Musicam Sacram 1967
Instruction On Music In The Liturgy
Church Documents
Musicam Sacram
Instruction On Music In The Liturgy
Sacred Congregation of Rites March 5, 1967
I. Some General Norms
II. The Singing of the Divine Office
III. Sacred Music in the Celebration of the Sacraments and
Sacramentals, in Special Functions of the Liturgical Year, in
Celebrations of the Word of God, and in Popular Devotions
IV. The Language to Be Used in Sung Liturgical Celebrations,
and on Preserving the Heritage of Sacred Music
V. Preparing Melodies for Vernacular Texts
VI. Sacred Instrumental Music
VII. The Commissions Set Up for The Promotion of Sacred Music
Preface
1. Sacred music, in those aspects which concern the liturgical
renewal, was carefully considered by the Second Vatican
Ecumenical Council. It explained its role in divine services,
issued a number of principles and laws on this subject in the
Constitution on the Liturgy, and devoted to it an entire chapter
of the same Constitution.
2. The decisions of the Council have already begun to be put into
effect in the recently undertaken liturgical renewal. But the new
norms concerning the arrangement of the sacred rites and the
active participation of the faithful have given rise to several
problems regarding sacred music and its ministerial role. These
problems appear to be able to be solved by expounding more fully
certain relevant principles of the Constitution on the
Liturgy.
3. Therefore the Consilium set up to implement the
Constitution on the Liturgy, on the instructions of the Holy
Father, has carefully considered these questions and prepared the
present Instruction. This does not, however, gather together all
the legislation on sacred music; it only establishes the
principal norms which seem to be more necessary for our own day.
It is, as it were, a continuation and complement of the preceding
Instruction of this Sacred Congregation, prepared by this same
Consilium on September 26, 1964, for the correct implementation
of the Liturgy Constitution.
4. It is to be hoped that pastors of souls, musicians and the
faithful will gladly accept these norms and put them into practice,
uniting their efforts to attain the true purpose of sacred music,
"which is the glory of God and the sanctification of the faithful."1
(a) By sacred music is understood that which, being created for the
celebration of divine worship, is endowed with a certain holy sincerity
of form.2
(b) The following come under the title of sacred music here: Gregorian
chant, sacred polyphony in its various forms both ancient and modern,
sacred music for the organ and other approved instruments, and sacred
popular music, be it liturgical or simply religious.3
I. Some General Norms
5. Liturgical worship is given a more noble form when it is
celebrated in song, with the ministers of each degree fulfilling their
ministry and the people participating in it.4
Indeed, through this form, prayer is expressed in a more
attractive way, the mystery of the Liturgy, with its hierarchical
and community nature, is more openly shown, the unity of hearts
is more profoundly achieved by the union of voices, minds are
more easily raised to heavenly things by the beauty of the sacred
rites, and the whole celebration more clearly prefigures that
heavenly Liturgy which is enacted in the holy city of Jerusalem.
Pastors of souls will therefore do all they can to achieve this
form of celebration.
They will try to work out how that assignment of different parts
to be performed and duties to be fulfilled, which characterizes
sung celebrations, may be transferred even to celebrations which
are not sung, but at which the people are present. Above all one
must take particular care that the necessary ministers are
obtained and that these are suitable, and that the active
participation of the people is encouraged.
The practical preparation for each liturgical celebration should
be done in a spirit of cooperation by all parties concerned,
under the guidance of the rector of the church, whether it be in
ritual, pastoral or musical matters.
6. The proper arrangement of a liturgical celebration requires the due
assignment and performance of certain functions, by which "each person,
minister or layman, should carry out all and only those parts which
pertain to his office by the nature of the rite and the norms of the
Liturgy."5 This also demands that the meaning and proper nature of each
part and of each song be carefully observed. To attain this, those
parts especially should be sung which by their very nature require to
be sung, using the kind and form of music which is proper to their
character.
