Archdiocese of Ottawa - Diocesan Liturgy Commission - October 2002

MUSIC

PASTORAL GUIDELINES

I. INTRODUCTION

“The faithful who gather together to await the Lord's coming are instructed by the Apostle Paul to sing psalms, hymns, and inspired songs.  Song is the sign of the heart's joy.” (General Instruction of the Roman Missal #19)  Great importance should be attached to the use of singing at Eucharist and it is referred to in many of the documents of Vatican II.  Since New Testament times, music and singing have been a means whereby Christians express their unity with Christ and with one another.  We express the unity of our minds and hearts when we offer praise to God in song.

The purpose of these guidelines is to provide practical help to musicians, pastors, and liturgy committees in planning and celebrating Sunday Eucharist and other parish liturgies.

II. GENERAL NOTES

A. Music adds delight to prayer, fosters oneness of spirit and invests the rites with greater solemnity.

B. Liturgy is prayer, therefore the music we use must be prayerful, leading us to praise and prayer.

C. “The celebration of the Eucharist is the action of the whole Church,” (GIRM #5) therefore, the song of the whole assembly must have first place in importance.  All music ministers as well as presider and other ministers, are part of the assembly and must work to support and uplift the song and worship of the assembly.

1. The music used should be within the competence of most of the worshippers (vocal range as well as ease in singing).

2. Music, chosen with care, serves to build faith, as well as express it.

3. The general make-up of the total community must be considered when planning music.

D. Music reflects the beauty, harmony, glory, and perfection of God.  Music ministers must strive for excellence and use music which reflects the beauty of God.

E. Ideally, parish communities provide training and resources for the improvement and education of music ministers.

1. Workshops for choir members and musicians.

2. Private lessons for organists and guitarists.

3. Workshops for cantors and leaders of song.

4. Courses are available nationally:

in Ottawa: Saint Paul University, Summer Institute in Pastoral Liturgy

in Ontario: through The Ontario Liturgical Conference Summer School for Liturgical Musicians

in Edmonton: Newman College.

III. MUSIC MINISTERS

A. In the liturgy, musicians are minister-servants of the whole assembly.  Their role is subservient to the worship of the community, and should help all the people to give God greater praise.

1. Music ministers help intensify the spirit of prayer and worship of the assembly. This is a ministry of enabling and not of performing.

2. Those involved in the ministry need to be persons who believe and pray.  Their public worship and music flows from their deep faith, daily lives, and personal prayer.

3. They must be people of prayer who are able to use their music at the service of the people of God.

4. They must be seen visibly praying with the assembly, listening to the scriptures, and taking part in all aspects of the liturgy.

5. They must ensure that the presider is part of the planning.

B. Choirs

1. The choir is first of all a part of the community.

2. Its first task is to help the community to participate more fully in its worship.

3. Its second responsibility is to add to the beauty of the celebration by singing in union with the movement of the liturgical action.

4. Choirs are to be diligently promoted, provided that the whole assembly is able to contribute their active participation, which is rightly theirs. (Constitution on the Sacred Liturgy # 114 )

C. Cantors

1. The person who sings the responsorial psalm and the verse of the gospel acclamation is called a cantor.

a. The psalm is normally sung at the ambo.

b. The gospel acclamation is usually led from a place other than the ambo.

2. The cantor might also act as leader of song throughout the liturgy although it is better that this be a different individual.

3. Cantors are  persons able to sing the text and melody well and in a pleasing voice, with an ability to encourage the people to join.

4. They need to be people who pray, who reflect on the meaning of the scriptures and the texts sung in the liturgy, and try to live the spirit of the liturgy in daily life.

D. Leaders of Song

1. Leaders of song are persons who act alone, or are supported by choir; their primary task is to encourage the participation of the entire assembly.

2. The above qualities of a cantor apply to the leader of song.

3. Leaders of song need to be individuals who can stimulate the involvement of all without overpowering vocally or with hand gestures. Care needs to be exercised when using microphones.

4. They need to be persons who are comfortable with the assembly and have a good relationship with them.

E. Instrumentalists

1. Serve the musical expression of prayer by accompanying the congregation, cantor and choir.

2. When accompanying the choir or community, the instruments should support the singing but not obscure the words being sung.

