One in Christ / Daniel Conway

Music helps open our hearts to God and others

(En Espanol)

Cantare amantis est, that is, singing belongs to those who love. (St. Augustine, Sermon 336, 1)

During his general audiences in August, Pope Leo XIV offered reflections on the Second Vatican Council’s teaching on music in the Church’s liturgy.

In his Aug. 19 general audience, the Holy Father said that while all forms of true art (including sculpture, painting, movement and drama) can contribute to divine worship when expressed appropriately, sacred music is pre-eminent:

“The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art,” the pope said. “The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.”

When united to the words of sacred Scripture and the Church’s prayer, sacred song forms a “necessary or integral” dimension of the worship experience. It assists the worshipers in offering “right praise” (the literal meaning of the word orthodox), and, as Pope Leo said, “it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites.”

Music is not incidental to worship. It is not something “added on” as a kind of embellishment. Sacred songs are integral, a necessary element whenever we gather to give thanks and praise to God, even when a particular liturgy has no singing or musical accompaniment.

The truth behind this apparent contradiction lies in the teaching of St. Augustine: “Cantare amantis est.” “Singing is an expression of love,” and whenever true love is expressed in the form of liturgical prayer, music is present.

For example, a spoken “Alleluia” or “Holy, Holy, Holy” is an implied song. And whenever the Lord’s Prayer is offered in the context of the Sacred Liturgy, whether it is recited or sung, it is being proclaimed solemnly in the company of all the angels and saints in heaven who join in this sacred moment.

Sacred music “helps us open our hearts to God’s action in grace and allow ourselves to be moulded by it,” Pope Leo said. “To sing and play music during the liturgy is to pray, attuning one’s heart to that of our sisters and brothers and to God, through active participation in the mystery being celebrated. In particular, music expresses the affective dimension of prayer.”

Singing also fosters communion. It contributes to the unity of hearts, overcoming differences between people and bringing everyone together in praise of God through the symphony of voices. Thus, it becomes an epiphany of the Church, a tangible manifestation of the communion that belongs to her very nature.

The important role that music plays as a necessary, integral dimension of sacred worship, places serious obligations on pastors, Church musicians and all who are responsible for planning and executing the Church’s liturgy.

“At every level, [music performed at liturgy] must respond to what is most appropriate for the liturgical moment, beyond fashions or composers’ particular sensitivities,” Pope Leo said. “Its form, especially in its melodic aspect, must be at once noble and simple, of high musical quality and easily performable, particularly when it is intended to be sung by the whole assembly.”

How many of the hymns that are sung in churches on an ordinary Sunday would fit this description? How seriously do we take the responsibility to assure that musical selections during liturgies “respond to what is most appropriate for the liturgical moment?”

In his Aug. 19 general audience, Pope Leo noted that “Sacrosanctum Concilium,” Vatican II’s document on the liturgy, places great stress on the active participation of members of the congregation. The Church’s liturgy is not a spectator sport. It invites—in fact, requires—the full engagement of all.

“ ‘The people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs,’ and ‘reverent silence’ should be fostered,” he said, quoting from the document (#30). “[‘Sacrosanctum Concilium’] urges each person, minister or member of the faithful, to perform ‘all of, but only, those parts which pertain to his office by the nature of the rite and the principles of liturgy’ in a harmonious balance between different ministries, various interventions and moments of silence” (#28).

Compositions “noble and simple, of high musical quality and easily performable” by a fully engaged congregation” is the challenge that the Church extends to her pastors, liturgical musicians and all of us. Let’s make our sacred music a true expression of our love for God and his people.
 

(Daniel Conway is a member of The Criterion’s editorial committee.) †