Music and Musical Prayer:

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Catechism of the Catholic Church

Singing and music

1156 “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.”20 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.”21

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,”22 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:23

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.24

1158 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.25 Hence “religious singing by the faithful 1674 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.”26

20. SC 112.

21. Eph 5:19; St. Augustine, En. in Ps. 72, 1: PL 36, 914; cf. Col 3:16.

22. SC 112 § 3.

23. Cf. SC 112.

24. St. Augustine, Conf. 9, 6, 14: PL 32, 769–770.

25. Cf. SC 119.

26. SC 118; 121.

Sing to the Lord: Music in Divine Worship (Pastoral Liturgy Series Book 4)

United States Conference of Catholic Bishops (USCCB). Sing to the Lord: Music in Divine Worship (Pastoral Liturgy Series Book 4) (pp. 11-14). United States Conference of Catholic Bishops (USCCB).

The Psalmist

34. The psalmist, or “cantor of the Psalm,” proclaims the Psalm after the first reading and leads the gathered assembly in singing the refrain.42 The psalmist may also, when necessary, intone the Gospel Acclamation and verse.43 Although this ministry is distinct from the role of the cantor, the two ministries are often entrusted to the same person.

35. Persons designated for the ministry of psalmist should “be accomplished in the art of singing Psalms and have a facility in public speaking and elocution.”44 As one who proclaims the Word, the psalmist should be able to proclaim the text of the Psalm with clarity, conviction, and sensitivity to the text, the musical setting, and those who are listening.

36. The psalmist sings the verses of the Responsorial Psalm from the ambo or another suitable place.45 The psalmist may dress in an alb or choir robe, but always wears clean, presentable, and modest clothing. Cassock and surplice, being clerical attire, are not recommended as vesture for the psalmist.

The Cantor

37. The cantor is both a singer and a leader of congregational song. Especially when no choir is present, the cantor may sing in alternation or dialogue with the assembly. For example, the cantor may sing the invocations of the Kyrie, intone the Gloria, lead the short acclamations at the end of the Scripture readings, intone and sing the verse of the Gospel Acclamation, sing the invocations of the Universal Prayer (Prayer of the Faithful), and lead the singing of the Agnus Dei. The cantor may also sing the verses of the Psalm or song that accompany the Entrance, Preparation of the Gifts, and Communion. Finally, the cantor may serve as psalmist, leading and proclaiming the verses of the Responsorial Psalm.

38. As a leader of congregational song, the cantor should take part in singing with the entire gathered assembly. In order to promote the singing of the liturgical assembly, the cantor’s voice should not be heard above the congregation. As a transitional practice, the voice of the cantor might need to be amplified to stimulate and lead congregational singing when this is still weak. However, as the congregation finds its voice and sings with increasing confidence, the cantor’s voice should correspondingly recede. At times, it may be appropriate to use a modest gesture that invites participation and clearly indicates when the congregation is to begin, but gestures should be used sparingly and only when genuinely needed.

39. Cantors should lead the assembly from a place where they can be seen by all without drawing attention from the liturgical action. When, however, a congregation is singing very familiar responses, acclamations, or songs that do not include verses for the cantor alone, the cantor need not be visible.

40. The cantor exercises his or her ministry from a conveniently located stand, but not from the ambo.46 The cantor may dress in an alb or choir robe, but always in clean, presentable, and modest clothing. Cassock and surplice, being clerical attire, are not recommended as vesture for the cantor.

The Organist and Other Instrumentalists

41. The primary role of the organist, other instrumentalists, or instrumental ensemble is to lead and sustain the singing of the assembly and of the choir, cantor, and psalmist, without dominating or overpowering them.

42. The many voices of the organ and of instrumental ensembles, with their great range of expression, add varied and colorful dimensions to the song of the assembly, especially with the addition of harmonization.

43. Those with the requisite talent and training should be encouraged to continue the musical tradition of improvisation. The liturgical action may call for improvisation, for example, when a congregational hymn or choral piece concludes before the ritual action is completed. The art of improvisation requires its own special talent and training. More than mere background sound is called for. When worthy improvisation is not possible, it is recommended that musicians play quality published literature, which is available at all levels of difficulty.

44. There are also times when the organ or other instruments may be played alone, such as a prelude before the Mass, an instrumental piece during the Preparation of the Gifts, a recessional if there is no closing song, or a postlude following a closing song.

The Director of Music Ministries

45. A professional director of music ministries, or music director, provides a major service by working with the bishop or pastor to oversee the planning, coordination, and ministries of the parish or diocesan liturgical music program. The director of music ministries fosters the active participation of the liturgical assembly in singing; coordinates the preparation of music to be sung at various liturgical celebrations; and promotes the ministries of choirs, psalmists, cantors, organists, and all who play instruments that serve the Liturgy. In the present day, many potential directors of music are not of our faith tradition. It is significant as we go forward that directors of music are properly trained to express our faith traditions effectively and with pastoral sensitivity.

