𝄆 𝄞 ♭ ♬ 𝆒♮ 𝄻 𝄵 𝅀 𝅗𝅥 𝄼 𝄽 𝄢 𝅘𝅥𝅮 𝄾 ♯ 𝆓 𝄿 𝅝 𝄐 𝆏 𝄴 𝆔 𝆖 𝅘𝅥 𝆑 𝄇 𝄋 𝅘𝅥𝅯 𝄌 𝄉 𝄩 𝅘𝅥𝅰 𝄂
𝄆 𝄞 ♭ ♬ 𝆒♮ 𝄻 𝄵 𝅀 𝅗𝅥 𝄼 𝄽 𝄢 𝅘𝅥𝅮 𝄾 ♯ 𝆓 𝄿 𝅝 𝄐 𝆏 𝄴 𝆔 𝆖 𝅘𝅥 𝆑 𝄇 𝄋 𝅘𝅥𝅯 𝄌 𝄉 𝄩 𝅘𝅥𝅰 𝄂
239. What are the criteria for the proper use of singing and music in liturgical celebrations?
Since song and music are closely connected with liturgical action they must respect the following criteria. They should conform to Catholic doctrine in their texts, drawn preferably from Sacred Scripture and liturgical sources. They should be a beautiful expression of prayer. The music should be of a high quality. Song and music should encourage the participation of the liturgical assembly. They should express the cultural richness of the People of God and the sacred and solemn character of the celebration. "He who sings, prays twice" (Saint Augustine).
Singing and music
"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 a combination of sacred music and words, it forms a necessary or integral part of solemn liturgy." The composition and singing of inspired psalms, often accompanied by musical instruments, were already closely linked to the liturgical celebrations of the Old Covenant. The Church continues and develops this tradition: "Address ... one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all your heart." "He who sings prays twice."
The harmony of signs (song, music, words, and actions) is all the more expressive and fruitful when expressed in the cultural richness of the People of God who celebrate. Hence "religious singing by the faithful is to be intelligently fostered so that in devotions and sacred exercises as well as in liturgical services," in conformity with the Church's norms, "the voices of the faithful may be heard." But "the texts intended to be sung must always be in conformity with Catholic doctrine. Indeed they should be drawn chiefly from the Sacred Scripture and from liturgical sources."
Holy images
"The beauty of the images moves me to contemplation, as a meadow delights the eyes and subtly infuses the soul with the glory of God." Similarly, the contemplation of sacred icons, united with meditation on the Word of God and the singing of liturgical hymns, enters into the harmony of the signs of celebration so that the mystery celebrated is imprinted in the heart's memory and is then expressed in the new life of the faithful.
PRAYER OF PRAISE
"[Address] one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all your heart." Like the inspired writers of the New Testament, the first Christian communities read the Book of Psalms in a new way, singing in it the mystery of Christ. In the newness of the Spirit, they also composed hymns and canticles in the light of the unheard-of event that God accomplished in his Son: his Incarnation, his death which conquered death, his Resurrection, and Ascension to the right hand of the Father.125 Doxology, the praise of God, arises from this "marvelous work" of the whole economy of salvation.
Further reading: CCC 1156-1158, 1191
"Let everything that has breath give praise to the Lord!" - Psalm 150:6
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.
Holy Scripture, indeed, has bestowed praise upon sacred song, and the same may be said of the fathers of the Church and of the Roman pontiffs who in recent times, led by Pope St. Pius X, have explained more precisely the ministerial function supplied by sacred music in the service of the Lord.
Therefore 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. But the Church approves of all forms of true art having the needed qualities, and admits them into divine worship.
SECOND VATICAN COUNCIL, Sacrosanctum Concilium, 112
Sacred music should… possess, in the highest degree, the qualities proper to the liturgy, and in particular sanctity and goodness of form, which will spontaneously produce the final quality of universality.
onepeterfive.com/catholic-choir-choirmaster
Chirograph For the Centenary of the Motu Proprio Tra Le Sollectiudini
Pope John Paul II
1. Motivated by a strong desire ``to maintain and promote the decorum of the House of God'', my Predecessor St Pius X promulgated the Motu Proprio Tra le Sollecitudini 100 years ago. Its purpose was to renew sacred music during liturgical services. With it he intended to offer the Church practical guidelines in that vital sector of the Liturgy, presenting them, as it were, as a ``juridical code of sacred music''. This act was also part of the programme of his Pontificate which he summed up in the motto: ''Instaurare omnia in Cristo''.
The centenary of the Document gives me the opportunity to recall the important role of sacred music, which St Pius X presented both as a means of lifting up the spirit to God and as a precious aid for the faithful in their ``active participation in the most holy mysteries and in the public and solemn prayer of the Church''.
The holy Pontiff recalls that the special attention which sacred music rightly deserves stems from the fact that, ``being an integral part of the solemn Liturgy, [it] participates in the general purpose of the Liturgy, which is the glory of God and the sanctification and edification of the faithful''. Since it interprets and expresses the deep meaning of the sacred text to which it is intimately linked, it must be able ``to add greater efficacy to the text, in order that through it the faithful may be... better disposed for the reception of the fruits of grace belonging to the celebration of the most holy mysteries''.
2. The Second Vatican Council followed up this approach in chapter VI of the Constitution Sacrosanctum Concilium on the Sacred Liturgy, in which the ecclesial role of sacred music is clearly defined: ``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 melody united to words, it forms a necessary or integral part of the solemn Liturgy''. The Council also recalls that ``Sacred Scripture, indeed, has bestowed praise upon sacred song. So have the Fathers of the Church and the Roman Pontiffs who in more recent times, led by St Pius X, have explained more precisely the ministerial function exercised by sacred music in the service of the Lord''.
The attention my Predecessors thus paid to this delicate sector was constant. They recalled the fundamental principles that must enliven the composition of sacred music, especially when it is destined for the Liturgy.
3. On various occasions I too have recalled the precious role and great importance of music and song for a more active and intense participation in liturgical celebrations. I have also stressed the need to ``purify worship from ugliness of style, from distasteful forms of expression, from uninspired musical texts which are not worthy of the great act that is being celebrated'', to guarantee dignity and excellence to liturgical compositions.
In this perspective, in the light of the Magisterium of St Pius X and my other Predecessors and taking into account in particular the pronouncements of the Second Vatican Council, I would like to re-propose several fundamental principles for this important sector of the life of the Church, with the intention of ensuring that liturgical music corresponds ever more closely to its specific function.
4. In continuity with the teachings of St Pius X and the Second Vatican Council, it is necessary first of all to emphasize that music destined for sacred rites must have holiness as its reference point: indeed, ``sacred music increases in holiness to the degree that it is intimately linked with liturgical action''. For this very reason, ``not all without distinction that is outside the temple (profanum) is fit to cross its threshold'', my venerable Predecessor Paul VI wisely said, commenting on a Decree of the Council of Trent. And he explained that ``if music - instrumental and vocal - does not possess at the same time the sense of prayer, dignity and beauty, it precludes the entry into the sphere of the sacred and the religious''. Today, moreover, the meaning of the category ``sacred music'' has been broadened to include repertoires that cannot be part of the celebration without violating the spirit and norms of the Liturgy itself.
5. Another principle, affirmed by St Pius X in the Motu Proprio Tra le Sollecitudini and which is closely connected with the previous one, is that of sound form.
Indeed, liturgical music must meet the specific prerequisites of the Liturgy: full adherence to the text it presents, synchronization with the time and moment in the Liturgy for which it is intended, appropriately reflecting the gestures proposed by the rite. The various moments in the Liturgy require a musical expression of their own. From time to time this must fittingly bring out the nature proper to a specific rite, now proclaiming God's marvels, now expressing praise, supplication or even sorrow for the experience of human suffering which, however, faith opens to the prospect of Christian hope.
7. Among the musical expressions that correspond best with the qualities demanded by the notion of sacred music, especially liturgical music, Gregorian chant has a special place. The Second Vatican Council recognized that ``being specially suited to the Roman Liturgy'' it should be given, other things being equal, pride of place in liturgical services sung in Latin. St Pius X pointed out that the Church had ``inherited it from the Fathers of the Church'', that she has ``jealously guarded [it] for centuries in her liturgical codices'' and still ``proposes it to the faithful'' as her own, considering it ``the supreme model of sacred music''. Thus, Gregorian chant continues also today to be an element of unity in the Roman Liturgy.
Like St Pius X, the Second Vatican Council also recognized that ``other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations''. It is therefore necessary to pay special attention to the new musical expressions to ascertain whether they too can express the inexhaustible riches of the Mystery proposed in the Liturgy and thereby encourage the active participation of the faithful in celebrations.
10. Since the Church has always recognized and fostered progress in the arts, it should not come as a surprise that in addition to Gregorian chant and polyphony she admits into celebrations even the most modern music, as long as it respects both the liturgical spirit and the true values of this art form. In compositions written for divine worship, therefore, the particular Churches in the various nations are permitted to make the most of ``those special forms which may be said to constitute the special character of [their] native music''. On the lines of my holy Predecessor and of what has been decreed more recently by the Constitution Sacrosanctum Concilium, I have also intended in the Encyclical Ecclesia de Eucharistia to make room for new musical contributions, mentioning in addition to the inspired Gregorian melodies, ``the many, often great composers who sought to do justice to the liturgical texts of the Mass''.
