Motu Proprio of Pope
St. Pius X on Sacred Music
November 22, 1903
Instruction on Sacred Music
PART ONE: GENERAL PRINCIPLES
1. Sacred music, as a complementary part of the solemn
liturgy, shares in the overall purpose of the liturgy: the glory of God and the
sanctification, the edification of the faithful. Sacred music contributes to the
decorum and the splendor of the ceremonies of the Church. Now, the principal
function of sacred music is to clothe with suitable melody the liturgical text
proposed for the understanding of the faithful. Therefore, its purpose is to add
greater efficacy to the text. This is done so that, through the music, the
faithful will be more easily inspired, better disposed to receive the benefits
of the grace that comes from the celebration of the holy mysteries.
2. Sacred music should consequently possess, in the
highest degree, the qualities proper to the liturgy, in particular, sanctity and
goodness of form, which will spontaneously produce the final quality of
universality.
It must be holy. Sacred music must,
therefore, exclude all that is profane, not only in itself, but also in the
manner in which it is presented by those who execute it.
It must be true art. Otherwise, in
the minds of those who listen to it, sacred music will not be able to bring
about the effect the Church intends, in admitting into her liturgy the art of
musical sounds.
At the same time, however, sacred
music must be universal in this sense. On the one hand, every country can admit
its own native music forms into its compositions for church. On the other hand,
these kinds of music must be subordinate to the general character of sacred
music. This must be done in such a way that, on hearing the music, nobody of any
other country would receive a negative impression.
PART TWO: THE DIFFERENT KINDS OF SACRED MUSIC
3. In the highest degree, these qualities are found in
Gregorian Chant. Consequently, this is the song that is proper to the Roman
Church, the only song she has inherited from the ancient Fathers, the only song
she has jealously guarded for centuries in her liturgical [books], the only song
she directly proposes to the faithful as her own, the only song she prescribes
exclusively for some parts of the liturgy, and the only song which recent
research has so happily restored to its integrity and purity.
On these grounds, Gregorian Chant has
always been regarded as the supreme model for sacred music. Therefore, it is
fully legitimate to lay down the following rule: In its movement, inspiration,
and mood, the more closely a church composition approaches the Gregorian form,
the more sacred and liturgical it becomes. The more out of harmony it is with
that supreme model, the less worthy it is of the temple.
Ancient and traditional as it is,
Gregorian Chant must, therefore, in a large measure be restored to the
celebrations of the liturgy. Everyone should accept it as a fact that a church
celebration loses none of its solemnity when accompanied only by this music.
Special efforts are also to be made
to restore the use of Gregorian Chant by the people, so that the faithful may
again take a more active part in celebrations of the liturgy, as was the case in
ancient times.
4. The above-mentioned qualities are also possessed in
an excellent degree by classic polyphony, especially of the Roman School, which
reached its greatest perfection in the fifteenth century, owing to the works of
Pierluigi da Palestrina. After his time, polyphony continued to contribute
compositions of excellent quality, from a liturgical and musical standpoint.
Classic polyphony is an admirable match for Gregorian Chant, the supreme model
of all sacred music. Hence, it has been found worthy of a place side by side
with Gregorian Chant, in the more solemn celebrations of the Church, such as
those of the Pontifical Chapel. Polyphony as well should therefore be
substantially restored in church celebrations, especially in the more important
basilicas, in cathedrals, and in the churches and chapels of seminaries and
other ecclesiastical institutions in which the necessary means are usually not
lacking.
5. The Church has consistently favored the progress of
the fine arts, admitting to the service of religion everything good and
beautiful that human talent has produced, down through the ages. This has always
been done, however, with due regard to the liturgical laws. Consequently, modern
music is also allowed to enter the church. Contemporary music furnishes
compositions of such excellence, sobriety, and competence, that they are in no
way unworthy of the liturgy.
Still, since modern music has come
into being mainly to serve secular purposes, greater care must be taken with
regard to it. This must be done so that contemporary musical compositions,
allowed in church, will contain nothing profane, will be free from associations
with melodies used in theaters, and will be not written in the style of secular
pieces, even in their outward forms.
6. Among the different kinds of modern music, that which appears less suitable
for accompanying the liturgy is the theatrical style which was exceptionally
popular during the [nineteenth] century, especially in Italy. Of its very
nature, this style is diametrically opposed to Gregorian Chant and classic
polyphony and therefore to the most important standard of all good sacred music.
The intrinsic structure, the rhythm, and the "conventionalism" of this style are
poorly adapted to the requirements of true liturgical music.
