An Orientation to
Liturgical Music Ministry
Tom Luna, Colonel, USAF
Chairman, Military Parishes & Music Ministers Section
National Association of Pastoral Musicians
Purpose
 Orient or refresh liturgical music ministers
 Understand our role(s) better
 Understand select elements of the new General
Instruction of the Roman Missal (GIRM)
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Roman Missal = Lectionary + Sacramentary
Here now: new English language instruction
To come: new English language missal
Liturgical law references for
music
 CSL - Constitution on the Sacred Liturgy
(Sacrosanctum Concilium), 1963
 MCW - Music in Catholic Worship, 1972
(1983)
 LMT - Liturgical Music Today, 1982
 GIRM - General Instruction of the Roman
Missal (Third Typical Edition), 2002
“[choir members] must be trained to perform their functions in a
correct and orderly manner.” (CSL, no. 29)
Outline
 Ten Principles for Liturgical Ministers
 Why is music important?
 Role of the Assembly
 Methods
 Parts of the Mass (music perspective)
 Choice of Music
Ten Principles for
Liturgical Ministers
[from: Celebration: Theology, Ministry and Practice, Eugene A. Walsh, © 1994 OCP Publications]
 We are members of the assembly.
 Effective ministers give life to the assembly;
ineffective ministers deprive the assembly of life.
 Individual liturgical ministry is always a matter of
service, never a matter of status or privilege.
 Ministry is a dialogue, a two-way communication.
 Individual ministers are competent in the skills of their
ministry.
Ten Principles for
Liturgical Ministers – Cont.
 Effective ministers work as a team with other
ministers to help give the celebration shape
and dynamic.
 Effective ministers deliberately put out
energy.
 Each person exercises only one ministry at a
particular celebration.
 All ministers are accountable to the parish
community.
 Each minister is a person of faith and prayer.
Why Music?
“The Christian faithful who gather together as one to await
the Lord’s coming are instructed by the Apostle Paul to sing
together psalms, hymns, and spiritual songs (cf. Col 3:16).
Singing is the sign of the heart’s joy (cf. Acts 2:46).
Thus St. Augustine says rightly, ‘Singing is for one who
loves.’
There is also the ancient proverb: ‘One who sings well prays
twice.’” (GIRM, no. 39)
Why Music?
“Faith grows when it is well expressed in
celebration. Good celebrations foster and
nourish faith. Poor celebrations may weaken
and destroy it.” (MCW, no. 6)
Why Music?
“Among the many signs and symbols used by the Church to
celebrate its faith, music is of preeminent importance... it forms
a necessary or integral part of the solemn liturgy.
Yet the function of music is ministerial; it must serve and never
dominate.
Music should assist the assembled believers to express and
share the gift of faith that is within them and to nourish and
strengthen their interior commitment of faith. It should heighten
the texts...
The quality of joy and enthusiasm which music adds to
community worship cannot be gained in any other way.
It imparts a sense of unity to the congregation and sets the
appropriate tone for a particular celebration.” (MCW, no. 23)
Why Music?
“...music can also unveil a dimension of meaning and
feeling, a communication of ideas and intuitions which
words alone cannot yield. This dimension is integral to the
human personality and to growth in faith. It cannot be
ignored if the signs of worship are to speak to the whole
person.” (MCW, no. 24)
The Assembly and Music
“...will be best accomplished if... it leads to a conscious, active,
and full participation of the faithful both in body and in mind...
and to which the Christian people have a right and duty by reason
of their baptism.” (GIRM, no. 18)
“...the utmost care must be taken to choose and to arrange those
forms and elements set forth by the Church that, in view of the
circumstances of the people and the place, will more effectively
foster active and full participation”. (GIRM, no. 20)
“All means must be used to promote singing by the people.”
(MCW, no. 40)
How Do We Get There: Methods
 We are members of the assembly...
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Minimize movement and other distractions
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shuffling music
drinking
talking
if the assembly is singing, does the
choir/cantor need to be amplified – except to
accompany?
“...and members of the choir also exercise a genuine liturgical
function. They ought to discharge their office, therefore, with the
sincere devotion and decorum demanded by so exalted a ministry
and rightly expected of them by God’s people.” (CSL, no. 29)
Methods
 Our music must be good or it will hurt the
celebration
 It serves us better to consider ourselves
ministers rather than performers
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Our main role is to support the assembly’s
prayerful song
“...liturgy is a prayer for all present, not a theatrical production.”
