After months of work, the Commission on Liturgy has completed the Liturgical Guidelines on Music and the Celebration of Wedding within the Diocese of Chalan Kanoa. With the blessing and permission of Bishop Ryan, both documents will become effective this Sunday, November 24, 2019, upon their publication in the North Star.
These documents are the second and third documents on liturgy that the commission has published this year. Last May, the Guidelines on Christian Funerals was published and has begun to be implemented in the parishes.
The aim of these documents is to highlight the most important aspects of different liturgical celebrations and to create uniformity in the celebrations of the sacraments throughout the diocese.
Over the next weeks, Ms. Margaret dela Cruz, who is the coordinator of the Commission on Liturgy will explain and discuss these two documents in her weekly column: Liturgy in our Diocese.
DIOCESAN GUIDELINES ON MUSIC IN THE LITURGY
INTRODUCTION
1. In the Liturgy, the glorification of God and the redemption and sanctification of humanity is accomplished through ritual memorial. The Liturgy is the source and summit of Christian life – it is from where the faithful get their power and inspiration and it is the goal toward which all activities are directed.[1] It is through Sacred Liturgy that salvation history continues today, for whenever Liturgy is celebrated, God’s salvation is made present for His Church. The Paschal Mystery is remembered and made present through ritual memorial and effects the bestowal of the Holy Spirit on the celebrating faith community.
2. Music plays an important role in this ritual memorial. It is a significant component of Christian worship for it is through our Liturgy that we celebrate, express and nourish our Christian identity and faith; and music is one of the ways we express who we are and what we believe.
3. It is the law of worship which founds or establishes the law of belief. “Faith grows when it is well expressed in celebration. Good celebrations foster and nourish faith. Poor celebrations may weaken and destroy it.”[2]
4. Given this important and delicate role of liturgy in Christian life, it is important that it is celebrated properly and meaningfully. In accordance with SC22 and with the thrust of this Ministry to provide formation and guidance in liturgical matters in the Diocese, these guidelines for music in the liturgy are set:
a. in order that the faithful may be helped to participate in sound and meaningful celebrations of liturgy
b. and to guide ministers of music in the liturgy in the proper and effective exercise of their ministry
NATURE OF THE LITURGY
5. Liturgy is an exercise of the priestly office of Jesus Christ wherein public worship is performed and the sanctification of humanity is effected by the Mystical Body of Jesus Christ, that is, by the Head and His members. It is signified by signs perceptible {1} to the senses and is effected in ways appropriate to each of these signs.[3]
6. As something that the Church does as the Mystical Body of Christ, the liturgy is by its very nature communal and participative. “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. Such participation by the Christian people as ‘a chosen race, a royal priesthood, a holy nation, a redeemed people’ (1 Pet. 2:9; cf. 2:4-5), is their right and duty by reason of their baptism.”[4] This full and active participation by all the people is the aim to be considered before all else.[5] “The Church, therefore, earnestly desires that Christ’s faithful, when present at this mystery of faith, should not be there as strangers or silent spectators; on the contrary, through a good understanding of the rites and prayers they should take part in the sacred action conscious of what they are doing, with devotion and full collaboration.”[6] “To promote active participation, the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs, as well as by actions, gestures, and bodily attitudes. And at the proper times all should observe a reverent silence.”[7]
MUSIC IN THE LITURGY
7. It is useful to differentiate sacred music from secular music and to identify more precisely what is liturgical within sacred music. Sacred music is music created for the worship of God, endowed with a certain holy sincerity of form [8] while secular music is music created for the world, that is, music that were created for secular things i.e. romance, movies, radio, etc. Within the sphere of sacred music, there is a particular kind of music that may be used in the Church’s liturgical celebrations, i.e. liturgical music.[9] It is the only music that properly belongs to the liturgy.
8. Just like other liturgical ministry, music serves a function in the liturgy, which pertains to its office by the nature of the rite and the norms of the Liturgy. Form always follows function, thus music that would be used in the liturgy should conform to the meaning and proper nature of each part. It should serve and never overpower or dominate.
9. The ministerial function of music in the liturgy can be summarized as:
a. to glorify God and sanctify man[10]
b. to add delight to prayer (i.e. the liturgical text)[11] or to express it [the liturgical text] in a more attractive way[12]
c. to show the mystery of the liturgy, imparting a particular atmosphere or tone to the celebration and its hierarchical and communal nature,[13] and thus, to teach
d. to unify hearts by the union of voices[14] thus giving a sense of unity to the gathered community
e. to raise the mind to heavenly things[15]
f. to make the celebration a clear prefiguration{₂} of the heavenly liturgy.[16]
g. to assist in expressing, nourishing, strengthening and sharing the faith of the gathered community
10. This implies that liturgical music and the manner by which it is generated do not call attention to itself but rather point back to the liturgy and the mystery being celebrated that serve the worship experience of the faith community.
11. Music used in the liturgy should be planned ahead of time. In choosing what songs to sing in the liturgy, liturgical planning committees and music ministries should take into consideration the following:
a. The spirit of the celebration.[17] This refers to the general atmosphere or tone of the celebration. The spirit of the celebration is based on the theme of the celebration and of the liturgical season. The theme of each particular celebration may be deduced from the Scripture readings (especially from the Gospel and the First Reading; the Second Reading offers an alternative theme), the text of the celebration (oftentimes from the Entrance Antiphon and the Opening Prayer), and from the mystery, feast or solemnity being celebrated.
b. The nature of each individual parts of the celebration.[18] Music used in the liturgy should correspond to the nature and meaning of the individual parts. The idea here is appropriateness. Each part has its proper function in the liturgy and since music is a constitutive{₃} element of the celebration, it should also follow the function, nature and meaning of each part. (A more detailed discussion of the parts of the Mass is given below.)
