document label:€¦ · web viewthere are many issues which were not expected. for instance,...

DOCUMENT LABEL:fdlc7.RM3rd.App016.BiblioMusic.doc

Federation of Diocesan Liturgical Commissions [FDLC], Region 7Participating Dioceses – in Illinois: Belleville, Chicago, Joliet in Illinois, Springfield in Illinois

– in Indiana: Evansville, Fort Wayne-South Bend, Gary, Indianapolis, Lafayette-in-Indiana

Training and Formation on the Roman Missal, third edition

Appendix 016: HandoutBibliography for Musicians

Lead authors: Mr. Charles Gardner, Archdiocese of Indianapolis, and Ms. Julie G. Males, Diocese of Lafayette-in-Indiana

© 2009, Federation of Diocesan Liturgical Commissions [FDLC], Region 7. All rights reserved.

TO THE USER OF THE ROMAN MISSAL TRAINING AND FORMATION POWERPOINT FOR LITURGICAL MUSICIANS:

This presentation can be used in its entirety; however, it was intended as a template. The slide format is very plain. If you choose to use this for an audience, feel free to adapt as you choose. You may use sections individually or restructure the order as desired.A suggested script accompanies this presentation. Text in brackets is intended as notes to presenter and not to be read aloud. The presenter will be best prepared by having the liturgical documents cited available during the presentation. Again, the script is merely a suggestion.

_________________________________________________________FDLC 7, Roman Missal Formation – Appendix 016 – page 1 of 23

SCRIPT

PLEASE NOTE: Intended script is to the right of each slide. Information in brackets is not intended to be read aloud.

Slide 2

Overview: Session 1

Review basic liturgical principles

Discuss the connection between liturgy and the Christian way of life

Consider how our attitudes and actions will effect successful implementation in our parishes

Reflect on the function of music in the liturgy

Learn about the new translation of the 3rd typical edition of the Roman Missal The history of the Roman Missal Why this is happening now. Who is involved in the translation process.

Review the new USCCB document on music within the liturgy: Sing to the Lord: Music in Divine Worship.

[Give participants an overview of the day. Clarify expectations. If this is a full day event, Session 1 would be the morning session and 2 would be the afternoon session.]

Slide 3

Overview: Session 2

Hear the new texts of the Ordinary

Sing through some of the ICEL chants

Hear samples of metrical settings of the Ordinary

Discuss how you might implement these new musical settings in your parish


Training and Formation

on the Roman Missal, 3rd edition

LITURGICAL MUSICIANS

Liturgical Catechesis

BASIC LITURGICAL PRINCIPLES

Slide 5

from the Constitution on the Sacred Liturgy

Liturgy is: Font and summit of our Christian life Intrinsically Musical Transformative The Center of the Christian life Paschal Mystery enacted DynamicLiturgy leads to: True Christian Spirit Mission of Christ Daily Christian lifestyle Charity, justice and evangelization Community in Christ

The Constitution on the Sacred Liturgy, (Sacrosanctum Concilium in Latin) creates a vision of liturgical renewal in which Christ’s presence is manifested in four ways: Eucharist, presider, Word and assembly [You might read this citation--CSL 7]. Let’s review some of the other liturgical principles found in the Constitution on the Sacred Liturgy and other Church documents.

Slide 6

Liturgy as Font and Summit


[10] Still, the liturgy is the summit toward which the activity of the Church is directed . . . the fount from which all the Church’s power flows.

[7] . . . Every liturgical celebration . . . Is a sacred action surpassing all others; no other action of the Church can equal its effectiveness.

The Constitution on the Sacred Liturgy makes it clear that the liturgy is the most important thing we do as Catholics. It calls the liturgy the “font and summit” of the activity of the Church and says that no other action of the Church is equal to it. [Read the full citation from CSL 10]: Still, the liturgy is the summit toward which the activity of the Church is directed; at the same time it is the fount from which all the Church’s power flows. For the aim and object of apostolic works is that all who are made children of God by faith and baptism should come together to praise God in the midst of his Church, to take part in the sacrifice, and to eat the Lord’s Supper.

Slide 7The Constitution on the Sacred Liturgy tells us in no. 14 that “full, conscious and active


Liturgy as Active Participation

from the Constitution on the Sacred Liturgy [14] paraphrased

The fullness of the liturgy is received by participating fully, consciously and actively in the liturgy:

. . . full, conscious and active participation in the liturgy is the aim to be considered before all else; for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit

participation in the liturgy is the aim to considered before all else”. You might discuss ways that participating fully in the liturgy helps us drive the true Christian spirit. What’s at stake when we don’t “give ourselves” to the liturgy?

Slide 8

Liturgy as Center of the Christian Life

from the General Instruction of the Roman Missal (2002)

[16] The celebration of Mass, as the action of Christ and the People of God arrayed hierarchically, is the center of the whole Christian life for the Church both universal and local, as well as for each of the faithful individually.

