Link to Liturgy – Feast of Saint Cecilia
Sacred Music Series
Key Words / Themes
Saint Cecilia, Sacred Music, Secular Music, Active Participation, Vatican II, Gregorian Chant,
Musical Instruments, Mass, Latin, Religious Singing, Hymns, Praise and Worship, Sacrosanctum
Concilium, Kurt Poterack, polyphony, Catholic art, solemn liturgy, Mass, goal of liturgy, propers,
responses, ordinaries, organ, worldly songs.
Models of Implementation
http://www.linktoliturgy.com/index.cfm?load=page&page=251#Implementation
Lessons and Discussions
Page 5 – Saint Cecilia – Lesson and Discussion
Page 6 - Sacred vs. Secular Music – Lesson and Discussion
Page 9 – Sacred Music: The Church’s Treasure – Lesson and Discussion
“a treasure of inestimable value”
Page 11 - Sacred Music: Purpose and Qualities – Lesson and Discussion
“the purpose of sacred music”
Page 14 – Active Participation – Lesson and Discussion
“the whole body of the faithful may be able to contribute that active participation which is rightly
theirs”
Page 18 – Gregorian Chant: Pride of Place – Lesson and Discussion
“The Church acknowledges Gregorian chant as specially suited to the Roman liturgy”
Page 20 – Musical Instruments in the Mass – Lesson and Discussion
“In the Latin Church the pipe organ is to be held in high esteem”
Page 22 – Latin or Not? – Lesson and Discussion
“the use of the Latin language is to be preserved”
Page 23 – Sacred Music: Religious Singing – Lesson and Discussion
“Religious singing by the people is to be intelligently fostered”
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Link to Liturgy – Feast of Saint Cecilia – Sacred Music Series
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Offertory Antiphon – Daily Roman Missal
This should be chanted so that the time of prayer, study and discussion can be made sacred.
Collect – Roman Missal
In the name of the Father, and of the Son, and of the Holy Spirit. Amen
O God, who gladdens us each year with the feast day of your handmaid Saint Cecilia, grant, we
pray, that what has been devoutly handed down concerning her, may offer us examples to imitate
and proclaim the wonders worked in his servants by Christ your Son. Who lives and reigns with
you in the unity of the Holy Spirit, one God, forever and ever.
In the name of the Father, and of the Son, and of the Holy Spirit. Amen
Gospel Reading – Matthew 25:1-13 – Roman Missal
A reading from the holy Gospel according to Luke
- Glory to you, O Lord.
Jesus told His disciples this parable: “The Kingdom of heaven will be like ten virgins, who took
their lamps and went out to meet the bridegroom. Five of them were foolish and five were wise.
The foolish ones, when taking their lamps, brought no oil with them, but the wise brought flasks
of oil with their lamps. Since the bridegroom was long delayed, they all became drowsy and fell
asleep. At midnight, there was a cry, ‘Behold, the bridegroom! Come out to meet him!’ Then all
of the virgins got up and trimmed their lamps. The foolish ones said to the wise, ‘Give us some of
your oil, for our lamps are going out.’ But the wise ones replied, ‘No, for there may not be
enough for us and you. Go instead to the merchants and buy some for yourselves.’ While they
went off to buy it, the bridegroom came and those who were ready went into the wedding feast
with him. Then the door was locked. Afterwards the other virgins came and said, ‘Lord, Lord,
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open the door for us!’ But he said in reply, ‘Amen, I say to you, I do not know you.’ Therefore,
stay awake, for you know neither the day nor the hour.”
The Gospel of the Lord.
- Praise to you, Lord Jesus Christ.
Spiritual Reading – Office of Readings – Feast of Saint Cecilia
From a discourse on the psalms by Saint Augustine, Bishop
Sing to God with songs of joy
Praise the Lord with the lyre, make melody to him with the harp of ten strings! Sing to him a new
song. Rid yourself of what is old and worn out, for you know a new song. A new man, a new
covenant—a new song. This new song does not belong to the old man. Only the new man learns
it: the man restored from his fallen condition through the grace of God, and now sharing in the
new covenant, that is, the kingdom of heaven. To it all our love now aspires and sings a new
song. Let us sing a new song not with our lips but with our lives.
Sing to him a new song, sing to him with joyful melody. Every one of us tries to discover how to
sing to God. You must sing to him, but you must sing well. He does not want your voice to come
harshly to his ears, so sing well, brothers!
If you were asked, “Sing to please this musician,” you would not like to do so without having
taken some instruction in music, because you would not like to offend an expert in the art. An
untrained listener does not notice the faults a musician would point out to you. Who, then, will
offer to sing well for God, the great artist whose discrimination is faultless, whose attention is on
the minutest detail, whose ear nothing escapes? When will you be able to offer him a perfect
performance that you will in no way displease such a supremely discerning listener?
See how he himself provides you with a way of singing. Do not search for words, as if you could
find a lyric which would give God pleasure. Sing to him “with songs of joy.” This is singing well
to God, just singing with songs of joy.
But how is this done? You must first understand that words cannot express the things that are
sung by the heart. Take the case of people singing while harvesting in the fields or in the
vineyards or when any other strenuous work is in progress. Although they begin by giving
expression to their happiness in sung words, yet shortly there is a change. As if so happy that
words can no longer express what they feel, they discard the restricting syllables. They burst out
into a simple sound of joy, of jubilation. Such a cry of joy is a sound signifying that the heart is
bringing to birth what it cannot utter in words.
Now, who is more worthy of such a cry of jubilation than God himself, whom all words fail to
describe? If words will not serve, and yet you must not remain silent, what else can you do but
cry out for joy? Your heart must rejoice beyond words, soaring into an immensity of gladness,
unrestrained by syllabic bonds. Sing to him with jubilation.
Responsory – Office of Readings – Psalm 71:8, 23: 9:3
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My mouth will be filled with your praise. I will sing of your greatness all the day long.
– My lips will shout for joy when I sing to you.
In you I will rejoice and be glad; I will sing to your name, Most High.
– My lips will shout for joy when I sing to you.
Introduction
In addition to Chapter VI of Sacrosanctum Concilium, which this packet will discuss, the Church
has written extensively on the topic of sacred music. In the last 100 years, eleven Church
documents have been written on the topic, five prior to Vatican II, five post Vatican II. The
following documents will be referenced in this packet:
Motu proprio [1903]
Divini cultus sanctitatem [1928]
Mediator Dei [1947]
Musicae sacrae disciplina [1955]
Musica sacra et sacra liturgia [1958]
Sacrosanctum Concilium – Chapter 6 [1963]
Musicam Sacram [1967]
Introduction to the Graduale Romanum [1973]
General Instruction of the Roman Missal [2000]
Chirograph on Sacred Music [2003]
Sing to the Lord – USCCB [2007]
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Saint Cecilia1– Lesson and Discussion
This packet is dedicated to Saint Cecilia, the patron of music. Saint Cecilia is a virgin and martyr.
She died in the year 117 A.D. and is one of seven martyred women mentioned in the Roman
Canon (Eucharistic Prayer I). A noble Roman virgin, she was martyred for her unwillingness to
sacrifice to the pagan gods.
