Musicin

CatholicWorship
Revised Edition

1983
Bishops' Committee on the Liturgy
National Conference of Catholic Bishops

ITHACA COlLEGE UI
liturgical practice is now open, within the limits set by the present
discipline and regulations ... Not all priests appreciate how wide the op­
portunities are for planning lively and intelligible celebration" (National
The Theology of Celebration
Conference of Catholic Bishops, April 1967)-especially in the various
combinations of song and spoken prayer in the liturgy.
It is hoped that this statement of the Bishops' Committee on the
Liturgy will be of use to the bishops and their liturgical commissions and 1. We are Christians because through the Christian community we
to all who celebrate or plan liturgies. have met Jesus Christ, heard his word in invitation, and responded to
him in faith. We gather at Mass that we may hear and express our faith
again in this assembly and, by expressing it, renew and deepen it.

2. We do not come to meet Christ as if he were absent from the rest of

our lives. We come together to deepen our awareness of, and commit­
ment to, the action of his Spirit in the whole of our lives at every mo­
ment. We come together to acknowledge the love of God poured out
among us in the work of the Spirit, to stand in awe and praise.

3. We are celebrating when we involve ourselves meaningfully in the

thoughts, words, songs, and gestures of the worshipping com­
munity-when everything we do is wholehearted and authentic for
us-when we mean the words and want to do what is done.

4. People in love make signs of love, not only to express their love but
also to deepen it. Love never expressed dies. Christians' love for Christ
and for one another and Christians' faith in Christ and in one another
must be expressed in the signs and symbols of celebration or they will
die.

5. Celebrations need not fail, even on a particular Sunday when our

feelings do not match the invitation of Christ and his Church to worship.
Faith does not always permeate our feelings. But the signs and symbols of
worship can give bodily expression to faith as we celebrate. Our own
faith is stimulated. We become one with others whose faith is Similarly
expressed. We rise above our own feelings to respond to God in prayer.

6. Faith grows when it is well expressed in celebration. Good celebra­

tions foster and nourish faith. Poor celebrations may weaken and destroy
it.

7. To celebrate the liturgy means to do the action or perform the sign in

such a way that its full meaning and impact shine forth in clear and com­
pelling fashion. Since liturgical signs are vehicles of communication and
instruments of faith, they must be simple and comprehensible. Since
they are directed to fellow human beings, they must be humanly attrac­
tive. They must be meaningful and appealing to the body of worshippers
or they will fail to stir up faith and people will fail to worship the Father.

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8. The signs of celebration should be short, clear, and unencumbered
by useless repetition; they should be "within the people's powers of
comprehension, and normally should not require much explanation." I Pastoral Planning for Celebration
If the signs need explanation to communicate faith, they will often
be watched instead of celebrated.

9. In true celebration each sign or sacramental action will be invested

with the personal and prayerful faith, care, attention, and enthusiasm of 10. The responsibility for effective pastoral celebration in a parish com­
those who carry it out. munity falls upon all those who exercise major roles in the liturgy. "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 ritual, pastoral, or musical matters.,,2
In practice this ordinarily means an organized "planning team" or com­
mittee which meets regularly to achieve creative and coordinated wor­
ship and a good use of the liturgical and musical options of a flexible
liturgy.

II. The power of a liturgical celebration to share faith will frequently

depend upon its unity-a unity drawn from the liturgical feast or season
or from the readings appointed in the lectionary as well as artistic unity
flowing from the skillful and sensitive selection of options, music, and
related arts. The sacred scriptures ought to be the source and inspiration
of sound planning, for it is of the very nature of celebration that people
hear the saving words and works of the Lord and then respond in mean­
ingful signs and symbols. Where the readings of the lectionary possess a
thematic unity, the other elements ought to be so arranged as to con­
stitute a setting for and response to the message of the Word.

12. The planning team or committee is headed by the priest (celebrant

and homilist) for no congregation can experience the richness of a unified
celebration if that unity is not grasped by the one who presides, as well as
by those who have special roles. The planning group should include
those with the knowledge and artistic skills needed in celebration: men
and women trained in music, poetry, and art, and familiar with current
resources in these areas; men and women sensitive also to the present­
day thirst of so many for the riches of scripture, theology, and prayer. It is
always good to include some members of the congregation who have not
taken special roles in the celebrations so that honest evaluations can be
made.