. . . the other sacred actions and all the activities of the Christian life are bound up with it, flow from it, and are ordered to it.

Similarly, the General Instruction on the Roman Missal, also know as the GIRM, underscores the primacy of the liturgy. But is liturgy an end in itself?

Slide 9

Liturgy as Mission

Why do we call it the “Mass”?

The word “Mass” comes from the Latin, Ite missaest, which we now translate as “The Mass is ended. Go in peace.”

From mittere which means “to send”. Ite indicates the imperative or command form.

We come to Mass to be “sent” out to love and serve.

Why do we call it the “Mass”? The word “Mass” actually comes from the last words the priest says in the Latin Missal. In Latin, the priest says, “Ite missa est” . Roughly translated it means, “Go, you are sent”. We say, “The Mass is ended. Go in peace.” It emphasizes that the Mass is not only about what we do in the church; the Mass sends us forth to live the mission of Christ as proclaimed in the Gospel.

Slide 10In her book, Sunday Mass: Our Role and Why It Matters?, Anne Koester offers the


Liturgy as Beginning, Middle and End

Keeping it in Perspective

Is the Mass a beginning or the end?

‘”The Mass is ended”, indicates that our leaving Mass and what follows as we carry on with daily living are not separate actions. In other words, Sunday Mass is not a stand-alone occasion; rather, it is woven into the very fabric of Catholic life.”

Koester, Anne Y., Sunday Mass: Our Role and Why It Matters, p. 58

following. [Read slide. Discuss how the Mass carries us into daily living and back to worship.]

Slide 11

Liturgy as Transformation

Christ has no body now on earth but yours.St. Teresa of Avila

from the Constitution on the Sacred Liturgy [7] . . . in the liturgy the whole public worship is performed by the

Mystical Body of Jesus Christ, that is, by the Head and his members.

[10] The liturgy in its turn move the faithful, filled with “the paschal sacraments,” to “one in holiness”; it prays that “they may hold fast in their lives to what they have grasped by the faith?; the renewal in the Eucharist of the covenant between the Lord and his people draws the faithful into the compelling love of Christ and sets them on fire.

[26] Liturgical services are not private functions, but are celebrations of the Church, which is the “sacrament of unity,” namely a holy people united and organized. Therefore, liturgical services involve the whole Body of the Church.

Through Eucharist, we are transformed into the Mystical Body of Jesus Christ. St. Paul refers to this in his letters. We become the Community of Christ known to the world by our love for God and neighbor. [Read slide.]

Slide 12

Liturgy as Song


[112] 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 preeminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy.

Liturgy is also intrinsically musical. The National Association of Pastoral Musicians (NPM) says that “sung liturgy is normative”. There are several reasons for this. When we sing together, we ideally say the same words on the same pitch at the same time. We breathe at the same time. We truly become one voice. This symbolically heightens our awareness of our “oneness”. We’ll see later, in the section on Sing to the Lord: Music in Divine Worship, many other reasons why we sing and discuss the ministerial aspect of music.

Slide 13[Discuss what it means to “enact” the Paschal Mystery at Mass. How do we continue to


Liturgy as Paschal Mystery


[6]. . . the Church has never failed to come together to celebrate the Paschal Mystery: reading those things “which were in all the Scriptures concerning him, celebrating the Eucharist, in which “the victory and triumph of his death are again made present”; and at the same time giving thanks “to God for his inexpressible gift”.

enact the Paschal Mystery in our daily lives? Use the language of “dying and rising”. Give examples of self sacrifice for the good of the community.] Could modeling a willingness to accept the changes to the Roman Missal be service to community? How do we serve the “greater good”? [Discuss how we show our gratitude to God for the gift of his Son.]

Slide 14

Liturgy as Life

from Sing to the Lord: Music in Divine Worship[8] The Paschal hymn, of course, does not cease when a

liturgical celebration ends. Christ, whose praises we have sung, remains with us and leads us through church doors to the whole world . . .

[9] Charity, justice, and evangelization are thus the normal consequences of liturgical celebration. . . The body of the Word Incarnate goes forth to spread the Gospel with full force and compassion.

We return to liturgy each week to be renewed through Eucharist, to be reminded of our daily living of the Paschal Mystery, and to remember that we are one in Christ called to live the mission of the Church. [Read slide.]

Slide 15

Liturgy as Dynamic


[21] For the liturgy is made up of immutable elements divinely instituted, and of elements subject to change. These not only may, but ought to be changed with the passage of time if they have suffered from the intrusion of anything out of harmony with the inner nature of the liturgy . . .

As we see from no. 21 in the Constitution on the Sacred Liturgy, change in the liturgical texts is to be expected. Those elements which are divinely inspired will remain constant, but other elements will change to reflect cultural shifts, to make improvements or to correct errors.Though many of us only remember the big changes that occurred in the liturgy after Vatican II—the altar changing orientation, switching from Latin to English, etc.—there have been adaptations to the text of the Roman Missal since then. The following slide shows some of the adaptations to the Roman Missal that have occurred since Vatican II.