7. Between the solemn, fuller form of liturgical celebration, in
which everything that demands singing is in fact sung, and the
simplest form, in which singing is not used, there can be various
degrees according to the greater or lesser place allotted to
singing. However, in selecting the parts which are to be sung, one
should start with those that are by their nature of greater
importance, and especially those which are to be sung by the
priest or by the ministers, with the people replying, or those
which are to be sung by the priest and people together. The other
parts may be gradually added according as they are proper to the
people alone or to the choir alone.
8. Whenever, for a liturgical service which is to be celebrated in sung
form, one can make a choice between various people, it is desirable
that those who are known to be more proficient in singing be given
preference; this is especially the case in more solemn liturgical
celebrations and in those which either require more difficult singing,
or are transmitted by radio or television.6
If, however, a choice of this kind cannot be made, and the priest
or minister does not possess a voice suitable for the proper
execution of the singing, he can render without singing one or
more of the more difficult parts which concern him, reciting them
in a loud and distinct voice. However, this must not be done
merely for the convenience of the priest or minister.
9. In selecting the kind of sacred music to be used, whether it be for
the choir or for the people, the capacities of those who are to sing
the music must be taken into account. No kind of sacred music is
prohibited from liturgical actions by the Church as long as it
corresponds to the spirit of the liturgical celebration itself and the
nature of its individual parts,7 and does not hinder the active
participation of the people.8
10. In order that the faithful may actively participate more
willingly and with greater benefit, it is fitting that the format
of the celebration and the degree of participation in it should
be varied as much as possible, according to the solemnity of the
day and the nature of the congregation present.
11. It should be borne in mind that the true solemnity of
liturgical worship depends less on a more ornate form of singing
and a more magnificent ceremonial than on its worthy and
religious celebration, which takes into account the integrity of
the liturgical celebration itself, and the performance of each of its
parts according to their own particular nature. To have a more
ornate form of singing and a more magnificent ceremonial is at times
desirable when there are the resources available to carry them
out properly; on the other hand it would be contrary to the true
solemnity of the Liturgy if this were to lead to a part of the
action being omitted, changed, or improperly performed.
12. It is for the Holy See alone to determine the more important
general principles which are, as it were, the basis of sacred
music, according to the norms handed down, but especially
according to the Constitution on the Liturgy. Direction in this
matter, within the limits laid down, also belongs to the competent
territorial Episcopal Conferences of various kinds, which have been
legitimately constituted, and to the individual bishop.9
13. Liturgical services are celebrations of the Church, that is, of the
holy people, united under and directed by the bishop or priest.10 The
priest and his ministers, because of the sacred order they have
received, hold a special place in these celebrations, as do also -- by
reason of the ministry they perform -- the servers, readers,
commentators and those in the choir.11
14. The priest, acting in the person of Christ, presides over the
gathered assembly. Since the prayers which are said or sung by him
aloud are proclaimed in the name of the entire holy people and of all
present,12 they should be devoutly listened to by all.
15. The faithful fulfil their liturgical role by making that full,
conscious and active participation which is demanded by the nature of
the Liturgy itself and which is, by reason of baptism, the right and
duty of the Christian people.13 This participation
(a) Should be above all internal, in the sense that by it the faithful
join their mind to what they pronounce or hear, and cooperate with
heavenly grace,14
(b) Must be, on the other hand, external also, that is, such as to show
the internal participation by gestures and bodily attitudes, by the
acclamations, responses and singing.15
The faithful should also be taught to unite themselves interiorly to
what the ministers or choir sing, so that by listening to them they may
raise their minds to God.
16. One cannot find anything more religious and more joyful in sacred
celebrations than a whole congregation expressing its faith and
devotion in song. Therefore the active participation of the whole
people, which is shown in singing, is to be carefully promoted as
follows:
(a) It should first of all include acclamations, responses to the
greetings of the priest and ministers and to the prayers of litany
form, and also antiphons and psalms, refrains or repeated responses,
hymns and canticles.16
(b) Through suitable instruction and practices, the people should be
gradually led to a fuller -- indeed, to a complete -- participation in
those parts of the singing which pertain to them.