12. With regard to compositions of liturgical music, I make my own the ``general rule'' that St Pius X formulated in these words: ``The more closely a composition for church approaches in its movement, inspiration and savour the Gregorian melodic form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple''. It is not, of course, a question of imitating Gregorian chant but rather of ensuring that new compositions are imbued with the same spirit that inspired and little by little came to shape it.
15. I hope that the centenary commemoration of the Motu Proprio Tra le Sollecitudini, through the intercession of their holy Author together with that of St Cecilia, patroness of sacred music, may be an encouragement and incentive to those who are involved in this important aspect of liturgical celebrations. Sacred music lovers, by dedicating themselves with renewed impetus to a sector of such vital importance, will contribute to the spiritual growth of the People of God. The faithful, for their part, in expressing their faith harmoniously and solemnly in song, will experience its richness ever more fully and will abide by the commitment to express its impulses in their daily life. In this way, through the unanimous agreement of pastors of souls, musicians and faithful, it will be possible to achieve what the Constitution Sacrosanctum Concilium describes as the true ``purpose of sacred music'', that is, ``the glory of God and the sanctification of the faithful''.
May your example and model in this be the Virgin Mary, whose praise in the Magnificat of the marvels God works in human history remains beyond compare. With this hope, I impart my Blessing to everyone with affection.
Given in Rome at St Peter's on 22 November, the Memorial of St Cecilia, in the year 2003, the 26th of the Pontificate
De Musica Sacra et Sacra Liturgia
As everyone realizes, sacred music and sacred liturgy are so naturally inter- woven that laws cannot be made for the one without affecting the other. Indeed in the papal documents, and the decrees of the Sacred Congregation of Rites we find materials common to both sacred music, and sacred liturgy.
Chapter I explains a few general concepts; chapter II then takes up the general norms for the use of sacred music in the liturgy. With this background chapter III presents the entire subject of sacred music, and sacred liturgy in detail. Each section establishes its own general principles, and then applies them to particular cases.
4. ``Sacred music'' includes the following: a) Gregorian chant; b) sacred polyphony; c) modern sacred music; d) sacred organ music; e) hymns; and f) religious music.
5. Gregorian chant, which is used in liturgical ceremonies, is the sacred music proper to the Roman Church; it is to be found in the liturgical books approved by the Holy See. This music has been reverently, and faithfully fostered, and developed from most ancient, and venerable traditions; and even in recent times new chants have been composed in the style of this tradition. This style of music has no need of organ or other instrumental accompaniment.
6. Sacred polyphony is measured music which arose from the tradition of Gregorian chant. It is choral music written in many voice-parts, and sung without instrumental accompaniment. It began to flourish in the Latin Church in the Middle Ages, and reached its height in the art of Giovanni Pierluigi Palestrina (1524-1594) in the latter half of the sixteenth century; distinguished musicians of our time still cultivate this art.
7. Modern sacred music is likewise sung in many voice-parts, but at times with instrumental accompaniment. Its composition is of more recent date, and in a more advanced style, developed from the previous centuries. When this music is composed specifically for liturgical use it must be animated by a spirit of devotion, and piety; only on this condition can it be admitted as suitable accompaniment for these services.
8. Sacred music for organ is music composed for the organ alone. Ever since the pipe organ came into use this music has been widely cultivated by famous masters of the art. If such music complies with the laws for sacred music, it is an important contribution to the beauty of the sacred liturgy.
9. Hymns are songs which spontaneously arise from the religious impulses with which mankind has been endowed by its Creator. Thus they are universally sung among all peoples.
This music had a fine effect on the lives of the faithful, imbuing both their private, and social lives with a true Christian spirit. It was encouraged from the earliest times, and in our day it is still to be recommended for fostering the piety of the faithful, and enhancing their private devotions. Even such music can, at times, be admitted to liturgical ceremonies.
10. Religious music is any music which, either by the intention of the composer or by the subject or purpose of the composition, serves to arouse devotion, and religious sentiments. Such music ``is an effective aid to religion''. But since it was not intended for divine worship, and was composed in a free style, it is not to be used during liturgical ceremonies.
11. This instruction is binding on all rites of the Latin Church. Thus, what is said of Gregorian chant applies to all the chants which are used in other Latin rites.
Sacred music is to be taken generally in this instruction as embracing both vocal and instrumental music. But at times it will be limited to instrumental music only, as will be clear from the context.
A church ordinarily means any sacred place; this includes a church in the strict sense, as well as public, semipublic, and private oratories; again the context itself may restrict the meaning to a church in the strict sense.
16. Gregorian chant is the music characteristic of the Roman Church. Therefore, its use is not only permitted, but encouraged at all liturgical ceremonies above all other styles of music, unless circumstances demand otherwise. From this it follows that:
a) The language of Gregorian chant, because of its character as liturgical music, must be exclusively Latin.
b) The priest and his ministers must use only the Gregorian melodies given in the standard editions when they sing their parts according to the rubrics of the liturgical ceremonies. Any sort of instrumental accompaniment is forbidden.
This is binding also on choir, and congregation when they answer the chants of the priest or his ministers according to the rubrics.
c) Finally, if a particular indult has been granted for the priest, deacon, subdeacon, or lector to read solemnly the Epistle, Lesson, or Gospel in the vernacular after they have been chanted in their Gregorian melodies, they must be read in a loud and clear voice, without any attempt to imitate the Gregorian melodies (cf. no. 96e).
17. When the choir is capable of singing it, sacred polyphony may be used in all liturgical ceremonies. This type of sacred music is specially appropriate for ceremonies celebrated with greater splendor, and solemnity.
18. Modern sacred music may also be used in all liturgical ceremonies if it conforms to the dignity, solemnity, and sacredness of the service, and if there is a choir capable of rendering it artistically.
20. Religious music should be entirely excluded from all liturgical functions; however, such music may be used in private devotions. With regard to concerts in church, the principles stated below in paragraphs 54, and 55 are to be observed.
21. Everything which the liturgical books prescribe to be sung, either by the priest and his ministers, or by the choir or congregation, forms an integral part of the sacred liturgy. Therefore:
a) It is strictly forbidden to change in any way the sung text, to alter or omit words, or to introduce inappropriate repetitions. This applies also to compositions of sacred polyphony, and modern sacred music: each word should be clearly, and distinctly audible.
b) It is explicitly forbidden to omit either the whole or a part of any liturgical text unless the rubrics provide for such a change.
c) But if for some reason a choir cannot sing one or another liturgical text according to the music printed in the liturgical books, the only permissible substitution is this: that it be sung either recto tono,
1. Principal liturgical functions in which sacred music is used
24. The more noble form of the Eucharistic celebration is the solemn Mass because in it the solemnities of ceremonies, ministers, and sacred music all combine to express the magnificence of the divine mysteries, and to impress upon the minds of the faithful the devotion with which they should contemplate them. Therefore, we must strive that the faithful have the respect due to this form of worship by properly participating in it in the ways described below.
26. High Mass, too, has its special place, even though it lacks the sacred ministers, and the full magnificence of the ceremonies of solemn Mass, for it is nonetheless enriched with the beauty of chant, and sacred music.
It is desirable that on Sundays, and feast days the parish or principal Mass be a sung Mass.
What has been said above in paragraph 25 about the participation of the faithful in Solemn High Mass also applies to the High Mass.
29. The first way the faithful can participate in the low Mass is for each one, on his own initiative, to pay devout attention to the more important parts of the Mass (interior participation), or by following the approved customs in various localities (exterior participation).
Those who use a small missal, suitable to their own understanding, and pray with priest in the very words of the Church, are worthy of special praise. But all are not equally capable of correctly understanding the rites, and liturgical formulas; nor does everyone possess the same spiritual needs; nor do these needs remain constant in the same individual. Therefore, these people may find a more suitable or easier method of participation in the Mass when ``they meditate devoutly on the mysteries of Jesus Christ, or perform other devotional exercises, and offer prayers which, though different in form from those of the sacred rites, are in essential harmony with them''.
In this regard, it must be noted that if any local custom of playing the organ during low Mass might interfere with the participation of the faithful, either by common prayer or song, the custom is to be abolished. This applies not only to the organ, but also to the harmonium or any other musical instrument which is played without interruption. Therefore, in such Masses, there should be no instrumental music at the following times:
After the priest reaches the altar until the Offertory;
From the first versicles before the Preface until the Sanctus inclusive;
From the Consecration until the Pater Noster, where the custom obtains;
From the Pater Noster to the Agnus Dei inclusive; at the Confiteor before the Communion of the faithful; while the Postcommunion prayer is being said, and during the Blessing at the end of the Mass.
35. The conventual Mass, among all other liturgical ceremonies, has a special dignity: this is the Mass which must be celebrated daily in connection with the Divine Office by those whom the Church obliges to choir service.
For the Mass, together with the Divine Office, is the summit of all Christian worship; it is the fullness of praise offered daily to Almighty God in public, and external ceremony.
Since, however, this perfection of public, and corporate worship cannot be realized daily in every church, it is performed vicariously by those who have the ``choir obligation'', and are deputed for this service. This is especially true of cathedral churches acting in the name of the entire diocese.
Thus all ``choir'' ceremonies should be performed with special dignity and solemnity, making use of both chant and sacred music.
