Music at Mass:

What the Church Teaches

About Liturgical Music
By Matthew C. Hoffman
March 24, 2002

Copyright 2002 by Matthew C. Hoffman. This paper can be freely copied and distributed subject to the
following restrictions: no additions, deletions, or modifications can be made, and any charges can only
cover production costs. Comments, both negative and positive, are welcome. I can be reached at
matthew@matthewhoffman.net. Please email me if you want this paper in Word format or some other
format.

Summary
Despite the confusion reigning in many sectors of the Catholic Church regarding liturgical music, the
Church's doctrine on the subject has been well established by Vatican II and by the Church's highest
authorities during the post-Vatican II era. This teaching has been consistent throughout the Church's
history, beginning with the Church Fathers, running through the writings of St. Thomas Aquinas, Pope
Benedict XIV, and numerous other authorities, and reconfirmed repeatedly by the popes and Vatican
officials of the 20th century, both before and after Vatican II.1
The Church's doctrine on liturgical music can be summarized in seven points (all of the footnoted citations
are quoted later in this paper):
1. Types of Music Appropriate for the Mass. The music of the Mass and the Sacred Liturgy of the
must be either Gregorian Chant, or must be similar to Gregorian Chant. The primary example of
music similar to Gregorian Chant is Sacred Polyphony, exemplified by the compositions of
Palestrina.2
2. Characteristics of Music Appropriate for the Mass. The music of the Mass must have "grandeur yet
simplicity; solemnity and majesty," 3 and must have "dignity," 4 and "gravity,"5 should be "exalted"
and "sublime,"6 should bring "splendor and devotion" 7 to the liturgy, and must be conducive to
prayer and liturgical participation, rather than distracting the listener from prayer. 8 It must be music
that befits the profound nature of the Mass, which is the Sacrifice of Jesus Christ. 9 As Pope Paul VI
put it: "The primary purpose of sacred music is to evoke God's majesty and to honor it. But at the
same time music is meant to be a solemn affirmation of the most genuine nobility of the human
person, that of prayer."10
3. Types of Musical Instruments Appropriate for the Mass. The instrument that is most "directly"
fitted for the Mass is the classical pipe organ. 11 Other instruments, however, can be adapted to the
Mass, including wind instruments,12 and smaller bowed instruments.13
4. Types of Music Prohibited in the Mass. All secular and entertainment styles of music are utterly
prohibited in the Mass.14 The introduction of inappropriate music into the liturgy is regarded as
"deplorable conduct."15

5. Types of Instruments Prohibited in the Mass. All "noisy or frivolous" instruments are prohibited for
use in the Mass.16 The specific instruments named by the Popes have included guitars, pianos,
drums, cymbals, and tambourines.17 "Bands" also are prohibited, as are all automated forms of
music (recordings, automatic instruments, etc).18
6. Adapting Musical Traditions of Indigenous Cultures, and "Universality." The musical traditions of
particular cultures can and should be incorporated into the Sacred Liturgy, but only in such a way
that they will be recognized as sacred ("good" in the words of Pope St. Pius X) by people of all
cultures. That is, all such music must have the characteristic of "universality." 19
7. Preserving the Church's Musical Tradition. The treasury of the Church's sacred music is to be
carefully preserved, rather than discarded.20
This essay will demonstrate, through copious documentation, that these principles represent the mind of
the Catholic Church concerning liturgical music. As official and authoritative papal teaching, they must be
given religious submission of the mind and will by all Catholics. 21 It is possible that, because they have
been taught so consistently for so long, by so many authorities, that they are part of the Universal Ordinary
Magisterium of the Church; if so, they are part of infallible teaching, and must be given the assent of
Faith.22
In summary: the Church, as in all things, has not changed its mind on liturgical music. The faith "once for
all delivered to the saints" (Jude 1:3) will never be altered, and the Mass always remains fundamentally the
same in nature, despite periodic rubrical and textual modifications. As it is always a participation in the
Sacrifice of Jesus Christ, the Mass must always be celebrated with a dignity that befits it. Because the
Mass will always remain the same, so will the Church's teaching on liturgical music. As this paper will
show, this teaching remains as valid and binding today as it was when it was formulated by the early
Church.

The Unchanging Tradition of the Church

The Catholic Church has always held that liturgical music must have a sacred character, and that
worldly, "carnal," entertainment-style music is inappropriate for the Sacred Liturgy. St. Basil (A.D.
329-379), for example, warns his readers against morally subversive forms of music:
The passions born of illiberality and baseness of spirit are naturally occasioned by
this sort of music. But we must pursue that other kind, which is better and leads to
the better, and which, as they say, was used by David that author of sacred songs, to
soothe the king in his madness. And it is said that Pythagoras, upon encountering
some drunken revelers, commanded the aulete who was leading their song to change
the mode and to play the Dorian for them. They were so sobered by this music that
tearing off their garlands they returned home ashamed. Others dance to the aulos in
the manner of the Corybantes and Baccantes. Such is the difference in filling one's
ears with wholesome or wicked tunes! And since the latter type now prevails, you
must have less to do with it than any utterly depraved thing.23
St. Jerome (A.D. 340/2-420) condemns "theatrical" music in the liturgy:
Listen, young men whose duty it is to recite the office in church: God is to be sung not with
the voice but with the heart. Nor should you, like play-actors, ease your throat and jaws
with medicaments, and make the church resound with theatrical measures and airs.24

