Instruments & Pipe Organ

 

Sacramentum Caritatis—no references

 

Redemptionis Sacramentum

[53.] While the Priest proclaims the Eucharistic Prayer "there should be no other prayers or singing, and the organ or other musical instruments should be silent",132 except for the people's acclamations that have been duly approved, as described below.

 

 

 

Chirograph of John Paul II

4. In continuity with the teachings of St Pius X and the Second Vatican Council, it is necessary first of all to emphasize that music destined for sacred rites must have holiness as its reference point:  indeed, "sacred music increases in holiness to the degree that it is intimately linked with liturgical action"[11]. For this very reason, "not all without distinction that is outside the temple (profanum) is fit to cross its threshold", my venerable Predecessor Paul VI wisely said, commenting on a Decree of the Council of Trent[12]. And he explained that "if music - instrumental and vocal - does not possess at the same time the sense of prayer, dignity and beauty, it precludes the entry into the sphere of the sacred and the religious"[13]. Today, moreover, the meaning of the category "sacred music" has been broadened to include repertoires that cannot be part of the celebration without violating the spirit and norms of the Liturgy itself.

 

St Pius X's reform aimed specifically at purifying Church music from the contamination of profane theatrical music that in many countries had polluted the repertoire and musical praxis of the Liturgy. In our day too, careful thought, as I emphasized in the Encyclical Ecclesia de Eucharistia, should be given to the fact that not all the expressions of figurative art or of music are able "to express adequately the mystery grasped in the fullness of the Church's faith"[14]. Consequently, not all forms of music can be considered suitable for liturgical celebrations.

 

14. Again at the practical level, the Motu Proprio whose centenary it is also deals with the question of the musical instruments to be used in the Latin Liturgy. Among these, it recognizes without hesitation the prevalence of the pipe organ and establishes appropriate norms for its use[42]. The Second Vatican Council fully accepted my holy Predecessor's approach, decreeing:  "The pipe organ is to be held in high esteem in the Latin Church, for it is the traditional musical instrument, the sound of which can add a wonderful splendour to the Church's ceremonies and powerfully lifts up people's minds to God and to higher things"[43].

 

Nonetheless, it should be noted that contemporary compositions often use a diversity of musical forms that have a certain dignity of their own. To the extent that they are helpful to the prayer of the Church they can prove a precious enrichment. Care must be taken, however, to ensure that instruments are suitable for sacred use, that they are fitting for the dignity of the Church and can accompany the singing of the faithful and serve to edify them.

 

 

 

JPII Address

3. The Second Vatican Ecumenical Council, continuing the rich liturgical tradition of previous centuries, said that sacred music "is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as a combination of sacred music and words, it forms a necessary or integral part of the solemn liturgy" (Sacrosanctum Concilium, n. 112).

 

Christians, following the various seasons of the liturgical year, have always expressed gratitude and praise to God in hymns and spiritual songs. Biblical tradition, through the words of the Psalmist, urges the pilgrims on arriving in Jerusalem to pass through the doors of the temple while praising the Lord "with trumpet sound, with timbrel and dance, with strings and pipe, with sounding cymbals!" (cf. Ps 150). The prophet Isaiah, in turn, urges the singing with stringed instruments in the house of the Lord all the days of one's life as a sign of gratitude (cf. Is 38: 20).

 

Christian joy expressed in song must mark every day of the week and ring out strongly on Sunday, the "Lord's Day", with a particularly joyful note. There is a close link between music and song, on the one hand, and between contemplation of the divine mysteries and prayer, on the other. The criterion that must inspire every composition and performance of songs and sacred music is the beauty that invites prayer. When song and music are signs of the Holy Spirit's presence and action, they encourage, in a certain way, communion with the Trinity. The liturgy then becomes an "opus Trinitatis". "Singing in the liturgy" must flow from "sentire cum Ecclesia". Only in this way do union with God and artistic ability blend in a happy synthesis in which the two elements -- song and praise -- pervade the entire liturgy.

 

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.

 

24. The Gospel periscopes of the Samaritan woman, of the man blind from birth, and the resurrection of Lazarus are assigned to the III, IV, and V Sundays of Lent of year A. Of particular significance in relation to Christian initiation, they can also be read in years B and C, especially in places where there are catechumens.

