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LA MUSICA SACRA A SERVIZIO DELLA VERITÀ

book of liturgical theology by Rev. Mauro Gagliardi

of Father Paul Gunter, OSB *

ROME, Wednesday, 1 December 2010 (ZENIT.org) .- At the time St. Augustine wrote that " Here Cantat, bis orat - who sings prays twice", one could easily recognize as the character of the sacred music would make it essentially different from a Simple song of the group, or an elegant performance by an experienced musician, but the secular sphere. The belief that prayer sung rather than doubles when performed, was not based so much on the merits of human effort, but rather on the need to describe the dimension of the numinous in sacred music, his artistic and emotional aspects, as the interface of the exchange between God, the Giver of every gift, and the loving response of the human love of the Lord Almighty.

A greater love will seek higher quality and not just a lot more abundant, and what happens when the persistence of an individual or group has obtained an advance in the music field and has pioneered this that the beauty of his spiritual consolations. Sacrosanctum Concilium (SC) states that "the sacred liturgy does not exhaust the entire activity of the Church" (No. 9) and adds very acutely that "Before men can come to the liturgy they must be called to faith and conversion; In addition to the No 10 clarifies that "the liturgy is the summit toward which the action of the Church." The liturgy, therefore, is precisely the source of strength to any apostolic work. There, where the Church's liturgical life is left to chance, the lack of consistency in the fruit becomes apparent. The liturgical music should be valued and supported in every way possible, if they are to achieve a technical level that enables them to communicate, through sacred music, the relationship with the tremendous mystery that is God is this perception of the holiness of God, specifically drawn from sacred music, which forms a bridge that allows people to meet their desire for God with a desire to conform their lives to His.

Sacred music is prayer ordered to raise our hearts and minds to God Beyond the challenges posed by cultural or personal preferences, the purpose of sacred music is always the praise of God active participation of the assembly should be ordered for this purpose, so it will not be compromised nor the dignity of the liturgy, and are not obscured le possibilità per un’effettiva partecipazione al culto divino. La actuosa participatio non esclude diversi livelli di partecipazione che, di per se stessi, indicano che la “partecipazione nell’atto” non è diminuita dal fatto che uno potrebbe non stare cantando ogni cosa in ogni momento. La musica sacra deve conformarsi ai testi liturgici e la musica devozionale deve ispirarsi a testi biblici o liturgici, curando in ogni caso di non nascondere le realtà ecclesiologiche della Chiesa. Papa Giovanni Paolo II lo ha spiegato ad alcuni vescovi degli USA, in occasione della loro visita ad Limina in 1998: "The full participation does not mean that everyone does everything, as this would lead to clericalize laicalizzare the laity and the priesthood, and this is not what the Council had in mind . The liturgy, like the Church, must be hierarchical and polyphonic, respecting the different roles assigned by Christ and allowing all the different voices converging into one great hymn of praise. " Sacred music, therefore, in his expressions of religious faith, fidelity and textual measured dignity, must become a symbol of ecclesial communion.

Character di musica sacra non è diminuito quando essa è semplice, nella misura in cui la sua semplicità è nobile piuttosto che banale. L’uso diffuso, benché proibito, di musica secolare registrata e di canzoni “pop” ai funerali giustifica la presa di distanza di molti fedeli, che si mostrano estranei alla vita musicale della Chiesa. Canti “cultuali” dottrinalmente insipidi, che spesso prendono il posto di tesori liturgici con valore catechetico, con l’effetto che la cultura di musica ecclesiale in molte parrocchie è stata «condotta in un vicolo cieco nel quale si può dire sempre di meno circa il suo quo vadis "- this is the way J. Ratzinger describes the separation of modern culture from its religious roots ( A New Song for the Lord. Faith in Christ and liturgy today , Crossroad, New York 1996, p. 120).

Sacrosanctum Concilium said that Gregorian chant should be reserved for "pride of place" (No. 116) and the pipe organ "is able to add un notevole splendore alle cerimonie della Chiesa, e di elevare potentemente gli animi a Dio e alle cose celesti» (n. 120). Mentre gli effetti delle interpretazioni antropologiche post-moderne sono intolleranti nei confronti di ogni tendenza a rifarsi al passato, le verità senza tempo e universali sono di beneficio alle persone di tutti i tempi e luoghi.

È necessaria un’efficace catechesi liturgica al centro della Nuova Evangelizzazione per favorire l’immersione dei fedeli nei misteri celebrati per ritus et preces – attraverso i riti e le preghiere (cf. SC 48). The Motu Proprio 2007, Summorum Pontificum , offered an opportunity for decisive revival of Gregorian chant, in those places where it had been previously charged, and for its inclusion in contexts in which it was not yet known. It would be sad, though, if you desire to understand everything, the use of Gregorian chant in parishes the celebration was limited to 'extraordinary form', thus relegating the ancient language of this song in the history of the Church and a symbol of polarization. Among the pastoral opportunities, it is not asking too much that people can experience the universality of the Church at the local level, being able to sing the parts that fall to them in Latin (cf. SC 54). This was the intention of the fathers of the council. With due restraint and pastoral sensitivity, this practice would combine harmoniously with the rich expressions of Catholic faith in the vernacular.

Finally, harmony and orthodoxy of sacred music for the effective preaching of the revealed deposit depends on the loyalty of the Christian life of grace, in a more consistent dedication to live, as the Rule of St. Benedict so clearly states: "Consider, therefore, how we should behave in the presence of God and his angels and let us remain [...] in such form that our minds are in agreement with our voices "(19.6 to 7).

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* Father Paul Gunter, OSB, is professor at the Pontifical Liturgical Institute in Rome, and consultor of the Office of Liturgical Celebrations Supreme Pontiff.