2. Kinds of Sacred Music
48. Compositions of sacred polyphony, by the old masters as well as by contemporary artists, are not to be introduced into the liturgy unless it has first been established that, either in their original form or in arrangements, they comply fully with the ideals, and admonitions set forth in the encyclical Musiczh sacrzh. If there is any doubt, the diocesan commission on sacred music is to be consulted.
49. Ancient manuscripts of this music still lying about in archives should be uncovered, and if necessary, steps taken for their preservation. Musicologists should make critical editions of them as well as editions suitable for liturgical use.
B. Modern sacred music
50. Modern compositions of sacred music are only to be used during liturgical ceremonies if they conform to the spirit of the liturgy, and to the ideals of sacred music as laid down in the encyclical Musiczh sacrzh. Judgments in this matter are to be made by the diocesan commission of sacred music.
51. Hymns ought to be highly encouraged, and fostered, for this form of music does much to imbue the Christian with a deep religious spirit, and to raise the thoughts of the faithful to the truths of our faith.
Hymns have their own part to play in all the festive solemnities of Christian life, whether public or of a more personal nature; they also find their part in the daily labors of the Christian. But they attain their ideal usefulness in all private devotions, whether conducted outside or inside the church. At times their use is even permitted during liturgical functions, in accord with the directions given above in paragraphs 13-15.
D. Religious music
54. The type of music which inspires its hearers with religious sentiments, and even devotion, and yet, because of its special character cannot be used in liturgical functions, is nevertheless worthy of high esteem, and ought to be cultivated in its proper time. This music justly merits, therefore, the title ``religious music''.
55. The proper places for the performance of such music are concert halls, theaters, or auditoriums, but not the church, which is consecrated to the worship of God.
However, if none of these places are available, and the local Ordinary judges that a concert of religious music might be advantageous for the spiritual welfare of the faithful, he may permit a concert of this kind to be held in a church, provided the following provisions are observed:
a) The local Ordinary must give his permission for each concert in writing.
b) Requests for such permissions must also be in writing, stating the date of the concert, the compositions to be performed, the names of the directors (organist, and choral director), and the performers.
c) The local Ordinary is not to give this permission without first consulting the diocesan commission of sacred music, and perhaps other authorities upon whose judgment he may rely, and then only if he knows that the music is not only outstanding for its true artistic value, but also for its sincere Christian spirit; he must also be assured that the performers possess the qualities to be mentioned below in paragraphs 97, and 98.
d) Before the concert, the Blessed Sacrament should be removed from the church, and reserved in one of the chapels, or even in the sacristy, is a respectful way. If this cannot be done, the audience should be told that the Blessed Sacrament is present in the church, and the pastor should see to it that there is no danger of irreverence.
e) The main body of the church is not to be used for selling admission tickets or distributing programs of the concert.
f) The musicians, singers, and audience should conduct themselves, and dress in a manner befitting the seriousness, and holiness of the sacred edifice in which they are present.
g) If circumstances permit, the concert should be concluded by some private devotion, or better still, with benediction of the Blessed Sacrament. In this way the devotion, and edification of the faithful, which was the purpose of the concert, will be crowned by a religious service.
60. The following principles for the use of musical instruments in the sacred liturgy are to be recalled:
a) Because of the nature, sanctity, and dignity of the sacred liturgy, the playing of any musical instrument should be as perfect as possible. It would be preferable to omit the use of instruments entirely (whether it be the organ only, or any other instrument), than to play them in a manner unbecoming their purpose. As a general rule it is better to do something well, however modest, than to attempt something more elaborate without the proper means.
b) The difference between sacred, and secular music must be taken into consideration. Some musical instruments, such as the classic organ, are naturally appropriate for sacred music; others, such as string instruments which are played with a bow, are easily adapted to liturgical use. But there are some instruments which, by common estimation, are so associated with secular music that they are not at all adaptable for sacred use.
c) Finally, only instruments which are personally played by a performer are to be used in the sacred liturgy, not those which are played mechanically or automatically.
64. As a substitute, the electronic organ may be tolerated temporarily for liturgical functions, if the means for obtaining even a small pipe organ are not available. In each case, however, the explicit permission of the local Ordinary is required. He, on his part, should consult the diocesan commission on sacred music, and others trained in this field, who can make suggestions for rendering such an instrument more suitable for sacred use.
65. The musicians who play the instruments mentioned in paragraphs 61-64 should be sufficiently skilled in their art so that they can accompany the sacred chant or any other music, and can also play alone with appropriate skill. Indeed, since it is also often necessary to be able to improvise music suited to the various phases of the liturgical action, they should possess sufficient knowledge of, and capability in the techniques of organ playing , and of sacred music.
Organists should religiously care for the instruments entrusted to them. Whenever they are seated at the organ during sacred functions, organists should be conscious of the active part they are taking in glorifying God, and edifying the faithful.
C. Sacred instrumental music
68. Other instruments besides the organ, especially the smaller bowed instruments, may be used during the liturgical functions, particularly on days of greater solemnity. These may be used together with the organ or without it, for instrumental numbers of for accompanying the singing. However, the following rules derived from the principles stated above (no. 60) are to strictly observed:
a) the instruments are truly suitable for sacred use;
b) they are to be played with such seriousness, and religious devotion that every suggestion of raucous secular music is avoided, and the devotion of the faithful is fostered;
c) the director, organist, and other instrumentalists should be well trained in instrumental techniques, and the laws of sacred music.
69. The local Ordinary, with the aid of his diocesan commission on sacred music, should see to it that these rules on the use of instruments during the sacred liturgy are faithfully observed. If need be, they should not hesitate to issue special instructions in this regard as required by local conditions, and approved customs.
70. Musical instruments which by common acception, and use are suitable only for secular music must be entirely excluded from all liturgical functions, and private devotions.
71. The use of automatic instruments and machines, such as the automatic organ, phonograph, radio, tape or wire recorders, and other similar machines, is absolutely forbidden in liturgical functions and private devotions, whether they are held inside or outside the church, even if these machines be used only to transmit sermons or sacred music, or to substitute for the singing of the choir or faithful, or even just to support it.
However, such machines may be used, even inside the church, but not during services of any kind, whether liturgical or private, in order to give the people a chance to listen to the voice of the Supreme Pontiff or the local Ordinary, or the sermons of others. These mechanical devices may be also be used to instruct the faithful in Christian doctrine or in the sacred chant or hymn singing; finally they may be used in processions which take place outside the church, as a means of directing, and supporting the singing of the people.
74. For any radio or television broadcast of liturgical functions or private devotions, the local Ordinary must give his express permission; this is required whether they are being held inside or outside the church. Before granting permission, the Ordinary must be sure that:
a) the singing and music fully comply with the laws of the liturgy, and sacred music;
b) in the case of a television broadcast, all those taking part in the ceremonies are so well instructed that the ceremonies may be carried out in full conformity with the rubrics, and with fitting dignity.
Standing permission may be granted by the local Ordinary for broadcasts to originate regularly from a particular church if, upon inquiry, he is certain that all the requirements will faithfully be met.
5. Persons having principal functions in sacred music and the sacred liturgy
93. The priest-celebrant is the presiding officer in all liturgical functions. All others participate in the service in their own proper manner. Thus:
a) Clerics present at a liturgical ceremony in the manner, and form prescribed by the rubrics, who fulfill the role of sacred or minor ministers or sing in the choir or schola cantorum, exercise a liturgical ministry which is direct, and proper to them by virtue of their ordination or elevation to the clerical state.
b) The laity also participate actively in the liturgy by virtue of their baptismal character which enables them, in their own way, to offer the divine Victim to God he Father with the priest in the holy sacrifice of the Mass itself.
c) Therefore, laity of the male sex, whether boys, young men, or adults, when appointed by competent ecclesiastical authority to serve at the altar or to perform the sacred music, and when they fulfill this office in the manner, and form prescribed by the rubrics, exercise a liturgical ministry which is direct, though delegated. If they are singers, they must be a part of the choir or schola cantorum.
97. Those who have a part in the sacred music - composers, organists, choir directors, singers, and instrumentalists - should above all be outstanding Christians, and give example to the rest of the faithful, conformable to their role as direct or indirect participants in the sacred liturgy.
98. Besides excelling in Christian faith and morals, these persons must also possess the training necessary to fulfill their particular role of participation in the liturgy.
a) Composers of sacred music should have a thorough knowledge of the historical, dogmatic or doctrinal, practical, and rubrical aspects of the liturgy; they should know Latin; and finally they should be well trained in the art, and the history of both sacred, and secular music.
b) Organists, and choir directors should also have a comprehensive knowledge of the liturgy, and a sufficient understanding of Latin; and finally they should be well trained in their art, and able to carry out their role worthily, and competently.
c) Singers, both boys and adults, should be taught the meaning of the liturgical functions, and of the texts they sing insofar as they are capable of comprehending, for then their singing will be inspired by an understanding mind, and a loving heart, and be truly rendered as befits the service of an intelligent person. They should also be taught to pronounce the Latin words correctly, and distinctly. Pastors, and those directly in charge must see to it that good order, and true devotion reign in that part of the church occupied by the singers.
d) Instrumentalists who perform sacred music should not only be well trained in the techniques of their instruments, but should also know how to adapt them to the playing of sacred music. They should be well enough instructed in the sacred liturgy that their devotion will be evidenced by an artistic performance.
