SACRED MUSIC

112. 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 the solemn liturgy.

Sacred scripture, indeed, has bestowed praise upon sacred song.[1] 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 functions exercised by sacred music in the service of the Lord.

Therefore sacred music is to be considered the more holy, the more closely connected it is with the liturgical action, whether making prayer more pleasing, promoting unity of minds, or conferring greater solemnity upon the sacred rites. The Church, indeed, approves of all forms of true art which have the requisite qualities, and admits them into divine worship.

Accordingly, the sacred Council, keeping to the norms and precepts of ecclesiastical tradition and discipline and having regard to the purpose of sacred music, which is the glory of God and the sanctification of the faithful, decrees as follows:

113. Liturgical worship is given a more noble form when the divine offices are celebrated solemnly in song with the assistance of sacred ministers and the active participation of the people.

As regards the language to be used, the provisions of Article 36 are to be observed; for the Mass, Article 54; for the sacraments, Article 63; for the divine office, Article 101.

114. The treasury of sacred music is to be preserved and cultivated with great care. Choirs must be assiduously developed, especially in cathedral churches. Bishops and other pastors of souls must take great care to ensure that whenever the sacred action is to be accompanied by chant, the whole body of the faithful may be able to contribute that active participation which is rightly theirs, as laid down in Articles 28 and 30.

115. Great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of studies of religious of both sexes, and also in other Catholic institutions and schools. To impart this instruction teachers

_______________________________________________________ 1. Cf. Eph. 5:19; Col. 3:16.

are to be carefully trained and put in charge of the teaching of sacred music.

It is desirable also that higher institutes of sacred music be established whenever possible.

Composers and singers, especially boys, must also be given a genuine liturgical training.

116. The Church recognizes Gregorian chant as being specially suited to the Roman liturgy. Therefore, other things being equal, it should be given pride of place in liturgical services.

Other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations so long as they accord with the spirit of the liturgical action as laid down in Article 30.

117. The typical edition of the books of Gregorian chant is to be completed. In addition a more critical edition is to be prepared of those books already published since the restoration by St. Pius X.

It is desirable also that an edition be prepared containing simpler melodies for use in smaller churches.

118. Religious singing by the faithful is to be intelligently fostered so that in devotions and sacred exercises as well as in liturgical services, the voices of the faithful may be heard, in conformity with the norms and requirements of the rubrics.

119. In certain countries, especially in mission lands there are people who have their own musical tradition, and this plays a great part in their religious and social life. For this reason their music should be held in proper esteem and a suitable place is to be given to it, not only in forming their religious sense but also in adapting worship to their native genius, as indicated in Articles 39 and 40.

Therefore, in the musical training of missionaries, great care should be taken to see that they become competent in promoting the traditional music of those peoples both in the schools and in sacred services, as far as may be practicable.

120. The pipe organ is to be held in high esteem in the Latin Church, for it is the traditional musical instrument, the sound of which can add a wonderful splendour to the Church's ceremonies and powerfully lifts up men's minds to God and higher things.

But other instruments also may be admitted for use in divine worship, in the judgment and with the consent of the competent territorial authority as laid down in Articles 22: 2, 37 and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use; that they accord with the dignity of the temple, and that they truly contribute to the edification of the faithful.

121. Composers, animated by the Christian spirit, should accept that it pertains to their vocation to cultivate sacred music and increase its store of treasures.

Let them produce compositions which have the qualities proper to genuine sacred music, and which can be sung not only by large choirs but also by smaller choirs, and which make possible the active participation of the whole congregation.

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.