St. Nicetius (d. 563/6) makes similar comments:

The music or the form of melodies that should be executed is that which is in
harmony with holy Religion and not expressions of tragical chant; it should show
that you are true Christians; it should not be like that which is heard at the theater,
but should produce in you sorrow for sin.25
In the 13th century, St. Thomas Aquinas defended St. Jerome's statement as follows in the Summa
Theologica, and commented on St. Augustine's opinion on liturgical music:
Jerome does not absolutely condemn singing, but reproves those who sing theatrically in
church not in order to arouse devotion, but in order to show off, or to provoke pleasure.
Hence Augustine says (Confess. x, 33): "When it befalls me to be more moved by the voice
than by the words sung, I confess to have sinned penally, and then had rather not hear the
singer."26
St. Thomas also commented on the use of "coarse" and "carnal" instruments in worship, noting that
such instruments mentioned in Old Testament worship are not appropriate for Catholic worship:
As the Philosopher says (Polit. viii, 6), "Teaching should not be accompanied with a flute or
any artificial instrument such as the harp or anything else of this kind: but only with such
things as make good hearers." For such like musical instruments move the soul to pleasure
rather than create a good disposition within it. On the Old Testament instruments of this
description were employed, both because the people were more coarse and carnal-so that
they needed to be aroused by such instruments as also by earthly promises-and because
these material instruments were figures of something else.27
The Council of Trent, in 1562, also distinguished between appropriate and inappropriate liturgical music:
They [the ordinaries of each diocese] shall also banish from churches all those kinds of
music, in which, whether by the organ, or in the singing, there is mixed up any thing
lascivious or impure; as also all secular actions; vain and therefore profane conversations,
all walking about, noise, and clamor, that so the house of God may be seen to be, and may
be called, truly a house of prayer.28
Almost two hundred years later, in his Encyclical letter Annus qui,29 Pope Benedict XIV made extensive
statements about liturgical music, again denouncing the use of secular, entertainment-style music in the
liturgy:
56. [...] ...each one can easily imagine what opinion pilgrims, from regions where musical
instruments are not used, will have of us on coming to Our cities and hearing music
common to theatres and other profane places...there is certainly no one who does not desire
a certain difference between ecclesiastical chant and theatrical melodies, and who does not
acknowledge that the use of theatrical and profane chant must not be tolerated in churches.
...
70. We also said that all condemn theatrical chant in churches and want a distinction made
between the sacred chant of the church and the profane chant of the theater...

71. [...] The Fathers of the Council of Toledo, in 1566, after a long exposition of the
qualities of the chant of the Church, conclude as follows: "It is absolutely necessary to
avoid all that is theatrical in the music used for the chant of divine praises and everything
that evokes profane themes of love or warrior feats dear to classic music."
Numerous and learned writers severely condemn the patient tolerance in churches of
theatrical music and chant and ask that such abuse be banished from them.
72. To conclude what We have to say on this argument, that is, on the abuse of theatrical
compositions in churches (the abuse is evident and requires no words to demonstrate it), it
suffices to mention that all the authors whom We have quotes above as being favorable to
figurative chant and the use of musical instruments in churches, clearly say and testify that
they have always meant and wished by their writings to exclude that chant and that music
proper to platforms and to theaters, because they, like others, condemn and despise such
chant and music...
He also denounced the use of inappropriate instruments, and named the instruments he had in mind,
commanding the bishops to remove them from the liturgy:
90. [...] ...you, Venerable Brethren, will see that, if in your churches musical instruments are
introduced, you will not tolerate any instruments along with the organ, except the tuba, the
large and small tetrachord, the flute, the lyres and the lute, provided these serve to
strengthen and support the voices. You will instead exclude the tambourines, cors da classe,
trumpets, flutes, harps, guitars and in general all instruments that give a theatrical swing to
music.

The Modern Liturgical

Reform Movement: 1903-Present
The modern liturgical reform movement began in 1903 with the motu proprioTra le sollecitudini, issued by
Pope St. Pius X. What followed was a series of Papal statements on the liturgy, which culminated in
Sacrosanctum Concilium, the Constitution on the Sacred Liturgy of Vatican II. Despite the belief of some
that Vatican II nullified previous teaching on the liturgy, Vatican II explicitly reaffirmed the preconciliar
liturgical documents in no. 112 of Sacrosanctum Concilium:
112. ...Holy Scripture, indeed, has bestowed praise upon sacred song [Footnote 42: "Cf.
Eph. 5:19; Col. 3:16."], and the same may be said of the fathers of the Church and of the
Roman pontiffs who in recent times, led by St. Pius X, have explained more precisely the
ministerial function supplied by sacred music in the service of the Lord.
In his Letter to Cardinal J. Garibi y Rivera, Archbishop of Guadalajara (1969), Cardinal Villot, the
Vatican Secretary of State under Pope Paul VI, also clarified that Vatican statements concerning the liturgy
that precede Vatican II, particularly those of the twentieth century, remain authoritative:
[...] During the last seventy years, from St. Pius X to Vatican Council II and since then, the
Apostolic See has expressed itself repeatedly on the place of sacred music in the liturgy. As
a result the documents issued on this topic constitute a very sizable doctrinal corpus.
Anyone interested in the theme should pause attentively over this teaching in order to

penetrate and take hold of its riches (see SC ch. 6; the Instruction Musicam sacram, 5
March 1967).
Moreover, the serious problems now besetting sacred music and thus disturbing the
harmony belonging to it could be solved by taking as the key the doctrinal principles and
practical guidelines contained in the conciliar and postconciliar documents.
The following pages will review the teachings of the Popes and the Holy See during this period,
demonstrating that this teaching has been consistent throughout, was reaffirmed at Vatican II, and remains
authoritative during the post-Vatican II era. Although some disciplinary rules concerning the liturgy have
changed (for example, vernacular Masses are allowed), the basic guidelines concerning liturgical practice
remain unchanged.