Who was Saint Cecilia? Cecilia, a Roman virgin of noble origin, was brought up from her
infancy in the Christian faith, and vowed her virginity to God. Against her will, she was given in
marriage to Valerian; but on the first night of the nuptials she thus addressed him: Valerian, I am
under the care of an angel, who is the guardian of my virginity; wherefore beware of doing what
might kindle God’s wrath against thee. Valerian moved by these words respected her wishes, and
even said that he would believe in Christ if he could see the angel. On Cecilia telling him this
could not be unless he received baptism, he, being very desirous of seeing the angel, replied that
he was willing to be baptized. Taking the virgin’s advice, he went to Pope Urban, who on account
of the persecution was hiding among the tombs of the martyrs on the Appian Way. And by him,
he was baptized.
Then returning to Cecilia, he found her at prayer, and beside her an angel shining with divine
brightness. He was amazed at the sight; but as soon as he had recovered from his fear, he sought
out his brother Tiburtius; who also was instructed by Cecilia in the faith of Christ, and after being
baptized by Pope Urban was favored like this brother with the sight of the angel. Both of them
shortly afterwards courageously suffered martyrdom under the prefect Almachius. This latter next
commanded Cecilia to be apprehended, and commenced by asking her what had become of the
property of Tiburtius and Valerian.
The Martyrdom of Cecilia
The virgin answered that it had all been distributed among the poor; at which the prefect was so
enraged, the he commanded her to be led back to the her own house, and put to death by heat of
the bath. When, after spending a day and a night there, she remained unhurt by the fire, an
executioner was sent to dispatch her; who, not being able with three strokes of the axe to cut off
her head, left her half dead. Three days later, on the tenth of the Kalends of December, she took
her flight to heaven, adorned with the double glory of virginity and martyrdom. It was in the reign
of the emperor Alexander. Pope Urban buried her body in the cemetery of Callixtus; and her
house was converted into a church and dedicated in her name. Pope Paschal I translated her body
into the city together with those of Popes Urban and Lucius, and of Tiburtius, Valerian, and
Maximus, and placed them all in this church of St. Cecilia.
What is Saint Cecilia the patroness of? Saint Cecilia is the patron of music because as her
enemies attempted to behead her, she sang hymns of praise to God.
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Sacred vs. Secular Music – Lesson and Discussion
This is part 1 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
It is a pretty good guess that just about every person in this world loves some type of music.
Whether it be rock, hip/hop, rap, pop, classical, country, blues, jazz, techno, or any kind for that
matter. Just as much as we all love music, the Church also loves music. The Church loves music
so much so that she has her own music. There are two categories of music: sacred and secular.
What makes music “sacred”? Sacred is “the holy or divine.” The sacred is that which pertains
to God, as distinguished from what pertains to human beings; that which is eternal, in contrast
with the temporal; the heavenly as opposed to the earthly; the mysterious and therefore not the
rationally explainable; the infinite and not the finite. In all religions, the sacred is the Absolute,
which does not change, whereas the profane is the relative, whose essence is to change.”2
Sacred comes from the Latin sacrare, which means to set apart or consecrate. There is music set
apart or consecrated for use within liturgy. This music, which is set apart, is called sacred. This
sacred music is for use within the church.
What is secular music? Secular is “that which belongs to this life, in contrast with the sacred,
which pertains to the life to come. The secular, therefore, is the earthly and not celestial; the
human and not the divine; the created and not the uncreated; the temporal and not the eternal; the
visible and not the spiritual; the humanly rational and explainable and not the mysterious and
ineffable; the relative and therefore changeable with time, place, and circumstances, and not the
absolute, which is immutable because and insofar as it is assorted with the unchangeable God.”3
What is the difference between sacred and secular music? The following chart is helpful in
seeing the difference between sacred and secular music:
Sacred
Pertains to God
Eternal (Heaven, Spiritual)
Does not change
Used within the church
Secular
Pertains to Human Beings
Temporal (Earth, Physical)
Changes
Used outside the church
Catholics love music, we love sacred music, we love secular music. The separation and
distinction between sacred and secular fosters this love for music. For example a Catholic can go
to a beautiful liturgy and soak in the wonder and mystery of sacred music and then after liturgy
go to the local music venue, pub, or restaurant and appreciate the beautiful art of secular music.
Why can both sacred and secular be appreciated? We appreciate the sacred music because it
pertains to God. Through the use of Sacred Scripture the text not only pertains to God, but is the
Word of God. Sacred music’s intention is to elevate man to the eternal, the spiritual, helping him
arrive at heaven. Sacred music by nature does not change.
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Why does sacred music not change? It does not change in word because it is the Word of God.
It does not change in form or style. We appreciate secular music because it pertains to humans.
Secular music is the stuff of “man”. It speaks of hurt, loss, struggles, love, joy, emotion, etc. The
lyrics are the words of men, not of God. Secular music speaks of the here and now, the physical
and earthly. Secular music changes so rapidly based on culture, time, and place that it has to be
categorized in genres and even within a genres complete change and new genres can be formed
even within a decade. When we look at rock, rap, or even country music we can see the degree of
change even within a few decades. This is why we call secular music “pop”, because it is popular
and what is popular changes. The change is so evident that we even characterize decades by a
style or type of secular music or even secular music by the decade such as “80’s music”. Secular
music is used outside the church, in our homes, our cars, our restaurants and bars. It is safe and
correct to say that sacred music and secular music can best be appreciated when they have their
place, or put in their place, and stay in their place.
TV Show – Late Night with Jimmy Fallon – History of Rap – POP CULTURE
CONNECTION – 3:23/10:24
Part 1 - http://youtu.be/kyibG5J6g8Q
Part 2 & 3 – http://youtu.be/twqlS2_El7g
This is a sketch that Jimmy Fallon did with Justin Timberlake over the course of year took a
person through more than 30 years of the evolution of rap.
Can sacred music be bad or evil? No. Sacred Music can be performed poorly but by its nature it
cannot be bad or evil.
Can secular music be bad or evil? Yes. Music needs to be true, good, and beautiful. When
music presents a false reality it bears false witness and speaks not of truth but of falsehood. If
music does not lead us to the truth, but creates in us confusion and false reality, then it is not true.
Music can not only be bad in form (sound bad) but its’ message can separate us from God.
Although secular lyrics are not specifically about God, they can point to the truths and goodness
that God writes upon the human heart. Does good prevail over evil? Does the song leave us with
hope or despair? Does the song instill virtue or lead way to vice? These are questions that help us
determine whether the secular song is good. There is a level of perfection to all art, some are falls
short, some is considered the standard of perfection. The beautiful inspires, it elevates the mind
and heart. This beauty can be found in both the form or style and the lyrics.
What are some examples of Sacred Music? The Church specifically names two examples
Gregorian Chant and polyphony. “The Church acknowledges Gregorian Chant as specially suited
to the Roman liturgy…But other kinds of sacred music, especially polyphony, are by no means
excluded from liturgical celebrations…”4
What is Gregorian Chant? Gregorian Chant, or plainchant, is monophonic (one voice) and was
developed for use within the liturgy. It dates back to Pope Gregory the Great in the 6th century.