(c) Some of the people's song, however, especially if the faithful have
not yet been sufficiently instructed, or if musical settings for
several voices are used, can be handed over to the choir alone,
provided that the people are not excluded from those parts that concern
them. But the usage of entrusting to the choir alone the entire singing
of the whole Proper and of the whole Ordinary, to the complete
exclusion of the people's participation in the singing, is to be
deprecated.
17. At the proper times, all should observe a reverent silence.17
Through it the faithful are not only not considered as extraneous or
dumb spectators at the liturgical service, but are associated more
intimately in the mystery that is being celebrated, thanks to that
interior disposition which derives from the word of God that they have
heard, from the songs and prayers that have been uttered, and from
spiritual union with the priest in the parts that he says or sings
himself.
18. Among the faithful, special attention must be given to the
instruction in sacred singing of members of lay religious societies, so
that they may support and promote the participation of the people more
effectively.18 The formation of the whole people in singing, should be
seriously and patiently undertaken together with liturgical
instruction, according to the age, status and way of life of the
faithful and the degree of their religious culture; this should be done
even from the first years of education in elementary schools.19
19. Because of the liturgical ministry it performs, the choir -- or the
Capella musica, or schola cantorum -- deserves particular mention. Its
role has become something of yet greater importance and weight by
reason of the norms of the Council concerning the liturgical renewal.
Its duty is, in effect, to ensure the proper performance of the parts
which belong to it, according to the different kinds of music sung, and
to encourage the active participation of the faithful in the singing.
Therefore:
(a) There should be choirs, or Capellae, or scholae cantorum,
especially in cathedrals and other major churches, in seminaries and
religious houses of studies, and they should be carefully encouraged.
(b) It would also be desirable for similar choirs to be set up in
smaller churches.
20. Large choirs (Capellae musicae) existing in basilicas, cathedrals,
monasteries and other major churches, which have in the course of
centuries earned for themselves high renown by preserving and
developing a musical heritage of inestimable value, should be retained
for sacred celebrations of a more elaborate kind, according to their
own traditional norms, recognized and approved by the Ordinary.
However, the directors of these choirs and the rectors of the churches
should take care that the people always associate themselves with the
singing by performing at least the easier sections of those parts which
belong to them.
21. Provision should be made for at least one or two properly trained
singers, especially where there is no possibility of setting up even a
small choir. The singer will present some simpler musical settings,
with the people taking part, and can lead and support the faithful as
far as is needed. The presence of such a singer is desirable even in
churches which have a choir, for those celebrations in which the choir
cannot take part but which may fittingly be performed with some
solemnity and therefore with singing.
22. The choir can consist, according to the customs of each country and
other circumstances, of either men and boys, or men and boys only, or
men and women, or even, where there is a genuine case for it, of women
only.
23. Taking into account the layout of each church, the choir should be
placed in such a way:
(a) That its nature should be clearly apparent-namely, that it is a
part of the whole congregation, and that it fulfills a special role;
(b) That it is easier for it to fulfil its liturgical function;20
(c) That each of its members may be able to participate easily in the
Mass, that is to say by sacramental participation.
Whenever the choir also includes women, it should be placed outside the
sanctuary (presbyterium).
24. Besides musical formation, suitable liturgical and spiritual
formation must also be given to the members of the choir, in such a way
that the proper performance of their liturgical role will not only
enhance the beauty of the celebration and be an excellent example for
the faithful, but will bring spiritual benefit to the choir-members
themselves.
25. In order that this technical and spiritual formation may more
easily be obtained, the diocesan, national and international
associations of sacred music should offer their services, especially
those that have been approved and several times commended by the Holy
See.
26. The priest, the sacred ministers and the servers, the reader and
those in the choir, and also the commentator, should perform the parts
assigned to them in a way which is comprehensible to the people, in
order that the responses of the people, when the rite requires it, may
be made easy and spontaneous. It is desirable that the priest, and the
ministers of every degree, should join their voices to the voice of the
whole faithful in those parts which concern the people.21
27. For the celebration of the Eucharist with the people, especially on
Sundays and feast days, a form of sung Mass (Missa in cantu) is to be
preferred as much as possible, even several times on the same day.