Slide 16[Read slide.]


Liturgical Changes in our Lifetime

Changes to the Roman Missal since Vatican II

Interim Rite Latin (1965) English (1966)

1st typical edition Latin (1969) English (1970)

2nd typical edition Latin (1975) English (1985)

3rd typical edition Latin (2002) English (20??)

Slide 17

Accepting Change

Change can be frustrating, but it is part of life. The process of updating ritual texts is also part of the life of the Roman Catholic Church.

If Paschal Mystery-centered liturgy transforms us into the Body of Christ called to live the mission of the Gospel, how do we continue that mission as we begin the catechesis and implementation of a new translation of the Roman Missal?

Will we use this new translation as an opportunity for renewal and catechesis or will we focus on our own discomfort?

At this critical point in the history of the Church, will we be a force for unity or division?

[Read slide. Discuss what might be at stake if we don’t implement this changes with a positive attitude.]

Slide 18

Our Role in the Implementation

Pastoral Musicians as Agents for UnityQuestions for Discussion

What is the Church calling me as a Music Minister to do in preparation for this change?

How can I help others who find change difficult make this adjustment more easily?

How could my attitude, actions and words affect others in accepting these changes?

How can parish music ministers act as agents for unity in this time of change?

[Break into small groups if time allows or have discussion from the floor on the questions above.]

Slide 19[Ask for examples of other ways we can help catechize about the nature of liturgy and the new translation of the Roman Missal.]


The Catechetical Role of Liturgical Musicians

How Can I Assist in the Catechesis of the Assembly?

Modeling full, conscious and active participation.

Modeling Paschal Mystery living by embracing this change and focusing on the universal good.

Accepting that change is difficult and allowing others to “vent” to you while you share accurate information about the translation process.

Learning more about liturgy and sharing this information with others.

Serving the liturgy and attending to its proper preparation. Good liturgy catechizes.

Slide 20

Called from Worship into Service

Lord Whose Love in Humble ServiceCalled from worship into service,forth in your great name we go.

To the child, the youth, the aged,love in living deeds to show,

Hope and health, good will and comfort,counsel, aid, and peace we give,

that your children Lord, in freedommay your mercy know and live

[Wrapping up this section, emphasize again the relationship between liturgy and life. Show that liturgy leads us to the Christian life, it is not an end in itself. You might sing the words to this song or another service-based song with your music ministers to remember that we serve the liturgy and to show the connection between our beliefs and the texts we sing at Mass.]

Slide 21

The 3rd typical edition of the

Roman Missal

•History of the Missale RomanumT h e 5 t h I n s t r u c ti o n o n Ve r n a c u l a r I n s t r u c ti o n o n t h e R o m a n M i s s a l :

•Liturgiam Authenti cam

• The Process of Translati on

We’ve discussed some of the revisions that have taken place since Vatican II, but the Roman Missal has always been , and always will be, in the process of revision. We’ve seen that this is to be expected. In fact, we didn’t have any type of standardized Missal until almost the 10th C. Worship styles had marked differences across the continents, the printing press had not been invented so any Missal that existed was hand engraved, and modes of communication were nothing like they are today.

Slide 22The first serious attempts at standardizing the text of the Mass occurred about 900 AD.


A Brief History of the Roman Missal

900 First appearance of a missal as we know it.1474 After invention of the printing press, the first book with

the title Missale Romanum is printed1570 Missal promulgated after Council of Trent1604 1634

Corrections and revisions to 1570 missal

1884 Pope Leo XIII introduces new typical edition that takes into account all of the changes since Pope Urban VIII

1920 Revision by Pope Pius X1962 Pope John XXIII issues a new typical edition of the

Roman Missal

Because the printing press had not yet been invented, copies of the Missal were written by hand, usually by monks. The Gutenberg Printing Press was created in the middle of the 15th C. That is when mass production of a Missal began. This slide shows some of the revisions made to the missal between 900-1962 AD. There have been additional revisions to the Missal since Vatican II as we saw in an earlier section.

Slide 23

Why is the RM Being Retranslated Now?

Liturgiam AuthenticamIn 2001,a new instruction on the use of

vernacular languages in the publication of the books of the Roman Liturgy was released. It outlined a new process for the translation of sacred texts.

The answer to “why now” has to do with the publication of an instruction entitled, “Liturgical Authenticam”. This Vatican document takes a new look at the process of translating sacred texts. It calls this new process “formal equivalency” and strives to create a “sacred vernacular”.

Slide 24

Two Objectives of Liturgiam Authenticam

What did Liturgiam Authenticam want to change?

Objective #1:"To set forth anew, and in the light of the maturing of

experience, the principles of translation to be followed in future translation" (LA, 7).

