CATHOLIC THEOLOGICAL COLLEGE

MCD UNIVERSITY OF DIVINITY

ASSESSMENT TASK 2 ESSAY

Outline the theological, liturgical

and pastoral implications of

the role of Music in Liturgy

DL 8000C Introduction to Liturgy

Master of Arts (Theology)
Lecturer-in-Charge: Dr Elio Capra
Student Name: Mr Peter Carl Sheehan
CTC Student ID No.: 201317602
(Word Count: approximately 3,200 words)
27 May 2014
Name: Peter Sheehan ID: 201317602 DL8000C 2

I agree music in the liturgy does give praise and thanks to God and does intensify and

enhance the words and actions of the rite. It supports the sung prayer of the people

who share in Christs priestly action through virtue of their baptism1. I will first look

at the development of the churches teaching on sacred music from a theological

perspective firstly in the Vatican, then in the United States of America, before briefly

looking at the church in Australias response. I will outline approaches as to how

liturgical music should be chosen and highlight some issues and obstacles that hinder

having one evaluation of the three judgments that is liturgically, pastorally and

musically optimal for any given situation.

1.1 VATICAN MUSIC DOCUMENTS

The theological role of music in the post-modern era begins with the Second Vatican

Councils Constitution on the Sacred Liturgy Sacrosanctum Concilium (CSL) in

1963 that brought reform to the Liturgy. It saw clearly the essential role of sacred

song and singing as a means to achieve the primary aim of participation that was

fully conscious and active, modified to the needs of today and leads to increasing

both physical and mental strength and energy in the faithful (SCL 112, 1, 14, 30; MS

15.2 It did away with the distinction between the low mass and the sung mass3. When

we refer to music and Liturgy we are talking about sacred music. The fathers said

there was no one sacred form of music, however the more music was connected with

1
Capra, Elio. Introduction to Liturgy, Lecture Notes (Melbourne CTC, 2014) 27 May
2
Vatican Translation, The Documents of Vatican II: With Notes and Index, (Strathfield NSW: St
Pauls Publications, 2009) 116, 96, 99
3
Gelineau, Joseph Liturgical Assembly, Liturgical Song (Pastoral Press: Portland, 2002) 82
Name: Peter Sheehan ID: 201317602 DL8000C 3

the liturgy the more holy it became (SCL112). The old four-hymn sandwich is gone

we do not sing at mass, we sing the Mass!4 5

The only other Vatican document promulgated by the Sacred Congregation for Rites

was Musicam Sacram MS (Sacred Music) in 1967 two years before the New Order

of Mass was released. It was dealing with the Trindentine (Latin) Rite that was about

to be overtaken6, however it noted the effect of music within liturgical worship:

Liturgical worship is given a more noble form when it is celebrated in

song, through this form, prayer is expressed in a more attractive way,
the mystery of the liturgy, the unity of hearts is more profoundly
achieved by the union of voices, minds are more easily raised to heavenly
things by the beauty of the sacred rites, and the whole celebration more
clearly prefigures that heavenly liturgy which is enacted in the holy city of
Jerusalem. (MS 5)

We celebrate heaven meeting earth as Jesus imparts to us sacramental grace and

through the paschal mystery we are brought from defeat and despair to new life.

These documents plus the new Order of Mass, the General Instruction of the Roman

Missal (GIRM) and the Roman Missal were published in Latin. Translation was done

by the International Commission on English in the Liturgy (ICEL) founded in 1963

by bishops from ten English speaking conferences7.

4
Breedlove, Jennifer K and Turner, Paul Liturgical Ministry Series: Guide for Music Ministers
2nd Ed. (Chicago: Liturgy Training Publications LTP, 2010) 38
5
Taylor, Dr. Paul. Introduction to Liturgy, Lecture Notes (Melbourne CTC, 2014) April 29
6
Foley, Edward A Lyrical Vision American Essays in Liturgy Ebook, (Minnesota, Liturgical
Press, 2009) 4%
7
Foley, Ibid, 30%
Name: Peter Sheehan ID: 201317602 DL8000C 4

1.2 U S BISHOPS MUSIC DOCUMENTS

The US bishops, in their commitment to liturgical and musical reforms especially the

change to the vernacular produced the document The Place of Music in

Eucharistic Celebrations (PMEC) in 1969. The PMEC stressed a theology of

celebration as priority (before the musical). It also emphasised the liturgy being an

attractive human experience (III). And identified three judgments to be made, based

on the principles of CSL, the musical, liturgical and pastoral8(III. C). It also

considered liturgical elements according to their significance, rather than their

liturgical sequence.

