What constitutes sacred music?

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Lynnie

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Can someone please explain to me what the rubrics are for music that is used in the mass?

Background: I was recently picking out music for my MIL’s funeral mass. When my 13-yr-old son suggested “On Eagles Wings,” he was surprised to see the scowl on my face. No offense to those who enjoy that hymn, but personally, I find it so saccharine and cliche, at the very least overplayed. I tend to like more traditional hymns, and I absolutely cringe at the assaulting noise of the Lifeteen masses–but that’s just my opinion. I realize that there are many who believe songs like that are completely inappropriate for mass. Is that just a preference, or is there a specific standard that most contemporary music doesn’t meet? Are there contemporary hymns that do meet that standard? If so, provide an example please.

I understand that many have very strong opinions regarding sacred music. Please be objective, specific, and most of all civil in your response. I have seen some of the discussions about sacred music get downright nasty. I’m just trying to explain the issue to my son.
 
There is actually a wide breadth of sacred music.

[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 da 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 (cf. Eph 5:18–20; Col 3:16). 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 (This music had a fine effect on the lives of the faithful, imbuing both their private, and social lives with a true Christian spirit (cf. Eph 5:18-20; Col 3:16). 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 (Musicæ sacræ disciplina, Dec. 25, 1955; AAS 48 [1956] 13-14)., Dec. 25, 1955; AAS 48 [1956] 13-14).

[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” (Musicæ sacræ disciplina, idem.). 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.
 
Adding to the above poster.

Sacred music was composed for liturgical use. Churches paid composers to write music that fit the liturgical seasons.

This was done in the Catholic Church and in the Church of England, amoung others.

I was looking at a collection from Bach, the German composer and the cover had multiple scores titled the for Mass (full orchestra).

I believe orginally, in the Catholic Church, sacred music was composed and sung by monks through chant.

Polyphony is composed to be sung by a small handful of singers (without instruments).

John Taverner 1490-1545 composed “Dum Transiset Sabbatum” (After the Sabbath).

The most beautiful music ever!

youtube.com/watch?v=pTLx7aL7dIQ
 
At my aunt’s funeral, she had preselected a solo presentation of Ave Maria. It was beautiful. Perhaps someone here knows which piece I’m referring too.
 
Barbkw said:
At my aunt’s funeral, she had preselected a solo presentation of Ave Maria. It was beautiful. Perhaps someone here knows which piece I’m referring too.
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There are hundreds of settings of Ave Maria, but the most common two that are heard nowadays in funerals, are the settings by Franz Schubert and by Charles Gounod.
 
Why not do the mass propers for a requiem mass? Mass propers are the texts specifically assigned by the Church as the “official” music for a particular mass. Recited propers can be found in the missal itself, and sung ones can be found in the Roman Gradual, Simple Gradual, or the following text, an independent text, the Simple English Propers. The sung propers for requiem (funeral) masses can be found here, starting on page 414. There are several options for the introit, but I recommend Requiem aeternam, the first one. Incidentally, that little song is where the term “requiem mass” comes from. You will notice that there is no exit antiphon, no recession song. This is because technically the mass is completely ended, as far as the Church is concerned, at the last “Thanks be to God.” Consequently, if you want there to be music during the recession, you will have to pick a song yourself if you choose the propers option.

musicasacra.com/books/simple_english_propers.pdf

Download is completely free and legal.

Mass propers are really intended to be done without accompaniment, that is, a capella, but they can be accompanied if you really want them to be, but I suppose you’d have to find music for it. If you can find good singers, these will be the most beautiful mass music you can find, in my opinion. The music fits in a way that no other music can, because these texts have been around for thousands of years and have survived for that long.
 
It was encouraged from the earliest times said:
Musicæ sacræ disciplina[/URL]
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, Dec. 25, 1955; AAS 48 [1956] 13-14)., Dec. 25, 1955; AAS 48 [1956] 13-14).

[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” (Musicæ sacræ disciplina, idem.). 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.[/INDENT]

Thank you, JGMendes4049! I am going to print your response and study it with my son!