28. The distinction between solemn, sung and read Mass, sanctioned by
the Instruction of 1958 (n. 3), 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.
29. 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.
30. The following belong to the second degree:
(a) the Kyrie, Gloria and Agnus Dei;
(b) the Creed;
(c) the prayer of the faithful.
31. 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;
(e) the readings of Sacred Scripture, unless it seems more suitable to
proclaim them without singing.
32. The custom legitimately in use in certain places and widely
confirmed by indults, of substituting other songs for the songs given
in the Graduale for the Entrance, Offertory and Communion, can be
retained according to the judgment of the competent territorial
authority, as long as songs of this sort are in keeping with the parts
of the Mass, with the feast or with the liturgical season. It is for
the same territorial authority to approve the texts of these songs.
33. It is desirable that the assembly of the faithful should
participate in the songs of the Proper as much as possible, especially
through simple responses and other suitable settings.
The song after the lessons, be it in the form of gradual or
responsorial psalm, has a special importance among the songs of the
Proper. By its very nature, it forms part of the Liturgy, of the Word.
It should be performed with all seated and listening to it -- and, what
is more, participating in it as far as possible.
34. The songs which are called the "Ordinary of the Mass", if they are
sung by musical settings written for several voices may be performed by
the choir according to the customary norms, either a capella, or with
instrumental accompaniment, as long as the people are not completely
excluded from taking part in the singing.
In other cases, the parts of the Ordinary of the Mass can be divided
between the choir and the people or even between two sections of the
people themselves: one can alternate by verses, or one can follow other
suitable divisions which divide the text into larger sections. In these
cases, the following points are to be noted: it is preferable that the
Creed, since it is a formula of profession of faith, should be sung by
all, or in such a way as to permit a fitting participation by the
faithful; it is preferable that the Sanctus, as the concluding
acclamation of the Preface, should normally be sung by the whole
congregation together with the priest; the Agnus Dei may be repeated as
often as necessary, especially in concelebrations, where it accompanies
the Fraction; it is desirable that the people should participate in
this song, as least by the final invocation.
35. The Lord's Prayer is best performed by the people together with the
priest.22
If it is sung in Latin, the melodies already legitimately existing
should be used; if, however, it is sung in the vernacular, the settings
are to be approved by the competent territorial authority.
36. There is no reason why some of the Proper or Ordinary should not be
sung in said Masses. Moreover, some other song can also, on occasions,
be sung at the beginning, at the Offertory, at the Communion and at the
end of Mass. It is not sufficient, however, that these songs be merely
"Eucharistic" -- they must be in keeping with the parts of the Mass,
with the feast, or with the liturgical season.
II. The Singing of the Divine Office
37. The sung celebration of the Divine Office is the form which
best accords with the nature of this prayer. It expresses its solemnity
in a fuller way and expresses a deeper union of hearts in performing
the praises of God. That is why, in accordance with the wish of the
Constitution on the Liturgy,23 this sung form is strongly recommended
to those who celebrate the Office in choir or in common.
For it is desirable that at least some part of the Divine Office,
especially the principal Hours, namely Lauds and Vespers, should be
performed in sung form by these people, at least on Sundays and feast
days.
Other clerics also, who live in common for the purpose of studies, or
who meet for retreats or other purposes, will sanctify their meetings
in a very fitting way if they celebrate some parts of the Divine Office
in sung form.
38. When the Divine Office is to be celebrated in sung form, a
principle of "progressive" solemnity can be used, inasmuch as those
parts which lend themselves more directly to a sung form, e.g.
dialogues, hymns, verses and canticles, may be sung, and the rest
recited. This does not change the rules at present in force for those
obliged to choir, nor does it change particular indults.