Pope St. Pius X and Tra le sollecitudini (1903)

In 1903, Pope St. Pius X began the modern liturgical reform movement with a brief papal letter (a motu
proprio) entitled Tra le sollecitudini. This document is not only important because it was issued by a SaintPope, but because he gave it the force of law in the church,30 and because its principles have been explicitly
reaffirmed by the Church repeatedly since then. When later Popes addressed the problem of liturgical
music, they consistently referred to Tra le sollecitudini, and Vatican II and the postconciliar implementing
document on sacred music also referred to it, demonstrating the continuity of Catholic teaching in this area.
Tra le sollecitudini is arguably the most important document on the Sacred Liturgy in the 20th century.
In the introduction to Tra le sollecitudini, Pius X decries the abuses in liturgical music that were taking
place in his time. His statements are worth quoting at length:
Among the cares of the pastoral office, not only of this Supreme Chair, which We, though
unworthy, occupy through the inscrutable dispositions of Providence, but of every local
church, a leading one is without question that of maintaining and promoting the decorum of
the House of God in which the august mysteries of religion are celebrated, and where the
Christian people assemble to receive the grace of the Sacraments, to assist at the Holy
Sacrifice of the Altar, to adore the most august Sacrament of the Lord's Body and to unite in
the common prayer of the Church in the public and solemn liturgical offices. Nothing
should have place, therefore, in the temple calculated to disturb or even merely to diminish
the piety and devotion of the faithful, nothing that may give reasonable cause for disgust or
scandal, nothing, above all, which directly offends the decorum and sanctity of the sacred
functions and is thus unworthy of the House of Prayer and of the Majesty of God. We do not
touch separately on the abuses in this matter which may arise. Today Our attention is
directed to one of the most common of them, one of the most difficult to eradicate, and the
existence of which is sometimes to be deplored in places where everything else is deserving
of the highest praise-the beauty and sumptuousness of the temple, the splendor and the
accurate performance of the ceremonies, the attendance of the clergy, the gravity and piety
of the officiating ministers. Such is the abuse affecting sacred chant and music. And indeed,
whether it is owing to the very nature of this art, fluctuating and variable as it is in itself, or
to the succeeding changes in tastes and habits with the course of time, or to the fatal
influence exercised on sacred art by profane and theatrical art, or to the pleasure that music
directly produces, and that is not always easily contained within the right limits, or finally to
the many prejudices on the matter, so lightly introduced and so tenaciously maintained even
among responsible and pious persons, the fact remains that there is a general tendency to
deviate from the right rule, prescribed by the end for which art is admitted to the service of
public worship and which is set forth very clearly in the ecclesiastical Canons, in the

Ordinances of the General and Provincial Councils, in the prescriptions which have at
various times emanated from the Sacred Roman Congregations, and from Our Predecessors
the Sovereign Pontiffs.
[...]
...We consider it Our first duty, without further delay, to raise Our voice at once in reproof
and condemnation of all that is seen to be out of harmony with the right rule above
indicated, in the functions of public worship and in the performance of the ecclesiastical
offices. Filled as We are with a most ardent desire to see the true Christian spirit flourish in
every respect and be preserved by all the faithful, We deem it necessary to provide before
anything else for the sanctity and dignity of the temple, in which the faithful assemble for
no other object than that of acquiring this spirit from its foremost and indispensable font,
which is the active participation in the most holy mysteries and in the public and solemn
prayer of the Church. And it is vain to hope that the blessing of heaven will descend
abundantly upon us, when our homage to the Most High, instead of ascending in the odor of
sweetness, puts into the hand of the Lord the scourges wherewith of old the Divine
Redeemer drove the unworthy profaners from the Temple.
Then, Pius X lays down the basic principles of liturgical music:
1. Sacred music, being a complementary part of the solemn liturgy, participates in the
general scope of the liturgy, which is the glory of God and the sanctification and edification
of the faithful. It contributes to the decorum and the splendor of the ecclesiastical
ceremonies, and since its principal office is to clothe with suitable melody the liturgical text
proposed for the understanding of the faithful, its proper aim is to add greater efficacy to the
text, in order that through it the faithful may be the more easily moved to devotion and
better disposed for the reception of the fruits of grace belonging to the celebration of the
most holy mysteries.
2. Sacred music should consequently possess, in the highest degree, the qualities proper to
the liturgy, and in particular sanctity and goodness of form, which will spontaneously
produce the final quality of universality. It must be holy, and must, therefore, exclude all
profanity not only in itself, but in the manner in which it is presented by those who execute
it.
Anticipating Vatican II, Pope St. Pius X affirms that Gregorian chant has pride of place in the Church, and
that sacred polyphony (which is similar to Gregorian chant, but has multiple voices) is also permitted:
3. These qualities [proper to the liturgy] are to be found, in the highest degree, in Gregorian
Chant, which is, consequently the Chant proper to the Roman Church, the only chant she
has inherited from the ancient fathers, which she has jealously guarded for centuries in her
liturgical codices, which she directly proposes to the faithful as her own, which she
prescribes exclusively for some parts of the liturgy, and which the most recent studies have
so happily restored to their integrity and purity.
Perhaps most importantly, he proclaims that all sacred music must be measured by the standard set by
Gregorian chant; a form of music is appropriate for use in Church to the degree that it is similar to
Gregorian Chant.

