Instruction of the Congregation of Rites on music in the liturgy, March 5, 1967.


Cxc+W-'c. Church.
Sacw-ui^ 'SiTuuwJ

—
“^A6-V^uc>»0 Yvax^>c^‘

•

* /)DS3M4^
<As4-raoVvo^ c£ U\jl ca^re^aVioA... J

INSTRUCTION

of the

CONGREGATION OF RITES
ON MUSIC IN THE

LITURGY

March 5, 1967

UNITED STATES CATHOLIC

CONFERENCE





ON MUSIC IN THE
LITURGY

March 5, 1967

UNITED STATES CATHOLIC CONFERENCE



Digitized by the Internet Archive

in 2016

https://archive.org/details/instructionofconcath



Instruction

of the

Congregation of Rites

On Music in the Liturgy

Preface

1. Sacred music, in those aspects which concern the liturgical

renewal, was carefully considered by the Second Vatican Ecumeni-

cal Council. It explained its role in divine services, issued a

number of principles and laws on this subject in the Constitution

on the Liturgy, and devoted to it an entire chapter of the same

constitution.

2. The decisions of the Council have already begun to be put

into effect in the recently undertaken liturgical renewal. But the

new norms concerning the arrangement of the sacred rites and the

active participation of the faithful have given rise to several prob-

lems regarding sacred music and its ministerial role. These

problems appear to be able to be solved by expounding more fully

certain relevant principles of the Constitution on the Liturgy.

3. Therefore the Consilium set up to implement the Consti-

tution on the Liturgy, on the instructions of the Holy Father, has

1



carefully considered these questions and prepared the present

instruction. This does not however gather together all the legisla-

tion on sacred music; it only establishes the principal norms which

seem to be more necessary for our own day. It is, as it were, a
continuation and complement of the preceding instruction of this

Sacred Congregation, prepared by this same Consilium on the

26th of September, 1964, for the correct implementation of the

Liturgy Constitution.

4. It is to be hoped that pastors of souls, musicians and the

faithful will gladly accept these norms and put them into practice,

uniting their efforts to attain the true purpose of sacred music,

“which is the glory of God and the sanctification of the faithful.” 1

a) By sacred music is understood that which, being created

for the celebration of divine worship, is endowed with a certain

holy sincerity of form. 2

b) The following come under the title of sacred music here:

Gregorian chant, sacred polyphony in its various forms both

ancient and modern, sacred music for the organ and other ap-

proved instruments, and sacred popular music, be it liturgical or

simply religious. 3

I, Some General Norms

5. Liturgical worship is given a more noble form when it is

celebrated in song, with the ministers of each degree fulfilling their

ministry and the people participating in it. 4

! Indeed, through this form, ^prayer is express^ in a more

attractive \^y, the mystery of the liturgy, with its hierarchical and

community nature, is more openly shown, the unity of hearts is

more profoundly achieved by the union of voices, minds are more

easily raised to heavenly things by the beauty of the sacred rites,

and the whole celebration more clearly prefigures that heavenly

liturgy which is enacted in the holy city of Jerusalem.

2



Pastors of souls will therefore do all they can to achieve this

form of celebration.

They will try to work out how that assignment of different

parts to be performed and duties to be fulfilled, which characterizes

sung celebrations, may be transferred ^ven ta^

c

elebrations which

are not, sung, but at which the people are present. Above all one

must take particular care that the necessary ministers are obtained

and that these are suitable, and that the active participation of the

people is encouraged.

The practical preparation for each liturgical celebration

shouf3Te^done in a spirit "of cooperation by all parties concerned,

under the guidance of the rector of the churcK, whether it be in

ritual, pastoral or musical matters.

6. The proper arrangement of a liturgical celebration requires

the due assignment and performance of certain functions, by

which “each person, performing his role as a minister or as one of

the faithful, should do all that the nature of the action and the

liturgical norms require of him, and only that.” 5 This also demands

that the meaning and proper nature of each part and of each song

be carefully observed. To attain this, those parts especially should
be sung which by their very nature require to be sung, using the

kind and form of music which is proper to their character.

7. Between the solemn, fuller form of liturgical celebration,

in which everything that demands singing is in fact sung, and the

simplest form, in which singing is not used, there can be various

degrees according to the greater or lesser place allotted to singing.

