“a treasure of inestimable value”
This is part 2 of 8 on Chapter VI “Sacred Music” taken from the Constitution on the Sacred Liturgy Sacrosanctum Concilium solemnly promulgated by His Holiness Pope Paul VI on December 4, 1963. Please also read Vatican II and Sacred Music by Kurt Poterack, Ph.D found in the Spring 1999 issue of Sacred Music.
“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 sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.[i]
What is the universal Church’s treasure of inestimable value? Just eight years prior to Vatican II, Pope Pius XII answers this question. “…they also in their various liturgical chants, preserve treasures which must be guarded and defended to prevent not only their complete disappearance, but also any partial loss or distortion.”[ii] The Holy Father warns us that if our Sacred Music (Gregorian Chant and Polyphony) is not guarded and defended it could completely disappear. It was not the intention of the Council Fathers to throw out the Church’s treasure, but rather to preserve the Church’s treasury of Sacred Music.
Why is Sacred Music greater than other art in the Church (architecture, painting, and sculpture)? Sacred Song is untied to the words. In fact, in Gregorian Chant it is the tones or melody that fits to the words, rather than the words fitting to the tune or melody. Sacred Scripture is primary. The text is more important than the tune. “…sacred music enters more intimately into divine worship than many other liberal arts, such as architecture, painting, and sculpture. These last serve to prepare a worthy setting for the sacred ceremonies. Sacred music, however, has an important place in the actual performance of the sacred ceremonies and rites themselves.”[iii] Sacred Music differs from other art because Sacred Music is itself the liturgical text or rites sung. We don’t sing at Mass, we sing the Mass.
Why is music necessary or an integral part of the solemn liturgy? First we must answer the question of what a solemn liturgy is. A solemn liturgy is typically a sung Mass, the priest will have the assistance of sacred ministers, and incense will be used. There can be a solemn Mass and solemn Liturgy of the Hours, both are sung and both are considered a more noble form. This is why it is recommended that Sundays and solemnities are sung and therefore solemn. “In order to understand what is meant by ‘integral part,’ it is important to understand the difference between ‘integral’ and ‘essential.’ A common analogy is that while the soul is essential to the body (i.e. the body would die without the soul), arms and legs are integral to the body (i.e. the body would not die without them, but would be lacking something very important). Thus a solemn liturgy without music, would be analogous to a body without arms and legs – the Mass would still be ‘alive’ (i.e. valid), but it would be, in a sense, severely maimed. This, of course, applies only to the solemn liturgy not the low Mass.”[iv] Sometimes a solemn Mass is called a “high Mass”.
What is a low Mass? A low Mass is not sung, the priest will not have the assistance of sacred ministers, and incense is not used. Daily Masses are usually low Masses.
What is so important about signing? Does singing the text do anything to the liturgical text or Sacred Scripture? We have all had someone or a group of people sing Happy Birthday to us. Imagine if everyone just said “Happy Birthday to you…” a person’s party rather than sing it. That person may be offended or at the very least wonder why nobody sung it to him/her. The signing not only gives a certain dignity to the text, but it also elevates the text because of the joyful celebration. The signing is also unitive for those singing as they would most likely not be united if they were to just say or speak the text.
What is the primary function of sacred music? Sacred music’s function (purpose) is ministerial. Its’ job is to serve the word, the liturgical text. “Holy Scripture, indeed, has bestowed praise upon sacred song, and the same may be said of the fathers of the Church and of the Roman pontiffs who in recent times, led by St. Pius X, have explained more precisely the ministerial function supplied by sacred music in the service of the Lord.[v]
In this quote we see the three sources of Catholic authority all confirming the function of Sacred Music. Sacred Scripture (Holy Scripture), Sacred Tradition (father’s of the Church), and the Magisterium (the Roman pontiffs). Pope Pius X says, “[Sacred music’s] chief duty is to clothe the liturgical text, which is presented to the understanding of the faithful, with suitable melody; its object is to make the text more efficacious, so that the faithful through this means may be more roused to devotion; and better disposed to gather to themselves the fruits of grace which come from the celebration of the sacred mysteries.”[vi]
What are some examples of how sacred music “clothes the liturgical text”? Before we see some examples we have to ask if the music is at the service of the text, or the text is at the service of the music. Is the priority the text or the music? Here are two examples, one Gregorian chant, one a modern Mass setting.
What text is stressed in the first two lines?
Gloria VIII (De Angelis)
Gloria in excelsis Deo (God). Et in terra pax hominibus (man).
The stress is on the text God and man. God is given glory, man is given peace. The music clothes the text.
Glory to God in the Highest (Mass of Creation)
Glory to God in the highest, and on earth peace to people of good will.
The stress is on the text highest and earth. The text in this case is forced to fit the melody and the theological meaning and significance is lost.
The liturgical text of the Mass is primary and the music clothes this text. The liturgical text is given precedence over any text coming from outside the liturgy (hymns, songs, prayers, etc.)
What guidelines should song writers and composers of sacred music follow? “Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful. The texts intended to be sung must always be in conformity with Catholic doctrine; indeed they should be drawn chiefly from holy scripture and from liturgical sources”.[vii]
[i] Sacrosanctum Concilium; Chapter 6, Section 112
[ii] Musicae sacrae disciplina: articles 50-51, Pope Pius XII, 1955
[iii] Musicae sacrae disciplina: article 30, Pope Pius XII, 1955
[iv] Kurt Poterack; Vatican II and Sacred Music; page 6
[v] Sacrosanctum Concilium; Chapter 6, Section 112
[vi] Tra le sollecitudini: article 1, Pope Pius X, 1903
[vii] Sacrosanctum Concilium; Chapter 6, Section 121