The text of Liturgiam Authenticam set forth two objectives to achieve its goal of providing the faithful with accurate and reverent vernacular liturgical texts. [Read objectives from this slide and the next.]

Slide 25There was a concern that some translations of the Latin Missal had strayed too far from the original meaning in an attempt to


Liturgiam Authenticam (cont.)

Objective #2:"To consider anew the true notion of liturgical translation in order that the translations of the Sacred Liturgy into the vernacular" meet these two criteria:

These vernacular texts will “stand secure as the authentic voice of the Church of God”; and

They will be part of “a new era of liturgical renewal which . . . Safeguards also the faith and the unity of the whole Church of God”.

be lyrical, to rhyme, or to use language commonly used in conversation, to name only a few issues. The overriding goal was to have translations that were authentic translations of the Latin.

Slide 26

What will this new translation achieve?

Make the English (and other vernaculars) closer to the Latin

Make the connection between Scripture and liturgy clearer

Add prayers for recently canonized saintsAdd prefaces for the Eucharistic Prayers, Votive

Masses, and Prayers for Various Needs and Intentions

Update and revise rubrics (instructions) for the celebration of the Mass.

Will the new translation be an improvement? Opinions will differ on that question. The answer is probably yes and no. A few positive changes are listed here.

[Read slide.]

Slide 27

Who’s Who in the Translation Process

Three Primary CommitteesInvolved in Translation Process

ICEL (International Committee on English in the Liturgy)

The Congregation for Divine Worship and the Discipline of the Sacraments

Vox Clara

You might wonder “who actually decides how to translate the Missal”. There are many, many people involved in the process. The next three slides describe the three major committees involved in the process of translating liturgical texts into English used in worship throughout the world. The English-speaking Bishops Conferences throughout the world were also able to make comments on the material.

Slide 28The first group to draft a translation in English is named ICEL—The International Committee on


ICELInternational Committee on English in the Liturgy

Established in 1963 by the bishops of the English speaking countries that were in attendance at the Second Vatican Council.

It is a Commission of Conferences of Bishops in countries where English is used in the celebration of Sacred Liturgy according to the Roman Rite.

Purpose is to prepare the English translation of Latin Liturgical Books and texts at the direction of the Pope.

English in the Liturgy. [Read slide.]

Slide 29

Bishops Conferences included in ICEL

Australia Canada England and Wales India Ireland New Zealand Pakistan The Philippines Scotland South Africa United States

Americans sometimes forget that we are only one of many English-speaking countries in the world. A translation that is meaningful to all these conferences had to be created.

Slide 30

Congregation for Divine Worship andthe Discipline of the Sacraments

Part of the Roman CuriaResponsibilities include:

Regulation and promotion of the liturgy Promoting liturgical pastoral activity Revision of liturgical texts Granting the recognitio (approval) to translations of liturgical books and

their adaptations Ensuring that liturgical norms are accurately observed

The second committee involved in the process of translation is the Congregation for Divine Worship and the Discipline of the Sacraments. It is a member organization of the Roman Curia. The Roman Curia is the administrative structure of the Holy See and, with the Pope, the central governing body of the Roman Catholic Church. It is responsible for the regulation and promotion of the liturgy. This is the organization which is ultimately responsible for granting recognitio, or approval, for the translations of liturgical texts into all languages throughout the world.

Slide 31The Vatican’s Congregation for Divine Worship and the Discipline of the Sacraments created another committee comprised of


Vox Clara

Established on July 19, 2001 as part of the Roman CuriaAssists and advises the Congregation for Divine Worship

and the Discipline of the Sacraments in its responsibilities regarding the vernacular translations of liturgical texts.

12 bishops from the world’s English-speaking Bishops Conferences

Reviews the translations of ICEL in light of the directives of Liturgiam Authenticam.

bishops and consultants from English–speaking countries to assist in the review and approval of the English translation of the Roman Missal. This group was named Vox Clara –or “clear voice”. In addition to the three committees we’ve just discussed, all the English-speaking Bishops Conferences were also able to make comments on the text and approve or disapprove texts at various stages. This process is very time consuming.

Slide 32

Liturgical Changes in our Lifetime

How Did we Translate the Roman Missal in the Past?

The answer is simple, prior to Vatican II, we didn’t. All nations said the Mass in Latin. The issue of translating the Latin into several other vernacular languages is a relatively new development. We are learning as we go.

The issue of translating the Latin ritual texts into several different vernaculars is a relatively new phenomenon. There are many issues which were not expected. For instance, although two countries might speak the same language, they have different meanings for the same word. For example, the word “boot” in England is used when referring to the trunk of a car. In the US, “boot” refers to a piece of protective foot apparel that covers the ankle. Because the “art” of translation is so new for the Church, we are still learning and adjusting the process.

Slide 33

Putting it Together: The GIRM and the Roman Missal

What is the relationship between the GIRM and the 3rd typical edition of the Roman Missal?

