A Roman Catholic Document: Music In Catholic Worship Part II

In 1972, a committee appointed by the Federation of Diocesan Liturgical Commissions examined post-Vatican II documents on worship and music and issued the following document, Music in Catholic Worship, a revision of the earlier document The Place of Music in Eucharistic Celebrations. This document includes a thorough discussion of theological issues related to liturgical music, along with guidelines for planning music for worship, especially for services that include the Eucharist. IV. General Consideration of Liturgical Structure 42. Those who are responsible for planning the music for eucharistic celebrations in accord with the three judgments above must have a clear understanding of the structure of the liturgy. They must be aware of what is of primary importance. They should know the nature of each of the parts of the liturgy and the relationship of each part to the overall rhythm of the liturgical action. 43. The Mass is made up of the liturgy of the Word and the liturgy of the Eucharist. These two parts are so closely connected as to form one act of worship. The table of the Lord is the table of God's Word and Christ's Body, and from it the faithful are instructed and refreshed. In addition, the Mass has introductory and concluding rites (GI, No. 8). The introductory and concluding rites are secondary. The Introductory Rites 44. The parts preceding the liturgy of the Word, namely, the Entrance, greeting, penitential rite, Kyrie, Gloria, and opening prayer or collect, have the character of introduction and preparation. The purpose of these rites is to help the assembled people become a worshiping community and to prepare them for listening to God's Word and celebrating the Eucharist (GI, No. 24). Of these parts the Entrance song and the opening prayer are primary. All else is secondary. If Mass begins with the sprinkling of the people with blessed water, the penitential rite is omitted; this may be done at all Sunday Masses (cf. Roman Missal, Blessing and Sprinkling of Holy Water, No. 1). Similarly, if the psalms of part of the Liturgy of the Hours precede Mass, the introductory rite is abbreviated in accord with the General Instruction on the Liturgy of the Hours (Nos. 93–98). The Liturgy of the Word 45. Readings from Scripture are the heart of the liturgy of the Word. The homily, responsorial psalms, profession of faith, and general intercessions develop and complete it. In the readings, God speaks to his people and nourishes their spirit; Christ is present through his word. The homily explains the readings. The chants and the profession of faith comprise the people's acceptance of God's Word. It is of primary importance that the people hear God's message of love, digest it with the aid of psalms, silence, and the homily, and respond, involving themselves in the great covenant of love and redemption. All else is secondary. The Preparation of the Gifts 46. The eucharistic prayer is preceded by the preparation of the gifts. The purpose of the rite is to prepare bread and wine for the sacrifice. The secondary character of the rite determines the manner of the celebration. It consists very simply of bringing the gifts to the altar, possibly accompanied by song, prayers to be said by the celebrant as he prepares the gifts, and the prayer over the gifts. Of these elements the bringing of the gifts, the placing of the gifts on the altar, and the prayer over the gifts are primary. All else is secondary. The Eucharistic Prayer 47. The eucharistic prayer, a prayer of thanksgiving and sanctification, is the center of the entire celebration. By an introductory dialogue the priest invites the people to lift their hearts to God in praise and thanks; he unites them with himself in the prayer he addresses in their name to the Father through Jesus Christ. The meaning of the prayer is that the whole congregation joins Christ in acknowledging the works of God and offering the sacrifice (GI, No. 54). As a statement of the faith of the local assembly it is affirmed and ratified by all those present through acclamations of faith: the first acclamation or Sanctus, the memorial acclamation, and the Great Amen. The Communion Rite 48. The eating and drinking of the body and blood of the Lord in a paschal meal is the climax of our eucharistic celebration. It is prepared for by several rites: the Lord's Prayer with embolism and doxology, the rite of peace, breaking of bread (and commingling) during the "Lamb of God," private preparation of the priest and showing of the eucharistic bread. The eating and drinking is accompanied by a song expressing the unity of communicants and is followed by a time of prayer after Communion (GI, No. 56). Those elements are primary which show forth signs that the first fruit of the Eucharist is the unity of the body of Christ, Christians loving Christ through loving one another. The principal texts to accompany or express the sacred action are the Lord's Prayer, the song during the Communion procession, and the prayer after Communion. The Concluding Rite 49. The concluding rite consists of the priest's greeting and blessing, which is sometimes expanded by the prayer over the people or another solemn form, and the dismissal, which sends each member of the congregation to do good works, praising and blessing the Lord (GI, No. 57). A recessional song is optional. The greeting, blessing, dismissal, and recessional song or instrumental music ideally form one continuous action which may culminate in the priest's personal greetings and conversations at the church door. V. Application of the Principles of Celebration to Music in Eucharistic Worship General Considerations 50. Many and varied musical patterns are now possible within the liturgical structure. Musicians and composers need to respond creatively and responsibly to the challenge of developing new music for today's celebrations. 