8--THE PROGRESS FHday, March 19, 196S
Christian Culture Series (Unit !! Chapter XIII)
• the People Sing
T. PIUS X, in that revolutbnary document which
" we have been citing, established standards for
church music which have helped very much to clarify
our thinking on this matter.
"Sacred music," he says, "must, therefore, pos-
sess in the highest degree the qualities which charac-
terize the. liturgy, particularly holiness and goodness
• of form. From these two qualities will spontaneous-
ly arise a third quality, universality. Sacred music
must be holy, and therefore must exclude everything
that is secular, both in itself and in the way it is per-
formed. It must be true art, since otherwise it cannot
have on the minds of those who hear t the influence
which the Church desires when she admits music into
her liturgy. But it must at the same time be univer-
sal, in the sense that while every nation is permitted
to include in its church repertoire the special forms
which may be said to constitute its native music,
Still these forms must be so subordinated to the gen-
eral characteristics of sacred music that they may
leave only a good impression on anyone who hears
:them, no matter from what nation he comes" (Article
2).
1. Discuss the three qualities that music must have in
order to be acceptable lot use at liturgical celebrations.
Musical Tradition of. the Church
At fixst glance these requirements would seem so
exacting that few compositions could measure up to
them.
Actually, very many have; as the Council says
Article 112), "the musical tradition of the universal
Church is a treasure .of inestimable value, greater
even than that of any other art." But for a variety of
reasons this • treasure has been largely a hidden one,
known to musicologists and some connoisseurs, but
not to the people as a whole.
Music of the compositions have been settings of
a Latin text, so that the meaning of the songs has not
been readily understood, if at all; consequently, the
beauty of the compositions could not be generally
appreciated. Then, too, we have not had among us
a sufficiently large number of properly trained musi-
cians who could as pastors, choir directors, and or-
ganists, educate us to a discriminating taste in sacred
music.
We were often misled into thinking a composi-
tion acceptable simply because it presented a relb
gious theme, and we did not stop to question whether
the presentation were good art. In many cases we
have made favorites of pieces that were quite World-
ly, or weakly sentimental, or just plain bad composi-
tions from a musical standpoint.
However, contemporary taste in music is rising
steadily because of more general education and be-
cause television, radio, records, and tapes have made
it possible for us to listen to good music more fre-
quently. And if the Council's recommendations (Ar-
ticle 115) about the teaching of music in seminaries
and Catholic schools are followed, we can expect a
similar refinement of taste in sacred music to come
about.
1. Why has the musical tradition el the Church been
largely a hidden treasure? 2. Why have many el the musi-
cal compositions used in divine services been el poor quality,
and what is the outlook [or the [uture?
Restoration of Congregational Singing
It is evident that the Council wants singing re-
stored as the people's usual way of participating in
any sort of religious service'.
"Religious singing by the people is to be skillfully
fostered, so that in devotions and sacred exercises,
as also during liturgical services, the voices of the
faithful may ring out according to the norms and re-
quirements of the rubrics" (Article 118).
This will include the responses and the Ordinary
of the Mass, as well as a share in the processional
chants. It will also include participation in the sac-
raments and sacramental (examples would be wed-
dings, baptisms, confirmations, funerals, the distribu-
tion of ashes, palms, candles, etc.). Then there would
be devotions of various kinds, retreats and missions,
Bible services, and so on.
We shall sing psalms and other lyrical selections
from Holy Scripture, texts taken from the liturgy, oc-
casional pieces from other sources, and hymns.
For a time at least, probably, we shall be singing
hymns rather than other things, and our Catholic
repertoire of good hymns in English is not large. Un-
doubtedly we shall continue the borrowing from
Protestant sources which has already begun, with
happy results.
Many of the hymns which we called "traditional"
(although a few were even a hundred years old) will
be quietly but firmly interred, even though there be
wails of protest from some corners of the church. A
hymn, to be acceptable as religious singing in church,
must be good on three counts. It must be orthodox
in its theology, an artistically competent piece of
poetry, and a well-constructed, singable melody.
Mr. Paul Hume, in his amusing and helpful book,
Catholic Church Music (N.Y. Dodd, Mead, 1956) has
a chapter on hymns which would clarify many popu-
lar notions on this subject and explain why some
hymns are good and some are hopelessly bad.
We may hope that our composers, following the
directive of the Council in Article 121, will provide
for "the actLve participation of the entire assembly
of the faithful" by giving us hymns for all the sea-
sons and feasts as well as for special occasions. It
will take long years, no doubt, to build up a full rep-
ertoire; there will have to be much sifting and win-
nowing.
But it is a real privi.lege for a musician to place
on the lips of God's people songs with which they
can express suitably their praise and love.
1. How extensive will congregational singing be i[ the
directives el the Council are carried out? 2. In general, how
well have our traditional hymns measured up to required
standards? 3. What may we reasonably expect el composers
o[ sacred hymns?