(MCW, no. 82)
“While there is no place in the liturgy for display of virtuosity for
its own sake, artistry is valued...” (MCW, no. 35)
Methods
 Pray it/proclaim it – don’t just sing it
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…but don’t make it a performance
 Diction – the words need to be understood
 Eye contact with the assembly – good!
 Cantor/psalmist/leader of song: gestures help
the assembly know when to sing
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Other movements during songs may draw
inappropriate attention to the choir
“...it is necessary that the psalmist have the ability for singing and a
facility in correct pronunciation and diction.” (GIRM, no. 102)
Methods: Harmony
 The role of harmony....
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Remember the role of assembly
participation!
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Harmony on songs the assembly knows and
sings well enhances the assembly’s song
Harmony on songs the assembly is less
familiar with often confuses them and detracts
from their song prayer
“Harmony is desirable when, without confusing the people,
it gives breadth and power to their voices in unison.”
(MCW, no. 75)
Methods
 Function of the ambo...
“From the ambo only the readings, the responsorial
Psalm, and the Easter Proclamation (Exsultet) are to be
proclaimed; it may be used also for giving the homily and
for announcing the intentions of the Prayer of the Faithful.
The dignity of the ambo requires that only a minister of the
word should go up to it.” (GIRM, no. 309)
 Psalmists proclaim the word
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It is proper that they proclaim it from the ambo
Parts
 Functions of music (from Janco):
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Punctuates prayer or ritual action
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Accompanies an action
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Gloria; Psalm; Holy Holy
Covering/bridging
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Processions; Lamb of God
Music is the focus
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Acclamations
Preparation of the gifts; recessional
Encourages meditation
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Prelude; song of praise; postlude
Acclamations
“The acclamations are shouts of joy which arise
from the whole assembly as forceful and
meaningful assents to God’s Word and Action.
They are important because they make some of
the most significant moments of the Mass... stand
out. ...The people should know the acclamations by
heart in order to sing them spontaneously.”
(MCW, no. 53)
“…acclamations… ought to be sung even at Masses in which little
else is sung: Alleluia; ‘Holy, Holy, Holy Lord’; Memorial
Acclamation; Great Amen…” (MCW, no. 54)
Mass Structure
 Introductory Rites
 Liturgy of the Word
 Liturgy of the Eucharist
 Concluding Rite
Prelude
 Silence vs meditation music vs teaching
music...
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Some people best prepare for Mass in silence
Some people best prepare for Mass with
meditation music
This is probably the best time to teach the
assembly new music
Best to find a balance?
Introductory Rites
 Entrance Song – 4 purposes
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Opens the celebration
Fosters unity among the gathered
Directs thoughts to the mysteries of the
liturgical season or festivity
Accompanies the procession (GIRM, no. 47)
“The two processional chants – the entrance song and the communion song – are
very important for creating and sustaining an awareness of community.”
(MCW, no. 60)
Introductory Rites
 Penitential rite or Sprinkling rite
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May be sung
Sprinkling rite often replaces penitential rite
during Easter season
 Gloria
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May be sung by
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Everyone together
Choir alone
Assembly alternating with the choir
May be recited – either by all or by two parts
of the assembly responding to one another
“The text of this hymn may not be replaced by any other text.” (GIRM, no. 53)
Liturgy of the Word
 Psalm
 Gospel Acclamation
 Intercessions
Liturgy of the Word
 Psalm
“...an integral part of the Liturgy of the Word and holds great liturgical and pastoral
importance, because it fosters meditation on the word of God.” (GIRM, no. 61)
“It is preferable that the responsorial Psalm be sung, at least as far as the people’s
response is concerned... from the ambo or another suitable place.” (GIRM, no. 61)
‘...it is unlawful to substitute other, non-biblical texts for the readings and
responsorial Psalm, which contain the word of God.” (GIRM, no. 57)
“Songs or hymns may not be used in place of the responsorial Psalm.” (GIRM, no. 61)
[Must be a musical setting of the psalm itself – not simply a song based on the psalm ]
Psalmist vs cantor – a psalmist should be a special cantor;
psalmists proclaim the Word – similar to a lector.