3. [...] On these grounds Gregorian Chant has always been regarded as the supreme model
for sacred music, so that it is fully legitimate to lay down the following rule: the more
closely a composition for church approaches in its movement, inspiration and savor the
Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it
is with that supreme model, the less worthy it is of the temple.
The ancient traditional Gregorian Chant must, therefore, in a large measure be restored to
the functions of public worship, and the fact must be accepted by all that an ecclesiastical
function loses none of its solemnity when accompanied by this music alone.
...
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, and continued subsequently
to produce compositions of excellent quality from a liturgical and musical standpoint.
Classic Polyphony agrees admirably with Gregorian Chant, the supreme model of all sacred
music, and hence it has been found worthy of a place side by side with Gregorian Chant, in
the more solemn functions of the Church, such as those of the Pontifical Chapel.
Pius X also explicitly states that some forms of music are, by their very nature, not appropriate for
liturgical use:
5. The Church has always recognized and favored the progress of the arts, admitting to the
service of religion everything good and beautiful discovered by genius in the course of
ages-always, however, with due regard to the liturgical laws. Consequently modern music is
also admitted to the Church, since it, too, furnishes compositions of such excellence,
sobriety and gravity, that they are in no way unworthy of the liturgical functions.
Still, since modern music has risen mainly to serve profane uses, greater care must be taken
with regard to it, in order that the musical compositions of modern style which are admitted
in the Church may contain nothing profane, be free from reminiscences of motifs adopted in
the theaters, and be not fashioned even in their external forms after the manner of profane
pieces.
6. Among the different kinds of modern music, that which appears less suitable for
accompanying the functions of public worship is the theatrical style, which was in the
greatest vogue, especially in Italy, during the last century. This of its very nature is
diametrically opposed to Gregorian Chant and classic polyphony, and therefore to the most
important law of all good sacred music. Besides the intrinsic structure, the rhythm and what
is known as the conventionalism of this style adapt themselves but badly to the
requirements of true liturgical music.
Particularly, musical "bands" are strictly prohibited, as well as all "frivolous" instruments:
19. The employment of the piano is forbidden in church, as is also that of noisy or frivolous
instruments such as drums, cymbals, bells and the like.
20. It is strictly forbidden to have bands play in church, and only in special cases with the
consent of the Ordinary will it be permissible to admit wind instruments, limited in number,
judiciously used, and proportioned to the size of the place-provided the composition and

accompaniment be written in grave and suitable style, and conform in all respects to that
proper to the organ.
The music must never be allowed to take precedence over the liturgy itself:
23. In general it must be considered a very grave abuse when the liturgy in ecclesiastical
functions is made to appear secondary to and in a manner at the service of the music, for the
music is merely a part of the liturgy and its humble handmaid.
Pius X also lays the foundations for the inclusion of the musical traditions of various ethnic groups in the
liturgy, clarifying that they must be "universal" and seem "good" to the peoples of all nations:
2. [...] [Sacred music] must, at the same time, be universal in the sense that while every
nation is permitted to admit into its ecclesiastical compositions those special forms which
may be said to constitute its native music, still these forms must be subordinated in such a
manner to the general characteristics of sacred music that nobody of any nation may receive
an impression other than good on hearing them.

Pope Pius XI and Divini Cultus (1928)

Pope Pius X's letter of 1903 was followed in 1928 by the Apostolic Constitution Divini Cultus, issued by
Pope Pius XI. The Holy Father denounces the stubborn refusal on the part of many in the Church to
comply with the directives in Tra le sollecitudini, and repeats that certain musical forms are not appropriate
for the Sacred Liturgy:
It is, however, to be deplored that these most wise laws in some places have not been fully
observed, and therefore their intended results not obtained. We know that some have
declared these laws, though so solemnly promulgated, were not binding upon their
obedience. Others obeyed them at first, but have since come gradually to give countenance
to a type of music which should be altogether banned from our churches. In some cases,
especially when the memory of some famous musician was being celebrated, the
opportunity has been taken of performing in church certain works which, however
excellent, should never have been performed there, since they were entirely out of keeping
with the sacredness of the place and of the liturgy.
Again, the profane styles of music prohibited in the Liturgy by Pope St. Pius X are prohibited by Pius XI:
[...] We cannot but lament the fact that, as in the case of certain types of music which the
Church has rightly forbidden in the past, so now attempts are being made to introduce a
profane spirit into the Church by modern forms of music; which forms, if they begin to
enter in, the Church would likewise be bound to condemn. Let our churches resound with
organ-music that gives expression to the majesty of the edifice and breathes the sacredness
of the religious rites; in this way will the art both of those who build the organs and of those
who play them flourish afresh and render effective service to the sacred liturgy.
The pride of place due to Gregorian chant, which was affirmed by Pius X, is reaffirmed, and familiarity
with Gregorian chant is required for all those who are "bound to office in choir":
In this connection it should be observed that, according to the ancient discipline of the
Church and the constitutions of chapters still in force, all those at least who are bound to
office in choir, are obliged to be familiar with Gregorian Chant. And the Gregorian Chant

