Schools

 

Sacramentum Caritatis

The Church's social teaching

 

91. The mystery of the Eucharist inspires and impels us to work courageously within our world to bring about that renewal of relationships which has its inexhaustible source in God's gift. The prayer which we repeat at every Mass: "Give us this day our daily bread," obliges us to do everything possible, in cooperation with international, state and private institutions, to end or at least reduce the scandal of hunger and malnutrition afflicting so many millions of people in our world, especially in developing countries. In a particular way, the Christian laity, formed at the school of the Eucharist, are called to assume their specific political and social responsibilities. To do so, they need to be adequately prepared through practical education in charity and justice. To this end, the Synod considered it necessary for Dioceses and Christian communities to teach and promote the Church's social doctrine. (248) In this precious legacy handed down from the earliest ecclesial tradition, we find elements of great wisdom that guide Christians in their involvement in today's burning social issues. This teaching, the fruit of the Church's whole history, is distinguished by realism and moderation; it can help to avoid misguided compromises or false utopias.

 

Redemptionis Sacramentum—no references

 

Chirograph of John Paul II

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

 

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

 

9. In this area, therefore, the urgent need to encourage the sound formation of both pastors and the lay faithful also comes to the fore. St Pius X insisted in particular on the musical training of clerics. The Second Vatican Council also recalled in this regard:  "Great importance is to be attached to the teaching and practice of music in seminaries, in the novitiate houses of studies of Religious of both sexes, and also in other Catholic institutions and schools"[24]. This instruction has yet to be fully implemented. I therefore consider it appropriate to recall it, so that future pastors may acquire sufficient sensitivity also in this field.

 

In the task of training, a special role is played by schools of sacred music, which St Pius X urged people to support and encourage[25] and which the Second Vatican Council recommended be set up wherever possible[26]. A concrete result of the reform of St Pius X was the establishment in Rome in 1911, eight years after the Motu Proprio, of the "Pontificia Scuola Superiore di Musica Sacra" (Pontifical School for Advanced Studies in Sacred Music), which later became the "Pontificio Istituto di Musica Sacra" (Pontifical Institute of Sacred Music). As well as this academic institution, which has now existed for almost a century and has rendered a high-quality service to the Church, the particular Churches have established many other schools that deserve to be supported and reinforced by an ever better knowledge and performance of good liturgical music.

 

 

JPII Address

1. I am pleased to welcome you on the occasion of the 90th anniversary of your institute, founded in 1910 by my revered Predecessor Saint Pius X, with its seat at Palazzo Sant'Apollinare. I think back to the visit I paid you on 21 November 1984, and affectionately extend my cordial greeting to you all. I also greet the delegation from Catalonia. At the same time, I congratulate the dignitaries who have been awarded the doctorate "honoris causa" for their achievements in the field of sacred music.

 

I express my particular gratitude to Archbishop Zenon Grocholewski, Prefect of the Congregation for Catholic Education and your Grand Chancellor, for his courteous good wishes, also offered on your behalf. I would like to express again my esteem and my satisfaction with the work you all carry out with a sense of responsibility and valued professionalism.

 

On this occasion, as I glance at your activities to date and consider your future projects, I thank God for the work accomplished by the Pontifical Institute of Sacred Music for the benefit of the universal Church. Indeed, music and song are not merely an ornament or embellishment added to the liturgy. On the contrary, they form one reality with the celebration and allow for a deepening and interiorization of the divine mysteries.

 

I therefore hope that all of you -- teachers, students and lovers of sacred music -- can grow day by day in the love of God, "singing and making melody to the Lord with all your heart" (Eph 5: 19) and helping others do the same.

 

2. This, in fact, is the specific mission which the Supreme Pontiffs entrusted to your praiseworthy institution from the beginning. I am thinking first of all of the Motu Proprio of Saint Pius X, who in 1903, with his liturgical sensitivity, emphasized that sacred music should be "an integral part of the solemn liturgy, sharing its overall purpose which is the glory of God and the sanctification and edification of the faithful" (Tra le Sollecitudini, ASS 36 [1903], p. 332). The most important result of this Instruction was the creation in 1910 of the Superior School of Sacred Music. Hardly a year later, Saint Pius X published his approval of the school in the Brief Expleverunt desiderii, and on 10 July 1914 honoured it with the title "Pontifical".