 

On the fourth Sunday of Lent, Laetare, and in solemnities and feasts, musical instruments may be played and the altar decorated with flowers. Rose colored vestments may be worn on this Sunday.

 

[On Holy Thursday] 50. During the singing of the hymn "Gloria in excelsis," in accordance with local custom, the bells may be rung but should thereafter remain silent until the "Gloria in excelsis" of the Easter Vigil, unless the conference of bishops or the local ordinary, for a suitable reason, has decided otherwise. [56] During the same period, the organ and other musical instruments may be used only for the purpose of supporting the singing.

 

1975 GIRM

12. The nature of the presidential prayers demands that they be spoken in a loud and clear voice and that everyone present listen with attention.[21] While the priest is reciting them there should be no other prayer and the organ or other instruments should not be played.

 

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.

 

Voluntati Obsequens—no references

 

 

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.

 

7. In conformity with norms traditional in the Church, women (single, married, religious), whether in churches, homes, convents, schools, or institutions for women, are barred from serving the priest at the altar.

 

According to the norms established for these matters, however, women are allowed to:

 

a. proclaim the readings, except the gospel. They are to make sure that, with the help of modern sound equipment, they can be comfortably heard by all. The conferences of bishops are to give specific directions on the place best suited for women to read the word of God in the liturgical assembly.

 

b. announce the intentions in the general intercessions;

 

c. lead the liturgical assembly in singing and play the organ or other instruments;

 

d. read the commentary assisting the people toward a better understanding of the rite;

 

e. attend to other functions, customarily filled by women in other settings, as a service to the congregation, for example, ushering, organizing processions, taking up the collection [29].

 

Tres Abhinc—no references

 

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.

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.

46. Sacred music is also very effective in fostering the devotion of the faithful in celebrations of the word of God, and in popular devotions.

In the celebrations of the word of God,27 let the Liturgy of the Word in the Mass28 be taken as a model. In all popular devotions the psalms will be especially useful, and also works of sacred music drawn from both the old and the more recent heritage of sacred music, popular religious songs, and the playing of the organ, or of other instruments characteristic of a particular people.

62. Musical instruments can be very useful in sacred celebrations, whether they accompany the singing or whether they are played as solo instruments.

"The pipe organ is to be held in high esteem in the Latin Church, since it is its traditional instrument, the sound of which can add a wonderful splendor to the Church's ceremonies and powerfully lift up men's minds to God and higher things.

"The use of other instruments may also be admitted in divine worship, given the decision and consent of the competent territorial authority, provided that the instruments are suitable for sacred use, or can be adapted to it, that they are in keeping with the dignity of the temple, and truly contribute to the edification of the faithful."43

63. In permitting and using musical instruments, the culture and traditions of individual peoples must be taken into account. However, those instruments which are, by common opinion and use, suitable for secular music only, are to be altogether prohibited from every liturgical celebration and from popular devotions.44

Any musical instrument permitted in divine worship should be used in such a way that it meets the needs of the liturgical celebration, and is in the interests both of the beauty of worship and the edification of the faithful.

64. The use of musical instruments to accompany the singing can act as a support to the voices, render participation easier, and achieve a deeper union in the assembly. However, their sound should not so overwhelm the voices that it is difficult to make out the text; and when some part is proclaimed aloud by the priest or a minister by virtue of his role, they should be silent.

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.

66. The playing of these same instruments as solos is not permitted in Advent, Lent, during the Sacred Triduum and in the Offices and Masses of the Dead.

67. It is highly desirable that organists and other musicians should not only possess the skill to play properly the instrument entrusted to them: they should also enter into and be thoroughly aware of the spirit of the Liturgy, so that even when playing ex tempore, they will enrich the sacred celebration according to the true nature of each of its parts, and encourage the participation of the faithful.

 

Inter Oecumenici

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—no references

Sacrosanctum Concilium

120. In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things.

But other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent territorial authority, as laid down in Art. 22, 52, 37, and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful.

 

De Musica Sacra

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.

 

 

 

39. So-called "synchronized" Masses, are, however, forbidden. These are Masses in which two or more priests simultaneously, on one or more altars, so time their celebration of Mass that all their words, and actions are pronounced, and performed together at one and the same time, even with the aid of modern instruments to assure absolute uniformity or "synchronization", particularly if many priests are celebrating.

 

 

Chapter III-4. Musical instruments and bells.

