ࡱ> lnk5@ >Vbjbj22 "vXX$NHHH8L,("&&&&&&((((((($*Rq,*( &&  *(&&?( N&&( (V&@'& @dHXZ8' (U(0(D'x+-+-'+-'H&"H`t&&&*(*(d "ACTIVE PARTICIPATION IN THE LITURGY THROUGH LITURGICAL MUSIC Fr. GBoi A. Samonte Notes from MUSICAM SACRAM Purpose of Sacred Music 4. It is to be hoped that pastors of souls, musicians and the faithful will gladly accept these norms and put them into practice, uniting their efforts to attain the true purpose of sacred music, "which is the glory of God and the sanctification of the faithful."[1] Some General Norms 5. Liturgical worship is given a more noble form when it is celebrated in song, Indeed, through this form, prayer is expressed in a more attractive way, the mystery of the liturgy, with its hierarchical and community nature, is more openly shown, the unity of hearts is more profoundly achieved by the union of voices, minds are more easily raised to heavenly things by the beauty of the sacred rites, and the whole celebration more clearly prefigures that heavenly liturgy which is enacted in the holy city of Jerusalem.ch degree fulfilling their ministry and the people participating in it.[4] Preparation through cooperation The practical preparation for each liturgical celebration should be done in a spirit of cooperation by all parties concerned, under the guidance of the rector of the church, whether it be in ritual, pastoral or musical maters. Selecting parts to be sung 7. Between the solemn, fuller form of liturgical celebration, in which everything that demands singing is in fact sung, and the simplest form, in which singing is not used, there can be various degrees according to the greater or lesser place allotted to singing. However, in selecting the parts which are to be sung, one should start with those that are by their nature of greater importance, and especially those which are to be sung by the priest or by the ministers, with the people replying, or those which are to be sung by the priest and people together. The other parts may be gradually added according as they are proper to the people alone or to the choir alone. Selecting singers 8. Whenever, for a liturgical service which is to be celebrated in sung form, one can make a choice between various people, it is desirable that those who are known to be more proficient in singing be given preference; this is especially the case in more solemn liturgical celebrations and in those which either require more difficult singing, or are transmitted by radio or television.[6] Singing Priest If, however, a choice of this kind cannot be made, and the priest or minister does not possess a voice suitable for the proper execution of the singing, he can render without singing one or more of the more difficult parts which concern him, reciting them in a loud and distinct voice. However, this must not be done merely for the convenience of the priest or minister. No sacred music is prohibited as long as 9. In selecting the kind of sacred music to be used, whether it be for the choir or for the people, the capacities of those who are to sing the music must be taken into account. No kind of sacred music is prohibited from liturgical actions by the Church as long as it corresponds to the spirit of the liturgical celebration itself and the nature of its individual parts,[7] and does not hinder the active participation of the people.[8] Considerations in Active participation 10. In order that the faithful may actively participate more willingly and with greater benefit, it is fitting that the format of the celebration and the degree of participation in it should be varied as much as possible, according to the solemnity of the day and the nature of the congregation present. 11. It should be borne in mind that the true solemnity of liturgical worship depends less on a more ornate form of singing and a more magnificent ceremonial than on its worthy and religious celebration, which takes into account the integrity of the liturgical celebration itself, and the performance of each of its parts according to their own particular nature. To have a more ornate form of singing and a more magnificent ceremonial is at times desirable when there are the resources available to carry them out properly; on the other hand it would be contrary to the true solemnity of the liturgy if this were to lead to a part of the action being omitted, changed, or improperly performed. Liturgical role of the people is making that full. 15. The faithful fulfill their liturgical role by making that full, conscious and active participation which is demanded by the nature of the liturgy itself and which is, by reason of baptism, the right and duty of the Christian people.[13] This participation (a) Should be above all internal, in the sense that by it the faithful join their mind to what they pronounce or hear, and cooperate with heavenly grace;[14] (b) Must be, on the other hand, external also, that is, such as to show the internal participation by gestures and bodily attitudes, by the acclamations, responses and singing.[15] The faithful should also be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God. How to promote active participation? 16. One cannot find anything more religious and more joyful in sacred celebrations than a whole congregation expressing its faith and devotion in song. Therefore the active participation of the whole people, which is shown in singing, is to be carefully promoted as follows: (a) It should first of all include acclamations, responses to the greetings of the priest and ministers and to the prayers of litany form, and also antiphons and psalms, refrains or repeated responses, hymns and canticles.[16] (b) Through suitable instruction and practices, the people should be gradually led to a fullerindeed, to a completeparticipation in those parts of the singing which pertain to them. (c) Some of the people's song, however, especially if the faithful have not yet been sufficiently instructed, or if musical settings for several voices are used, can be handed over to the choir alone, provided that the people are not excluded from those parts that concern them. But the usage of entrusting to the choir alone the entire singing of the whole Proper and of the whole Ordinary, to the complete exclusion of the people's participation in the singing, is to be deprecated. Silence 17. At the proper times, all should observe a reverent silence.