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Sing to the Lord: Music in Divine Worship
Issued by USCCB, November 14, 2007
Copyright © 2007, United States Conference of Catholic Bishops. All rights reserved.
See the full document at: http://www.usccb.org/liturgy/SingToTheLord.pdf
WHY WE SING
1. God has bestowed upon his people the gift of song. God dwells within each human person, in the place where music takes its source. Indeed, God, the giver of song, is present whenever his people sing his praises.
2. A cry from deep within our being, music is a way for God to lead us to the realm of higher things. As St. Augustine says, "Singing is for the one who loves." Music is therefore a sign of God's love for us and of our love for him. In this sense, it is very personal. But unless music sounds, it is not music, and whenever it sounds, it is accessible to others. By its very nature, song has both an individual and a communal dimension. Thus, it is no wonder that singing together in church expresses so well the sacramental presence of God to his people.
3. Our ancestors reveled in this gift, sometimes with God's urging. "Write out this song, then, for yourselves," God said to Moses. "Teach it to the Israelites and have them recite it, so that this song may be a witness for me." The Chosen People, after they passed through the Red Sea, sang as one to the Lord. Deborah, a judge of Israel, sang to the Lord with Barak after God gave them victory. David and the Israelites "made merry before the Lord with all their strength, with singing and with citharas, harps, tambourines, sistrums and cymbals."
4. Jesus and his apostles sang a hymn before their journey to the Mount of Olives. St. Paul instructed the Ephesians to "[address] one another in psalms and hymns and spiritual songs, singing and playing to the Lord in your hearts." He sang with Silas in captivity. The letter of St. James asks, "Is anyone among you suffering? He should pray. Is anyone in good spirits? He should sing praise."
5. Obedient to Christ and to the Church, we gather in liturgical assembly, week after week. As our predecessors did, we find ourselves "singing psalms, hymns, and spiritual songs with gratitude in [our] hearts to God." This common, sung expression of faith within liturgical celebrations strengthens our faith when it grows weak and draws us into the divinely inspired voice of the Church at prayer. Faith grows when it is well expressed in celebration. Good celebrations can foster and nourish faith. Poor celebrations may weaken it. Good music "makes the liturgical prayers of the Christian community more alive and fervent so that everyone can praise and beseech the Triune God more powerfully, more intently and more effectively."
Music for the Sacred Liturgy
67. "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."
69. The spiritual dimension of sacred music refers to its inner qualities that enable it to add greater depth to prayer, unity to the assembly, or dignity to the ritual. Sacred music is holy when it mediates the holiness of God and forms the Holy People of God more fully into communion with him and with each other in Christ.
The Human Voice
86. Of all the sounds of which human beings, created in the image and likeness of God, are capable, voice is the most privileged and fundamental. Musical instruments in the Liturgy are best understood as an extension of and support to the primary liturgical instrument, which is the human voice.
87. Among all other instruments which are suitable for divine worship, the organ is "accorded pride of place" because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give "resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation." Likewise, "the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God."
88. In addition to its ability to lead and sustain congregational singing, the sound of the pipe organ is most suited for solo playing of sacred music in the Liturgy at appropriate moments. Pipe organs also play an important evangelical role in the Church's outreach to the wider community in sacred concerts, music series, and other musical and cultural programs. For all of these reasons, the place of the organ should be taken into account from the outset in the planning process for the building or renovation of churches.
89. However, from the days when the Ark of the Covenant was accompanied in procession by cymbals, harps, lyres, and trumpets, God's people have, in various periods, used a variety of musical instruments to sing his praise. Each of these instruments, born of the culture and the traditions of a particular people, has given voice to a wide variety of forms and styles through which Christ's faithful continue to join their voices to his perfect song of praise upon the Cross.
90. Many other instruments also enrich the celebration of the Liturgy, such as wind, stringed, or percussion instruments "according to longstanding local usage, provided they are truly apt for sacred use or can be rendered apt."
101. Acoustics refers to the quality of a space for sustaining sound, especially its generation,
transmission, and reception. While individual ministers of the Liturgy, ensembles, and even choirs can be sound-enhanced through amplification methods, the only amplification of the singing assembly comes from the room itself. Given the primacy of the assembly's song among all musical elements of the Liturgy, the acoustical properties of the worship space are critical. For this reason, specialists in acoustics should be consulted when building or modifying liturgical space.
102. If each member of the assembly senses his or her voice joined to the entire community in a swell of collective sound, the acoustics are well suited to the purpose of a gathered community engaged in sung prayer. If, on the other hand, each person hears primarily only his or her own voice, the acoustics of the space are fundamentally deficient.
103. Sound-absorbing building materials include carpet, porous ceiling tiles, soft wood, untreated soft stone, cast concrete or cinder block, and padded seating. Avoiding excessive use of such materials makes it easier to achieve the ideal of many voices united in song.
104. The acoustics of a church or chapel should be resonant so that there is no need for excessive amplification of musical sound in order to fill the space and support the assembly's song. When the acoustics of the building naturally support sound, acoustic instruments and choirs generally need no amplification. An acoustically dead space precipitates a high cost of sound reinforcement, even for the organ.
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