3. When a priest or minister is proclaiming a text, instruments are usually silent.

4. Instrumental music without singing may be used at various times in the liturgy:  before the Entrance Procession, during the Preparation of the Gifts, during or after the Recessional.

5. At times, silence is desirable: after readings, after the homily, and perhaps after communion.

F. Location

1. Musicians are a part of the assembly of the faithful and their location within the church should clearly reflect this.

a. A location near the front will facilitate congregational singing.

b. A distant or separated loft is discouraged.

c. A position behind the assembly is also discouraged.

d. If the loft is the only alternative for the choir (no possibility of moving the organ console), then great effort must be made to include the assembly in the singing: use a song leader at the front at all times.

2. The vocalists and instrumentalists need to be located in the same area so they can function as an ensemble.

3. The organ, or other instruments, are placed in such a way that they can sustain the singing of the choir and congregation and be heard with ease when they are played alone.

a. In some buildings, a position too far from the congregation causes a time lag which tends to make the singing drag.

b. A location near the front pews will facilitate congregational singing.

4. The musicians should be facing at least part of the assembly and the sanctuary.

5. The musicians should be located so as to receive communion without inconvenience.

6. Hymn numbers should be clearly posted for the assembly.

G. Dress

Since the choir and musicians are part of the assembly, they need not be set apart through the use of special garments (e.g. robes).

H. Music

1. Hymn books should be provided for both the assembly and the choir members.

a. A sufficient number of books need to be provided so that each individual of the assembly has access to a book.

b. Hymn numbers need to be clearly posted.

2. Published music is protected by copyright laws.  Music used by both assembly and choir must comply with the law. This is a moral and justice issue. Illegal photocopying deprives composers and others of just income.

3. The following are illegal without express permission from the copyright holders:

a. Photocopies of choir music or words for use by the assembly.

b. Parish hymn books which have been compiled and printed without permission of copyright holders.

c. Programs for one time use (wedding, or funeral programs).  Permission for such use may be obtained from the publishing companies for a fee.

d. Use of overheads without a license

4. Parishes interested in obtaining further information concerning the use of copyrighted material may contact the Music publishing companies (GIA: www.giamusic.com, 1-800-GIA-1358, or 708-496-3800; New Dawn Music: www.ocp.org/newdawn.html, liturgy@ocp.org, or 1-800-243-3296).

5. Parishes need to budget sufficient money for the purchase of music to be used by the choir. Lack of money from the parish often drives choir directors to the photocopy machine, instead of ordering music. It is the responsibility of the parish to ensure adequate funding for music resources and copyright licenses.

IV. PREPARATION

A. Music serves the expression of faith.

1. As sacred song is united to words, it forms a necessary or integral part of the solemn liturgy.

a. It must serve and never dominate;

b. assists the assembled believers to express and share the gift of faith that is within them, nourishes and strengthens their interior commitment of faith;

c. heightens the texts so they speak more fully and effectively;

d. imparts a quality of joy and enthusiasm;

e. imparts a sense of unity to the assembly;

f. sets the appropriate tone for the particular celebration.

2. Music unveils a dimension of meaning and feeling, beyond the words themselves.

a. Prayer is not simply verbal, but also includes “the heart”.

b. Liturgy involves the whole person and the feeling dimension is expressed through music and the other arts (dance, art, etc.).

B. Determining the value of a given musical element in liturgical celebration includes a threefold judgment. (Music in Catholic Worship, revised edition, NCCB, Washington 1983).

1. The musical judgment

a. Is the music technically, aesthetically, and expressively good?

b. To use poor music is to cheapen the liturgy.

c. Musicians who do not feel capable to make such judgments concerning music might consult a neighbouring musician.

d. Although all liturgical music should be good, not all good music is suitable to the liturgy.

2. The liturgical judgment

a. The nature of the liturgy itself helps to determine what kind of music is called for, what parts are to be preferred for singing, and who is to sing them.

b. Music ministers must always be growing in their understanding of the liturgy in order that their service be rooted in the Eucharistic liturgy itself.

c. The choice of sung parts, the balance between them, and the style of the musical setting used should reflect the relative importance of the parts of the Eucharist (or other service) and the nature of each part.

d. A more detailed examination of the parts of the Eucharist will be covered in section VI of these guidelines.