A. Some General principles.

 

60. The following principles for the use of musical instruments in the sacred liturgy are to be recalled:

 

 

a) Because of the nature, sanctity, and dignity of the sacred liturgy, the playing of any musical instrument should be as perfect as possible. It would be preferable to omit the use of instruments entirely (whether it be the organ only, or any other instrument), than to play them in a manner unbecoming their purpose. As a general rule it is better to do something well, however modest, than to attempt something more elaborate without the proper means.

b) The difference between sacred, and secular music must be taken into consideration. Some musical instruments, such as the classic organ, are naturally appropriate for sacred music; others, such as string instruments which are played with a bow, are easily adapted to liturgical use. But there are some instruments which, by common estimation, are so associated with secular music that they are not at all adaptable for sacred use.

c) Finally, only instruments which are personally played by a performer are to be used in the sacred liturgy, not those which are played mechanically or automatically.

 

 

B. The classic organ and similar instruments.

 

61. The principal musical instrument for solemn liturgical ceremonies of the Latin Church has been and remains the classic pipe organ.

 

62. An organ destined for liturgical use, even if small, should be designed according to the norms of organ building, and be equipped with the type of pipes suitable for sacred use. Before it is to be used it should be properly blessed, and as a sacred object, receive proper care.

 

63. Besides the classic organ, the harmonium or reed organ may also be used provided that its tonal quality, and volume are suitable for sacred use.

 

64. As a substitute, the electronic organ may be tolerated temporarily for liturgical functions, if the means for obtaining even a small pipe organ are not available. In each case, however, the explicit permission of the local Ordinary is required. He, on his part, should consult the diocesan commission on sacred music, and others trained in this field, who can make suggestions for rendering such an instrument more suitable for sacred use.

 

65. The musicians who play the instruments mentioned in paragraphs 61-64 should be sufficiently skilled in their art so that they can accompany the sacred chant or any other music, and can also play alone with appropriate skill. Indeed, since it is also often necessary to be able to improvise music suited to the various phases of the liturgical action, they should possess sufficient knowledge of, and capability in the techniques of organ playing , and of sacred music.

 

Organists should religiously care for the instruments entrusted to them. Whenever they are seated at the organ during sacred functions, organists should be conscious of the active part they are taking in glorifying God, and edifying the faithful.

 

66. The organ playing, whether during liturgical functions or private devotions, should be carefully adapted to the liturgical season and feast day, to the nature of the rites and exercises themselves, and to their various parts.

 

67. The organ should be located in a suitable place near the main altar, unless ancient custom or a special reason approved by the local Ordinary demand otherwise; but the location should be such that the singers or musicians occupying a raised platform are not conspicuous to the congregation in the main body of the church.

 

C. Sacred instrumental music.

 

68. Other instruments besides the organ, especially the smaller bowed instruments, may be used during the liturgical functions, particularly on days of greater solemnity. These may be used together with the organ or without it, for instrumental numbers of for accompanying the singing. However, the following rules derived from the principles stated above (no.60) are to strictly observed:

 

 

a) the instruments are truly suitable for sacred use;

b) they are to be played with such seriousness, and religious devotion that every suggestion of raucous secular music is avoided, and the devotion of the faithful is fostered;

c) the director, organist, and other instrumentalists should be well trained in instrumental techniques, and the laws of sacred music.

 

 

69. The local Ordinary, with the aid of his diocesan commission on sacred music, should see to it that these rules on the use of instruments during the sacred liturgy are faithfully observed. If need be, they should not hesitate to issue special instructions in this regard as required by local conditions, and approved customs.

 

D. Musical instruments, and mechanical devices.

 

70. Musical instruments which by common acception, and use are suitable only for secular music must be entirely excluded from all liturgical functions, and private devotions.

 

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.

 

F. The times when the playing of musical instruments is forbidden.

 

80. The playing of the organ, and even more, of other instruments, is an embellishment of the sacred liturgy; for that reason they should be accommodated to the varying degrees of joy in different liturgical seasons, and feast days.

 

81. Accordingly, the playing of the organ, and all other instruments is forbidden for liturgical functions, except Benediction, during the following times:

 

 

a) Advent, from first Vespers of the first Sunday of Advent until None of the Vigil of Christmas;

b) Lent and Passiontide, from Matins of Ash Wednesday until the hymn Gloria in excelsis Deo in the Solemn Mass of the Easter Vigil;

c) the September Ember days if the ferial Mass and Office are celebrated;

d) in all Offices and Masses of the Dead.

