1

Chapter One

Introduction

A. Background of the Study:

“Mother Church earnestly desired that all the faithful should be led to the fully conscious

and active participation in the liturgical celebration which is demanded by the very nature of

the Liturgy.”1 One of the aims of the Second Vatican Council is to be pastoral as Fr. Anscar

Chupunco stated in his book “Pastoral Liturgy”, that is why one of the focus of the reformation

is Liturgy. Full, Conscious and active participation in the liturgy is the way to be pastoral, by

responding to the mass through chants, psalms etc. The reformation in the liturgy of the Second

Vatican council aims to be pastoral in a sense that the faithful gathered will be able to

participate well in the liturgy. In the traditional Tridentine mass, only the priest, deacon or the

altar server are the people who can only understand the mass. There are only some responses

that enabled the gathered faithful to participate and afterwards they will continue to pray their

preferred devotions.

Moreover, the Second Vatican Council provided norms in the liturgy that is really pastoral

in approach. The Roman Missal in Latin (Lectio Editio Typica) was given to the conferences

of bishops to translate it to the vernacular language of the different Local Churches so that

people will be able to understand the liturgy. Through this, the faithful is now able to participate

fully, consciously and actively in the liturgical celebration. Furthermore, one of the means for

the assembly to participate well in the liturgy aside from responses, psalms etc. through music.

In the tradition, even form the old testament, music is one of the means to worship God. The

1
James Kroeger, ed. Vatican II Documents. Sacrosanctum Concilium. (Pasay City, Philippines: Paulines
Publication, 2011.) Par. 14 Hereafter SC.
 2

Israelite when they are journeying to the land of promise are praising God through singing.

The books of psalms which contains 150 chapters is also a compilation of songs and prayers

of the Israelites. “Ralph Martin once wrote that the Christian Church was born in song”, 2 and

throughout the history, the music being used in worship had developed. Before “liturgical

leadership was not separated from musical leadership; every leader of public prayer in Israel

would have rendered that prayer in musical manner.”3 According to SC par. 12, the musical

tradition of the Universal Church is a treasure of inestimable value greater even than that of

any art. The main reason for its pre-eminence is that, as sacred song united to the words, it

forms a necessary or integral part of the solemn liturgy.

B. STATEMENT OF THE PROBLEM

The main problem of this research is “what is the role of music in the liturgy and its effect

to the gather assembly.” Hence, to answer the main problem, sub-problems will also be

required to be answer by the researcher:

a. What is music in the context of liturgy?

b. What are the norms in Liturgical Music?

c. What is the effect of music in the context of Liturgy in the gathered assembly?

2
Edward Foley, From age to age. (USA: Liturgy Training Publication, 1991.), 9.
3
Ibid.
 3

C. Theoretical Framework:
 4

This theoretical framework shows the God the is the end of all liturgical celebration.

The assembly was being sanctified by God which is the Catabatic movement and the response

of the faithful is the Glorifying God which is the Anabatic movement. This is the two chief

aims of the Liturgy, to sanctify man and glorify God. Music in the context of liturgy can fulfill

this two chief aims of the liturgy because through music one will be able to participate fully

conscious and actively in the celebration of the liturgy.

D. Conceptual Framework:

This reseach will primarily base on the documents of the Seco1nd Vatican Council,

Sacrosanctum concilium and its post conciliar document Musicam Sacram. Through this

document, the problem of the research will be able to answer in qualitative-historical method.

The researcher will be based on some historical facts that will state that music was in the divine

worship and will also answer the effects of music in the context of Liturgy on the gathered

assembly.
 5

E. Significance of the Study:

The study being conducted is significant in the field of study for it will be used

theoretically and practically, by stating some norms and principle, the reader will be able

to know what is the rules in making repertoire for liturgical celebration, they will be able

to consider the gathered assembly and lining up the music that they will use in a celebration.

F. Review of Related Literature:

Book

Chupunco, Anscar J. Pastoral Liturgy: Shepherding God’s Flock. Manila: Archdiocesan

Liturgical Commision, 2013.