which is to be used in every church of whatever order, is the text which, revised according
to the ancient manuscripts, has been authentically published by the Church from the Vatican
Press.
...
In order that the faithful may more actively participate in divine worship, let them be made
once more to sing the Gregorian Chant, so far as it belongs to them to take part in it.

Pope Pius XII and Musicae Sacrae (1955)

The most extensive papal letter on sacred music is the Encyclical Musicae Sacrae (On Sacred Music),
issued by Pope Pius XII in 1955. Musicae Sacrae again refers to Pius X's Tra le sollecitudini, and upholds
the principles it contains. It also repeats the Church's prohibition of secular styles of music in the Sacred
Liturgy:
41. First of all the chants and sacred music which are immediately joined with the Church's
liturgical worship should be conducive to the lofty end for which they are intended. This
music -- as our predecessor Pius X has already wisely warned us - "must possess proper
liturgical qualities, primarily holiness and goodness of form; from which its other note,
universality, is derived."[Acta Pii X, loc. cit., 78]
42. It must be holy. It must not allow within itself anything that savors of the profane nor
allow any such thing to slip into the melodies in which it is expressed. The Gregorian chant
which has been used in the Church over the course of so many centuries, and which may be
called, as it were, its patrimony, is gloriously outstanding for this holiness.
Pope Pius XII makes it clear that, although the Church doesn't lay down "technical rules" or "laws of
aesthetics," liturgical music must obey certain "laws" that apply to all forms of religious art. He calls the
use of inappropriate music in the liturgy "deplorable conduct":
21. Certainly no one will be astonished that the Church is so vigilant and careful about
sacred music. It is not a case of drawing up laws of aesthetics or technical rules that apply to
the subject of music. It is the intention of the Church, however, to protect sacred music
against anything that might lessen its dignity, since it is called upon to take part in
something as important as divine worship.
22. On this score sacred music obeys laws and rules which are no different from those
prescribed for all religious art and, indeed, for art in general. Now we are aware of the fact
that during recent years some artists, gravely offending against Christian piety, have dared
to bring into churches works devoid of any religious inspiration and completely at variance
with the right rules of art. They try to justify this deplorable conduct by plausible-looking
arguments which they claim are based on the nature and character of art itself. They go on
to say that artistic inspiration is free and that it is wrong to impose upon it laws and
standards extraneous to art, whether they are religious or moral, since such rules seriously
hurt the dignity of art and place bonds and shackles on the activity of an inspired artist.
Pius XII also states clearly that liturgical music must have "dignity," reflecting the awesome fact that the
Mass is a participation in the sacrifice of Jesus Christ:

34. It is easy to infer from what has just been said that the dignity and force of sacred music
are greater the closer sacred music itself approaches to the supreme act of Christian
worship, the Eucharistic sacrifice of the altar. There can be nothing more exalted or sublime
than its function of accompanying with beautiful sound the voice of the priest offering up
the Divine Victim, answering him joyfully with the people who are present and enhancing
the whole liturgical ceremony with its noble art.
Pius XII allowed traditional vernacular hymns to be used in the liturgy, but only if they could not be
prudently removed from the practice of a particular diocese:
47. Where, according to old or immemorial custom, some popular hymns are sung in the
language of the people after the sacred words of the liturgy have been sung in Latin during
the solemn Eucharistic sacrifice, local Ordinaries can allow this to be done "if, in the light
of the circumstances of the locality and the people, they believe that (custom) cannot
prudently be removed." [Footnote 21: "Code of Canon Law, Can. 5."] The law by which it
is forbidden to sing the liturgical words themselves in the language of the people remains in
force, according to what has been said.
Three years later, the Sacred Congregation of Rites would issue an implementing document for Musicae
Sacrae, which would clarify that traditional vernacular hymns could only be used in isolated parts of the
liturgy, and could not be used for the actual words of the liturgy. This fits well with the principle laid down
by Pope St. Pius X: that the appropriateness of a musical form for use in the liturgy is determined by its
similarity to Gregorian Chant.