39. One will invite the faithful, ensuring that they receive the
requisite instruction, to celebrate in common on Sundays and feast days
certain parts of the Divine Office, especially Vespers, or, according
to the customs of the particular area and assembly, other Hours. In
general, the faithful, particularly the more educated, should be led by
suitable teaching, to understand the psalms in a Christian sense and
use them in their own prayers, so that they may gradually acquire a
stronger taste for the use of the public prayer of the Church.
40. The members of Institutes professing the evangelical virtues should
be given special instruction of this type, so that they may draw from
it more abundant riches for the development of their spiritual life. It
is desirable also that they should participate more fully in the public
prayer of the Church by performing the principal Hours of the Office in
sung form, as far as possible.
41. In accordance with the norm of the Constitution on the Liturgy and
the centuries-old tradition of the Latin rite, the Latin language is to
be retained for clerics celebrating the Divine Office in choir.24 Since
however the same Liturgy Constitution25 concedes the use of the
vernacular in the Divine Office both by the faithful and by nuns and
other members of Institutes professing the evangelical virtues, who are
not clerics, due care should be taken that melodies are prepared which
may be used in the singing of the Divine Office in the vernacular.
III. Sacred Music in the Celebration of the Sacraments and
Sacramentals, in Special Functions of the Liturgical Year, in
Celebrations of the Word of God, and in Popular Devotions
42. The Council laid down in principle that whenever a rite, in
keeping with its character, allows a celebration in common with the
attendance and active participation of the faithful, this is to be
preferred to an individual and quasi-private celebration of the rite.28
It follows logically from this that singing is of great importance
since it more clearly demonstrates the "ecclesial" aspect of the
celebration.
43. Certain celebrations of the Sacraments and Sacramentals, which have
a special importance in the life of the whole parish community, such as
confirmation, sacred ordinations, matrimony, the consecration of a
church or altar funerals, etc., should be performed in sung form as far
as possible, so that even the solemnity of the rite will contribute to
its greater pastoral effectiveness. Nevertheless, the introduction into
the celebration of anything which is merely secular, or which is hardly
compatible with divine worship, under the guise of solemnity should be
carefully avoided: this applies particularly to the celebration of
marriages.
44. Similarly, celebrations which are singled out by the Liturgy in the
course of the liturgical year as being of special importance, may be
solemnized by singing. In a very special way, the sacred rites of Holy
Week should be given due solemnity, since these lead the faithful to
the center of the liturgical year and of the Liturgy itself through the
celebration of the Paschal Mystery.
45. For the Liturgy of the Sacraments and Sacramentals, and for other
special celebrations of the liturgical year, suitable melodies should
be provided, which can encourage a celebration in a more solemn form,
even in the vernacular, depending on the capabilities of individual
congregations and in accordance with the norms of the competent
authority.
46. Sacred music is also very effective in fostering the devotion of
the faithful in celebrations of the word of God, and in popular
devotions.
In the celebrations of the word of God,27 let the Liturgy of the Word
in the Mass28 be taken as a model. In all popular devotions the psalms
will be especially useful, and also works of sacred music drawn from
both the old and the more recent heritage of sacred music, popular
religious songs, and the playing of the organ, or of other instruments
characteristic of a particular people.
Moreover, in these same popular devotions, and especially in
celebrations of the word of God, it is excellent to include as well
some of those musical works which, although they no longer have a place
in the Liturgy, can nevertheless foster a religious spirit and
encourage meditation on the sacred mystery.29
IV. The Language To Be Used In Sung Liturgical Celebrations, And On
Preserving The Heritage Of Sacred Music
47. According to the Constitution on the Liturgy, "the use of the
Latin language, with due respect to particular law, is to be preserved
in the Latin rites."30
However, since "the use of the vernacular may frequently be of great
advantage to the people"31 "it is for the competent territorial
ecclesiastical authority to decide whether, and to what extent, the
vernacular language is to be used. Its decrees have to be approved,
that is, confirmed by the Apostolic See."32
In observing these norms exactly, one will therefore employ that form
of participation which best matches the capabilities of each
congregation.