Regional Musical Traditions
Sometimes one hears the objection that Amer-
icans are not, by and large, a singing people, and
that it is futile to expect us to take naturally to reli-
gious singing.
It does seem true that there is not the enthusi-
asm for spontaneous group singing which existed
some years ago. Perhaps it is so easy to listen today
to professional entertainers that we have stopped
providing our own entertainment; perhaps we have
even become a little self-conscious about our own ef-
forts.
And, so far as singing at Mass is concerned, we
Catholics have a very long tradition of silence to
overcome. However, our people have sung together,
and with gusto, at popular devotions, novenas, and
so on. Even men have been observed to sing, and to
enjoy singing, when the organist has pitched the
note too high for them! With the proper encourage-
ment and the proper choice of music, it should not be
difficult for us American Catholics to take our place
in the centuries-old tradition of singing Christians.
The Council's desire to adapt the liturgy to local
and national cultures extends to sacred music, too. It
recognizes (Article 119) that musical traditions differ
with d,fferent peoples, and because "these traditions
play a great part in their religious and social life,"
music that is familiar to each people should be em-
ployed. It will help them to form their attitude tow-
ard religion and make their worship seem a part of
their own culture.
This should lighten the task of missionaries, who
are now to learn the traditional music of the peoples
to whom they are sent (Article 119), and who will be
able to make use of it even in the formal worship of
the Church.
1. What is to be said oj the objection that Americans
are not, by and large, a singing people? 2. Is there any
authentic American music that might be adapted /or use
in our public worship?
Use of Musical Instruments
The Council echoes the judgment of the Popes
when it says 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 higher things" (Article 120). However, the organ
is not the only instrument to be allowed a role in di-
vine worship.
"Other instruments also may be admitted for use
in divine worship, with the knowledge and consent
of the competent territorial auth0r£ty, as laid down
in Articles 22, No. 2, 37, and 40. This may be done,
however, only on condition that the instruments re
suitable, or can be made suitable, for sacred use,
that they accordwith the dignity of the temple, and.
truly contribute to the edkficaton of the faithfd"
(Article 120).
Drums and other percussion instruments which
would seem quite out of place in our churches might
have a very helpful function in, for instance, Africa,
as the well-known Missa Luba has shown.
It is good that the judgment on such matters is
to be made by the hierarchy actually on the spot.
1. What norms are laid down [or the use el msical
instruments in divine worship?
Professional Musical Directors
The musical renaissance envisioned by the
Council for our parishes will never come unless pro-
fessional directors of music are trained, hired, [ven
encouragement and freedom, and paid in accordance
with •their education, their talent, and the cont:ibu-
tion they make to the parish worship.
The parish budget must include generous e)pen-
diture for this as a matter of course. Too often aere
has been provision in the budget for everything ex-
cept the music director. In no way should the gen-
erosity of volunteer organists and choix directom be
depreciated, but they are rarely professionals, and
professionals are as necessary in this highly techtical
ield as they are in the classroom, or at the altar Relf.
m
Here, as in almost every department of life, we
get what we are willing to pay for. And if we sh'ink
from using shoddy vestments or altar furnishing in
our churches, we should be equally dissatisfied with
second-rate music in the worship of God.
1. How valid is the author's plea jor use o[ prolessional
directors o[ music in parish worship?
Some Things To Do I
1. Open and close future meetings of your grotp with
the singing of a hymn.
2. Sing at home, with members of your family, some
of the hymns being used in your parish wolship.
: : ;h;L';';h:'tiihqihiLtiqtL1[1[1[qi1111T1ir11IH1iI1iii1H1 IllHIllll1111tllHIllllllll11!fllll[llflllmlm/mln/
" (New Horizons in Catholic Worship, a book from
which the discussion text for the 1964-65 ChristiartCulmre
Series is taken, was written by Rev. William J. Leona'd, S.J.,
and Rt. Rev. Msgr. Leon A. McNeill, M.A. Publkhed in
1964 by the Liturgical Commission, 445 N. Emporia,
Wichita, Kas., 67202, the booklet is available for oneto nine
copies for 75 cents each or for 10 o more copies for 60
cents each. The booklet is also sold at all Cathob" book
stores in the Archdiocese.)
I:ill! ':: : Hhlll!l:'t !)!]![qh;ihH1]t1111ib]III1T[itiFTIIm][1[IIII[IIIII]I[II$[mI[
"We Shall Overcome" Hymn Expresses Civil Rights Hope
These two photos, taken Tuesday dur.
ing the Mass of Reparation in St James
Cathedral for the expiation of the vio-
lence to Negroes in Alabama, *shows
those attending how they express their
spiritual feeling in song.
The Mass, focusing on an active con.
gregational participation, was preced.
ed and concluded with the singing of
the nationally-used civil rights hymn,
"We Shall Overcome."
THIS SERIES OF CCD ARTICLES ARE PUBLISHED THROUGH THE KIND COOPERATION OF THE FIRMS LISTED -IERE
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