51. While it is possible to make technical distinctions in the forms of Mass—all the way from the Mass in which nothing is sung to the Mass in which everything is sung—such distinctions are of little significance in themselves. Almost unlimited combinations of sung and recited parts may be chosen. The important decision is whether or not this or that part may or should be sung in this particular celebration and under these specific circumstances. (GI, No. 19; cf. Instruction on Music in the Liturgy, Nos. 28 and 36). The former distinction between the ordinary and proper parts of the Mass with regard to musical settings and distribution of roles is no longer retained. For this reason the musical settings of the past are usually not helpful models for composing truly liturgical contemporary pieces. 52. Two patterns used to serve as foundation for the creating and planning of liturgy: One was "High Mass" with its five movements, sung Ordinary and fourfold sung Proper. The other was the four-hymn "Low Mass" format that grew out of the Instruction on Sacred Music of 1958. The four-hymn pattern developed in the context of a Latin Mass which could accommodate song in the vernacular only at certain points. It is now outdated, and the Mass has more than a dozen parts that may be sung, as well as numerous options for the celebrant. Each of these parts must be understood according to its proper nature and function. Specific Applications The Acclamations 53. The acclamations are shouts of joy which arise from the whole assembly as forceful and meaningful assents to God's Word and action. They are important because they make some of the most significant moments of the Mass (gospel, eucharistic prayer, Lord's Prayer) stand out. It is of their nature that they be rhythmically strong, melodically appealing, and affirmative. The people should know the acclamations by heart in order to sing them spontaneously. Some variety is recommended and even imperative. The challenge to the composer and people alike is one of variety without confusion. 54. In the eucharistic celebration there are five acclamations which ought to be sung even at Masses in which little else is sung: Alleluia; "Holy, Holy, Holy Lord;" Memorial Acclamation; Great Amen; Doxology to the Lord's Prayer. The Alleluia 55. This acclamation of paschal joy is both a reflection upon the Word of God proclaimed in the liturgy and a preparation for the gospel. All stand to sing it. After the cantor or choir sings the alleluia(s), the people customarily repeat it. Then a single proper verse is sung by the cantor or choir, and all repeat the alleluia(s). If not sung, the alleluia may be omitted (GI, No. 39). In its place, a moment of silent reflection may be observed. During Lent, a brief verse of acclamatory character replaces the alleluia and is sung in the same way. Holy, Holy, Holy Lord 56. This is the people's acclamation of praise concluding the preface of the eucharistic prayer. We join the whole communion of saints in acclaiming the Lord. Settings which add harmony or descants on solemn feasts and occasions are appropriate, but since this chant belongs to priest and people, the choir parts must facilitate and make effective the people's parts. The Memorial Acclamations 57. We support one another's faith in the paschal mystery, the central mystery of our belief. This acclamation is properly a memorial of the Lord's suffering and glorification, with an expression of faith in his coming. Variety in text and music is desirable. The Great Amen 58. The worshipers assent to the eucharistic prayer and make it their own in the Great Amen. To be most effective, the Amen may be repeated or augmented. Choirs may harmonize and expand upon the people's acclamation. Doxology to the Lord's Prayer 59. These words of praise, "For the Kingdom, the power and the glory is yours, now and forever," are fittingly sung by all especially when the Lord's Prayer is sung. Here, too, the choir may enhance the acclamation with harmony. The Processional Songs 60. The two processional chants—the Entrance song and the Communion song—are very important for a sense of awareness of community. Proper antiphons are given to be used with appropriate Psalm verses. These may be replaced by the chants of the Simple Gradual, by other psalms and antiphons, or by other fitting songs (GI, No. 56). The Entrance Song 61. The Entrance song should create an atmosphere of celebration. It serves the function of putting the assembly in the proper frame of mind for listening to the Word of God. It helps people to become conscious of themselves as a worshiping community. The choice of texts for the Entrance song should not conflict with these purposes. In general, during the most important seasons of the church year—Easter, Lent, Christmas, and Advent—it is preferable that most songs used at the Entrance be seasonal in nature (NCCB, November 1969). The Communion Song 62. The Communion should foster a sense of unity. It should be simple and not demand great effort. It gives expression to the joy of unity in the body of Christ and the fulfillment of the mystery being celebrated. Because they emphasize adoration rather than Communion, most benediction hymns, by reason of their concentration on adoration rather than on Communion, are not acceptable. In general, during the most important seasons of the church