This book will be helpful in the field of study beause it is focusing on the liturgy. This book

was divided into nine chapters focusing on the essential elements and norms in the liturgy such

as active participation, intelligible language and rites, rubrical norms, tradition etc. The main

point of this book is that the Second Vatican Council aims to be pastoral in approach in

reforming the rites of the liturgy. “It is the liturgy celebrated by the shepherd for his flock.” 4

Being a pastor one should care if the people understand liturgy, if they actively participate, in

they felt that they are involved and part of the celebration Etc. because the gauge in celebatin

liturgy is the salus animarum of his flock.5

4
Chupunco, Anscar J. Chr Pastoral Liturgy: Shepherding God’s Flock. Manila: Archdiocesan Liturgical
Commision, 2013, 236.
5
Chupunco, Pastoral Liturgy. 236.
 6

Furthermore, this book is somehow different because it focusses on liturgy as being

pastoral but this research being developed will focus also on the norms of liturgical music and

how it will affect the flock. This research will not just focus on just being pastoral of the reform

on the liturgy.

Article

Mahrt, William. “Sing the Mass.” Sacred Music Vol. 142, No. 4 Winter (2015): 3-6.

The article sing the mass pertains to the sung mass “missa cantata”, it is stated there that

we do not sing in the liturgy but rather we sing the liturgy. This article is only pointing out to

the particular norms and principle must be obeyed specially in the missa cantata. The author

stated the first degree that must be sung in missa cantata and also the second and third degree.

The author also focuses on some particular hymns, the entrance hymn, the offertory hymn,

communion hymn and the recessional hymn. Moreover, it will help the study being conducted

because it also aims to enlighten the reader regarding those norms and principle. However,

the article is different to this research for it only focused on norms, this research will also deal

with biblical basis and historical background on how music was used in worship and how this

music affect the gathered assembly.

Thesis:
 7

Cuzzupe, Christopher. The Function of Liturgical Music within the History of the
Catholic Church. Honors Thesis: Assumption College. (2016)

This thesis was pointing out on the function of the liturgy. This thesis was divided into

four chapter. The first part is the music in worship in the middle ages, the second focuses

on the music in the reformation of Martin Luther, followed by the music after the second

Vatican council. This thesis focuses on the function of music on those eras and the principle

that was being followed on a particular era. It is also stated that the second Vatican council

music is a response to the reformation made by Martin Luther that the people may actively

participate in the service (worship). Furthermore, this thesis is different to this research

because it just mentions the historical background and not the biblical background why

music is being used in worship. However, this thesis will be able to help this thesis because

it gives much background on the historical development of music in the liturgy and the

essential norms and principle.

G. Methodology:

a. Research Design:

This research will used Qualitative-historical method. This research will be qualitative-

historical because it will be based on the magisterial document and sacred scripture which also
 8

requires textual analysis of the documents and at the same time historical because it will deal

with some historical context for better understand of the research. This research will have

biblical foundation because as stated in the Theology today, sacred scripture is the soul of

theology. It gives life to the study of theology. The magisterial documents that the researcher

will be using to develop this study is the Sacrosanctum Concilium, Musicam Sacram,

Catechims of the Catholic Church and General Instruction on Roman Missal. Local Church

documents will also be used such as the Catechism of Filipino Catholic, Second Plenary

Council of the Philippines and the Second Synod of the Diocese of Malolos. The type of pure

interpretative theoretical frame which will be used in this research is text-based method and

will follow phenomenological transcendental method of analysis because it will deal on the

experience of the gathered assembly during liturgical celebration. Secondary sources are not

set aside because it will also be used in developing this research but these sources are just a

supplement on what the magisterial documents stated.

b. Data Gathering:

This study will be primarily a library work. There will be full utilization of the library of

Immaculate Conception Major Seminary. There will be online journals sources and articles.