What are some examples of Gregorian Chant? Some of the most famous Gregorian Chants
are the Salve Regina (Hail Holy Queen) (Simple Tone / 14th Century) http://youtu.be/CAmydVsNMqM and the Agnus Dei (Lamb of God) – (7th Century) http://youtu.be/1o4QJBCiXjs
What is polyphony? Polyphony consists of two or more independent melodic voices. STAB
(Soprano, Tenor, Alto, and Bass) is an example of four independent melodic voices. This is
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different than monophonic music with just one melody or a main melody with harmony included.
What are some examples of polyphony? William Byrd’s Ave Verum Corpus http://youtu.be/vFZZMF7SRRo and Handel’s great Amen - http://youtu.be/cMqb_4eTtXo
Why are Gregorian Chant and polyphony considered sacred? Both Gregorian Chant and
polyphony use either the liturgical text or Sacred Scripture and fit the melody to the text. The goal
of both is to elevate the heart and mind to heaven. Both styles of music do not change; in fact
they are relatively the same today as they were over 1000 years ago.
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Sacred Music: The Church’s Treasure – Lesson and Discussion
“a treasure of inestimable value”
This is part 2 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
“The musical tradition of the universal Church is a treasure of inestimable value, greater even
than that of any other art. The main reason for this pre-eminence is that, as sacred song united to
the words, it forms a necessary or integral part of the solemn liturgy.5
What is the universal Church’s treasure of inestimable value? Just eight years prior to
Vatican II, Pope Pius XII answers this question. “…they also in their various liturgical chants,
preserve treasures which must be guarded and defended to prevent not only their complete
disappearance, but also any partial loss or distortion.”6 The Holy Father warns us that if our
Sacred Music (Gregorian Chant and Polyphony) is not guarded and defended it could completely
disappear. It was not the intention of the Council Fathers to throw out the Church’s treasure, but
rather to preserve the Church’s treasury of Sacred Music.
Why is Sacred Music greater than other art in the Church (architecture, painting, and
sculpture)? Sacred Song is untied to the words. In fact, in Gregorian Chant it is the tones or
melody that fits to the words, rather than the words fitting to the tune or melody. Sacred Scripture
is primary. The text is more important than the tune. “…sacred music enters more intimately into
divine worship than many other liberal arts, such as architecture, painting, and sculpture. These
last serve to prepare a worthy setting for the sacred ceremonies. Sacred music, however, has an
important place in the actual performance of the sacred ceremonies and rites themselves.”7 Sacred
Music differs from other art because Sacred Music is itself the liturgical text or rites sung. We
don’t sing at Mass, we sing the Mass.
Why is music necessary or an integral part of the solemn liturgy? First we must answer the
question of what a solemn liturgy is. A solemn liturgy is typically a sung Mass, the priest will
have the assistance of sacred ministers, and incense will be used. There can be a solemn Mass and
solemn Liturgy of the Hours, both are sung and both are considered a more noble form. This is
why it is recommended that Sundays and solemnities are sung and therefore solemn. “In order to
understand what is meant by ‘integral part,’ it is important to understand the difference between
‘integral’ and ‘essential.’ A common analogy is that while the soul is essential to the body (i.e.
the body would die without the soul), arms and legs are integral to the body (i.e. the body would
not die without them, but would be lacking something very important). Thus a solemn liturgy
without music, would be analogous to a body without arms and legs – the Mass would still be
‘alive’ (i.e. valid), but it would be, in a sense, severely maimed. This, of course, applies only to
the solemn liturgy not the low Mass.”8 Sometimes a solemn Mass is called a “high Mass”.
What is a low Mass? A low Mass is not sung, the priest will not have the assistance of sacred
ministers, and incense is not used. Daily Masses are usually low Masses.
What is so important about signing? Does singing the text do anything to the liturgical text
or Sacred Scripture? We have all had someone or a group of people sing Happy Birthday to us.
Imagine if everyone just said “Happy Birthday to you…” a person’s party rather than sing it. That
person may be offended or at the very least wonder why nobody sung it to him/her. The signing
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not only gives a certain dignity to the text, but it also elevates the text because of the joyful
celebration. The signing is also unitive for those singing as they would most likely not be united
if they were to just say or speak the text.
What is the primary function of sacred music? Sacred music’s function (purpose) is
ministerial. Its’ job is to serve the word, the liturgical text. “Holy Scripture, indeed, has bestowed
praise upon sacred song, and the same may be said of the fathers of the Church and of the Roman
pontiffs who in recent times, led by St. Pius X, have explained more precisely the ministerial
function supplied by sacred music in the service of the Lord.9
In this quote we see the three sources of Catholic authority all confirming the function of Sacred
Music. Sacred Scripture (Holy Scripture), Sacred Tradition (father’s of the Church), and the
Magisterium (the Roman pontiffs). Pope Pius X says, “[Sacred music’s] chief duty is to clothe the
liturgical text, which is presented to the understanding of the faithful, with suitable melody; its
object is to make the text more efficacious, so that the faithful through this means may be more
roused to devotion; and better disposed to gather to themselves the fruits of grace which come
from the celebration of the sacred mysteries.”10
What are some examples of how sacred music “clothes the liturgical text”? Before we see
some examples we have to ask if the music is at the service of the text, or the text is at the service
of the music. Is the priority the text or the music? Here are two examples, one Gregorian chant,
one a modern Mass setting.
What text is stressed in the first two lines?
Gloria VIII (De Angelis) - http://youtu.be/Ny5s89sqf5A
Gloria in excelsis Deo (God). Et in terra pax hominibus (man).
The stress is on the text God and man. God is given glory, man is given peace. The music clothes
the text.
Glory to God in the Highest (Mass of Creation) - http://youtu.be/dZmzLbmMfoU
Glory to God in the highest, and on earth peace to people of good will.
The stress is on the text highest and earth. The text in this case is forced to fit the melody and the
theological meaning and significance is lost.
The liturgical text of the Mass is primary and the music clothes this text. The liturgical text is
given precedence over any text coming from outside the liturgy (hymns, songs, prayers, etc.)
What guidelines should song writers and composers of sacred music follow? “Composers,
filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and
increase its store of treasures. Let them produce compositions which have the qualities proper to
genuine sacred music, not confining themselves to works which can be sung only by large choirs,
but providing also for the needs of small choirs and for the active participation of the entire
assembly of the faithful. The texts intended to be sung must always be in conformity with Catholic
doctrine; indeed they should be drawn chiefly from holy scripture and from liturgical sources”.11
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Sacred Music: Purpose and Qualities – Lesson and Discussion
“the purpose of sacred music”
This is part 3 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
Therefore sacred music is to be considered the more holy in proportion as it is more closely
connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or
confers greater solemnity upon the sacred rites. But the Church approves of all forms of true art
having the needed qualities, and admits them into divine worship.12
What is the role of sacred music? It is to add, “delight to prayer”. The liturgical text and
scripture comes alive as we sing. When we sing we pray twice. It “fosters unity of minds”. We
are individuals but united when we lift our voices in prayer. Sacred music “confers a greater
solemnity”. We typically don’t go around singing all day. We don’t walk into our office and sing,
“Good morning, how are you doing?” The fact that we sing the Mass, is a statement that the Mass
is not natural, but supernatural, it is different that are day in day out interactions.