There were several issues, Foley identifies, at this time. One issue that arose was the

emphasis on active participation, which meant the congregation were now the

musical subjects in the liturgy and the choir was no longer the main musical voice. A

key concern was getting a balance between the pastorally acceptable considering

the assembly, and the aesthetically pleasing the art and beauty of professional

liturgical music9.

Tied to this was the Gregorian chant was sung in Latin, written for specialists, was

not conducive to the congregation singing, (due somewhat to its complexity) and the

aim of the council fathers for the assembly to be fully and consciously participating.

8
Foley, Ibid, 19%
9
Foley, Ibid, 14%
Name: Peter Sheehan ID: 201317602 DL8000C 5

There were professional musicians who served at key cathedrals who were being

challenged by this and having to redefine themselves and their liturgical role.

A related tension was a 1965 debate about more contemporary forms of music for

high school and college students. Fr Godfrey Diekmann advocated the use of guitars

and folk music in Eucharistic liturgies with students. Students became effectively a

Special (Music) Group for whom music needs to be meaningful for the liturgy to

achieve its purpose10.

In 1966 the Friends of the English Liturgy published the Hymnal for Young

Christians. This included the song And theyll know we are Christians by our

Love by Peter Scholtes which became a classic of sorts its time11. It was certainly

a song I played on my guitar and sang in the late 70s and early 80s. Like me,

there were a lot of volunteer musicians who had no musical or liturgical training

but plenty of enthusiasm!

There also arose a boom in the publishing industry of religious music, which Paul

Taylor refers to as the commercially driven cult of Liturgical Music12, with this

came an expanding division between the professional and volunteer liturgical

musicians. In response to this situation, the Federation of Diocesan Liturgical

Commissions (not the bishops) in 1972 produced Music in Catholic Worship

10
Foley, Ibid, 14%
11
Foley, Ibid, 33%
12
Taylor, Op. Cit., 29 April
Name: Peter Sheehan ID: 201317602 DL8000C 6

(MCW)13 which to some is a revised and expanded version of PMEC. There is a

clear parallel in regard to the judgments and the MCW has expanded the discussion.

It also adds paragraphs on role descriptions for the congregation (MCW 34), the

choir (MCW 36) and the organist and other instrumentalists (MCW 37-38). William

Bauman says one of MCWs primary contributions was its distinction between

musical style and quality, with its acceptance of the folk music and ending of the

four-hymn syndrome at Mass, by emphasizing what were the essentials (MCW44-

46)14. The most comprehensive document produced by the US bishops in 2007 was

Sing to the Lord: Music in Divine Worship which was a revision of both MCW

and Liturgical Music Today (LMT) from 1982. It further elaborates on the three

judgments but stresses a single evaluation. It also changed the original order to

emphasize the liturgical and includes at the beginning a theological reflection on

why we sing.

Foley says its emphasis on singing dialogues is misplaced, in contrast to Taylor. I

think Taylor has it right as he emphasises the beauty of sung dialogue and the

heightened experience of melodic voices raised in pitch being a more beautiful

expression of faith and praying, than the low and more monotone spoken voices15.

13
Foley, Op. Cit., 35%
14
Foley, Ibid, 48%
15
Taylor, Op. Cit., April 29
Name: Peter Sheehan ID: 201317602 DL8000C 7

1.3 SACRED MUSIC IN AUSTRALIA

Paul Taylor says when music is selected for liturgy we have things upside down. In

terms of importance the ministerial chants are first, then the mass settings and lastly

the processional hymnody16. He cites the GIRM:

40. Great importance should therefore be attached to the use of singing in

the celebration of the Mass, every care should be taken that singing by

the ministers and the people not be absent in celebrations that occur on

Sundays and on Holy days of Obligation.

However, in the choosing of the parts actually to be sung, preference is to

be given to those that are of greater importance and especially to those to

be sung by the Priest or the Deacon or a reader, with the people replying,

or by the Priest and people together17.

To this end the ICEL has produced The Revised ICEL Chant Mass. In Australia these

are recommended by the Australian Catholic Bishops Conference (ACBC). They

also Recommended Masses by Australian Composers and asked parishes to adopt the

Mass of St Francis by Paul Taylor in order to create a new collective memory or

conscience for Catholics of Australia18.

