"The Mass of Vatican II"
It's all good, but in particular I appreciated this section on the Council and sacred music ('specially this part, regarding Gregorian chant -- the Jews say "You got it from us"!)
In paragraph 112, in which the Council speaks specifically of music, we read: “The musical tradition of the Universal Church is a treasure of inestimable value, greater even than that of any other art.” That is a stupendous and shocking statement; the Council actually says that the Church’s music is a treasure of art greater than any other treasure of art she has. Think about that. Think about Chartres Cathedral. Think about the Pieta. Think about Da Vinci’s Last Supper. Think of all the crucifixes from Catalonia in Spain, and all the Church architecture and art and paintings and sculpture. The Council boldly says that the Church’s musical tradition is a treasure of inestimable value greater than any other art.
But the Council would be remiss in making such a shocking statement without giving a reason for it: “The main reason for this preeminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” What that means is this: it’s wonderful to have a beautiful church, stained glass windows, statues, a noble crucifix, prayerful architecture that lift your heart up to God. But those are all surroundings of the Mass. It’s the “worship environment,” as they would say today. But it’s not the Mass itself. The Council says that when the Mass itself is set to music, that’s what ennobles music, which, itself, enhances the Mass; and that’s what makes the musical tradition the most precious tradition of the Church.
Notice, however, that the Council implies what many Church documents have said explicitly — that the most perfect form of music at Mass is not the hymns, the so-called “Gathering hymn” and its antithesis — I guess you would call it the “Scattering hymn” — at the end. The most appropriate use of music at Mass, as seen by Church tradition and reaffirmed by the Council, is singing the Mass itself: the Kyrie, the Agnus Dei, the Sanctus, the Acclamations, the Alleluias and so on. Again, this isn’t Father Fessio’s pet theory; this is what the Council actually says. Paragraph 112 adds, “Sacred music is to be considered the more holy in proportion as it is the more closely connected with the liturgical action itself.” This reinforces my point.
Paragraph 114 adds: “The treasure of sacred music is to be preserved and fostered with great care.” Then in paragraph 116 we find another shocker: “The Church acknowledges Gregorian Chant as specially suited to the Roman Liturgy. Therefore, other things being equal, it should be given pride of place in liturgical services.” That’s what the Council actually said. If you are in a parish which prides itself on living the spirit of Vatican II, then you should be singing Gregorian chant at your parish. And if you’re not singing the Gregorian Chant, you’re not following the specific mandate of the Second Vatican Council.
Now, just a little footnote on the Gregorian Chant. In reflecting on these things about Church music, I began to think about the Psalms a few years back. And a very obvious idea suddenly struck me. Why it didn’t come earlier I don’t know, but the fact is that the Psalms are songs. Every one of the 150 Psalms is meant to be sung; and was sung by the Jews. When this thought came to me, I immediately called a friend, a rabbi in San Francisco who runs the Hebrew School, and I asked, “Do you sing the Psalms at your synagogue?” “Well, no, we recite them,” he said. “Do you know what they sounded like when they were sung in the Old Testament times and the time of Jesus and the Apostles?” I asked. He said, “No, but why don’t you call this company in Upstate New York. They publish Hebrew music, and they may know.”
So, I called the company and they said, “We don’t know; call 1-800-JUDAISM.” So I did. And I got an information center for Jewish traditions, and they didn’t know either. But they said, “You call this music teacher in Manhattan. He will know.” So, I called this wonderful rabbi in Manhattan and we had a long conversation. At the end, I said, “I want to bring some focus to this, can you give me any idea what it sounded like when Jesus and his Apostles sang the Psalms?” He said, “Of course, Father. It sounded like Gregorian Chant. You got it from us.”
I was amazed. I called Professor William Mart, a Professor of Music at Stanford University and a friend. I said, “Bill, is this true?” He said, “Yes. The Psalm tones have their roots in ancient Jewish hymnody and psalmody.” So, you know something? If you sing the Psalms at Mass with the Gregorian tones, you are as close as you can get to praying with Jesus and Mary. They sang the Psalms in tones that have come down to us today in Gregorian Chant.
So, the Council isn’t calling us back to some medieval practice, those “horrible” medieval times, the “terrible” Middle Ages, when they knew so little about liturgy that all they could do was build a Chartres Cathedral. (When I see cathedrals and churches built that have a tenth of the beauty of Notre Dame de Paris, then I will say that the liturgists have the right to speak. Until then, they have no right to speak about beauty in the liturgy.) But my point is that at the time of Notre Dame de Paris in the 13th century, the Psalms tones were already over a thousand years old. They are called Gregorian after Pope Gregory I, who reigned from 590 to 604. But they were already a thousand years old when he reigned. He didn’t invent Gregorian chant; he reorganized and codified it and helped to establish musical schools to sing it and teach it. It was a reform; it wasn’t an invention. Thus, the Council really calls us back to an unbroken tradition of truly sacred music and gives such music pride of place.
Read it all here, and don't forget to send it on to your pastor and parish liturgist/music director!