The main documents that will be used are the magisterial documents.

c. Treatment of the data:

The researcher will be text-based analysis because it will deal on the text of the

magisterial document and many biblical passages. Morever, phenomenological

transcendental method will also be used because it deals with experience of the people in
 9

the liturgy. The magisterial documents that will be used in this research are Musicam

Sacram, Sacrosantum Concilium and some Local Church documents.

d. Write up of the study:

The Chapter one contains the introduction which is the background of the study, the

statement of the problem, the conceptual framework, the theoretical framework. The

second chapter will contain the historical point of view on using music in the divine

worship. It also focuses on the great role and function of the music in the Liturgy and how

it affects the gathered assembly. The third chapter is the summary, conclusion and

recommendation
 10

H. DEFINITION OF TERMS

1. Sacred music - The music created for the worship of God, endowed with a certain holy

sincerity of form. Liturgical music is only under sacred music. Sacred music is more general

than liturgical music.

2. Liturgical Music – The music that is only allowed in liturgical music. It has biblical text in

the lyrics and liturgical text.

3. Sacred Music - Secular music is music created for the world, that is, music that were created

for secular things i.e. romance, movies, radio, etc.

 11

Chapter Two

The role of music in the liturgy and its effect to the assembly gathered

A. Music in the Context of worship: biblical and historical background of using

music in the worship

These are the fact that will show the foundation how music become an integral part of

worship and how music was seen in the liturgical context. Music become part of worship

even in the Old Testament and in the New testament as well. Christian form of worship

was originally inspired by the Jewish Tradition since Jesus Christ Himself is Jew. This

outline will also show how the music in the divine worship was developed. It is divided

into four main parts, first is the Jewish traditions particularly on the old testament, next is

the early Christian Church which will be followed by the Lutheran reformation because it

has great impact on our Liturgical Music today and lastly is the Second Vatican council

where the researcher will state the norms of the liturgical music after the second Vatican

Council.
 12

First is the Jewish Tradition on music. “The composition and singing of inspired

psalms, often accompanied by musical instruments, were closely linked to the liturgical

celebrations of the Old Testament.”6 Music cannot be separated in the Jewish tradition,

because in their worship, music always part of it. In the old testament, when the Israelites

are journeying to the land of promise, the Israelites are singing songs of worship to God.

The books of psalms which contains 150 psalms is also a compilation of songs and prayers

of the Israelites. In every public prayer specially in the temple, worship will always be

accompanied by singing. Every sacrifice is always accompanied by music. King David of

the old testament has interest in music which can be clearly seen in the first of Chronicles

where he assigned temple musicians “ David and the officers of the army also set apart for

the service, the son of Asaph and of Herman, and of Jedutham, who were to prophesy with

lyres and harps and Cymbals” I Chron 25:7 “They and their Kindred, who were trained in

singing to the Lord, all of whom who were skillful numbered two hundred and eighty-

eight”. In this biblical passage, it shows that there is special assignment for the musician in

the temple. There are many celebrations in Jewish tradition that music should not be

removed especially the Pentecost, the feast of the Passover and the tabernacles. 7 During

the feast of the Passover there is particular psalms that is required to be cantillated and that

is the Psalm 113-118. This psalms are called Hallel songs. In the temple worship and

sacrifices there is cantillation and it is being led by the choir and orchestra. Jewish tradition

is always related to our Liturgical celebration. Our liturgical music in our Church today is

just but a development of the music that Jewish used in their prayers and worship

6
CCC 1156
7
Foley, From age to age, 10.
 13

Second is the early Christianity Music. The music in the early Christianity is

somehow still similar to the Jewish music, however in this time they early Christians do

not only sing psalms but they also included the singing of Magnificat, The Lord’s Prayer,

Benedictus and other New Testament songs but they do not disregard the psalms because

it has always been the prayer book of the Church.

Music using in the worship developed throughout the centuries. During the second

century, the Christian hymnody which is already anticipated in the New Testament already

developed during this time. The hymns are all about Christ being the savior of the world

composed by gnostic writers under the influenced of Clement of Alexandria.8 During 750

AD up to 1073 AD, Gregorian chant emerged. Beside Gregorian Chant, sacred polyphony

was also introduced.9 During the Lutheran reformation, musical notation was developed

and during this time, the music in the worship was influenced of opera and orchestral music

specially the protestants 10 . From 1903 up to now, the music in the liturgy was really

influenced by western music. Sacred music is being valued even up today. However,

because of development in the secular world, music was also affected by these

developments. In terms of liturgical music, music in the liturgy was also being affected by

these developments because of the style being used. And now the problem is that people

will not be able to differentiate the style of music which should be used in the liturgy to the

secular music because they have the same style. The effect of music should always be the

full active and conscious participation in the liturgy. Some of the Church music do not

8
Foley, From age to age. 33.
9
Ibid., 77.
10
Ibid., 123.
 14

follow the norms of what Church music should be. The effect of this can be seen in the

congregation gathered.

