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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 sacred song united to
the words, it forms a necessary or integral part of the solemn
liturgy.
Holy Scripture, indeed, has bestowed praise upon sacred song
[42], 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.
Therefore sacred music is to be considered the more holy in proportion
as it is more closely connected with the liturgical action, whether it
adds delight to prayer, fosters unity of minds, or confers greater
solemnity upon the sacred rites. But the Church approves of all forms
of true art having the needed 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 Art. 36 are
to be observed; for the Mass, Art. 54; for the sacraments,
Art. 63; for the divine office. Art. 101.
114. The treasure of sacred music is to be preserved and fostered
with great care. Choirs must be diligently promoted, especially in
cathedral churches; but 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.
115. Great importance is to be attached to the teaching and
practice of music in seminaries, in the novitiates and houses of study
of religious of both sexes, and also in other Catholic institutions
and schools. To impart this instruction, teachers are to be carefully
trained and put in charge of the teaching of sacred music.
It is desirable also to found higher institutes of sacred music
whenever this can be done.
Composers and singers, especially boys, must also be given a genuine
liturgical training.
116. The Church acknowledges Gregorian chant as specially suited
to the Roman liturgy: therefore, other things being equal, it should
be given pride of place in liturgical services.
But 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 Art. 30.
117. The typical edition of the books of Gregorian chant is to be
completed; and 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 small churches.
118. Religious singing by the people is to be intelligently
fostered so that in devotions and sacred exercises, as also during
liturgical services, the voices of the faithful may ring out according
to the norms and requirements of the rubrics.
119. In certain parts of the world, especially mission lands,
there are peoples who have their own musical traditions, and these play
a great part in their religious and social life. For this reason due
importance is to be attached to their music, and a suitable place is to
be given to it, not only in forming their attitude toward religion,
but also in adapting worship to their native genius, as indicated in
Art. 39 and 40.
Therefore, when missionaries are being given training in music, every
effort should be made to see that they become competent in promoting the
traditional music of these peoples, both in schools and in sacred
services, as far as may be practicable.
120. In the Latin Church the pipe organ is to be held in high
esteem, for it is the traditional musical instrument which adds a
wonderful splendor to the Church's ceremonies and powerfully lifts up
man's mind to God and to higher things.
But other instruments also may be admitted for use in divine worship,
with the knowledge and consent of the competent territorial authority,
as laid down in Art. 22, 52, 37, and 40. This may be
done, however, only on condition that the instruments are suitable,
or can be made suitable, for sacred use, accord with the dignity of
the temple, and truly contribute to the edification of the faithful.
121. 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.
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