PART THREE: THE LITURGICAL TEXT
7. The language proper to the Roman Church is Latin.
8. The texts that may be rendered in music and the order
in which they are to be rendered are determined for every liturgical
celebration. Therefore, it is not lawful to mix up this order, to substitute for
the prescribed texts at will, or to omit them either entirely or even in part,
except when the rubrics allow that some versicles of the text be
supplied with the organ. . . However, it is permissible, according to the custom
of the Roman Church, to sing a motet . . . after the Benedictus in a
solemn Mass. After the [Antiphon for the Preparation of the Gifts]1
has been sung, during the time that remains, it is also permitted to sing a
brief motet, with words approved by the Church.
9. The liturgical text must be sung as it is in the
books, without alteration or inversion of the words, without undue repetition,
without breaking syllables, and always in a manner intelligible to the faithful
who listen.
PART FOUR: EXTERNAL FORM OF THE SACRED COMPOSITIONS
10. The different parts of the Mass and the Divine
Office must retain, even musically, that particular concept and form which
ecclesiastical tradition has assigned to them, which is admirably brought out by
Gregorian Chant. The method of composing an introit, a gradual, an
antiphon, a psalm, a hymn, a Gloria in excelsis, etc., must
therefore be distinct from one another.
11. In particular the following rules are to be
observed:
(a) The Kyrie, Gloria, Credo,
etc., of the Mass must preserve the unity of composition proper to the text;
(b) In the office of Vespers it
should be the rule to follow the Caeremoniale Episcoporum [the Ceremonial
for Bishops], which prescribes Gregorian Chant for the psalmody and permits
figured music for the versicles of the Gloria Patri and the hymn, with
faux-bourdon or with verses similarly composed in a proper manner.
It is also permissible occasionally
to render single Psalms in their entirety in music, provided the form proper to
psalmody be preserved in such compositions; that is to say, provided the singers
seem to be psalmodising among themselves, either with new motifs or with those
taken from Gregorian Chant or based upon it. The psalms known as di concerto
are therefore forever excluded and prohibited.
(c) In the hymns of the Church the
traditional form of the hymn is preserved. It is not lawful, therefore, to
compose, for instance, a Tantum ergo in such a way that the first verse
presents a romanza, a cavatina, or an adagio and the
Genitori, an allegro.
(d) As a rule, the antiphons for
Vespers must be rendered with the Gregorian melody proper to each. Should the
antiphons, however, in some special case be sung in figured music, they must
never have either the form of a concert melody or the fullness of a motet or a
cantata.
PART FIVE: THE SINGERS
12. With the exception of the melodies proper to the
celebrant at the altar and to the ministers [which must be always sung in
Gregorian Chant, without accompaniment], all the rest of the liturgical song
belongs to the choir of levites. Therefore, singers in the church, even when
they are [lay people], are really taking the place of the church choir. Hence,
at least for the most part, the music rendered by them must retain the character
of choral music.
By this it is not to be understood
that solos are entirely excluded. Solo singing, however, should never
predominate to such an extent as to have the greater part of liturgical song
executed in that manner. The solo phrase should have the character or hint of a
melodic projection (spunto), and be strictly bound up with the rest of
the choral composition.
13. On the same principle, it follows that singers in church have a real
liturgical function.
14. Finally, only [those] of known piety and probity of
life are to be admitted to the choir. By their modest and devout bearing during
the liturgical functions, these people will show that they are worthy of the
holy task they carry out. It will also be fitting that singers, while singing in
church, wear the [cassock] and surplice.
PART SIX: ORGAN AND INSTRUMENTS
15. Although the music proper to the Church is purely
vocal music, music with the accompaniment of the organ is also permitted. In
some special cases, within due limits and with proper safeguards, other
instruments may be allowed, but never without the special permission of the
[bishop of the diocese], according to the requirements of the Caeremoniale
Episcoporum [the Ceremonial for Bishops].
16. Because singing should always have top priority,
the organ or other instruments should merely sustain it and never oppress it.
17. It is not permitted to have the singing preceded by
long preludes or to interrupt it with intermezzo pieces.
18. In preludes, interludes, and the like, the sound of
the organ, as accompaniment for the singing, must not only be governed by the
special nature of the instrument. It also must possess all the qualities proper
to sacred music, as pointed out above.
20. It is strictly forbidden to have bands play in
church. Only in special cases with the consent of the [bishop of the diocese]
will it be permissible to admit wind instruments, limited in number, judiciously
used, and proportioned to the size of the place. In that case, the composition
and accompaniment must be written in a serious and appropriate style; the
composition and accompaniment must conform in all respects to that proper to the
organ.
