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springs. It must be holy, and must therefore exclude all profanity, not only from itself but also from the manner in which it is presented by those who execute it. It must be true art, for otherwise it cannot exercise on the minds of the hearers that influence which the Church meditates when she welcomes into her liturgy the art of music. But it must also be universal, in the sense that, while every nation is permitted to admit into its ecclesiastical compositions those special forms which may be said to constitute its native music, still these forms must be subordinated in such a manner to the general characteristics of sacred music, that no one of any nation may receive an impression other than good on hearing them." This was expanded upon by Pope
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directed that "bishops and other pastors of souls must be at pains to ensure that, whenever the sacred action is to be celebrated with song, the whole body of the faithful may be able to contribute that active participation which is rightly theirs, as laid down in Art. 28 and 30", which articles say:
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of Pius X (November 22, 1903), the following were the general guiding principles of the Church: "Sacred music should possess, in the highest degree, the qualities proper to the liturgy, or more precisely, sanctity and purity of form from which its other character of universality spontaneously
34:
deal primarily with
Catholic church and does not discuss other denominations much if at all). Plus, even for the Cath. church, it fails to give much historic context and seems only concerned with such music since Vatican II... and do not represent a
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The interest taken by the
Catholic Church in music is shown not only by practitioners, but also by numerous enactments and regulations calculated to foster music worthy of Divine service. Contemporary
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The qualities that create the distinctive character of liturgical music are based on the notion that liturgical music is conceived and composed according to the norms and needs of the various historic
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While there have been historic disputes within the church where elaborate music has been under criticism, there are many period works by
Orlandus de
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Blanc, Aurélie, and Olivia
Robinson. "The Huy Nativity from the Seventeenth to the Twenty-First Century: Translation, Play-Back, and Pray-Back".
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Fassler, Margot
Elsbeth (2014). "Appendix A: A Medieval Music Primer, IV. The Liturgy of the Roman Catholic Church".
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is warmly recommended by the
Catholic Church, as both polyphonic music and modern unison music for the assembly.
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While music is important within many types of
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The Story of
Christian Music: An Illustrated Guide to All the Major Traditions of Music in Worship
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