 

On 23 September 1914, a few days after his election to the papal throne, Pope Benedict XV said that he regarded the school as a beloved legacy left to him by his Predecessor and that he would support and promote it in the best way possible. We should also mention Pius XI's Motu Proprio, Ad musicae sacrae, promulgated on 22 November 1922, in which the special connection between the school and the Apostolic See was reaffirmed.

 

With the Apostolic Constitution Deus scientiarum Dominus of 1931, the school, entitled "Pontifical Institute of Sacred Music", was included among the ecclesiastical academic institutes and as such continued its praiseworthy activity of service to the universal Church with even greater effort. After being trained here, many students later became teachers in their respective nations, in accordance with the original spirit desired by St Pius X.

 

Here I would like to honour the professors who have worked at your institute for many years and, particularly, its presidents who devoted themselves to it without reserve, with a special mention of Mons. Higini Anglès, president from 1947 until his death on December 8, 1969.

 

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—no references

 

1975 GIRM—no references

 

Voluntati Obsequens—no references

 

Liturgicae Instaurationes

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

18. Among the faithful, special attention must be given to the instruction in sacred singing of members of lay religious societies, so that they may support and promote the participation of the people more effectively.18 The formation of the whole people in singing, should be seriously and patiently undertaken together with liturgical instruction, according to the age, status and way of life of the faithful and the degree of their religious culture; this should be done even from the first years of education in elementary schools.

 

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—no references

 

Sacram Liturgiam—no references

Sacrosanctum Concilium

115. 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 institutions and schools. To impart this instruction, teachers are to be carefully trained and put in charge of the teaching of sacred music.

It is desirable also to found higher institutes of sacred music whenever this can be done.

Composers and singers, especially boys, must also be given a genuine liturgical training.

 

119. In certain parts of the world, especially mission lands, there are peoples who have their own musical traditions, and these play a great part in their religious and social life. For this reason due importance is to be attached to their music, and a suitable place is to be given to it, not only in forming their attitude toward religion, but also in adapting worship to their native genius, as indicated in Art. 39 and 40.

Therefore, when missionaries are being given training in music, every effort should be made to see that they become competent in promoting the traditional music of these peoples, both in schools and in sacred services, as far as may be practicable.

 

127. Bishops should have a special concern for artists, so as to imbue them with the spirit of sacred art and of the Sacred Liturgy. This they may do in person or through suitable priests who are gifted with a knowledge and love of art.

It is also desirable that schools or academies of sacred art should be founded in those parts of the world where they would be useful, so that artists may be trained.

All artists who, prompted by their talents, desire to serve God's glory in Holy Church, should ever bear in mind that they are engaged in a kind of sacred imitation of God the Creator, and are concerned with works destined to be used in Catholic worship, to edify the faithful, and to foster their piety and their religious formation.

 

De Musica Sacra

106. In private or elementary schools the following directions should be observed:

 

a) If the schools are conducted by Catholics, and are free to set up their own programs, the school children are to be given additional training in sacred music, and hymn. Above all, they are to be more thoroughly instructed in the holy sacrifice of the mass, adapted to their own age level, and in the manner of participating in it; they should also be taught to sing the simpler Gregorian melodies.

b) If the schools are public, and subject to the laws of the state, the local Ordinaries should see to it that these children, too, are educated in the sacred liturgy, and the sacred chant.

 

107. This applies to an even greater degree to the intermediate or secondary schools, so that adolescents may acquire the maturity to lead a good social, and Christian life.

 

108. Universities, and colleges of arts and sciences, too, must strive to deepen and further this musical, and liturgical education. It is important that those who have completed higher studies, and who take upon themselves the responsibilities of public life, have a complete appreciation of all the aspects of Christian life. Thus all priests who have charge of university students should endeavor to imbue in them a deeper understanding of the sacred liturgy, and the sacred chant, both as to its theory, and its practice. If circumstances permit, they should use the forms of Mass participation described in paragraphs 26 and 31.

 

B. Public and private schools of sacred music.

 

113. Pastors and those in charge shall see to it that there are servers present, boys, young men, and even adults, for liturgical functions and private devotions. These servers should be noted for their devotion, well instructed in the ceremonies, and adequately trained in sacred music, and hymns.

