovanni Pierluigi Palestrina (1524-1594) in the latter half of the sixteenth century; distinguished musicians of our time still cultivate this art.

 

11. This instruction is binding on all rites of the Latin Church. Thus, what is said of Gregorian chant applies to all the chants which are used in other Latin rites.

 

Sacred music is to be taken generally in this instruction as embracing both vocal and instrumental music. But at times it will be limited to instrumental music only, as will be clear from the context.

 

A church ordinarily means any sacred place; this includes a church in the strict sense, as well as public, semipublic, and private oratories; again the context itself may restrict the meaning to a church in the strict sense.

 

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).

 

Recommended Chants

In connection with this, the following Gregorian melodies, because of their simplicity, should be learned by the faithful throughout the world: the Kyrie, eleison; Sanctus-Benedictus; Agnus Dei of Mass XVI from the Roman Gradual; the Gloria in excelsis Deo, and Ite, missa est-Deo gratias of Mass XV; and either Credo I or Credo III. In this way it will be possible to achieve that most highly desirable goal of having the Christian faithful throughout the world manifest their common faith by active participation in the holy Sacrifice of the Mass, and by common and joyful song (Musicæ sacræ disciplina: AAS 48 [1956] 16).

 

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.

c) Thirdly, if those present are well trained in Gregorian chant, they can sing the parts of the Proper of the Mass. This form of participation should be carried out particularly in religious congregations and seminaries.

 

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.

 

 

 

Additional Verses

But if the Offertory antiphon is taken from a psalm, it is then permitted to sing additional verses of this same psalm. In this case, too, the antiphon may be repeated after each verse of the psalm, or after every second verse; when the offertory rite is finished at the altar the psalm is ended with the Gloria Patri, and the antiphon is repeated. If the antiphon is not taken from a psalm, then any psalm suited to the feast may be used. Another possibility is that any Latin song may be used after the Offertory antiphon provided it is suited to the spirit of this part of the Mass. The singing should never last beyond the "Secret".

 

 

c) The proper time for the chanting of the Communion antiphon is while the priest is receiving the holy Eucharist. But if the faithful are also to go to Communion the antiphon should be sung while they receive. If this antiphon, too, is taken from a psalm, additional verses of this psalm may be sung. In this case, too, the antiphon is repeated after each, or every second verse of the psalm; when distribution of Communion is finished, the psalm is closed with the Gloria Patri, and the antiphon is once again repeated. If the antiphon is not taken from a psalm, any psalm may be used which is suited to the feast, and to this part of the mass.

After the Communion antiphon is sung, and the distribution of Communion to the faithful still continues, it is also permitted to sing another Latin song in keeping with this part of the Mass.

Before coming to Communion the faithful may recite the three-fold Domine, non sum dignus together with the priest.

d) If the Sanctus-Benedictus are sung in Gregorian chant, they should be put together without interruption; otherwise, the Benedictus should be sung after the Consecration.

e) During the Consecration, the singing must stop, and there should be no playing of instruments; if this has been the custom, it should be discontinued.

f) Between the Consecration, and the Pater Noster a devout silence is recommended.

g) While the priest is giving the blessing to the faithful at the end of the Mass, there should be no organ playing; also, the celebrant must pronounce the words of the blessing so that all the faithful can understand them.

 

In section on Divine Office:

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.

 

59. Thus, the authentic Gregorian chant is that which is published in the standard Vatican editions, or which has been approved by the Sacred Congregation of Rites for a particular church or religious community. Publishers who have this authorization are obliged, therefore, to reproduce both the melody, and the text exactly as approved in all details.

 

The rhythmic signs which have been inserted into some chant editions on private authority are permitted so long as they not alter the melodic line of the grouping of the notes, as they appear in the Vatican editions.

 

 

 

109. Young men aspiring to the priesthood need an even greater knowledge of the liturgy, and sacred music than do the faithful; wherefore, they should be given complete and sound instruction in both. Hence, everything prescribed by Canon Law in this matter (canon 1354, 1 and 3; 1365, 2), or specifically ordered by competent authority, must be observed in every detail under serious obligation of conscience (cf. especially the apostolic constitution Divini cultus, on the wide promotion of the liturgy, Gregorian chant, and sacred music, of Dec. 20, 1928: AAS 31 [1929] 33-41).