Pastors of souls should take care that besides the vernacular "the
faithful may also be able to say or sing together in Latin those parts
of the Ordinary of the Mass which pertain to them."33
48. Where the vernacular has been introduced into the celebration of
Mass, the local Ordinaries will judge whether it may be opportune to
preserve one or more Masses celebrated in Latin -- especially sung
Masses (Missae in cantu) -- in certain churches, above all in large
cities, where many come together with faithful of different languages.
49. As regards the use of Latin or the mother tongue in the sacred
celebrations carried out in seminaries, the norms of the Sacred
Congregation of Seminaries and Universities concerning the liturgical
formation of the students should be observed.
The members of Institutes professing the evangelical virtues should
observe, in this matter, the norms contained in the Apostolic Letter
Sacrificium Laudis of August 15, 1966 besides the Instruction on the
language to be used by religious in celebrating the Divine Office and
conventual or community Mass, given by this Sacred Congregation of
Rites on November 23, 1965.
50. In sung liturgical services celebrated in Latin:
(a) Gregorian chant, as proper to the Roman liturgy, should be given
pride of place, other things being equal.34 Its melodies, contained in
the "typical" editions, should be used, to the extent that this is
possible.
(b) "It is also desirable that an edition be prepared containing
simpler melodies, for use in smaller churches."36
(c) Other musical settings, written for one or more voices, be they
taken from the traditional heritage or from new works, should be held
in honor, encouraged and used as the occasion demands.36
51. Pastors of souls, having taken into consideration pastoral
usefulness and the character of their own language, should see whether
parts of the heritage of sacred music, written in previous centuries
for Latin texts, could also be conveniently used, not only in
liturgical celebrations in Latin but also in those performed in the
vernacular. There is nothing to prevent different parts in one and the
same celebration being sung in different languages.
52. In order to preserve the heritage of sacred music and genuinely
promote the new forms of sacred singing, "great importance is to be
attached to the teaching and practice of music in seminaries, in the
novitiates and houses of study of religious of both sexes, and also in
other Catholic institutes and schools," especially in those higher
institutes intended specially for this.37 Above all, the study and
practice of Gregorian chant is to be promoted, because, with its
special characteristics, it is a basis of great importance for the
development of sacred music.
53. New works of sacred music should conform faithfully to the
principles and norms set out above. In this way they will have "the
qualities proper to genuine sacred music, being within the capacities
not merely of large choirs but of smaller choirs, facilitating the
participation of all the faithful."38
As regards the heritage that has been handed down those parts which
correspond to the needs of the renewed Liturgy should first be brought
to light. Competent experts in this field must then carefully consider
whether other parts can be adapted to the same needs. As for those
pieces which do not correspond to the nature of the Liturgy or cannot
be harmonized with the pastoral celebration of the Liturgy -- they may
be profitably transferred to popular devotions, especially to
celebrations of the word of God.39
V. Preparing Melodies For Vernacular Texts
54. In preparing popular versions of those parts which will be
set to melodies, and especially of the Psalter, experts should take
care that fidelity to the Latin text is suitably harmonized with
applicability of the vernacular text to musical settings. The nature
and laws of each language must be respected, and the features and
special characteristics of each people must be taken into
consideration: all this, together with the laws of sacred music, should
be carefully considered by musicians in the preparation of the new
melodies.
The competent territorial authority will therefore ensure that in the
commission entrusted with the composition of versions for the people,
there are experts in the subjects already mentioned as well as in Latin
and the vernacular; from the outset of the work, they must combine
their efforts.
55. It will be for the competent territorial authority to decide
whether certain vernacular texts set to music which have been handed
down from former times, can in fact be used, even though they may not
conform in all details with the legitimately approved versions of the
liturgical texts.
56. Among the melodies to be composed for the people's texts, those
which belong to the priest and ministers are particularly important,
whether they sing them alone, or whether they sing them together with
the people, or whether they sing them in "dialogue" with the people. In
composing these, musicians will consider whether the traditional
melodies of the Latin Liturgy, which are used for this purpose, can
inspire the melody to be used for the same texts in the vernacular.