102. The local Ordinary should, after consultation with the diocesan commission of sacred music, fix a scale of wages to be observed throughout the diocese for the various offices mentioned in the previous paragraph.
6. Duty to cultivate sacred music and sacred liturgy
104. Sacred music, and the liturgy are intimately bound together; sacred chant forms an integral part of the liturgy (no. 21), while hymns are used to a great extent in private devotions, and at times even during liturgical functions themselves (no. 19). For that reason, instruction in both sacred music, and sacred liturgy cannot be separated from each other: both belong to the life of the Christian, though in varying degree, depending upon one's own of life, and rank among the clergy, and faithful.
Hence, every Christian should have some instruction in the sacred liturgy, and sacred music, in accordance with his station in life.
106. In private or elementary schools the following directions should be observed:
a) If the schools are conducted by Catholics, and are free to set up their own programs, the school children are to be given additional training in sacred music, and hymn. Above all, they are to be more thoroughly instructed in the holy sacrifice of the mass, adapted to their own age level, and in the manner of participating in it; they should also be taught to sing the simpler Gregorian melodies.
b) If the schools are public, and subject to the laws of the state, the local Ordinaries should see to it that these children, too, are educated in the sacred liturgy, and the sacred chant.
109. Young men aspiring to the priesthood need an even greater knowledge of the liturgy, and sacred music than do the faithful; wherefore, they should be given complete and sound instruction in both. Hence, everything prescribed by Canon Law in this matter, or specifically ordered by competent authority, must be observed in every detail under serious obligation of conscience.
111. Some churches, by their very nature, require that the sacred liturgy, and sacred music be carried out with special dignity, and solemnity. Such churches are the principal parish churches, collegiate and cathedral churches, and important centers of pilgrimages. Those attached to these churches, whether clergy, servers, or musicians, should diligently prepare themselves to perform the sacred chant, and carry out the liturgical functions in a pre-eminent fashion.
112. The foreign missions present special problems in the introduction, and adaptation of the sacred liturgy, and sacred chant.
A distinction must first be made between people who have their own culture, very rich, and in some instances going back for thousands of years, and people who still have not developed a high level of culture.
With this in mind, some general principles may be established:
a) Missionary priests must be trained in the sacred liturgy, and sacred chant.
b) If the people to whom the priests are sent already have a highly developed musical culture, the missionaries should cautiously try to adapt this native music to sacred use. In particular, private devotions should be arranged so that the native faithful can use their own traditional language, and musical idiom to express their religious devotion. But the missionaries should remember that even the Gregorian melodies can sometimes easily be sung by native peoples, as experience has shown, because these melodies often bear close resemblances to their own native music.
c) But if the natives are of a less civilized race, then what has been said in paragraph ``b'' must be adapted to suit the capabilities, and character of these peoples. Where there is a good religious family life and community of spirit, the missionaries should be very careful not to extinguish it, but rather to rid it of superstitions, and imbue it with a true Christian spirit.
B. Public and private schools of sacred music
113. Pastors and those in charge shall see to it that there are servers present, boys, young men, and even adults, for liturgical functions and private devotions. These servers should be noted for their devotion, well instructed in the ceremonies, and adequately trained in sacred music, and hymns.
114. The boy choir, an organization praised over and over by the Holy See, is even more important to the performance of sacred music, and the singing of hymns.
It is desirable, and every effort should be made, that every church have its own boy choir. The boys should be thoroughly instructed in the sacred liturgy, and particularly in the art of singing with devotion.
116. The great importance of academies and schools of higher learning which are established specifically for more comprehensive studies in sacred music must be recognized. The Pontifical Institute of Sacred Music in Rome, established by Saint Pius X, holds first place among these.
Local Ordinaries should send priests with special talent and a love for this art to such schools, particularly to the Pontifical Institute of Sacred Music in Rome.
117. In addition to the schools established to teach sacred music, many societies, named after Saint Gregory or Saint Cecilia or other saints, have been founded to promote sacred music in various ways. The increase of such societies and their associations on a national or even international scale can do much to further the cause of sacred music.
118. Since the time of Pius X, every diocese has been required to have a special commission of sacred music. The members of this commission, both priests and laymen, specially selected for their knowledge, experience, and talent in the various kinds of sacred music, are to be appointed by the local Ordinary.
catholiccrossreference.online/bible/magisterium.cgi?query=music&how=exact
Motu Proprio promulgated by Pope Pius X on November 22, 1903
I. General Principles
II. The different kinds of Sacred Music
III. The Liturgical Text
IV. External form of the sacred compositions
V. The singers
VI. Organ and instruments
VII. The length of the liturgical chant
VIII. Principal means
IX. Conclusion
Papal Letter to the Cardinal Vicar of Rome – December 8, 1903
The Ministry of the Composer
In the Constitution on the Sacred Liturgy we read:
Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be only sung by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful. The texts intended to be sung must always be in conformity with Catholic teaching; indeed they should be drawn chiefly from Holy Scripture and from liturgical sources.
Regarding Music
The relationship between the music and the liturgical context
Is the melody singable by an assembly?
Is the melodic range suitable for an average assembly?
Is the rhythm accessible to the assembly or too complex?
Does the phrasing facilitate participation? Does it allow people to breathe?
Is there consistency in the verse structure suited to congregational singing?
Is the music seasonally appropriate? Is it reserved in preparatory seasons, restrained in penitential times, festive in other seasons?
The relationship between text and music
Does the music suit the text? Does it support the text or distract from it?
Are natural speech rhythms and inflections respected, ignored or even contradicted, in melody, rhythm and metre?
The artistry of the music
Is the melody memorable? Can it stand on its own without accompaniment?
Does the melody provide interest and balance (steps and leaps)?
Can the music be performed in a variety of styles?
The Language of Music
While the Church prizes unaccompanied song and continues to sing and compose in this
way, there are many styles of music that have the capacity to lead people to give glory to God
and to grow in holiness. Care must be taken, however, that the style does not have unwelcome
associations for those who gather to celebrate the Church’s liturgy. Melodies with secular and
commercial resonances are to be avoided. Ideally, new music should first be tested outside the
liturgy to ensure it is free from associations which would distract from the liturgy. Some
compositions will find a home in a devotional setting, rather than in liturgical use.
Particular care is necessary when using or adapting existing melodies, even familiar religious
songs. The structure of the liturgical text should be respected.
Responsorial Psalms
The responsorial psalm is the assembly's acclamation of the proclamation of God's Word in our midst. That is how we worship: proclamation followed by acclamation.
Vision Statement
1. Being rooted in Catholic Spirituality that seeks the overall growth of the members;
2. Being committed to rehearsals;
3. Having discipline and respect for authority;
4. Learning new hymns; and
5. Being knowledgeable of the liturgy and various liturgical seasons of the church.
Choir Membership Requirements
To become a member of a choir, one must:
1. Possess a love and a reasonable skill for singing;
2. Be willing to abide by the rules and regulations of Holy Ghost Catholic Church;
3. Have a positive attitude, team spirit, and a sense of great expectation;
4. Be a practicing Catholic who is a registered member of Holy Ghost Catholic Church;
5. Attend Safe Environment Training if the choir has minors singing with adults; and
6. Attend rehearsals.
General Choir Etiquette
It is expected that a choir member conducts oneself as a model for others to follow. As part of the inspiration and motivation that choir members seek to bring to the Worshiping Community.
All members of each choir will be required to:
1. Show reverence and respect for our God when entering the church by refraining
from socializing or engaging in idle talk.
2. Be punctual by reporting to rehearsal and/or Mass at the designated time.
a. For Mass, all choir members should report no later than fifteen (15) minutes before the beginning of Mass. When the word of God is being
proclaimed, or the choir is singing, anyone who is tardy should wait and take his/her seat at the end of the reading or song.
b. For rehearsals, all should be present at the appointed time.
3. Give undivided attention to the director at all times.
4. Respect the knowledge and abilities of the director / musician.
5. Discuss ideas with the director/musician and/or coordinator(s) in a tactful, loving manner. The final decision(s) will be made by the director, musician and/or coordinator
6. Allow others to get their fair share by taking turns in a lead role.
7. Ask questions and clarifications at an appropriate time without causing disruption or delay of rehearsal.
8. Turn off cell phones and other electronic devices.
9. Not hold private conversations during rehearsals and during Mass.
10. Not chew gum and candies during Mass and rehearsals, and
11. Follow all the required postures of the Mass (kneeling, sitting, standing, bowing
etc.).
In these matters, the members of the choir should be an example to the worshipping community.
Rehearsal Preparation
In order to maximize the efficiency of our limited rehearsal time, choristers are expected to prepare for their respective rehearsal and liturgy during the week. The Music Director will send the music selection via email for each rehearsal at the beginning of the week. All members of the Music Ministry are encouraged to study their music prior to each rehearsal and to review their music after each rehearsal in preparation for the weekly liturgy.
Attendance
The Music Ministry requires a significant commitment of time. Each choir is a team and every member is essential in ensuring the unity and blend of the ensemble. Attendance and punctuality at each rehearsal during weekdays or prior to Mass is vital to the success of our ministry. Frequent absences affect not only the individual chorister’s music-making, but also that of the entire choir and can negatively impact the prayer of the assembly and the overall quality of the liturgy. If a singer misses the presentation of new material or directions, they will, at the very least, slow the choir’s progress in the next rehearsal while they are learning missed material.