 

Musicae Sacrae

41. First of all the chants and sacred music which are immediately joined with the Church's liturgical worship should be conducive to the lofty end for which they are intended. This music -- as our predecessor Pius X has already wisely warned us -- "must possess proper liturgical qualities, primarily holiness and goodness of form; from which its other note, universality, is derived."[18]

42. It must be holy. It must not allow within itself anything that savors of the profane nor allow any such thing to slip into the melodies in which it is expressed. The Gregorian chant which has been used in the Church over the course of so many centuries, and which may be called, as it were, its patrimony, is gloriously outstanding for this holiness.

43. This chant, because of the close adaptation of the melody to the sacred text, is not only most intimately conformed to the words, but also in a way interprets their force and efficacy and brings delight to the minds of the hearers. It does this by the use of musical modes that are simple and plain, but which are still composed with such sublime and holy art that they move everyone to sincere admiration and constitute an almost inexhaustible source from which musicians and composers draw new melodies.

44. It is the duty of all those to whom Christ the Lord has entrusted the task of guarding and dispensing the Church's riches to preserve this precious treasure of Gregorian chant diligently and to impart it generously to the Christian people. Hence what Our predecessors, Saint Pius X, who is rightly called the renewer of Gregorian chant,[19] and Pius XI[20] have wisely ordained and taught, We also, in view of the outstanding qualities which genuine Gregorian chant possesses, will and prescribe that this be done. In the performance of the sacred liturgical rites this same Gregorian chant should be most widely used and great care should be taken that it should be performed properly, worthily and reverently. And if, because of recently instituted feast days, new Gregorian melodies must be composed, this should be done by true masters of the art. It should be done in such a way that these new compositions obey the laws proper to genuine Gregorian chant and are in worthy harmony with the older melodies in their virtue and purity.

45. If these prescriptions are really observed in their entirety, the requirements of the other property of sacred music -- that property by virtue of which it should be an example of true art -- will be duly satisfied. And if in Catholic churches throughout the entire world Gregorian chant sounds forth without corruption or diminution, the chant itself, like the sacred Roman liturgy, will have a characteristic of universality, so that the faithful, wherever they may be, will hear music that is familiar to them and a part of their own home. In this way they may experience, with much spiritual consolation, the wonderful unity of the Church. This is one of the most important reasons why the Church so greatly desires that the Gregorian chant traditionally associated with the Latin words of the sacred liturgy be used.

46. We are not unaware that, for serious reasons, some quite definite exceptions have been conceded by the Apostolic See. We do not want these exceptions extended or propagated more widely, nor do We wish to have them transferred to other places without due permission of the Holy See. Furthermore, even where it is licit to use these exemptions, local Ordinaries and the other pastors should take great care that the faithful from their earliest years should learn at least the easier and more frequently used Gregorian melodies, and should know how to employ them in the sacred liturgical rites, so that in this way also the unity and the universality of the Church may shine forth more powerfully every day.

47. Where, according to old or immemorial custom, some popular hymns are sung in the language of the people after the sacred words of the liturgy have been sung in Latin during the solemn Eucharistic sacrifice, local Ordinaries can allow this to be done "if, in the light of the circumstances of the locality and the people, they believe that (custom) cannot prudently be removed."[21] The law by which it is forbidden to sing the liturgical words themselves in the language of the people remains in force, according to what has been said.

48. In order that singers and the Christian people may rightly understand the meaning of the liturgical words joined to the musical melodies, it has pleased Us to make Our own the exhortation made by the Fathers of the Council of Trent. "Pastors and all those who have care of souls," were especially urged that "often, during the celebration of Mass, they or others whom they delegate explain something about what is read in the Mass and, among other things, tell something about the mystery of this most holy sacrifice. This is to be done particularly on Sundays and holy days."[22]

49. This should be done especially at the time when catechetical instruction is being given to the Christian people. This may be done more easily and readily in this age of ours than was possible in times past, because translations of the liturgical texts into the vernacular tongues and explanations of these texts in books and pamphlets are available. These works, produced in almost every country by learned writers, can effectively help and enlighten the faithful to understand and share in what is said by the sacred ministers in the Latin language.