c. The participation of the community. Since the role of music in the liturgy is for the participation of the people, the choice of music should also consider if the people have the capacity to comprehend and join in it. “Christ’s faithful, when present at this mystery of faith, should not be there as strangers or silent spectators.”[19]
PROGRESSIVE SOLEMNITY
12. The choice of sung parts and the amount of singing is determined by the degree of solemnity of the particular liturgical celebration. Although all liturgies are important, there is still a hierarchy or varying degrees of importance. A Sunday Mass is of greater importance than that of a Weekday Mass. A solemnity or feast of the Lord is of greater importance than that of a feast of a saint. Some parts in the Mass are of greater importance than that of others. The principle of progressive solemnity thus teaches us that the kind and amount of music used in a particular liturgy should be proportionate to the degree of solemnity of a particular celebration or part. For example:
The precedence of importance of seasons, solemnities, feasts and other liturgical days is found in the Ordo, the Table of Precedence of Liturgical Days and in the General Norms of the Liturgical Year and Calendar.
MUSIC IN THE EUCHARISTIC CELEBRATION
13. The sacrament of the Eucharist is the center of the whole Christian life for the Church both universal and local, as well as for each of the faithful individually.[20] In it is found the high point both of the action by which God sanctifies the world in Christ and of the worship that the human race offers to the Father, adoring him through Christ, the Son of God, in the Holy Spirit.[21] In it, moreover, during the course of the year, the mysteries of redemption are recalled so as in some way to be made present.[22] Furthermore, the other sacred actions and all the activities of the Christian life are bound up with it, flow from it, and are ordered to it.[23]
14. Liturgical worship is given a more noble form when they are celebrated solemnly in song, with the ministers of each degree fulfilling their ministry and the active participation of the people.[24] When there are sufficient ministers who have the capacity to lead the singing well, all parts that may be sung should be sung as much as possible.
15. It is proper that the presider sings the liturgical prayers and texts with the people answering also in song. However, if the singing would be more of a distraction rather than a help, it is best that the presider says the prayers and the text in a loud and clear manner.
16. In a celebration lacking ministers to lead the singing, the mass may be celebrated with no singing at all.
17. Music in the individual parts of the Mass should correspond to the nature and meaning of each part.
I. Introductory Rites – The purpose of these rites is to reinforce the fact that Christ is present in the community, to introduce the theme of the celebration, set the mood for the celebration and prepare the community to receive Christ in Word and Sacrament.
a. Song at the Entrance – The Entrance Rite is the time for gathering. This opens and introduces the celebration. The purpose of this song 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.[25]
It creates the mood and atmosphere of the celebration. Ideally, the song should begin immediately when the entrance procession starts and ends when the presider is ready to begin the celebration. When the procession takes too long, instrumental music at intervals may be played. If there is no singing, the Entrance Antiphon is recited by the presider, commentator or the faithful.[26]
b. Act of Penitence – This rite is an acknowledgement of God’s mercy and love for sinful humanity. There are three forms that can be used (refer to the Sacramentary). The text must be faithful to those provided by the Sacramentary.
c. Kyrie – The Kyrie is a litany of praise to the risen Christ, thus, it is not an enumeration of sins. This ancient chant is usually sung alternately by presider (or cantor/choir) and the congregation. This rite acclaims the Lord and implores his mercy hence the necessary response by the congregation. If it is sung, it should be sung by all.
d. Rite of Blessing and Sprinkling of Holy Water – This rite may take the place of the Act of Penitence. This rite is a reminder of our baptism and how much we have failed to live up to it, thus we are led to penance. The song during the sprinkling may have a penitential or baptismal theme. Songs that have the theme of baptism, washing or asking forgiveness or even the Kyrie may be used.
e. Gloria – The Gloria is 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. The text of this hymn may not be replaced by any other text. The Gloria is intoned by the priest or, if appropriate, by a cantor or by the choir; but it is sung either by everyone together, or by the people alternately with the choir, or by the choir alone. If not sung, it is to be recited either by all together or by two parts of the congregation responding one to the other. It is 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.[27]
II. Liturgy of the Word – The main part of the Liturgy of the Word is made up of the readings from Sacred Scripture together with the chants occurring between them. The homily, Profession of Faith, and Prayer of the Faithful, however, develop and conclude this part of the Mass. For in the readings, as explained by the homily, God speaks to his people, opening up to them the mystery of redemption and salvation and offering them spiritual nourishment. Christ himself is present in the midst of the faithful through his word. By their silence and singing the people make God’s word their own. They affirm their adherence to it by means of the Profession of Faith. Finally, having been nourished by the Word, the assembly prays for all – for the needs of the entire Church and for the salvation of the whole world.[28]
a. Responsorial Psalm – The Responsorial Psalm fosters meditation on the Word of God. It is to be taken from the Lectionary. It should be proclaimed at the Ambo.[29] It is preferably sung in its entirety; if not, at least, the response is sung while the verses are proclaimed by the lector. A psalm-based song may be used as long as it is in keeping with the theme of the celebration.
b. Gospel Acclamation – The Gospel Acclamation welcomes and greets the Lord who is about to speak in the gospel. It accompanies the procession of the Gospel Book and should thus last until the priest or the deacon who will proclaim the Gospel reaches the Ambo. In all seasons except Lent, the Alleluia is sung. During Lent, the Alleluia is replaced with another text as Alleluia in any form during any part is not supposed to be heard during Lent. The ideal form of the Alleluia has the verse before the Gospel in between two rounds of Alleluias (Alleluia – Verse – Alleluia). As much as possible, this verse should be taken from the Lectionary. If there is no singing, the Alleluia is omitted. [30]
c. Profession of Faith and Prayer of the Faithful – If the Credo would be sung, the text should be loyal to the prescribed text in the liturgical books. The Prayer of the Faithful may be sung in its entirety or just the response of the people. However, if it is more effective proclaimed then it is best that it be proclaimed in a clear and loud manner.