The Sacred Congregation of Rites and De Musica Sacra (1958)

The Vatican's Sacred Congregation of Rites (SCR) in 1958 issued an implementing document for Pius
XII's Musicae Sacrae, titled De Musica Sacra. The SCR classified sacred music according to the following
breakdown:
4. By "sacred music" is meant: a) Gregorian chant; b) sacred polyphony; c) modern sacred
music; d) sacred organ music; e) popular religious singing; f) religious music.
De Musica Sacra went on to say that the first two kinds of music, Gregorian chant and sacred polyphony,
are acceptable in the Sacred Liturgy. The third kind, "modern sacred music," which is a modern form of
polyphony that sometimes uses musical instruments, can be used if it is "pious and preserve[s] a religious
character." The fourth kind, "Sacred organ music," which is music for the organ only, can be used "if the
laws of sacred music are scrupulously observed." The fifth kind, called "popular religious singing," which
consists of traditional vernacular hymns, is not to be used in the liturgy unless "it cannot prudently be
discontinued because of the circumstances of the locality or the people."31
The sixth kind, called simply "religious music" absolutely cannot be used in the Liturgy. Here's the way De
Musica Sacra put it:
10. By "religious music" is meant that which, either because of the intention of the
composer or because of the subject and purpose of the composition, is intended to express
and arouse pious and religious sentiments and is therefore 'most salutary to religion.'
[Footnote 4: Musicae sacrae disciplina, AAS, XLVIII (1956), 13 f.] But, since it is not
destined for divine cult and is expressed in a very free form, it is not admitted to liturgical
functions.

It repeated this in paragraph 20: "Religious music then absolutely must not be admitted into any liturgical
function..."
De Musica Sacra regarded "religious music" as a form of entertainment, although it recognized that such
music outside of the liturgy could be beneficial to Catholics:
55. The proper places for religious music compositions are in concert halls, or in the
assemblies of congress, but not in churches intended for the worship of God.
De Musica Sacra specifically denied the use of what it called "raucous secular music" in the liturgy, when
discussing the use of various instruments:
68. Other instruments besides the organ, especially the smaller bowed instruments, may be
used during the liturgical functions...However, the following rules derived from the
principles stated above (no.60) are to strictly observed:
a) the instruments are truly suitable for sacred use;
b) they are to be played with such seriousness, and religious devotion that every suggestion
of raucous secular music is avoided, and the devotion of the faithful is fostered;
c) the director, organist, and other instrumentalists should be well trained in instrumental
techniques, and the laws of sacred music.
De Musica Sacra adds this about the proper use of instruments in the liturgy:
60. The following principles about the use of musical instruments in the sacred liturgy are
recalled:
a) In view of the nature of the sacred liturgy, it's holiness and its dignity, the use of any kind
of musical instrument should in itself be perfect. It would therefore be better to entirely
omit the playing of instruments (whether the organ alone or other instruments) than to
permit it to be done indecorously...
b) It is also necessary to know the difference between sacred and profane music, it is to be
noted as well, that there are musical instruments which by origin and nature--such as the
classic organ--are directly fitted for sacred music: or others, as certain string and bow
instruments, which are more easily adapted to liturgical use; while others, instead, judged
by common opinion so proper to profane music that they are entirely unfit for sacred use.
...
70. Those musical instruments which by judgment and usage are used only for profane
music must be absolutely prohibited in liturgical functions and pious exercises.
De Musica Sacra also forbids the use of any sort of "automatic" instrument for liturgical music:
71. The use of "automatic" instruments and machines such as the automatic organ, the radio,
phonograph, dictaphone, or tape recorder and other similar devices, are absolutely forbidden
in liturgical functions or pious exercises, whether put to use inside or outside the church, or

used only to transmit sacred discourses or music, or used to support or help the singing of
the choir or faithful...

Vatican II and Sacrosanctum Concilium (1963)

At the Second Vatican Council, none of these principles were revoked. In fact, Vatican II's Constitution on
the Sacred Liturgy,Sacrosanctum Concilium, reaffirmed the earlier statements of Popes on sacred music:
112. ...Holy Scripture, indeed, has bestowed praise upon sacred song [Footnote 42: "Cf.
Eph. 5:19; Col. 3:16."], and the same may be said of the fathers of the Church and of the
Roman pontiffs who in recent times, led by St. Pius X, have explained more precisely the
ministerial function supplied by sacred music in the service of the Lord.
Sacrosanctum Concilium makes it clear that the Church's tradition of sacred music is a "treasure" that is to
be maintained, not thrown out:
112. 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...
114. The treasury of sacred music is to be preserved and fostered with great care. Choirs
must be diligently promoted, especially in cathedral churches; but bishops and other pastors
of souls must be at pains to ensure that, whenever the sacred action is to be celebrated with
song, the whole body of the faithful may be able to contribute that active participation
which is rightly theirs, as laid down in Art. 28 and 30.
Sacrosanctum Concilium goes on to specify what sort of music is proper to the liturgical rites, repeating in
essence what had been said by Pope Pius X sixty years earlier:
116. 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.
But other kinds of sacred music, especially polyphony, are by no means excluded from
liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid
down in Art. 30.
Three times Sacrosanctum Concilium used variations of the word "solemn" with regard to liturgical music,
contradicting those who wish to use informal, "festive" music in the liturgy (boldfacing added):
112. ...it [sacred music] forms a necessary or integral part of the solemn liturgy...Therefore
sacred music is to be considered the more holy, the more closely connected it is with the
liturgical action, whether making prayer more pleasing, promoting unity of minds, or
conferring greater solemnity upon the sacred rites...
113. Liturgical worship is given a more noble form when the divine offices are celebrated
solemnly in song...
Sacrosanctum Concilium also made it clear that only instruments "suitable for sacred use" were to be
admitted to the Sacred Liturgy:

120. ...But...instruments [other than the pipe organ] also may be admitted for use in divine
worship...This may be done, however, only on condition that the instruments are suitable, or
can be made suitable, for sacred use; that they accord with the dignity of the temple, and
that they truly contribute to the edification of the faithful.