However, in selecting the parts which are to be sung, one should

start with those that are by their nature of greater importance, and

especially those which are to be sung by the priest or by the

ministers, with the people replying, or those which are to be sung

by the priest and people together. The other parts may be grad-
ually added according as they are proper to the people alone or

to the choir alone.

3



8. Whenever, for a liturgical service which is to be celebrated

in sung form, one can make a choice between various people, it is
desirable that those who are known to be more proficient in sing-
ing be given preference; this is especially the case in more solemn

1

liturgical celebrations and in those which either require more

difficult singing, or are transmitted by radio or television. 0

§•

If however a choice of this kind cannot be made, and the

priest or minister does not possess a voice suitable for the proper

execution of the singing, he can render without singing one or

more of the more difficult parts which concern him, reciting them

in a loud and distinct voice. However, this must not be done

merely for the convenience of the priest or minister.

9. In selecting the kind of sacred music to be used, whether

it be for the choir or for the people, the capacities of those who
are to sing the music must be taken into account. No kind of
sacred music is prohibited from liturgical actions by the Church

as long as it corresponds to the spirit of the liturgical celebration

itself and the nature of its individual parts, 7 and does not hinder

the active participation of the people. 8

10. In order that the faithful may actively participate more
willingly and with greater benefit, it is fitting that the format of

the celebration and the degrees of participation in it should be

varied as much as possible, according to the solemnity of the day
and the nature of the congregation present.

11. It should be borne in mind that the true solemnity of

liturgical worship depends less on a more ornate form of singing

and a more magnificent ceremonial than on its worthy and religious

celebration, which takes into account the integrity of the liturgical

celebration itself, and the performance of each of its parts accord-

ing to their own particular nature. To have a more ornate form
of singing and a more magnificent ceremonial is at times desirable

when there are the resources available to carry them out properly;

on the other hand it would be contrary to the true solemnity of

the liturgy if this were to lead to a part of the action being omitted,

changed, or improperly performed.

4



12. It is for the Holy See alone to determine the more im-

portant general principles which are, as it were, the basis of sacred

music, according to the norms handed down, but especially ac-

cording to the Constitution on the Liturgy. Direction in this mat-

ter, within the limits laid down, also belongs to the competent

territorial episcopal conferences of various kinds, which have been

legitimately constituted, and to the individual bishop.9

EL Those Who Take Part in Liturgical
Celebrations

13. Liturgical services are celebrations of the Church, that

is, of the holy people, united under and directed by the bishop or

priest.
10 The priest and his ministers, because of the sacred order

they have received, hold a special place in these celebrations, as

do also—by reason of the ministry they perform—the servers,
readers, commentators and those in the choir. 11

14. The priest, acting in the person of Christ, presides over

the gathered assembly. Since the prayers which are said or sung

by him aloud are proclaimed in the name of the entire holy people

and of all present, 12 they should be devoutly listened to by all.

15. The faithful fulfill their liturgical role by making that full,

conscious and active participation which is demanded by the nature

of the liturgy itself and which is, by reason of baptism, the right

and duty of the Christian people. 13

This participation

a) should be above all internal, in the sense that by it the

faithful join their mind to what they pronounce or hear, and co-

operate with heavenly grace; 14

b) must be, on the other hand, external also, that is, such

as to show the internal participation by gestures and bodily atti-

tudes, by the acclamations, responses and singing. 15

The faithful should also be taught to unite themselves in-

teriorly to what the ministers or choir sing, so that by listening to

them they may raise their minds to God.

5



16. One cannot find anything more religious and more joy-
ful in sacred celebrations than a whole congregation expressing its

faith and devotion in song. Therefore the active participation of

the whole people, which is shown in singing, is to be carefully pro-

moted as follows:

a) It should first of all include acclamations, responses to

the greetings of the priest and ministers and to the prayers of litany

form, and also antiphons and psalms, refrains or repeated re-

sponses, hymns and canticles. 16

b) Through suitable instruction and practices, the people

should be gradually led to a fuller—indeed, to a complete—par-
ticipation in those parts of the singing which pertain to them.

c) Some of the people’s song however, especially if the faith-
ful have not yet been sufficiently instructed, or if musical settings

for several voices are used, can be handed over to the choir alone,

provided that the people are not excluded from those parts that

concern them. But the usage of entrusting to the choir alone the

entire singing of the whole Proper and of the whole Ordinary, to

the complete exclusion of the people’s participation in the singing,

is to be deprecated.