I guess I am primarily concerned with hymns and religious music. If I understand correctly, what distinguishes these from the other forms of sacred music is that hymns are intended for use in divine worship–particularly private devotion, but not necessarily for liturgical use. Religious music is not intended for divine worship, but serves to arouse religious sentiments. This is where the lines get a little fuzzy on me.

Please help me out. What makes one hymn acceptable for liturgy, but another not? Why does music, such as that written by Marty Haugen and Michael Joncas, incite such dramatic responses from people? Again, I’m not talking about tastes or preferences, I’m wondering what specifically is problematic with their music, if anything?

Thanks for your patience…
 
Lynnie said:
Thank you, JGMendes4049! I am going to print your response and study it with my son!

I guess I am primarily concerned with hymns and religious music. If I understand correctly, what distinguishes these from the other forms of sacred music is that hymns are intended for use in divine worship–particularly private devotion, but not necessarily for liturgical use. Religious music is not intended for divine worship, but serves to arouse religious sentiments. This is where the lines get a little fuzzy on me.

Please help me out. What makes one hymn acceptable for liturgy, but another not? Why does music, such as that written by Marty Haugen and Michael Joncas, incite such dramatic responses from people? Again, I’m not talking about tastes or preferences, I’m wondering what specifically is problematic with their music, if anything?

Thanks for your patience…
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Can you be specific when you say that music written by Marty Haugen and Michael Joncas “incites such dramatic responses from people?”

What exactly is the nature of the “dramatic responses?”

Do you believe that pieces like Ave Maria (Gounod or Schubert) do NOT bring about “dramatic responses?”
 
Cat said:
Can you be specific when you say that music written by Marty Haugen and Michael Joncas “incites such dramatic responses from people?”

What exactly is the nature of the “dramatic responses?”

Do you believe that pieces like Ave Maria (Gounod or Schubert) do NOT bring about “dramatic responses?”
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I could be wrong, but I think the pp was referring to the “dramatic response” like it receives here on CAF.
 
agapewolf said:
I could be wrong, but I think the pp was referring to the “dramatic response” like it receives here on CAF.
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Yes. By dramatic responses, I meant that people strongly dislike their music. Take the song that I mentioned earlier–“On Eagles Wings,” or maybe “Let Peace Begin with Me.” (I can already feel the eyes rolling!) Again–not my personal favorites, but undoubtedly very popular. But most Catholics I meet who would consider themselves to be orthodox find those songs repulsive. Is it because they stir our emotions? Certainly, as was mentioned above, a beautifully sung Ave Maria will do it to me every time.

I guess I am just trying to explain to my son–and to anyone else with whom the subject may come up–why “Holy God We Praise Thy Name” is preferable to “Our God Is An Awesome God.” Instinctively I know it is, but I don’t know how to intelligently articulate why.

By the way, my son is thirteen years old. He has a beautiful singing voice and a strong faith. He thinks he may have a calling to be a priest one day. He was puzzled as to why I didn’t like “On Eagles Wings,” which he believed to be a very inspiring song. I just want to give him guidance…in the meantime, I’m going to start piping Mozart’s Requiem through the house.
 
agapewolf, I am so happy you replied to this thread. I had read some comments you posted years ago–about “On Eagles Wings,” no less! You said, “…while the lyrics may be scriptually based, the settings are not in keeping with the norms the Church has set forth.” That is precisely the distinction I am trying to make.

I found an article (see link below) in the Adoremus Bulletin written by Father Paul Scalia, where he explains that the mass is our dialogue with God. He speaks to us through the readings, homily, etc, and we respond to him through our prayers, the prayers of the priest, and through the music. Therefore, it would be inappropriate to sing to each other or to sing God’s part.

He writes,* “A conversation demands that we include the other in the discussion. If someone speaks to you about himself, about you, about himself and you, but never really with you, you would call that person conceited. So have we become in our conversation with God: He humbles Himself to dwell among us under the form of bread and wine, while we ignore Him and sing about ourselves and to ourselves.”*

Example (mine): “Now We Remain” by David Haas, Verse 4
We are the presence of God; this is our call.
Now to become bread and wine:
Food for the hungry,
Life for the weary,…

Father Scalia also argues, “The question arises, To whom are we speaking? We cannot possibly be speaking to God, because it would make no sense for us to speak these words to Him. One hopes that these words are not intended for each other, for that would be the height of arrogance. In fact, when we sing these words we speak to no one in particular. We no longer converse with God at all, but simply reminisce about Him.”

