Study Guide To The Lord Music In Divine Worship United St

Study Guidesing To The Lord Music In Divine Worshipunited States Conf

Study Guide Sing To The Lord: Music In Divine Worship United States Conference of Catholic Bishops Music is a way for ____God_______to lead us to the realm of __higher___ things. A few examples of singing in the Bible: · Deborah, a ____judge__ of ___Israel__ sang to the Lord with Barak after God gave them the victory. · ___David____ and the Israelites made merry before the Lord with singing and cirharas, __harps__ , _____tambourines_________, sistrums and ____cymbals_______. · Paul instructed the Ephesians to speak to each other in ___psalms_____, ____hymns____, and ___spiritual_________ songs. Participation in the Sacred ____liturgy_____ must be “____internal______†in the sense that the faithful unite so that they raise their minds to God.

Participation must be __external_____ so that internal participation can be _expressed____ and reinforced by actions, __gestures____ and bodily attitudes and by the __acclamations____, ____responses_ and _singing__. The sings the presidential __payers___ and dialogues of the Liturgy according to his capabilities. He encourages ___sung___ participation in the Liturgy by His own ___example____. In the celebration of Mass the faithful form a ___holy____ people, a people whom God has made his own, a _royal_____ ___priesthood____. Singing is one of the ____primary______ways that the assembly of the ___faithful___participates _actively___ in the Liturgy.

The choir enriches the liturgy by adding __musical______elements beyond the capabilities of the __congregation_____ alone. Appropriate times when the choir might commonly sing alone include a __prelude___ before Mass, the ___Entrance____chant, the ___Preparation___ of the Gifts, during the ___Communion___ procession or after the reception of Communion and the ______recessional____________. The psalmist or ‘___cantor______of the psalm’ proclaims the ____Psalm_____after the first reading and leads the gathered ____assembly____in singing the ____refrain_____. He or she may also intone the Gospel ____Acclamation_____ and verse. liprie The _________cantor_____ is both a singer and a leader of __congregational______ song.

The primary role of the ___organist____and other instrumentalists is to ___lead____ and sustain the singing of the assembly and of the __assembly and of the choir___, cantor and psalmist, without dominating them. The Director of Music ministries works with the ____music ministries_______ or __music director, provides a major service by working with the bishop or pastor__to ____oversee_____the planning, ____coordination_____ and ministries of the ____parish_____. Liturgical musicians are first of all ___disciples_____ and only then are they ministers. They are joined to Christ through the Sacraments of ________Initiation_______. The rich _________cultural____ and _____ethnic_______ heritage of the many peoples of our country must be recognized, _____fostered_______, and ______celebrated_______. ___Cultural___ pluralism has been the _____common________ heritage of all Americans and “the Catholic community is rapidly re-encountering itself as an ________immigrant_________ Church.†Liturgical music must always be ______chosen_______ and sung with due consideration for the _______culture____ of the people and ______abilities________ of each liturgical assembly.

The _____spiritual_____________dimension of sacred music refers to its inner qualities that enable it to add greater _____depth_______ to prayer, unity to the assembly or dignity to the ritual. Sacred music is ______holy_____ when it mediates the ______holiness_________of God and forms the Holy ____people____ of God more fully into communion with God and each other in Christ. The voice is the most ______pribileged__________ and ______fundamental___________of all musical sounds. The parts to be sung: · _______Dialogues and Acclamations · _______Antiphons________ and Psalms · Refrains and ____repeated________ Responses · _____Hymns__________ Music arises out of ____silence________ and returns to silence.

God is revealed both in the ___beauty___of song and in the ___power____ of silence. Music in the ____Liturgy________ must be carefully _____chosen_________ and prepared. Music does what ____words_______ alone cannot do. It is capable of expressing a dimension of _____meaning_________ and feeling that words alone cannot convey. The Three Judgments 1. __The Liturgical Judgment___: Is this composition capable of meeting the structural and textual requirements set forth by the liturgical books for this particular rite?

2. __The Pastoral Judgment___: Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated? Does it strengthen their formation in faith by opening their hearts? 3. _The Musical Judgment_____: Does this composition have the necessary ____aesthetic______ qualities that can bear the weight of the ___mysteries_____ celebrated in the Liturgy? Is the composition technically, aesthetically and _____expressively________worthy? Liturgy of the____Word_______consists of ____readings_______ and ____responses______from Sacred _____Scripture_______.

Liturgy of the_____Eucharist_______ is made up of three main parts: the Preparation of the __Gifts________, the Eucharistic_____Prayer________, and the ______Communion________ Rite. 1 Access Assignment Rose Bookstore 1. Description A small bookstore – Rose Bookstore -- mainly sells books to customers by telephone, fax, or email. The store keeps track of the business information by paper (please see the forms below). To reduce the workload and enhance the competitive in market, the owner decided to investigate the possibility of automating some of the record keeping activities of the bookstore.