57. New melodies to be used by the priests and ministers must be
approved by the competent territorial authority.40
58. Those Episcopal Conferences whom it may concern will ensure that
for one and the same language, used in different regions, there will be
a single translation. It is also desirable that as far as possible,
there should be one or more common melodies for the parts which concern
the priest and ministers, and for the responses and acclamations of the
people, so that the common participation of those who use the same
language may be encouraged.
59. Musicians will enter on this new work with the desire to continue
that tradition which has furnished the Church, in her divine worship,
with a truly abundant heritage. Let them examine the works of the past,
their types and characteristics, but let them also pay careful
attention to the new laws and requirements of the Liturgy, so that "new
forms may in some way grow organically from forms that already
exist,"41 and the new work will form a new part in the musical heritage
of the Church, not unworthy of its past.
60. The new melodies for the vernacular texts certainly need to undergo
a period of experimentation in order that they may attain a sufficient
maturity and perfection. However, anything done in churches, even if
only for experimental purposes, which is unbecoming to the holiness of
the place, the dignity of the Liturgy and the devotion of the faithful,
must be avoided.
61. Adapting sacred music for those regions which possess a musical
tradition of their own, especially mission areas,42 will require a very
specialized preparation by the experts. It will be a question in fact
of how to harmonize the sense of the sacred with the spirit, traditions
and characteristic expressions proper to each of these peoples. Those
who work in this field should have a sufficient knowledge both of the
Liturgy and musical tradition of the Church, and of the language,
popular songs and other characteristic expressions of the people for
whose benefit they are working.
VI. Sacred Instrumental Music
62. Musical instruments can be very useful in sacred
celebrations, whether they accompany the singing or whether they are
played as solo instruments.
"The pipe organ is to be held in high esteem in the Latin Church, since
it is its traditional instrument, the sound of which can add a
wonderful splendor to the Church's ceremonies and powerfully lift up
men's minds to God and higher things.
"The use of other instruments may also be admitted in divine worship,
given the decision and consent of the competent territorial authority,
provided that the instruments are suitable for sacred use, or can be
adapted to it, that they are in keeping with the dignity of the temple,
and truly contribute to the edification of the faithful."43
63. In permitting and using musical instruments, the culture and
traditions of individual peoples must be taken into account. However,
those instruments which are, by common opinion and use, suitable for
secular music only, are to be altogether prohibited from every
liturgical celebration and from popular devotions.44
Any musical instrument permitted in divine worship should be used in
such a way that it meets the needs of the liturgical celebration, and
is in the interests both of the beauty of worship and the edification
of the faithful.
64. The use of musical instruments to accompany the singing can act as
a support to the voices, render participation easier, and achieve a
deeper union in the assembly. However, their sound should not so
overwhelm the voices that it is difficult to make out the text; and
when some part is proclaimed aloud by the priest or a minister by
virtue of his role, they should be silent.
65. In sung or said Masses, the organ, or other instrument legitimately
admitted, can be used to accompany the singing of the choir and the
people; it can also be played solo at the beginning before the priest
reaches the altar, at the Offertory, at the Communion, and at the end
of Mass.
The same rule, with the necessary adaptations, can be applied to other
sacred celebrations.
66. The playing of these same instruments as solos is not permitted in
Advent, Lent, during the Sacred Triduum and in the Offices and Masses
of the Dead.
67. It is highly desirable that organists and other musicians should
not only possess the skill to play properly the instrument entrusted to
them: they should also enter into and be thoroughly aware of the spirit
of the Liturgy, so that even when playing ex tempore, they will enrich
the sacred celebration according to the true nature of each of its
parts, and encourage the participation of the faithful.46
VII. The Commissions Set Up For The Promotion Of Sacred Music
68. The diocesan Commissions for sacred music are of most
valuable assistance in promoting sacred music together with pastoral
liturgical action in the diocese.
Therefore they should exist as far as possible in each diocese, and
should unite their efforts with those of the liturgical Commission.