Example: Hosea by Gregory Norbert OSB
Come back to me with all your heart,
don’t let fear keep us apart.
Long have I waited for your coming home to me
and living deeply our new life.

Hence, while these hymns may be appropriate for private meditation or inspiration, (assuming they are theologically sound,) they may not be suitable for the purpose of the mass.

Now that I have that cleared up–I think–here’s the next part of the question. How do we determine whether or not a hymn is appropriate for liturgy* stylistically*. I suppose that’s a bit more subjective. For example, at our church they have a Lifeteen mass. When they sing the Our Father, I feel like we are at an ABBA concert. (Imagine holding hands, eyes closed, swaying.) But it’s the Our Father. Of course that’s an extreme example, but what about other contemporary versions? I prefer when we sing it unaccompanied–in Gregorian chant. But is that just my preference? Or is that actually a superior form of liturgical music? (Maybe that’s for another thread…)

Father Scalia’s article: adoremus.org/399Scalia.html
 
Lynnie said:
agapewolf, I am so happy you replied to this thread. I had read some comments you posted years ago–about “On Eagles Wings,” no less! You said, “…while the lyrics may be scriptually based, the settings are not in keeping with the norms the Church has set forth.” That is precisely the distinction I am trying to make.

I found an article (see link below) in the Adoremus Bulletin written by Father Paul Scalia, where he explains that the mass is our dialogue with God. He speaks to us through the readings, homily, etc, and we respond to him through our prayers, the prayers of the priest, and through the music. Therefore, it would be inappropriate to sing to each other or to sing God’s part.

He writes,* “A conversation demands that we include the other in the discussion. If someone speaks to you about himself, about you, about himself and you, but never really with you, you would call that person conceited. So have we become in our conversation with God: He humbles Himself to dwell among us under the form of bread and wine, while we ignore Him and sing about ourselves and to ourselves.”*

Example (mine): “Now We Remain” by David Haas, Verse 4
We are the presence of God; this is our call.
Now to become bread and wine:
Food for the hungry,
Life for the weary,…

Father Scalia also argues, “The question arises, To whom are we speaking? We cannot possibly be speaking to God, because it would make no sense for us to speak these words to Him. One hopes that these words are not intended for each other, for that would be the height of arrogance. In fact, when we sing these words we speak to no one in particular. We no longer converse with God at all, but simply reminisce about Him.”

Example: Hosea by Gregory Norbert OSB
Come back to me with all your heart,
don’t let fear keep us apart.
Long have I waited for your coming home to me
and living deeply our new life.

Hence, while these hymns may be appropriate for private meditation or inspiration, (assuming they are theologically sound,) they may not be suitable for the purpose of the mass.

Now that I have that cleared up–I think–here’s the next part of the question. How do we determine whether or not a hymn is appropriate for liturgy* stylistically*. I suppose that’s a bit more subjective. For example, at our church they have a Lifeteen mass. When they sing the Our Father, I feel like we are at an ABBA concert. (Imagine holding hands, eyes closed, swaying.) But it’s the Our Father. Of course that’s an extreme example, but what about other contemporary versions? I prefer when we sing it unaccompanied–in Gregorian chant. But is that just my preference? Or is that actually a superior form of liturgical music? (Maybe that’s for another thread…)

Father Scalia’s article: adoremus.org/399Scalia.html
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Could you PM me the thread where I said that please? I don’t recall.

2nd— I disagree with Fr. Scalia. It is not arrogant for us to address each other in a song about God. If it was we could never address each other in talking about God, otherwise it would be the “height of arrogance”. I think the argument is ludicrous. I’m not trying to be overly exaggerating in that adverb.