13. The planning should go beyond the choosing of options, songs, and
ministers to the composition of such texts as the brief introduction, gen­
eral intercessions, and other appropriate comments as provided for in the
General Instruction of the Roman Missal. How people are invited to join
in a particular song may be as important as the choice of the song itself.

14. In planning pastoral celebrations the congregation, the occasion,

and the celebrant must be taken into consideration.
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 The Occasion
The Congregation 19. The same congregation will want to celebrate in a variety of ways.
15. "The pastoral effectiveness of a celebration will be heightened if During the course of the year the different mysteries of redemption are
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the texts of readings, prayers, and songs correspond as closely as possible recalled in the Mass so that in some way they are made present. Each
to the needs, religious dispOSitions, and aptitude of the participants." 3 A feast and season has its own spirit and its own music. The penitential oc­
type of celebration suitable for a youth group may not fit in a retirement casions demand more restraint. The great feasts demand more solemni­
home; a more formal style effective in a parish church may be inap­ ty. Solemnity, however, depends less on the ornateness of song and
propriate in a home liturgy. The music used should be within the com­ magnificence of ceremonial than on worthy and religious celebration. S
petence of most of the worshippers. It should suit their age level, cultural
background, and level of faith. '20. Generally a congregation or choir will want to sing more on the
great feasts like Christmas and Easter and less in the season through the
16. Variations in level of faith raise special problems. Liturgical cele­ year. Important events in family and parish life will suggest fuller pro­
bration presupposes a minimum of biblical knowledge and a deep com­ grams of song. Sundays will be celebrated with variety but always as
mitment of living faith. If these are lacking, there might arise the tenden­ befits the day of the Lord. All liturgies, from the very simple to the most
cy to use the liturgy as a tool of evangelization. Greater liberty in the ornate, must be truly pastoral and prayerful.
choice of music and style of celebration may be required as the par­
ticipants are led toward that day when they can share their growing faith
as members of the Christian community. Songs like the psalms may The Celebrant
create rather than solve problems where faith is weak. Music, chosen '21. No other single factor affects the liturgy as much as the attitude,
with care, can serve as a bridge to faith as well as an expression of it. style, and bearing of the celebrant: his sincere faith and warmth as he
welcomes the worshipping community; his human naturalness com­
17. The diversity of people present at a parish liturgy gives rise to a fur­ bined with dignity and seriousness as he breaks the Bread of Word and
ther problem. Can the same parish liturgy be an authentic expression for Eucharist.
a grade school girl, her college-age brother, their married sister with her
young family, their parents and grandparents~ ,Can it satisfy the '2'2.The style and pattern of song ought to increase the effectiveness of a
theologically and musically educated along with those lacking in train­ good celebrant. His role is enhanced when he is capable of rendering
ing? Can it please those who seek a more informal style of celebration? some of his parts in song, and he should be encouraged to do so. What he
The planning team must consider the general makeup of the total com­ cannot sing well and effectively he ought to recite, If capable of singing,
munity. Each Christian must keep in mind that to live and worship in he ought, for the sake of people, to rehearse carefully the SlUlg parts that
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community often demands a personal sacrifice. All must be willing to contribute to their celebration.
share likes and dislikes with others whose ideas and experiences may be
quite unlike their own.
18. Often the problem of diversity can be mitigated by supplementing
the parish Sunday celebration with special celebrations for smaller
homogeneous groups. "The needs of the faithful of a particular cultural
background or of a particular age level may often be met by a music that
can serve as a congenial, liturgically oriented expression of prayer.'"
The music and other options may then be more easily suited to the par­
ticular group celebrating. Celebration in such groups, "in which the gen­
uine sense of community is more readily experienced, can contribute
significantly to growth in awareness of the parish as community,
especially when all the faithful participate in the parish Mass on the