17. At the proper times, all should observe a reverent

silence. 17 Through it the faithful are not only not considered as

extraneous or dumb spectators at the liturgical service, but are
associated more intimately in the mystery that is being celebrated,

thanks to that interior disposition which derives from the Word of
God that they have heard, from the songs and prayers that have
been uttered, and from spiritual union with the priest in the parts

that he says or sings himself.

18. Among the faithful, special attention must be given to
the instruction in sacred singing of members of lay religious

societies, so that they may support and promote the participation
of the people more effectively. 18 The formation of the whole

people in singing, should be seriously and patiently undertaken

6



together with liturgical instruction, according to the age, status

and way of life of the faithful, and the degree of their religious

culture; this should be done even from the first years of education

in elementary schools. 19

19. Because of the liturgical ministry it performs, the choir

—

or the “Capella musica,” or “schola cantorum”—deserves par-
ticular mention. Its role has become something of yet greater im-

portance and weight by reason of the norms of the Council con-

cerning the liturgical renewal. Its duty is, in effect, to ensure the

proper performance of the parts which belong to it, according to

the different kinds of music sung, and to encourage the active

participation of the faithful in the singing.

Therefore

:

a) There should be choirs, or Capellae, or scholae cantorum,

especially in cathedrals and other major churches, in seminaries

and religious houses of studies, and they should be carefully en-

couraged;

b) It would also be desirable for similar choirs to be set up

in smaller churches.

20. Large choirs (Capellae musicae) existing in basilicas,

cathedrals, monasteries and other major churches, which have in

the course of centuries earned for themselves high renown by

preserving and developing a musical heritage of inestimable value,

should be retained for sacred celebrations of a more elaborate

kind, according to their own traditional norms, recognized and
approved by the Ordinary.

However, the directors of these choirs and the rectors of the

churches should take care that the people always associate them-

selves with the singing by performing at least the easier sections

of those parts which belong to them.

21. Provision should be made for at least one or two prop-
erly trained singers, especially where there is no possibility of

setting up even a small choir. The singer will present some simpler

7



musical settings, with the people taking part, and can lead and

support the faithful as far as is needed. The presence of such a

singer is desirable even in churches which have a choir, for those

celebrations in which the choir cannot take part but which may
fittingly be performed with some solemnity and therefore with

singing.

22. The choir can consist, according to the customs of each

country and other circumstances, of either men and boys, or men
and boys only, or men and women, or even, where there is a
genuine case for it, of women only.

23. Taking into account the layout of each church, the choir

should be placed in such a way:

a) that its nature should be clearly apparently—namely
that it is a part of the whole congregation, and that it fulfils a

special role;

b) that it is easier for it to fulfill its liturgical function; 20

c) that each of its members may be able to participate
easily in the Mass, that is to say, by sacramental participation.

Whenever the choir also includes women, it should be placed

outside the sanctuary (presbyterium).

24. Besides musical formation, suitable liturgical and

spiritual formation must also be given to the members of the choir,

in such a way that the proper performance of their liturgical role

will not only enhance the beauty of the celebration and be an ex-

cellent example for the faithful, but will bring spiritual benefit to

the choir members themselves.

25. In order that this technical and spiritual formation may
more easily be obtained, the diocesan, national and international

associations of sacred music should offer their services, especially

those that have been approved and several times commended by
the Holy See.

8



26. The priest, the sacred ministers and the servers, the

reader and those in the choir, and also the commentator, should

perform the parts assigned to them in a way which is compre-

hensible to the people, in order that the responses of the people,

when the rite requires it, may be made easy and spontaneous. It
is desirable that the priest, and the ministers of every degree,

should join their voices to the voice of the whole faithful in those

parts which concern the people. 21

Ill, Sacred Miasic in the Celebration of the
Mass

27. For the celebration of the Eucharist with the people,

especially on Sundays and feast days, a form of sung Mass (Missa

in cantu) is to be preferred as much as possible, even several times
on the same day.

28. The distinction between solemn, sung and read Mass,

sanctioned by the Instruction of 1958 (n. 3), is retained, accord-

ing to the traditional liturgical laws at present in force. However,

for the sung Mass (Missa cantata), different degrees of participa-

tion are put forward here for reasons of pastoral usefulness, so that

it may become easier to make the celebration of Mass more beauti-
ful by singing, according to the capabilities of each congregation.