III. Liturgy of the Eucharist – By performing a ritual, the assembly remembers and makes present the sacrifice of Jesus Christ on the cross in the form of the sacramental offerings of his body and blood. The same actions of Jesus during the Last Supper (Take, Give Thanks, Break and Give) are the same actions that we have during the Liturgy of the Eucharist.[31]
a. Song at the Presentation and Preparation of Gifts – The procession bringing the gifts is accompanied by a song, which continues until the rite is finished (including the ablution{₄} and the incensation). Singing may always accompany the rite at the offertory, even when there is no procession with the gifts.[32] The choice of song should reflect what is happening in the rite, that is, the offering of bread and wine which will become the body and blood of Christ. A song of praise and rejoicing may also be sung. Outside the seasons of Advent and Lent, instrumental music may be used instead of singing.
b. Sanctus – The Sanctus is a joyful acclamation of the assembly in union with the heavenly hosts. Encouragement is given for the presider and the congregation to sing the Sanctus (Holy, Holy, Holy) particularly on Sundays and Solemnities. This is the people’s participation in the Eucharistic Prayer. The word hosanna is an acclamation that is equivalent to “Long live!” (“Biba!”), and it means “Lord, come and save us.”
c. Memorial/Eucharistic Acclamation – This acclamation expresses the centrality of the Paschal Mystery of Christ which is the object of the Church’s memorial, made present in the celebration and provides hope for future fulfillment. The text of this acclamation should be faithful to those provided by the Sacramentary and should be sung (as with other Eucharistic Acclamations [i.e. Sanctus and Great Amen]) on Sundays and Solemnities even if no instrumental support is available. This is the people’s participation in the Eucharistic Prayer.
d. Great Amen – The Great Amen expresses the assent of the people to the entire content of the Eucharistic prayer, from the thanksgiving of praise, to the offering of Christ’s sacrifice, to the prayer in communion with the saints, and the prayer for the Church. It is one of three acclamations (Sanctus, Mystery of Faith, Great Amen) all considered to be a burst of praise that must be given spontaneously. The Great Amen should be sung as appropriate if the Presider intones the doxology, however singing it is optional if the doxology is not sung. With the Great Amen the assembly owns for themselves the prayer said by the presider.
e. Lord’s Prayer and Doxology- The assembly prays in the words of Jesus Christ. The Lord’s Prayer is usually recited; however, it may be sung on Sundays provided the congregation is able to sing along comfortably. As a rule, if the Lord’s Prayer is sung, its doxology (For the kingdom…) is sung also.
f. Agnus Dei – This litany accompanies the breaking of the bread and it may be repeated as many times as necessary as long as it concludes with “grant us peace.” Its melody and rhythm should fit the action that corresponds to Christ’s sacrifice on the cross.
g. Song at Communion – In communion, the broken body of Christ, which we all receive, makes us one body of Christ, thus the song in communion is for the joyful expression of this unity through a unity of voices. [33] The choice of music may be meditative in nature to foster reflection, contemplation and prayer on the reception of Christ. The song should as much as possible be appropriate to the theme of the celebration of the day. In general, songs should be Eucharistic in character. If there is no singing, the communion antiphon is recited by the presider after he communicates and before he gives communion to the faithful. [34] Sacred silence may also be observed.
h. Song of Praise – After communion, if desired, a psalm or other canticle of praise or a hymn may also be sung by the entire congregation. [35] Votive songs may be sung.
IV. Concluding Rite – The people are blessed and sent on mission to live out the Eucharist.
a. Song after Dismissal – Strictly speaking, this song is not anymore part of the celebration. But if a song is chosen for the dismissal it should provide an appropriate end to the celebration. Only sacred music is allowed, thus a hymn of praise and thanksgiving, or a song of the Church’s mission, or a song of the Lord’s guiding light for life’s journey may be suitable for the completeness of the liturgy’s dismissal.
MUSIC IN THE CONTEXT OF LITURGICAL TIME AND THE LITURGICAL YEAR
18. “Christ’s saving work is celebrated in sacred memory by the Church on fixed days throughout the year. Each week on the day called the Lord’s Day the Church commemorates the Lord’s resurrection. Once a year at Easter the Church honors this resurrection and passion with the utmost solemnity. In fact, through the yearly cycle the Church unfolds the entire mystery of Christ and keeps the anniversaries of the saints. During the different seasons of the liturgical year, the Church, in accord with traditional discipline, carries out the formation of the faithful by means of devotional practices, both interior and exterior, instruction, and works of penance and mercy.”[36] “Each day is made holy through the liturgical celebrations of the people of God, especially through the eucharistic sacrifice and the divine office. The liturgical day runs from midnight to midnight, but the observance of Sunday and solemnities begins with the evening of the preceding day.” [37]
19. Advent is the time of preparation for the commemoration of Christ’s first coming in the Nativity and his second coming at the end of time. It is a period for devout and joyful expectation.[38] It has a penitential spirit but is still unlike Lent. It has a sober and subdued atmosphere. The Gloria, which opens with the song of the angels at the Nativity, is not sung during Advent. Also, musical instruments may only be played to support singing.
20. Christmas is the Church’s joyful memorial of the Lord’s incarnation and early manifestations. [39] Music should be festive. It is permissible to use traditional Christmas songs as long as they are religious in nature.
21. Lent is a time of preparation for the celebration of Easter, disposing both catechumens and the faithful to celebrate the paschal mystery: catechumens, through the several stages of Christian initiation; the faithful, through reminders of their own baptism and through penitential practices. [40] The Gloria, which is a song of joy, and the Alleluia (even as part of songs sung in other parts of the liturgy), which is proper for Easter, are not sung. Musical instruments may only be played to support singing.