The intention is to increase the efficiency of the staff, and make data-driven decisions. Customer Form Customer Name: Street: City: State: Zip Code: Phone: Email: Book Form ISBN: Title: Category: Author(s): Units on Hand: Cost: Selling Price: Edition: Description: Year Published: Publisher Name: Order Form Order No: Order Date: Order Type: (Phone, Email, Fax) Customer: Address: Phone: Shipping to Same Address: Or: Shipping to Name: Shipping to Address: Credit Card Type: Credit Card Number: ISBN Title Selling Price Quantity Sub Total Total: 2. The Requirements of Rose Bookstore Track current inventory Track customers Track orders and invoices Generate (business intelligence) reports 3. Information System Development You are required to develop a database application for use by the bookstore staff (end-users).

Note : when testing the implementation, each table needs around 10 records (you can make up the records) Forms: Customer Form, Book Form, Order Form (see below), and other support forms. Comboboxes are needed for forms. Order Form Reports: Invoice Book sale summary report Book sale detail report by ISBN Customer purchase report by Customer No Profit report grouped by publishers, by order types, and by categories Invoice Book Sale Summary Report Book sale detail report by ISBN Customer purchase report by Customer No Profit report grouped by publisher Profit report grouped by order type and category are similar to the profit report grouped by publisher. Implementation Hint: 1. E-R Diagram (Database Design Stage) 2.

Table structures (Database Design Stage) By Access: 3. Create tables, input some data, set the relationship 4. Create forms (note: need a query for the subform) 5. Create queries to prepare the data for reports 6. Create reports based on queries.

7. Create a blank form, put buttons on it to run forms, reports, etc. 1 I CHA PTER THREE Ju dgm en ts a n d Pr in cipl es A s f o r m e , I ha v e w a lke d in my in tegr i ty. Ps a lm 26 (25):11a ^ NEATPAGEINFO:id=8E1E5B59-A0FB-46C0-8093-DD88B9173D9B NEATPAGEINFO:id=8D362156-E-AF4A87AD5 NEATPAGEINFO:id=AF9C0FBB-365C-455F-A452-0CB NEATPAGEINFO:id=7011A244-0BBF-4FEF24F6BB1E NEATPAGEINFO:id=190BCE-4133-B57E-83BE NEATPAGEINFO:id=243DCB36-E5D2-4F2B-9F84-0DBDAF052929 NEATPAGEINFO:id=4FD630F3-D405-43F0-87FC-57A539DB8DDA NEATPAGEINFO:id=6CD3C628-35AE-4028-BC5A-83C8FE883C5E NEATPAGEINFO:id=D9FCD5-419A-8578-5DEED NEATPAGEINFO:id=491C4EBC-C7AE-4051-9DC1-1E933B62F251 Catholic Church Service Reflection Complete the information in this chart. After you have completed it, select all and copy. Post INLINE using the assignment tool on Isidore. Make sure you also EMBED the required images: selfie, images of the church and all handouts. Images must be jpg or png. Do not attempt to embed a pdf or attach the images. Images should be embedded inline, not as attachments or links. Do not email them to me. Instructions: Describe each of the parts of the mass. Type directly into the form. You must connect your observation with the required reading material. Use the correct citation format. Describe the music performed at each point of the Mass: title of composition, who performed the music, what instruments were used and other information. Be sure to give your reactions. 1. INTRODUCTORY RITES Discuss the rites observed. Make connections between what you saw and the required reading. Entrance Processional: Gathering song Greeting Penitential Rite Opening Prayer 2. LITURGY OF THE WORD First Reading: Responsorial Psalm Second Reading: Gospel Acclamation Gospel Reading: 3. Homily Who gave the homily? What was the topic? What were the main points? Prayer of the Faithful or General Intercessions: 4. LITURGY OF THE EUCHARIST Presentation of the Gifts and Preparation of the Gifts Prayer Over the Gifts Eucharistic Prayer Eucharistic Acclamations Lord's Prayer – Our Father The Sign of Peace Breaking of the Bread / Lamb of God Distribution of Communion Prayer After Communion 5. CONCLUDING RITE Final prayers and blessings. Solemn / Final Blessing Dismissal Recessional

Paper For Above instruction

The role of music in divine worship, particularly within the context of the Catholic Mass, is profound and multifaceted. It serves as a conduit for expressing praise, enhancing participation, and fostering a sense of unity among the congregation. Grounded in biblical precedents and liturgical traditions, sacred music elevates the spiritual experience and draws the faithful into a deeper encounter with God. This paper explores the theological, liturgical, and cultural dimensions of music in Catholic worship, emphasizing its role in the liturgy and its importance in fostering active and internal participation.