Please look at the psalms. Look at the songs “All Creatures of our God and King”, along with many old hymns. Songs do not have to be in the perspective of us singing to God directly.
 
agapewolf, Here is the thread to which I was referring (see post #87):

forums.catholic-questions.org/showthread.php?t=243999&page=6

I now realize I made a mistake, it was benedictgal with whom you were discussing “OEW” who actually said that. Still, your comments about the hymn being scriptural struck me as very reasonable, so I wanted to follow your line of thinking as I understood it.

If you read Father’s whole article, he does mention that there are times when we may address each other in liturgical music: “*…the traditional hymns address others only** to invite them to worship God**(emphasis mine), while most contemporary songs invite us to glorify ourselves.”
*
I admit I don’t know how accurate Father Scalia’s assertions are, but he brings up a good point. Still, if he’s right, there are an awful lot of songs in my parish’s hymnal (Gather) that do not qualify as suitable for liturgical music…
 
Father Scalia is right, and there are a lot of songs in the “Gather” hymnal that are not suitable for use at Mass. I have had the pleasure of attending Mass at his parish several times, and they use “The St. Michael Hymnal,” published by St. Boniface Parish in Lafayette, Indiana.

If you want another explanation of what constitutes sacred music, you should read the chapter on music and liturgy in Pope Benedict’s book “The Spirit of the Liturgy”. It does come a shock when you first realize how few priests in American seem to have any knowledge of what the Church considers to be sacred music suitable to be used at the Holy Sacrifice of the Mass. Priests need to learn about this in the seminary. In a couple of weeks we will have the opportunity to visit the North American College here in Rome. I have been told that they have a wonderful choir made up of seminarians, and they sing music proper to the Latin Rite. I am anxious to hear them.
 
Marysann said:
Father Scalia is right, and there are a lot of songs in the “Gather” hymnal that are not suitable for use at Mass. I have had the pleasure of attending Mass at his parish several times, and they use “The St. Michael Hymnal,” published by St. Boniface Parish in Lafayette, Indiana.

If you want another explanation of what constitutes sacred music, you should read the chapter on music and liturgy in Pope Benedict’s book “The Spirit of the Liturgy”. It does come a shock when you first realize how few priests in American seem to have any knowledge of what the Church considers to be sacred music suitable to be used at the Holy Sacrifice of the Mass. Priests need to learn about this in the seminary. In a couple of weeks we will have the opportunity to visit the North American College here in Rome. I have been told that they have a wonderful choir made up of seminarians, and they sing music proper to the Latin Rite. I am anxious to hear them.
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This is true. I’ve gone through many seminaries’ course catalogs and graduation requirements, and only in about half of them did I find any mention of required music classes at all. BTW, PNAC has an excellent choir. I am very jealous, I would love to go hear them!
 
I think it would be helpful if many parishioners and those who are involved in the music ministry side of the celebration of the Mass would ask themselves a few questions before choosing what hymns to sing for Mass. A couple of ideas might be:
  1. Is the hymn directed toward God or Man? :gopray2:
  2. Does the hymn somewhat match the subject of the readings? Not necessary, but hymns to Our Lady are nice on Her feast days for instance.
  3. Are they songs that actually praise God, or are they generic feel-good songs where God is mentioned more as a token, ‘in passing’ courtesy?
  4. Is there ANY New Age reference, or reason to wonder what the song is really about? Jesus has a title known as the “Sun of Justice”, but there is a song out there (can’t remember the title just now) where the sun, our physical star that the earth rotates around, is referred to as “he”, and it’s very very clear that Jesus is not the intended reference. :confused:
  5. Is it so tedious (or tediously played) that the congregation drags through it without any sense of enthusiasm for it? :yawn:
  6. Is there a balance between traditional and modern, so that everyone feels like they’re are as much a part of the congregation as everyone else, or has everything traditional been put aside?
  7. Are songs chosen that men can more easily sing to, or are the songs mostly high-pitched where only women and kids can sing along?
  8. Are they too speedy or too slow?
Just a few things to think about. Our parish sings the same songs over and over again every week, and fewer and fewer people are singing, yet the leaders keep ‘yelling’ at us to support them. Ok, they don’t actually yell, but they get pretty testy if few people are joining in.
 