It will often be commendable for the two Commissions to be combined
into one, and consist of persons who are expert in both subjects. In
this way progress will be easier.
It is highly recommended that, where it appears to be more effective,
several dioceses of the same region should set up a single Commission,
which will establish a common plan of action and gather together their
forces more fruitfully.
69. The Liturgical Commission, to be set up by the Episcopal Conference
as judged opportune,46 should also be responsible for sacred music; it
should therefore also consist of experts in this field. It is useful,
however, for such a Commission to confer not only with the diocesan
Commissions, but also with other societies which may be involved in
musical matters in the same region. This also applies to the pastoral
liturgical Institute mentioned in art. 44 of the Constitution.
In the audience granted on February 9, 1967 to His Eminence Arcadio M.
Cardinal Larraona, Prefect of the Sacred Congregation of Rites, His
Holiness Pope Paul VI approved and confirmed the present Instruction by
his authority, ordered it to be published and at the same time
established that it should come into force on Pentecost Sunday May 14 ,
1967.
Notes:
[1] Constitution on the Liturgy, Art. 112.
[2] Cf. St. Pius X, Motu Proprio 'Tra le sollecitudini,' n. 2.
[3] Cf. Instruction of the S.C.R., September 3, 1958, n. 4.
[4] Cf. Constitution on the Liturgy, Art. 113.
[5] Constitution on the Liturgy, Art. 28.
[6] Instruction of the S.C.R., September 3, 1958, n. 95.
[7] Cf. Constitution on the Liturgy Art. 116.
[8] Cf. Constitution on the Liturgy Art. 28.
[9] Cf. Constitution on the Liturgy, Art. 22.
[10] Cf. Constitution on the Liturgy, Art. 26 and 41-32;
Constitution on the Church, Art. 28.
[11] Cf. Constitution on the Liturgy, Art. 29.
[12] Cf. Constitution on the Liturgy, Art. 33.
[13] Cf. Constitution on the Liturgy, Art. 14.
[14] Cf. Constitution on the Liturgy Art. 11.
[15] Cf. Constitution on the Liturgy Art. 30.
[16] Cf. Constitution on the Liturgy, Art. 30.
[17] Cf. Constitution on the Liturgy, Art. 30.
[18] Cf. Instruction of the S.C.R., September 26, 1964, (D.3),
nn. 19 and 59.
[19] Cf. Constitution on the Liturgy, Art. 19; Instruction of the
S.C.R., 3 September 1958, nn. 106-8.
[20] Cf. Inter Oecumenici, (D.3).
[21] Cf. Inter Oecumenici.
[22] Cf. Inter Oecumenici, n. 48.
[23] Cf. Constitution on the Liturgy, Art. 99.
[24] Cf. Constitution on the Liturgy, Art. 101:1.
[25] Cf. Constitution on the Liturgy, Art. 101:2, 3.
[26] Constitution on the Liturgy, Art. 27
[27] Cf. Inter Oecumenici, nn. 37-9.
[28] Cf. Inter Oecumenici, n. 37.
[29] Cf. below, n. 53.
[30] Constitution on the Liturgy, Art. 36-1.
[31] Constitution on the Liturgy, Art. 36:2.
[32] Constitution on the Liturgy, Art. 36:3.
[33] Constitution on the Liturgy, Art, 54; Inter Oecumenici, 59.
[34] Cf. Constitution on the Liturgy, Art. 116.
[35] Constitution on the Liturgy, Art 117.
[36] Cf. Constitution on the Liturgy, Art. 116.
[37] Constitution on the Liturgy Art. 115
[38] Constitution on the Liturgy Art. 121
[39] Cf. above, n. 46.
[40] Cf. Inter Oecumenici, n. 42.
[41] Constitution on the Liturgy, Art 23
[42] Cf. Constitution on the Liturgy, Art 119.
[43] Constitution on the Liturgy, Art. 120.
[44] a. Instruction of the S.C.R., September 3, 1958, n. 70.
[45] Cf. above, n. 24.
[46] Cf. Constitution on the Liturgy, Art. 44.