Rev. Fr. Leo Nilo MangussadNote: This is not Fr. Nilo’s official slides for this topic. This is just based on the notes of one of thosewho participated in the Music in the Liturgy workshop, where Fr. Nilo is the main speaker, conductedat St. Francis Xavier Parish (Mayamot, Anitpolo) last Oct. 29, 2011.
Rev. Fr. Leo Nilo Mangussad Rector, Mary Queen of Peace Shrine (EDSA Shrine) Director, Commission on Music in Liturgy, Archdiocese of Manila Institute of Music in Liturgy (ILM) ▪ Offers Basic Course on Liturgical Music ▪ Held at the Our Lady of Guadalupe Minor Seminary, EDSA, Makati City
Musicam Sacram – instruction on music in the liturgy (2nd Vatican Ecumenical Council, March 5, 1967) http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_instr_19670305_musicam-sacram_en.html General Instruction of the Roman Missal (GIRM) http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20030317_ordinamento-messale_en.html
It is a universal language (musical notes, staff, etc.) When you hear music, you will have the same reaction regardless of gender, age, knowledge in music, etc. Even plants and animals are affected by music
Sacred Music – to glorify and sanctify the faithful Liturgical Music – a type of sacred music that specifically satisfies the needs of the liturgy Secular Music – about the world, people but not directly about God Sacred Music Secular Music Liturgical Music
(#9 Musicam Sacram) 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, and does not hinder the active participation of the people. (#41, GIRM) All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.
Align with the Season of the Church Advent, Christmas, Lent, Easter, Ordinary Align with the Feasts, Solemnities, Ceremonials Feast of Saints, Immaculate Conception, Devotion to the Sacred Heart of Jesus, etc. Align with the Theme Mass for bountiful harvest, etc.
Entrance Hymn (#47, GIRM) purpose of this chant is to open the celebration, foster the unity of those who have been gathered, introduce their thoughts to the mystery of the liturgical season or festivity, and accompany the procession of the priest and ministers. If the priest is already at his chair (or the altar, if there is no chair), the song must end. Kyrie (Lord Have Mercy) (#52, GIRM) a chant by which the faithful acclaim the Lord and implore his mercy We glorify first before we ask for forgiveness
Gloria (#53, GIRM) a very ancient and venerable hymn in which the Church, gathered together in the Holy Spirit, glorifies and entreats God the Father and the Lamb. Make the people feel that you are excited to the Holy Trinity. (#53, GIRM) sung or said on Sundays outside the Seasons of Advent and Lent, on solemnities and feasts, and at special celebrations of a more solemn character. Responsorial Psalm (#61, GIRM) an integral part of the Liturgy of the Word and holds great liturgical and pastoral importance, because it fosters meditation on the word of God. It is preferred that response is thru song while the verses thru chant (or read)
Alleluia (#62, GIRM) the assembly of the faithful welcomes and greets the Lord who is about to speak to it in the Gospel and professes its faith by means of the chant “AlleluYaweh,” which means “Praise the Lord” Official structure is Alleluia – Verse – Alleluia. If the song already has a verse, no need for lector to read the verse (#62, GIRM) sung in every season except Lent … the verse before the Gospel is sung, as indicated in the Lectionary. It is also permissible to sing another psalm or tract, as found in the Gradual.
Song for the Presentations of the Gifts “Offertorium,” song for the Wine and Bread (#74, GIRM) continues at least until the gifts have been placed on the altar … Singing may always accompany the rite at the offertory, even when there is no procession with the gifts Take and Receive and Paghahandog ng Sarili are not appropriate because they are not offering about the Lord Sanctus Said three times (Holy) -> superlative degree (#79b, GIRM) joining with the heavenly powers … this acclamation, which is part of the Eucharistic Prayer itself, is sung or said by all the people with the priest.
Memorial Acclamation (#79e, GIRM) keeps the memorial of Christ, recalling especially his blessed Passion, glorious Resurrection, and Ascension into heaven. Great Amen (#79h, GIRM) by which the glorification of God is expressed and which is confirmed and concluded by the people’s acclamation, Amen. The great confirmation
Lord’s Prayer Should be sung having masculine characteristics (strong, powerful, protective, etc.) for the Lord wants us to feel that our Father has such characteristics. Doxology to the Lord’s Prayer Same with the Lord’s prayer on how it should be sung (#81, GIRM) The priest says the invitation to the prayer, and all the faithful say it with him; the priest alone adds the embolism, which the people conclude with a doxology.
Agnus Dei (Lamb of God) (#83, GIRM) accompanies the fraction and, for this reason, may be repeated as many times as necessary until the rite has reached its conclusion, the last time ending with the words dona nobis pacem (grant us peace). Has two sections (A and B). A can be repeated as necessary while B is the ending This is a form of litany so it should be sung prayerfully since we are begging for mercy.
Communion Song (#86, GIRM) purpose is to express the communicants’ union in spirit by means of the unity of their voices, to show joy of heart, and to highlight more clearly the “communitarian” nature of the procession to receive Communion. The singing is continued for as long as the Sacrament is being administered to the faithful. Should be related to the readings, responsorial psalm, gospel or best if homily. Sung prayerfully to help parishioners in praying after receiving communion Recessional Hymn Free to sing any song but at least make it a sacred music. Theme should be thanking God and sending forth the people.
(#15, Musica Sacram) 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. 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 cooperate with heavenly grace, (b) Must be, on the other hand, external also, that is, such as to show the internal participation by gestures and bodily attitudes, by the acclamations, responses and singing. Try to make it unison from entrance hymn up to agnus dei so that people can’t be confused on the voicings
The pipe organ is to be held in high esteem in the Latin Church, since it is its traditional instrument, the sound of which can add a wonderful splendor to the Churchs ceremonies and powerfully lift up mens minds to God and higher things. The use of other instruments may also be admitted in divine worship, given the decision and consent of the competent territorial 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 Section IV, Musicam Scaram
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 The use of musical instruments to accompany the singing 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 virtue of his role, they should be silent Section IV, Musicam Scaram
The playing of … instruments as solos is not permitted in Advent, Lent, during the Sacred Triduum and in the Offices and Masses of the Dead. 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. Section IV, Musicam Scaram