Music in the

Liturgy
Why is Music Important?
•It is a universal language (musical
notes, staff, etc.).
•When you hear music, you will have
the same reaction regardless of
gender, age, knowledge in music, etc.
•Even plants and animals are
affected by music.
Sacred, Liturgical,
Secular Music
•Sacred Music – to glorify and sanctify the
faithful
•Liturgical Music – a type of sacred music that
specifically satisfies the needs of the liturgy
•Secular Music – about the world, people but
not directly about God

Sacred Music
Secular Music Liturgic
al Music
Musical Instruments
• The pipe organ is to be held in high esteem in the Latin
Church, since it is its traditional instrument, the sound of
which can add a wonderful splendor to the Church's
ceremonies and powerfully lift up men's minds to God
and higher things.
• The use of other instruments may also be admitted in
divine worship, given the decision and consent of the
competent territorial authority, provided that the
instruments are suitable for sacred use, or can be
adapted to it, that they are in keeping with the dignity of
the temple, and truly contribute to the edification of
the faithful.
• In the Philippines, the only other permitted
instrument is the guitar played acoustically.
Musical Instruments
• In permitting and using musical instruments, the culture
and traditions of individual peoples must be taken into
account. However, those instruments which are, by
common opinion and use, suitable for secular music
only, are to be altogether prohibited from every
liturgical celebration and from popular devotions
• 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
Instrumentalists
• The playing of … instruments as solos is not permitted
in Advent, Lent, during the Sacred Triduum and in the
Offices and Masses of the Dead.
• Instrumental music must not be heard whenever a
minister is saying his part.
• It is highly desirable that organists and other musicians
should not only possess the skill to play properly the
instrument entrusted to them: they should also enter
into and be thoroughly aware of the spirit of the
liturgy, so that even when playing ex tempore, they will
enrich the sacred celebration according to the true
nature of each of its parts, and encourage the
participation of the faithful.
Determining
Liturgical Music
•No kind of sacred music is prohibited
from liturgical actions by the Church
as long as it corresponds to the spirit
of the liturgical celebration itself
and the nature of its individual
parts, and does not hinder the active
participation of the people.
(Musicam Sacram 9)
Determining
Liturgical Music
•All other things being equal, Gregorian
chant holds pride of place because it is
proper to the Roman Liturgy. Other
types of sacred music, in particular
polyphony, are in no way excluded,
provided that they correspond to the
spirit of the liturgical action and that
they foster the participation of all the
faithful. (GIRM 41)
Corresponds to the Spirit
of the Liturgical Celebration
•Aligned with the Season of the Church
•Advent, Christmas, Lent, Easter, Ordinary
•Aligned with the Feasts, Solemnities,
Ceremonials.
•Feast of Saints, Immaculate Conception,
Devotion to the Sacred Heart of Jesus, etc.
•Aligned with the Theme
•Mass for bountiful harvest, etc.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Entrance Hymn
• The purpose of this chant 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. (GIRM 47)
• If the priest is already at his chair (or the altar, if there is no
chair or, at the incensation), the song must end.
• May take the form of antiphonary, responsory, hymn, or
motet. Preferably, the people must be able to sing along the
song. However, should the solemnity of the celebration so
require, more special songs may be used even though the
people do not know them.
Corresponds to the Nature
of its Individual Parts (Liturgy)
•Kyrie (Lord Have Mercy)
• A chant by which the faithful acclaim the Lord
and implore his mercy. (GIRM 52)
• Originally a supplication to a king, and not a
penitential supplication.
• We glorify first before we ask for forgiveness.
• Takes the proper form of a litany, or troparion,
either with or without supplications.
• The proper Tagalog translation is “Panginoon,
kaawaan mo kami.”
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Gloria
• 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. (GIRM 53)
• 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. (GIRM 53)
• May be sung solely by the choir.
• May be replaced with a easier but similar hymn during
Masses with Children.
• Composed of three parts, with the second part being a litany
to the Divine Kyrios.
• May be sung in antiphonal, responsorial, or straight through
manner, with the priest intoning the first line.
Corresponds to the Nature
of its Individual Parts (Liturgy)
•Responsorial Psalm
• (GIRM 61) 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.
• It is preferred that response is thru song while the
verses thru chant (or read).
• Must be solely taken from the lectionary.
Substitution of popular sacred songs is never
allowed.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Alleluia
• (GIRM 62) the assembly of the faithful welcomes and greets
the Lord who is about to speak to it in the Gospel and professes
its faith by means of the chant
• “Hallelu Yaweh,” which means “Praise the Lord”
• Proper form is Alleluia – Verse – Alleluia. If the song already
has a verse, no need for lector to read the verse
• (GIRM 62) sung in every season except Lent … the verse
before the Gospel is sung, as indicated in the Lectionary, still
taking the proper form. It is also permissible to sing another
psalm or tract, as found in the Gradual.
• Never sad, so, compositions in the sad minor keys is not
preferred.
• When the bishop blesses the people with the Book of Gospels
after the reading, the Alleluia is sung again.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Prayers of the Faithful
• The response, and also possible, the prayers, may be sung, as long
as the people can sing along with their proper part.
• Response must be easily remembered.