16
Taylor, Op. Cit., April 29
17
The General Instruction Of The Roman Missal: Final Text With Application for Australia
(Strathfield NSW: St Pauls Publications, 2012) 26
18
Catholic Church in Australia ACBC National Liturgical Council Music Mass Settings
http://www.catholic.org.au/national-liturgical-council/music [Accessed 24 May 2014]
Name: Peter Sheehan ID: 201317602 DL8000C 8

The ACBC in 2009 produced, through the National Liturgical Musical Board

(NLMB), a list of Recommended Hymns and liturgical songs as required by

Liturgiam Authenticam. These were endorsed and approved and are now waiting

recognitio from the Congregation for Divine Worship. In this process it used sub-

committees to separately evaluate each of the criteria Textual, Musical and

Liturgical (refer Attachment A) that appear to have a different title and order of

importance than STTL.19 Paul Taylor explains

the NLMB was not following the US document (STTL) it was a practical

convenience, more than anything else to consider the items on the list

from the textual, musical and liturgy/pastoral perspectives.20

Despite the obvious work in this area of liturgical music, I had never heard of this

process or the Recommended hymns, in any of my Parishes or tertiary studies

(including my teaching and Catholic RE Teacher Registration) or church work

until now, and I have been song leading with guitar for approximately 35 years. I

find this quite curious. I feel a sense of liturgical and musical disconnect has

occurred but now I can see things more clearly.

19
Catholic Church in Australia ACBC National Liturgical Music Board Recommended Hymns and
songs approved by the ACBC http://www.catholic.org.au/national-liturgical-music-
board/recommended-hymns-and-songs-approved-by-the-acbc
20
Taylor, Paul Dr., e-mail message to author, 26 May, 2014
Name: Peter Sheehan ID: 201317602 DL8000C 9

2.0 THE THREE JUDGMENTS

All the judgments are part of the one question Is this particular piece of music

appropriate for use in the liturgy?21 Does it add delight and beauty to prayer?

Does it foster unity of minds? Does it confer greater solemnity? These are the

effects of sacred music identified by the council fathers22. Does it help people

enter more fully into communion with God and each other in Christ (STTL69)?

The primary liturgical instrument is the human voice, it too is the image and

likeness of God (STTL86). As St. Augustine says Singing is for one who loves.

It is personal23 and it is about a relationship of love with the God of love. Not all

pieces of music do this and the Liturgy does not usually ask or require this. When

making the evaluation, each of the judgments cant be applied in isolation and

require cooperation, consultation collaboration, and mutual respect.

In summary MCW says music has a ministerial role in helping faithful to express

and strengthen their faith; Prayer role in singing the Mass (parts); it unifies us to

one another and Christ; Other times it accompanies an action, words, or both

action and words. Liturgical music contributes to good celebrations (MCW 5).24

21
Unites States Conference of Catholic Bishops (USCCB) Sing to the Lord: Music in Divine
Worship 2007 (Washington DC: USCCB Publishing, 2008) 38
22
Vatican, Op. Cit., 42
23
USCCB, Op. Cit., 1
24
Archdiocese of Canberra and Goulburn Music in the Liturgy (Canberra: Liturgical Commission,
2004) http://www.cg.catholic.org.au/_uploads/rsfil/00056.pdf [Accessed 24 May 2014] 2
Name: Peter Sheehan ID: 201317602 DL8000C 10

2.1 THE LITURGICAL JUDGMENT

This judgment asks whether the piece of music is in accord with the liturgical

rites structure and text. This requires the selector of music to be a Pastoral

musician who has a good working knowledge of the liturgical books especially

the Order of Mass and the GIRM and the Roman Missal.

The ICEL has provided chants, both solemn and simple, for every setting in the

Missale Romanum (2002).!The following table synthesizes, English and Australian

takes on the importance of rites being sung more stars means more important:25 26

RITUAL STRUCTURE Song

INTRODUCTORY RITES

Gathering Song ****

Greeting **
Lord Have Mercy/Sprinkling ***
Glory to God ****
Collect *

LITURGY OF THE WORD

Psalm ****
Gospel Acclamation *****
Profession of Faith *
General Intercessions **

25
Archdiocese of Canberra and Goulburn, Op. Cit., 5
26
Bishops Conference of England & Wales Singing the Mass Music Committee, 2007.
Name: Peter Sheehan ID: 201317602 DL8000C 11

LITURGY OF THE EUCHARIST

Preparation of Gifts

Procession with Gifts ***

Prayer over gifts *

Eucharistic Prayer

Preface Dialogue responses *

Acclamations: Holy, Holy *****
Memorial Acclamation *****
Great Amen *****

Communion Rite

Lords Prayer **
Doxology **
Lamb of God ***
Communion ****
Thanksgiving after Communion *

Concluding Rites

Blessing *
Recessional!! ! ! ! ! ! ***!!