Lord's day."5 Nevertheless, it would be out of harmony with the Lord's
wish for unity in his Church if believers were to worship only in such
homogeneous groupings!
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 must also do the research needed to find new uses for the best of the old
The Place of Music music. They must explore the repertory of good music used in other com­
munions. They must find practical means of preserving and using our
in the Celebration rich heritage of Latin chants and motets. 11
In the meantime, however, the words of St. Augustine should not I
be forgotten: "Do not allow yourselves to be offended by the imperfect {
while you strive for the perfect."
28. We do a disservice to musical values, however, when we confuse
Music Serves the Expression of Faith the judgment of music with the judgment of musical style. Style and
23. Among the many signs and symbols used by the Church to cele­ value are two distinct judgments. Good music of new styles is finding a
brate its faith, music is of preeminent importance. As sacred song united happy home in the celebrations of today. To chant and polyphony we
to words it forms a necessary or integral part of the solemn liturgy.lO Yet have effectively added the chorale hymn, restored responsorial singing to
the function of music is ministerial; it must serve and never dominate. some extent, and employed many styles of contemporary composition. t
Music should assist the assembled believers to express and share the gift Music in folk idiom is finding acceptance in eucharistic celebrations. We I
of faith that is within them and to nourish and strengthen their interior must judge value within each style.
commitment of faith. It should heighten the texts so that they speak "In modern times the Church has consistently recognized and freely
more fully and more effectively. The quality of joy and enthusiasm admitted the use of various styles of music as an aid to liturgical worship.
which music adds to community worship cannot be gained in any other Since the promulgation of the Constitution on the Liturgy and more
way. It imparts a sense of unity to the congregation and sets the ap­ especially since the introduction of vemacular languages into the liturgy,
propriate tone for a particular celebration. there has arisen a more pressing need for musical compositions in idioms
that can be sung by the congregation and thus further communal par­
24. In addition. to expressing texts, music can also unveil a dimension \ ticipation.,'12
of meaning and feeling, a communication of ideas and intuitions which \
words alone cannot yield. This dimension is integral to the human per­ 29. The musician has every right to insist that the music be good. But
sonality and to growth in faith. It cannot be ignored if the signs of wor­ although all liturgical music should be good, not all good music is
ship are to speak to the whole person. Ideally, every communal celebra­ suitable to the liturgy. The musical judgment is basic but not final. There
tion of faith, including funerals and the sacraments of baptism, confir­ remain the liturgical and pastoral judgments.
mation, penance, anointing, and matrimony, should include music and
singing. Where it is possible to celebrate the Liturgy of the Hours in a
community, it, too, should include music.
The Liturgical Judgment
30. The nature of the liturgy itself will help to determine what kind of
25. To determine the value of a given musical element in a liturgical music is called for, what parts are to be preferred for singing, and who is
celebration a threefold judgment must be made: musical, liturgical, and to sing them.
pastoral. a. Structural Requirements
31. The choice of sung parts, the balance between them, and the style
The Musical Judgment of musical setting used should reflect the relative importance of the parts 1r-+V':~'
26. Is the music technically, aesthetically, and expressively good? This of the Mass (or other service) and the nature of each part. Thus elaborate 't) v' i I
judgment is basic and primary and should be made by competent musi­ settings of the entrance song, "Lord have Mercy" and "Glory to God" 1.:;,M.. '"
cians. Only artistically sound music will be effective in the long run. To \\ may make the proclamation of the word seem unimportant; and an over­
admit the cheap, the trite, the musical cliche often found in popular ly elaborate offertory song with a spoken "Holy, Holy, Holy Lord" may ~""-'\ 'v..f
songs for the purpose of "instant liturgy" is to cheapen the liturgy, to ex­ make the eucharistic prayer seem less important.
pose it to ridicule, and to invite failure.
h. Textual Requirements
27. Musicians must search for and create music of quality for worship, 32. Does the music express and interpret the text correctly and make it \\ L Y
especially the new musical settings for the new liturgical texts. They more meaningful? Is the form of the text respected? In making these' .