The GIRM is the introduction to the Roman Missal. It will appear in the front of the new book. It give theological and rubricalinformation.

Some of you have asked what the relationship between the new Roman Missal (3rd typical edition) and The General Instruction of the Roman Missal (2002) is. In a nutshell, the GIRM is the introduction or praenotanda of the upcoming Roman Missal. Among other things, the GIRM discusses the theology and rubrics of the Roman Missal.

Slide 34[Read slide.]Most of us remember the promulgation of the



November 2002The English translation of the General Instruction of

the Roman Missal was approved by the USCCB and confirmed by the Holy See on March 17, 2003.

The General Instruction of the Roman Missal, containing the basic outline and instructions for the celebration of Mass, includes a number of adaptations for the Dioceses of the United States. It was published by USCCB Publishing in 2003.

General Instruction because the posture during the Communion procession was changed. It was promulgated in 2002, prior to the release of the new translation. It is currently printed as a separate publication. When the English translation of the 3rd edition of the Roman Missal is published, the GIRM will be included in the front of the ritual text.

Slide 35


Why was the Introduction (GIRM) tothe Missal published before the Missal?

The GIRM was completed prior to the Missal. In addition, the answer has to do with the different natures of these two texts. The language of the ritual text itself is much more controversial, because it is prayer. The GIRM is the “instruction manual” for the Roman Missal. This type of language uses a more straightforward process of translation. There are not as many variables.

Pope John Paul II issued the “third typical edition” of the Roman Missal during the Jubilee Year 2000. The GIRM had been published in March 2000 as an introduction to the revised Missal. The ritual text was not published until March 2002. When the full text of the Missale Romanum was available, the work of translating it into various languages began.

Slide 36

History, Liturgiam Authenticam, and Translation

Questions and Answers

While the process of translation for the Roman Missal, 3rd typical edition has been laborious, it is important to remember that the entire concept of translating the Roman Missal from Latin into vernacular languages is a relatively new development—one that has only been necessary since Vatican II. In fact, some of the sections of the Missal have not yet gained recognitio from Rome. The actual implementation date is yet to be announced. [Update those statements as needed with the passage of time.] It is important that we all use the time prior to the implementation of the new translation wisely in terms of liturgical catechesis, preparation for changes in music and the text of the Mass, and personal reflection about our own part in the process.[Ask for questions from the participants at this point.]

Slide 37


ART IN SERVICE TO COMMUNAL PRAYER

The Ministerial Function of Music in the Liturgy

We’ve established from the liturgical documents mentioned in the previous sections that music is integral to liturgy.

Slide 38

The Function of Music in the Liturgy

from the Introduction to the Order of Mass (USCCB 2003)

[40] Liturgical Music as an art placed at the service of communal prayer, liturgical music is part of the liturgical action, one that is “a particularly apt way to express a joyful heart, accentuating the solemnity of the celebration and fostering the sense of a common faith and a shared love”1.

1Dies Domini, no. 50

The Introduction to the Order of Mass (USCCB 2003, no. 40) refers to Liturgical Music as “an art placed at the service of communal prayer, liturgical music is part of the liturgical action, one that is “a particularly apt way to express a joyful heart, accentuating the solemnity of the celebration and fostering the sense of a common faith and a shared love.

Slide 39



[7] Manifests Christ’s presence in the assembly

[30] Promotes active participation

[33] Gives us a way to respond to God speaking to us in the liturgy and Christ proclaiming the Gospel

[113] Gives the liturgy a nobler aspect

What exactly is the function of music in the liturgy?

Slide 40 [Read full citation below if desired from The Constitution on the Sacred Liturgy, no. 112:][112] The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of



from The Constitution on the Sacred Liturgy [112]

Serves a ministerial functionJoins us to the liturgical riteAdds delight to prayerInvests the rites with greater solemnityFosters oneness in SpiritForms a necessary part of the solemn liturgy

any other art. The main reason for this preeminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy. Holy scripture itself 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. Therefore sacred music will be the more holy the more closely it is joined to the liturgical rite, whether by adding delight to prayer, fostering oneness of spirit or investing the rites with greater solemnity.

Slide 41

What Do We Sing?

Scripture [CSL 24] Sacred Scripture is of the greatest importance in the celebration of

the liturgy. For it is from Scripture that . . . psalms are sung; . . . Liturgical songs are scriptural in their inspiration.

Liturgical texts [IOM 46] The selection of liturgical music begins with the liturgical texts

themselves.

[IOM 40] The inestimable treasure of liturgical music is considered integral to worship because it is so closely bound to the liturgical texts.

Jesus in the Paschal Mystery [CSL 83] Christ Jesus, High Priest of the new and eternal covenant, taking

human nature, introduced into this earthly exile the hymn that is sung throughout all ages in the halls of heaven.