year—Easter, Lent, Christmas, and Advent—it is preferable that most songs used at the Communion be seasonal in nature. During the remainder of the church year, however, topical songs may be used during the Communion procession, provided these texts do not conflict with the paschal character of every Sunday (NCCB, November 1969). Responsorial Psalms 63. This unique and very important song is the response to the first lesson. The new lectionary's determination to match the content of the psalms to the theme of reading is reflected in its listing of 900 refrains. The liturgy of the Word comes to life if between the first two readings a cantor sings the psalm and all sing the response. Since most groups cannot learn a new response every week, seasonal refrains are offered in the lectionary itself and in the Simple Gradual. Other psalms and refrains may also be used, including psalms arranged in responsorial form and metrical and similar versions of psalms, provided they are used in accordance with the principles of the Simple Gradual and are selected in harmony with the liturgical season, feast, or occasion. The choice of the texts which are not from the Psalter is not extended to the chants between the readings (NCCB, November 1969). To facilitate reflection, there may be a brief period of silence between the first reading and the responsorial psalm. Ordinary Chants 64. The fourth category is the ordinary chants, which now may be treated as individual choices. One or more may be sung; the others spoken. The pattern may vary according to the circumstances. These chants are the following: "Lord Have Mercy" 65. This short litany was traditionally a prayer of praise to the risen Christ. He has been raised and made "Lord," and we beg him to show his loving kindness. The sixfold Kyrie of the new Order of Mass may be sung in other ways, for example, as a ninefold chant (cf. GI, No. 30). It may also be incorporated in the penitential rite, with invocations addressed to Christ. When sung, the setting should be brief and simple so as not to give undue importance to the introductory rites. "Glory to God" 66. This ancient hymn of praise is now given in a new poetic and singable translation. It may be introduced by celebrant, cantor or choir. The restricted use of the Gloria, i.e., only on Sundays outside Advent and Lent and on solemnities and feasts (GI, No. 31), emphasizes its special and solemn character. The new text offers many opportunities for alternation of choir and people in poetic parallelism. The "Glory to God" also provides an opportunity for the choir to sing alone on festive occasions. Lord's Prayer 67. This prayer begins our immediate preparation for sharing in the Paschal banquet. The traditional text is retained and may be set to music by composers with the same freedom as other parts of the Ordinary. All settings must provide for the participation of the priest and all present. Lamb of God 68. The Agnus Dei is a litany-song to accompany the breaking of the bread in preparation for Communion. The invocation and response may be repeated as the action demands. The final response is always "grant us peace." Unlike the "Holy, Holy, Holy Lord," and the Lord's Prayer, the "Lamb of God" is not necessarily a song of the people. Hence it may be sung by the choir, though the people should generally make the response. Profession of Faith 69. This is a communal profession of faith in which "the people who have heard the Word of God in the lesson and in the homily may assent and respond to it, and may renew in themselves the rule of faith as they begin to celebrate the Eucharist" (GI, No. 43). If it is sung, it might more effectively take the form of a simple musical declamation rather than that of an extensive and involved musical structure. Supplementary Songs 70. This category includes songs for which there are no specified texts or any requirement that there should be a spoken or sung text. Here the choir may play a fuller role, for there is no question of usurping the people's parts. This category includes the following: The Offertory Song 71. The offertory song may accompany the procession and preparation of the gifts. It is not always necessary or desirable. Organ or instrumental music is also fitting at this time. When song is used, it is to be noted that the song need not speak of bread and wine or of offering. The proper function of this song is to accompany and celebrate the communal aspects of the procession. The text, therefore, can be any appropriate song of praise or of rejoicing in keeping with the season. The antiphons of the Roman Gradual, not included in the new Roman Missal, may be used with psalm verses. Instrumental interludes can effectively accompany the procession of preparation of the gifts and thus keep this part of the Mass in proper perspective relative to the eucharistic prayer which follows. The Psalm or Song after Communion 72. The singing of a psalm or hymn of praise after the distribution of Communion is optional. If the organ is played or the choir sings during the distribution of Communion, a congregational song may well provide a fitting expression of oneness in the eucharistic Lord. Since no particular text is specified, there is ample room for creativity. The Recessional Song 73. The recessional song has never been an official part of the rite; hence musicians are free to plan music which provides an appropriate closing to the liturgy. A song is one possible choice. However, if the people have sung a song after Communion, it may be advisable to use only an instrumental or choir recessional. Litanies 74. Litanies are often more effective when sung. The repetition of