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 judgments the principal classes of texts must be kept in mind: proclama­ faithful may be able to contribute that active participation which is right­
tions, acclamations, psalms and hymns, and prayers. Each has a specific ly theirs. illS
function which must be served by the music chosen for a text. "At times the choir, within the congregation of the faithful and as
In most instances there is an official liturgical text approved by the part of it, will assume the role of leadership, while at other times it will
episcopal conference. "Vernacular texts set to music composed in earlier retain its own distinctive ministry. This means that the choir will lead
periods," however, "may be used in liturgical texts.'t13 As noted the people in sung prayer, by alternating or reinforcing the sacred song of
elsewhere, criteria have been provided for the texts which may replace the congregation, or by enhancing it with the addition of a musical
the processional chants of Mass. In these cases and in the choice of all elaboration. At other times in the course of liturgical celebration the
supplementary music, the texts "must always be in conformity with choir alone will sing works whose musical demands enlist and challenge
Catholic doctrine; indeed they should be drawn chiefly from holy scrip­ its competence." 19
ture and from Ii turgical sources. "I.
c. Role DiHerentiation g. The Organist and Other Instrumentalists \\ >

33. "In liturgical celebrations each one, minister or layperson, who has 37. Song is not the only kind of music suitable for liturgical celebra- \'.\
an office to perform, should do all of, but only, those parts which pertain tion. Music performed on the organ and other instruments can stimulate '-.
to that office by the nature of the rite and the principles of liturgy. 11 IS feelings of joy and contemplation at appropriate times. w This can be done
Special musical concern must be given to the roles of the congregation, effectively at the following points: an instrumental prelude, a soft II
the cantor, the chOir, and the instrumentalists. background to a spoken psalm, at the preparation of the gifts in place of
d. The Congregation singing, during portions of the communion rite, and the recessional. 1\
In the dioceses of the United States, "musical instruments other
34. Music for the congregation must be within its members' perfor­ than the organ may be used in liturgical services, provided they are
mance capability. The congregation must be comfortable and secure played in a manner that is suitable to public worship.'1l1 This decision
with what they are doing in order to celebrate well. deliberately refrains from singling out specific instruments. Their use
e. The Cantor depends on circumstances, the nature of the congregation, etc.
3S. While there is no place in the liturgy for display of virtuosity for its It J
38. The proper placing of the organ and choir according to the arrange­
own sake, artistry is valued, and an individual singer can effectively lead
ment and acoustics of the church will facilitate celebration. Practically
the assembly, attractively proclaim the Word of God in the psalm sung., <:.
speaking, the choir must be near the director and the organ Iboth console
between the readings, and take his or her part in other responsorial sing­
and sound). The choir ought to be able to perform without too much
ing. "Provision should be made for at least one or two properly trained
distraction; the acoustics ought to give a lively presence of sound in the
singers, especially where there is no possibility of setting up even a small
choir area and allow both tone and word to reach the congregation with
choir. The singer will present some simpler musical settings, with the
clarity. Visually it is desirable that the choir appear to be part of the wor­
people taking part, and can lead and support the faithful as far as is need­
shipping community, yet a part which serves in a unique way. Locating
ed. The presence of such a singer is desirable even in churches which
the organ console too far from the congregation causes a time lag which
have a choir, for those celebrations in which the choir cannot take part
tends to make the singing drag unless the organist is trained to cope with
but which may fittingly be performed with some solemnity and therefore
it. A location near the front pews will facilitate congregational singing.
with singing./l16 Although a cantor "cannot enhance the service of wor­
ship in the same way as a chOir, a trained and competent cantor can per­
form an important ministry by leading the congregation in common The Pastoral Judgment
sacred song and in responsorial singing." 17 39. The pastoral judgment governs the use and function of every ele­
f. The Choir ment of celebration. Ideally this judgment is made by the planning team
or committee. It is the judgment that must be made in this particular
36. A well-trained choir adds beauty and solemnity to the liturgy and
situation, in these concrete circumstances. Does music in the celebra­
also assists and encourages the Singing of the congregation. The Second
tion enable these people to express their faith, in this place, in this age, in
Vatican Council, speaking of the choir, stated emphatically: "Choirs
this culture?
must be diligently promoted, /I provided that "the whole body of the