TV Show – How I Met Your Mother – POP CULTURE CONNECTION – 1:44
http://youtu.be/f3Z1sflBWtA
Marshall is known to sing everything he does. This is a reel of the times he is singing everything.
What are the “needed qualities” that the Church looks for in approving “true art”? “Sacred
music must therefore eminently possess the qualities which belong to liturgical rites, especially
holiness and beauty, from which its other characteristic universality, will follow spontaneously. It
must be holy, and therefore avoid everything that is secular, both in itself and in the way in which
it is performed. It must really be art, since in no other way can it have on the mind of those who
hear it that effect which the Church desires in using in her liturgy the art of sound. But it must
also be universal in this sense, namely, that although each country may use in its ecclesiastical
music whatever special forms may belong to its own national style, these forms must be subject
to the proper nature or sacred music, so that it may never produce a bad impression on the mind
of any stranger who may hear it.”13 So Sacred Music must be holy, artistic, and universal.
Does the performance of the music matter? Yes. Pope Pius X says that sacred music must
“avoid everything that is secular, both in itself and in the way in which it is performed.” Not only
do secular tunes and melodies not belong in liturgy, but instrumentation as well. Secular music
includes genres such as rock, country, rap, etc. We do not have a rock Mass, a hip hop Mass, or a
country Mass. We have a Mass with Sacred Music. Sacred Music is its own genre and the only
genre that belongs in the liturgy. If we were invited to a hip hop concert we would expect to hear
rap music. If we arrived at the hip hop concert and a country band played this would not be right.
The same is true of the Mass, which has as its patrimony Sacred Music. If we arrive at Mass and
it feels more like a rock concert, this is an abuse and a sacrilege.
VIDEO – Parody of Our Modern Church Service – POP CULTURE CONNECTION – 3:09
http://youtu.be/3RJBd8zE48A
This is a parody of how music can and does play important role in our worship of God. When we
try and make Mass like the world then it becomes no different than the world and does not elevate
us to Heaven.
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MOVIE – Elvis Presley - Let Us Pray (Change Of Habit 1969) – POP CULTURE
CONNECTION – 2:23
http://linktoliturgy.com/index.cfm?load=page&page=1368
Is this what Vatican II intended?
Can we put Sacred music in secular styles of melodies? No. “It must be holy. It must not
allow within itself anything that savors of the profane nor allow any such thing to slip into the
melodies in which it is expressed. The Gregorian chant which has been used in the Church over
the course of so many centuries, and which may be called, as it were, its patrimony, is gloriously
outstanding for this holiness…”14 The melodies of secular music can easily slip into the liturgy if
we do not preserve and defend sacred music. For example, a priest missionary in Central America
said that the people took pop culture tunes and fit liturgical text such as the “Agnus Dei” or the
“Kyrie” to the pop culture tunes. This is not permissible and causes the music to be stripped of
holiness. Just as we would not expect or desire the band at the local bar to jam out to “Agnus
Dei” or the “Kyrie” during their set list, in the same manner we do not want pop culture songs,
tunes, or instrumentation to be inserted into the liturgy.
How is Sacred music universal? “And if in Catholic churches throughout the entire world
Gregorian chant sounds forth without corruption or diminution, the chant itself, like the sacred
Roman liturgy will have a characteristic of universality, so that the faithful, wherever they may
be, will hear music that is familiar to them and a part of their own home.”15 For something to be
universal it must pass the test of time. Sacred Music by nature is eternal in nature in that it does
not change. Gregorian Chant for example has not changed in over 1000 years. There are
polyphony pieces that have been around for hundreds of years and even hymns that have been
around for a few hundred years, but modern songs including praise and worship songs do not stay
around long. Twenty years ago a song like “God is an awesome God” was very popular and
played in many communities, now it is rarely played. Although these songs have God as their
theme, they are secular by nature in that they change very quickly, coming in and out of
popularity. This change makes it impossible for the songs to gain a universal appeal. It is safe to
say that unlike the Agnus Dei, the Salve Regina, and so many other chants, the popular praise and
worship songs of today will not even be around or known in 50 years, let alone 1000 years from
now.
Where does emotion come into music? Sacred music has more of a public character than a
private character. For example a person may have a particular attachment to a secular song. A
person or couple may say that they have a favorite song. Secular songs may bring to mind
personal memories and it is easy to personally like or dislike a tune or melody. Secular songs tend
to evoke individual or personal emotion, likes and dislikes. “This is not to say that good liturgical
music is emotionless; rather it is to say that the emotions are universalized, placed behind a ritual
mask. Certainly different liturgical rites can have different ways of expressing this through their
ceremonies and music, but ultimately, they will all respect the universal timelessness and public
character of the liturgy.”16 Catholic worship is very emotional but this emotion is collective, not
individual. The Mass is the worship of the whole Body of Christ (Church militant, Church
suffering, and Church triumphant). Even in the chanting of the Liturgy of the Hours, it is a
universal collective prayer, with the focus not on the individual voice being lifted up to God, but
rather the universal collective voice being lifted up regardless of time or place.
Sacred Music by its nature is protected from the likes, dislikes and biases of secular music. The
stress is not on the beat, rhythm, or melody but rather on the liturgical text or scripture. We
cannot dislike liturgical text and scripture. Also Sacred Music is consecrated for use within the
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liturgy, so therefore our memory and encounter of Sacred Music is typically always within the
context of the liturgy. This is not true of other songs that we might hear in a secular context and
then hear again in the liturgy as is the case with praise and worship songs.
Accordingly, the sacred Council, keeping to the norms and precepts of ecclesiastical tradition
and discipline, and having regard to the purpose of sacred music, which is the glory of God and
the sanctification of the faithful, decrees as follows.”17
This quote echoes almost word for word the writing of Pope Pius X. “Sacred music, being an
integral part of the liturgy, is directed to the general object of this liturgy, namely the glory of
God and the sanctification and edification of the faithful.”18
What is the goal of liturgy? What is the goal of Sacred Music? To give glory to God. To make
man holy.
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Active Participation – Lesson and Discussion
“the whole body of the faithful may be able to contribute that active participation which is rightly
theirs”
This is part 4 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
Liturgical worship is given a more noble form when the divine offices are celebrated solemnly in
song, with the assistance of sacred ministers and the active participation of the people.19
What is necessary for a solemn Mass or solemn Liturgy of the Hours? There are three
things necessary:
One, music;
Two, Sacred Ministers (deacons, acolytes, lectors, etc.);
Three, the active participation of the people.
In 1958 Pope Pius XII said that active participation of the faithful in a solemn Mass can be
accomplished in three degrees. These degrees or hierarchy of importance were reiterated less than
a decade later in the document Musicam Sacram [1967]20. These documents clearly state what
should be sung when the Mass is sung.
“The distinction between solemn, sung and read Mass, sanctioned by the Instruction of 1958, is
retained, according to the traditional liturgical laws at present in force. However, for the sung
Mass (Missa cantata), different degrees of participation are put forward here for reasons of
pastoral usefulness, so that it may become easier to make the celebration of Mass more beautiful
by singing, according to the capabilities of each congregation.
These degrees are so arranged that the first may be used even by itself, but the second and third,
wholly or partially, may never be used without the first. In this way the faithful will be
continually led toward an ever greater participation in the singing.