If a chorister must miss a rehearsal or Mass, they must notify the Music Director in advance.
As this is a ministry to the assembly that occurs at the Masses, choir members are expected to be present for Mass. If choristers cannot attend and participate in Mass regularly, they should reconsider whether this ministry is appropriate for them.
Attendance Policy (11:30 Choir)
If a chorister misses two Thursday evening rehearsals in a row, the chorister will be asked not to sing the following Sunday. However, if a chorister misses two rehearsals in a row, they may request to have a one-on-one rehearsal with the choir director, which would qualify the chorister to sing on Sunday despite the missed rehearsals. Choristers may miss one or two rehearsals during Christmas/Easter/Concert preparations. If a chorister misses more rehearsals, they will be required to rehearse with the Music Director on their own individual basis or withdraw from singing in the choir for the particular event.
Punctuality
Being on time means you are in your seat and ready to sing at the scheduled rehearsal time.
Rehearsals
Time devoted to rehearsal is the key to success of every choir. Keeping this in mind, members are expected to be punctual for each rehearsal session. If there is an expected
tardiness due to extenuating circumstances, the member should inform the Coordinator in a timely manner. During rehearsal, before raising a question(s) related to an unclear
selection of music or song, members should secure permission from the director or musician.
Due to the nature of this ministry, a new member shall be required to attend no less than two (2) rehearsals before he/she is allowed to participate in singing at the weekend Mass. Considering the importance of time and the personal sacrifice each member makes, it is important to limit the rehearsals to a set time. Therefore, rehearsals shall not exceed two hours.
Hymns are selected for the Liturgy with special attention given to the liturgical season and specific liturgical celebration.
Conflict Resolution
In order to avoid conflict or disharmony, choir members are expected to refrain from
asking controversial questions that may cause a distraction and/or unrest during
rehearsals. If this type of question must be asked, it should be asked after rehearsal to the
following persons in the following order: Director, Musician, and then the coordinator. If
the aforesaid officers cannot resolve the issue(s) the choir member(s) may make an
appointment with the pastor for further assistance. In order to resolve the issue, the pastor
will consult the officers of the choir to ascertain if any policy mentioned in this guideline
was violated by the member or not enforced by the officers. In all cases, the decision of
the pastor will remain final.
Choir Etiquette
The Music Ministry promotes mutual respect among all of its members as well as the accompanist, the director, the presider (priest), other ministries and the assembly. We encourage each other through positive support and guidance and we respect the value that each voice brings to our sung prayer both during the liturgy and in our relationships more generally. Our desire is to make the choir itself a secure, supportive environment.
During both rehearsals and liturgy, we ask that choristers please refrain from unnecessary talking and other forms of disruptive behavior while others are singing or when the director is giving instructions. While we recognize that there is a “social” aspect to being part of the music ministry, choir rehearsal time is exclusively devoted to the task at hand—preparing properly for liturgy and performance.
During liturgy it is important to remember that as music ministers we are located at the front of the church and are visible to the rest of the assembly. Consequently, any unnecessary disruption from the choir can negatively impact the prayer of those to whom we minister as well as each other.
Choosing Music for Mass
When choosing music and songs, “the criterion that must inspire every composition and
performance of songs and sacred music is the beauty that invites prayer” (John Paul II,
Address to the Pontifical Institute of Sacred Music, 3; cf. Chirograph, 3).
Music preparation involves the liturgy team, the musicians, the presider and the
assembly. All need to work in collaboration, respecting the particular expertise each one
brings to the process (cf. MS 5).
The Liturgical – Musical – Pastoral Criterion
There are three long-held principles that help us to choose the most appropriate music
(cf. Pope John Paul II’s Chirograph on Sacred Music, 4-6; Musicam Sacram, 5; and Pope
Pius X’s Tra Le Sollecitudini, 2, 7-9, 22-23):
1. Liturgically, it must be holy
To be holy, the music must serve the spirit and norms of the liturgy and the faith it expresses.
Is it closely connected with the liturgical action?
Not all music is suitable. Even some so-called Sacred Music “cannot be part of the
celebration without violating the spirit and norms of the liturgy itself” (Chirograph, 4). To
be closely connected to the liturgical action, “the meaning and the proper nature of each
part and of each song” must be carefully observed (MS 6).
Does it express the Church’s faith and teaching?
The text should be based on appropriate scriptural or liturgical texts. It should refer to
God in the persons of the Trinity. It should express the nature of the Church as the
People of God and the Body of Christ. It must not conflict with the catechetical teaching
and tradition of the Church.
Faith and Life Liturgy Notes, vol 1 no 10 (December, 2012)
2. Musically, it must be beautiful
Much of the beauty of liturgical music is in its apt suitability to liturgical prayer.
Does it possess sound form?
The melodic range and contour, the harmony, rhythm and tempo must be aptly suited to
singing by the intended music ministers – priest, cantor, schola (choir) and assembly.
The form of song must be aptly suited to the particular part of the liturgy – cantillation
(for prayers, readings and proclamations), dialogue, acclamation, litany, responsorial
psalm, processional antiphon or song with repeating refrain, or hymn (see page 3).
Is it true art?
It must have enduring appeal, able to bear the weight of repeated singing over time.
Does it fully adhere to the text it presents?
It must suitably embody the text of the liturgy. Prescribed texts must be used without
variation. Where texts are not prescribed, “they must be in keeping with the parts of the
Mass, the feast or the liturgical season” (MS 36).
Does it synchronise with the intended time and moment in the liturgy?
The music should be synchronised to begin and end at the times specified by the rite.
“The various moments in the Liturgy require a musical expression of their own. From
time to time this must fittingly bring out the nature proper to a specific rite, now
proclaiming God’s marvels, now expressing praise, supplication or even
God has given you unique abilities, talents, and gifts. At Saddleback Church, we say they represent a person’s SHAPE — Spiritual gifts, Heart, Abilities, Personality, and Experiences. This bundle of talents is the thing God has given you that makes you who you are and sets you apart from other people.
If you think your talents are simply for you to make a lot of money, retire, and die, you’ve missed the point of your life. God gave you talents to benefit others, not yourself. And God gave other people talents that benefit you.
We’re all a part of the body of Christ, and each part matters. There are no insignificant people in the family of God. You are shaped to serve God, and he is testing you to see how you are going to use the talents he gave you.
Whether you are a musician or an accountant, a teacher or a cook, God gave you those abilities to serve others. Today’s verse says, “Each of you should use whatever gift he has received to serve others, faithfully administering God’s grace in its various forms” (1 Peter 4:10 NIV).
You are a manager of the gifts God has given to you. They may be great or small in your eyes, but they matter to God. “Now it is required that those who have been given a trust must prove faithful” (1 Corinthians 4:2 NIV). When God made you, he made an investment in you, and he expects a return on that investment.
Are you using what He’s given you for the benefit of others to make the world a better place? Or are you just using those talents to benefit yourself?
When God gives you a talent, he expects you to use it. It’s like a muscle. If you use it, it will grow. If you don’t, you’ll lose it. If you have a talent but are afraid to use it, or if you get lazy and don’t use it to benefit others, you’re going to lose it. Like the parable of the ten talents in Luke 19, if you don’t use what God has given you, he will take it away and give it to someone else who will.
But if you use your talents wisely, God will give you more. If you use your time wisely, God will give you more time. If you use your energy wisely, God will give you more energy. If you use your influence wisely, God will increase your influence. God will bless your level of faithfulness.
Protocol for Coordinating Mass - Boston College
Guidelines and Protocols for Liturgical Ministers - Catholic Diocese of Saginaw
Guidelines - Ministry of Cantor
Cantors Choirs Keyboardists
https://www.stmaryoticandhoc.org/music-ministries.html
Guidelines on Music in the Liturgy
Music in Catholic Worship - The Theology of Celebration
http://hgcatholic.org/media/1/Choir_Guidelines.pdf
https://www.st-josephs.ca/ministries/liturgy-music-cluster-2/music-ministry
https://d2y1pz2y630308.cloudfront.net/15664/documents/2016/11/Music%20within%20Mass.pdf
https://archregina.sk.ca/wp-content/uploads/2011/12/Liturgical-Principles-for-Pastoral-Musicians.pdf
https://archregina.sk.ca/wp-content/uploads/2011/12/Rights_and_Permissions_Policy.pdf
https://archregina.sk.ca/wp-content/uploads/2011/12/Music-At-Mass-Presentation.pdf
https://www.catholicyyc.ca/uploads/6/5/5/7/65570685/composer-guide.pdf
https://www.gbdioc.org/images/stories/Resource_Site/Worship/Guidelines-Resources-for-Musicians.pdf
https://worshipleader.com/leadership/team-building/getting-your-band-to-show-up-on-time/
https://faithconnector.s3.amazonaws.com/whiterockbaptistchurch/downloads/mgm_music_ministry.pdf
https://churchtechtoday.com/7-guidelines-for-a-healthy-worship-team/
https://iblp.org/sites/default/files/pdf/punctuality_for_online_0.pdf
https://files.ecatholic.com/27402/documents/2020/9/music_ministry_guidelines.pdf?t=1599512214000
https://www.csmedia1.com/myharvest.net/music-ministry-contract_do-not-copy.pdf
Proclaimers of the Word Handbook
Church Documents
The Constitution on the Sacred Liturgy: Sacrosanctum Concilium. Online:
General Instruction of the Roman Missal. Online:
http://www.usccb.org/prayer-and-worship/themass/general-instruction-of-the-roman-missal/index.cfm
On the Word of God in the Life and Mission of the Church: Verbum Domini. Online:
Dogmatic Constitution on Divine Revelation: Dei Verbum. Online:
Introduction to the Lectionary: Online:
http://www.ewtn.com/library/CURIA/CDWLECT.HTM
The Ministry of the Lector - St. Joseph's, Belleville
Handbook for Lectors and Proclaimers of the Word - St. Isidore Parish
Prayer for Lectors
Almighty God, cleanse my heart and my lips that I may worthily proclaim your
Gospel; bless my efforts to prepare, that I may meditate on your Word, understand it
better, and proclaim it faithfully to your people; surround my ministry with your
presence, that I may carefully perform the task entrusted to me, preach Jesus Christ
to others, announce the Word of God properly, watch it grow in the hearts of
listeners and give glory to you, Father, through your Son and in the Holy Spirit.