22. “Christ redeemed us all and gave perfect glory to God principally through his paschal mystery: dying he destroyed our death and rising he restored our life. Therefore, the Easter Triduum of the passion and resurrection of Christ is the culmination of the entire liturgical year. Thus, the solemnity of Easter has the same kind of preeminence in the liturgical year that Sunday has in the week.” [41] “The Easter Triduum begins with the evening Mass of the Lord’s Supper, reaches its high point in the Easter Vigil, and closes with evening prayer on Easter Sunday.” [42] As the most important celebration of our faith, the Easter Triduum should be celebrated in its entirety and with the fullest amount of music.
23. The fifty days from Easter Sunday to Pentecost are celebrated in joyful exultation as one feast day, or better as one “great Sunday.” These above all others are the days for the singing of the Alleluia. [43] Music should reflect the joy and festivity of the season of Easter thus selected hymns must be profoundly jubilant and festive in nature. Music lyrics and text should unconditionally reflect and be inspired by the scripture readings of the season. This season should be more joyful and festive than Christmas.
24. Ordinary Time is devoted to the mystery of Christ in all its aspects.[44] Each Sunday has its own theme.
MUSIC IN OTHER LITURGICAL CELEBRATIONS
25. For a liturgical celebration to have a more noble form, it is fitting that it be celebrated with music. Just as the Eucharist is celebrated with song, so too should the other sacraments (i.e. Baptism, Confirmation, Marriage and Holy Orders) and sacramentals (Consecration of Religious Men and Women, Dedication of Churches, Funerals, etc.). especially when celebrated with a big number of participants.
26. It is fitting that whenever there is a litany of the saints in the rite, it should be sung and it should not be abbreviated for the sake of convenience as it is a rite in itself and it manifests the Church here on earth and that in heaven in one communion of saints. The Litany of Saints is commonly sung on and for: Easter Vigil, and ordination Masses for priests, deacons and bishops.
27. If the Sacrament of Marriage is celebrated within the Mass, the general norms for the liturgy and the Eucharist still apply. Traditional instrumental music may be used during the procession of the bridal entourage and during the preparation of gifts. It is not permissible to sing secular love songs within the liturgy. A sacred song with the theme of love may be sung as the Song of Praise after the Rite of Marriage or during Communion, if marriage is celebrated within Mass. Popular love songs may be sung only after the celebration.
REF: Diocese of Chalan Kanoa; Liturgical Guidelines for the Celebration of Matrimony; Page 8 Section 1:
Music at the Wedding Liturgy The following excerpts are helpful guides for faithful preparation and good celebration. See also Sing to the Lord: Music in Divine Worship by the Committee on Divine Worship of the United States Conference of Catholic Bishops, approved in November 2007. See “The Rite of Marriage,” nos. 216-224. Music is a basic and integral part of Catholic Worship, and therefore also for your wedding celebration. Whether you exchange your vows during a Liturgy of the Word or a Mass, music is not a frill, but an important and basic element that cannot be overlooked when planning your wedding ceremony. There are parts of the celebration that need to be accompanied by music, and the most important times are those for congregational chant. Unfortunately in our recent history, this is usually the last type of music that couples consider. Allowing an organist, pianist or soloist to perform all of the music in your wedding is not compatible with Catholic Liturgy. Planning music in which the entire assembly can take part is a vital requirement when planning music for your celebration. It is important that the music fit the context of faith and dignity of the occasion. The texts should speak of a Christian concept of marriage, not focus on a romantic one. Every generation has its love songs, and some of them are great music. However, while they may have a place in your wedding day, they should be used outside of the wedding liturgy. Liturgical Music is always performed live; therefore, recorded music is not appropriate for weddings. It is also important to remember that your wedding day belongs to more than just the two of you. Those who have come to share the day with you want and deserve the opportunity to help you celebrate by lifting their hearts and voices in song. Let them be more than passive – let them celebrate with you, and select music to help them do that! Choose chants and refrains they can sing. By doing this, you give the assembly a sense that this is a celebration of joy where everyone can participate.
a. Selecting Your Musicians/Choir – Very often, parishes have a list of their own musicians who have been trained and will be happy to assist you in planning and ministering the music for your wedding. In accord with the primary focus of the celebration, all instrumentalists and vocal musicians should fulfill their roles as ministers of the liturgy, and their location in the church needs to reflect this. It is also important that those serving as musicians/choir for your wedding be truly competent. This competency includes a thorough understanding of the structure of the Catholic wedding liturgy. Too often, friends or relatives of the couple are asked to serve as choir/musicians out of friendship rather than competency. 9
b. Selecting Your Music – The Church has set forth guidelines regarding the music in any liturgy, not just weddings, so the music you choose for your wedding should be evaluated in the same three areas:
1. Liturgical: Is the music appropriate to the liturgy and celebration? Songs which are appropriate for the reception or dance, or songs that originate from movie soundtracks, Broadway shows, or top 40 radio are seldom appropriate for liturgy.
2. Pastoral: Does the music allow for the assembly’s participation when appropriate?
3. Musical: Is the music of quality and will it be done by competent musicians? Is it easily ‘singable’ by the assembly? (OCM)
c. Popular Music – Engaged couples sometimes wish to include secular songs or instrumental works within the wedding liturgy. Secular Songs do not have a place in the wedding festivities. To the contrary, many such songs are entirely appropriate at the wedding reception, at which other dimensions of marriage (e.g., romantic love, general, non-religious sentiments of optimism or inspiration) are celebrated. However, it is usually not appropriate to include these types of songs within the context of the wedding liturgy. d. Musical Instruments – Instruments which are used to accompany the singing of the congregation or to provide instrumental accompaniment to liturgical actions should be suitable for sacred use. For the Church, the pipe organ “is the traditional musical instrument” because it can “most effectively elevate people’s spirits to God and things above.” However, other wind, string, or percussion instruments may be used, “provided they are truly suitable for sacred use or can be made suitable.” (OCM)
d. Copyright/Licensing – Give credit where it’s due to the name of the composer of the selected music. Prior copyright permission is required for the reproduction of music (both notation and text). If a bride and groom plan to prepare a worship aid or program, they should be reminded of the need to obtain permission to reproduce words and music. The parish should assist the couple in obtaining the necessary licensing.