The Sacred Congregation of Rites and Musicam Sacram (1967)

Following Vatican II, and Sacrosanctum Concilium, in 1967 the Sacred Congregation of Rites issued an
implementing document, called Musicam Sacram, just as it had for Pius XII's encyclical Musicae Sacrae.
Musicam Sacram reaffirmed the basic principles concerning music in the liturgy that had been stated by
Popes Pius X, Pius XI, Pius XII, and Vatican II. It also reaffirmed the categorization of sacred music that
had been made by the Sacred Congregation of Rites in De Musica Sacra in 1958, distinguishing between
liturgical and non-liturgical "popular" music.
Musicam Sacram explicitly made reference to Pope Pius X's letter on sacred music at the beginning of the
document, just as had Vatican II in Sacrosanctum Concilium:
4. ...(a) By sacred music is understood that which, being created for the celebration of
divine worship, is endowed with a certain holy sincerity of form. [Footnote 2: "Cf. St. Pius
X, Motu Proprio, 'Tra le sollecitudini,' n. 2"].
It then listed the same categories of sacred music that the Sacred Congregation of Rites had given in De
Musica Sacra in 1958, explicitly referring to that document in a footnote, and in the last two categories
distinguished again between the kinds that are "liturgical" or "simply religious":
4. [...] (b) The following come under the title of sacred music here: Gregorian chant, sacred
polyphony in its various forms both ancient and modern, sacred music for the organ and
other approved instruments, and sacred popular music, be it liturgical or simply religious.
[Footnote 3: "Cf. Instruction of the S.C.R., 3 September 1958, n. 4."]
The basic types of music permitted in the liturgy, therefore, were the same as those permitted in 1958 and
before. Musicam Sacram was in a perfect continuity with previous documents on basic principles of
liturgical music.
Again, following the Popes and Vatican II, Musicam Sacram made it clear that "profane" musical
instruments were prohibited from the Sacred Liturgy, again referring to the instruction De Musica Sacra of
1958:
63. 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. [Footnote 44: "Cf. Instruction of the
S.C.R., 3 September 1958, n.70."]
Pope Paul VI was still referring in his public statements to Musicam Sacram as late as 1977,32 indicating
that it did not apply merely to the Mass as it was before the changes in 1970 and 1975, but that it continued
to be relevant for the "New Mass" as well.

Various Statements of Pope Paul VI and Other Authorities

In the years following Vatican II, Pope Paul VI, who had presided over the second session of the council,
made numerous public statements about liturgical music, as did other Church authorities. In these
statements, the Church's traditional teaching concerning liturgical music was upheld, and secular forms of
music in the liturgy were denounced. Unfortunately, they were ignored by many in the Church, and
continue to be ignored today. These statements prove that the principles proclaimed before the
promulgation of the Missal of 1970 were still applicable to the Liturgy. The Church, as always, does not
change its teachings; it only adapts unchanging principles to different circumstances.
Pope Paul VI: Address to the Associzione Italiana di Santa Cecilia (1968)33
In his Address to the participants in the general meeting of the Associzione Italiana di Santa Cecilia of
Italy, on sacred music, handmaiden of the liturgy, Pope Paul IV denounced the use of improper forms of
music in the liturgy, and decried the loss of traditional music:
Yet this reform is not without obstacles that also involve sacred music and song. Moreover,
there is a failure at times to hold in due honor the priceless musical heritage; the new styles
of music are not always in keeping with the Church's magnificent and revered tradition,
which is so sound even at the level of culture. On the one hand, musical compositions are
offered that, although simple and easy to perform, are either uninspired or lacking in any
nobility. On the other hand, musical experiments are going on here and there that are
completely unauthorized and outlandish and that must cause anyone to be puzzled and
suspicious.
The Holy Father went on to repeat the categorization of sacred music made by De Musica Sacra in 1958
and Musicam Sacram in 1967:
[...] you must above all not lose sight of the function of sacred music and liturgical singing.
The alternative is the futility of every attempt at reform and the impossibility of correct and
appropriate use of the different structural resources for this noble and sacred endeavor.
These resources are, as you well know, Gregorian chant, sacred polyphony, and modern
music; the organ and other instruments; the Latin and vernacular texts, the ministers, choir,
and congregation; official liturgical song and the religious music of the people (see SC ch 6;
SCR, Instruction on music in the liturgy, 1967).
He noted the attributes that must be present in music used for worship:
Music and song are servants of worship and are its subordinates. Accordingly they must
always possess the qualities befitting their place: grandeur yet simplicity; solemnity and
majesty; the least possible unworthiness of the absolute transcendence of God, to whom
they are directed, and of the human spirit, which they are meant to express. Music and song
must possess the power to put the soul in devout contact with the Lord, arousing and
expressing sentiments of praise, petition, expiation, thanksgiving, joy as well as sorrow,
love, trust, peace. There is a limitless range for every kind of inspiring melody and the most
varied harmony.
Since that is the essential function for sacred music, what ground is there for allowing
anything shabby or banal or anything that caters to the vagaries of aestheticism or is based
on the prevailing excesses of technology?...
Vocal and instrumental music that is not at once marked by the spirit of prayer, dignity, and
beauty, is barred from entrance into the world of the sacred and the religious...