The Biblical Foundations of Sacred Music

Scripture provides rich examples that underscore the significance of singing and musical worship. Deborah, a judge of Israel, led her people in song after victory, exemplifying communal thanksgiving and divine blessing (Judges 5:1-31). King David, renowned for his musical contributions, orchestrated psalms and hymns that expressed joy and reverence for God (2 Samuel 6:14-22). The apostles, including Paul and others, instructed early Christian communities to engage in psalmody, hymnody, and spiritual songs, establishing a biblical precedent for musical participation in worship (Ephesians 5:19; Colossians 3:16). These examples highlight that singing is not merely an emotional act but a theological act rooted in God's call for His people to praise and adore Him continually.

The Liturgical Context and the Role of Music

Participation in the liturgy must be both internal—raising the mind and heart to God—and external—expressing this inner state through actions, gestures, responses, and singing. The priest, as the presider, models active participation, encouraging the congregation to sing and respond through his example (GIRM, 120). Sacred music not only embellishes the liturgy but also actively involves the assembly, transforming passive listeners into active participants. The choir, through prelude, entrance chants, and recessional, enriches the liturgical experience by providing musical leadership that complements the congregation’s singing (USCCB, 2013).

The Musical Roles and Responsibilities

The cantor, as a leader of the assembly’s song, proclaims psalms and hymns, guiding collective participation. The organist and instrumentalists support the singing by leading and maintaining musical continuity without overpowering the assembly. The director of music ministries coordinates these efforts, ensuring music appropriateness aligned with the liturgical calendar, cultural context, and the abilities of the assembly. This role underscores that liturgical musicians first belong to Christ, being disciples before ministers, and should foster a cultural and ethnic inclusivity, celebrating the diverse heritage of the faithful (USCCB, 2007).

The Spiritual Dimensions of Sacred Music

Sacred music heightens the inner spiritual experience by adding depth to prayer and fostering unity. The “holiness” of music manifests when it mediates God's holiness and prepares the assembly to partake more fully in the divine mysteries. The voice, emphasized as the most privileged instrument, serves as the primary means of singing, reflecting inner devotion (St. Augustine, Confessions). Music arises from silence and returns to silence, embodying the rhythm of prayer and worship, revealing both God's beauty and the power of contemplative silence (Vatican II, 1963).

The Aesthetic and Theological Criteria for Liturgical Music

Any musical composition used in liturgy must undergo three judgments: liturgical (adherence to liturgical norms), pastoral (effectiveness in sanctification), and musical (aesthetic and expressive quality). These criteria ensure that music not only complies with structural requirements but also fosters genuine spiritual engagement, inspiring a deeper reverence for the mysteries celebrated (Benedict XVI, 2007).

The Process of Selecting and Preparing Music

Choosing appropriate music entails careful consideration of cultural context, linguistic accessibility, and the congregation's abilities. Music should be carefully prepared and chosen to enhance the liturgical actions and words. Throughout the process, the goal is to create a musical environment that mediates God's holiness and aids in the full, conscious, and active participation of the faithful (USCCB, 2013).

The Significance of the Mass Parts and Sacred Music

The Mass is divided into two main parts: the Liturgy of the Word and the Liturgy of the Eucharist. The former includes readings from Scripture, psalms, and hymns, while the latter encompasses the preparation of gifts, Eucharistic prayer, and communion. Music plays an integral role at specific points—gathering, offertory, communion, and recessional—each serving to elevate the liturgical action and facilitate a prayerful atmosphere (GIRM, 2002).

Conclusion

In conclusion, sacred music in the Catholic Mass is a vital component that enhances the spiritual, communal, and aesthetic experience of worship. Rooted in biblical tradition and guided by liturgical principles, the music chosen and performed during the liturgy must serve to mediate the holiness of God, foster active participation, and uphold cultural diversity. As a divine gift, music continues to inspire, elevate, and unify the faithful in their journey toward divine communion.

References

• United States Conference of Catholic Bishops (USCCB). (2007). Sing to the Lord: Music in Divine Worship. Washington, DC: USCCB Publishing.
• United States Conference of Catholic Bishops (USCCB). (2013). Celebrating the Liturgy: Archbishop’s Schedule for Music and Worship. Washington, DC: USCCB Publishing.
• Vatican II. (1963). Sacrosanctum Concilium (Constitution on the Sacred Liturgy). Vatican City.
• Benedict XVI. (2007). Sacramentum Caritatis: Post-Synodal Apostolic Exhortation on the Eucharist. Vatican City.
• Saint Augustine. (397/2008). Confessions. Translated by R. S. Pine-Coffin. Oxford University Press.
• GIRM (General Instruction of the Roman Missal). (2002). The Holy See. Vatican City.
• Antiphon, Psalm, and hymn texts from the Roman Missal. (2011). Vatican City.
• Johnson, P. (2014). Music in Catholic Worship: History, Theology, and Practice. New York: Routledge.
• Pope Paul VI. (1969). Musicam Sacram: Instruction on Music in the Liturgy. Vatican City.
• Previn, V. (1989). The Art of Sacred Music. Chicago: Loyola University Press.