THE MUSIC MINISTRY AND THE CANTOR
28. Choirs, soloists, organists and other instrumentalists form the Music Ministry serve the worshipping assembly by encouraging the active participation of the faithful and by performing properly the parts assigned to them.[45] When there is no choir, a cantor may lead the community in singing. A cantor may also lead in certain parts of the celebration, like the Responsorial Psalm, the Penitential Rite (form C) in place of the presider and the petitions of the Prayer of the Faithful. It is desirable that those who are more proficient in singing be given preference to be part of this ministry.[46]
29. Members of the Music Ministry should exercise their ministry with sincere piety and decorum. [47] The music ministry should perform the parts assigned to it in a manner that is comprehensible to the people so that they can understand, respond and participate.[48] The true solemnity of liturgical worship depends more on its worthy and religious celebration, with its intrinsic integrity, the proper performance of each of its parts according to their particular nature and of each minister according to his/her function[49] and the participation of the people, than on the more ornate{₅} form of singing. To have a more ornate form of singing and a more magnificent ceremonial is at times desirable when there are the resources available to carry them out properly; on the other hand it would be contrary to the true solemnity of the liturgy if this were to lead to a part of the action being omitted, changed, or improperly performed. [50]
30. The choir should be placed in such a way that it shows that it is part of the whole congregation, and that it fulfills a special role, that it is easier for it to fulfill its liturgical function and that each of its members may be able to participate easily in the Mass.[51] The cantor or the conductor may take a place where his/her ministry can be easily identified and exercised properly and effectively. The ambo may only be used during the Responsorial Psalm and Prayer of the Faithful.
31. Members of the Music Ministry should receive regular musical, liturgical and spiritual formation so that the performance of their liturgical role will not only enhance the beauty of the celebration and be an excellent example for the faithful, but will bring spiritual benefit to the members themselves.[52] The diocese requires that all music ministry heads, heads of choirs and members of the music ministry attend a basic formation seminar and a yearly renewal as do the other liturgical ministers. It is also suggested that on the parish level, music, liturgy and spirituality formation seminars and training sessions be given by competent resource persons.
32. Every social gathering requires a particular comportment{₆} and decorum from all its participants. The Church demands from all the faithful decent attire in gathering together in liturgical worship; much more from those who minister in the celebration. It is left to every choir or parish to decide, with the knowledge of the parish priest, on their proper liturgical attire. Great consideration must be made that the nature of the choir as part of the gathered community and at the same time, exercising a unique ministry, be expressed appropriately.
MUSICAL INSTRUMENTS
33. 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.[53]
34. The pipe organ is the recommended instrument in the Roman Church.[54] However, other instruments may be used as long as they are suitable for sacred use or can be adapted to it, they meet the needs of the celebration, they contribute to the beauty of the celebration, they preserve the dignity of the Church and they contribute to the edification of the celebration and the faithful. [55] Musical instruments should not be played for their own sake but rather should be at the service of the celebration.
35. In the liturgy, musical instruments can be played by themselves.[56] Although the Church prefers songs to instrumental music, some parts of the liturgy can be enhanced by instrumental music. It can assist the assembly in preparing for worship, in meditating on the mysteries, and in joyfully progressing in its passage from liturgy to life. Instrumental music may accompany the processions at the entrance, preparation of gifts, communion and after the dismissal. Instrumental music may not be used during the Advent, Lent, Holy Thursday (after the Gloria), Good Friday, before the Gloria of Easter Vigil and in Masses of the Dead.
SILENCE
36. “Sacred silence also, as part of the celebration, is to be observed at the designated times. Its purpose, however, depends on the time it occurs in each part of the celebration. Thus within the Act of Penitence and again after the invitation to pray, all recollect themselves; but at the conclusion of a reading or the homily, all meditate briefly on what they have heard; then after Communion, they praise and pray to God in their hearts. “Even before the celebration itself, it is commendable that silence to be observed in the church, in the sacristy, in the vesting room, and in adjacent areas, so that all may dispose themselves to carry out the sacred action in a devout and fitting manner.” [57] Silence has a proper place in the liturgy. There are times when an instrumental interlude is able to bridge the gap between two parts of a ceremony and help unify the liturgical action but the temptation to fill every moment of the celebration with music must be resisted.
CONCLUSION
37. The solemnity, meaning and beauty of the liturgical celebration depend on the cooperation of all ministers and the worshipping community. It is every minister’s mission, in this case, those entrusted with the responsibility of enhancing the liturgy with music, to make the celebration nobler in form. In the Liturgy, the Church is being its best self before God and this is seen when the text the presider reads, the readings the lector proclaims, the songs that the choir leads and worship that the community celebrates all reflect, celebrate and point to the mystery of the saving action of Jesus Christ. In so doing, the liturgical celebration is truly a foretaste of the heavenly banquet.
LITURGICAL GUIDELINES FOR THE CELEBRATION OF MATRIMONY IN THE DIOCESE OF CHALAN KANOA
The following guidelines provide a summary of the ecclesial documentation concerning the Order of Celebrating Matrimony. They are also intended to serve as a pastoral aid to clergy and others who are involved in the planning and celebration of weddings within the Diocese of Chalan Kanoa. It should be noted that these guidelines are primarily liturgical in scope, and they are not meant to address the many canonical and pastoral questions that can arise in the course of preparing a couple to celebrate the Sacrament of Marriage. Such questions may be directed to the parish priest or at the Curia of the Diocese of Chalan Kanoa.
From “Order of Celebrating Matrimony,” the Roman Ritual revised by decree of the Second Vatican Ecumenical Council, published by authority of Pope Francis, and adopted by the USCCB 2016.