These degrees are so arranged that the first may be used
even by itself, but the second and third, wholly or partially, may
never be used without the first. In this way the faithful will be
continually led toward an ever greater participation in the singing.

29. The following belong to the first degree:

a) In the entrance rites

—the greeting of the priest together with the reply of the
people;

—the prayer.
b) In the Liturgy of the Word
—the acclamations at the Gospel.

9



c) In the Eucharistic Liturgy

—the prayer over the offerings;
—the preface with its dialogue and the Sanctus;
—the final doxology of the Canon;
—the Lord’s Prayer with its introduction and embolism;
—the Pax Domini;
—the prayer after the Communion;
—the formulas of dismissal.

30. The following belong to the second degree:

a) the Kyrie, Gloria and Agnus Dei;

b) the Creed;

c) the prayer of the faithful.

31. The following belong to the third degree:

a) the songs at the Entrance and Communion processions;

b) the songs after the Lesson or Epistle;

c) the songs after the Lesson or Epistle;

d) the song at the Offertory;

e) the readings of Sacred Scripture, unless it seems more

suitable to proclaim them without singing.

32. The custom legitimately in use in certain places and

widely confirmed by indults, of substituting other songs for the

songs given in the Graduale for the Entrance, Offertory and Com-
munion, can be retained according to the judgment of the com-

petent territorial authority, as long as songs of this sort are in

keeping with the parts of the Mass, with the feast or with the

liturgical season. It is for the same territorial authority to approve

the texts of these songs.

33. It is desirable that the assembly of the faithful should

participate in the songs of the Proper as much as possible, espe-
cially through simple responses and other suitable settings.

10



The song after the lessons, be it in the form of gradual or

responsorial psalm, has a special importance among the songs~of

the Proper. By its very natureTitlorms part of the Liturgy of the

Word. It should be performed with all seated and listening to it

—

and, what is more, participating in it as far as possible.

34. The songs which are called the “Ordinary of the Mass,”

if they are sung to musical settings written for several voices, may
be performed by the choir according to the customary norms,

either “a Capella,” or with instrumental accompaniment, as long

as the people are not completely excluded from taking part in the

singing.

In other cases, the parts of the Ordinary of the Mass can be

divided between the choir and the people or even between two

sections of the people themselves: one can alternate by verses, or

one can follow other suitable divisions which divide the text into

larger sections. In these cases, the following points are to be noted;

it is preferable that the Creed, since it is a formula of profession of

faith, should be sung by all, or in such a way as to permit a fitting

participation by the faithful; it is preferable that the Sanctus, as

the concluding acclamation of the preface, should normally be

sung by the whole congregation together with the priest; the

Agnus Dei may be repeated as often as necessary, especially in
concelebrations, where it accompanies the Fraction; it is desirable

that the people should participate in this song, at least by the final

invocation.

35. The Lord’s Prayer is best performed by the people to-
gether with the priest. 22 If it is sung in Latin, the melodies already

legitimately existing should be used; if, however, it is sung in the

vernacular, the settings are to be approved by the competent terri-

36.

There is no reason why some of the Proper or Ordinary

sjbauldLjaot be sung in said Masses. Moreover, some other song

can also, on occasions, be sung at the beginning, at the Offertory,

at the Communion and at the end of Mass. It is not sufficient,

11



however, that these songs be merely “Eucharistic”—they must be
in keeping with the parts of the Mass, with the feast, or with the

liturgical season. ^ “*“

IV. The Singing of the Divine Office

37. The sung celebration of the Divine Office is the form

which best accords with the nature of this prayer. It expresses its

solemnity in a fuller way and expresses a deeper union of hearts in

performing the praises of God. That is why, in accordance with

the wish of the Constitution on the Liturgy,23 this sung form is

strongly recommended to those who celebrate the Office in choir
or in common.

For it is desirable that at least some part of the Divine Office

especially the principal Hours, namely Lauds and Vespers, should

be performed in sung form by these people, at least on Sundays

and feast days.

Other clerics also, who live in common for the purpose of
studies, or who meet for retreats or other purposes, will sanctify
their meetings in a very fitting way if they celebrate some parts of

the Divine Office in sung form.