21. In processions outside the church, the [bishop of
the diocese] may give permission for a band, provided no profane pieces be
executed. It would be desirable in such cases that the band confine itself to
accompanying some spiritual canticle sung in Latin or in the vernacular by the
singers and the pious associations which take part in the procession.
PART SEVEN: THE LENGTH OF THE LITURGICAL CHANT
22. It is not lawful, because of the singing or the
instrumental music, to keep the priest at the altar waiting, for a length of
time not allowed by the liturgy. According to church rules, the Sanctus of the
Mass should be over before the elevation; and therefore at this point the priest
must take the singers into consideration. Also, according to the Gregorian
tradition, the Gloria and the Credo should be relatively short.
23. In general, in church celebrations, it must be
considered a very serious abuse for the liturgy to appear secondary to and in a
way at the service of the music. This so because music is merely a part of the
liturgy and its humble servant.
PART EIGHT: PRINCIPAL MEANS
24. For the exact implementation of what has been
herein laid down, the bishops, if they have not already done so, are to
institute in their dioceses a special commission made up of persons genuinely
competent in sacred music. To this commission let the bishops entrust in the
manner they find most suitable the task of watching over the music used in their
churches. Nor [is this commission] to see merely that the music is good in
itself. It should also see that the music is adapted to the abilities of the
singers and that it is always well executed.
25. In seminaries of clerics and in ecclesiastical
institutions, let the above-mentioned, traditional Gregorian Chant be cultivated
by all with diligence and love, according to the instructions of the Council of
Trent. Let those in charge be generous in encouragement and praise for their
young subjects. In like manner, among the clergy, let a Schola Cantorum
[choir] be established, whenever possible, for the singing of sacred polyphony
and of good liturgical music.
26. In the regular classes on liturgy, moral theology,
and canon law, given to the students of theology, let care be taken to touch on
those points which regard more directly the principles and laws of sacred music.
Let an attempt be made to complete this training with some special instruction
in the aesthetic side of sacred art, so that the students will not leave the
seminary ignorant of subjects that are so necessary to a full ecclesiastical
education.
27. At least in the major churches [of the diocese],
let care be taken to restore the ancient Scholae Cantorum [choirs] even
in smaller churches and in country parishes. Indeed, in the latter churches, the
priests will find it easy to win over both children and adults, to their own
benefit and that of the people.
28. In the best way possible, let efforts be made to
support and promote higher schools of sacred music where they already exist. Let
efforts be made to help in founding them where they do not exist. It is of the
utmost importance that the Church herself provide for the instruction of her
choir directors, organists, and singers, in the true principles of sacred art.
PART NINE: CONCLUSION
29. Finally, there is a recommendation for choir
directors, for singers, for members of the clergy, for superiors of seminaries,
ecclesiastical institutions, and religious communities, for parish priests and
rectors of churches, for canons of collegiate churches and cathedrals, and,
above all, for [bishops of dioceses]. The recommendation is that you should
support these prudent reforms, with all zeal. These reforms are long desired,
demanded with united voice by everyone. It is the Church herself that has
repeatedly proposed these reforms and now puts them into effect. Carry out these
reforms, then, that the authority of the Church will not fall into contempt.
Given from Our Apostolic Palace at the Vatican, on the
day of the virgin and martyr, St. Cecilia, November 22, 1903, in the first year
of Our Pontificate. Pius X, Pope
NOTES:
1. Text source:
http://www.americancatholicpress.org/articlesMotuProprio.html [In this
version of the 1903 Motu Proprio, ellipses and brackets are used to bring the
text in conformity with later legislation, teaching, and idiom; sometimes, the
purpose is clarity. For example, instead of Ordinary, this version says "bishop
of the diocese." Instead of Offertory, this version says, "Antiphon for the
Preparation of the Gifts." Instead of codices, this version says "books."]
2. "Although the Motu
proprio promulgated by Pius X in 1903 has been a dominant factor in shaping
the theory and practice of 20th-century church music, it is equally true that
this document was also, as one writer [Arthur Hutchings] has aptly put it, 'but
the final formulation of a whole series of attempts to produce a seemly church
style.'" (Source: Benjamin Van Wye, "Gregorian Influences in French Organ Music
before the Motu proprio," Journal of the American Musicological Society,
Vol. XXVII, No. 1, Spring 1974, p.1
REV: 2/14/2006