What was formerly called the “Rite of Marriage” has undergone a name change and is now properly called the “Order of Celebrating Matrimony”.
These guidelines are intended for pastors and other priests, deacons, liturgical ministers, and others assisting couples preparing for marriage in the Diocese of Chalan Kanoa. All the norms contained in the Order of Celebrating Matrimony, 2nd edition, and in relevant liturgical documents (such as the General Instruction of the Roman Missal and The Roman Missal, 3rd edition) are to be followed.
In the Diocese of Chalan Kanoa, weddings are not to be scheduled or permitted at the following times: Sundays, Holy Days of Obligation, Palm Sunday or during Holy Week. A Group Wedding is allowed on Sunday by tradition/custom on the Feast of the Holy Family.
THE ORDER OF CELEBRATING MATRIMONY WITHIN MASS
I. INTRODUCTORY RITES
The purpose of the Introductory Rites is to gather us together as a worshipping community and to prepare us to listen to the Word of God and celebrate the Sacraments. Through these rites, the assembly is made ready to hear the Word of God and to celebrate the wedding liturgy and the Eucharist with attention and devotion.
a. Entrance – According to local custom, the groom, with his parents, Godparents, best man wait for the bride at the entrance of the Sanctuary. As with other liturgies, the gathering hymn is intended to unify the community – thus a hymn that everyone can sing is preferred over instrumental music. Even if instrumental music is chosen for the procession, a hymn needs to be sung after everyone is in his or her place.
The Order of Celebrating Matrimony (OCM) describes two forms for the entrance procession:
Form I: The priest or deacon goes with the servers to the door of the church, where he receives and greets the bridal party. The celebrant, servers, and bridal party then process to the sanctuary in the usual way as the entrance chant or song is sung.
Form 2: The priest or deacon goes either to the place prepared for the couple in or near the sanctuary, or he proceeds directly to his chair. The bridal party and couple process down the aisle. Once the couple has arrived at their place, the celebrant receives and greets them. The entrance chant or song is then sung, during which time the celebrant reverences the altar. He then goes to the presidential chair. Form 2 is usually used in the Diocese of Chalan Kanoa.
b. After the Sign of the Cross and the Greeting – the priest gives a public introduction to the ceremony. He has already said a few words privately to the couple to welcome them warmly. At this point he speaks so that all may hear. The OCM scripts out two alternative introductions that the priest may give. The priest may also use his own words. Of the two versions, one is addressed to the whole community, and the other is addressed to the couple. Either way, everyone hears a welcome, an introduction to the nature of the ceremony, and an invitation to participate.
c. Penitential Act – The Penitential Act is omitted. The General Instruction of the Roman Missal observes, “In certain celebrations that are combined with Mass
according to the norms of the liturgical books, the Introductory Rites are omitted or take place in a particular way” (no. 46). Matrimony is an example of this, as is a Mass at which the Baptism of a child is celebrated. The Mass for the Dedication of a Church replaces the Penitential Act with a sprinkling rite, and on Ash Wednesday the distribution of ashes after the homily serves as a penitential rite that day. Although the omission of the Penitential Act in a wedding Mass is consistent with other special rites, one can only speculate as to the specific reasons the Holy See arrived at its particular decision when it promulgated the Latin editio typica altera in 1990. (statement from the USCCB Committee on Divine Worship)
d. Gloria – The Gloria is to be sung regardless of the season but it is never used at wedding ceremony outside Mass. If singing it poses a problem, the assembly may recite it.
e. Collect (Opening Prayer) – The priest may choose from six Collects. However, if the date of the wedding falls on one of the days in the first four numbers on the Table of Liturgical Days, he reads the Collect for that celebration. For example, if a nuptial Mass falls on the Saturday night of the Epiphany of the Lord or on any Saturday night during Lent or Easter Time, he replaces the wedding Collect with the appropriate one for the liturgical day.
II. LITURGY OF THEWORD
The Liturgy of the Word is celebrated in the usual manner. There may be three readings, of which the First Reading should be from the Old Testament, but, during Easter Time, from the Book of Revelation (nos. 144–187). At least one reading that explicitly speaks of Marriage must always be chosen. When the Ritual Mass is not said, one of the readings may be taken from those provided in the Lectionary for that Mass, except on a day listed in nos. 1–4 of the Table of Liturgical Days. Readings that particularly express the importance and dignity of Marriage in the mystery of salvation are provided here (OCM)
a. FirstReading
b. Responsorial Psalm
c. (Second Reading)
d. Gospel Acclamation(Alleluia)
e. Gospel
f. Homily
III. THE CELEBRATION OF MATRIMONY
The highlight of the celebration of Matrimony is the couple’s exchange of consent. Although many people call these words the vows, the Catholic liturgy uses a different word to emphasize the couple’s free agreement to enter into this union: they are not making a vow to God; they are giving each other their consent. The principal parts of the ceremony remain the same, but with a new translation and some new additions. The familiar sequence still unfolds: the priest gives an introduction, he asks several questions, the couple join their right hands and give consent, the priest receives the consent, he blesses the rings, and the couple give rings to each other.
a. TheConsent–There are minor modifications in the wording of the questions and the consent. For instance, there’s a new phrase inserted in the second form of the consent: “…in sickness and in health, to love and to cherish until death do us part” (this actually aligns the American vows with what’s traditionally been used). However, there are two substantial additions that involve the congregation. The first comes after the Reception of the Consent, when the following acclamation is prescribed:
Priest/Deacon: “Let us bless the Lord” All: “Thanks be to God.”
