Catholic church music

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EX LlBRTS

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Chapter I

I propose to give here an abstract of the laws governing Church music, from which it will be seen that so far from being "a bolt from the blue," the Motu Proprio is really a reiteration of well-established principles.

I. Decrees of Councils and of Popes

The Council of Trent, Sess. 22. The Bishops shall forbid all sensuous music in the churches, whether vocal or instrumental. ( Ubi sive organo sive cantu lascivum aut impurum aliquid misceatur.)

Sess. 24. The provincial synod shall determine what is fitting to sing or play. In the meantime, the bishop, with not less than two canons, one appointed by the bishop, the other by the chapter, shall regulate matters.

Alexander VII, 23rd April, 1657. — Rome is to set an example in religious decorum. Therefore all ecclesiastical authorities are forbidden, under strict penalties, to permit anything to be sung during the celebration of Divine Office or while the B. Sacrament is exposed, except those words which are prescribed in the Breviary or Roman Missal, in the Proper or Common Office for the feast or commemoration of the Saint of each day ; or which at least are taken from S. Scripture or the writings of the holy Fathers, but which must first be specially approved by the Congregation of Cardinals presiding over sacred rites, such music being excluded as suggests dance or profane rather than ecclesiastical melody. All musical directors are to be required to take an oath to observe this.

Innocent XII., 20th August, 1692. — The previous decree has been neglected ; its meaning controverted. To prevent any misunderstanding, His Holiness absolutely forbids, in any church or basilica, the singing of any motet or composition whatever save the Introit, Gradual and Offertory at Mass, and at Vespers the Antiphons before and after the Psalms ; without alteration of words ; the musicians to accompany strictly the choir (li musici si uniformino totalmente al chord). To promote devotion, however, a motet may be sung during the elevation at Mass and the Exposition of the B. Sacrament, to be taken from the Hymns of St Thomas of Aquin or the Missal and Breviary for the Feast of Corpus Christi, without any alteration of the words.

Benedict XIV., in the Bull Annus qui, 19th February, 1749. — In singing psalms not to be too quick, and to observe the pause between the verses. The chant to be in unison, and the chorus to be carried out by persons practised in plain-chant. This is the chant upon which St. Gregory laboured ; it is devotional, and when properly sung, is preferred to harmonised chant. Singing, when accompanied by instruments, must have nothing profane, worldly, or theatrical about it.

Then follows an exposition of the Constitution of Alexander VII., given above, its confirmation by Innocent XI., and its amplification by Innocent XII. Treating of the latter, Benedict XIV. says — at High Mass he only allows besides the Gloria and Credo, the singing of the Introit, Gradual and Offertory ; he also amplifies a somewhat obscure phrase of the preceding decree, "the professional singers {cantores musici) shall follow entirely the law of the choir, and shall conform completely to it, and as the choir cannot add anything to the Office and Mass, so the musicians may not do so. Motets from St. Thomas's hymns or from the Antiphons of the Office of Corpus Christi may be sung " while the Sacred Host is elevated or publicly venerated or exposed for worship."

He complains that what is lawfully permitted to be sung is treated theatrically and noisily {theatricali more £t scenico strepitu). It is a primary object of church music that the words should be perfectly and plainly understood. The following musical instruments are alone permitted : violoncello and double bass {bariton tetrachordon majus, tetrachordon minus), bassoon (inonaulon pneumaticunt), viola and violins {fidiculas, lyras tetrachordes), all of which support and strengthen the voice parts. Are to be forbidden — drums, hunting horns, trumpets {tubas), oboes {tibias decumanits), flutes and piccolos {fistulas, fistulas parvas), piano {psalteria symphoniacd), mandolins (chelas), and such like, which form theatrical music {quce musicam theatralem efficient). Instruments are allowed only to strengthen the voice parts, so as to lead the mind more to the contemplation of divine things and the love of God. If they are always playing and rarely silent and drown the words, they are useless and to be forbidden. Instrumental music without voice parts is not forbidden during high Mass and between the psalms, because such music " is not part of the Office, and tends to the reverence and solemnity of the Office and to elevate the minds of the faithful."

II. From the Roman Missal Explanations of the rubrics are given in another place. Note that only the Priest must sing the words Gloria in excelsis Deo, and Credo in unum Deum. It is unliturgical for a choir to do so.

III. From the Cozremoniale Episcoporum L.I., c. 28, n. 1. The organ and singing permitted on all Sundays and festivals on which the people abstain from servile work.

2. Except the Sundays of Advent and Lent. They are permitted, however, on Gaudete and Lcetare Sundays, at both Mass and Vespers : also on the feasts and ferias in Advent and Lent which are celebrated solemnly by the church ; also on Maundy Thursday and Holy Saturday at the Gloria ; and whenever there is grave reason for joyful solemnity.

