MUSIC
fion
MUSIC
its von" nature, is diametrically op])oseil to the Gri'-
goriau eliant ami eUi.-i.sic juilyiilumy, ami tliereforc Id
the iiu>st important law of all miod music. Besides
the intrinsic structure, the rhythm and what is known
as the eonvenlionalism of this style adapt themselves
but ill to the reiiuirements of true lilurp;ical music."
This wish of the Church, so fretiuently reiterated, should never be ifjnored by eonii)os(-r or i)erfornier. As the sacredne.ss of the liturfiy has caused the Church to dictate to the priest, to the" smallest detail, what vest- ments, words, vessels, and actions he should employ in the fulfilment of his duties— which n'Kulations he may not disregard without, sinning — so also the regu- lations concerning eh.urch music are binding on the singers, whether the reasons for these regulations be understood by the individuals or not. It is indeed true that unimjiortant de\iations from the rules are, owing to special eireumstances, sometimes excusable. The regulations are contained in the Missal, the " Cirremoniale episcoporum", and the decrees of councils and of the popes. The universally binding decrees of the Congregation of Rites are collected in "Deereta authentica", and have been, since 1909, published in the "Acta ApostolicEe Sedis". Purely local directions need no special publication for those immediately concerned. It is in some cases legitimate to a.ssume that, in unessential matters, a given rule has rather a directive than a prescriptive character, provideil the wording does not declare the contrary. Decrees called forth bj- plainly local conditions are binding only in the place to which they have been di- rected. In some ca,ses it is legitimate to inquire about and remonstrate against a regulation before it becomes binding, ^\'henever exceptionally serious difhculties stand in the way, positive laws are not binding, un- less the lawgiver explicitly insists on their fulfilment. Owing to the difference in local conditions bishops may, in the application of a given law, sometimes use their own discretion. Customs of long standing are to be treated with some leniency, unless ecclesiastical authority explicitly determines the contrary. An- swers to inquiries contained in the " Deereta Authen- tica" or "Acta Apostolica; Sedis" are u.sually consid- ered as binding, if they are for general and not merely for local application. The degree of binding force depends on the importance of the matter in question, and it may be gathered from the degree of firmness or emphasis with which the lawgiver inculcates a given law. The verbal and musical texts are equally sub- ject to ecclesiastical control. The use of the Vatican edition of the Gregorian chant has been generally binding since 25 Sept., 1905. However, bishops may, owing to local difficulties, defer the execution of the law. (The command is given in mild form: "It is our most keen desire that bishops", etc.) The "Motu
Eroprio" directs that all other musical performances e watched over by a commission appointed by the ordinary, so that in all places compositions of the proper character and within the capacity of the sing- ers may be performed.
Regulations, so wise as these, compel our obedience. Consequently, the Holy Father has a right to expect that "we obey from the conviction that by so doing we act from reasons which are clear, plain and beyond dispute." Consideration of the purpose for which music is employed in church, of its close connexion with the liturg;y, and of the inspiration of the Holy Ghost, is sufficient basis for this conviction. No one is bound to admire, a-s in every particular unsurpassed and unsurpassable, the prescribed chant. It is suffi- cient to accept the Gregorian chant as the norm and supreme model for all Catholic church music and ap- prove its use. ^\'c are not asked to abandon every personal scientific and asthetic view, or to eschewre- Bearch and theoretic discussion. If, however, the law- giver does not urge the immediate execution of a law wherever, on account of the difficulties to be over-
come, it is more likely to do more harm than good, it
must not he understood tliiil by these are meant the
ordinary ilillicullics which had been foreseen, nor may
the dilTcrence in our own taste be considered an ob-
stacle. The regulations concerning church music are
generally binding under pain of sin, and subtle dis-
tinctions to esca])e this responsibility arc useless. For
the composer of genius these prcscriiitions are not fet-
ters, but rather serve to show him how to make his
work a source at once of artistic delight and of edifica-
tion. All these remarks ajijily equally to the singer.
Qd.^lities. — The first and most urgent condition which the Church im])Oses in regard to her music is that it be in conformity with the jjlace, time, and pur- pose of Divine worshiji; that it be sacred and not pro- fane, in other words that it be church, and not theatri- cal, music. Theatrical music is just as much out of place in church, as the performance of a secular drama, the exposition of a battle scene, or even a statue rep- resenting a pagan deity. The performance of such music directs the attention not to the altar but to the organ loft. Musicians themselves have frequently failed to recognize clearly the difference between con- cert and church music. Mozart used parts of his re- ligious compositions in secular cantatas and extracts from his operas for church purposes. A mass has also been comjiiled from some of Haydn's profane compo- sitions. The "wa.ssail of notes", the complete ab- sorption of our consciousness by artistic melodic or harmonic combinations and sensuous melodies, the display of instrumental virtuosity, the joyous rush of tonal masses jnit to flight all devout recollection of the sacrificial act and all hi'artfelt prayer. March, dance, and other jerky rhythms, bravura arias, and the crash of instruments alTect the senses and nerves, but do not touch the heart. Even a reminiscence of the concert hall is a distraction to those who wish to pray.
Not the least element in the effectiveness of church music is the sacred texts, which inspire composer, singer, and hearer, although in different ways. In the "Motu proprio" we read: "The liturgical text must be sung as it is in the books, without alteiation or inver- sion of the words, without undue repetition, without breaking syllables and always in a manner intelUgible to the faithful who listen." Only in this way are the sacre<lness of the text and the needs of the hearer safe- guarded. For all official chants (Mass, Vespers, etc.) the texts are prescribed, and are in the Latin language. On this point the "Motu proprio" says: "It is not law- ful to confuse the order or to change the prescribed texts for others selected at will or to omit them either entirely or in part. However, it is permissible according to the custom of the Roman Church, to sing a motet to the Blessed Sacrament after the Benedictus in a solemn mass. It is also permitted, after the Offertory of the mass has been sung, to execute during the time that remains a brief motet to words ap- proved by the Church." On account of the diversity and changeableness of modern languages, the Church retains for her liturgical functions (even for the simple missa cantata) the Latin language, hallowed by ages of service. Nor does she permit that individual prayers and chants be translated into the vernacular for liturgical purposes. (The most important decision on this point will be found in the "Deereta authen- tica" under "Cantilena" and"Cantus".) The "Motu proprio" says: "It is forbidden to sing anything what- ever in the vernacular in solemn liturgical functions; much more to sing in the vernacular the variable or common parts in the Mass and Office."
To the traditional language of her liturgy the Church joins her own traditional musical form, which characterizes her chant and distinguishes it from the mu.sic of concert and opera. The " Alotu proprio " s.ays : "The different parts of the Mass and of the Office must retain, even musically, that particular concept and form which ecclesiastical tradition assigned to