A lot of praise and worship songs are excluded by the Priest because of the text,

even of songs composed by Catholic artists. When selecting songs the music needs

to be in accordance with the Liturgical cycle and season. For example, in Lent and

Advent there will be no Alleluia sung at the Gospel Acclamation. The mood will

be quieter and more reflective.

Paul Taylor says ideally the Entrance and Communion Antiphons should be sung

as Antiphonal (back and forth) during the respective processionals rather than

(strophic) hymns. It is difficult to find suitable musical compositions.

Name: Peter Sheehan ID: 201317602 DL8000C 12

The Responsorial Psalm refrain should ideally be sung by the assembly, even if the

verses are read by the lector/ reader. There are resources such as The Lyric

Psalter27 to aid in finding suitable sung responses. Ideally dialogues such as the

opening, closing and the Gospel and Preface Dialogues should be chanted (using

the ICEL vernacular recommended by the ACBC) by the Presider and the people.

For choice of hymns it is hard, for Song and Choir Leaders, to find songs that fit in

with the scripture readings and the Sunday theme which should be sought in the

Preface and the Collect prayers. In Australia our local song source is As One

Voice hymnals of Willow Publishing, who have recently released The Next

Generation.

Generally the entrance song uses a gathering theme, and the recessional a

sending theme. Br. Paul Skippen calls this mass structure GPBS (Gather,

Proclaim, Break, Send). He says to be effective, liturgy should be both effective

and enjoyable engaging not entertaining. He says WE are the Church and when

we celebrate we sing, serve, pray and sacrifice together. We must be welcoming

and accepting of all people and be open to other styles of music. The lyrics must

serve the liturgy!28

27
Alonso, Tony & Haugen, Marty The Lyric Psalter: Year A Revised Grail Lectionary Psalms
(Chicago: GIA Publications, 2010)
28
Skippen, Paul Br. and Ogilvie, Gina Celebrate Often & Celebrate Well Seminar Notes,
http://gpbs.com.au (Traralgon: Lavalla Catholic College, 2014) 19 May
Name: Peter Sheehan ID: 201317602 DL8000C 13

2.2 THE PASTORAL JUDGMENT

This judgment asks Does this song or music piece serve the assembly at this

moment, in this situation?29 Will it draw them closer the holy mysteries, to Christ

and promote their sanctification?30

Within Australian parishes today, there are a lot of multi-ethnic and multi-cultural

communities, such as Sri Lankan, Indian, Sudanese and Philippine, who have their

own music and traditions. The top three countries of birth of Casey residents (other

than Australia) in 2011 were United Kingdom (11,500 people), India (10,300

people) and Sri Lanka (7,600 people)31. Musicians from these countries who

perform and minister in Parishes need to be accommodated.

STTL says other factors need to be considered such as the age, language and

education of the assembly. There is a widening gap between older members and

younger church goers. For example, between 1991 and 2011 the number of

Catholics over 75 has doubled and more than one in four Catholics are aged 55 or

over.32 Australians are better educated. The number of Catholics with a Post

Graduate degree has increased by a factor of five between 1991 and 2011 and 18%

of all Catholics hold a degree or higher qualification.33

29
Breedlove & Turner, Op. Cit., 39
30
USCCB, Op. Cit., 40
31
City of Casey Demographics http://www.casey.vic.gov.au/council/our-city/demographics
[Accessed 26 May 2014]
32
ACBC Pastoral Research Office Change over time in the Catholic population Issue 13, 25
October 2012.
33
ACBC Pastoral Research Office Educational Qualifications of Catholics Issue 16, 22
November 2012
Name: Peter Sheehan ID: 201317602 DL8000C 14

In the City of Casey 73 per cent of their 270,00 people follow a faith, and the

largest are Roman Catholic (70,700 people), Anglican (29,000 people), Islam

(13,900 people), Buddhism (9,900 people) and Uniting Church (7,900 people).