It is important to distinguish music that is appropriate for liturgy from music intended for performance. The Constitution on the Sacred Liturgy tells us that the music we use at Mass should be “closely bound to text”. But what texts do we set to music? The first is Scripture. [CSL 24] states, “Sacred Scripture is of the greatest importance in the celebration of the liturgy. For it is from Scripture that the readings are given and explained in the homily and that psalms are sung; the prayers, collects, and liturgical songs are scriptural in their inspiration’; it is from the Scriptures that actions and signs derive their meaning.” We also sing the liturgical texts themselves. [Read the citations on the slide from the Introduction to the Order of Mass.] It is important to remember that in all we sing at the liturgy, it is Jesus himself in the Paschal Mystery who is our hymn of victory over death.

Slide 42

Documents on the Useof Music in the Liturgy

FINDING DIRECTION

If all music is not suitable for use at liturgy, where does one find direction on when and how to use music effectively and appropriately?

Slide 43The Church has documents that answer these questions for us. The principle documents on music in the liturgy since Vatican II that


Documents on Music in the Liturgy

Musicam Sacram (1967) Vatican

Music in Catholic Worship (1972) US Bishops

Liturgical Music Today (1982) US Bishops

Sing to the Lord: Music in Divine Worship (2007) US Bishops

Americans use are listed here.

Slide 44


Musicam Sacram (1967). . . was the first document on liturgical music written in the wake of Vatican II. It was written as a universal instruction for the use of music in the liturgy. It was written in Latin and translated into other languages.

[Read slide.]

Slide 45

USCCB Documents on Music in the Liturgy

Music in Catholic Worship (1972)Liturgical Music Today (1982)

Documents on the appropriate use of music in the English liturgy promulgated by the USCCB (United States Conference of Catholic Bishops). Liturgical Music Today was considered a “supplement” to the Music in Catholic Worship.

[Read slide.]

Slide 46In 2007, the USCCB promulgated a new document on music in the liturgy entitled, Sing to the Lord:



Sing to the Lord: Music in Divine Worship (2007)U.S. Conference of Catholic Bishops

This document from the USCCB uses the foundational work of the Council fathers to remind the Church of its call to full, active, and conscious participation in the liturgy through song. At the same time, it addresses the practical concerns of pastoral leaders including cultural diversity, instrumentation, formation, acoustics, and copyrights. Finally, it outlines important considerations for preparing and selecting music for worship with an in-depth review of the musical structure of the liturgy.

Music in Divine Worship. [Read slide.] STL is considered to be the most comprehensive music document the US bishops have ever issued. It was approved by vote of 88% of the Latin rite Bishops of the US conference as “guidelines”. While the US bishops acknowledge that STL is “a revision of Music in Catholic Worship” in the beginning of the text, there are concepts carried over from Music in Catholic Worship and Liturgical Music Today.

Slide 47

What’s Inside STL?

Table of ContentsI. Why We SingII. The Church at PrayerIII. The Music of Catholic WorshipIV. Preparing Music for Catholic WorshipV. The Musical Structure of Catholic WorshipVI. Conclusion

Sing to the Lord [STL hereafter] gives more explicit instruction than previous documents. The language is easy-to-read and straightforward. Many areas not addressed in earlier documents are helpful additions. For example, in Chapter V: Music and the Other Sacraments, STL gives instruction on the appropriate use of music for the Sacraments of Initiation, Rite of Marriage, Anointing of the Sick, Sacrament of Penance and many others. In section D of that same chapter, other liturgical rites, including the Order of Christian Funerals is discussed. Unfortunately, we don’t have time today to discuss the entire work, so we’ll focus on those sections most directly related to the new translation of the Missal.

Slide 48

Why We Sing

from Sing to the Lord: Music in Divine Worship

God, the giver of song is present when his people sing his praises.

Music is a way for God to lead us to higher things.

Music is a sign of God’s love for us.

Music is a sign of our love for God,

Singing together in church expresses the sacramental presence of God to his people.

Scripture tells us to sing as God’s Chosen People sang.

Chapter I: Why We Sing emphasizes ways in which God’s presence is made known to us in liturgical song, the reasons we “sing” the liturgy, and the consequences of liturgical prayer. [The reasons “Why We Sing”, according to STL, are summarized in the next three slides.]



Why We Sing (cont.)


St. Paul instructed the Ephesians to sing.

Song is a common, sung expression of faith.

Song strengthens our faith when it grows weak and draws us into the divinely inspired voice of the Church at prayer.

Music makes the liturgical prayers of the Christian community more alive and fervent.

Jesus and his apostles sang a hymn before their journey to the Mount of Olives.

Slide 50

Why We Sing (cont.)


In Liturgy, we use words, gestures, signs, and symbols perceptible to the senses to proclaim Christ’s presence and to reply with our worship and praise.

The primordial song of the Liturgy is the canticle of victory over sin and death.

Charity, justice, and evangelization are particularly inspired by sung participation. It leads the body of the Word Incarnate to go forth to spread the Gospel with cull force and compassion.