 

 

82. Only the organ may be used on the Sundays of Septuagesima, Sexagesima, and Quinquagesima, and on the ferial days following these Sundays.

 

83. However, during the seasons, and days just mentioned, the following exceptions to the rule may be made:

 

 

a) the organ may be played, and other instruments used on holy days of obligation, and holidays (except Sundays), on the feasts of the principal local patron saint, the titular day, and the dedication anniversary of the local church, the titular or founder's day of a religious congregation, and on the occasion of some extraordinary solemnity;

b) the organ only (including the harmonium or reed organ) may be used on the third Sunday of Advent, and the fourth Sunday of Lent, on Thursday of Holy Week during the Mass of Chrism, and during the solemn evening Mass of the Last Supper from the beginning to the end of the hymn Gloria in excelsis Deo;

c) the organ only may be used at Mass, and Vespers for the sole purpose of supporting the singing.

Local Ordinaries may determine more precisely the application of these prohibitions, and permissions according to the approved local or regional customs.

 

 

84. Throughout the Sacred Triduum, from the midnight before Holy Thursday until the hymn Gloria in excelsis Deo of the Solemn Mass of the Easter Vigil, the organ or harmonium shall remain completely silent, excepting the instance mentioned in paragraph 83b.

 

This prohibition holds even for private devotions during the Sacred Triduum; no exceptions or contrary custom are to be tolerated.

 

85. Pastors and others in charge must not fail to explain to the people the meaning of this liturgical silence. They should also take care that during these seasons, and particular days the other liturgical restrictions on decorating the altar are likewise observed.

 

G. Bells.

 

86. The ancient and highly approved tradition of ringing bells in the Latin Church should be devotedly carried on by all who have this responsibility.

 

87. Church bells may not be used until they have been solemnly consecrated, or at least blessed; thereafter, they should be treated with the care due to sacred objects.

 

88. Approved customs, and the various ways of ringing bells, according to the occasion, should be carefully preserved. Local Ordinaries should set down the traditional, and customary practices, or prescribe them if there are none.

 

89. Attachments designed to amplify the sound of the bells or to make them easier to ring, may be permitted by the local Ordinary after consultation with experts. If there is doubt the matter should be referred to the Sacred Congregation of Rites.

 

90. Besides the various customary, and approved ways of ringing bells mentioned in paragraph 88 some places have an arrangement of smaller bells, hanging in a bell tower, for the purpose of ringing out various melodies. This is commonly called a carillon. It is to entirely excluded from liturgical use. These small bells may not be consecrated or blessed according to the solemn rite in the Roman Pontifical, but they may receive a simple blessing.

 

91. Every effort should be made to furnish all churches, public and semi-public oratories with at least one or two bells, even though they are small. But it is strictly forbidden to substitute any kind of machine or instrument which merely imitates or amplifies the sound of bells mechanically or automatically. Such machines may be used, however, as a carillon in accordance with what has been said above.

 

92. The prescriptions of canons 1169, 1185, and 612 of the Code of Canon Law are to be exactly observed.

 

 

 

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.

 

Musicae Sacrae

7. Later, when the ark of God was taken from the house of Abinadab to the city of David, the king himself and "all Israel played before the Lord on all manner of instruments made of wood, on harps and lutes and timbrels and cornets and cymbals."[5] King David himself established the order of the music and singing used for sacred worship.[6] This order was restored after the people's return from exile and was observed faithfully until the Divine Redeemer's coming.

 

14. The choral chant began to be called "Gregorian" after Saint Gregory, the man who revived it. It attained new beauty in almost all parts of Christian Europe after the 8th or 9th century because of its accompaniment by a new musical instrument called the "organ." Little by little, beginning in the 9th century, polyphonic singing was added to this choral chant. The study and use of polyphonic singing were developed more and more during the centuries that followed and were raised to a marvelous perfection under the guidance of magnificent composers during the 15th and 16th centuries.

 

15. Since the Church always held this polyphonic chant in the highest esteem, it willingly admitted this type of music even in the Roman basilicas and in pontifical ceremonies in order to increase the glory of the sacred rites. Its power and splendor were increased when the sounds of the organ and other musical instruments were joined with the voices of the singers.