3. The pastoral judgment                                              

a. Ideally this judgment is made in consultation with the planning team or committee.

b. Does the music in the celebration enable these people to express their faith, in this place, in this age, in this culture?

c. All means must be used to promote singing by the entire assembly.

d. The pastoral judgment is aided by a sensitivity to the cultural and social characteristics of the people who make up the congregation:  their age, culture, and education.

C. Immediate preparation

1. Scripture

a. When music ministers are preparing music for the celebration of Sunday Eucharist, or other parish liturgy, they begin by reading and prayerfully reflecting on the scripture readings of the day.

b. The Word of God is what calls forth our praise and thanksgiving at the Eucharist.

c. A prayerful reflection and sharing by several members of the music ministry is recommended before choosing music for a given celebration.

2. Liturgical Season (Advent, Christmas, Lent, Easter)

a. The spirit of the liturgical season should be considered and studied.

b. This spirit is contained in the readings and liturgical texts (prayers and prefaces) of the Sundays of the season.

c. All Sundays of a season are best considered together rather than one week at a time.  Liturgical seasons ideally are planned as a whole.

d. A common hymn to express the meaning of the season, or a common psalm is helpful for the assembly to sense the unity of the season. (see VI, B, 2, e)

3. Co-ordination

a. Co-ordination with the Liturgy Committee and presider of the liturgy are important.

b. It should be clear, before the celebration begins what parts are going to be sung.

c. The presider should have a list of hymns and a hymn book at the presidential chair for his full participation (altar servers also need books).

d. A sample sheet of music options can be found in the appendix of these guidelines.

4. Before the liturgy

a. Arrive at least fifteen minutes before the celebration begins to make sure that all details concerning the ministry are in order (hymn numbers posted, hymn books out, microphones set up, sheet of music options given to the presider, etc.).

b. If there is any music which needs to be rehearsed with the assembly, this can be done about 5 minutes before the celebration begins and is usually followed by a period of silence.

V. TIMES FOR MUSIC AT EUCHARIST

A. Some parts of the Sunday liturgy are more important than others.  Music ministers encourage the assembly to sing the parts that belong to them.

B. People's parts - The following parts belong to the people and they always participate in them.  The most important are marked with an * and are normally sung at every Sunday Eucharist.

1. Introductory Rites

a. *Entrance song

b. Lord Have Mercy

c. Gloria

2. Liturgy of the Word

a. *Responsorial Psalm

b. *Gospel Acclamation

c. Intercessions

3. Liturgy of the Eucharist

a. *Holy, Holy

b. *Memorial Acclamation

c. *Great Amen (at the conclusion of “through him, with him, in him...”)

d. Lord’s Prayer and concluding doxology

e. Lamb of God

f. *Communion processional song

g. Hymn of praise after Communion

C. Other elements - Other times when the choir or people may sing include the other processions:

1. Presentation of the gifts

2. Recessional

VI. PARTS OF THE LITURGY

A. Introductory Rites - The purpose of these rites is to help the assembled people become a worshipping community and to prepare them for listening to God's Word and celebrating the Eucharist. (GIRM #24)  It is important to sing during these rites, but it is not desirable to sing all or even most of them.

1. Prelude - An instrumental prelude before the entrance song may help set the tone for the celebration.

2. *The Entrance Song is of first importance in the Introductory Rites. The entrance song:

a. Opens the celebration, creates a sense of unity among the people, directs their thoughts to the sacred mystery being celebrated, and accompanies the entrance procession. (GIRM #25)

b. Reflects the spirit of the Sunday, the liturgical season, or the feast of the day.

c. May be a hymn or a psalm with a refrain.

d. Accompanies the procession, and continues at least until the presider arrives at the chair.  It should be long enough to create the sense of unity described above. It does not have to end as soon as the presider is at the chair.  This is especially important in small churches where the procession does not take much time. It is important to respect the integrity of the text.

e. Every effort must be made to allow the congregation to have an active role in the Entrance Song.