 

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

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

 

 

 

Diocesan Institutes

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

 

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

 

116. The great importance of academies and schools of higher learning which are established specifically for more comprehensive studies in sacred music must be recognized. The Pontifical Institute of Sacred Music in Rome, established by Saint Pius X, holds first place among these.

 

Local Ordinaries should send priests with special talent and a love for this art to such schools, particularly to the Pontifical Institute of Sacred Music in Rome.

 

117. In addition to the schools established to teach sacred music, many societies, named after Saint Gregory or Saint Cecilia or other saints, have been founded to promote sacred music in various ways. The increase of such societies and their associations on a national or even international scale can do much to further the cause of sacred music.

 

118. Since the time of Pius X, every diocese has been required to have a special commission of sacred music (Motu proprio Inter sollicitudines, Nov. 22, 1903: AAS 36 [1903-1904] no. 24; Decr. Auth. SRC 4121). The members of this commission, both priests and laymen, specially selected for their knowledge, experience, and talent in the various kinds of sacred music, are to be appointed by the local Ordinary.

 

The Ordinaries of a number of dioceses may, if they wish, establish a joint commission.

 

Since sacred music is so closely bound with the liturgy and with sacred art, commissions of sacred art (Circular letter of the Secretariate of State, Sep. 1, 1924, Prot. 34215), and of the sacred liturgy (Mediator Dei, Nov. 20, 1947: AAS 39 [1947] 561-562) are also to be established in every diocese. These three commissions may meet together -- at times it is even advisable -- to work out their common problems by a mutual exchange of opinions and solutions.

 

Local Ordinaries should see to it that these commissions meet frequently, or as often as circumstances require. Moreover, the local Ordinary himself should occasionally preside at these meetings.

 

Musicae Sacrae

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

 

69. What we have written thus far applies primarily to those nations where the Catholic religion is already firmly established. In mission lands it will not be possible to accomplish all these things until the number of Christians has grown sufficiently, larger church buildings have been erected, the children of Christians properly attend schools established by the Church and, finally, until there is an adequate number of sacred ministers. Still We urgently exhort apostolic workers who are laboring strenuously in these extensive parts of the Lord's vineyard to pay careful attention to this matter as one of the serious problems of their ministry.

 

73. First of all see to it that there is a good school of singers in the cathedral itself and, as far as possible, in other major churches of your dioceses. This school should serve as an example to others and influence them to carefully develop and perfect sacred chant.

 

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

 

Mediator Dei

6. You are surely well aware that this Apostolic See has always made careful provision for the schooling of the people committed to its charge in the correct spirit and practice of the liturgy; and that it has been no less careful to insist that the sacred rites should be performed with due external dignity. In this connection We ourselves, in the course of our traditional address to the Lenten preachers of this gracious city of Rome in 1943, urged them warmly to exhort their respective hearers to more faithful participation in the eucharistic sacrifice. Only a short while previously, with the design of rendering the prayers of the liturgy more correctly understood and their truth and unction more easy to perceive, We arranged to have the Book of Psalms, which forms such an important part of these prayers in the Catholic Church, translated again into Latin from their original text.

 

 

 

Divini Cultus

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

 

Let the clergy, both secular and regular, under the lead of their bishops and ordinaries devote their energies either directly, or through other trained teachers, to instructing the people in the Liturgy and in music, as being matters closely associated with Christian doctrine. This will be best effected by teaching liturgical chant in schools, pious confraternities and similar associations. Religious communities of men and women should devote particular attention to the achievement of this purpose in the various educational institutions committed to their care. Moreover, We are confident that this object will be greatly furthered by those societies which, under the control of ecclesiastical authority, are striving to reform sacred music according to the laws of the Church.

 

To achieve all that We hope for in this matter numerous trained teachers will be required. And in this connection We accord due praise to all the schools and institutes throughout the Catholic world, which by giving careful instruction in these subjects are forming good and suitable teachers. But We have a special word of commendation for the "Pontifical Higher School of Sacred Music", founded in Rome in the year 1910. This school, which was greatly encouraged by Pope Benedict XV and was by him endowed with new privileges, is most particularly favored by Us; for We regard it as a precious heritage left to Us by two Sovereign Pontiffs, and We therefore wish to recommend it in a special way to all the Bishops.

 

Tra le Sollicitudini

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