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40. The instruction of the Congregation for Divine Worship, issued
September 5, 1970, encourages episcopal conferences to consider not on­
ly liturgical music's suitability to the time and circumstances of the cele­
General Considerations of
bration, "but also the needs of the faithful who will sing them. All means Liturgical Structure
must be used to promote singing by the people. New forms should be
used, which are adapted to the different mentalities and to modem
tastes." The document adds that the music and the instruments "should
correspond to the sacred character of the celebration and the place of wor­
ship." 42. Those responsible for planning the music for eucharistic celebra­
tions in accord with the three preceding judgments must have a clear \
41. A musician may judge that a certain composition or style of com­ understanding of the structure of the liturgy. They must be aware of i
position is good music, but this musical judgment really says nothing what is of primary importance. They should know the nature of each of
about whether and how this music is to be used in this celebration. The the parts of the liturgy and the relationship of each part to the overall
signs of the celebration must be accepted and received as meaningful for rhythm of the liturgical action.
a genuinely human faith experience for these specific worshippers. This
pastoral judgment can be aided by sensitivity to the cultural and social
characteristics of the people who make up the congregation: their age,
43. The Mass is made up of the liturgy of the word and the liturgy of the r
Eucharist. These two parts are so closely connected as to form one act of
:ulture, and education. These factors influence the effectiveness of the worship. The table of the Lord is both the table of God's Word and the
liturgical signs, including music. No set of rubrics or regulations of itself table of Christ's Body, and from it the faithful are instructed and re­
will ever achieve a truly pastoral celebration of the sacramental rites. freshed. In addition, the Mass has introductory and concluding rites. 22
Such regulations must always be applied with a pastoral concern for the The introductory and concluding rites are secondary.
~iven worshipping community.

The Introductory Rites

\",.r\.'''''. ~' f
44. The parts preceding the liturgy of the word, namely, the entrance, \,i';)v\J
greeting, penitential rite, Kyrie, Gloria, and opening prayer or collect,
~l"""': v-
have the character of introduction and preparation. The purpose of these
rites is to help the assembled people become a worshipping community
and to prepare them for listening to God's Word and celebrating the
Eucharist. 23 Of these parts the entrance song and the opening prayer are \\
primary. All else is secondary.
If Mass begins with the sprinkling of the people with blessed water,
the penitential rite is omitted; this may be done at all Sunday Masses. 24
Similarly, if the psalms of part of the Liturgy of the Hours precede Mass,
the introductory rite is abbreviated in accord with the General Instruc­
tion on The liturgy of the Hours. 25

The Liturgy of the Word

45. Readings from scripture are the heart of the liturgy of the word. The II <-­
homily, responsorial psalms, profession of faith, and general interces-\ l1- t.
sions develop and complete it. In the readings, God speaks to his people .~. '
and nourishes their spirit; Christ is present through his word. The homi­
ly explains the readings. The chants and the profession of faith comprise
the people's acceptance of God's Word. It is of primary importance that
the people hear God's message of love, digest it with the aid of psalms,

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silence, and the homily, and respond, involving themselves in the great solemn form, and the dismissal which sends forth each member of the
covenant of love and redemption. All else is secondary. congregation to do good works, praising and blessing the Lord. 18
A recessional song is optional. The greeting, blessing, dismissal and
l

The Preparation of the Gifts recessional song or instrumental music ideally form one continuous ac­
tion which may culminate in the priest's personal greetings and conver­
46. The eucharistic prayer is preceded by the preparation of the gifts.
The purpose of the rite is to prepare bread and wine for the sacrifice. The sations at the church door.
secondary character of the rite determines the manner of the celebration.
It consists very simply of bringing the gifts to the altar, possibly accom­
panied by song, prayers to be said by the celebrant as he prepares the gifts,
and the prayer over the gifts. Of these elements, the bringing of the gifts,
the placing of the gifts on the altar, and the prayer over the gifts are
primary. All else is secondary.

The Eucharistic Prayer

47. The eucharistic prayer, a prayer of thanksgiving and sanctification, I
is the center of the entire celebration. By an introductory dialogue the \
priest invites the people to lift their hearts to God in praise and thanks j
he unites them with himself in the prayer he addresses in their name to
the Father through Jesus Christ. The meaning of the prayer is that the
whole congregation joins itself to Christ in acknowledging the works of
God and in offering the sacrifice. 26 As a statement of the faith of the local
assembly it is affirmed and ratified by all those present through acclama­ ~'

tions of faith: the first acclamation or Sanctus, the memorial acclama- ~' " c-~
tion, and the Great Amen.