The following belong to the first degree:
(a) In the entrance rites: the greeting of the priest together with the reply of the people; the prayer.
(b) In the Liturgy of the Word: the acclamations at the Gospel.
(c) In the Eucharistic Liturgy: the prayer over the offerings; the preface with its dialogue and the
Sanctus; the final doxology of the Canon, the Lord's Prayer with its introduction and embolism;
the Pax Domini; the prayer after the Communion; the formulas of dismissal.
The following belong to the second degree:
(a) the Kyrie, Gloria and Agnus Dei;
(b) the Creed;
(c) the prayer of the faithful.
The following belong to the third degree:
(a) the songs at the Entrance and Communion processions;
(b) the songs after the Lesson or Epistle;
(c) the Alleluia before the Gospel;
(d) the song at the Offertory;
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(e) the readings of Sacred Scripture, unless it seems more suitable to proclaim them without
singing.”21
What is active participation? In other words what are the people supposed to do? When we
hear “active participation” we often think we must be “active” in physically doing something.
This is not the case every time. We must remember the Mass is to awaken and give life to our
souls and not just our physical senses. A better translation is “actual” participation. We should
think how we can actually put our mind, body, and soul into the Mass. The first priority of the
people is to respond to the Priest or Deacon. When the responses are sung, the participation is
more solemn and noble, and it could be argued that there is more active participation, in that more
effort and concentration is put into singing the text rather than just saying text. The second
priority of the people is to chant, sing, or say the Ordinaries. The last priority of the people is to
chant, sing, or say the Propers. The responses, ordinaries, and propers are the prayers of the
Church and “they prepare us to receive grace and dispose us to cooperate with it.”22 Active
participation is a means to prepare us to receive grace and dispose us to cooperate with it.
What are the responses of the Mass? “Every effort must be made that the faithful of the entire
world know how to give these responses in chant.”23 Here is the list of responses the faithful say
during Mass:
Amen.
And with your Spirit.
Thanks be to God.
Glory to you, O Lord.
Praise to you, Lord Jesus Christ.
May the Lord accept the sacrifice at your hands for the praise and glory of his name, for our good
and the good of all his holy Church.
We lift them up to the Lord.
It is right and just.
For the kingdom, the power and the glory are your now and for ever.
Lord, I am not worthy that you should enter under my roof, but only say the word and my souls
shall be healed.
Thanks be to God.
What are the Ordinaries of the Mass? “Steps should be taken that the faithful know how to
chant these parts of the Ordinary of the Mass, at least in the more simple Gregorian themes…”24
Here is the list of Ordinaries the faithful say during Mass:
Kyrie eleison
Gloria
Creed
Sanctus
They Mystery of faith
Our Father
Agnus Dei
What are the Propers of the Mass? “…all those present are so proficient in the Gregorian chant
that they can also chant the parts of the Proper of the Mass.”25 Here is the list of Propers we
say/chant during Mass:
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Entrance Antiphon (Introit)
Responsorial Psalm
Gospel Acclamation (Alleluia)
Offertory Antiphon
Communion Antiphon
Just in the responses, ordinaries, and propers alone there is a wealth of doctrine and grace.
Where do we find the Responses and the Ordinaries? They are found in the Roman Missal.
Where do we find the Propers for the Mass? The Propers come from a book called the
Graduale Romanum. Usually we can find at least the Responsorial Psalm and Gospel
Acclamation in the Roman Missal.
Can a hymn or song be used in place of an antiphon? The guidelines below from (GIRM 48)
apply not only to the Entrance Chant but also to the entrance, offertory and communion chants.
Both songs and hymns would fit into option four. These options are in order of preference, when
the Church gives a numbered list: the list is hierarchical in nature.
In the Dioceses of the United States of America there are four options for the Entrance Chant:
(1) the antiphon from the Missal or the antiphon with its Psalm from the Graduale Romanum as
set to music there or in another setting;
(2) the antiphon and Psalm of the Graduale Simplex for the liturgical time;
(3) a chant from another collection of Psalms and antiphons, approved by the Conference of
Bishops or the Diocesan Bishop, including Psalms arranged in responsorial or metrical forms;
(4) another liturgical chant that is suited to the sacred action, the day, or the time of year,
similarly approved by the Conference of Bishops or the Diocesan Bishop.
What if the people don’t know how to sing or chant? The council says that sacred music
should be preserved and fostered with great care. The faithful should be thought not only at the
diocesan level but also at the parish level how to sing and chant. If the congregation does not
know how to sing or chant then it is up to the Bishop with the help of his Priests and the
Priests with the help of their staff and volunteers to help teach the faithful how to sing
and/or chant.
“The treasure of sacred music is to be preserved and fostered with great care. Choirs must be
diligently promoted, especially in cathedral churches; but bishops and other pastors of souls
must be at pains to ensure that, whenever the sacred action is to be celebrated with song, the
whole body of the faithful may be able to contribute that active participation which is rightly
theirs, as laid down in Art. 28 and 30.”26
Other than responding and chanting or singing, what else is a part of active participation?
It is important to note that people are called to do only those parts which pertain to their particular
office. Active Participation does not mean doing whatever “we” like to do or adding our own
particular elements to the liturgy, but instead actively participating in the liturgy as it is given to
us by the Church. “In liturgical celebrations each person, minister or layman, who has an office
to perform, should do all of, but only, those parts which pertain to his office by the nature of the
rite and the principles of liturgy.27 To promote active participation, the people should be
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encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs,
as well as by actions, gestures, and bodily attitudes. And at the proper times all should observe a
reverent silence.”28
In regards to actions, gestures, and bodily attitudes we do not have the right to add to the Mass.
We do have the right however to actively participate in the Mass including the text and rubrics
(actions, gestures, and bodily attitudes) given to us. In the Missal the text is in black and the
actions, gestures and bodily attitudes are in red. The clergy are told to read the black and do the
red, the faithful can take that same advice reading the black and doing the red that is proper to the
laity.
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Gregorian Chant: Pride of Place – Lesson and Discussion
“The Church acknowledges Gregorian chant as specially suited to the Roman liturgy”
This is part 5 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore,
other things being equal, it should be given pride of place in liturgical services.29
What does “other things being equal” mean? If we were to tell someone, “All things being
equal I will be to class on time” or “All things being equal I will be home on time”. This means
that if everything is normal, if all circumstances are as usual, they will arrive on time. They are
assuming that traffic will be as usual, etc. Gregorian chant should be the norm within the Roman
liturgy. Pride of place means that it has first priority. All things would not be equal if a parish did
not have the resources or knowledge necessary to implement Gregorian chant in the liturgy. If the
knowledge and resources are not at a parish it should be a priority to gain both the knowledge and
resources necessary.
If a parish does not have the resources or knowledge of Gregorian chant what should they
do? The Council and Church documents prior to the Council answers this question. The parish
should choose music that is as close to Gregorian chant as possible. In other words move in the
direction of Gregorian chant. One resource that is extremely helpful is Corpus Christi Watershed
(http://www.ccwatershed.org) which has published the Vatican II Hymnal. This link and others
are available on the packet page.