“Thanks be to God” is an expression of approval and joy that is also prescribed during the rites of ordination and religious profession, thereby establishing a liturgical connection between marriage and other vocations.
b. The Blessing and Giving of Rings– There is the option for the assembly to sing “a hymn or canticle of praise” after the Blessing and Giving of Rings. Heartfelt singing here seems to be an acknowledgment that this moment – after the vows and rings have been exchanged – invites us to pause and celebrate what we have witnessed, rather than proceed unceremoniously to the rest of the liturgy. (For local custom, “AtanJesukristo”will be an appropriate song or other hymns may be chosen according to the ethnicity of the couples.
d. The Blessing and Giving of the Arras (Coins) – (A Cultural Adaptation) This is done after the exchange of rings. The priest or deacon blesses the arras, and then the spouses give them to each other “as a pledge of God’s blessing and a sign of the good gifts we will share.” This tradition conveys the indissoluble union of the husband and wife.
e. The Universal Prayer (Intercessions) – The Universal Prayer, sometimes referred to as the Prayer of the Faithful or General Intercessions, is read by a lector, cantor, or another designated person. The reader usually offers each intercession (“For …, we pray.”) and the assembly responds with an appropriate response, such as, “Lord, hear our prayer.”
Note on Unity Candle
Lighting the unity candle, though not part of the Catholic rite of marriage, is common in Catholic weddings. The unity candle is still not approved for use at wedding liturgies. One reason the church’s marriage liturgy does not include lighting the unity candle may be because its popular meaning – two lives becoming one – is already profoundly signified through the couple’s exchange of vows and rings and in the nuptial blessing. It is recommended the Unity Candle may be lit at the reception before the “Grace Before Meal.”
IV. LITURGY OF THE EUCHARIST
The couple, their families, attendants, or members of the congregation may be chosen to bring up the gifts of bread and wine and other gifts during offertory procession.
a. The Preparation of the Gifts andAltar
1. Prayer over theOfferings
b. The EucharisticPrayer
1. Preface
2. The Sanctus, Mystery of Faith, and Amen should be sung, or optionally recited, by the entirety of the gathered faithful. The choice of musical settings for these parts of the Mass should take the vocal participation of the congregation into consideration.
3. The Blessing and Placing of the Lazo or the Veil – (A Cultural Adaptation) This can occur before the Nuptial Blessing. The lazo is a wedding garland or cord that is used to symbolically bind the couple together, while a veil may also be placed over the bride’s head and the groom’s shoulders. This tradition conveys the indissoluble union of the husband and wife. This may be done after the Our Father (OCM 72) or according to local custom, after OCM 67B. An acceptable order of these customs would be as follows… The couple kneels at their place or approaches the altar where the priest faces them. The priest invites all present to join in silent prayer for the couple then extends his hands over the bride and groom and offers the blessing. The Order of Celebrating Matrimony provides options for the nuptial blessing, including beginning with the blessing and placing of the lazo (veil) if customary.
4. The Nuptial Blessing– The Nuptial Blessing takes place as in the past, but all three options have a revised translation that has been available in the Missal for a few years. Noteworthy is that each blessing now includes an invocation of the Holy Spirit upon the couple. This is new to the history of this blessing, which has antecedents going back for almost 1,500 years. The prayers now resonate with those in the Eastern Rites, which in general more strongly affirm the role of the Holy Spirit. Also new to the blessing is the instruction that the couple kneel to receive it. A chant setting of all three blessings can be found in the back of the OCM.
5. Sign of Peace – To maintain the solemnity of the celebration, the couple is advised to remain in their place while giving the sign of peace.
c. The Preparation for Communion
1. Prayer after Communion – The Order of Celebrating Matrimony encourages the reception of Communion under both kinds, especially by the bride and groom, their parents, witnesses, and relatives. In accordance with canon law, Catholics who have received Communion at another Eucharistic celebration that day may receive again at the wedding Mass. Those who are not Catholic are not permitted to receive the Eucharist, except in those cases foreseen by canon law.
2. After Communion, all are seated when the Priest sits in his chair. After a moment of prayer, he will invite all to stand for the Prayer After Communion.
V. THE CONCLUDINGRITES
a. Cultural Traditions / LocalCustoms
1. Presentation of Flowers to the Blessed Virgin Mary – Although giving flowers to Mary during a Catholic wedding is not part of the Rite of Marriage, it is a local custom for married couples to take a moment before the conclusion of the liturgy to offer flowers and prayers to Mary as they begin their life together. Couples will often bring a flower to the statue of Mary in the church and offer prayers asking for her intercession. This ritual usually takes place at the end of the ceremony, before the final blessing. A Marian hymn may be chosen or selected such as the “Ave Maria” or other appropriate Marian Songs to be sung during this time. Praying the Hail Mary after laying the flowers before the statue of Mary is a simple way to carry out this devotion. After the song, the couples return to their seats.
2. Presentation of the Holy Bible to the Couples from Parents – The couples “Receive the Word of God…” from their parents. The gift of Holy Bible are story of God and our salvation and God’s people may be with the couple at home, church, or wherever you shall choose to carry it. They are encourage to Live and Learn about the life and teachings of Jesus and to be open to how God may continue to speak to them through the reading of the scriptures.
3. Presentation of the Statue of the Holy Family – The couple’s home would not be complete without a religious statue. The parents of the couple will present a Statue of the Holy Family to the couple in honor of their wedding so that they can model their lives with the Holy Family, Jesus, Mary and Joseph.
b. Blessing(Solemn)
The Order of Celebrating Matrimony provides several options for the Final Blessing at the celebration of marriage. The celebrant may wish to choose either a simple blessing or one of the solemn blessings given in the rite (OCM, 213-215).
c. Signing of Marriage License
When the Mass is concluded, the witnesses and the Priest sign the Marriage record. The signing may take place either in the vesting room or at a prepared table in the Sanctuary in the presence of the people; however, it is not to be done on the altar. (OCM)
d. Dismissal/Recessional
A recessional, or closing procession, is a natural way to conclude the ceremony. Music suggestions for the wedding procession offer suitable options. Depending on local custom, the priest may invite the couple to exchange a kiss before leaving the sanctuary
SPECIAL CIRCUMSTANCES AND ADDITIONAL CONSIDERATIONS
1. Music at the Wedding Liturgy
The following excerpts are helpful guides for faithful preparation and good celebration. See also Sing to the Lord: Music in Divine Worship by the Committee on Divine Worship of the United States Conference of Catholic Bishops, approved in November 2007. See “The Rite of Marriage,” nos. 216-224.
