Music in the Liturgy, Part IV: Sacrosanctum Concilium on Music

Last week, in my continuing reflection on the liturgy with emphasis on music within The Mass, I spoke about the notion of “full, active, and conscious participation” as a Catholic.  More than simply an emotional engagement, participation fully has to do with being properly educated and formed to know the parts of the Mass, to approach the Mass with the right intentions, and to appreciate that both the priest and the people serve the Sacred Liturgy. This is because it is the unified act of the Body of Christ worshipping God together, even if separated by place or differing culture. As such, neither the priest not the people can change the Mass to suit individual tastes.  Vatican II establishes some norms that ensure that this central act of our worship is not reduced to a kind of private expression of prayer that happens to be done in public.

This week, I’d like to examine Chapter VI of Sacrosanctum Concilium, the section on Sacred Music.  While much has been written since this constitution in the 1960s on music in church which I’ll consider in later reflections, it’s important to encounter the first basic document that establishes the basis for those that would build upon it.

The council fathers state that: “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” (Sacrosanctum Concilium, 112).  The music of the Church is more valuable than DaVinci’s Last Supper, Michaelangelo’s David, and all the frescoes in the Sistine Chapel. It is central and necessary for solemn liturgies. Does the music in our parishes reflect and adequately transmit this necessity and beauty?

To guide choirs in this regard, Vatican II states: “…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” (SC, 112).  The more that the music flows with the liturgy rather than distracts from the parts of the Mass; the more that music is seen as an integral component but not the “reason” for the Mass; the more that the musicians recognize the immense responsibility that they have to “carry” the worshipper through the Mass to “place” him or her into the actions of the Mass with the proper disposition, the holier the music becomes as do the people who listen and participate in it. In short, the music isn’t just a sideshow, nor is it the primary reason for coming to Mass. Rather, music and its ministers in the choir are servants and not “headliners”, as is the priest-celebrant and the worshippers.

Just as the spoken parts of the liturgy have universal elements that show our participation in the one act of worship across the globe, so too do the guidelines for music begin “according to the whole”. For example, while English is to be used at appropriate places, Latin hymnody should be preserved too, because the “treasure of sacred music is to be preserved and fostered with great care” (SC, 114).

Did you know that the Second Vatican Council indicates a preference for what type of music is sung at The Mass? In article 116, we find that “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. 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”. Gregorian chant are all of the public prayers of the Mass set to tones that are thousands of years old.  With this wider norm expressed, Mother Church also recognizes the importance of drawing from the particular experience of the local church. “In certain parts of the world, especially mission lands, there are peoples who have their own musical traditions, and these play a great part in their religious and social life. For this reason due importance is to be attached to their music, and a suitable place is to be given to it…” (SC, 119). The hope of the Council is that chant takes pride of place and that local musical traditions, when there is music that can be reconciled with Catholic teaching, may secondarily be admitted because of the ability it has to draw the heart into worship.

Did you know that Vatican II indicates a preference for what instruments ought to be used at Mass?  Article 120 sates that “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.” Other instruments may be used with the permission of the local bishop “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. (SC, 120)”

Finally, the composition of sacred song should “have the qualities proper to genuine sacred music (SC, 121)” and not secular composition. Further, because what we sing has the capacity to stick in our brains and heart, it ought to contain correct theology. And so, 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.”

This is the rationale I use as a pastor when trying to guide the formation of choirs, which is ultimately entrusted to me.  Next week, we will begin looking at a few other documents, beginning with The General Instruction of the Roman Missal, which tells us where, what, and when certain things are to be sung at Mass. Following this, we will look at the guidelines of the United States Conference of Catholic Bishops as well as “Plenty Good Room” in which the USCCB liturgy office reflects on African American worship at Mass.  Hopefully, these overall reflections will give context for my desires for the music program within our TriParishes.