B. Music and its significant principle in the liturgy

a. Sanctification of the Faithful and Glorification of God

The true purpose of Sacred music which is being used in the Liturgy is the

sanctification of the faithful and glorification of God. “It is to be hoped that pastors of

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

uniting their efforts to attain the true purpose of sacred music, ‘which is the Glory of God

and the Sanctification of the Faithful.’”11

We have stated above the norms and principle that the sacred congregation of rites

wants to be implemented, these essential principles if faithfully followed will lead to

greater full conscious and active participation of the faithful because the members of the

congregation will efficaciously receive the benefits of every liturgical celebration. By

being member of the Church and by being actively involved in the liturgical celebration,

the faithful are being sanctified because of the grace the faithful is receiving in every

liturgical celebration. By faithfully following the essential and fundamental norms, one

will be able to produce music that shows how God works to sanctify the faithful. The

grandeur of music in the Church also shows somehow the heavenly music in the eternal

banquet once it is fulfilled. … In singing the Holy, Holy, Holy, there is an Introduction that

says that we are one with angels in singing this exultant praise. We are able to glorify God

11
Musicam Sacram 4
 15

also through music. St. Augustine once said that “He who sings well, prays twice”. We

give glory to God by means of music and we are with the angels in Glorifying God.

However, faithful gathered cannot glorify God if he is not able to participate in the

Celebration. Following the essential norms in the instruction of the SCR simply means to

include the gathered assembly in the celebration. They should not be a mere spectator in

the celebration. Its aim is to make people part of the celebration that is why there is

necessity that the norms in the Musicam Sacram be faithfully followed because it has a

great impact to the gathered assembly

Sanctification of Man and Glorification of God which is the two chief aims of

Sacred Music has two movement. The sanctification of Man pertains to Catabatic

movement, and the Glorification of God is an Anabatic movement. Sanctification of man is

a catabatic movement which means, God took the first act. It is God’s initiative. This

movement will always be heard in the discussion of revelation. God first manifest himself

to man. It is God’s initiative to reveal himself. We do not discover God. This movement is

the same in the Liturgy, God sanctifies the faithful and we are not the one who sanctifies

ourselves. God sanctifies us through the Eucharist he established. God sanctify the faithful

in the Liturgy that is why every liturgy is an act of salvation. Glorification of God which

is the anabatic movement is our response to God’s saving act in the liturgy the can be seen

in the active participation of the faithful, by means of acclaiming, singing, responding etc.

It is through the grace of God that we are able to respond to his saving act. It is related to

what CCC 153 stated “before this faith can be exercised, man must have the grace of God

to move and assist him; he must have the interior helps of the Holy Spirit…” Pope benedict

once said in his book.

 16

The singing of the Church comes ultimately out of love. It is the utter
depth of love that produces singing. ‘Cantare amantis est’, says St. Augustine,
singing is a lover’s thing. In so saying, we come again to the trinitarian
interpretation of Church music. The Holy Spirit is love, and it is he who produces
the singing. He is the Spirit of Christ, the spirit who draws us into love for Christ
and so leads to the Father. 12

Music in the Liturgy is at the same time sanctifying the faithful and Glorifying God.

One of the norms of the sacred music is that its lyrics must be based on the Sacred

Scriptures which is the Word of God. These words come from God which pertains to the

Sanctification of the Faithful. These words sanctify us, and the same time we are using the

word of God in musical manner to Glorify God and that is our response to God’s saving

act in the celebration of the liturgy.

b. Active Participation

Before Vatican II, active participation is not given much attention. The people during

the celebration of the Liturgy just prays their preferred devotions. The faithful gathered do

not really understand what is happening during the mass. During Vatican II liturgical

celebration was also reformed. One of the aims of this reformation in Church is for the

people to understand and actively participate in the liturgical celebration. Every one must

take part.