Amen.
The Inspired Word of God – Holy Family, Inverness “All scripture is inspired by God.”
“Strive for PERFECTION, attain EXCELLENCE.” https://core-docs.s3.amazonaws.com/documents/asset/uploaded_file/1406610/RSD_Choral_Handbook_21-22.pdf
Psalmist
Within the music ministry of a parish, a psalmist is the "cantor of the psalm" that occurs after the First Reading. He or she must carefully meditate on the Psalms and be able to sing them "with clarity, conviction, and sensitivity to the text, the musical setting, and those who are listening." When necessary, the psalmist may also sing the Gospel acclamation and verse (Sing to the Lord: Music in Divine Worship [STL], nos. 34-35; see GIRM, no. 102). In current practice, it is usually the cantor who also assumes the duties of the psalmist. Nonetheless, it may be useful for parish choirs to have one of its members devote himself or herself to contemplating the literary, theological, and musical aspects of the Psalms, in order to truly bring out the beauty of those texts to the gathered faithful at Mass. The psalmist may also be useful at other liturgical celebrations, including the Liturgy of the Hours or other rites.
Choir, Pastoral Musicians, and Cantor "Among the faithful, the schola cantorum or choir exercises its own liturgical function, its place being to take care that the parts proper to it, in keeping with the different genres of chant, are properly carried out and to foster the active participation of the faithful by means of the singing" (GIRM, no. 103). The USCCB's guidelines on liturgical music provide additional clarity on the choir's supporting role:
The choir must not minimize the musical participation of the faithful. The congregation commonly sings unison melodies, which are more suitable for generally unrehearsed community singing. This is the primary song of the Liturgy. Choirs and ensembles, on the other hand, comprise persons drawn from the community who possess the requisite musical skills and a commitment to the established schedule of rehearsals and Liturgies. Thus, they are able to enrich the celebration by adding musical elements beyond the capabilities of the congregation alone. (STL, no. 28)
Liturgical documents during and after the Second Vatican Council affirm the primacy of the gathered faithful in their singing the liturgy. Choirs support the people and give added beauty to liturgical celebrations. When choral pieces are sung, the faithful "unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God" (Musicam Sacram, no. 15). The organist and other instrumentalists likewise assist the choir and the faithful through their respective instruments, "without dominating or overpowering them" (STL, no. 41).
A key member of the choir is the cantor. He or she supports the singing done by the faithful, but does not overpower their collective voice, nor that of the choir. In the absence of a choir, the cantor directs the singing of the various hymns and chants, while allowing the people to sing their proper parts as well. He or she may also serve as the psalmist when none is available, as noted above (see GIRM, no. 104; STL, nos. 37-40). The cantor may exercise his or her ministry from a conveniently located stand, but the ambo should only be used by the cantor if leading the singing of the Responsorial Psalm (see GIRM, no. 61; STL, nos. 36 and 40).
Choir Rehearsal Etiquette
Webinar: How to Run A More Effective Choir Rehearsal
Webinar: How to Run A More Effective Choir Rehearsal
how to handle tardiness choir rehearsal
https://www.totalchoirresources.com/blog/67628-deal-singers-dont-show-choir
How to lead a choir when you can't sing
10 HABITS FOR GOOD CHOIR MEMBERS HOW TO HELP YOUR CHOIR DIRECTOR
10 Habits for Good Choir Members | Ministry127
Choir Handbook
List of Standard Choral Singing Skills
List of Standard Organizational Skills/Habits
List of Choral Singing Skills and Responsibilities | Sing, Montana!
Expectations
REHEARSAL/CLASSROOM BEHAVIOR EXPECTATIONS AND CONSEQUENCES
CONCERT BEHAVIOR EXPECTATIONS
https://www.pfisd.net/Page/4706
REHEARSAL EXPECTATIONS
https://southlakeschorus.org/wp-content/uploads/2018/09/Rehearsal-Expectations.pdf
Do the right things to reduce tardiness
You're Late! How One School "Solved" the Tardiness Problem - Angels And Superheroes
https://stjohnswinthrop.org/faith-formation/service-why-is-it-important
Being involved in liturgical ministries is a way to bring a new dimension to your personal experience of Mass. By serving in various roles at the liturgy, we can come to Christ in a more intentional way.
https://www.catholicapostolatecenter.org/blog/on-the-importance-of-liturgical-ministers
Nothing Catholics do is more important than celebrating the liturgy.
Introduction to Liturgical Ministries
Liturgical ministry is an excellent opportunity to fulfill your baptismal call of service to one another. Our liturgies utilize the talents and gifts that God has given this community to the fullest extent.
Whether participation is through “behind the scenes” preparation and planning or through a public role of service within the Mass, Parishioner contributions help our liturgies to be truly life-giving celebrations. Please prayerfully consider joining one of these ministries.
https://saintcolumbachurch.org/liturgical-ministries
Your willingness to commit to a monthly schedule, to prepare properly for your service, and to arrive on time dressed appropriately for your assigned Mass
The Mass Altar Servers, Readers, Eucharistic Ministers, Children's Homilists, Musicians, Ushers/Greeters/Hospitality Ministers, and those involved with Mass set-up lend their talents to help provide a meaningful worship experience, and are trained and coordinated by the Liturgy Committee, our Director of Religious Education, our Deacon and the Pastor. Your willingness to serve as an Extraordinary Minister of the Eucharist, reflects not only response to your Baptismal call to serve the people of God, but a commitment to Christ as you share in the preaching, teaching, and leading aspects of the church. Your willingness to commit to a monthly schedule, to prepare properly for your service, and to arrive on time dressed appropriately for your assigned Mass, further reflects that commitment.
"The Eucharist constitutes the very life of the Church,
for the Lord said, I am the bread of life.
No one who comes to me shall ever be hungry,
no one who believes in me shall ever thirst."
from the Catechism of the Catholic Church, # 1157:
"Song and music fulfill their function as signs in a manner all the more significant when they are "more closely connected . . . with the liturgical action," according to three principal criteria: beauty expressive of prayer, the unanimous participation of the assembly at the designated moments, and the solemn character of the celebration. In this way they participate in the purpose of the liturgical words and actions: the glory of God and the sanctification of the faithful:
How I wept, deeply moved by your hymns, songs, and the voices that echoed through your Church! What emotion I experienced in them! Those sounds flowed into my ears, distilling the truth in my heart. A feeling of devotion surged within me, and tears streamed down my face -- tears that did me good. (St. Augustine, Convessions 9:6, 14)
https://stjosephmantua.com/liturgical-ministry
Choir director truth: Burnout in music ministry is real, but avoidable
OCP
https://www.ocp.org/en-us/blog/entry/choir-directors-do-these-truths-resonate-with-you
But before individuals can be prepared for liturgical roles, there must first be individuals who are willing to assume those roles. All the baptized need to understand that part of their duty regarding liturgy is to accept some responsibility for the liturgy, to place themselves and their God-given talents at the service of the liturgical community whenever possible. If liturgy is a duty as well as a right, then part of that duty for those able to undertake these tasks is the responsibility to assume such key roles as those of lector, server or acolyte, extraordinary ministers of Holy Communion, usher, choir member, etc. .
Not all members of the parish community will have the time, energy, strength or ability to serve in these roles, however, individuals must be careful not to excuse themselves too easily. And it might also be helpful for us to reexamine our situation every so often. The time available to a business person or to parents with young children may be very limited. But eventually business people retire and children grow up, leaving those individuals with more free time at their disposal. What is important is that all understand that the celebration of liturgy is not just the responsibility of the pastor, although he is delegated by the Bishop to oversee the liturgical life of the parish. Pastors need the help of their people, the people who are serious about living out their baptismal right and responsibility to worship.
Finally, this catalogue of specialized roles might give the impression that those who are not exercising one of these roles are free to sit back passively and simply let the liturgy happen around them. Nothing could be further from the truth. Those who come together for liturgy do not have the luxury of acting as passive "pew potatoes," waiting for all to be done for them. The liturgy is not only their right, it is their duty, their responsibility, and that responsibility includes full engagement throughout the liturgical celebration.
The liturgy, then, is about the action of God's own people, each with different offices and roles, each office and role, from that of bishop and priest to that of usher and sacristan, one of service, not of privilege, a mirror of Christ who washed the feet of his disciples and instructed his followers to imitate his example of service.