Music is a basic and integral part of Catholic Worship, and therefore also for your wedding celebration. Whether you exchange your vows during a Liturgy of the Word or a Mass, music is not a frill, but an important and basic element that cannot be overlooked when planning your wedding ceremony. There are parts of the celebration that need to be accompanied by music, and the most important times are those for congregational chant. Unfortunately in our recent history, this is usually the last type of music that couples consider. Allowing an organist, pianist or soloist to perform all of the music in your wedding is not compatible with Catholic Liturgy. Planning music in which the entire assembly can take part is a vital requirement when planning music for your celebration. It is important that the music fit the context of faith and dignity of the occasion. The texts should speak of a Christian concept of marriage, not focus on a romantic one. Every generation has its love songs, and some of them are great music. However, while they may have a place in your wedding day, they should be used outside of the wedding liturgy. Liturgical Music is always performed live; therefore, recorded music is not appropriate for weddings.
It is also important to remember that your wedding day belongs to more than just the two of you. Those who have come to share the day with you want and deserve the opportunity to help you celebrate by lifting their hearts and voices in song. Let them be more than passive – let them celebrate with you, and select music to help them do that! Choose chants and refrains they can sing. By doing this, you give the assembly a sense that this is a celebration of joy where everyone can participate.
a. Selecting Your Musicians/Choir – Very often, parishes have a list of their own musicians who have been trained and will be happy to assist you in planning and ministering the music for your wedding. In accord with the primary focus of the celebration, all instrumentalists and vocal musicians should fulfill their roles as ministers of the liturgy, and their location in the church needs to reflect this. It is also important that those serving as musicians/choir for your wedding be truly competent. This competency includes a thorough understanding of the structure of the Catholic wedding liturgy. Too often, friends or relatives of the couple are asked to serve as choir/musicians out of friendship rather than competency.
b. Selecting Your Music- The Church has set forth guidelines regarding the music in any liturgy, not just weddings, so the music you choose for your wedding should be evaluated in the same three areas:
1. Liturgical: Is the music appropriate to the liturgy and celebration? Songs which are appropriate for the reception or dance, or songs that originate from movie soundtracks, Broadway shows or top 40 radio are seldom appropriate for liturgy.
2. Pastoral: Does the music allow for the assembly’s participation when appropriate?
3. Musical: Is the music of quality and will it be done by competent musicians? Is it easily ‘singable’ by the assembly? (OCM)
c. Popular Music – Engaged couples sometimes wish to include secular songs or instrumental works within the wedding liturgy. Secular Songs do not have a place in the wedding festivities. To the contrary, many such songs are entirely appropriate at the wedding reception, at which other dimensions of marriage (e.g., romantic love, general, non-religious sentiments of optimism or inspiration) are celebrated. However, it is usually not appropriate to include these types of songs within the context of the wedding liturgy.
d. Musical Instruments – Instruments which are used to accompany the singing of the congregation or to provide instrumental accompaniment to liturgical actions should be suitable for sacred use. For the Church, the pipe organ “is the traditional musical instrument” because it can “most effectively elevate people’s spirits to God and things above.” However, other wind, string, or percussion instruments may be used, “provided they are truly suitable for sacred use or can be made suitable.” (OCM)
e. Copyright/Licensing – Give credit where it’s due to the name of the composer of the selected music. Prior copyright permission is required for the reproduction of music (both notation and text). If a bride and groom plan to prepare a worship aid or program, they should be reminded of the need to obtain permission to reproduce words and music. The parish should assist the couple in obtaining the necessary licensing.
2. Decorations
The liturgical season during which the wedding takes place will affect the types and limitations of decorations. Candles or candelabra are prohibited both in the sanctuary and on the pews. If pew bows will be used, please advise the florist they must be tied on and not taped or stapled. Safety and damage issues restrict us from allowing flower petals (artificial or real) and runner for the ceremony. Throwing rice, seeds or other such material inside and outside the Church is not permitted.
3. Photographs
Sacraments are sacred events. They are an expression of Christ’s saving presence in our lives and a means of that presence. The celebration of the sacraments provides for a dignity that underscores the joyful sacredness of these events. The Church is concerned that nothing occurs during the celebration of the sacraments that distracts from the dignity of the sacrament. Therefore, the following rules are issued:
a. Still and video photography is permitted, provided it does not become a distraction to the celebration of the sacrament.
b. Photographers must find a place from which to take pictures before the celebration of the sacrament begins and may not move from that location for the purpose of picture taking during the celebration of the sacrament. The location should not interfere with the celebration of the sacrament or be a significant distraction to the appropriate celebration of the sacrament.
c. Photographers may not take pictures from within the sanctuary of the Church during the celebration of the sacrament.
d. Lighting fixtures for video or still photography beyond that already provided by installed Church lighting are not to be used without the specific permission of the pastor or other cleric officiating at the sacrament or celebrating the Mass.
e. Photographers are to be appropriately dressed for the nature and dignity of the celebration.
f. Photographers who do not comply with these requirements will be asked to leave the celebration, at the discretion of the Presider.
4. Decorum
Behavior and appearance are an important part of the wedding. Please remember that appropriate behavior must be maintained in the church during the rehearsal and on the wedding day. You are in a church, please be reverent and respectful. Alcohol, smoking, illegal substances, playful behavior or loud conversation is not allowed. Pranks or practical jokes are to be avoided. The attire of the wedding party may be as formal or as simple as desired. Christian modesty and good taste will exclude low-cut dresses. Appropriate dress is also requested for the rehearsal.