3. The “Lord Have Mercy” may be sung at the conclusion of the Penitential Rite.

4. The rite of Blessing and Sprinkling may replace the Penitential Rite and have a hymn or acclamation to accompany it. This is especially appropriate during the Easter season or on Sundays with baptisms

5. Gloria is a hymn of praise used on Sundays (outside Lent and Advent), solemnities, feasts, and solemn local celebrations.

a. It may be begun by priest, cantor, choir, or the entire assembly.

b. The preference is for congregational participation.

B. Liturgy of the Word - Music within this part of the liturgy encourages the people of God to listen to the Word with faith, and to make a generous response to God.

1. A period of silent reflection follows the readings.

2. *The Responsorial Psalm is a reflection on the first reading and by its nature is intended to be sung.

a. The cantor sings the refrain from the ambo, and the congregation repeats it. The refrain is always sung twice at the beginning.

b. The cantor sings the verses of the psalm; if necessary several individuals, or even the entire choir may sing these.

c. The congregation sings the refrain after each verse.

d. The refrain may be sung even when the psalm is recited by the lector.

e. In order to help communities to sing the responsorial psalm, a common or seasonal psalm or refrain may be used.  The alternative text should be similar in meaning to that of the appointed psalm of the day.

f. Non-biblical texts, psalm paraphrases, or other hymns as alternatives to the appointed responsorial psalm are not to be used.

3. The Sequence is a hymn that is intended to be sung.  It is used on Easter Sunday and Pentecost Sunday after the second reading. It  may be used on the solemnity of the body and blood of Christ. If not sung, it is omitted.

4. *The Gospel Acclamation is a joyful shout of praise, a song of welcome to Christ the Lord, who speaks to us in the Gospel.

a. The music minister determines the length of the silence following the second reading.

b. Alleluia is for singing, not for saying.  If not sung, it may be omitted.

c. The cantor or choir sings the alleluia.

d. All repeat it.

e. The cantor or choir sings the verse.

f. All repeat the alleluia.

g. The alleluia might also be sung as a response to the minister’s proclamation “the Gospel...” at the conclusion of the Gospel. In this case it would be better for the priest or deacon to sing his phrase. Doing this is best reserved for more solemn feasts or the Easter season.

h. During Lent, the alleluia is not sung:  God’s people are seeking conversion, and will be ready to sing this cry of joy with renewed meaning during the Easter Vigil.  The alleluia is replaced by lenten acclamations which are sung in the manner above.

5. The Profession of Faith or Creed is usually spoken.  If sung, it is usually done by all, or by the choir and congregation alternating.

6. The General Intercessions may be sung by the deacon, cantor, lector, or other person.  The congregation answers each intention with a common response, or may pray in silence.  To encourage participation, the response should remain the same every week but it may vary by liturgical season.

C. Liturgy of the Eucharist - Guided by the Word of God in the readings and homily, the church gives thanks in memory of Jesus, the Word-made-flesh.  His thanksgiving, offered through his death and resurrection, becomes ours as we obey His command: “Do this in memory of me”.

1. Preparation of the Altar and Gifts - This part of the liturgy is of minor importance.  The music used at this time should not overpower the more important parts - liturgy of the Word, the liturgy of the Eucharist.  It is helpful to vary the way music is used.  Some suggestions follow.

2. Procession with the gifts

a. One of the following might be chosen:

- Choir and people alternate in singing

- Cantor and people alternate

- Singing by the people

- Singing by the choir

- Instrumental music

b. The hymn should reflect Sunday, the season, or the feast, or be a hymn of praise.

c. Since the act of offering takes place within the Eucharistic prayer, hymns during the preparation of the altar and gifts should not express the theme of offering.

d. Music is intended to accompany the procession and may begin while the procession is being organized or during the collection.  The music should continue at least until the gifts are placed upon the altar, and can continue until, but not beyond the time when the presider washes his hands, unless the altar, gifts and assembly are being incensed.

e. When there is music, the presider says the prayers of preparation silently.

f. A second hymn begun after the gifts are placed on the altar is not appropriate. This puts too much emphasis on this minor rite of the liturgy.

g. Music, silence, and vocal response to the two prayers of preparation provide an opportunity for variety from week to week.