The Importance of Commitment
CODE OF CONDUCT
GUIDELINES FOR CANTORS
General Principles Relating to Liturgical Music
Leading people to Christ through Music in worship
Ministers of Liturgical Music
The Chorister’s Prayer
ATTENDANCE
PUNCTUALITY
Guidelines and Resources for Musicians
GENERAL GUIDELINES, PROCEDURES, AND EXPECTATIONS:
Benefits of singing in a choir
A Catechism of Catholic Church Music
A Service to the Sacred: How to Start a Parish Choir
Are there guidelines for music at Mass?
Rebuilding Catholic Culture. Restoring Catholic Tradition.
The Catholic Choir and Choirmaster: Handmaid of the Liturgy and Guide of the Faithful
Institute for Sacred Architecture
https://www.sacredarchitecture.org/about
Locating Musical Ministers in the Church Interior
https://www.sacredarchitecture.org/articles/chorus_angelorum
https://classroom.synonym.com/how-to-conduct-a-church-service-12083855.html
https://stbarbarachurchnc.org/files/PP_Choir_Member_Roles.pdf
http://www.internationalchorale.com/choir-etiquette
https://sheffieldbachchoir.com/choir-rules
Conducting Basics - Minister Through Music - Choir - Episode 3
How to Grow Your Choir + Getting the Youth Involved - Minister Through Music Choir - Episode 2
20 Tips for Choir Directors: TIP 4: Conducting Crescendo and Decrescendo
Leading people to Christ through Music in worship
https://www.stjohnvianney.org/wp-content/uploads/2014/10/MU_adult-choir-handbook.pdf
7 Truths You Need To Know If You’re Part Of The Church Choir
https://catholic-link.org/7-truths-need-know-youre-part-parish-choir
General Principles Relating to Liturgical Music
Music Ministry Membership Handbook
https://stmariagoretti.org/media/2100/chorister-handbook.pdf
Musicam sacram - The Holy See
SECOND VATICAN ECUMENICAL COUNCIL
INSTRUCTION ON MUSIC IN THE LITURGY
St. Leo's Choir Procedures and Policies
Definition of Terms
Choir Responsibilities
Hymnody Procedures
Mass Ordinary Procedures
Responsorial Psalm and Gospel Acclamation Procedures
Rehearsal Procedures
Music Selection Processes
Choir Directors
Cantors
Accompanists
https://stleosminot.org/choir-procedures
GUIDELINES FOR CANTORS - Diocese of Lansing
What is a cantor? A brief history might create a better understanding ofthis liturgical ministry.
The cantor should be trained (MCW #3 5).
• The cantor should be able to teach the
assembly new music.
• The cantor should be able to help develop
congregational singing.
• The cantor must be sensitive to communal
prayer and not intrude.
• The cantor must be an effective leader.
• The cantor must be a model to the assembly — a “believe?’ and “proclaime?’ of God’s
word.
• The cantor must be a minister — someone
who “shares faith, serves the community,
and expresses the love ofGod and neighbor
through music.
https://www.dioceseoflansing.org/sites/default/files/2017-03/cantor_guidelines.pdf
Ministers of Liturgical Music - Diocese of Owensboro
The Constitution on the Sacred Liturgy
Introduction to the Order of Mass
Ongoing Education & Formation
https://owensborodiocese.org/wp-content/uploads/Music_Ministers.pdf
Necessary Risks of the New Evangelization with Doug Tooke
https://owensborodiocese.org/youth-ministry-skills-mini-workshops/?rform=0
The Chorister’s Prayer
Bless, O Lord, us Thy servants who minister in Thy temple.
Grant that what we sing with our lips
we may believe in our hearts,
and what we believe in our hearts
we may show forth in our lives.
Through Jesus Christ our Lord. Amen.
St. George's Episcopal Church, Arlington CHOIR HANDBOOK 2018-2019
Our choirs demand a serious and professional effort from all members. There are times during the Church
year that our work is very intensive - indeed, at times the pursuit of our mission may seem unrealistic when
compared to the obligations of family, work, and personal need. This is balanced, however, by other periods
when there is a more relaxed pace and lower demand on personal time and effort. The yearly activity level
of the choir flows in keeping with the seasons of the church. Through God’s grace, the rewards, both spiritual
and musical, will exceed our greatest expectations. A special aspect of the Saint George’s Choirs, in addition to rehearsals, services and concerts, is the fellowship
we share as a body of like-minded people. We like to have fun together! Throughout the year, the choir will
gather for fun and fellowship, to come to know and appreciate each other outside of our ministry
ATTENDANCE
A choir is like an atheltic team; every
member’s effort is critical to the success of
the whole. To maintain the highest level of
musical proficiency and foster a spirit of
shared responsibility, attendance at all
scheduled rehearsals and services is
expected of all choir members.
Absences are unavoidable, but each
member should strive to be available and in
attendance for 80% of scheduled rehearsals
and services. If your attendance falls below
this level, the Minister of Music will meet
with you to evaluate your status in the choir.
It is neither appropriate nor acceptable for any member Saint George’s Choirs to sight read music in
a service, unless at the direction of your director. If you have not rehearsed the music at least once,
you should not expect to sing in that service without consulting your director first. Your director is
always willing to provide additional instructional time if you must miss a rehearsal, so you are able to
particitpate in an upcoming service.
PUNCTUALITY
To meet our goal as a productive and
high-achieving choral ensembles, the
expectation is that you will arrive early
for rehearsals and services. This is of
utmost importance. Please be
respectful of your fellow choristers
and your directors by arriving a 5-10
minutes early for rehearsal, so you
have time to gather your things and
prepare to begin rehearsal on time.
We understand that sometimes a situation may arise that is beyond your control and prevents your early
arrival. If this occurs, please inform your director via text message as soon as possible. When you arrive,
please enter rehearsal quietly and inconspicuously.
GENERAL GUIDELINES, PROCEDURES, AND EXPECTATIONS:
Benefits of singing in a choir
The skills we develop through choral singing last a lifetime and
greatly assist us in other aspects of our life.
+ We study music and art so we can be human. It helps us recognize God’s beauty and become closer to
an infinite beyond this world.
+ We study music so we will have more love, compassion, gentleness, and goodness – more life!
+ Singing in a choir develops lifelong skills — leadership, teamwork, confidence and self-discipline.
+ Studies show that singing in a choir creates positive changes on your life, boosting your mental health and
your body’s ability to fight illness.
+ Studies show that children who participate in choir programs are more likely to stay in church throughout
their college years and into adulthood. develop strong friendships and foster love and service to their
communities.
+ Studies overwhelmingly show that children who are engaged in music do better in math, science and
school in general, as well as developing advanced social skills.
+ Choir participation is a durable form of Christian formation – it mints disciples, and helps prepare us for
our journey through life.
+ Choir offers a life-changing relationship with God and one another. Choir will help you discover God’s
purpose in your life.
+ Choir participation forges a community of love, work and service to pursue a common goal.
+ Choir participation is often a lot of work, but yields friends, fun and enjoyment in life.
Guidelines and Resources for Musicians - Diocese of Green Bay
The Guidelines and Resources for Musicians are presented for the ongoing formation and development of those who provide music for worship in the parish
For the Son of Man did not come to be served, but to serve. Matt. 20:28
Prayer of a Minister of Music
God of all good gifts,
You have given us hearts, hands and voices
To praise you all our days.
May we use your gifts wisely,
May we be humble in service to you
And to your people whom we serve.
Remind us that it is for your glory our music is made,
Not for our own.
Open our hands and lips, O Lord
And we shall proclaim your praise!
We ask this in Jesus’ name.
Amen.
A Liturgical Musician is one who, through his/her own prayer and
ability, is able to encourage and lead the assembly in their sung prayer.
Liturgical Musicians are committed to their own spiritual growth, and
have a basic understanding of the liturgical year and the structure of the
mass. They also have the musical training and ability to lead the
assembly in song and prayer with confidence and enthusiasm.
“Among the many signs and symbols used by the Church to celebrate its faith, music is of
preeminent importance. As sacred song is united to words it forms a necessary or integral
part of the solemn liturgy. Yet the function of music is ministerial; it must serve and never
dominate. Music should assist the assembled believers to express and share the gift of faith
that is within them and to nourish and strengthen their interior commitment of faith. It should
heighten the texts so that they speak more fully and more effectively. The quality of joy and
enthusiasm which music adds to community worship cannot be gained in any other way. It
imparts a sense of unity to the assembly and sets the appropriate tone for a particular
celebration.” Music in Catholic Worship (MCW), 23
A minister of music, also referred to as a “pastoral musician” or “liturgical musician” in this document, is one who encourages and leads the assembly in their sung prayer. In order to foster and encourage full, conscious, and active participation of the assembly in the liturgical celebration, strong leadership in liturgical song is necessary. Choir directors and choir members, cantors, accompanists, and instrumentalists must be provided with formation and training appropriate to their particular function. This document supplies basic guidelines for selection and formation of Ministers of Liturgical Music, and is intended for use by those persons responsible for parish music ministry.
Commissioning
It is most appropriate that Ministers of Music be commissioned for their role in accord with the
Rite found in The Order for the Blessing of Altar Servers, Sacristans, Musicians and Ushers
(Book of Blessings, Chapter 62, #1847-1870.)
Helpful Information for Music Ministers
Practical Considerations
Pray. Develop a personal prayer life and be authentic as a person of God.