What is the norm for music in most American parishes? Gregorian chant and polyphony is
not the norm. There are three categories of music that appear to be the standard.
Hymns such as “Faith of our Fathers” or “Holy God we Praise Thy Name”.
Glory and Praise music such as “Gather us in” or “City of God”.
Praise and Worship such as “Open the Eyes of My Heart” or “Blessed be the Name of the Lord”.
Of these categories which are most like Gregorian chant movement, inspiration, and
feeling? Which of these categories are most like Gregorian chant in being true to Sacred
Scripture and the teachings of Christ and His Church? Some of these songs are heretical in
their text and some are based not on the eternal or unchanging, but rather on an emotional,
personal experience of God, similar to secular music.
“But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical
celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art.
30.”30 Article 30 states: “To promote active participation, the people should be encouraged to
take part by means of acclamations, responses, psalmody, antiphons, and songs, as well as by
actions, gestures, and bodily attitudes. And at the proper times all should observe a reverent
silence.”
If these acclamations, responses, psalmody, antiphons, and songs are not Gregorian chant they
should be as close to Gregorian chant as possible.
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The following three documents are taken from 1903, 1928, and 1947. What is the consistent
message of these three documents?
“These qualities are found most perfectly in Gregorian chant, which is therefore the proper chant
of the Roman Church, the only chant which she has inherited from the ancient Fathers, which she
offers to the faithful as her own music, which she insists on being used exclusively in some parts
of her liturgy, and which, lastly, has been so happily restored to its original perfection and purity
by recent study. For these reasons Gregorian chant has always been looked upon as the highest
model of Church music, and we may with good reason establish as a general rule that the more a
musical composition for use in the church is like Gregorian chant in its movement, its inspiration,
and its feeling, so much the more is it right and liturgical, and the more it differs from this highest
model so much the less is it worthy of the house of God. Wherefore this ancient Gregorian chant
should be largely restored in divine worship, and it should be understood that a service of the
Church loses nothing of its solemnity when it is accompanied by no other music than Gregorian
chant. Especially should this chant be restored to the use of the people, so that they may take a
more active part in the offices, as they did in former times.”31
“So that the faithful take a more active part in divine worship, let Gregorian chant be restored to
popular use in the parts proper to the people. Indeed it is very necessary that the faithful attend
the sacred ceremonies not as if they were outsiders or mute onlookers, but let them fully
appreciate the beauty of the liturgy and take part in the sacred ceremonies, alternating their voices
with the priest and the choir, according to the prescribed norms.”32
“As regards music, let the clear and guiding norms of the Apostolic See be scrupulously
observed. Gregorian chant, which the Roman church considers her own handed down from
antiquity and kept under her close tutelage, is proposed to the faithful as belonging to them also.
In certain parts of the liturgy the Church definitely prescribes it; it make the celebration of the
sacred mysteries not only more dignified and solemn but helps very much to increase the faith
and devotion of the congregation.”33
Gregorian chant belongs to the Church and to the faithful and must be promoted among the
faithful. The Council of Vatican II, therefore does not depart from this intention but rather it
continues the tradition saying that Gregorian chant should have pride of place.
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Musical Instruments in the Mass – Lesson and Discussion
“In the Latin Church the pipe organ is to be held in high esteem”
This is part 6 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
Just as important of the choice and style of music is in Mass, so is the choice of instrument played
in Mass.
What role do musical instruments play? The same rule that applies to the choice of songs also
applies to the choice of instruments. What instruments are most “like Gregorian chant in its
movement, its inspiration, and its feeling”? The Pipe Organ is primary
“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.”34
Many instruments are not are not suitable for sacred use. Rock and Roll instrumentation (guitar,
bass, drums) is secular in nature and not in accord with the dignity of the temple. In the same
manner two turn tables, which are great in the secular club, do not have a place in the liturgy. If
we are okay with Rock and Roll instrumentation, would we be equally ok with hip hop
instrumentation, or any other genre of music, is there a difference?
What musical instruments are appropriate for worship? “If asked this question by an
ordinary parish of the Roman Rite, I would respond that the pipe organ comes first and foremost;
it is our sacred instrument. After this, if one wanted to augment the organ with a brass quintet, or
string quartet, or some other combination of dignified, orchestral instruments for feast days, this
would be fine, too.”35
Why are these other instruments beside the organ recommended? “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. 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. ‘For, if they are
not profane or unbecoming to the sacredness of the place and function and do not spring from a
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desire to achieve extraordinary and unusual effects, then our churches must admit them, since
they can contribute in no small way to the splendor of the sacred ceremonies, can lift the mind to
higher things, and can foster true devotion of the soul.’”36
What is to be done about the many folk and contemporary groups which have been playing
at Masses throughout this country for the past 45 years or so? “The answer is that, quite
simply, they must be phased out. Now the twin virtues of charity and prudence will have to be
exercised by the pastor and music director. Perhaps, for the time being, the prescribing of the
good rather than the proscribing of the bad, will be the prudent course in many locales. However,
if we are to have a recovery of the sense of the sacred on a large scale among our Catholic
populace, eventually instruments and music with heavy secular associations will have to be
excised from the liturgy and the talents of the people involved in such music employed
elsewhere.”37 In addition of charity and prudence courage is necessary to make these changes.
It is important to understand that the Church is not saying guitars, bass guitars, drums, and
turntables are bad; they are just not appropriate for the Sacredness of the Mass.
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Latin or Not? – Lesson and Discussion
“the use of the Latin language is to be preserved”
This is part 7 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
Isn’t Gregorian Chant all in Latin? Do we have to chant / sing in Latin? While it is good to
know at least some Latin since it is the language of the Church, the answer is no we do not have
to chant/sing in Latin for every part of the Mass. The Simple English Propers which was
published in 2011 has translated all the antiphons into English but has kept the traditional
Gregorian chant notation and modes. This allows the faithful to feel more comfortable in learning
and praying. Adam Bartlett’s Simple English Propers - http://musicasacra.com/sep/ is one
example of how Gregorian chant is being made available through the Internet, especially through
online practice videos. The Simple English Propers are not only in Gregorian chant notation but
also have been transposed into modern notation by Ryan Dingress, this link may be found on the
main page of this packet.
As regards the language to be used, the provisions of Art. 36 are to be observed; for the Mass,
Art. 54; for the sacraments, Art. 63; for the divine office. Art. 101
1. Particular law remaining in force, the use of the Latin language is to be preserved in the Latin
rites.2. But since the use of the mother tongue, whether in the Mass, the administration of the
sacraments, or other parts of the liturgy, frequently may be of great advantage to the people, the
limits of its employment may be extended. This will apply in the first place to the readings and
directives, and to some of the prayers and chants, according to the regulations on this matter to
be laid down separately in subsequent chapters.38
What parts of the Mass should be in Latin, what parts should not? Latin is to be preserved in
the liturgy. The mother tongue should be applied in the readings, directives, and to some of the
prayers and chants. This implies that some of the prayers and chants should remain in Latin. In
section 54 the council says, “the faithful may also be able to say or sing together in Latin those
parts of the Ordinary of the Mass…” The permission to “extend the use of the mother tongue” is
at the discretion of the competent territorial ecclesiastical authority. An example of a territorial
ecclesiastical authority is the United States Catholic Council of Bishops (USCCB).