The Communion Rite

48. The eating and drinking of the Body and Blood of the Lord in a
paschal meal is the climax of our eucharistic celebration. It is prepared
for by several rites: the Lord's Prayer with embolism and doxology, the
rite of peace, breaking of bread land commingling) during the "Lamb of \ r
God," private preparation of the priest, and showing of the eucharistic \.
bread. The eating and drinking are accompanied by a song expressing the
unity of communicants and followed by a time of prayer after commun­
ion. 17 Those elements are primary which show forth signs that the first
fruit of the Eucharist is the unity of the Body of Christ, Christians being
loved by Christ and loving him through their love of one another. The
principal texts to accompany or express the sacred action are the Lord's·
Prayer, the song during the communion procession, and the prayer after
communion.

The Concluding Rite

49. The concluding rite consists of the priest's greeting and blessing,
which is sometimes expanded by the prayer over the people or another

20 21
 out. It is of their nature that they be rhythmically strong, melodically ap­
Application of the Principles pealing, and affirmative. The people should know the acclamations by
heart in order to sing them spontaneously. Some variety is recommended
of Celebration and even imperative. The challenge to the composer and people alike is
one of variety without confusion.
to Music in Eucharistic Worship 54. In the eucharistic celebration there are five acclamations which;!,
ought to be sung even at Masses in which little else is sung: Alleluia;
"Holy, Holy, Holy Lord"; Memorial Acclamation; Great Amen; Dox­
ology to the Lord's Prayer.
A
General Considerations The Alleluia
50. Many and varied musical pattems are now possible within the 55. This acclamation of paschal joy is both a reflection upon the Word
liturgical structure. Musicians and composers need to respond creatively of God proclaimed in the Liturgy and a preparation for the gospel. All
and responsibly to the challenge of developing new I:\lusic for today's f ;,:.. J-: stand to sing it. After the cantor or choir sings the alleluia/s), the people
celebrations. "".A . customarily repeat it. Then a single proper verse is sung by the cantor or
choir, and all repeat the alleluials). If not sung, the alleluia should be
51. While it is possible to make technical distinctions in the forms of omitted.:lO A moment of silent reflection may be observed in its place.
Mass-all the way from the Mass in which nothing is sung to the Mass in During Lent a brief verse of acclamatory character replaces the alleluia
which everything is sung-such distinctions are of little significance in and is sung in the same way.
themselves; almost unlimited combinations of sung and recited parts
may be chosen. The important decision is whether or not this or that part ; i'"
,.," Q
_ Holy, Holy, Holy Lord
mayor should be sung in this particular celebration and under these u. l.Ii,,(.\.-t, .... ~
56. This is the people's acclamation of praise concluding the preface of
specific circumstances. 19 The former distinction between the ordinary' the eucharistic prayer. We join the whole communion of saints in ac­
and proper parts of the Mass with regard to musical settings and distribu­ claiming the Lord. Settings which add harmony or descants on solemn
tion of roles is no longer retained. For this reason the musical settings of) feasts and occasions are appropriate, but since this chant belongs to
the past are usually not helpful models for composing truly liturgical \1 ' priest and people, the choi parts must facilitate and make effective the
pieces today. \ .) people's parts.
52. Two pattems formerly served as the basis for creating and planning The Memorial Acclamation
liturgy. One was "High Mass" with its five movements, sung Ordinary ,
and fourfold sung Proper. The other was the four-hymn "Low Mass" for­ ,.... \ ....
57. We support one another's faith in the paschal mystery, the central
mystery of our belief. This acclamation is properly a memorial of the
may that grew out of the Instruction of Sacred Music of 1958. The four­ h' Lord's suffering and glorification, with an expression of faith in his com­
hymn pattem developed in the context of a Latin Mass which could ac­ ut \f(
ing. Variety in text and music is desirable.
commodate song in the vernacular only at certain points. It is now out­
dated, and the Mass has more than a dozen parts that may be sung, as The Great Amen
well as numerous options for the celebrant. Each of these parts must be 58. The worshippers assent to the eucharistic prayer and make it their
understood according to its proper nature and function. own in the Great Amen. To be most effective, the Amen may be repeated
.A......... ,. '.
or augmented. Choirs may harmonize and expand upon the people's ac­
Specific Applications clamation.
Doxology to the Lord's Prayer
a. Acclamations
'If. ....J, .~
59. These words of praise, "For the Kingdom, the power and the glory
53. The acclamations are shouts of joy which arise from the whole are yours, now and forever," are fittingly sung by all, especially when the
assembly as forceful and meaningful assents to God's Word and Action. }i.At,_
Lord's Prayer is sung. Here, too, the choir may enhance the acclamation
They are important because they make some of the most significant
·'r~;'~ with harmony.
moments of the Mass (gospel, eucharistic prayer, Lord's Prayer) stand