50. It is quite obvious that what We have said briefly here about Gregorian chant applies mainly to the Latin Roman Rite of the Church. It can also, however, be applied to a certain extent to the liturgical chants of other rites -- either to those of the West, such as the Ambrosian, Gallican or Mozarabic, or to the various eastern rites.

51. For as all of these display in their liturgical ceremonies and formulas of prayer the marvelous abundance of the Church, they also, in their various liturgical chants, preserve treasures which must be guarded and defended to prevent not only their complete disappearance, but also any partial loss or distortion.

52. Among the oldest and most outstanding monuments of sacred music the liturgical chants of the different eastern rites hold a highly important place. Some of the melodies of these chants, modified in accordance with the character of the Latin liturgy, had a great influence on the composition of the musical works of the Western Church itself. It is Our hope that the selection of sacred eastern rite hymns -- which the Pontifical Institute of Oriental Studies, with the help of the Pontifical Institute of Sacred Music, is busily working to complete -- will achieve good doctrinal and practical results. Thus eastern rite seminarians, well trained in sacred chant, can make a significant contribution to enhancing the beauty of God's house after they have been ordained priests.

53. It is not Our intention in what We have just said in praise and commendation of the Gregorian chant to exclude sacred polyphonic music from the rites of the Church. If this polyphonic music is endowed with the proper qualities, it can be of great help in increasing the magnificence of divine worship and of moving the faithful to religious dispositions. Everyone certainly knows that many polyphonic compositions, especially those that date from the 16th century, have an artistic purity and richness of melody which render them completely worthy of accompanying and beautifying the Church's sacred rites.

75. Great care must be taken that those who are preparing for the reception of sacred orders in your seminaries and in missionary or religious houses of study are properly instructed in the doctrine and use of sacred music and Gregorian chant according to the mind of the Church by teachers who are experts in this field, who esteem the traditional customs and teachings and who are entirely obedient to the precepts and norms of the Holy See.

 

Mediator Dei

191. As regards music, let the clear and guiding norms of the Apostolic See be scrupulously observed. Gregorian chant, which the Roman Church considers her own as handed down from antiquity and kept under her close tutelage, is proposed to the faithful as belonging to them also. In certain parts of the liturgy the Church definitely prescribes it;[171] it makes the celebration of the sacred mysteries not only more dignified and solemn but helps very much to increase the faith and devotion of the congregation. For this reason, Our predecessors of immortal memory, Pius X and Pius XI, decree-and We are happy to confirm with Our authority the norms laid down by them-that in seminaries and religious institutes, Gregorian chant be diligently and zealously promoted, and moreover that the old Scholae Cantorum be restored, at least in the principal churches. This has already been done with happy results in not a few places.[172]

 

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."

 

Divini Cultus

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.

 

All those who aspire to the priesthood, whether in seminaries or in religious houses, from their earliest years are to be taught Gregorian Chant and sacred music. At that age they are able more easily to learn to sing, and to modify, if not entirely to overcome, any defects in their voices, which in later years would be quite incurable. Instruction in music and singing must be begun in the elementary, and continued in the higher classes. In this way, those who are about to receive sacred orders, having become gradually experienced in chant, will be able during their theological course quite easily to undertake the higher and "aesthetic" study of plainsong and sacred music, of polyphony and the organ, concerning which the clergy certainly ought to have a thorough knowledge.

 

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.

 

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.

 

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

3. These qualities are to be found, in the highest degree, in Gregorian Chant, which is, consequently the Chant proper to the Roman Church, the only chant she has inherited from the ancient fathers, which she has jealously guarded for centuries in her liturgical codices, which she directly proposes to the faithful as her own, which she prescribes exclusively for some parts of the liturgy, and which the most recent studies have so happily restored to their integrity and purity.

 

On these grounds Gregorian Chant has always been regarded as the supreme model for sacred music, so that it is fully legitimate to lay down the following rule: the more closely a composition for church approaches in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple.

 

The ancient traditional Gregorian Chant must, therefore, in a large measure be restored to the functions of public worship, and the fact must be accepted by all that an ecclesiastical function loses none of its solemnity when accompanied by this music alone.

 

Special efforts are to be made to restore the use of the Gregorian Chant by the people, so that the faithful may again take a more active part in the ecclesiastical offices, as was the case in ancient times.