“In Masses which are celebrated with the people, a suitable place may be allotted to their mother
tongue. This is to apply in the first place to the readings and "the common prayer," but also, as
local conditions may warrant, to those parts which pertain to the people, according to the norm
laid down in Art. 36 of this Constitution. Nevertheless steps should be taken so that the faithful
may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which
pertain to them. And wherever a more extended use of the mother tongue within the Mass appears
desirable, the regulation laid down in Art. 40 of this Constitution is to be observed.”39
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Sacred Music: Religious Singing – Lesson and Discussion
“Religious singing by the people is to be intelligently fostered”
This is part 8 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred
Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on
December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in
the Spring 1999 issue of Sacred Music.
Religious singing by the people is to be intelligently fostered so that in devotions and sacred
exercises, as also during liturgical services, the voices of the faithful may ring out according to
the norms and requirements of the rubrics.40
Eight years prior to Sacrosanctum Concilium, Pope Pius XII wrote in regards to religious singing
and its importance in the domestic church (the home), education, devotions, processions, etc. In
recent years we have seen how praise and worship music, using a secular style has been used to
edify and even education the faithful as individuals and especially in a group setting. This use of
religious singing has even spread through society through the means of radio and internet.
Pope Pius XII in the document Musicae sacrae disciplina [1955] spoke about the necessity and
purpose of religious singing and hymns.
What are religious hymns? How are religious hymns formed? “As We have said before,
besides those things that are intimately associated with the Church's sacred liturgy, there are also
popular religious hymns which derive their origin from the liturgical chant itself. Most of these
are written in the language of the people. Since these are closely related to the mentality and
temperament of individual national groups, they differ considerably among themselves according
to the character of different races and localities.”41
The Holy Father makes a distinction between songs “intimately associated with the Church’s
sacred liturgy” and “popular religious hymns…related to the mentality and temperament of
individual national groups”. A great example of the use of both types of songs is a pilgrimage or
retreat. While on retreat as groups gather and socialize they usually sing hymns or songs related
to the mentality and temperament of the group, songs that unify and edify the group. The focus is
on the group and fellowship among the group. As the group, moves into liturgy, the songs
change, they are not now just directed toward the group but rather toward the liturgy, toward
God. It would be out of place to burst out in a good Agnus Dei chant around the campfire.
In the same manner many of the popular religious hymns are out of place in the liturgy.
What do these hymns must have to bring about spiritual fruit for the faithful? “If hymns of
this sort are to bring spiritual fruit and advantage to the Christian people, they must be in full
conformity with the doctrine of the Catholic faith. They must also express and explain that
doctrine accurately. Likewise they must use plain language and simple melody and must be free
from violent and vain excess of words. Despite the fact that they are short and easy, they should
manifest a religious dignity and seriousness. When they are fashioned in this way these sacred
canticles, born as they are from the most profound depths of the people's soul, deeply move the
emotions and spirit and stir up pious sentiments. When they are sung at religious rites by a great
crowd of people singing as with one voice, they are powerful in raising the minds of the faithful
to higher things.”42
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It is our responsibility to make sure the hymns and praise and worship songs that we sing, play,
and enjoy are “in full conformity with the doctrine of the Catholic faith.” We should ask who is
the author of the songs and what is the doctrine they believe. It is not enough that the song is
“alternative” to the secular or that it is “Christian” in name, we must make sure that the song they
is getting stuck in our head is of sound doctrine. We can be most assured of this, when the hymn
or song derives not just from personal experience but from Sacred Scripture. Many of the hymn
like “Faith of Our Fathers” or “Alleluia, Sing to Jesus” tell a story of salvation history and they
are Trinitarian in nature. The Holy Father stresses the fact that songs, “are powerful in raising the
minds of the faithful to higher things.”
Can these hymns be played at Mass? “As we have written above, such hymns cannot be used in
Solemn High Masses without the express permission of the Holy See. Nevertheless at Masses that
are not sung solemnly these hymns can be a powerful aid in keeping the faithful from attending
the Holy Sacrifice like dumb and idle spectators. They can help to make the faithful accompany
the sacred services both mentally and vocally and to join their own piety to the prayers of the
priest. This happens when these hymns are properly adapted to the individual parts of the Mass,
as We rejoice to know is being done in many parts of the Catholic world.”43
Pope Pius XII wrote this document when only the Extraordinary Form (Latin or Trendetine Mass)
was being offered. The Solemn High Masses that the Holy Father is referring to is the
Extraordinary Form. In the Ordinary Form (Novus Ordo) Mass hymns are permissible but
following the guidelines given in the General Instruction of the Roman Missal, which is found in
the Active Participation lesson in this packet. It is also important to note that the Vatican II
councils intention was not to severe or break from our tradition but rather to have continuity. The
fact that most parishes use four hymns as the norm (Entrance, Offertory, Communion, and
Recession) does not show continuity with our tradition.
“Singing means signing the Mass not just singing during Mass.”44 Singing the Mass means that
we sing all that pertains to the congregation: the responses, the ordinaries, the propers, and hymns
and chants. As the Holy Fathers states hymns are a “powerful aid in keeping the faithful from
attending the Holy Sacrifice like dumb and idle spectators.”
What about hymns that are not completely religious? “In rites that are not completely
liturgical religious hymns of this kind - when, as We have said, they are endowed with the right
qualities - can be of great help in the salutary work of attracting the Christian people and
enlightening them, in imbuing them with sincere piety and filling them with holy joy. They can
produce these effects not only within churches, but outside of them also, especially on the
occasion of pious processions and pilgrimages to shrines and at the time of national or
international congresses. They can be especially useful, as experience has shown, in the work of
instructing boys and girls in Catholic truth, in societies for youth and in meetings of pious
associations.”45
Where should hymns and songs be most used in the Church? In areas that are not completely
liturgical. Retreats, pilgrimages, procession, community gatherings, congresses, etc. The hymns
and songs not only help create community, but they are also effective in education and
evangelization. In Eucharistic processions in our busy city streets hymns and songs can be an
instrument of evangelization. While at great national gatherings such as the National March for
Life in Washington D.C. hymns and songs help the faithful to unite and pray.
VIDEO – God In The Streets of New York City – POP CULTURE CONNECTION – 2:49
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http://youtu.be/K9Ounki94-w
The monstrance which is used to carry the Blessed Sacrament is one of six that were blessed by
Pope John II before his death to mark the celebration of the Year of the Eucharist. "God In The
Streets of New York City" depicts the contrast between the everyday chaos of the busy streets -complete with traffic, construction and police cars -- and the peaceful presence of Jesus. There is
always an opportunity to meet Jesus face to face. It poses the question: Will you recognize him?