 

16. Thus, with the favor and under the auspices of the Church the study of sacred music has gone a long way over the course of the centuries. In this journey, although sometimes slowly and laboriously, it has gradually progressed from the simple and ingenuous Gregorian modes to great and magnificent works of art. To these works not only the human voice, but also the organ and other musical instruments, add dignity, majesty and a prodigious richness.

 

38. Therefore when We praised the manifold power and the apostolic effectiveness of sacred music, We spoke of something that can be a source of great joy and solace to all who have in any way dedicated themselves to its study and practice. All who use the art they possess to compose such musical compositions, to teach them or to perform them by singing or using musical instruments, undoubtedly exercise in many ways a true and genuine apostolate. They will receive from Christ the Lord the generous rewards and honors of apostles for the work they have done so faithfully.

 

58. These norms must be applied to the use of the organ or other musical instruments. Among the musical instruments that have a place in church the organ rightly holds the principal position, since it is especially fitted for the sacred chants and sacred rites. It adds a wonderful splendor and a special magnificence to the ceremonies of the Church. It moves the souls of the faithful by the grandeur and sweetness of its tones. It gives minds an almost heavenly joy and it lifts them up powerfully to God and to higher things.

 

59. Besides the organ, other instruments can be called upon to give great help in attaining the lofty purpose of sacred music, so long as they play nothing profane nothing clamorous or strident and nothing at variance with the sacred services or the dignity of the place. Among these the violin and other musical instruments that use the bow are outstanding because, when they are played by themselves or with other stringed instruments or with the organ, they express the joyous and sad sentiments of the soul with an indescribable power. Moreover, in the encyclical Mediator Dei, We Ourselves gave detailed and clear regulations concerning the musical modes that are to be admitted into the worship of the Catholic religion.

 

Mediator Dei—no references

 

Divini Cultus

 

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.

 

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.

 

 

 

Tra le Sollicitudini

15. Although the music proper to the Church is purely vocal music, music with the accompaniment of the organ is also permitted. In some special cases, within due limits and with proper safeguards, other instruments may be allowed, but never without the special permission of the Ordinary, according to prescriptions of the Caeremoniale Episcoporum.

 

16. As the singing should always have the principal place, the organ or other instruments should merely sustain and never oppress it.

 

17. It is not permitted to have the chant preceded by long preludes or to interrupt it with intermezzo pieces.

 

18. The sound of the organ as an accompaniment to the chant in preludes, interludes, and the like must be not only governed by the special nature of the instrument, but must participate in all the qualities proper to sacred music as above enumerated.

 

19. The employment of the piano is forbidden in church, as is also that of noisy or frivolous instruments such as drums, cymbals, bells and the like.

 

20. It is strictly forbidden to have bands play in church, and only in special cases with the consent of the Ordinary will it be permissible to admit wind instruments, limited in number, judiciously used, and proportioned to the size of the placeprovided the composition and accompaniment be written in grave and suitable style, and conform in all respects to that proper to the organ.

 

21. In processions outside the church the Ordinary may give permission for a band, provided no profane pieces be executed. It would be desirable in such cases that the band confine itself to accompanying some spiritual canticle sung in Latin or in the vernacular by the singers and the pious associations which take part in the procession.

 

Section on Letter to Cardinal Vicar of Rome: And farther on, touching on the abuse of instruments which then prevailed, the same Pontiff said: "What opinion will be formed of us by those, who, coming from countries in which instruments are not used in church, hear them in our churches, just as they might in theaters and other profane places? They will come, too, from places and countries where there is singing and music in the churches of the same king as in ours. But if they are persons of sound judgment, they must be grieved not to find in our music that remedy for the evil in their own churches which they came hither to seek." In other times the contradiction between the music usually executed in the churches and the ecclesiastical laws and prescriptions was, perhaps, far less noticeable, and the scandal caused by this contradiction was doubtless more circumscribed, precisely because the evil was more widely diffused and general. But now that so much study has been employed by distinguished men in explaining the liturgy and the art used in the service of public worship, now that such consoling, and not infrequently, such splendid results have been obtained in so many churches throughout the world in the restoration of sacred music, notwithstanding the very serious difficulties that had to be faced, and that have been happily overcome; now, in fine, that the necessity of a complete change in the order of things has come to be universally appreciated, every abuse in this matter becomes intolerable, and must be removed.