3. The organ to be played at Mass on feast days at the bishop's entrance and departure.

4. So also on the entrance of Legates, etc., till the beginning of Mass and at the time of their departure.

5. In solemn Matins on great feasts, as at Vespers, the organ may be played from the beginning.

6. In Vespers, Matins or Mass, the first verse of canticle and hymns, the verses during which we kneel, are to be sung in choir audibly and not supplied by the organ ; so too with the Gloria Patri, and last verse of hymns. Whenever the organ supplies for the voice, that portion is be recited audibly by some one in choir : it is commendable that a cantor should sing it to the organ accompaniment.

7. The custom, where it exists, of singing other canonical hours with organ accompaniment may be retained.

8. In solemn Vespers the custom of playing the organ at the end of each psalm, and alternately in the verses of the hymn and of the Magnificat, may be retained subject to the above regulations.

9. In solemn Mass, the organ may play alternately at the Kyrie, Gloria, at the end of the Epistle, at the Offertory, alternately at the Sanctus, afterwards till the Pater, but more solemnly and sweetly at the Elevation ; immediately after the Elevation an appropriate motet may be sung ; alternately at the Agnus, and afterwards till the Post-Communion and at the end of Mass.

10. The Credo to be sung in its entirety, and not alternated with the organ.

11. The organ playing is not to be sensuous in character nor unbecoming, or with words not belonging to the Office, or profane, or ludicrous ; no other instruments to be added without the bishop's consent.

12. So, too, the singers shall avoid levity or sensuousness, or what may distract the hearers, but shall be devout, distinct and intelligible.

13. In the offices of the dead the organ shall be silent; if, however, harmony be introduced into the Mass, the organ shall be silent when the voices are ; the same in Lent, Advent and ferial days.

Chapter 8 deals with solemn Episcopal Mass, as follows : —

30. The Bishop makes the Confession ; the organ is to cease and the choir begin the Introit.

37. When the choir has sung the last verse of the Kyrie, etc.

42. When the last verse of the Gradual is sung, etc.

55. When the Choir has sung the Creed, etc.

58. After the Offertory has been sung, the organ may be played.

70. The Choir shall sing the Sanctns as far as the Benedictus, etc. At the Elevation the Choir is silent and adores with the rest; the organ, if there be one, is to be played (pulsandum est) with all melodiousness and gravity.

71. The Benedictus is sung after the Elevation. 78. The Choir sings the Communion after the

Bishop's Communion.

Chapter 20. 4. The singers from Passion Sunday till the Gloria of Holy Saturday, with the exception of the Angelic hymn on Maundy Thursday, shall use Gregorian or figured polyphonous chant (figurato polyphono).

Book II. Chapter 1. 4. At Solemn Vespers the organ is to be played while the Bishop vests ; directions for the pre-intonation of antiphons by the sub-deacon and Bishop.

8. The psalms to be sung by the Canons and other members of the Chapter in the Gregorian tone and chant, gravely and decorously and intelligibly ; the Gloria, however, may be sung more ornately (solemniori vocis modulatione) ; at the end of the psalm the organ may play the antiphon, but it must be repeated clearly by some of the assistants ; and if anyone wishes to sing with the organ he must sing the antiphon only.

9. The other four antiphons should be pre-intoned by the same sub-deacon.

11. The hymn to be taken up by the Choir, either in unison or harmony (in cantic piano vel musicali), as it pleases ; the verses may be alternated with the Organ, in which case they must be recited or sung with the organ.

Chapter 5, n. 3. At Episcopal matins, the psalms to be sung to the Gregorian chant with due observance of pauses.

Decrees of the Sacred Congregation of Rites

2782. (Sti Marci et Bisinianen.) The practice is condemned of reciting sext and none in the retro-choir while Mass is being sung.

3292. (Guadalajara.)

1. A custom exists of singing a traditional chant, neither the Roman nor Spanish, but like both, but not the chant printed in the missal — Is it to be continued as a legitimate custom, or to be abolished ?

R. To the first question, no ; to the second, yes.

2. What chant is to be used : the Roman Gregorian chant in approved Pontificals and uniform in the Mechlin Missals, or that of the Spanish Missals ?

R. The Roman Gregorian ; and editions are to be used approved by the S.R.C., or copies authenticated by the ordinary. 21st April, 1873.

3124. (Nicaragua.) The custom of singing hymns in the language of the country during Exposition or Benediction may be tolerated. 27th September, 1864.

3113. (Valence.) The custom of singing an Aria in the national language during high Mass is an abuse and to be eliminated. 22nd March, 1862.

3230. (St. Hyacinthe, Canada.) The Bishop is directed to do away with the custom of singing hymns in the vernacular during high Mass, but gradually and without causing scandal. 10th December, 1870.