“Hence We can do no less than urge you, venerable brethren, to foster and promote diligently
popular religious singing of this kind in the dioceses entrusted to you. There is among you no lack
of experts in this field to gather hymns of this sort into one collection, where this has not already
been done, so that all of the faithful can learn them more easily, memorize them and sing them
correctly.”46
What is the role of the people who are in charge of the youth and religious singing? Those in
charge of the religious instruction of boys and girls should not neglect the proper use of these
effective aids. Those in charge of Catholic youth should make prudent use of them in the highly
important work entrusted to them. Thus there will be hope of happily attaining what everyone
desires, namely the disappearance of worldly songs which because of the quality of their
melodies or the frequently voluptuous and lascivious words that go with them are a danger to
Christians, especially the young, and their replacement by songs that give chaste and pure
pleasure, that foster and increase faith and piety.”47
The Holy Father speaks prophetically about the danger of “worldly songs” which can be a
“danger to Christians”. It is important therefore that these “worldly songs” are replaced with
religious songs. Praise and Worship music and hymns which are easily memorized have been
very instrumental in this replacement.
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Profession of Faith or Popular Devotion – Litany of Saint Cecilia
In the name of the Father, and of the Son, and of the Holy Spirit. Amen
Lord, have mercy on us. Christ, have mercy on us.
Lord, have mercy on us. Christ hear us. Christ, graciously hear us.
God the Father of Heaven, Have mercy on us.
God the Son, Redeemer of the world, Have mercy on us.
God the Holy Spirit, Have mercy on us.
Holy Trinity, one God, Have mercy on us.
Holy Mary, Mother of God, Pray for us.
Saint Cecilia, Pray for us.
Saint Cecilia, wise virgin, Pray for us.
Saint Cecilia, whose heart burned with the fire of Divine love, Pray for us.
Saint Cecilia, apostle by thy zeal and charity, Pray for us.
Saint Cecilia, who converted thy spouse and procured for him the crown of Martyrdom, Pray for
us.
Saint Cecilia, who by thy pleadings moved the hearts of pagans, and brought them into the true
Church, Pray for us.
Saint Cecilia, who didst unceasingly see thy guardian Angel by thy side, Pray for us.
Saint Cecilia, who didst mingle thy voice with the celestial harmonies of the virgins, Pray for us.
Saint Cecilia, who by thy melodious accents celebrated the praises of Jesus, Pray for us.
Saint Cecilia, illustrious Martyr of Jesus Christ, Pray for us.
Saint Cecilia, who during three days dist suffer most excruciating torments, Pray for us.
Saint Cecilia, consolation of the afflicted, Pray for us.
Saint Cecilia, protectress of all who invoke thee, Pray for us.
Saint Cecilia, patroness of holy canticles, Pray for us.
Saint Cecilia, special patroness and advocate of all singers, musicians, authors, and students, Pray
for us.
We salute thee, O Virgin, who didst give thy blood for the defense and faith of Jesus Christ.
Lamb of God, Who takest away the sins of the world, Spare us, O Lord.
Lamb of God, Who takest away the sins of the world, Graciously hear us, O Lord.
Lamb of God, Who takest away the sins of the world, Have mercy on us.
God glorified Saint Cecilia, And He crowned her virtues.
Let us pray: O Eternal God, Who didst give us, in the person of Saint Cecilia, a powerful
protectress, grant that after having faithfully passed our days, like herself, in innocence and
holiness, we may one day attain the land of beatitude, where in concert with her, we may praise
Thee and bless Thee forevermore in eternity. Amen.
In the name of the Father, and of the Son, and of the Holy Spirit. Amen
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Marian Antiphon – Salve Regina – Simple Tone
V. Ora pro nobis, sancta Dei Genitrix.
R. Ut digni efficiamur promissionibus Christi
Let us pray. O almighty and everlasting God, who, by the cooperation of the Holy Ghost, didst
prepare the body and soul of Mary, glorious Virgin and Mother, to become the worthy habitation
of Thy Son: grant that we may be delivered from present evils, and from everlasting death, by her
gracious intercession, in whose commemoration we rejoice. Through the same Christ our Lord,
Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God, world without
end. Amen.
English Translation
Hail, holy Queen, Mother of mercy, our life, our sweetness, and our hope. To thee do we cry,
poor banished children of Eve; to thee do we send up our sighs, mourning and weeping in this
valley of tears. Turn, then, most gracious Advocate, thine eyes of mercy towards us; and after
this our exile, show unto us the blessed fruit of they womb, Jesus. O clement, O loving, O sweet
Virgin Mary.
V. Pray for us, O holy Mother of God
R. That we may be made worthy of the promises of Christ.
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“The End” Notes
1
Abbot Gueranger, OSB, The Liturgical Year, Vol. 15
Fr. John A. Hardon, S.J., Modern Catholic Dictionary, Page 479
3
Fr. John A. Hardon, S.J., Modern Catholic Dictionary, Page 496
4
Sacrosanctum Concilium; Chapter 6, Section 116
5
Sacrosanctum Concilium; Chapter 6, Section 112
6
Musicae sacrae disciplina: articles 50-51, Pope Pius XII, 1955
7
Musicae sacrae disciplina: article 30, Pope Pius XII, 1955
8
Kurt Poterack; Vatican II and Sacred Music; page 6
9
Sacrosanctum Concilium; Chapter 6, Section 112
10
Tra le sollecitudini: article 1, Pope Pius X, 1903
11
Sacrosanctum Concilium; Chapter 6, Section 121
12
Sacrosanctum Concilium; Chapter 6, Section 112
13
Tra le sollecitudini: article 2, Pope Pius X, 1903
14
Musicae sacrae disciplina: article 42, Pope Pius XII, 1955
15
Musicae sacrae disciplina: article 45, Pope Pius XII, 1955
16
Kurt Poterack; Vatican II and Sacred Music; page 9
17
Sacrosanctum Concilium; Chapter 6, Section 112
18
Tra le sollecitudini: article 1, Pope Pius X, 1903
19
Sacrosanctum Concilium; Chapter 6, Section 113
20
The quote below is from sections 28-31 of Musicam Sacram [1967]
21
General Instruction of the Roman Missal – 28-31
22
Catechism of the Catholic Church; Section 1670
23
De musica sacra et sacra liturgia; article 25, Pope Pius XII, 1958
24
De musica sacra et sacra liturgia; article 25, Pope Pius XII, 1958
25
De musica sacra et sacra liturgia; article 25, Pope Pius XII, 1958
26
Sacrosanctum Concilium; Chapter 6, Section 114
27
Sacrosanctum Concilium; Section 28
28
Sacrosanctum Concilium; Section 30
29
Sacrosanctum Concilium; Section 116
30
Sacrosanctum Concilium; Section 116
31
Tra le sollecitudini: article 3, Pope Pius X, 1903
32
Divini cultus sanctitatem: article 9, Pope Pius XI, 1928
33
Mediator Dei: article 191, Pope Pius XII, 1947
34
Sacrosanctum Concilium; Section 120
35
Kurt Poterack; Vatican II and Sacred Music; page 18
36
Musicae sacrae disciplina: article 58-60, Pope Pius XII, 1955
37
Kurt Poterack; Vatican II and Sacred Music; page 18
38
Sacrosanctum Concilium; Section 36
39
Sacrosanctum Concilium; Section 54
40
Sacrosanctum Concilium; Section 118
2
41
42
43
44
Pius XII, Musicae sacrae disciplina, 62
Ibid. 63
Ibid. 64
Documents on the Liturgy, 1963-1979
45
Pius XII, Musicae sacrae disciplina, 65
Ibid. 66
47
Ibid. 67
46
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