38. When the Divine Office is to be celebrated in sung form,
a principle of “progressive” solemnity can be used, inasmuch as

those parts which lend themselves more directly to a sung form,

e.g., dialogues, hymns, verses and canticles, may be sung, and the
rest recited. This does not change the rules at present in force

for those obliged to choir, nor does it change particular indults.

39. One will invite the faithful, ensuring that they receive the
requisite instruction, to celebrate in common on Sundays and
feast days certain parts of the Divine Office, especially Vespers,

or, according to the customs of the particular area and assembly,

other Hours. In general, the faithful, particularly the more edu-

cated, should be led by suitable teaching, to understand the Psalms

in a Christian sense and use them in their own prayers, so that
they may gradually acquire a stronger taste for the use of the
public prayer of the Church.

12



40. The members of institutes professing the evangelical

virtues should be given special instruction of this type, so that they

may draw from it more abundant riches for the development of
their spiritual life. It is desirable also that they should participate

more fully in the public prayer of the Church by performing the

principal Hours of the Office in sung form, as far as possible.

41. In accordance with the norm of the Constitution on the

Liturgy and the centuries-old tradition of the Latin rite, the Latin

language is to be retained for clerics celebrating the Divine Office

in choir. 24 Since however the same liturgy constitution 25 con-

cedes the use of the vernacular in the Divine Office both by the

faithful and by nuns and other members of institutes professing the

evangelical virtues, who are not clerics, due care should be taken
that melodies are prepared which may be used in the singing of the
Divine Office in the vernacular.

V. Sacred Music in the Celebration of the
Sacraments and Sacramentals, in Special Fiance
tions of the Liturgical Year, in Celebrations of
the Word of God, and in Popular Devotions

42. The Council laid down a principle that whenever a rite,
in keeping with its character, allows a celebration in common with
the attendance and active participation of the faithful, this is to be

preferred to an individual and quasi-private celebration of the

rite.
26

It follows logically from this that singing is of great im-

portance since it more clearly demonstrates the “ecclesial” aspect

of the celebration.

43. Certain celebrations of the sacraments and sacramentals,

which have a special importance in the life of the whole parish

community, such as confirmation, sacred ordinations, matrimony,

the consecration of a church or altar, funerals, etc., should be

performed in sung form as far as possible, so that even the

solemnity of the rite will contribute to its greater pastoral effective-

ness. Nevertheless, the introduction into the celebration of any-

thing which is merely secular, or which is hardly compatible with

13



divine worship, under the guise of solemnity should be carefully

avoided: this applies particularly to the celebration of marriages.

44. Similarly, celebrations which are singled out by the

liturgy in the course of the liturgical year as being of special im-

portance, may be solemnized by singing. In a very special way,
the sacred rites of Holy Week should be given due solemnity,
since these lead the faithful to the center of the liturgical year and

of the liturgy itself through the celebration of the Paschal Mystery.

45. For the liturgy of the sacraments and sacramentals, and

for other special celebrations of the liturgical year, suitable

melodies should be provided, which can encourage a celebration

in a more solemn form, even in the vernacular, depending on the

capabilities of individual congregations and in accordance with the

norms of the competent authority.

46. Sacred music is also very effective in fostering the de-

votion of the faithful in celebrations of the Word of God, and in
popular devotions.

In the celebrations of the Word of God,27 let the Liturgy of
the Word in the Mass 2S be taken as a model. In all popular
devotions the Psalms will be especially useful, and also works of

sacred music drawn from both the old and the more recent heritage

of sacred music, popular religious songs, and the playing of the

organ, or of other instruments characteristic of a particular people.

Moreover, in these same popular devotions, and especially in

celebrations of the Word of God, it is excellent to include as well
some of those musical works which, although they no longer have

a place in the liturgy, can nevertheless foster a religious spirit and

encourage meditation on the sacred mystery.29

VI. The Language to Be Used in Sung Liturg
gical Celebrations, and on Preserving the
Heritage of Sacred Music

47. According to the Constitution on the Liturgy, “while

particular laws remain in force, the use of the Latin language is to

be preserved in the Latin rites.” 30

14



However, since “the use of the vernacular may often be of

great advantage to the people”,31 “it is for the competent terri-

torial ecclesiastical authority to decide whether, and to what extent,

one should use the vernacular, their decrees being approved

—

that is, confirmed—by the Holy See.”
32

In observing these norms exactly, one will therefore employ

that form of participation which best matches the capabilities of

each congregation.