[Read slide.]

Slide 51

The Gathered Liturgical Assembly

STL emphasizes the unified and self-sacrificing character of the assembly.

[24] “In the celebration of Mass the faithful form a holy people, a people whom God has made his own, a royal priesthood, so that they may give thanks to God and offer the spotless Victim not only through the hands of the priest but also together with him, and so that they may learn to offer themselves.”

[You might want to read from STL: nos. 24-27]

Slide 52

[Read slide.]


Latin in the Liturgy

Sing to the Lord: Music in Divine Worship

Chapter II, Section I discusses the use of Latin in the liturgy. While it states that the vernacular is the norm, it suggests that all assemblies should know at least their parts in Latin. This would be helpful at multi-cultural or international celebrations. It also states that if Latin is used, it should be pronounced correctly and the chants should be well exe.cuted

Slide 53

The Human Voice

What is the Most Important Instrument in the Church?

[STL 86] Of all the sounds of which human beings, created in the image and likeness of God, are capable, voice is the most privileged and fundamental. Musical instruments in the Liturgy are best understood as an extension of and support for the primary liturgical instrument, which is the human voice.

[Ask the question before you show the slide. See if they know the answer.] Chapter III, Section B includes the Human Voice in the instrumental section. This re-emphasizes the primacy of the singing assembly and music ministers’ responsibility to support it.

Slide 54

What Parts Do We Sing?


A. Dialogues and AcclamationsB. Antiphons and PsalmsC. Refrains and Repeated ResponsesD. Hymns

Chapter IV is entitled “Preparing Music for Catholic Worship”. The contents of Section A: “What Parts Do We Sing” are listed here.

Slide 55[STL 115] Among the parts to be sung, preference should be given “especially to those to be sung by the priest or the deacon or the lector, with the



Dialogues and Acclamations

STL re-emphasizes the importance of the sung dialogues between the priest/deacon and the acclamations.

[115a] states:Among the parts to be sung, preference should be given “especially to those to be sung by the priest or the deacon or the lector, with the people responding, or by the priest and people together.”

Chapter IV is entitled “Preparing Music for Catholic Worship”. The contents of Section A: “What Parts Do We Sing” are listed here.

people responding, or by the priest and people together.” This includes dialogues such as God, come to my assistance. Lord make haste to help me in the Office, or The Lord be with you. And also with you in the Mass. The dialogues of the Liturgy are fundamental because they “are not simply outward signs of communal celebration but foster and bring about communion between priest and people.” By their nature, they are short and uncomplicated and easily invite active participation by the entire assembly. Every effort should therefore be made to account the integrity of the liturgical celebration itself, and the performance of each of its parts according to their own particular nature”The acclamations of the Eucharistic Liturgy and other rites arise from the whole gathered assembly as assents to God’s Word and action. The Eucharistic acclamations include the Gospel Acclamation, the Sanctus, the Memorial Acclamation, and the Great Amen. They are appropriately sung at any Mass, including daily Mass and any Mass with a smaller congregation. Ideally, the people should know the acclamations by heart and should be able to sing them readily, even without accompaniment.

Slide 56

STL: Antiphons and Psalms

Antiphons and Psalms

[STL 115b]The psalms are poems of praise that are meant, whenever possible, to be sung.

The Responsorial Psalm after the 1st reading “holds great . . . importance, because it fosters meditation on the word of God.”

Psalms are also appropriate for the Entrance and Communion chants

From [STL 115] [Read slide or summarize.] Antiphons and Psalms The psalms are poems of praise that are meant, whenever possible, to be sung. The Psalter is the basic songbook of the Liturgy. Tertullian witnesses to this when he says that in the assemblies of the Christians, “the Scriptures are read, the psalms are sung, sermons are preached.” Psalms have a prominent place in every Office of the Liturgy of the Hours. The Responsorial Psalm in the Liturgy of the Word of the Mass and of other rites “holds great liturgical and pastoral importance, because it fosters meditation on the word of God.” [Continue reading citation from STL if desired.]



STL: Refrains and Repeated Responses

Refrains and Repeated Responses

[STL 115c]The Liturgy also has texts of a litanic character that may be sung as appropriate.

These include the Kyrie and Agnus Dei of the Mass, the response to the Prayer of the Faithful at Mass or the intercessions at Morning Prayer and Evening Prayer, and the Litany of the Saints in various rites.

Slide 58

Hymns

Hymns[STL 115d]

Hymns that have been judged appropriate by the competent authorities may be used.

Hymns may be used at the Entrance, Preparation of the Gifts, Communion and Recessional.

Should be appropriate to liturgical action.