3. The Eucharistic Prayer is the centre and high point of the Eucharist.  It is proclaimed by the presider alone. The people participate by listening, by singing, and by silent offering.

a. *Among the parts that should be sung, the Preface dialogue, Holy, Holy, proclamation of Faith, and the Great Amen have first importance.  For this reason, it is preferable to sing them even at Masses when no other music is used.

b. These acclamations belong to the whole community.  Music for them should be selected with care to ensure that the people always have the opportunity to sing them.

c. To enhance the unity of the Eucharistic prayer, it is best if the acclamations are composed as a single setting (e.g. Mass of Creation - M. Haugen). The doxology (“through him, with him, in him...”) is sung or said by the presider alone, with the congregation giving assent by singing the Great Amen.

4. Communion Rite  By our prayers and actions, we prepare to share in Christ’s banquet.

a. The Lord’s Prayer belongs to the whole community and, if sung, only music familiar to the people should be used.

b. The Eucharistic liturgy does not provide for a hymn during the Sign of Peace. A hymn detracts from the action which is taking place - offering the peace of Christ to our brothers and sisters.

c. The Lamb of God accompanies the breaking of the bread and preparation of the cups.  It begins after the sign of peace.  It may be sung by all, or by the choir or cantor, with the people responding.  It is repeated as many times as necessary to accompany the action taking place.(e.g. more invocations if real bread is being broken)

d. *Communion Song - music is intended to accompany the communion procession and begins while the priest receives communion. (GIRM #119; 56i).  It may include:

- congregational singing

- choir or cantor, with the congregation singing a refrain

- choir alone, singing suitable psalms, or hymns.

Music should be selected and sung so that it enriches the assembly’s sense of community. (GIRM # 56i) Sung texts may express unity of all present in the Lord, the social implications of the Eucharist, praise, or thanksgiving.  They may reflect the feast, the season, or the gospel of the day.  Hymns to Mary are not appropriate at this time.  Hymns, songs or psalms with a simple refrain are the easiest for the assembly so they need not carry hymnals.

e. After communion - a period of silent prayer, or a hymn, psalm, or other song of praise may be sung by all. (GIRM # 56j)

5. Concluding Rite

a. While recessional music is not required, it is usually preferred to a silent recessional.

b. Music may take the following forms:

- hymn or psalm by the congregation

- choral singing

- instrumental music

VII. OTHER NOTES

A. Singing the entire song

1. Ordinarily a hymn is sung in full.

2. When for some reason a shorter version is used, care should be taken that the omission of verses does not cause the hymn to seem incomplete by tampering with the integrity of the text.

B. Solo Singing

1. Some ministers (priest, deacon, or cantor) sing alone, but only when the congregation is going to take part by singing a response, refrain, or acclamation.

2. Sung solos which do not permit the congregation to participate do not enhance the liturgy. Weddings and funerals can be especially problematic in this regard. Occasionally, a solo before the liturgy begins may be used (e.g. before Midnight Mass at Christmas).

3. A knowledge and sensitivity of the structure of the liturgy is vitally important for all who serve as music ministers in any celebration of Eucharist or other sacraments.

a. Music ministers should avail themselves of education in liturgy as well as music.

b. Workshops can be arranged by using competent musicians and liturgists.

C. Texts

1. Sacred song is closely bound to the text and forms an integral part of the Liturgy.

2. Of primary importance are the texts of the Eucharist in liturgy itself.

3. Other texts of hymns sung in worship are to be in accord with Catholic teaching, and should be taken mainly from Scripture.

4. Music and words used in liturgies should lead the community to a greater love for God and God’s People.

5. The Catholic Book of Worship is the national hymnal for Canada and its use is encouraged.

D. Inclusive Language

1. Avoid masculine terms when speaking of men and women in general.

a. “Christ died to save all” is inclusive.

b. “Christ died to save all men” is discriminatory or exclusive.