22 r'1-l.AfA (,nOI["':r O"'D"';;'~

:-rocessional Songs spoken. The pattern may vary according to the circumstances. These
The two processional chants-the entrance song and the com­ chants are the following.
lion song-are very important for creating and sustaining an
reness of community. Proper antiphons are given to be used with ap­ Lord Have Mercy
)riate psalm verses. These may be replaced by the chants of the Sim­ 65. ~~~l!.~:rt litany"'~as traditionally a prayer of praise to the risen
Christ. He has been raised and made "Lord," and we beg him to show his \c'iv;1....
Gradual, by other psalms and antiphons, or by other fitting songS.31
loving kindness. The sixfold Kyrie of the new order of Mass may be sung
The Entrance Song
in other ways, for example, as a ninefold chant. 35 It may also be incor­
The entrance song should create an atmosphere of celebration. It porated in the penitential rite, with invocations addressed to Christ.
)s put the assembly in the proper frame of mind for listening to the When sung, the setting should be brief and simple in order not to give un­
cd of God. It helps people to become conscious of themselves as a wor­
due importance to the introductory rites.
)ping community. The choice of texts for the entrance song should
conflict with these purposes. In general, during the most important Glory to God
,ons of the Church year-Easter, Lent, Christmas, and Advent-it is 66. This ancient hyron of praise is now given in a new poetic and ,'"
erable that most songs used at the entrance be seasonal in nature. 32 singable translation. It may be introduced by celebrant, cantor, or choir.
The Communion Song The restricted use of the Gloria, i.e., only on Sundays outside Advent and
The communion song should foster a sense of unity. It should be Lent and on solemnities and feasts,36 emphasizes its special and solemn
pIe and not demand great effort. It gives expression to the joy of unity character. The new text offers many opportunities for alternation of
he body of Christ and the fulfillment of the mystery being celebrated. choir and people in poetic parallelisms. The "Glory to God" also pro­
ause they emphasize adoration rather than communion, most bene­ vides an opportunity for the choir to sing alone on festive occasions.
ion hymns are not suitable. In general, during the most important Lord's Prayer
Ions of the Church year-Easter, Lent, Christmas, and Advent-it is 67. This prayer begins our immediate preparation for sharing in the 'l
erable that most songs used at the communion be seasonal in nature. Paschal Banquet. The traditional text is retained and may be set to music ./
the remainder of the Church year, however, topical songs may be composers with the same freedom as other parts of the Ordinary. All
d during the communion procession, provided these texts do not con­ settings must provide for the participation of the priest and all present.
t with the paschal character of every Sunday.' /33
Lamb of God
lesponsorial Psalm
68. The Agnus Dei is a litany-song to accompany the breaking of the ~.~
This unique and very important song is the response to the first bread in preparation 1un:orimiunioii~-'The invocation and response may
on. The new lectionary's determination to match the content of the be repeated as the action demands. The final response is always "grant us
lms to the theme of reading is reflected in its listing of 900 refrains. peace." Unlike the "Holy, Holy, Holy Lord," and the Lord's Prayer, the
: liturgy of the Word comes more fully to life if between the first two "Lamb of God" is not necessarily a song of the people. Hence it may be
lings a cantor sings the psalm and all sing the response. Since most sung by the choir, though the people should generally make the response.
lpS cannot leam a new response every week, seasonal refrains are of­
d in the lectionary itself and in the Simple Gradual. Other psalms and Profession of Faith
ains may also be used, including psalms arranged in responsorial form 69. This is a communal profession of faith in which " ... the people who
metrical and similar versions of psalms, provided they are used in ac­ have heard the Word of God in the lesson and in the homily may assent
lance with the principles of the Simple Gradual and are selected in and respond to it, and may renew in themselves the rule of faith as they
nony with the liturgical season, feast or occasion. The choice of the begin to celebrate the Eucharist. 1I37 It is usually preferable that the Creed!
:s which are not from the psalter is not extended to the chants be­ be spoken in declamatory fashion rather than Sung.38 If it is sung, it might I
en the readings. J4 To facilitate reflection, there may be a brief period more effectively take the form of a simple musical declamation rather
ilence between the first reading and the responsorial psalm. than an extensive and involved musical structure.
()ttlinary Chants e. Supplementary Songs