Mother Church earnestly desires that all the faithful should be led to that full,
conscious and active participation in liturgical celebrations which is demanded by
the very nature of the liturgy, and to which the Christian people, “a chosen race, a
royal priesthood, a holy nation, a redeemed people” (1 Pet. 2:9, 4-5) have a right
and obligation by reason of their baptism. In the restoration and promotion of the
sacred liturgy the full and active participation by all the people is the aim to be
considered before else, for it is the primary and indispensable source from which
faithful are to derive the true Christian spirit.13

12
Benedict XVI. The spirit of Liturgy 142.
13
SC 14
 17

This active participation is rooted in our baptism. By the grace of the baptism we

received, we are participating in the threefold ministry of Christ as a priest, prophet and

king. We have common priesthood by the grace of our baptism. Therefore, our active

participation is rooted in our participation in the threefold ministry of Christ. It is our right

and our obligation to participate fully, consciously and actively in every liturgical

celebration by the very reason that we are baptized. Active participation means that no one

should feel that he is only an spectator in the liturgy. It is important here that the faithful

understand what is happening in the Liturgy, that is why the sacred congregation of rites

allows the use of the vernacular language in the liturgy provided that it is approved by the

conferences of bishops.

In order for the faithful will be able to really took part in the liturgical celebration, lay

liturgical ministries were established. In the Diocese of Malolos, lay liturgical ministries

are really flourishing. Lectors, Extra-ordinary ministers of the Holy Communion, Altar

Servers, music ministry etc, are the established lay liturgical ministries, both the instituted

ministries and non-instituted ministries are being developed in the diocese. Through this,

the people can really actively participate in the celebration. They are not a mere observer.

Its effect is that they will be able to feel that they are part of the Church. We are one body

and Christ is our head. As stated in the Catechism for Filipino Catholics “Liturgy is the

prayer of the Church gathered in assembly, an ecclesial activity, celebrated by the WHOLE

Christ, head and members.”14

14
CFC 1507
 18

Furthermore, active participation here does not only focus in the internal participation,

which is participation in mind and heart. Yes, this kind of participation is important but in

the Sacrosanctum Concilium external participation is being given emphasis. “To promote

active participation, the people should be encouraged to take part by means of acclamation,

responses, psalms, antiphons, hymns, as well as by actions, gestures and bodily attitudes.

And at the proper time a reverent silence should be observed.”15 In this active participation

i.e. external participation, music has a great role to make people actively participate, it is

necessary that people must be involved in singing, that is why in making repertoire for a

particular celebration, the participation of the faithful must be considered. The songs that

will be used must be understandable to the gathered faithful. Liturgical music can be a form

of liturgical signs; therefore, it should be marked by noble simplicity, short, clear and

unencumbered by useless repetition. They should be with in people’s power of

comprehension and as a rule not require much explanation.

Active participation is necessary, it is our right and obligation by virtue of our baptism.

Through music, one will be able to participate in Eucharistic celebration, not only internally

but also externally. However, music in the liturgy must be understood by the people in

order for them to participate fully conscious and active in every liturgical celebration. We

participate in the threefold ministry of Christ, that is why it is also our right and our

obligation to participate fully conscious and active in the liturgical celebration for it is the

very nation of liturgy.

15
SC 30.
 19

C. The effect Liturgical Music in the gathered assembly

The primary model in Liturgical music here is no other than Jesus Christ himself.

When he celebrated the last supper, which is the meal of the Passover, He Himself sing

to worship the Father. As stated above, every public worship in Jewish tradition is

always rendered in musical manner. This can be clearly seen in the Gospel according

to Matthew 26:30 “after singing psalms of praise, they went out to the Mount of

Olives.” And it can also be seen in the Gospel according to Mark 14:26. Jesus Christ

Himself sing praises to the Father and in fact the First Eucharistic Celebration was

sung. In every liturgical celebration we are one with Jesus in singing. Because liturgical

celebration is making present the past and not just remembering it. “teaches that sacred

music fulfills its task according to three criteria: 1) the beauty expressive of prayer 2)

the unanimous participation of the assembly at the designated moments, and 3) the

solemn character of the celebration.16

Its effect to the gathered assembly is that the prayer is being expressed in beauty

and that participation of the faithful will flourished as also participating in the ministry

of Christ which is prophetic, kingly and priestly. The first Eucharistic Celebration was

celebrated with song, it is just right to celebrate our liturgy with song because we

become one with the Church and we become with Jesus.