As ministers, be prepared. Know the ritual and the music well that will support the ritual action.
Practice. This means not only to take the time to learn the music, but also to practice the music in its ritual context. Practice introductions to the music. When preparing liturgies, think in the direction of seasonal planning. Be clear in preparation as to what your role is as a leader and what the assembly’s role is as primary ministers. Do not usurp the assembly’s song. Be careful with the use of microphones that you do not overpower the song of the assembly.
Take responsibility for God’s people by remaining current in the theological understanding of Catholic ritual.
Read the church documents and the important books and periodicals which address music issues. Pursue ongoing education.
Participate as fully as possible in the entire liturgy. Respond and give attention to all aspects of worship.
Use of Pre-Recorded Music in the Liturgy
https://www.gbdioc.org/images/stories/Resource_Site/Worship/Guidelines-Resources-for-Musicians.pdf
GUIDELINES FOR HIRING A PARISH DIRECTOR OF MUSIC MINISTRY
"The musician's gifts must be recognized as a valued part of
the pastoral effort, and for which proper compensation must be made." (Liturgical Music Today, no. 66)
https://www.dosp.org/wp-content/uploads/28_Hiring-a-Parish-Music-Director.pdf
Musical Guidelines
https://www.rcbo.org/resources/musical-guidelines
A Catechism of Catholic Church Music
from the CONSTITUTION ON THE SACRED LITURGY SACROSANCTUM CONCILIUM
SOLEMNLY PROMULGATED BY HIS HOLINESS POPE PAUL VI ON DECEMBER 4, 1963
from the CATECHISM OF THE CATHOLIC CHURCH
from the Compendium OF THE CATECHISM OF THE CATHOLIC CHURCH
from the General Instruction of the Roman Missal (GIRM)
Your ministry and faith are extremely appreciated. As we journey together in song may it ennoble all the faithful who receive from us the best of our talents, time and treasure.
My heart is steadfast, O God, my heart is steadfast; I will sing and make music. I will praise You, O Lord, among the nations; I will sing of you among the peoples.
For great is Your love, reaching to the heavens; Your faithfulness reaches to the skies. Be exalted, O God, above the heavens; let Your glory be over all the earth. ~Psalm 57: 7, 9-11
As your Director of Music, it is my duty and responsibility to guide our parish music ministry with these guidelines. It is not about what I like or even prefer as music or musical style. It is about what is good for the culture of our assembly, our faith, our theology and our Church universal.
https://www.divinemercymusic.org/catechism-of-catholic-church-music.html
A Service to the Sacred: How to Start a Parish Choir
Are there guidelines for music at Mass?
https://www.oursundayvisitor.com/are-their-guidelines-for-music-at-mass
OnePeterFive Rebuilding Catholic Culture. Restoring Catholic Tradition.
The Catholic Choir and Choirmaster: Handmaid of the Liturgy and Guide of the Faithful
the choir loft is not a stage and the congregation is not an audience.
https://onepeterfive.com/catholic-choir-choirmaster
Liturgical Music Resources
https://www.topcatholicsongs.com/Resources
LiturgyHelp
LITURGY PLANNING GUIDE
https://saginaw.org/sites/default/files/LPG-fillable12-12-18.pdf
Liturgical Planning-Guides & Liturgical Music
Weekly Liturgy and Music Planning Resources
https://kcsjcatholic.org/wp-content/uploads/Internet-Music-Planning-Resources.pdf
https://www.liturgytools.net/2011/03/finding-music-suggestions-for-church.html
Liturgy Planning Sheet
https://www.crookston.org/offices/worshipliturgy/liturgyguides
Music Resources
Sing to the Lord: Music in Divine Worship
Liturgy Resources
https://www.crookston.org/offices/worshipliturgy/liturgyguides
We’re hoping to meet singers who:
Are people of good character: friendly and low-maintenance.
Enjoy a rigorous choral rehearsal, professionally conducted according to the best practices, where lots of details are fixed and rehearsed
Can match pitches and vowels accurately
Who can hold their own part against those singing other parts
Who can keep vibrato to a minimum at will. (It’s a stylistic choice for this group.)
Will be diligent about learning their parts at home (we provide audio tracks in addition to sheet music).
Love to have fun.
Love close and precise harmony.
Are the sort to miss rehearsals very rarely, to never to miss a performance, and to communicate diligently.
If this sounds like you, we’d love to meet you! We hope you’ll come to one our rehearsals and see if you think that what we’re doing is a good fit for you. Or contact our director, Jack Pelham. Meanwhile, we want you to read this entire website, so you’ll be well-informed as to what’s going on. (Here’s a useful Q&A page to answer some of the questions you might have.)
Our rehearsals are very rigorous—as you might expect in an excellent collegiate choir, or an outstanding high school program. We work very hard at getting all the details of the music just right. For some, this is a grand experience and they enjoy it very much, while others find that this is just not their cup of tea, and that they’d better enjoy something much more casual and easy. We realize that there are two different types of people in this regard, and that we can’t please them all, so we want you to know right up front what kind of philosophy we have about excellence.
If you’re visiting close to a performance date, you’re welcome to listen and to visit with us during the breaks. And we may well invite you to sing with on a warmup number or two. Being close to a show date, however, we’ll need to rehearse our show numbers without visitors joining in, as we’re fine-tuning our singing at that point.
If you visit when we’re not in the last weeks before a show, you’ll have the option of sitting in the chorus and singing along (we’ll provide sheet music), or of observing from the audience seats. If you want to sing along, please do introduce yourself to the director when you arrive so we can get you the sheet music you need and get you seated in the right section. And we’ll be able to chat during the breaks or afterward.
You’re welcome to join us for two or three rehearsals as you’re deciding whether to join.
We might occasionally get a singer who turns out not to be as good as they thought they might be when it comes to singing on pitch, to matching vowels, or to what we call part independence, where he or she can maintain the voicepart even when other voiceparts are being sung at the same time. This normally becomes fairly obvious and can be heard in rehearsal as the sections sing their parts. In many cases, the singer has come in rusty, and will quickly polish his or her skills within just a few weeks. But if it becomes obvious that the singer’s not going to be able to perform the voicepart accurately, then we’ll have that dreaded discussion (privately and kindly!), suggesting that they withdraw from the ensemble until such time as their skills have improved.
Great question! Here’s a page that’s all about that.
No, but sure! We know that’s a confusing answer, so let us explain. Auditions are the most efficient way to find out if a singer’s pitch and part-independence skills are sufficient to fit in well. But at the same time, singing auditions create considerable anxiety for a lot of people (not all, mind you, but a lot). And what we’ve discovered is that if there are 100 people qualified to sing in a group, only a handful of them will be willing to audition for that group up front. So we’d have a handful, and meanwhile, 95 totally qualified singers would be sitting at home, not doing what they love!
Normally, we tell our members that membership is by invitation, and that if they know nice people who are good singers, they are welcome to invite them to join or visit. With this new open-house policy (where you’re welcome to come see for yourself at one of our rehearsals), you don’t have to know anybody in the group in advance. So, you could join and we could see how it goes.
We’re quite willing to hear auditions, however, for those who would be interested in doing that up front. It’s totally your option, and we’ll never bring it up if you don’t.
Yes, we currently charge $60 per semester. (We sing in the Fall and Spring, with Summers off). Your participation fee does not pay the volunteer director. Rather, Sing, Montana! singer fees support the choir’s expenses.
Serving a parish community in some roles, especially as a musician, choir member, choir leader, choir director or music ministry coordinator takes unreserved unstinting unsparing unremitting unwavering untiring generous steadfast wholehearted commitment, dedication, respectfulness, reverence, obligation, passion, zeal, motivation, inspiration, drive, vigour, faithfulness, loyalty, devotion, resolve, determination, indefatigableness, perseverance, persistence, enthusiasm, eagerness, animation, responsibility, accountability, fervour, honesty, integrity, sincerity, uprightness, incorruptibility, moral excellence, good conscience, humility, efficiency, effectiveness, professionalism, expertise, punctuality, reliability, dependability, consistency in attending rehearsals, self-starter approach, own initiative, self-denying, self-sacrifice, time, energy, effort, hard work, acts of selflessness, public-spiritedness, courage, positive attitude, being affable, amiable, warmhearted, engaging, having a pleasing and likable nature, sociable, hospitable, personable, planning well ahead of liturgical events, self-study of sacred scripture, organization, cooperation, flexibility, versatility and adaptability, modesty, thoughtfulness, graciousness, politeness, courtesy, etiquette, quick thinking ability, decisiveness, assisting the parish priest when required, covering for others at the eleventh hour as and when the need arises over many years, putting in many hours of volunteer time a week, putting aside our own priorities and personal commitments, coordination, resourcefulness, capability, leadership and other skills, qualities, competence and much more.
St. Thomas Aquinas teaches about Rectitude of Intention
Jesus spoke to St. Thomas Aquinas one day: "Thomas, you have written well of me. What reward do you wish for your work?"
St. Thomas responded: "Lord, I want nothing else but You."
Rectitude refers to behaviour that is correct, upright and honourable; the quality of being straight; rightness of principle or conduct; correctness of judgment;
'Rectitude of Intention' means having the correct intention in all that we do - in our daily work, our recreation, our civic obligations, and our religious duties - however, not for our glory but all for the glory of God.