When Christ returns it will be at the sound of a trumpet:
In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
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I think trumpet music is, therefore, particularly amenable to Christian worship. There are quite a few biblical references to trumpets (as opposed to glad tambourines), which I think support my theory. I personally would like trumpet music at my funeral.

If you think I am a little nutty, please have a listen here:

youtube.com/watch?v=rc0uHV3FPgs
 
JHow said:
When Christ returns it will be at the sound of a trumpet:

I think trumpet music is, therefore, particularly amenable to Christian worship. There are quite a few biblical references to trumpets (as opposed to glad tambourines), which I think support my theory. I personally would like trumpet music at my funeral.

If you think I am a little nutty, please have a listen here:

youtube.com/watch?v=rc0uHV3FPgs
Click to expand...
Traditionally, a tradition now restored, men with silver trumpets begin papal masses with a little ditty before “Tu Es Petrus” is sung. 🙂 I personally think a trumpet is a fine instrument to play at a mass, although it shouldn’t be the only one, imo.
 
Lynnie said:
Can someone please explain to me what the rubrics are for music that is used in the mass?

Background: I was recently picking out music for my MIL’s funeral mass. When my 13-yr-old son suggested “On Eagles Wings,” he was surprised to see the scowl on my face. No offense to those who enjoy that hymn, but personally, I find it so saccharine and cliche, at the very least overplayed. I tend to like more traditional hymns, and I absolutely cringe at the assaulting noise of the Lifeteen masses–but that’s just my opinion. I realize that there are many who believe songs like that are completely inappropriate for mass. Is that just a preference, or is there a specific standard that most contemporary music doesn’t meet? Are there contemporary hymns that do meet that standard? If so, provide an example please.

I understand that many have very strong opinions regarding sacred music. Please be objective, specific, and most of all civil in your response. I have seen some of the discussions about sacred music get downright nasty. I’m just trying to explain the issue to my son.
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As for Sacred Music Musicam Sacram 1967
following on from Vatican II’s Sacrosanctum Concilium

b) Under the term sacred music come these:
Gregorian chant,
ancient and modern sacred polyphony, in its diverse styles,
sacred music for organ and other permitted instruments,
and the sacred music of the people, liturgical or religious.

As for hymns: De musica sacra et sacra liturgia 1958
  1. If hymns are to attain their purpose, their texts “must conform to the doctrine of the Catholic Church, plainly stating, and explaining it. The vocabulary should be simple, and free of dramatic, and meaningless verbiage. Their tunes, however brief, and easy, should evince a religious dignity and propriety” (Musicæ sacræ disciplina (AAS 48 [1956] 20). Local Ordinaries should carefully see that these ideals are observed.
In my parish folk/pop songs get called hymns. Yet lyrically they don’t seem rich in the doctrine of the Church, like the old ones (some of which were bad, don’t get me wrong).

As for the music, the folk/pop songs are syncopated (some very much so) and so do not constitute hymnody in my opinion.

Just because a song is sung at Mass and mentions God, doesn’t make it a hymn.

As to specific norms
The 1967 document notes that before anything is sung the dialogue must be sung (and with your spirit, thanks be to God, Lord I am not worthy, the Mass is ended etc).

Then the Gloria, Our Father etc. And last the Entrance, Offertory and Communion Chants.

It upholds the old distinction of Solemn, Sung and Recited (so called low) Masses.

In relation to the very last option the USA General Instruction states:

GIRM 48. This chant is sung alternately by the choir and the people or similarly by a cantor and the people, or entirely by the people, or by the choir alone.

In the Dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Missal or the antiphon with its Psalm from the Graduale Romanum as set to music there or in another setting;

(2) the antiphon and Psalm of the Graduale Simplex for the liturgical time;

(3) a chant from another collection of Psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including Psalms arranged in responsorial or metrical forms;

(4) another liturgical chant that is suited to the sacred action, the day, or the time of year, similarly approved by the Conference of Bishops or the Diocesan Bishop.

If there is no singing at the Entrance, the antiphon given in the Missal is recited…
 
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