 | The examples and perspective in this articledeal primarily with Catholic church and does not discuss other denominations much if at all). Plus, even for the Cath. church, it fails to give much historic context and seems only concerned with such music since Vatican II... and do not represent aworldwide view of the subject. You mayimprove this article, discuss the issue on thetalk page, orcreate a new article, as appropriate.(October 2021) (Learn how and when to remove this message) |
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Liturgical music originated as a part ofreligiousceremony, and includes a number of traditions, both ancient and modern. Liturgical music is well known as a part ofCatholic Mass, theAnglicanHoly Communion service (orEucharist) andEvensong, theLutheranDivine Service, theOrthodoxliturgy, and other Christian services, including theDivine Office.
The qualities that create the distinctive character of liturgical music are based on the notion that liturgical music is conceived and composed according to the norms and needs of the various historicliturgies of particulardenominations.
The interest taken by the Catholic Church in music is shown not only by practitioners, but also by numerous enactments and regulations calculated to foster music worthy of Divine service.[1] ContemporaryCatholic official church policy is expressed in the documents of theSecond Vatican CouncilSacrosanctum Concilium, the Constitution on the Sacred Liturgy promulgated byPope Paul VI on December 4, 1963 (items 112–121); and most particularlyMusicam sacram, the Instruction on Music In The Liturgy from the Sacred Congregation for Rites, on March 5, 1967.
While there have been historic disputes within the church where elaborate music has been under criticism, there are many period works by Orlandus deLassus,Allegri,Vittoria, where the most elaborate means of expression are employed in liturgical music, but which, nevertheless, are spontaneous outpourings of adoring hearts (cf.contrapuntal orpolyphonic music). Besidesplain chant and the polyphonic style, the Catholic Church also permitshomophonic or figured compositions with or without instrumental accompaniment, written either inecclesiasticalmodes, or the modern major or minor keys.Gregorian chant is warmly recommended by the Catholic Church, as both polyphonic music and modern unison music for the assembly.[1]
Prior to theSecond Vatican Council, according to themotu proprio of Pius X (November 22, 1903), the following were the general guiding principles of the Church: "Sacred music should possess, in the highest degree, the qualities proper to the liturgy, or more precisely, sanctity and purity of form from which its other character of universality spontaneously springs. It must be holy, and must therefore exclude all profanity, not only from itself but also from the manner in which it is presented by those who execute it. It must be true art, for otherwise it cannot exercise on the minds of the hearers that influence which the Church meditates when she welcomes into her liturgy the art of music. But it must also be universal, in the sense that, while every nation is permitted to admit into its ecclesiastical compositions those special forms which may be said to constitute its native music, still these forms must be subordinated in such a manner to the general characteristics of sacred music, that no one of any nation may receive an impression other than good on hearing them."[1] This was expanded upon by PopePius XII in his motu proprioMusicae sacrae.[2]
In 1963, the Constitution on the Sacred Liturgy (Sacrosanctum Concilium) of theSecond Vatican Council directed that "bishops and other pastors of souls must be at pains to ensure that, whenever the sacred action is to be celebrated with song, the whole body of the faithful may be able to contribute that active participation which is rightly theirs, as laid down in Art. 28 and 30", which articles say: "To promote active participation, the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs".[3] Full and active participation of the people is a recurring theme in the Vatican II document.[4] To achieve this fulsome congregational participation, great restraint in introducing new hymns has proven most helpful.[5]
While music is important within many types of Anglican service, it forms a prominent part of choralMattins andEvensong.
One or more of the preceding sentences incorporates text from a publication now in thepublic domain: Gietmann, Gerhard (1911). "Ecclesiastical Music". In Herbermann, Charles (ed.).Catholic Encyclopedia. Vol. 10. New York: Robert Appleton Company.
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