[17] Through it the faithful are not only not considered as extraneous or dumb spectators at the liturgical service, but are associated more intimately in the mystery that is being celebrated, thanks to that interior disposition which derives from the word of God that they have heard, from the songs and prayers that have been uttered, and from spiritual union with the priest in the parts that he says or sings himself. Formation of the people 18. Among the faithful, special attention must be given to the instruction in sacred singing of members of lay religious societies, so that they may support and promote the participation of the people more effectively.[18] The formation of the whole people in singing, should be seriously and patiently undertaken together with liturgical instruction, according to the age, status and way of life of the faithful and the degree of their religious culture; this should be done even from the first years of education in elementary schools.[19] Choir 19. Because of the liturgical ministry it performs, the choiror the Capella musica, or schola cantorumdeserves particular mention. Its role has become something of yet greater importance and weight by reason of the norms of the Council concerning the liturgical renewal. Its duty is, in effect, to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing. Therefore: (a) There should be choirs, or Capellae, or scholae cantorum, especially in cathedrals and other major churches, in seminaries and religious houses of studies, and they should be carefully encouraged. (b) It would also be desirable for similar choirs to be set up in smaller churches. 20. Large choirs (Capellae musicae) existing in basilicas, cathedrals, monasteries and other major churches, which have in the course of centuries earned for themselves high renown by preserving and developing a musical heritage of inestimable value, should be retained for sacred celebrations of a more elaborate kind, according to their own traditional norms, recognized and approved by the Ordinary. However, the directors of these choirs and the rectors of the churches should take care that the people always associate themselves with the singing by performing at least the easier sections of those parts which belong to them. 21. Provision should be made for at least one or two properly trained singers, especially where there is no possibility of setting up even a small choir. The singer will present some simpler musical settings, with the people taking part, and can lead and support the faithful as far as is needed. The presence of such a singer is desirable even in churches which have a choir, for those celebrations in which the choir cannot take part but which may fittingly be performed with some solemnity and therefore with singing. 22. The choir can consist, according to the customs of each country and other circumstances, of either men and boys, or men and boys only, or men and women, or even, where there is a genuine case for it, of women only. 23. Taking into account the layout of each church, the choir should be placed in such a way: (a) That its nature should be clearly apparentnamely, that it is a part of the whole congregation, and that it fulfills a special role; (b) That it is easier for it to fulfil its liturgical function;[20] (c) That each of its members may be able to participate easily in the Mass, that is to say by sacramental participation. Whenever the choir also includes women, it should be placed outside the sanctuary (presbyterium). Musical formation, liturgical and spiritual formation as well 24. Besides musical formation, suitable liturgical and spiritual formation must also be given to the members of the choir, in such a way that the proper performance of their liturgical role will not only enhance the beauty of the celebration and be an excellent example for the faithful, but will bring spiritual benefit to the choir-members themselves. 25. In order that this technical and spiritual formation may more easily be obtained, the diocesan, national and international associations of sacred music should offer their services, especially those that have been approved and several times commended by the Holy See. 26. The priest, the sacred ministers and the servers, the reader and those in the choir, and also the commentator, should perform the parts assigned to them in a way which is comprehensible to the people, in order that the responses of the people, when the rite requires it, may be made easy and spontaneous. It is desirable that the priest, and the ministers of every degree, should join their voices to the voice of the whole faithful in those parts which concern the people.[21] Sung Mass 27. For the celebration of the Eucharist with the people, especially on Sundays and feast days, a form of sung Mass (Missa in cantu) is to be preferred as much as possible, even several times on the same day. 28. The distinction between solemn, sung and read Mass, sanctioned by the Instruction of 1958 (n. 3), is retained, according to the traditional liturgical laws at present in force. However, for the sung Mass (Missa cantata), different degrees of participation are put forward here for reasons of pastoral usefulness, so that it may become easier to make the celebration of Mass more beautiful by singing, according to the capabilities of each congregation. These degrees are so arranged that the first may be used even by itself, but the second and third, wholly or partially, may never be used without the first. In this way the faithful will be continually led towards an ever greater participation in the singing. Progressive Solemnity 29. The following belong to the first degree: (a) In the entrance rites: the greeting of the priest together with the reply of the people; the prayer. (b) In the Liturgy of the Word: the acclamations at the Gospel. (c) In the Eucharistic Liturgy: the prayer over the offerings; the preface with its dialogue and the Sanctus; the final doxology of the Canon, the Lord's prayer with its introduction and embolism; the Pax Domini; the prayer after the Communion; the formulas of dismissal. 30. The following belong to the second degree: (a) the Kyrie, Gloria and Agnus Dei; (b) the Creed; (c) the prayer of the faithful. 31. The following belong to the third degree: (a) the songs at the Entrance and Communion processions; (b) the songs after the Lesson or Epistle; (c) the Alleluia before the Gospel; (d) the song at the Offertory; (e) the readings of Sacred Scripture, unless it seems more suitable to proclaim them without singing. 