The primary purpose of sacred music is to evoke God's majesty and to honor it. But at the
same time music is meant to be a solemn affirmation of the most genuine nobility of the
human person, that of prayer.
These statements were echoed repeatedly by Pope and officials of the Holy See, well into the 1970s.
Vatican authorities also continued to uphold the principles stated in Musicam Sacram. A sample of such
statements are given below:
Cardinal J. Villot:34 Letter to Cardinal J. Garibi y Rivera, Archbishop of Guadalajara (1969)35
[...] During the last seventy years, from St. Pius X to Vatican Council II and since then, the
Apostolic See has expressed itself repeatedly on the place of sacred music in the liturgy. As
a result the documents issued on this topic constitute a very sizable doctrinal corpus.
Anyone interested in the theme should pause attentively over this teaching in order to
penetrate and take hold of its riches (see SC ch. 6; the Instruction Musicam sacram, 5
March 1967).
Moreover, the serious problems now besetting sacred music and thus disturbing the
harmony belonging to it could be solved by taking as the key the doctrinal principles and
practical guidelines contained in the conciliar and postconciliar documents.
Pope Paul VI: Address to the 10th International Congress of Church Choirs (1970)36
[...] Your wish is for a word from the Pope. His word can be nothing else but an echo of the
Church's recent declarations on the relationship between music and liturgy (in the
Constitution on the Liturgy and the various instructions on carrying it out, particularly that
on sacred music 5 March 1967). His word is an echo also of what the Church has said on
the role that you as choirs are called to fulfill in order to bring an ever greater splendor and
devotion to the celebrations of the sacred mysteries.
The study of such documents clearly establishes that the charge the Church entrusts to
music, its composers and performers, remains, as it has always been, one of great
importance and highest purpose?.
Pope Paul VI: Address to women religious taking part in the National Convention of the
Associazione Italiana di Santa Cecilia (1971)37
[...] Our wish is to leave you with one counsel: always give first place, as the main concern
for yourselves and for others, to the sensus Ecclesiae. Otherwise, instead of helping to
deepen charity, singing can be a source of disturbing, diluting, and profaning the sacred and
even of creating division among the faithful. The sensus Ecclesiae will mean your grasping
in obedience, prayer, and the interior life the sublime and elevating reasons for our musical
endeavors. The sensus Ecclesiae means also the deep study of papal and conciliar
documents in order always to be aware of the criteria that regulate the liturgical life. [...]
The sensus Ecclesiae, finally, will mean discernment in what concerns the music of the
liturgy: not everything is valid, not everything is lawful, not everything is good. In the
liturgy the sacred must come together with the beautiful in a harmonious and devout
synthesis that allows the assemblies with their different capabilities fully to express their
faith for the glory of God and the building up of the Mystical Body.

Cardinal J. Villot: Letter to Cardinal G. Siri, Archbishop of Genoa, on the occasion of a national
meeting on sacred music (1973)38
We must avoid and bar from liturgical celebrations profane types of music, particularly
singing with a style so agitated, intrusive, and raucous that it would disturb the serenity of
the service and would be incompatible with its spiritual, sanctifying purposes. A broad field
is thus opened for pastoral initiative, the effort, namely, of leading the faithful to participate
with voice and song in the rites, while at the same time protecting these rites from the
invasion of noise, poor taste, and desacralization. Instead there must be encouragement of
the kind of sacred music that helps to raise the mind to God and that through the devout
singing of God's praises helps to provide a foretaste of the liturgy of heaven.
Sacred Congregation of Divine Worship, Letter Voluntatit obsequens to bishops,
accompanying the booklet Iubilate Deo (1974)39
Pope Paul VI has expressed often, and even recently, the wish that the faithful of all
countries be able to sing at least a few Gregorian chants in Latin (for example, the
Gloria,Credo, Sanctus,Agnus Dei). In compliance, this Congregation has prepared the
enclosed bookletIubilate Deo, which provides a short collection of such Gregorian chants.
I have the honor and office of sending you a copy of this booklet as a gift from the Pope
himself. I also take this occasion to commend to your own pastoral concerns this new
measure intended to ensure the carrying out of the prescription of Vatican Council II: "Steps
should be taken enabling the faithful to say or to sing together in Latin those parts of the
Ordinary of the Mass belonging to them."

Conclusion
The teaching of the Catholic Church concerning liturgical music is consistent and clear, and flows from the
very nature of the Mass as the Sacrifice of Jesus Christ. As the numerous ecclesiastical authorities cited in
this paper proclaim, the music of the Holy Sacrifice of the Mass must have a sacred character and be
conducive to prayer and contemplation. From these principles are derived the teachings, directives, and
restrictions issued by the Popes and Roman Congregations concerning sacred liturgical music.
Until these principles are upheld in our parish churches, our participation in the Holy Sacrifice of the Mass
will be undermined, and the very nature of the Eucharistic Liturgy will continue to be distorted. We cannot
show respect for the atoning death of our Savior with trite, breezy, informal music. The Mass is not an
occasion for entertainment, but for the highest act of worship possible to man. The Sacred Liturgy is,
according to Vatican II, "the summit toward which the activity of the Church is directed; it is also the fount
from which all her power flows."40 If we do not treat it as such, our spiritual loss will be incalculable.