Pastors of souls should take care that besides the vernacular

“the faithful also know how to say or sing, in Latin also, those
parts of the Ordinary of the Mass which pertain to them.” 33

48. Where the vernacular has been introduced into the cele-

bration of Mass, the local Ordinaries will judge whether it may be
opportune to preserve one or more Masses celebrated in Latin

—

especially sung Masses (Missae in cantu)—in certain churches,
above all in large cities, where many come together with faithful
of different languages.

49. As regards the use of Latin or the mother tongue in the
sacred celebrations carried out in seminaries, the norms of the

Sacred Congregation of Seminaries and Universities concerning

the liturgical formation of the students should be observed.

The members of institutes professing the evangelical virtues

should observe, in this matter, the norms contained in the apostolic

letter Sacrificium Laudis of Aug. 15, 1966, besides the instruction

on the language to be used by Religious in celebrating the Divine

Office and conventual or community Mass, given by this Sacred

Congregation of Rites on Nov. 23, 1965.

50. In sung liturgical services celebrated in Latin:

a) Gregorian chant, as proper to the Roman liturgy, should
be given pride of place, other things being equal. 34 Its melodies,

contained in the “typical” editions, should be used, to the extent

that this is possible.

15



b) “It is also desirable that an edition be prepared consisting

of more simple melodies, for use in smaller churches.” 35

c) Other musical settings, written for one or more voices, be

they taken from the traditional heritage or from new works, should

be held in honor, encouraged and used as the occasion demands.36

5 1 . Pastors of souls, having taken into consideration pastoral

usefulness and the character of their own language, should see
whether parts of the heritage of sacred music, written in previous

centuries for Latin texts, could also be conveniently used, not only

in liturgical celebrations in Latin, but also in those performed in

the vernacular. There is nothing to prevent different parts in one

and the same celebration being sung in different languages.

52. In order to preserve the heritage of sacred music and

genuinely promote the new forms of sacred singing, “great im-

portance 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 institutes and schools,”

especially in those higher institutes intended specially for this. 37

Above all, the study and practice of Gregorian chant is to be pro-

moted, because, with its special characteristics, it is a basis of great

importance for the development of sacred music.

53. New works of sacred music should conform faithfully to
the principles and norms set out above. In this way they will have

“the qualities proper to genuine sacred music, not only providing

what can be sung by large choirs, but adjusting also to the needs

of smaller choirs, and encouraging the active participation of the

entire assembly of the faithful.” 38

As regards the heritage that has been handed down, those

parts which correspond to the needs of the renewed liturgy should

first be brought to light. Competent experts in this field must then

carefully consider whether other parts can be adapted to the same

needs. As for those pieces which do not correspond to the nature
of the liturgy or cannot be harmonized with the pastoral celebra-

tion of the liturgy—they may be profitably transferred to popular
devotions, especially to celebrations of the Word of God. 39

16



VII. Preparing Melodies for Vernacular
Texts

54. In preparing popular versions of those parts which will

be set to melodies, and especially of the Psalter, experts should

take care that fidelity to the Latin text is suitably harmonized with

applicability of the vernacular text to musical settings. The nature

and laws of each language must be respected, and the features and

special characteristics of each people must be taken into consider-

ation: all this, together with the laws of sacred music, should be

carefully considered by musicians in the preparation of the new

melodies.

The competent territorial authority will therefore ensure that

in the commission entrusted with the composition of versions for

the people, there are experts in the subjects already mentioned as

well as in Latin and the vernacular; from the outset of the work,

they must combine their efforts.

55. It will be for the competent territorial authority to decide

whether certain vernacular texts set to music and which have

been handed down from former times, can in fact be used, even
though they may not conform in all details with the legitimately
approved versions of the liturgical texts.

56. Among the melodies to be composed for the people’s
texts, those which belong to the priest and ministers are particularly

important, whether they sing them alone, or whether they sing

them together with the people, or whether they sing them in

"dialogue” with the people. In composing these, musicians will

consider whether the traditional melodies of the Latin liturgy,

which are used for this purpose, can inspire the melody to be used

for the same texts in the vernacular.

57. New melodies to be used by the priest and ministers
must be approved by the competent territorial authority.40

58. Those episcopal conferences whom it may concern, will
ensure that for one and the same language, used in different

17



regions, there will be a single translation. It is also desirable that

as far as possible, there should be one or more common melodies
for the parts which concern the priest and ministers, and for the

responses and acclamations of the people, so that the common
participation of those who use the same language may be encour-
aged.

59. Musicians will enter on this new work with the desire to
continue that tradition which has furnished the Church, in her

divine worship, with a truly abundant heritage. Let them examine

the works of the past, their types and characteristics, but let them

also pay careful attention to the new laws and requirements of the

liturgy, so that “new forms may in some way grow organically
from forms that already exist”,41 and the new work will form a
new part in the musical heritage of the Church, not unworthy of

its past.

60. The new melodies for the vernacular texts certainly need

to undergo a period of experimentation in order that they may
attain a sufficient maturity and perfection. However, anything

done in churches, even if only for experimental purposes, which is

unbecoming to the holiness of the place, the dignity of the liturgy

and the devotion of the faithful, must be avoided.

61. Adapting sacred music for those regions which possess

a musical tradition of their own, especially mission areas,42 will

require a very specialized preparation in the experts. It will be a

question in fact of how to harmonize the sense of the sacred with
the spirit, traditions and characteristic expressions proper to each

of these peoples. Those who work in this field should have a suffi-
cient knowledge both of the liturgy and musical tradition of the

Church, and of the language, popular songs and other character-

istic expressions of the people for whose benefit they are working.

VIII. Sacred Instrumental Music

62. Musical instruments can be very useful in sacred celebra-

tions, whether they accompany the singing or whether they are

played as solo instruments.

18



The pipe organ is to be held in high esteem in the Latin

Church, since it is its traditional instrument, and one that adds a

wonderful splendor to the Church’s ceremonies, and is powerful

in raising man’s mind to God and heavenly things.

“The use of other instruments may also be admitted in divine
worship, given the decision and consent of the competent terri-

torial authority, provided that the instruments are suitable for

sacred use, or can be adapted to it, that they are in keeping with

the dignity of the temple, and truly contribute to the edification

of the faithful.” 43

63. In permitting and using musical instruments, the culture

and traditions of individual peoples must be taken into account.

However, those instruments which are, by common opinion and
use, suitable for secular music only, are to be altogether prohibited

from every liturgical celebration and from popular devotions.44

Any musical instrument permitted in divine worship should
be used in such a way that it meets the needs of the liturgical cele-
bration, and is in the interests both of the beauty of worship and

the edification of the faithful.

64. The use of musical instruments to accompany the sing-

ling can act as a support to the voices, render participation easier,

and achieve a deeper union in the assembly. However, their sound

should not so overwhelm the voices that it is difficult to make out
the text; and when some part is proclaimed aloud by the priest or
a minister by reason of his role, they should be silent.

65. In sung or said Masses the organ, or other instrument

legitimately admitted, can be used to accompany the singing of

the choir and the people; it can also be played “solo” at the begin-

ning before the priest reaches the altar, at the Offertory, at the

Communion, and at the end of Mass.

The same rule, with the necessary adaptations, can be ap-
plied to other sacred celebrations.

19



66. The playing of these same instruments as solos is not

permitted in Advent, Lent, during the Sacred Triduum and in the

Offices and Masses of the Dead.

67. It is highly desirable that organists and other musicians

should not only possess the skill to play properly the instrument

entrusted to them: they should also enter into and be thoroughly

aware of the spirit of the liturgy, so that even when playing “ex

tempore,” they will enrich the sacred celebration according to the

true nature of each of its parts, and encourage the participation of

the faithful.
45

IX. Tlhie Commissions Set Up for the Pro^
motion of Sacred Music

68. The diocesan commissions for sacred music are of most

valuable assistance in promoting sacred music together with pas-

toral liturgical action in the diocese.

Therefore they should exist as far as possible in each diocese,

and should unite their efforts with those of the liturgical commis-

sion.

It will often be commendable for the two commissions to be

combined into one, and consist of persons who are expert in both
subjects. In this way progress will be easier.

It is highly recommended that, where it appears to be more

effective, several dioceses of the same region should set up a single

commission, which will establish a common plan of action, and
gather together their forces more fruitfully.