 

4. The above-mentioned qualities are also possessed in an excellent degree by Classic Polyphony, especially of the Roman School, which reached its greatest perfection in the fifteenth century, owing to the works of Pierluigi da Palestrina, and continued subsequently to produce compositions of excellent quality from a liturgical and musical standpoint. Classic Polyphony agrees admirably with Gregorian Chant, the supreme model of all sacred music, and hence it has been found worthy of a place side by side with Gregorian Chant, in the more solemn functions of the Church, such as those of the Pontifical Chapel. This, too, must therefore be restored largely in ecclesiastical functions, especially in the more important basilicas, in cathedrals, and in the churches and chapels of seminaries and other ecclesiastical institutions in which the necessary means are usually not lacking.

 

6. Among the different kinds of modern music, that which appears less suitable for accompanying the functions of public worship is the theatrical style, which was in the greatest vogue, especially in Italy, during the last century. This of its very nature is diametrically opposed to Gregorian Chant and classic polyphony, and therefore to the most important law of all good sacred music. Besides the intrinsic structure, the rhythm and what is known as the conventionalism of this style adapt themselves but badly to the requirements of true liturgical music.

 

10. The different parts of the mass and the Office must retain, even musically, that particular concept and form which ecclesiastical tradition has assigned to them, and which is admirably brought out by Gregorian Chant. The method of composing an introit, a gradual, an antiphon, a psalm, a hymn, a Gloria in excelsis, etc., must therefore be distinct from one another.

 

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.

 

25. In seminaries of clerics and in ecclesiastical institutions let the above-mentioned traditional Gregorian Chant be cultivated by all with diligence and love, according to the Tridentine prescriptions, and let the superiors be liberal of encouragement and praise toward their young subjects. In like manner let a Schola Cantorum be established, whenever possible, among the clerics for the execution of sacred polyphony and of good liturgical music.

 

Section on Letter to the Cardinal Vicar of Rome: Finally, We desire that sacred music be cultivated with special care and in the proper way in all the seminaries and ecclesiastical colleges of Rome, in which such a large and choice body of young clerics from all parts of the world are being educated in the sacred sciences and in the ecclesiastical spirit. We know, and We are greatly comforted by the knowledge, that in some institutions sacred music is in such a flourishing condition that it may serve as a model for others. But there are some seminaries and colleges which leave much to be desired owing to the carelessness of the superiors, or the want of capacity and the imperfect taste of the persons to whom the teaching of chant and the direction of sacred music is entrusted. You, Lord Cardinal, will be good enough to provide a remedy for this also with solicitude, by insisting especially that Gregorian Chant, according to the prescriptions of the Council of Trent and of innumerable other councils, provincial and diocesan in all parts of the world, be studied with particular diligence, and be as a rule preferred in the public and private functions of the institute. It is true that in other times Gregorian Chant was known to most people only through books which were incorrect, vitiated and curtailed. But the accurate and prolonged study that has been given to it by illustrious men who have done a great service to sacred art has changed the face of things. Gregorian Chant restored in such a satisfactory way to its early purity, as it was handed down by the fathers and is found in the codices of the various churches, is sweet, soft, easy to learn and of a beauty so fresh and full of surprises that wherever it has been introduced it has never failed to excite real enthusiasm in the youthful singers. Now, when delights enters into the fulfillment of duty, everything is done with greater alacrity and with more lasting fruit. It is Our will, therefore, that in all seminaries and colleges in this fostering city there be introduced once more the most ancient Roman chant which used to resound in our churches and basilicas and which formed the delight of past generations in the fairest days of Christian piety. And as in former times the chant was spread abroad over the whole Western Church from Rome, so We desire that Our young clerics, educated under Our own eyes, may carry it with them and diffuse it again in their own dioceses when they return thither as priests to work for the glory of God. We are overjoyed to be able to give these regulations at a time when We are about to celebrate the 15th centenary of the death of the glorious and incomparable Pontiff St. Gregory the Great, to whom an ecclesiastical tradition dating back many centuries has attributed the composition of these sacred melodies and from whom they have derived their name. Let Our dearly-beloved youths exercise themselves in them, for it will be sweet to us to hear them when, as We have been told will be the case, they will assemble at the coming centenary celebrations round the tomb of the Holy Pontiff in the Vatican Basilica during the Sacred Liturgy which, please God, will be celebrated by Us on that auspicious occasion.