The fourth category is the ordinary chants, which now may be 70. This category includes songs for which there are no specified texts
.ted as individual choices. One or more may be sung; the others, 1 i__ nor any requirement that there should be a spoken or sung text. Here the
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choir may playa fuller role, for there is no question of usurping the peo­ special occasions, additional communion songs or a song after commun­
ple's parts. This category includes the following, ion or a recessional. They may also enhance the congregationally sung
entrance song and acclamations with descants, harmony, and antiphonal
The Offertory Song arrangements. Harmony is desirable when, without confusing the peo­
71. The offertory song may accompany the procession and preparation ple, it gives breadth and power to their voices in unison.
of the gifts. It is not always necessary or desirable. Organ or instrumental
76. Flexibility is recognized today as an important value in liturgy. The
music is also fitting at the time. When song is used, it need not speak of
musician with a sense of artistry and a deep knowledge of the rhythm of
bread and wine or of offering, The proper function of this song is to ac­
the liturgical action will be able to combine the many options into an ef­
company and celebrate the communal aspects of the procession. The
fective whole. For the composer and performer alike there is an un­
text, therefore, can be any appropriate song of praise or of rejoicing in keep­
precedented challenge. They must enhance the liturgy with new crea­
ing with the season. The antiphons of the Roman Gradual, not included
tions of variety and richness and with those compositions from the time­
in the new Roman Missal, may be used with psalm verses. Instrumental
honored treasury of liturgical music which can still serve today's celebra­
interludes can effectively accompany the procession and preparation of
tions. Like the wise householder in Matthew's Gospel, the church musi­
the gifts and thus keep this part of the Mass in proper perspective relative
cian must be one "who can produce from his store both the new and the
to the eucharistic prayer which follows.
old."
The Psalm or Song after Communion
77. The Church in the United States today needs the services of many
72. The singing of a psalm or hymn of praise after the distribution of qualified musicians as song leaders, organists, instrumentalists, cantors,
communion is optional. If the organ is played or the choir sings during choir directors, and composers. We have been blessed with many
the distribution of communion, a congregational song may well provide generous musicians who have given years of service despite receiving on­
a fitting expression of oneness in the Eucharistic Lord. Since no par­ ly meager financial compensation. For the art to grow and face the
ticular text is specified, there is ample room for creativity. challenges of today and tomorrow, every diocese and parish should
The Recessional Song establish policies for hiring and paying living wages to competent musi­
cians. Full-time musicians employed by the Church ought to be on the
73. The recessional song has never been an official part of the rite; i same salary scale as teachers with similar qualificatiOns and workloads.'·
hence musicians are free to plan music which provides an appropriate
closing to the liturgy. A song is one possible choice. However, if the peo­ 78. Likewise, to insure that composers and publishers receive just com­
ple have sung a song after communion, it may be advisable to use only an pensation for their work, those engaged in parish music programs and
instrumental or choir recessional. those responsible for budgets must often be reminded that it is illegal and
Litanies immoral to reproduce copyrighted texts and music by any means with­
out written permission of the copyright owner. The fact that these
74. Litanies are often more effective when sung. The repetltlon of duplicated materials are not for sale but for private use does not alter the
melody and rhythm draws the people together in a strong and unified legal or moral situation of copying without permission.4i.l
response. In addition to the "Lamb of God," already mentioned, the
general intercessions (prayer of the faithful) offer an opportunity for
litanical singing, as do the invocations of Christ in the penitential rite.

Progress and New Directions

75. Many new pattems and combinations of song are emerging in
eucharistic celebrations. Congregations most frequently sing an_~~
~.@ce song, alleluia, "Holy,J:loly, Holy Lord/' memorial acclamation,
Gr~~Ainen, alid a song'at communion-Tor a song after communion).
Other parts are added in ~uantities, depending on season, degree
of solemnity and musical resources. Choirs often add one or more of the
following: a song before Mass, an Offertory song, the "Glory to God" on

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