34. The songs which are called the "Ordinary of the Mass," if they are sung by musical settings written for several voices may be performed by the choir according to the customary norms, either a capella, or with instrumental accompaniment, as long as the people are not completely excluded from taking part in the singing. In other cases, the parts of the Ordinary of the Mass can be divided between the choir and the people or even between two sections of the people themselves: one can alternate by verses, or one can follow other suitable divisions which divide the text into larger sections. In these cases, the following points are to be noted: it is preferable that the Creed, since it is a formula of profession of faith, should be sung by all, or in such a way as to permit a fitting participation by the faithful; it is preferable that the Sanctus, as the concluding acclamation of the Preface, should normally be sung by the whole congregation together with the priest; the Agnus Dei may be repeated as often as necessary, especially in concelebrations, where it accompanies the Fraction; it is desirable that the people should participate in this song, as least by the final invocation. 35. The Lord's Prayer is best performed by the people together with the priest.[22] If it is sung in Latin, the melodies already legitimately existing should be used; if, however, it is sung in the vernacular, the settings are to be approved by the competent territorial authority. 36. There is no reason why some of the Proper or Ordinary should not be sung in said Masses. Moreover, some other song can also, on occasions, be sung at the beginning, at the Offertory, at the Communion and at the end of Mass. It is not sufficient, however, that these songs be merely "Eucharistic"they must be in keeping with the parts of the Mass, with the feast, or with the liturgical season.  some OBSERVATIONS Mention congregational singing and any parish musician can relate experiences of how congregations just don't sing, followed, perhaps, by nasty comments about those people in the pews. But, assuming the church has good acoustics and an adequate pipe organ (big assumptions, indeed), the fault may not lie with the assembly. The music director and organist should consider the following points before renouncing blame for poor singing in our churches. Choice of music. The qualified music director should select the music to be sung by the people (hymns, responses, antiphons). This must be quality music. There is much trite garbage available, especially in paperback hymnal substitutes. The immediate appeal of trendy songs should not substitute for the lasting value of quality hymns. Congregations will appreciate music directors who respect their maturity by selecting good music from all periods. Range. Hymns should lie within the comfortable range for the average congregation, from middle C to C or D above. Occasionally a note on either end may be needed if the hymn has a wide range. Go beyond this and you can expect poor singing. Accompaniment. The most critical factor in good congregational singing is the accompaniment. The pipe organ is the ideal instrument to accompany the assembly, but the organist must know some basic rules for effective playing. Registrations used for hymn playing must be clear and bright. Use a basic principal chorus with or without mixtures. Reeds may also be added occasionally. If your organ has no 2' stops or mixtures, draw the brightest 8' and 4' stops, add the 16' coupler and play an octave higher than written. The registration must be loud enough to support the congregation but not so loud as to overpower them. Never use the following for hymns: 16' manual stops or couplers (except if playing an octave higher), undulating string stops, vibrato. The organist should practice good phrasing, intelligently allowing sufficient time for breaths where called for, but carrying over lines which make no sense to interrupt. Careful attention to punctuation and meaning will make proper phrasing natural. Repeated notes must be broken cleanly to solidify the rhythmic pulse. The habit of tying repeated notes together leads to weak, unprecise singing. In certain circumstances judgment and common sense will dictate a bending of this rule, as in the repeated bass notes in Ode to Joy (Joyful, Joyful, We Adore Thee) and Aurelia (The Church's One Foundation). Perhaps these repeated notes are better grouped in two's. Selecting the proper tempo is vital to effective accompanying. If a hymn be played too quickly, the congregation will not have sufficient time to breathe. The result... they won't sing. If a hymn be played too slowly (more often the case), the congregation cannot sustain complete phrases and will bore easily. The result... they won't sing. Once a tempo is selected, stick to it. Don't change tempo during a hymn. Nothing has done more to kill congregational singing than miking a cantor and the priest. There can be only one leader in hymn singing, and it must be the organist. This overpowering vocal "leadership" from cantor or priest, or worse yet, conflicting tempos and interpretations among the three "leaders" is an aural-liturgical disaster. Nothing makes a congregational singer shut his mouth quicker than this kind of chaos. Turn all the microphones off during hymns! Presentation. A new hymn must be presented well the first time it is used. Teaching a new hymn before Mass, while not ideal, may be necessary... especially if it's a little tricky. Other techniques may be used to enhance the learning process. The organist could play the hymn or a prelude based on the hymn several weeks before it is used. The choir could sing the hymn as an anthem or meditation. A section of the hymn might be used as an antiphon, with the cantor singing psalm verses in between. The choir and congregation could alternate verses, giving the people extra chances to "listen." Choir. The performance of the choir greatly affects the congregation in so far that it may encourage or discourage the assembly to sing with them. Polyphonic singing is not preferred to be sung at all times but only during special occasions when the people are singing the melody and the choir doing the other voice parts. The choir should trigger the assembly to sing with them. Time and Season. Singing at the early time of the morning is difficult for anyone. Extra efforts should be made by the choir and the people to sing at these times. 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