In the liturgy, to sing and to play music means to pray, attuning one’s heart to that of our sisters and brothers and to God, through active participation in the mystery that is being celebrated.

Pope Leo dedicated the general audience of August 19 to the theme of sacred music, continuing to draw from the Vatican II document on the liturgy.

The Holy Father has shown himself to be very interested in music, both liturgical and secular. From the first Regina Caeli that he led after his election, which he chanted, to his clear enjoyment at concerts, to the reflections he has made on the role of music in our human experience. His mother was a musician and he clearly picked up appreciation for music in his home.

Here is a full translation of his catechesis:

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Dear brothers and sisters,

The sixth chapter of the Constitution Sacrosanctum Concilium (SC) of the Second Vatican Council is dedicated to sacred music. The document states that “The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.” (SC, 112). It specifies that “Sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites. But the Church approves of all forms of true art having the needed qualities, and admits them into divine worship.” (ibid.).

Here we find the core of the Council’s teaching, which confirms and deepens the ministerial function of music in the liturgy, which had already been highlighted by Saint Pius X in the Motu Proprio Inter sollicitudines (22 November 1903). Music, indeed, is part of the liturgical action and is not merely a decorative part of the celebration. In the liturgy, to sing and to play music means to pray, attuning one’s heart to that of our sisters and brothers and to God, through active participation in the mystery that is being celebrated. In particular, music expresses the affective dimension of prayer, as Saint Augustine says: “Cantare amantis est”, that is, “singing belongs to those who love” (Sermo 336, 1). This is very important, because it helps us to open our hearts to God’s action in grace and to allow ourselves to be moulded by it.

Singing also fosters communion. It contributes to the unity of hearts, overcoming differences between people and bringing everyone together in praise of God through the symphony of voices. Thus, it becomes an epiphany of the Church, a tangible manifestation of the communion that belongs to her very nature.

Certain requirements arise from the profound theological significance of sacred song as an integral part of the liturgical action. The first is that it must respond at every level to what is most appropriate for the liturgical moment, beyond fashions or the particular sensitivities of composers. Its form, especially in its melodic aspect, must be at once noble and simple, of high musical quality and easily performable, particularly when it is intended to be sung by the whole assembly (cf. SC, 121).

For the same reason, the Council recommends that the texts too should be suitable, profound and at the same time readily understandable, inspired mainly by Sacred Scripture, the liturgical books and the spiritual Tradition of the Church. Attention must be paid to this, so that the dynamic expressed in the ancient principle lex orandi, lex credendi, that is, the law of prayer is also the law of faith, may remain alive and continue to grow.

Sacrosanctum Concilium devotes considerable attention to the theme of the active participation of the faithful (cf. no. 114). This “must be understood […] on the basis of a greater awareness of the mystery being celebrated and its relationship to daily life” (Benedict XVI, Apostolic Exhortation Sacramentum caritatis, 52), in a “spirit of constant conversion which must mark the lives of all the faithful” (ibid., 55). As for the concrete way in which this can be achieved through the specific role of sacred music, the Constitution offers a clear answer: “the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs” and “reverent silence” should be fostered (SC, 30). It urges each person, minister or member of the faithful, to perform “all of, but only, those parts which pertain to his office by the nature of the rite and the principles of liturgy” (SC, 28), in the harmonious balance between the different ministries, the various interventions and moments of silence.

The Council then attributes great value to Gregorian chant, without excluding other genres of sacred music from the celebration. Particular attention is also given to the organ (cf. SC, 120), while the use of other instruments is permitted “on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful” (SC, 120).

A theme close to the Council’s reform is that of inculturation, including in the field of sacred music. In particular, with regard to the musical traditions of different cultures, the Council emphasizes the importance of taking them seriously into consideration, as they form part of people’s religious and social life. Therefore, on the one hand, an “attitude toward religion” should be promoted in everyone (SC, 119). On the other hand, as far as may be practicable […] every effort should be made to see that the traditional music of these peoples, both in schools and in sacred services may be promoted (cf. ibid.).

A particular role in the liturgical context is given to the schola cantorum. The Council recommends the promotion of this pastoral instrument, to ensure the “proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing” (Sacred Congregation of Rites, Instruction Musicam sacram, 19).

For this reason, the composer of sacred music is called to know and preserve the musical heritage of the Church, allowing it to inspire new compositions at the service of the liturgy, while respecting contemporary sensibilities and the different cultural traditions, so as “‘purify worship from ugliness of style, from distasteful forms of expression, from uninspired musical texts which are not worthy of the great act that is being celebrated’, to guarantee dignity and excellence to liturgical compositions” (Saint John Paul II, Chirograph on Sacred Music, 22 November 2003, 3).

For all these reasons, the Council Fathers recommend promoting the formation and practice of sacred music “in seminaries, in the novitiates and houses of study of religious of both sexes, and also in other Catholic institutions and schools” (SC, 115), and ensuring that musicians and singers receive sound liturgical formation (cf. ibid.).

Dear brothers and sisters, the Fathers of the Church held liturgical singing in great esteem as a symbol of ecclesial communion. We can therefore conclude with these beautiful words of Saint Ignatius of Antioch: “Let each of you unite to become a choir, so that, harmonious in love and taking up the song of God in unison, you may sing with one voice through Jesus Christ to the Father, so that he may hear you and recognize, from the good works you perform, that you are members of his Son” (cf. Letter to the Ephesians, 4, 2).