16
CCC 1157
 20

Chapter Three

Summary, Conclusion and Recommendation

A. Summary:

Music was being used in worship throughout the centuries. Even in the Old Testament,

music was being used in the divine worship. Furthermore, this music was developed in

throughout the centuries. Jews used music to worship God and they always used music

in every public prayer and temple sacrifices. There are temple musicians designated by

king David. In the early Christianity, music was also used. There are saints who

composed theological lyrics for the music and this help the people to understand faith.

After the Vatican II, the music in the liturgy has changed, its aim is for the faithful to

actively participate in the Liturgy and be involved by taking part in the celebration.

Faithful are not anymore, a mere observer in the liturgy but rather, they participate in

the liturgical celebration. Its aim is to sanctify the faithful which the work of God and

ours is just a response to that saving act of God and we respond by Glorifying him in
 21

singing. Jesus as the primary exemplar of music in the Liturgy is one with us in Singing

during the liturgy because every liturgy is making the past present in the liturgy.

B. Conclusion:

We do not sing in the Liturgy, we sing the liturgy. It only means that we are taking

part in the liturgy by singing the liturgical text in the liturgy. We are able to actively

participate in the liturgy by following the essential norms of the Liturgical Music. Its

effect to the faithful is that they will actively participate be sanctified by God and as a

response to God’s saving act, we will continue singing to glorify God more, because

of the grace of the Holy Spirit that we are able to sing worship to God. Holy spirit is

love, and by the grace of the Holy Spirit, we are able to praise and Glorify God through

singing. It will only be fulfilled if the music ministers of every churches will follow the

essential norms and principle of music in the liturgy.

C. Recommendation:

For further research, it is recommended to develop the study of music in the devotion

of the parishes. Because some of the lyrics in the hymns of different parishes is focusing

on the patron saints and not directed to God. It is better to study it for us to have norms

and principle in composing hymns dedicated to patron saints of the parish and it should

be directed towards.
 22

A. PRIMARY SOURCES:

1. Bible Sources

Christian Community Bible. Philippines: Claretian Publication, 2010

2. Magisterial

Kroeger, James, ed. Vatican II. Pasay City, Philippines: Paulines Publication, 2011.

Flannery, Austin. Ed. Documents of Vatican Council II. Pasay City, Philippines: Paulines
Publishing house, 2011.

a. Cathechism

Catechism of the Catholic Church. Definitive Edition based on the latin “Editio Typica”
Manila:Word of life Publication. 1994

b. Papal Documents

Pope Pius XXII, Mediator Dei: Encyclical of Pope Pius XII on the Sacred Liturgy.

Pope Pius XXII, Musica Sacrae: Encyclical of Pope Piux XII on Sacred Music.

c. Local Church Document

 23

Catechism of the Filipino Catholics. Special Subsidized Edition for Catholics. Manila:
Claretian Publication, 2008.

d. Sacred Congregation

Sacred Congregation for Rites, De musica sacra et sacra liturgia. September 3, 1958.

B. SECONDARY SOURCES

1. Books, Dictionaries

Schuler, Msgr. Richard J. A Chronicle of the reform: Catholic Music in the 20th Century

Chupungco, OSB, Anscar J. Pastoral Liturgy: Shepherding God’s Flock. (Manila:

Archdiocesan Liturgical Commission, 2013.

Foley, Edward. From Age to Age. USA: Liturgy Training Publication, 1991.

Metzger, Marcel. History of the Liturgy: The Major Stage. Minnesota: The Liturgical
Press, 1997.

O’Collins, Gerald and Edward G. Farrugia. A Concise Dictionary of Theology Revised and
Expanded Edition. Quezon City: Claretian Publication, 2010.

Ratzinger, Joseph Cardinal. “Music and Liturgy.” In The Spirit of Liturgy. San Francisco:
Ignatius Press, 2000.