A survey on Belonging found that Parish leaders influence Mass attenders

sense of belonging in a very powerful way, particularly through their ability to

communicate a clear vision for the parish, their ability to get people to work

together, and a readiness to encourage parishioners to put their gifts and skills to

use for the good of the parish. It also found a high quality of celebration is

effective in enhancing the sense of belonging34.

Accordingly the Pastoral judgment is keenly important and can overtake the other

judgments in determining the song choice. Favourite and popular songs are

selected, in a more protestant manner, due to the vigorous singing response of the

assembly.

34
ACBC Pastoral Research Office: Building Stronger Parishes What makes people feel they
belong September 2011
Name: Peter Sheehan ID: 201317602 DL8000C 15

2.3 THE MUSICAL JUDGMENT

This judgment asks Is this song or music piece good worthy technically,

expressively and aesthetically35? Is it well-written and of high quality

artistically?36 The style of music must reflect ideals of true art and beauty,

therefore it must avoid the profane and promote a sense of the sacred, not be trite,

clich or cheap.

To do this, music and song leaders with next to no training in liturgy and music,

attempt to choose songs that fit in with at least the general liturgical moment and

be well known by the assembly so they can sing along. We dont do an entrance

song at Communion or a sending song during the gift procession.

Catholic compositions should be positively selected, particularly Australian artists

who produce liturgical songs and mass settings such as Paul Taylor, John

Wilcock, Gina Ogilvie, Pat Keady, Rob Galea and Roby Curtis. An example given

by Paul Taylor, that was included mainly for Pastoral reasons was Here I am

Lord as it had wide pastoral currency despite it not having textual or musical

merit or suggested liturgical use37.

35
USCCB Sing to the Lord, Op. Cit., 40
36
Breedlove & Turner, Op. Cit., 39
37
Taylor, Paul Dr., e-mail message to author, 26 May, 2014
Name: Peter Sheehan ID: 201317602 DL8000C 16

The role of the music being sung is to encourage and support the assembly so they

sing. This means doing songs that are well known even if musically they are tiring

you. The aim is to build a repertoire of music, both new and old, that builds a

collective memory amongst the people. New songs and pieces, as well as

different Mass settings, need to be introduced patiently and slowly. The singers or

the choir can help this by singing harmonies to enrich the singing and sing those

parts the assembly cannot manage. Technically the music itself, the melody,

rhythm, pitch, note range and accompaniment style should foster prayerful

participation. The phrases, intervals and harmonies should not be difficult to sing

for the assembly.

Once the assembly are singing well, you should step back from the microphone so

they can hear themselves. The volume of the instruments or singers should not be

so loud that the assembly cant hear themselves and are forced to listen because

they find it too hard to sing.

A 2004 survey on Who goes when? concludes that Sunday evening masses, have

higher attendances but the people have less connection, are more educated,

younger and more come from outside the Parish; they prefer more contemporary

music as do Saturday evening masses. Early Sunday masses are attended by older

people, who prefer hymns and are more connected with the church38.

38
Dixon, Bob and Bond, Sharon Who goes when? Mass attenders and their usual Mass time A
report to the ACBC Pastoral Projects Office, November 2004
http://www.pro.catholic.org.au/researcharts#movingAway [Accessed 26 May 2014]
Name: Peter Sheehan ID: 201317602 DL8000C 17

CELEBRATING WITH GOOD MUSIC

What I have sought to demonstrate is that Sacred Music, whether it is for praise

and thanksgiving or to enhance the words and actions of the liturgical rite is not an

easy or by any means simple process. The judgments themselves are more like

guiding principles rather than science. They help clarify issues pertaining to song

selection for Liturgy. The process is convoluted by differing interests and factors

which include the nature of the assembly, the time the rite is held, who is attending,

the type of liturgical rite and who is presiding over the rite. I have focused on the

Eucharistic Rite but there are similar issues pastorally, liturgically and musically

with selection of music for funerals and marriages rites.

The parish situation are so varied and unique they all require their own specific

response. Though good liturgical formation is an important part of getting it right,

the people and resources at the disposal of priests is usually somewhat finite,

particularly given the demographic situation of an ageing congregation and mainly

inward focussed parish community. I have attempted to paint a picture of the

situation in Australia generally and specifically in my City of Casey.

I think we need to think bigger and always keep in mind the spirit of the liturgy

and attempt to best apply the major principles from CSL especially adaptations to

different cultures, especially the youth for they are the church of the future.

Let us, who love, sing to the Lord a new song!