2. There is a growing sensitivity to avoid language that seems to exclude any portion of the assembly.

3. Catholic Book of Worship III uses inclusive language in regards to people.

APPENDIX I

Annotated Bibliography_ Resources for the Parish Musician

1. Constitution on the Sacred Liturgy (Liturgical Press, Collegeville, 1963) Also found in The Liturgy Documents_ A Parish Resource. 3rd Ed. Chicago: Liturgy Training Publications, 1991.

The foundational document for the liturgical changes of Vatican Two.

2. General Instruction of the Roman Missal found in the Sacramentary or in Documents on the Liturgy 1963_1979. Conciliar, Papal, and Curial Texts, prepared by the International Commission on English in the Liturgy ( ICEL) Collegeville: Liturgical Press 1982 or in New Introductions to the Sacramentary and Lectionary, Ottawa: Canadian Conference of Catholic Bishops,(Concacan) 1983. Revision 2001 to be published.

these are the instructions and rubrics for the celebration of the liturgy.

3. Music in Catholic Worship (Washington: Bishops’ Committee on the Liturgy 1972; rev. ed., 1983). See also the National Association of Pastoral Musicians Commentary on this document, 1984.

a fine document from the United States Bishops’ Liturgy Committee which gives concrete expression to the guidelines for music in the liturgy; includes the outline of the three judgements about the choice of music for the liturgy: pastoral, liturgical and musical.

4. Milwaukee Symposia for Church Composers: A Ten_Year Report (Washington: Pastoral Press 1992; Chicago: Liturgy Training Publications 1992).

is the report of a ten_year dialogue and observation among musicians, liturgists and composers about the nature and quality of liturgical music in the USA especially within the Roman Catholic tradition. Excellent reading for church musicians.

5. The National Association of Pastoral Musicians publishes many useful articles and books for pastoral musicians: Some of them are as follows:

i. Pastoral Music (six issues per year).

ii. Anthologies of articles previously published in Pastoral Music

Pastoral Music in Practice, ed. V.C. Funk and G. Huck ( 1981).

Pastoral Music in Practice: Children, Liturgy, and Music. ed. V. Funk (1990).

Pastoral Music in Practice: Celebrations: Weddings, Funerals, Liturgy of the Hours. ed.

V. Funk, (1990).

Pastoral Music in Practice: Initiation and Its Seasons. ed. V. Funk, (1990).

Pastoral Music in Practice: The Pastoral Musician. ed. V. Funk,(1990).

Pastoral Music in Practice: The Singing Assembly. ed. V. Funk, (1991).

Sung Liturgy Toward 2000 A. D. ed. V. Funk, (1991).

these are excellent anthologies with articles concerning many aspects of the liturgical musicians’ craft; very good references for a parish music library.

6. Huck, Gabe. How Can I Keep From Singing? Thoughts About Liturgy for Musicians. Chicago: Liturgy Training Publications, (1989).

fine, simple resource for musicians regarding the liturgy and how music is integral to celebration; suggested reading for all liturgical musicians.

7. National Bulletin on Liturgy. Canadian Conference of Catholic Bishops. Ottawa.

published quarterly this Canadian review provides information and commentary about all aspects of liturgy.

8. Celebrate!. Novalis, Ottawa.

published six times a year, this liturgy magazine provides articles about all aspects of pastoral liturgy

9. Joncas, Jan Michael. From Sacred Song to Ritual Music. (Twentieth_Century Understandings of Roman Catholic Worship Music) Collegeville: Liturgical Press, 1997.

an in_depth study of what the church documents (and others: Milwaukee and Snowbird) say about music for worship; not for the beginner.

Appendix

Music Planning Sheet for the Sunday Eucharistic Celebration

Prelude or teach before Mass: _

Gathering Hymn:

Lord have mercy: sung spoken

(or Sprinkling Rite- in Easter season and on Sundays with Baptism)

Gloria: sung omitted

Liturgy of the Word

Responsorial psalm:_

Gospel Acclamation:_

Acclamation after Gospel (on feasts or in Easter season)_

Intercessions : spoken    sung    

Liturgy of the Eucharist

Preparation of the Table & Presentation of Gifts:

Holy Holy:

Memorial Acclamation:

Great Amen:

Lamb of God:_

Communion Procession Song:

Hymn/anthem/silence after Communion: