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Sacred Music

and the

Sacred Liturgy*

Introduction

HREE very important documents on sacred music have
been published in our times by the Supreme Pontiffs. They

are: the Motu Proprio, Tra le Sollecitudini, of St. Pius X,

November 22, 1903 ; the Apostolic Constitution of Pope Pius XI

of happy memory, Divini cultus, December 20, 1928; and finally

the Encyclical of the Supreme Pontiff Pius XII, happily reigning,

Musicae sacrae disciplina, December 25, 1955. There have also

been other briefer papal documents and various decrees of this

Sacred Congregation of Rites containing various provisions in re-

gard to sacred music.

Everyone is aware that sacred music and the sacred liturgy are

so closely linked that laws and norms cannot be given for one while

ignoring the other. As a matter of fact, there is material common

to both sacred music and the sacred liturgy in the papal documents

and decrees of the Sacred Congregation which were mentioned

above.

Since the Supreme Pontiff Pius XII issued, before his encyclical

on sacred music, an important encyclical letter on the sacred liturgy

—the Mediator Dei of November 20, 1947—in which liturgical doc-
trine and pastoral needs are admirably explained in their relation

to one another, it seems opportune that the principal sections on

sacred liturgy and sacred music and their pastoral efficacy be taken

from these aforementioned documents and set down concisely in

one special Instruction, so that their content may be more easily

and surely put into practice.

For this purpose, experts on sacred music and members of the

Pontifical Commission for the general renovation of the liturgy

have undertaken to draw up the present Instruction.

The material of this Instruction has been organized in the fol-

lowing manner

:

Chapter I—General Concepts (numbers 1-10).
Chapter II—General Norms (numbers 11-21).
Chapter III—Special Norms.
* Translation provided by the NCWC News Service; 2nd Printing, Jan. ’59.

1



1. Regarding the principal liturgical functions in which sacred

music is used :

A. On the Mass.

a. A few general principles concerning the participation
of the faithful (numbers 22-23).

b. Participation of the faithful in the sung Mass (numbers

24-27).

c. Participation of the faithful in the low Mass (numbers

28-34).

d. The conventual Mass, which is also called Mass in choir

(numbers 35-37).

e. Assistance of priests in the Holy Sacrifice of the Mass,

and what are called “synchronized” Masses (numbers

38-39).

B. The Divine Office (numbers 40-46).

C. Benediction of the Blessed Sacrament (number 47).

2 . On the various kinds of sacred music

:

A. Sacred polyphony (numbers 48-49).

B. Modern sacred music (number 50).

C. Popular religious song (numbers 51-53).

D. Religious music (numbers 54-55).

3. On books on liturgical chant (numbers 56-59).

4 . On musical instruments and bells

:

A. Some general principles (number 60).

B. The classic organ and similar instruments (numbers 61-67).

C. Sacred instrumental music (numbers 68-69).

D. Musical instruments and mechanical devices (numbers 70-

73 )-

E. The transmission of sacred functions over radio and televi-

sion (numbers 74-79).

F. The times when the playing of musical instruments is for-

bidden (numbers 80-85).

G. Bells (numbers 86-92).

5 . On the persons who have the principal parts in sacred music
and sacred liturgy (numbers 93-103).

6. On the necessity of cultivating sacred music and the sacred
liturgy

:

A. On training the clergy and the people in sacred music and
the sacred liturgy (numbers 104-112).

B. On public and private institutions for the advancement of
sacred music (numbers 113-118).

2



After explaining a few general concepts (Chapter I), there is a

statement of general norms on the use of sacred music in the

liturgy (Chapter II). With this foundation laid, the entire subject

is explained in Chapter III. The separate paragraphs of this chap-

ter establish some of the more important principles from which

special norms are then drawn.

Chapter I

General Concepts

1. “The sacred Liturgy comprises the entire public worship of

the Mystical Body of Jesus Christ, that is, of the Head and of

His members” (Mediator Dei, November 20, 1947 : Acta Apos-

tolicae Sedis 39 [1947] 528-529).

“Liturgical functions” are therefore those sacred rites which

have been instituted by Jesus Christ or the Church and are per-

formed by legitimately appointed persons according to liturgical

books approved by the Holy See, in order to give due worship to

God, the Saints, and the Blessed (cf. can. 1256). Other sacred

acts performed inside or outside the church, even if performed by

a priest or in his presence, are called “pious exercises.”

2. The Holy Sacrifice of the Mass is an act of public worship

offered to God in the name of Christ and the Church, wherever or

in whatever manner it is celebrated. The expression “private

Mass” should, then, be avoided.

3. There are two kinds of Masses : the “sung Mass” and the

“read Mass.”

The Mass is called a “sung Mass” if the priest celebrant actually

sings those parts which are to be sung according to the rubrics.

Otherwise it is a “read Mass.”

Furthermore, if a sung Mass is celebrated with the assistance of

sacred ministers, it is called a solemn Mass. If it is celebrated

without the sacred ministers it is called a “Missa cantata.”

4. By “sacred music” is meant : a. Gregorian chant
;

b. sacred

polyphony
;
c. modern sacred music

;
d. sacred organ music

;
e. pop-

ular religious singing
;
f. religious music.

5. The “Gregorian chant” used in liturgical functions is the

sacred chant of the Roman Church and is to be found for liturgical

use in various books approved by the Holy See, piously and faith-

fully copied from ancient and venerable tradition or composed in

recent times on the pattern of ancient tradition. Of its nature

Gregorian chant does not require the accompaniment of an organ

or other musical instrument.

3



6. By “sacred polyphony” is meant that measured song which,

derived from the motifs of Gregorian chant and composed with

many parts, without instrumental accompaniment, began to flourish

in the Latin Church in the Middle Ages. Giovanni Pierluigi da

Palestrina (1525-1594) was its principal promoter in the second

half of the 16th century and today it is promoted by illustrious

masters of that art.

7. “Modern sacred music” is music which has many parts, does

not exclude instrumental accompaniment, and is composed in ac-

cord with the progress of musical art. When this is intended
specifically for liturgical use, it must be pious and preserve a reli-

gious character. On this condition it is accepted in liturgical
service.

8. “Sacred organ music” is music composed solely for the organ.

Ever since the pipe organ came into use as a most suitable accom-

paniment, this has been developed by illustrious masters. If the

laws of sacred music are scrupulously observed, organ music can

greatly contribute to the beauty of the sacred liturgy.

9. “Popular religious singing” is that which springs spontane-

ously from that religious sentiment with which human beings have

been endowed by the Creator Himself. For this reason, it is uni-

versal and flourishes among all peoples.

Since this song is very suitable for imbuing the private and social

life of the faithful with a Christian spirit, it was cultivated in the

Church as far back as the most ancient times (Cf. Eph. 5:18-20;

Col. 3:16), and, is recommended today for arousing the piety of

the faithful and for giving beauty to pious exercises. Sometimes it

can even be permitted in liturgical functions themselves.

10. By “religious music” is meant any music which, either be-

cause of the intention of the composer or because of the subject

and purpose of the composition, is likely to express and arouse

pious and religious sentiments and is therefore “most helpful to

religion” (Musicae sacrae disciplina: AAS 48 [1956] 13-14). But,
since it is not meant for sacred worship and is expressed in a

rather free form, it is not permitted in liturgical functions.

Chapter II

General Norms

11. This Instruction applies to all the rites of the Latin Church.

Therefore, what is said concerning Gregorian chant also applies

to the liturgical chant, if any, proper to the other Latin rites.

4



The term “sacred music” in this Instruction sometimes refers

to “chant and the playing of musical instruments” and sometimes

only to “the playing of musical instruments,” as can be easily un-

derstood from the context.

Finally, the term “church” is ordinarily understood as meaning

every “sacred place,” that is to say: a church in the strict sense,

or a public, semi-public, or private oratory (Cf. can. 1154, 1161,

1188), unless it is apparent from the context that the expression

refers only to a church in the strict sense of the word.

12. Liturgical functions must be performed according to the

liturgical books approved by the Apostolic See, whether for the

entire Church or for some specific church or religious family (Cf.

can. 1257)
;
pious exercises, however, are performed according to

those usages and traditions of places and of associations, which

have been approved by competent ecclesiastical authority (Cf. can.

1259).

It is unlawful to mix liturgical functions and pious exercises;

but if the case arises, pious exercises may precede or follow liturgi-

cal functions.

13. a. Latin is the language of liturgical functions, unless the

above mentioned liturgical books (either general or specific ones)

explicitly permit another language. Other exceptions will be men-

tioned further on in this instruction.

b. In sung liturgical functions no liturgical text translated ver-

batim in the vernacular may be sung except by special permission

(Motu Proprio Tra le Sollecitudini, November 22, 1903: AAS
36 [1903-1904] 334; Deer. auth. S.R.C. 4121).

c. Special exceptions granted by the Holy See from this law on

the exclusive use of Latin in liturgical functions remain in force,

but one may not give them a broader interpretation or transfer

them to other regions without authorization from the Holy See.

d. In pious exercises, any language may be used which is con-

venient to the faithful.

14. a. In sung Masses, the Latin language must be used not

only by the priest celebrant and the ministers, but also by the choir

and the faithful.

“Yet wherever ancient or immemorial custom permits the sing-

ing of popular hymns in the vernacular after the sacred liturgical

words have been sung in Latin at the Eucharistic Sacrifice [namely,

sung Mass], local Ordinaries may allow it to continue, ‘if they

judge that because of circumstances of place and persons, such

5



customs cannot prudently be suppressed.’ (can. 5). But the rule

forbidding the chanting of liturgical phrases in the vernacular has

no exceptions.”
(
Musicae sacrae disciplina: AAS 48 [1956] 16-

17.)

b. In a read Mass, the priest celebrant, his ministers and the

faithful who participate directly in the liturgical functions with the

celebrant must pronounce in a clear voice those parts of the Mass

which apply to them and may use only the Latin language.

Then, if the faithful wish to add some popular prayers or hymns

to this direct liturgical participation, according to local custom, this

may be done in the vernacular.

c. It is strictly forbidden to say aloud the parts of the Proper,

Ordinary and Canon of the Mass together with the priest celebrant,

in Latin or in translation, and this applies either to the faithful or

to a commentator, with the exceptions laid down in number 31.

It is desirable that in read Masses on Sundays and feastdays,

the Gospel and Epistle be read by a lector in the vernacular for the

convenience of the faithful. From the Consecration up to the

Pater noster a sacred silence is proper.

15. In sacred processions, described by liturgical books, the lan-

guage prescribed and accepted by these books should be the one

used. In other processions held as pious exercises, however, the

language most suitable to the faithful may be used.

16. Gregorian chant is the sacred chant, proper and principal of

the Roman Church. Therefore, not only can it be used in all litur-

gical actions, but unless there are mitigating circumstances, it is

preferable to use it instead of other kinds of sacred music.

Therefore

:

a. The language of Gregorian chant as a liturgical chant is solely

Latin.

b. Those parts of the liturgical functions, which according to the

rubrics must be chanted by the priest celebrant and by his minis-

ters, must be chanted exclusively in Gregorian chant, as given in

the “typical” editions. Accompaniment by any instrument is for-

bidden.

The choir and the people, when they respond according to the

rubrics to the chant of the priest and ministers, must also use only

Gregorian chant.

c. Finally, when it is allowed by particular Indult that in sung

Masses the priest celebrant, deacon or subdeacon or lector, after

6



having chanted the texts of the Epistle or Lesson and Gospel in

Gregorian, proclaim the same texts also in the vernacular, this

must be done by reading in a loud and clear voice, without any

kind of Gregorian modulation, whether authentic or imitated (cf.

n. 96-e).

17. Sacred polyphony may be used in all liturgical functions, on

condition, however, that there is a choir which knows how to per-

form it according to the rules of the art. This kind of sacred music

is more suitable to the liturgical functions celebrated in greater

splendor.

18. In the same way, modern sacred music is permitted in all

liturgical actions, if it is really in accord with the dignity, serious-

ness, and sanctity of the liturgy, and if there is a choir capable of

performing it according to the rules of the art.

19. Popular religious song may be freely used in pious exer-

cises
;
but in liturgical functions what has been established in num-

bers 13-15 must be strictly observed.

20. Religious music, however, must be excluded from all liturgi-

cal functions. It may, however, be admitted in pious exercises.

As regards its performance in sacred places, the rules which will

be given in numbers 54 and 55 must be observed.

21. Everything which the liturgical books require to be chanted

by the priest and his ministers, or by the choir and people, is an

integral part of the sacred liturgy. Hence :

a. It is strictly forbidden to change in any manner the order of

the text to be chanted, to alter or omit or improperly repeat words.

In sacred polyphony and sacred modern music, the individual

words of the text must be clearly and distinctly audible.

h. For the same reason, unless otherwise established by the

rubrics, it is strictly forbidden to omit, wholly or in part, any litur-

gical text which should be chanted.

c. However, if there is a reasonable cause (for example, because

of an insufficient number of singers, or because of their inexperi-

ence in the art of chanting, or even because of the length of the

function or some piece of music) such that one cannot chant one or

another liturgical text as given in the notations of the liturgi-

cal books for performance by the choir, only the following is al-

lowed : that these texts be chanted in their entirety in a monotone

(recto tono) or in the manner of the psalms. If desired, organ

accompaniment may be used.

7



Chapter III Special Norms

1. Regarding the most important liturgical rites when sacred

music is used

A. The Mass

a. General principles concerning the participation of the faithful

22. Of its nature the Mass demands that all those who are

present should participate, each in his own proper way.

a. This participation must first of all be interior, exercised in

the pious attention of the soul and in the affections of the heart.

Through this, the faithful “closely join the Supreme Priest . . .

and together with Him and through Him offer (the Sacrifice), and
consecrate themselves together with Him.”

(
Mediator Dei, Nov.

20, 1947: AAS 39 [1947] 552).
h. The participation of those present is more complete if this

interior attention is joined to an exterior participation manifested

by external acts, such as the position of the body (kneeling,

standing, sitting), ritual gestures, and, above all, by the responses,

prayers, and chants.

Regarding this participation, the Supreme Pontiff Pius XII

used these general words of praise in the Encyclical letter on the

sacred liturgy, Mediator Dei:

“They are worthy of praise who strive to bring it about that

the liturgy, even in an external manner, should become a holy

action in which all who are present take part. This can be done

in several ways : when all the people, according to the norms of

the holy rubrics, answer the words of the priest, in the prescribed

manner, or sing songs which are fitting to the various parts of

the Sacrafice, or do both these things, or, finally, when in a solemn

Mass they respond to the prayers of the minister of Jesus Christ

and at the same time sing the liturgical chants” (AAS 39 [1947]
560).

Papal documents refer to this harmonious participation when

they speak of “active participation” (Mediator Dei), the principal

example of which is the priest celebrant with his ministers, who

serve at the altar with due interior piety and accurate observance

of the rubrics and ceremonies.

c. Finally, perfect active participation is achieved when there is

also sacramental participation, by which “the faithful who are

present communicate not only with spiritual affection, but also in

8



reception of the Sacrament of the Eucharist, so that they derive

greater fruit from this most blessed Sacrifice.” (S. Cone. Trent

Sess. 22, ch. 6; Cf. also Mediator Dei: AAS 39, 565: “It is very
fitting and is in fact established by the liturgy, that the people

should present themselves at the communion rail after the priest

has consumed the sacred species on the altar.”)

d. Since a conscious and active participation of the faithful can-

not be achieved without their adequate instruction, it is useful to

recall that wise law issued by the Fathers of the Council of Trent

which ruled

:

“This Holy Council orders pastors and all others in charge of

souls frequently to explain during the celebration of Mass [namely,

during the homily after the Gospel ‘when the catechism is ex-

plained to the Christian people’], either personally or through

others, some of those things which are read in the Mass
;
and they

should explain, among other things, some mystery of the most holy

Sacrifice, especially on Sundays and feastdays.”

23. It is necessary, however, to regulate the various means by

which the faithful can actively participate in the most holy Sacri-

fice of the Mass so as to remove danger of any abuse and to achieve

the chief purpose of this participation, which is a more complete

worship of God and the edification of the faithful.

b. Participation of the faithful in the sung Mass

24. The most noble form of the eucharistic celebration is found

in the solemn Mass, in which the combined solemnity of the cere-

monies, the ministers, and the sacred music manifests the mag-

nificence of the divine mysteries and prompts the minds of those

present to the pious contemplation of these mysteries.

Efforts must be made so that the faithful have that esteem for

this form of celebration which it deserves and properly participate

in it, as will be outlined below.

25. The active participation of the faithful in the solemn Mass

can be accomplished in three degrees

:

a. In the first degree the faithful chant the liturgical responses:

Amen, Et cum spiritu tuo, Gloria tihi, domine, Habemus ad
Dominum, Dignum et justum est, Sed libera nos a malo, Deo

gratias. Every effort must be made that the faithful of the entire

world know how to give these responses in chant.

9



b. In the second degree all the faithful chant parts of the Ordi-

nary of the Mass: Kyrie eleison, Gloria in excelsis Deo, Credo,

Sanctus-Benedictus, and Agnus Dei.

Steps should certainly be taken that the faithful know how to

chant these parts of the Ordinary of the Mass, at least in the more

simple Gregorian themes.

If all these parts cannot be chanted, nothing forbids that the

more simple of these, such as the Kyrie eleison, the Sanctus-

Benedictus, and the Agnus Dei, be chosen for the faithful to chant

while the Gloria in excelsis Deo and the Credo are performed by

the choir.

Wherefore care must be taken that the following easier Gre-

gorian themes be learned by all the faithful throughout the world

:

the Kyrie eleison, Sanctus-Benedictus and Agnus Dei according

to number XVI of the Roman Gradual
;
the Gloria in excelsis Deo

together with the Ite missa est-Deo gratias according to XV
;
and

the Credo according to I and III.

In this manner, a most desirable result will be accomplished, for

Christians in every part of the world will be able to manifest their

common Faith by active participation in the most holy Sacrifice

of the Mass with a common joyful chant.
(
Musicae sacrae dis-

ciplina: AAS 48 [1956] 16.)

c. In the third degree all those present are so proficient in the

Gregorian chant that they can also chant the parts of the Proper of

the Mass. One must insist above all on this full participation in

the chant in religious communities and in seminaries.

26. The Missa cantata must also be highly esteemed, because

even though it lacks the sacred ministers and the full magnificence

of the ceremonies, it is nevertheless enriched with the beauty of

the sacred chant and music.

It is desirable that the parish Mass or the principal Mass on

Sundays and feastdays be sung.

What has been said in the preceding number about the partici-

pation of the faithful in solemn Mass, also applies for the Missa

cantata.

27. With regard to sung Masses, the following must also be

noted

:

a. If the priest and his ministers enter the church by a rather

long route, nothing forbids, after the chanting of the antiphon of

the Jntroit and its versicle. the chanting of many other verses of

the same psalm.

10



In this case, the antiphon can be repeated after every one or

two verses, and when the priest has reached the altar, the psalm is

broken off, and if necessary, the Gloria Patri is sung and the

antiphon repeated.

b. Following the Offertory antiphon, it is proper to sing in the

ancient Gregorian melodies of those verses which were once sung

after the antiphon.

If the Offertory antiphon is taken from some psalm, the other

verses of the same psalm may be chanted. In such cases, the anti-

phon may be repeated after every one or two verses of the psalm

and, when the Offertory of the Mass is completed, the psalm

should be concluded with the Gloria Patri and the repeated

antiphon.

If the antiphon is not taken from a psalm, a psalm suitable to

the solemnity may be chosen. Moreover, when the Offertory

antiphon is finished, one may chant some short Latin hymn, which

must however be in keeping with that part of the Mass and not be

prolonged beyond the Secret.

c. The Communion antiphon must be chanted while the cele-

brant is receiving the Most Blessed Sacrament. If the faithful are

to communicate, the singing of the antiphon is to begin when the

priest distributes Holy Communion. If this Communion antiphon

has been taken from some psalm, the other verses of the same

psalm may be sung, in which case the antiphon may be repeated

after every one or two verses and, the Communion over, the psalm

should be concluded with the Gloria Patri and the repeated anti-

phon. But if the antiphon is not taken from a psalm, one may

choose a psalm fitting to the solemnity of the liturgical action.

When the Communion antiphon is completed, another short
Latin hymn in keeping with the sacred act may also be sung,

especially if the people’s Communion is prolonged.

The faithful who are about to approach the Communion rail

may recite the triple Domine, non sum dignus with the priest

celebrant.

d. The Sanctus and the Benedictus, if chanted in Gregorian,

must be sung without a break, otherwise the Benedictus is to be

sung after the Consecration.

e. All singing must cease during the Consecration and, where

custom permits their use, the playing of the organ or any other

musical instrument must also cease.

f.
After the Consecration, unless the Benedictus is still to be

sung, devout silence is advised until the time of the Pater Nosier.

11



g. The organ must remain silent while the celebrant blesses the

faithful at the end of Mass. The priest should pronounce the

words of the Benediction so that all the faithful may hear them.

c. Participation of the faithful in read Masses

28. One must take diligent care that the faithful are present also

at the low Mass “not as outsiders or as silent spectators” (Apos-

tolic Constitution Divini cultus, Dec. 20, 1928: AAS 21 [1929]
40), but in such a way that they may exercise that participation

which is demanded by such a great mystery and which yields such

abundant fruits.

29. The first way in which the faithful can participate in the

low Mass is achieved when individuals exercise on their own ini-

tiative either interior participation, that is pious attention to the

principal parts of the Mass, or external participation according

to the various approved customs of the regions.

They are especially worthy of praise who use a small missal

suitable to their understanding and pray along with the priest in

the very words of the Church.

But, since not all are equally capable of understanding properly

the rites and formulas, and since spiritual needs are not the same

and are not always the same for any individual, there are more

easy and suitable ways of participating for some, such as “piously

meditating upon the mysteries of Jesus Christ, or performing

other pious exercises, or reciting other prayers which, though they

may differ in form from the sacred rites, are nevertheless in keep-

ing with them by their nature”
(
Mediator Dei, AAS 39 [1947]

560-561).

Furthermore, it should be noted that if there is the practice in

some places of playing the organ during a read Mass, and if, after

stopping this practice, the faithful would participate either with

common prayers or with singing, then it is necessary to disapprove

the uninterrupted playing of the organ, harmonium, or other musi-

cal instrument. Such instruments must therefore remain silent

:

a. After the priest celebrant has reached the altar until the

Offertory
;

b. From the first verses before the Preface up to and including

the Sanctus

;

c. Where the custom exists, from the Consecration up to the

Pater noster;

12



d. From the Lord’s Prayer up to the Agnus Dei inclusive; dur-

ing the Confiteor before the people’s Communion
;
while the Post-

communion prayer is being said, and while the Blessing is being

given at the end of the Mass.

30. The second mode of participation is had when the faithful

take part in the Eucharistic Sacrifice by offering up prayers and

song in common, providing above all that the prayers and song are

suited to the individual parts of the Mass, observing what has been

noted in number 14-c.

31. Finally, the third and most perfect manner of participation

is had when the faithful give the liturgical responses to the cele-

brant, almost conversing with him, and pronouncing the parts

proper to them in a clear voice.

Of this more perfect participation there are four degrees

:

a. In the first degree the faithful give the easiest liturgical re-

sponses to the celebrant, which are : Amen; Et cum spiritu tuo

;

Deo gratias; Gloria tibi, Domine; Laus tibi, Christe; Habemus ad

Dominum; Dignum et justum est, and Sed libera nos a malo.

b. In the second degree the faithful give those responses which

the acolyte must pronounce according to the rubrics, and if Holy

Communion is given during the Mass, also recite the Confiteor and

the triple Domine non sum dignus.

c. The third degree is that in which the faithful recite parts of

the Ordinary of the Mass with the celebrant, namely: Gloria in

excelsis Deo, the Credo, the Sanctus-Benedictus and the Agnus

Dei.

d. The fourth and final degree is that in which the faithful also

recite with the celebrant parts of the Proper of the Mass: the

Introit, Gradual, Offertory, and Communion. This last degree can

be practiced with fitting dignity only by select and well trained

groups.

32. In read Masses, the entire Pater noster, an appropriate and

ancient prayer in preparation for Communion, may be recited by

the faithful, but only in Latin and with all joining in the Amen.

Its recitation in the vernacular is forbidden.

33. Popular religious hymns may be sung during read Mass,

but with the observance of that law which prescribes that they be

suited to the separate parts of the Mass (Cf. n. 14-b).

34. The celebrant should read in a raised voice all that the

rubrics require to be said “in a clear voice,” especially if the church

13



is big and the congregation large, so that all the faithful can follow

the sacred action appropriately and easily.

d. The “conventual” Mass, which is also called Mass “in choir”

35. One may rightly include among the liturgical functions

which excel because of their special dignity, the “conventual”

Mass or Mass “in choir.” This is the Mass which is celebrated in

conjunction with the recitation of the Divine Office by those per-

sons who are bound by the laws of the Church to choir.

In fact, the Mass together with the Divine Office constitutes the

height of Christian worship, full praise rendered daily to Almighty

God with external and public solemnity.

But, since this public and congregate offering of divine worship

cannot be celebrated every day in all churches, those bound to the

law of “choir” will perform it for the others. This applies prin-

cipally to cathedral churches in relation to the entire diocese.

Therefore, all celebrations “in choir” should ordinarily be per-

formed with special beauty and solemnity, that is to say, embel-

lished with chant and sacred music.

36. The conventual Mass, therefore, must of its nature be a

solemn Mass, or at least a missa cantata.

But where, because of special laws or special Indults, a dispen-

sation is granted from the solemnity of Mass “in choir,” recitation

of the canonical Hours during the conventual Mass must be alto-

gether avoided. Instead, it is preferable that the low conventual

Mass be celebrated in that manner referred to in number 31, with-

out, however, any use of the venacular.

37. Regarding the conventual Mass the following must also be

borne in mind

:

a. Only one conventual Mass is to be said each day, and that

must correspond to the Office recited in choir, unless otherwise

prescribed by the rubrics.
(
Additiones et Variationes in rubricis

Missalis, tit. I, n. 4). The obligation remains, however, for the

celebration of other Masses in choir, as in the case of pious

foundations and because of other legitimate reasons.

b. The conventual Mass follows the norms of the sung Mass

or read Mass.

c. The conventual Mass must be celebrated after Terce, unless

the director of the community has established that for a serious

reason it should be celebrated after Sext or None.

d. Conventual Masses “outside of choir,” until now sometimes

prescribed by the rubrics, are prohibited.

14



e. Assistance of priests in the Holy Sacrifice of Mass;

what are called “synchronized” Masses

38. Granted that sacramental concelebration in the Latin Church

is limited by law to specific cases, and recalling the response of the

Supreme Congregation of the Holy Office of May 23, 1957 (AAS
49 [1957] 37), which declared invalid the concelebration of the

Sacrifice of the Mass by priests who, though wearing sacred vest-

ments and moved by whatever intention, do not pronounce the

words of consecration—it is not prohibited that, where many
priests are assembled on the occasion of Congresses, “one alone

celebrates while the others (whether all or the majority) partici-

pate in the celebration and during it receive the sacred species

from the hands of the celebrant,” provided that “this is done for

a just and reasonable cause and that the Bishop has not decreed

otherwise to avoid startling the faithful,” and provided that in so

doing there does not lurk that error pointed out by the Supreme

Pontiff Pius XII, which would hold that one Mass at which 100

priests assist with religious devotion is the same as 100 Masses

celebrated by 100 priests. (Cf. Address to Cardinals and Bishops,

Nov. 2, 1954: AAS 46 [1954] 669-670; and to the International
Congress on Pastoral Liturgy at Assisi, Sept. 22, 1956: AAS 48
[1956] 716-717.)

39. What are called “synchronized” Masses are forbidden, how-

ever. By this term is understood Masses celebrated in the follow-

ing way : two or more priests at one or more altars simultaneously

celebrating the Mass in such a way that all the actions and all the

words are done and said at the same time, even using—particularly
if the number of celebrants is large—some modern instruments
with which the absolute uniformity or “synchronization” can more

easily be achieved.

B. The Divine Office

40.

The Divine Office is said either “in choir” or “in common”

or “alone.”

It is “in choir” if the Divine Office is said by a community held

to the choir by ecclesiastical laws; “in common” when said by a

community not bound by the rule of choir.

In whatever manner the Divine Office is recited, whether “in

choir” or “in common” or “alone,” it must always be considered

an act of public worship rendered to God in the name of the

15



Church if it is said by those persons who are bound to its recita-

tion by ecclesiastical laws.

41. By its nature, the Divine Office is so composed that it is in-

tended to be recited by alternating groups. Moreover, some parts,

by their nature, require that they be sung.

42. From this, it follows that the fulfillment of the Divine Office

“in choir” is to be continued and favored; the fulfillment of the

Divine Office “in common,” as also the singing of at least some

parts of the Office, is highly recommended, according to the ap-

propriateness of time, place, and persons.

43. The recitation of the psalms “in choir” or “in common”

must be done with fitting dignity, with observation of the proper

tone, with appropriate pauses and full harmony of voices, whether

it is done in Gregorian chant or without singing.

44. If the psalms occurring in a canonical hour are to be sung,

at least a part should be sung in Gregorian chant, either in alter-

nating psalms or in alternating verses of the same psalm.

45. The ancient and venerable custom of chanting Vespers with

the people on Sundays and feastdays, according to rubrics, should

be preserved where it now exists, and should be introduced in

those places where it does not exist to the extent that it is possible,

at least several times a year.

Let Ordinaries, furthermore, take care that the singing of Ves-

pers on Sundays and feastdays not fall into disuse because of the

introduction of evening Mass. In fact, the evening Masses which

the Ordinary may permit “if required for the spiritual good of a

considerable part of the faithful” (Apostolic Constitution Christus

Dominus

,

Jan. 6, 1953; AAS 45 [1953] 15-24; Instruction of the
Supreme Congregation of the Holy Office, same day: AAS 45,
47-51

;
Motu Proprio Sacram Communionem, March 19, 1957

:

AAS 49 [1957] 117-178) must not detract from the liturgical
functions and pious exercises with which the Christian people

normally sanctify feastdays.

Therefore, the custom of chanting Vespers or of practicing

other pious exercises with Benediction of the Blessed Sacrament

is to be preserved where it exists, even if evening Mass is

celebrated.

46. In seminaries of clerics, therefore, whether diocesan or

religious, at least some part of the Divine Office should be recited

in common regularly, and, whenever possible, in chant. On Sun-

16



days and feastdays Vespers, at least, should be sung. (Cf. can.

1367, 3.)

C. Benediction of the Blessed Sacrament

47. Benediction of the Blessed Sacrament is a true liturgical

function. It must therefore be performed as prescribed in the

Roman Ritual, tit. X, ch. V, n. 5.

If some other manner of imparting Benediction of the Blessed

Sacrament exists in some place by immemorial custom, this may

be preserved subject to permission of the Ordinary; prudence

recommends, however, that the Roman manner of Benediction of

the Blessed Sacrament be insisted upon.

2. Regarding certain kinds of sacred music

A. Sacred Polyphony

48. The works of sacred polyphony of ancient or recent com-

posers must not be allowed in liturgical functions before it is first

of all ascertained that they are composed or adapted in such way

as to correspond to the norms and admonitions set forth in the

Encyclical Musicae sacrae disciplina. When in doubt, the Diocesan
Commission for Sacred Music is to be consulted.

49. Ancient compositions of sacred polyphony which are still

buried in archives, should be diligently sought out, and, if neces-

sary, steps should be taken for their fitting preservation. Let ex-

perts tend to their publication either in critical editions or in

adaptations for liturgical use.

B. Modern Sacred Music

50. Compositions of modern sacred music must not be used in

liturgical functions unless they are composed in conformity with

liturgical laws and the rules that pertain to sacred music, in ac-

cordance with the Encyclical Musicae sacrae disciplina (AAS 48
[1956] 19-20). In this matter, judgment must be given by the

Diocesan Commission for Sacred Music.

C. Popular Religious Song

51. Popular religious song is to be highly recommended and

promoted. By means of it, in fact, Christian life is filled with

religious spirit and the minds of the faithful are elevated.

17



Popular religious song has a place in all the solemnities of

Christian life, whether in public or in the family, and even during

the labors of daily life; but it has an even nobler part to play in

all the “pious exercises” performed inside and outside the church

;

and it is sometimes admitted in liturgical functions themselves, ac-

cording to the norms set down in numbers 13-15.

52. So that popular religious songs may then accomplish their

purpose, “it is necessary that they fully conform to the doctrine

of the Catholic Faith, that they expound and explain it rightly,

that they use simple language and . simple melodies, that they be

free of ostentatious and inane superfluity of words, and finally,

even if they are short and catchy, that they contain a religious

dignity and seriousness.” (Musicae sacrae disciplina: AAS 48
[1956] 20.) The Ordinary must watch with care that these pre-

scriptions be observed.

53. All those who are interested in the subject are urged to

collect the popular religious songs, even the most ancient, which

have been written or passed down by word of mouth, and to pub-

lish them for the use of the faithful, subject to the approval of

the Ordinaries of places.

D. Reugious Music

54. That music should be greatly esteemed and assiduously cul-

tivated which, while it cannot be admitted into liturgical functions

because of its particular characteristics, still tends to arouse reli-

gious sentiments in those who hear it and to foster worship, and

is therefore justly and properly called religious music.

55. The proper places for performing works of religious music

are concert halls or, auditoriums, but not churches consecrated

to the worship of God.

However, should there be no auditorium or other convenient

place and it is thought that a concert of religious music would be

of spiritual benefit to the faithful, the Ordinary of the place may

permit such a concert to be presented in a church, provided that

the following are observed

:

a. For any such concert, the written authorization of the local

Ordinary is required

;

b. Requests for such authorization must be made in writing,

stating the day of the concert, the works to be performed, and the

names of the conductors (of both instrumental and choral en-

sembles) and the names of the performers

;

18



c. The Ordinary must not give permission if, after having

consulted the Diocesan Commission of Sacred Music and sought

the advice of other experts in the matter, he is not certain that the

works proposed are not only of artistic merit and sincere in their

expression of Christian piety, but also that the performers possess

those qualities listed in numbers 97-98

;

d. The Blessed Sacrament must be removed from the church

before the performance and be placed in a chapel or even in the

sacristy
;
if this is not possible, the audience must be notified of the

presence of the Blessed Sacrament in the church and the rector of

the church must diligently take care that due respect to the Blessed

Sacrament is observed;

e. If tickets are sold or programs distributed, this must take

place outside the church

;

f.
The musicians, the singers, and the audience must comport

themselves in dress and conduct with the seriousness proper to the

sanctity of a holy place

;

g. According to circumstances, it is preferable that the concert

be concluded with some pious exercise, or still better, with Bene-

diction of the Blessed Sacrament, in order that the spiritual eleva-

tion intended by the concert might, as it were, be crowned by this

sacred function.

3. Regarding books on liturgical chant

56. Books on the liturgical chant of the Roman Church pub-

lished up to the present are

:

The Roman Gradual

,

with the Ordinary of the Mass.

The Roman Antiphonal for the daily Hours.

The Office of the Dead, of Holy Week, and of the Nativity of

our Lord Jesus Christ.

57. The Holy See reserves to itself all rights of use and owner-

ship of all the Gregorian melodies contained in the liturgical books

of the Roman Church and approved by it.

58. The decree of the Sacred Congregation of Rites of August

11, 1905—the “Instruction concerning the publication and approval
of books containing liturgical Gregorian chant” {Deer. Auth.

S.R.C. 4166)—remains in force, as do the subsequent “Statement
regarding the publication and approval of books containing liturgi-

cal Gregorian chant” of February 14, 1906 {Deer. Auth. S.R.C.

4178) and the Decree of February 24, 1911, which referred to

19



some special questions about the approval of books on the chant

of the “Propers” for certain dioceses and religious congregations

{Deer. Auth. S.R.C. 4260).

What was laid down by the Sacred Congregation of Rites on
August 10, 1946, “Concerning permission to publish liturgical

books” {AAS 38 [1946] 371-372) also applies to books of liturgi-
cal chant.

59. Therefore, the authentic Gregorian chant is that which is

found in the “typical” Vatican editions,' or which is approved by

the Sacred Congregation of Rites for some particular church or

religious community, and so it must be reproduced only by editors

who have proper authorization, accurately and completely, as re-

gards both melodies and the texts.

The signs, called rhythmica

,

which have been privately intro-

duced into Gregorian chant, are permitted, provided that the force

and meaning of the notes found in the Vatican books of liturgical

chant are preserved.

4. Regarding musical instruments and bells

A. Some General Principles

60. The following principles on the use of musical instruments

in the sacred liturgy are recalled

:

a. In view of the nature of the sacred liturgy, its holiness and

its dignity, the use of any kind of musical instrument should in

itself be perfect. It would therefore be better to entirely omit the

playing of instruments (whether the organ alone or other instru-

ments) than to permit it to be done indecorously. And in general

it is better to do something well on a small scale than to attempt

somehing elaborate without sufficient resources to do it properly.

b. It is necessary to preserve the difference between sacred and

profane music. There are musical instruments which by origin

and nature—such as the classical organ—are directly fitted for
sacred music: or others, as certain string and bow instruments,

which are more easily adapted to liturgical use; while others, in-

stead, are by common opinion proper to profane music and en-

tirely unfit for sacred use.

c. Finally, only those musical instruments which are played by

the personal action of the artist may be admitted to the sacred

liturgy, and not those which are operated automatically or

mechanically.

20



B. The Classic Organ and Similar Instruments

61. The classic or pipe organ has been and remains the principal

solemn liturgical musical instrument of the Latin Church.

62. The organ intended for liturgical services, even if small,

must be constructed according to the rules of that craft and must

be equipped with tones that befit religious use. Before it is used,

it should be duly blessed and it always should be diligently cared

for as a sacred object.

63. In addition to the classic organ, the use of that instrument

called the “harmonium” is also permitted, but only on condition

that its tonal quality and amplitude of sound makes it suitable to

sacred use.

64. That kind of organ called “electronic” may be tolerated tem-

porarily in liturgical functions when means for buying a pipe organ,

even a small one, are lacking. However, the explicit permission of

the Ordinary of the place is necessary in each individual case. He

should first of all consult the Diocesan Commission for Sacred

Music and other persons competent in the matter, who should

suggest all those points which would make the particular instru-

ment suitable for sacred use.

65. The players of the musical instruments (see numbers 61-64)

must be sufficiently skilled in their task, whether for accompanying

sacred chant or choral music, or for merely playing the organ.

Also, since it is often necessary to play “ex tempore” something

appropriate to the different phases of liturgical functions, they

should have knowledge and experience of the rules which govern

the organ and sacred music.

The players of these instruments should take good care of the

instruments entrusted to them. And as they sit at the organ during

sacred functions they must reflect upon the active part they play in

giving glory to God and edifying the faithful.

66. The playing of the organ, whether to accompany liturgical

functions or pious exercises, should be adapted with diligent care

to the liturgical character of the season or the day, to the nature

of the rites or exercises, as well as to their specific parts.

67. Unless ancient custom or another special reason approved

by the Ordinary of the place counsels otherwise, the organ should

be located in a convenient place near the main altar, but in such

manner that singers or musicians standing on a raised platform

are not conspicuous to the faithful in the body of the Church.

21



C. Sacred Instrumental Music

68. During liturgical functions, especially on the more solemn

days, musical instruments other than the organ may also be used

—

especially those with strings that are played with a small bow

—

either with the organ or without it, in musical performances or in

accompaniment to song, strictly observing however those laws

which derive from the principles enunciated above in number 60,

which are

:

a. That musical instruments be used which are in accord with

sacred usage

;

b. That the sound of these instruments be produced in such

manner and with such gravity (with a sort of religious chastity)

as to avoid the clangor of profane music and to foster the devotion

of the faithful

;

c. That the choir director, the organist, and the artists be skilled

in the use of the instruments and familiar with the laws of sacred

music.

69. The Ordinaries of places must carefully watch, above all

with the assistance of the Diocesan Commission for Sacred Music,

so that these prescriptions pertaining to the use of instruments in

the sacred liturgy be strictly observed. And let them not fail, if

there is need, to give special instructions in the matter, adapted to

conditions and approved customs.

D. On Musical Instruments and Mechanical Music Devices

70. Those musical instruments which by common consent and

usage are suited only for profane music must be absolutely pro-

hibited in liturgical functions and pious exercises.

71. The use of “automatic” instruments and machines such as

the automatic organ, phonograph, the radio, dictaphone, or tape

recorder, and other similar devices, are absolutely forbidden in

liturgical functions or pious exercises, whether inside or outside

the church, even if they are used only to transmit sacred discourses

or music, or to replace or assist the singing of the choir or the

faithful.

One may use such machines, even in the church, but outside

liturgical functions and pious exercises, in order to listen to the

Supreme Pontiff or the Ordinary of the place or other sacred

orators. They may also be used to instruct the faithful in Christian

22



doctrine, in sacred chant or in popular religious song, as well as

for directing and sustaining the singing of the people during pro-

cessions outside the church.

72. “Loudspeakers” may be used in liturgical functions and

pious exercises to amplify the live voice of the celebrant or of a

“commentator” or other person who is permitted to speak accord-

ing to the rubrics, and has the permission of the rector of the

church.

73. The use of film projectors, especially motion-picture ma-

chines, whether silent or with sound, is strictly prohibited in

church, even though it is for a pious, religious, or charitable cause.

Let it be noted too, that in constructing or adapting halls for

meetings or entertainment near the church or, in the absence of

another place, beneath the church, there must be no entrance from

the hall into the church, and noise from the hall must not disturb

in any manner the sanctity and the silence of the holy place.

E. On the Transmission of Sacred Functions By Radio
and Television

74. For the transmission by radio or television of liturgical

functions or pious exercises which take place outside or inside a

church, the express authority of the Ordinary of the place is re-

quired. He must not give it if it is not first ascertained

:

a. That the singing and the sacred music correspond fully to the

laws of both the liturgy and sacred music

;

b. That, besides, if there is to be television transmission, all

those who are to take part in the sacred function are so well in-

structed that the celebration may take place in conformity with

the rubrics and with dignity in every respect.

The Ordinary of the place may give standing permission for the

regular transmission of functions from the same church when, all

things considered, he is satisfied that all requirements will be dili-

gently observed.

75. Television cameras should be kept out of the sanctuary as

much as possible, and they should never be so close to the altar

that they interfere with the sacred rites.

The television cameramen and their attendants must comport

themselves with that seriousness which the place and the sacred

rites require. They must not in the least disturb the piety of those

23



present, especially in those moments which demand the greatest

devotion.

76. All that was said in the foregoing number should be ob-

served by photographers also, even more carefully, in fact, con-

sidering the ease with which they can move their cameras about.

77. The individual rectors of churches must be vigilant to see

that the things prescribed in numbers 75-76 are faithfully observed,

but the Ordinaries of places must give more detailed instructions

when circumstances require them.

78. Since the nature of a radio broadcast demands that the

listeners be able to follow it without interruption, it is fitting in

broadcasts of Masses that the celebrant, especially if there is no

“commentator,” pronounce those words in a slightly raised voice

which the rubrics require to be recited in low voice; likewise, those

which are to be spoken in a clear voice should be pronounced even

louder, so that the radio audience may follow everything with

ease.

79. It is well to advise the radio and television audience before

the broadcast takes place that the broadcast or the telecast is not

sufficient to satisfy the obligation of attending Mass.

F. On the Times When the Playing of Musical

Instruments Is Forbidden

80. Since the playing of the organ and, even more, that of other

instruments is meant to adorn the sacred liturgy, the use of these

instruments should be regulated by the degrees of joy with which

the various liturgical days and seasons are distinguished.

81. In all liturgical functions, therefore, with the sole exception

of Benediction of the Blessed Sacrament, the playing of the organ

and all other musical instruments is prohibited during these times

:

a. During Advent, that is, from first Vespers of the first Sunday

of Advent until None of the Vigil of the Nativity of Our Lord;

b. During Lent and Passiontide, that is, from Matins of Ash

Wednesday until the Gloria in excelsis Deo in the solemn Mass of

the Easter Vigil

;

c. On the Ferials and Saturday of the Ember Days of Septem-

ber, if the Office and the Mass are of these days

;

d. During Offices and Masses of the dead.

24



82. The playing of other instruments, except the organ, is fur-

thermore prohibited on Septuagesima, Sexagesima, and Quinqua-

gesima Sundays and on the ferials that follow these Sundays.

83. However, on the days and in the seasons on which the above

prohibitions are effective, the following exceptions are established

:

a. The playing of the organ and other instruments is permitted

on feasts of precept and holydays (except Sundays), as well as on

the feastdays of the principal patron saint of the place, on the title

day or anniversary of the dedication of a church and on the title

or founder day of a religious community
;
or if some extraordinary

solemnity occurs

;

b. The playing of the organ or harmonium only is permitted on

the Third Sunday of Advent and the Fourth Sunday of Lent, also

on Thursday of Holy Week during the Mass of Chrism, and from

the beginning of the solemn evening Mass in Cena Domini until

the end of the Gloria in excelsis Deo;

c. Likewise, the organ or the harmonium only are permitted at

Mass and during Vespers solely to accompany the singing.

The Ordinaries of places can make these prohibitions and per-

missions more precise according to the approved customs of places

or regions.

84. The organ and the harmonium must remain completely

silent during the Holy Triduum, that is, from midnight which be-

gins the fifth ferial in Cena Domini until the Gloria in excelsis Deo

of the solemn Mass of the Easter Vigil, and they must not be used

even to accompany singing, except as provided in number 83-b.

Furthermore, the playing of the organ and harmonium is pro-

hibited during this Triduum without any exception and notwith-

standing any contrary custom whatsoever, even during pious

exercises.

85. The rectors of churches and other responsible individuals

must not fail to explain to the faithful the reason for this liturgical

silence. They must not forget to take care that, on these days and

during these seasons, the other liturgical prescriptions about not

ornamenting the altars be observed also.

G. On Bells

86.

All responsible persons are bound to preserve strictly the

ancient and approved use of bells in the Latin Church.

25



87. Bells are not to be used in a church if they have not been

solemnly consecrated or at least blessed. After this, they are to be

treated with the care due to sacred objects.

88. The approved customs and the different ways of ringing

the bells, according to the various purposes for which they are

rung, are to be carefully preserved. Ordinaries of places should

set down the traditional and customary norms in this matter, or, if

there are none, prescribe them.

89. Innovations which are meant to give a fuller sound to the

bells or to simplify their ringing, may be permitted by local Ordi-

naries after they have consulted experts in the matter, but in cases

of doubt the problem is to be referred to the Sacred Congregation

of Rites.

90. Besides the different customary and approved methods of

ringing bells mentioned in number 88, there are in some places

certain apparatuses of many small bells hung in the same bell

tower, which are used for the execution of various songs and

melodies.

Such playing of the bells, which is commonly called a “carrillon”

(in German “Glockenspiel”
)

is to be excluded entirely from litur-

gical use. The small bells destined for such use, then cannot be

consecrated or blessed according to the solemn rite of the Roman

Pontifical, but only with the simple blessing.

91. Everything should be done to see that all churches and

public and semi-public oratories are furnished with at least one or

two bells, even if they must be small. It is strictly forbidden to use

in place of bells any machine or instrument for the mechanical or

automatic imitation or amplification of the sound of bells. One may

use such machines or instruments if, as has been explained above,

they are to be used in the manner of a “carillon.”

92. For the rest, the prescriptions of canons 1169, 1185, and

612 of the Code of Canon Law are to be scrupulously observed.

5. Regarding the persons who have the principal parts in

sacred music and the sacred liturgy

93. The priest celebrant presides at all liturgical functions. All

others are to participate in the liturgical function in the manner

proper to each.

26



a. Clerics, who participate in liturgical functions in the manner
and form prescribed by the rubrics, that is to say, as clerics, acting
either as sacred ministers or in place of minor ministers, or even
taking part in the choir or schola cantorum, exercise a true and

proper ministerial service by virtue of their ordination and assump-

tion of the clerical state.

b. The laity also exercise an active liturgical participation by
virtue of their baptismal character, because of which in the Holy
Sacrifice of the Mass they offer in their own way, along with the
priest, the divine victim to God the Father. (Cf. Encyclical
Mystici Corporis Christi, June 29, 1943 : AAS 35 [1943] 232-233

;

Encyclical Mediator Dei, November 20, 1947: AAS 39 [19471
555-556).

c. But the laity of male sex, whether children, youth, or men,
when they are appointed by the competent ecclesiastical au-
thority as ministers of the altar or to execute sacred music, if they

fulfill such duties in the manner and form established by the ru-
brics, exercise a direct but delegated ministerial service, on the
condition that, where they are to sing, they form an actual part
of the “choir,” the schola cantorum.

94. The priest celebrant and the sacred ministers, besides an
accurate observance of the rubrics, should endeavor to execute
their sung parts as correctly, distinctly, and artistically as they can.

95. Whenever it is possible to choose the persons who will cele-
brate liturgical functions, it is better that those be preferred who
are recognized for their singing ability, especially for the more
solemn liturgical functions or for those in which the chant is more
difficult or when the function is to be transmitted by radio or
television.

96. The active participation of the faithful, especially at Holy
Mass and some more complex liturgical functions, can be more
easily accomplished with the use of a “commentator.” At the
proper moment and in a few words, he can explain the rites and
the prayers or lessons being read by the celebrant or his sacred
ministers, and he can direct the external participation of the faith-
ful their responses, prayers, and songs. Such a commentator is
permitted if the following rules are observed :

a. It is fitting that the role of commentator be performed by a
priest or at least a cleric. When they cannot be had, the task may
be entrusted to a layman of outstanding Christian life who is well
instructed in his role. Women may never assume the role of com-

27



mentator. It is only permitted that, in case of necessity, a woman

be used as director of the song and prayers of the faithful.

b. If the commentator is a priest or a cleric, he should be vested

in surplice and stand in the sanctuary near the communion rail or

in the pulpit. If he is a layman, he should stand in a convenient

place in front of the faithful, but not in the sanctuary or the pulpit.

c. The explanations and directions given by the commentator

must be prepared in writing; they must be brief and serious, de-

livered at a fitting moment and with subdued voice. They must

never rise above the prayers of the celebrant. In a word, they

must be so spoken as to be a help and not a hindrance to the devo-

tion of the faithful.

d. In directing the prayers of the faithful, the commentator

must remember the prescriptions given above in 14-c.

e. In those places where the Holy See has given permission for

the reading of the Epistle and Gospel in the native tongue after

the Latin text has been chanted, the commentator may not substi-

tute for the celebrant, deacon, subdeacon or lector in reading them

(cf. n. 16-c).

/. Let the commentator bear the celebrant in mind and so accom-

pany the sacred action that he does not retard or interrupt it, and

so that the entire liturgical function may progress in harmony,

dignity, and devotion.

97. All those who take part in sacred music, as composers, or-

ganists, choir directors, singers, or musicians should above all give

good example of Christian life to the rest of the faithful because

they directly or indirectly participate in the sacred liturgy.

98. The same persons, besides bearing in mind the required

excellence of faith and Christian morals, should possess a greater

or lesser instruction in accordance with their circumstances and

participation in the liturgy. Therefore

:

a. Authors or composers of sacred music should possess suffi-

cient knowledge of the sacred liturgy itself under its historical,

dogmatic or doctrinal, practical or rubrical aspects. They should

also know Latin. And, finally, they must have a sound training in

the art of sacred and of profane music and in the history of music.

b. Organists and choir directors must have a broad knowledge

of the sacred liturgy and sufficient understanding of the Latin

tongue. They should be experts also in their own art so that they

will be able to fulfill their duty with competence and dignity.

28



c. The singers too, children as well as adults, must be given such
an understanding of the liturgical functions and texts that they are
to sing, according to their capacity, that their song may go out
from the intelligence of the mind as well as from the affection of
the heart, as the “reasonable obedience” of their service demands.

Let them also be trained to pronounce the Latin words correctly
and distinctly. Rectors of churches and other responsible persons
must see to it that there is good order in the part of the church
occupied by the singers and that sincere devotion reigns there.

d. Finally, those instrumental musicians who perform sacred
music should not only be very expert in the technique of their own
instrument but should also know well how to adapt its use to the
laws of sacred music, and they should be so instructed in liturgical

matters that they can harmoniously contribute the external exer-

cise of their art with pious devotion.

99. It is highly desirable that cathedral churches and, at least

the parish churches or other ones of major importance, have their
own permanent musical “choir,” a schola cantorum, which is capa-
ble of giving true ministerial service according to the norms of
articles 93-a and c.

100. If in some place, such a musical choir cannot be organized,
the institution of a choir of the faithful is permitted, whether
“mixed,” or entirely of women or of girls only.

Such a choir should take its position in a convenient place, but
outside the sanctuary or communion rail. In such a choir too, the
men should be separated from the women or girls, scrupulously
avoiding anything that is not. fitting. The Ordinaries of places
must not fail to establish precise rules, with which the rectors of
churches should comply.

101. It is desirable that the organists, choir directors, singers,

musicians and all others engaged in the service of the church offer
their works of piety and of zeal for the love of God, without any
recompense.

Should it be that they are unable to offer their services gratui-
tously, Christian justice and charity demand that ecclesiastical
superiors give them just pay, according to the various approved
customs of the place and also in observance of the ordinances of
civil laws.

102. It is therefore fitting that the Ordinaries of places, after
consulting the Commission for Sacred Music, publish a list which

29



specifies for the entire diocese the recompense to be
given to the

different persons enumerated in the preceding article.

103. It is necessary, finally, that accurate
provisions be made for

these same persons in all that pertains to social
security, observ-

ing the civil laws, if they exist, or if they do not,
the regulations

which the Ordinaries should opportunely give.

6. Regarding the necessity of cultivating sacred
music and

liturgical music

A. On the General Instruction to Be Given to the Clergy

AND TO THE PEOPLE CONCERNING SACRED MUSIC

and the Sacred Liturgy

104. Sacred music is closely linked to the liturgy ;
sacred chant

is an integral part of the liturgy itself (n. 21).
Popular religious

singing is used to a great extent in pious exercises
and sometimes

also in liturgical functions (n. 19). From this, it is easy
to con-

clude that instructions on sacred music and on
sacred liturgy can-

not be separated ; both are necessary to
the Christian life, in varying

degrees, according to the different positions
and ranks of the clergy

and the faithful.

For this reason, all must strive to acquire,
according to their

capacity, at least some instruction in sacred liturgy
and sacred

music.

105 The Christian family is the natural and
first school of

Christian education, in which, little by little,
children are led to

know and practice the Christian faith. An effort should be
made,

therefore, to see to it that the children,
according to their age and

reason, learn to participate in the pious
exercises and liturgical

functions, especially in the Sacrifice of the
Mass, and begin to learn

and love popular religious song in the
family and in the church

(cf. n. 9 and 51-53).

106. The following should be observed in the
primary and sec-

ondary schools:

a. If the schools are directed by Catholics
and are free to follow

their own programs, provisions should be made for
the children

to learn popular sacred hymns in the schools
themselves, and to

receive according to their understanding,
a more complete instruc-

tion on the Holy Sacrifice of the Mass and
the manner of partici-

30



pating in it. They should also begin to sing the more simple

Gregorian melodies.

b. If, however, it is a question of public schools subject to civil

laws, the Ordinaries of places must take care to give suitable regu-

lations to provide for the necessary education of the children in

sacred liturgy and sacred chant.

107. What has been said about the primary and elementary

schools applies with even greater necessity to the intermediate or

secondary schools where adolescents must acquire that maturity

needed for sound social and religious life.

108. The liturgical and musical education described so far

should be carried as far as the highest institutes of letters and

science, called “universities.”

In fact, it is most important that those who have pursued higher

studies and have assumed important roles in the life of society,

should also have received a fuller instruction in the complete

Christian life.

Therefore, all priests in whose care university students have in

any way been entrusted should strive to lead them theoretically

and practically to a more complete knowledge and participation in

the sacred liturgy, and as circumstances permit should use that

form of Mass which is treated of in numbers 26 and 31.

109. If a certain degree of knowledge of the sacred liturgy and

sacred music is required of all the faithful, young men who aspire

to the priesthood must achieve a complete and sound instruction

on the whole of the sacred liturgy and of sacred chant.

Therefore, everything concerning this question established by

the Code of Canon Law (canons 1364, 1 and 3; 1365, 2) or more
specifically ordered by the competent authority, must be accurately

observed, under serious obligation of conscience of all those con-

cerned. (Cf. especially the Constitution Divini cultus, Dec. 20,

1928, on the increasing impetus to be given to the liturgy and to

Gregorian chant and sacred music: AAS 31 [1929] 33-41.)

110. A sound and progressive instruction in the sacred liturgy
and sacred chant must also be given to both men and women Reli-
gious as well as to members of secular institutes, from the time of

probation and the novitiate.

One must also see to it that there are able teachers prepared to
instruct, direct, and accompany sacred chant in religious communi-

ties of men and women and in the colleges and universities depend-
ent upon them.

31



The superiors of men and women Religious must strive so that

all the members of their communities, and not merely select groups,

have sufficient practice in sacred chant.

111. There are churches which, of their nature, require that the

sacred liturgy together with sacred music be carried out with spe-

cial beauty and splendor
;
such are the larger parish churches

;
col-

legiate, cathedral, or abbatial churches; churches of major religious

houses
;
major shrines. Persons attached to such churches—clerics,

ministers, and musicians—must strive with all care and attention
to become able and ready to perform the sacred chant and liturgi-

cal functions perfectly.

112. Special care must be given to introducing and supervising

the sacred liturgy and sacred chant in foreign missions.

First of all, one must make a distinction between peoples en-

dowed with human culture, sometimes centuries old and very rich,

and peoples who still lack a high level of culture.

With this in mind, the following general rules must be heeded

:

a. Priests who are sent to foreign missions should have a sound

training in the sacred liturgy and sacred chant.

b. If peoples are involved who have a highly developed musical

culture of their own, the missionaries should endeavor, with due

precautions, to adapt the native music to sacred use. They should

organize pious exercises in such a way that the native faithful can

express their religious devotion in the language and melodies of

their own people. And it must not be forgotten that the Gregorian

melodies themselves, as experience has proven, can sometimes

be easily chanted by natives because they often have a certain af-

finity to their own songs.

c. On the other hand, in the case of a less civilized people, what
has been suggested above in b must be modified and adapted to the

particular capability and character of those people. Where the

family and social life of the people is filled with great religious

feeling, the missionaries should take special care not to extinguish

that religious spirit but rather, after having overcome superstition,

render it Christian especially by means of pious exercises.

B. On Public and Private Institutions for the
Advancement of Sacred Music

113. Parish priests and rectors of churches must be diligent in

seeing to it that there are children and young men, or even older

32



men who are recommended because of their piety, well instructed

in the ceremonies and also sufficiently proficient in the execution

of sacred and popular religious singing.

114. Still more important to sacred and religious singing is that

institution called a “boys’ choir,” which has several times been

praised by the Holy See. (Apostolic Constitution Divini cultus:

AAS 21 [1929] 28; Encyclical Musicae sacrae disciplina: AAS 48
[1956] 23.)

It is to be desired, and striven for, that every church have a

boys’ choir, and that its members be instructed in the sacred liturgy

and particularly in the art of singing well and piously.

115. It is therefore recommended that there be in every diocese

an institute or school of voice and organ, in which organists, choir

masters, singers, and even the instrumental musicians, receive good

instruction.

It may be sometimes more suitable that such an institute be

created by several dioceses which unite for the purpose. Parish

priests and rectors of churches must not neglect to send chosen

young men to these schools and give the necessary encouragement

to their studies.

116. Higher institutes or academies devoted exclusively to the

most complete instruction in sacred music are to be considered

most useful. Among these institutes the place of honor is held by

the Pontifical Institute of Sacred Music, founded in Rome by St.

Pius X.

Let it be the concern of Ordinaries to send priests who are

gifted with special talents and love for this art to the aforemen-

tioned institutes, particularly to the Pontifical Institute of Sacred

Music in Rome.

117. In addition to the institutes whose purpose it is to teach

sacred music, many societies have been founded which, bearing the

name of St. Gregory the Great or of St. Cecilia or of other saints,

aim in various ways at fostering the study of sacred music. Sacred

music can derive great advantages from an increase in the number

of these societies and from national and international associations

of them.

118. A special Commission for Sacred Music must exist in every
diocese, as has been required since the time of St. Pius X. (Motu

proprio Tra le Sollecitudini, Nov. 20, 1903: AAS 36 [1903-04]
24; Deer. auth. S.R.C. 4121.) The members of such Commissions,

33



priests and laymen, are named by the Ordinary of the place who

should choose men who have training and experience in the various

kinds of sacred music.

Since sacred music is closely linked with the liturgy and
the

latter with sacred art, there should also be a Commission for

Sacred Art and a Commission for the Sacred Liturgy established

in every diocese. (Circular Letter of the Secretariat
of State,

Sept. 1, 1924, Prot. 34215; Encyclical
Mediator Dei

,

Nov. 20,

1947: AAS 39 [1947] 561-562.) But there is nothing which for-

bids, and sometimes it is even advisable, that the three
above-

mentioned commissions meet together instead of separately
and,

by an exchange of opinions, discuss and try to solve their
common

problems.

Moreover, the Ordinaries of places should take care that
the

commissions meet as often as circumstances require. It is
also

desirable that the Ordinaries themselves sometimes attend
these

meetings.

This Instruction on sacred music and the sacred liturgy
was

submitted to His Holiness Pope Pius XII by the undersigned

Cardinal. His Holiness deigned to approve in a special
way the

whole and the single parts and ordered that it be promulgated
and,

that it be exactly observed by all to whom it applies.

Notwithstanding anything else to the contrary.

Given at Rome, from the Office of the Sacred Congregation
of

Rites, on the feastday of St. Pius X, Sept. 3, 1958.

Gaetano Cardinal Cicognani, Prefect,

Archbishop Alfonso Carinci, Secretary.

34









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