melody and rhythm draws the people together in a strong and unified response. In addition to the "Lamb of God," already mentioned, the general intercessions (prayer of the faithful) offer an opportunity for litanical singing, as do the invocations of Christ in the penitential rite. Progress and New Directions 75. Many new patterns and combinations of song are emerging in eucharistic celebrations. Congregations most frequently sing an Entrance song, Alleluia, "Holy, Holy, Holy Lord," Memorial Acclamation, Great Amen, and a song at Communion (or a song after Communion). Other parts are added in varying quantities, depending on season, degree of solemnity and musical resources. Choirs often add one or more of the following: a song before Mass, an offertory song, the "Glory to God" on special occasions, additional Communion songs or a song after Communion or a recessional. They may also enhance the congregationally sung Entrance song and acclamations with descants, harmony, and antiphonal arrangements. Harmony is desirable when, without confusing them, it gives breadth and power to their voices in unison. 76. Flexibility is recognized today as an important value in liturgy. The musician with a sense of artistry and a deep knowledge of rhythm of the liturgical action will be able to combine the many options into an effective whole. For the composer and performer alike there is an unprecedented challenge. They must enhance the liturgy with new creations of variety and richness and with those compositions from the time-honored treasury of liturgical music which can still serve today's celebrations. Like the wise householder in Matthew's Gospel, the church musician must be one "who can produce from his store both the new and the old." 77. The church in the United States today needs the services of many qualified musicians as song leaders, organists, instrumentalists, cantors, choir directors, and composers. We have been blessed with many generous musicians who have given years of service despite receiving meager financial compensation. For the art to grow and face the challenges of today and tomorrow every diocese and parish should establish policies for hiring and paying living wages to competent musicians. Full-time musicians employed by the church ought to be on the same salary scale as teachers with similar qualifications and workloads (BCL, April 18, 1966). 78. Likewise, to ensure that composers and publishers receive just compensation for their work, those engaged in parish music programs and those responsible for budgets must often be reminded that it is illegal and immoral to reproduce copyrighted texts and music by any means without written permission of the copyright owner. The fact that these duplicated materials are not for sale but for private use does not alter the legal or moral situation of copying without permission (BCL, April 1969). VI. Music in Sacramental Celebrations 79. While music has traditionally been part of the celebration of weddings, funerals and confirmations, the communal celebration of baptism, anointing, and penance has been only recently restored. The renewed rituals, following the Constitution on the Sacred Liturgy, provide for and encourage communal celebrations, which, according to the capabilities of the congregation, should involve song (cf. CSL, No. 27). 80. The rite of baptism is best begun by an Entrance song (Rite of Baptism for Children, No. 5:32 and 35); the liturgy of the Word is enhanced by a sung psalm and/or alleluia. Where the processions to and from the place of the liturgy of the Word and the baptistry take some time, they should be accompanied by music. Above all, the acclamations—the affirmation of faith by the people, and the acclamation immediately after the baptism, the acclamation upon completion of the rite—should be sung by the whole congregation. 81. Whenever rites like the anointing of the sick or the sacrament of penance are celebrated communally, music is important. The general structure is introductory rite, liturgy of the Word, sacrament, and dismissal. The introductory rite and liturgy of the Word follow the pattern of the Mass. At the time of the sacrament, an acclamation or song by all the people is desirable. 82. Confirmation and marriage are most often celebrated with a Mass. The norms given above pertain. Great care should be taken, especially at marriages, that all the people are involved at the important moments of the celebration, that the same general principles of planning worship and judging music are employed as at other liturgies, and above all, that the liturgy is a prayer for all present, not a theatrical production. 83. Music becomes particularly important in the new burial rites. Without it, the themes of hope and resurrection are very difficult to express. The Entrance song, the acclamations, and the song of farewell or commendation are of primary importance for the whole congregation. The choral and instrumental music should fit the paschal mystery theme. VII. Conclusion 84. We find today a vital interest in the Mass as prayer, and in this understanding of the Mass lies a principle of synthesis which is essential to good liturgical worship. When all strive with one accord to make the Mass a prayer, a sharing and celebration of faith, the result is unity. Styles of music, choices of instruments, forms of celebration—all converge in a single purpose: that men and women of faith may proclaim and share that faith in prayer and that Christ may grow among us all. The Bishop's Committee on the Liturgy/Federation of Diocesan Liturgical Commissions

• A Roman Catholic Document: Music In Catholic Worship Part I