Name: Peter Sheehan ID: 201317602 DL8000C 18

BIBLIOGRAPHY

ACBC Pastoral Research Office Change over time in the Catholic population

Issue 13, 25 October 2012.

ACBC Pastoral Research Office Educational Qualifications of Catholics Issue 16,

22 November 2012

Alonso, Tony & Haugen, Marty The Lyric Psalter: Year A Revised Grail

Lectionary Psalms Chicago: GIA Publications, 2010

Archdiocese of Canberra and Goulburn Music in the Liturgy Leaflet, Canberra:

Liturgical Commission, 2004

http://www.cg.catholic.org.au/_uploads/rsfil/00056.pdf [Accessed 24 May 2014]

Bishops Conference of England & Wales Singing the Mass Leaflet, Music

Committee, 1997

Breedlove, JK and Turner, Paul Liturgical Ministry Series: Guide for Music

Ministers 2nd Ed. Chicago: Liturgy Training Publications LTP, 2010

Catholic Church in Australia ACBC National Liturgical Council Music Mass

Settings http://www.catholic.org.au/national-liturgical-council/music [Accessed

24 May 2014]
Name: Peter Sheehan ID: 201317602 DL8000C 19

Capra, Elio. Introduction to Liturgy, Lecture Notes (Melbourne CTC, 2014) 27

May

City of Casey Demographics http://www.casey.vic.gov.au/council/our-

city/demographics [Accessed 26 May 2014]

Dixon, Bob and Bond, Sharon Who goes when? Mass attenders and their usual

Mass time A report to the ACBC Pastoral Projects Office, 2004

http://www.pro.catholic.org.au/researcharts#movingAway [Accessed 26 May 2014]

Foley, Edward A Lyrical Vision American Essays in Liturgy Ebook, Minnesota,

Liturgical Press, 2009

Gelineau, Joseph. Liturgical Assembly, Liturgical Song Portland: Pastoral Press,

2002

Skippen, Paul Br. and Ogilvie, Gina Celebrate Often & Celebrate Well Seminar

Notes (Traralgon: Lavalla Catholic College, 2014) 19 May

Taylor, Paul Dr., e-mail message to author, 26 May, 2014

Taylor, Dr. Paul. Introduction to Liturgy, Lecture Notes, Melbourne CTC, 2014

The General Instruction Of The Roman Missal: Final Text With Application for

Australia Strathfield NSW: St Pauls Publications, 2012

Name: Peter Sheehan ID: 201317602 DL8000C 20

Unites States Conference of Catholic Bishops (USCCB) Sing to the Lord: Music

in Divine Worship 2007 Washington DC: USCCB Publishing, 2008

Vatican Translation, The Documents of Vatican II: With Notes and Index,

Strathfield NSW: St Pauls Publications, 2009

Name: Peter Sheehan ID: 201317602 DL8000C 21

ATTACHMENT A

1. Textual Evaluation Criteria

Scriptural
Apt for the season
Theologically robust
Thematically and linguistically coherent
In modern/classical language (rather than in archaic or
temporarily contemporary language)
In common possession and with likely appeal
With poetic power.

Those versions have been preferred which:

Use you rather than thou.

Do not include words or phrases with an obsolete or archaic ring.
Use inclusive rather than exclusive language in reference to human
beings.
Do not conflate verses.
Have more effective rhyme.

2. Musical Evaluation Criteria

The music should enable the fostering of participation

The technical aspects of musical language melody, rhythm, pitch
etc. / instrumentation/ and accompanimental styles must enable
participation.
Musical style must promote a sense of the sacred and avoid
profane;
Music must reflect the ideals of true art and beauty.
Name: Peter Sheehan ID: 201317602 DL8000C 22

Music must properly support text being sung, with the proper
relationship of verbal and music accents etc.

Maintenance and promotion of traditional sacred repertoire including

chant and melodies especially where they remain in the collective
consciousness of Catholics.

3. Liturgical Evaluation Criteria

Relationship of the hymn to the scriptural components within the

official liturgical texts.
Seasonal Suitability.
Relationship to Liturgical action.
Ability to express the prayer of the community.
Currency of use in the Australian Church;
Pastoral suitability for a variety of situations.
Consistency with the dignity of the liturgical celebration.

Source: Catholic Church in Australia ACBC National Liturgical Music Board Recommended

Hymns and songs approved by the ACBC http://www.catholic.org.au/national-liturgical-music-

board/recommended-hymns-and-songs-approved-by-the-acbc