46. Since every ministry is rooted in the Sacraments of Initiation, which form the People of God into “a community of disciples formed by and for the mission of Christ,”47 the director of music ministries has a role that “finds its place within the communion of the Church and serves the mission of Christ in the Spirit.”48

47. Directors of music ministries and other lay ecclesial ministers exercise their role in relation both to the ordained and to the community of the faithful. Directors are collaborators with bishops, priests, and deacons, who exercise a pastoral ministry based on the Sacrament of Holy Orders, which configures them to Christ the Head and consecrates them for a role that is unique and necessary for the communion of the Church.49 At the same time, lay ecclesial ministers are members of the lay faithful, “sharing in the common priesthood of all the baptized” and “called to discipleship.”50

42 Lfm, NO. 56.

43 See LFM, no. 56.

44 GIRM, no. 102. See LFM, no. 56.

45 See GIRM, no. 61.

46 See LFM, no. 33.

47 USCCB, Co-Workers in the Vineyard of the Lord: A Resource for Guiding the Development of Lay Ecclesial Ministry (CVL) (Washington, DC: USCCB, 2005), 21.

48 CVL, 17.

49 See CVL, 21ff.; CCC, no. 1581.

50 CVL, 25.

By Joanne Crystal

Posted August 29, 2013

Did you ever wonder what it takes to celebrate Mass on Saturday or Sunday? Well, from the musical perspective it’s pretty amazing. A “normal” Mass has 11 (yes, 11!) pieces of music. From the “Gathering” hymn to the “Sending Forth” there are pages and pages of music that are sung and played.

On one recent Sunday alone I played 31 pages of music. And the cantor deals with the words and music, which can be tricky at times. We also usually rehearse about 30 minutes before Mass.

Once the Mass begins we are always “on.” We really don’t get a chance to let our guard down. We listen for cues. How long is the collection taking? Should we start that third verse or end now? (That’s a spur of the moment decision). How many are left to receive communion?

That’s a “normal” Mass. Baptisms, funerals, weddings have their own protocol.

Liturgical musicians are experts at non-verbal communication. We give a look, a nod of the head, a shrug of the shoulders, a fist to indicate “end,” a glance out of the corner of our eye.

We are always watching and listening. That doesn’t allow for much time to pray in the usual way, so our singing and playing becomes our prayer.

Most cantors are not professional singers. They are members of your parish who give generously of their time so that a congregation can have a smooth celebration of the Eucharist.

They practice at home – in between their jobs, running to the market, picking up their kids. They must literally be prepared for anything from a sudden funeral to microphones that don’t work.

So the next time you are at Mass give thanks for your cantor and musicians. We need all the prayer we can get.

***

Joanne Crystal is the organist at Our Mother of Good Counsel Parish, Bryn Mawr. PA.

https://catholicphilly.com/2013/08/commentaries/sing-a-prayer-of-thanks-for-busy-cantors-service/

References and Resources

Gill, G. D. (2012). Music in the Catholic Liturgy: A Pastoral and Theological Companion to ‘Sing to the Lord.’ Chicago: Hillenbrand Books. AMAZON LINK: https://smile.amazon.com/Music-Catholic-Liturgy-Theological-Companion/dp/159525028X/

Pope Francis (2020). Address of His Holiness Pope Francis to the Participants in the Meeting of the Laudato Si’ Communities. Vatican Press. http://w2.vatican.va/content/francesco/en/speeches/2020/september/documents/papa-francesco_20200912_comunita-laudatosi.html

Pope Francis (2019). Address of His Holiness Pope Francis to the “Scholae Cantorum” of the Italian Association of Saint Cecilia. Vatican Press. http://w2.vatican.va/content/francesco/en/speeches/2019/september/documents/papa-francesco_20190928_scholae-cantorum.html

Pope Francis (2017). Address of His Holiness Pope Francis to Participants in the International Conference on Sacred Music. Vatican Press. http://w2.vatican.va/content/francesco/en/speeches/2017/march/documents/papa-francesco_20170304_convegno-musica-sacra.html

Pope Francis (2015). Encyclical Letter: Laudato Si’ of the Holy Father Francis on Care for Our Common Home. Vatican Press. http://w2.vatican.va/content/francesco/en/encyclicals/documents/papa-francesco_20150524_enciclica-laudato-si.html

Schaefer, E. (2012). Catholic Music Through The Ages: Balancing the Needs of a Worshiping Church. Chicago: Hillenbrand Books.
AMAZON LINK: https://amazon.com/Catholic-Music-through-Ages-Worshipping-ebook/dp/B0096UERQI/

United States Conference of Catholic Bishops (USCCP) (2008). Sing to the Lord: Music in Divine Worship (Pastoral Liturgy Series Book 4). United States Conference of Catholic Bishops (USCCB): Washington, D.C. AMAZON LINK: https://amazon.com/Sing-Lord-Worship-Pastoral-Liturgy/dp/1601370229/

Sing to the Lord Study Guide: https://npm.org/sing-to-the-lord-study-guide/