Hymns from non-Catholic traditions may be used if the text is in conformity with Catholic teaching.

from Sing to the Lord: Music in Divine Worship: Hymns [115d]A hymn is sung at each Office of the Liturgy of the Hours, which is the original place for strophic hymnody in the Liturgy. At Mass, in addition to the Gloria and a small number of strophic hymns in the Roman Missal and Graduale Romanum, congregational hymns of a particular nation or group that have been judged appropriate by the competent authorities mentioned in the GIRM, nos. 48, 74, and 87, may be admitted to the Sacred Liturgy. Church legislation today permits as an option the use of vernacular hymns at the Entrance, Preparation of the Gifts, Communion, and Recessional. Because these popular hymns are fulfilling a properly liturgical role, it is especially important that they be appropriate to the liturgical action. In accord with an uninterrupted history of nearly five centuries, nothing prevents the use of some congregational hymns coming from other Christian traditions, provided that their texts are in conformity with Catholic teaching and they are appropriate to the Catholic Liturgy.

Slide 59

Music at Daily Mass

STL encourages the assembly to sing some of the dialogues and chants even at daily Mass. It states, “Even when musical accompaniment is not possible, every attempt should be made to sing the acclamations and dialogues.”

from Sing to the Lord: Music in Divine Worship [116] At daily Mass, the above priorities should be followed as much as possible, in this order: dialogues and acclamations (Gospel Acclamation, Sanctus, Memorial Acclamation, Amen); litanies (Kyrie, Agnus Dei); Responsorial Psalm, perhaps in a simple chanted setting; and finally, a hymn or even two on more important days. Even when musical accompaniment is not possible, every attempt should be made to sing the acclamations and dialogues.

Slide 60



Sacred Silence

STL re-emphasizes the importance of silence as an element of liturgical music. It states, “The importance of silence in the Liturgy cannot be overemphasized.

from Sing to the Lord: Music in Divine Worship: Sacred Silence [118] Music arises out of silence and returns to silence. God is revealed both in the beauty of song and in the power of silence. The Sacred Liturgy has its rhythm of texts, actions, songs, and silence. Silence in the Liturgy allows the community to reflect on what it has heard and experienced, and to open its heart to the mystery celebrated. Ministers and pastoral musicians should take care that the rites unfold with the proper ebb and flow of sound and silence. The importance of silence in the Liturgy cannot be overemphasized

Slide 61

Judging the Qualities of Music for the Liturgy

The Three Judgments: One Evaluation

STL reiterates the concept of the Three Judgments needed in selecting liturgical music:

Liturgical Pastoral Musical

from Sing to the Lord: Music in Divine Worship [126] In judging the appropriateness of music for the Liturgy, one will examine its liturgical, pastoral, and musical qualities. Ultimately, however, these three judgments are but aspects of one evaluation, which answers the question: “Is this particular piece of music appropriate for this use in the particular Liturgy?” All three judgments must be considered together, and no individual judgment can be applied in isolation from the other two. This evaluation requires cooperation, consultation, collaboration, and mutual respect among those who are skilled in any of the three judgments, be they pastors, musicians, liturgists, or planners.

Slide 62

STL: The Three Judgments

The Liturgical Judgment

Is this composition capable of meeting the structural and textual requirements set forth by the liturgical books for this particular rite?

[Read no. 127-129 from Sing to the Lord. You might ask for examples of “the liturgical judgment”.]

Slide 63



The Pastoral Judgment

Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated?

[Read nos. 130-132 from Sing to the Lord. You might ask for examples of “the pastoral judgment”.]

Slide 64


The Musical Judgment

Does this composition have the necessary aesthetic qualities to bear the weight of the mysteries celebrated in the liturgy. It is technically, aesthetically, and expressively worthy?

[Read nos. 134-136 from Sing to the Lord. You might ask for examples of “the musical judgment”.]

Slide 65

References Cited

1. Constitution on the Sacred Liturgy (Sacrosanctum Concilium) Second Vatican Ecumenical Council 1963

2. General Instruction on the Roman Missal (Third Typical Edition), English Translation, International Commission on English in the Liturgy, USCCB, Washington DC 2002

3. Introduction to the Order of Mass: A Pastoral Resource of the Bishops’ Committee on the Liturgy, Pastoral Liturgy Series 1, USCCB, Washington DC 2003

4. Sing to the Lord: Music in Divine Worship, Pastoral Liturgy Series 4, USCCB Washington DC 2007

5. Koester, Anne Y., Sunday Mass: Our Role and Why It Matters, Liturgical Press, Collegeville MN

I encourage you all to purchase a copy of Sing to the Lord: Music in Divine Worship if you don’t already own one. Keep a copy in the car or the organ bench. Refer to it frequently and share it with your pastor, priests and other music ministers. It will be an invaluable resource as we begin the implementation of the 3rd edition of the Roman Missal. The USCCB website has a section to help catechize us all on the process of translating and implementing the new translation. I suggest you check it out regularly. The address is www.usccb.org/romanmissal. It is very well done.Does anyone have questions or comments?We’ll return after the break to actually sing through the new texts and musical settings of the Mass.