Liturgy of the Word
 Psalm
 Gospel Acclamation
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Should be sung
 Intercessions
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May be sung
Liturgy of the Eucharist
 Preparation of the Gifts (Offertory)
“The procession bringing the gifts is accompanied by the Offertory
chant, which continues at least until the gifts have been placed on
the altar. ...Singing may always accompany the rite at the offertory,
even when there is no procession with the gifts. (GIRM, no. 74)
Liturgy of the Eucharist
“...the Eucharistic Prayer, which is the high point of the entire
celebration” (GIRM, no. 30)
 Eucharistic Prayer
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Holy Holy [Sanctus]
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Memorial Acclamation
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May be sung or said (GIRM, no. 79)
Should be sung
Great Amen
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Should be sung
Liturgy of the Eucharist: Communion
 Communion Rite
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Lord’s Prayer
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May be sung
Lamb of God
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Continue until the priest completes fractioning the
host
“This invocation accompanies the fraction and, for this reason, may
be repeated as many times as necessary until the rite has reached its
conclusion, the last time ending with the words dona nobis pacem
(grant us peace). (GIRM, no. 83)
Liturgy of the Eucharist: Communion
“While the priest is receiving the Sacrament, the Communion chant
is begun. Its purpose is to express the communicants’ union in spirit
by means of the unity of their voices, to show joy of heart, and to
highlight more clearly the ‘communitarian’ nature of the procession
to receive Communion. The singing is continued for as long as the
Sacrament is being administered to the faithful.” (GIRM, no. 86)
“The communion song should foster a sense of unity. It should be
simple and not demand great effort.” (MCW, no. 62)
 Assembly should be able to sing without hymnal
 Songs with refrains work well
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Responsorial format work well
Traditional metrical hymns don’t have refrains; generally
don’t work well at communion unless all verses well known
Liturgy of the Eucharist: Communion
 The communion song ends after all have
received communion
 This may be followed by:
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Meditative silence
Song of praise
After Concluding Rite
 Sending Forth
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Music is optional but works well!
Most assemblies like to conclude singing
but…
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May be choir alone, may be instrumental, may be
silence
There’s lots of flexibility here
 Postlude (optional)
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A good opportunity for choir-only songs
Choice of Music
“To determine the value of a given musical
element in a liturgical celebration a threefold
judgment must be made: musical, liturgical,
and pastoral.” (MCW, no. 25)
Choice
 Musical
 Is it good musically?
 Mass setting:
 should be consistent throughout the Mass
 liturgically and pastorally, it can and should change
with the seasons but should be consistent year to year
 The assembly needs to know this music by heart!
 Liturgical
 Does it fit the ritual/rite? the readings of this Mass? the
season?
 Pastoral
 Does it fit what the assembly may be dealing with in
their lives outside of Mass?
Choice
“...arrange those forms and elements set forth by the Church that, in
view of the circumstances of the people and the place, will more
effectively foster active and full participation”. (GIRM, no. 20)
“The congregation must be comfortable and secure with what they
are doing in order to celebrate well.” (MCW, no. 34)
Choice
 Repetition encourages participation
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Most music clinicians recommend limiting new songs
to 3 or 4/year – although musicians always want more
Introduce only 1 new song at a time and repeat it at
least 3 or 4 times over the first 2 months
Mass settings should be stable over years (though may
vary by seasons)
“...songs correspond as closely as possible to the needs, religious
dispositions, and aptitude of the participants... The music used
should be within the competence of most of the worshipers. It
should suit their age-level, cultural background, and level of faith.”
(MCW, no.15)
Choice
 Instrumentation
 Altered instrumentation can help differentiate between
seasons
 Advent & Lent season instrumentation are more spare
 Pull out all the stops for the Easter & Christmas
seasons
“In Advent the organ and other musical instruments should be used with a
moderation that is consistent with the season’s character and does not
anticipate the full joy of the Nativity of the Lord.” “In Lent the playing of
the organ and musical instruments is allowed only to support the singing.
Exceptions are ...” (GIRM, no. 313)
Instrumental music can be appropriate as a prelude, at preparation of the
gifts, and at the recessional. (MCW, no. 37) [note: the new GIRM implies
that the assembly should sing at the preparation of the gifts]
Choice
 GIRM emphasis areas:
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Psalms
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Acclamations
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Processionals (especially opening &
communion)
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Silence
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More singing!
Choice
 Bottomline:
“Does music in the celebration enable these people
to express their faith, in this place, in this age, in
this culture?” (MCW, no. 39)
Questions?
Contact Col Tom Luna or others at NPM via:
www.NPM.org