• Profession of Faith (Credo)

• May also be sung on more solemn occasions.
• Either the Nicene Creed or the Apostles’ Creed.
• The Apostles’ Creed is more preferred for Easter, as it is the
baptismal Creed of the Roman Church.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Song for the Presentations of the Gifts
• Song accompanying the procession of the bread and wine.
• 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 74).
• May end when the bread and wine are placed on the altar
(after the preparatory prayers) or at the incensation.
• Take and Receive, Tinapay ng Buhay, and Paghahandog ng
Sarili are not appropriate because they are not about offering
to the Lord.
• About offering the BREAD AND WINE, thanks and praise
for the gifts of God.
• Special song for the presentation of the gifts: Holy
Thursday: Where there is charity (Ubi caritas).
Corresponds to the Nature
of its Individual Parts (Liturgy)
•Sanctus
•Said three times (Holy) -> superlative
degree
•joining with the heavenly powers… this
acclamation, which is part of the
Eucharistic Prayer itself, is sung or said by
all the people with the priest. (GIRM 79b)
•Song of the angels before the throne of
heaven: Triumphant and/or joyous.
Corresponds to the Nature
of its Individual Parts (Liturgy)
Santo, santo, santo,
Panginoong Diyos ng mga hukbo,
napupuno ang langit at lupa
ng kadakilaan mo.
Osana sa kaitaasan!
Pinagpala ang naparirito
sa ngalan ng Panginoon.
Osana sa kaitaasan!
Corresponds to the Nature
of its Individual Parts (Liturgy)
Banal ka, Poong Maykapal.
Banal ang iyong pangalan.
Banal ang iyong kaharian.
Langit at lupa’y nagpupugay
sa iyong kadakilaan.
Dinadakila ng lahat
ang naparito mong Anak
na siyang nagdilat sa bulag,
sa pilay ay nagpalakad, at nakiramay sa lahat.
Corresponds to the Nature
of its Individual Parts (Liturgy)
•Memorial Acclamation
•keeps the memorial of Christ, recalling
especially his blessed Passion, glorious
Resurrection, and Ascension into heaven.
(GIRM 79e)
•Four choices in the Tagalog Missal.
•Acclamation: requires a rising action in the
song.
Corresponds to the Nature
of its Individual Parts (Liturgy)
Aming ipinahahayag
Na namatay ang ‘Yong Anak.
Nabuhay bilang Mesiyas
At magbabalik sa wakas
Para mahayag sa lahat.
Corresponds to the Nature
of its Individual Parts (Liturgy)
Si Kristo ay gunitaing
Sarili ay inihain
Bilang pagkai’t inuming
Pinagsasaluhan natin
Hanggang sa siya’y dumating.
Corresponds to the Nature
of its Individual Parts (Liturgy)
Sa krus mo at pagkabuhay
Kami’y tinubos mong tunay.
Poong Hesus naming mahal
Iligtas mo kaming tanan
Ngayon at magpakailanman.
Corresponds to the Nature
of its Individual Parts (Liturgy)
Si Kristo’y namatay.
Si Kristo’y nabuhay.
Si Kristo’y babalik sa
wakas ng panahon.
Corresponds to the Nature
of its Individual Parts (Liturgy)
•Great Amen
•by which the glorification of God
is expressed and which is confirmed
and concluded by the people’s
acclamation, Amen. (GIRM 79h)
•The great confirmation.
•Solemn.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Lord’s Prayer
• Should be sung having masculine characteristics (strong,
powerful, protective, etc.) for the Lord wants us to feel that
our Father has such characteristics.
• Uses “illustrative melody” as in Gregorian chant.
• Doxology to the Lord’s Prayer
• Same with the Lord’s prayer on how it should be sung.
• The priest says the invitation to the prayer, and all the
faithful say it with him; the priest alone adds the embolism,
which the people conclude with a doxology. (GIRM 81)
• Does not always need to be of similar tune with the Lord’s
Prayer.
• Ends with Amen.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Agnus Dei (Lamb of God)
• 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 83)
• Has two sections (A and B). A can be repeated as
necessary while B is always the ending.
• This is a form of litany so it should be sung
prayerfully and solemnly, begging for mercy.
• Also the song of the saints before the throne of the
Lamb in heaven, exuding Christ’s triumph over death
and our desire to eat the heavenly banquet with him.
Corresponds to the Nature
of its Individual Parts (Liturgy)
• Communion Song
• 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 86)
• Should be related to the readings, responsorial psalm, gospel or best
if homily.
• Sung prayerfully to help parishioners in praying after receiving
communion
• Recessional Hymn
• Free to sing any sacred song preferably related to the theme of the
Mass.
• Theme should be thanking God and sending forth the people.
• Happy Birthday is never sung inside the church, whether before, during,
or after Mass.
Does not Hinder the Active
Participation of the People
• The faithful fulfill their liturgical role by making that full,
conscious and active participation which is demanded by
the nature of the liturgy itself and which is, by reason of
baptism, the right and duty of the Christian people. This
participation:
• (a) Should be above all internal, in the sense that by it the faithful join
their mind to what they pronounce or hear, and cooperate with heavenly
grace,

• (b) Must be, on the other hand, external also, that is, such as to show
the internal participation by gestures and bodily attitudes, by the
acclamations, responses and singing.

(Musicam Sacram 15)