69. The liturgical commission, to be set up by the episcopal

conference as judged opportune,46 should also be responsible for

sacred music; it should therefore also consist of experts in this

field. It is useful, however, for such a commission to confer not

only with the diocesan commissions, but also with other societies

which may be involved in musical matters in the same region.
This also applies to the pastoral liturgical institute mentioned in

art. 44 of the Constitution.

20



In the audience granted on Feb. 9, 1967, to His Eminence

Arcadio M. Cardinal Larraona, prefect of the Sacred Congregation

of Rites, His Holiness Pope Paul VI approved and confirmed the
present instruction by his authority, ordered it to be published and

at the same time established that it should come into force on

Pentecost Sunday, May 14, 1967.

All things to the contrary notwithstanding.

Rome, Laetare Sunday, the fourth Sunday of Lent, March 5,
1967.

Giacomo Cardinal Lercaro

Archbishop of Bologna

Arcadio M. Cardinal Larraona

Prefect of S.R.C.

President of the Consilium

for the Implementation

of the Constitution on the Liturgy.

+ Ferdinando Antonelli
Titular Archbishop of Idicra

Secretary of S.R.C.

21



FOOTNOTES
I
Constitution on the Liturgy, art. 112.

- Cf. St. Pius X, Motu Proprio Tra le sollecitudini, n. 2.
3
Cf. Instruction of the S.C.R., 3rd September 1958, n. 4.

4
Cf. Constitution on the Liturgy, art. 113.

5
Constitution on the Liturgy, art. 28.

6
Instruction of the S.C.R., 3rd September 1958, n. 95.

7
Cf. Constitution on the Liturgy, art. 116.

8
Cf. Constitution on the Liturgy, art. 28.

9
Cf. Constitution on the Liturgy, art. 22.

10
Cf. Constitution on the Liturgy, art. 26 and 41-42; Constitution

Lumen Gentium, art. 28.
II

Cf. Constitution on the Liturgy, art. 29.
12

Cf. Constitution on the Liturgy, art. 33.
13

Cf. Constitution on the Liturgy, art. 14.
11

Cf. Constitution on the Liturgy, art. 11.
13

Cf. Constitution on the Liturgy, art. 30.
16

Cf. Constitution on the Liturgy, art. 30.
17

Cf. Constitution on the Liturgy, art. 30.
18

Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,
nn. 19 and 59.

10
Cf. Constitution on the Liturgy, art. 19; Instruction of the Sacred

Congregation of Rites, Sept. 3, 1958, nn. 106-108.
20

Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,
n. 97.

21
Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,

n. 48b.
22

Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,
n. 48.

23
Cf. Constitution on the Liturgy, art. 99.

24
Cf. Constitution on the Liturgy, art. 101, par. 1; Instruction of the

Sacred Congregation of Rites, Sept. 26, 1964.
23

Cf. Constitution on the Liturgy, art. 101, par. 2, 3.
26

Cf. Constitution on the Liturgy, art. 27.
27

Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,
nn. 37-39.

28
Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,

n. 37.
29

Cf. below, n. 53.
30

Cf. Constitution on the Liturgy, art. 36, par. 1.
31

Cf. Constitution on the Liturgy, art. 36, par. 2.
32

Cf. Constitution on the Liturgy, art. 36, par. 3.
33

Cf. Constitution on the Liturgy, art. 54; Instruction of the Sacred
Congregation of Rites, Sept. 26, 1964, n. 59.

34
Cf. Constitution on the Liturgy, art. 116.

35
Cf. Constitution on the Liturgy, art. 117.

22



36
Cf. Constitution on the Liturgy, art. 116.

37
Cf. Constitution on the Liturgy, art. 115.

38
Cf. Constitution on the Liturgy, art. 121.

39
Cf. above, n. 46.

40
Cf. Instruction of the Sacred Congregation of Rites, Sept. 26, 1964,

n. 42.
41

Cf. Constitution on the Liturgy, art. 23.
42

Cf. Constitution on the Liturgy, art. 119.
43

Cf. Constitution on the Liturgy, art. 120.
44

Cf. Instruction of the Sacred Congregation of Rites, Sept. 3, 1958,
n. 70.

45
Cf. above, n. 24.

46
Cf. Constitution on the Liturgy, art. 44.

23