3496. (Madagascar.) Hymns in the vernacular during solemn liturgical functions and' offices are not to be tolerated ; outside liturgical functions whatever is customary is to be followed. 21st June, 1879.

3537. (Leavenworth, N. America.) Can the priest before or after Mass, when the B. Sacrament is exposed, recite prayers or hymns in the vernacular ?

R. Yes, as regards prayers only. Generally speaking, hymns in the vernacular may be sung at Exposition ; except the Te Dewn and other liturgical prayers, which are only to be used in the Latin. 27th February, 1882.

3827. General Decree concerning high Mass.

1. Hymns in the vernacular are forbidden in all high or sung Masses : nothing is to be added to or mingled with the liturgical chants prescribed by the rubrics.

2. Those parts which are alternated with the organ are to be sung or recited in integrity. The Credo to be sung throughout.

3. No singing during the Elevation. Between the Benedictus and Pater, something may be sung ; provided that all the prescribed portions of the liturgy are sung, that the celebrant be not kept waiting, and that what is sung refers to the B. Sacrament. 22nd May, 1894.

3880. (Bisarchio, Sardinia.) Again the question as to whether hymns in the vernacular, in honour of the feast or mystery of the day, are to be permitted during Mass. In low Mass, yes, with permission of the Bishop. In the high or sung Mass, no. 31st January, 1896.

2791. (Bobbio, N. Italy.) Concerning hymns in the vernacular before and after Benediction.

R. They are permitted after Benediction. 3rd August, 1839.

3964. (Trujillo, Peru.) Are women and girls to be allowed to sing inside or outside of the choir in any church during high Mass ? R. An abuse to be prudently and speedily done away with. 17th September, 1897.

3697. (The Friars Capuchin). The practice of singing Mass to psalm tones and simple chants (inodo psalmodico sen semitonato) may be retained. 7th December, 1888.

1821. (Seville.) May the boy acolytes, called "los seises," carrying sceptres and singing in processions, wear a cope, blessed or unblessed ? R. As to the cope, no. 21st January, 1690.

2065. (Novara, N. Italy.) With regard to standing while singing in a choir, the rubrics of the Missal are to be observed. 11th September, 1900.

823. The following abuses call for remedy :

1. In many churches the text of S. Scripture is

distorted, the words being moved about or changed,

so that S. Scripture is made subservient to the

music. 2. Musical pieces are introduced into high

Mass which are not connected with the service,

which keep the priest waiting a long time and

invert the order of the ceremonies, so that the Mass

is made subservient to the music. 21st February,

2424. (Coimbra, Portugal.) The Gloria, Credo, entire

Gradual, Offertory, Preface and Pater noster are to be

sung in conventual Mass. 14th April, 1753.

2959. (Turin.) The Introit, Offertory, Communion and Sequence, when occurring, are to be sung at Mass. Also the Sequence and Absolution are to be sung in entirety in black Masses. 11th September, 1847.

2994. (Montepulciano.) The Offertory and Communion may be recited quietly in sung Masses, while the organ is playing, but should not be omitted. 10th January, 1852.

3365. (Chioggia.) To omit singing the Gradual, Tract, Sequence, Offertory, Benedictus and Communion in sung Masses is against the rubrics and decrees of the S.C.R. 7th August, 1875.

3624. (Lucon, France.) In week-day sung Masses, as there is only one cantor and as it would keep the people from their work, the Gloria, Gradual, Tract, Sequence and Credo are not sung. R. An abuse to be removed. 29th December, 1884.

3786. (Diano, Italy.) The canons at conventual and episcopal Mass leave the Kyrie, Gloria, Credo, Sanctus and Agnus to the lay organist. R. They must follow the Cceremoniale Episcoporum in everything. 22nd July, 1892.

3994. (Plock, Poland.) Hymns in the vernacular during sung Mass are forbidden. The singers must sing all that is in the Roman Gradual. 25th June, 1898.

2424. (Coimbra.) The introit is not to be begun before the priest reaches the Altar. 14th April, 1753.

970. (Siguenza, Spain.) The custom of reciting the Gloria throughout with the organ, and not singing it in alternate choirs (integre sub organo moduletur et humanis vocibus, nee alternatim concinatur), is an abuse to be removed. 19th September, 1654.

1711. (Albenga, Piedmont.) On great feasts a custom obtains, as in France, Bologna, Florence, and elsewhere of employing at high Mass some priests in copes, who join the ministers in the Confession, and the senior of whom pre-intones the Gloria. R. The rubrics of the Missal and Ceremonial are to be followed. 24th July, 1683.

2114. (Cortona.) The chapter and canons ask authorisation of the customs of conducting processions through the city square and principal streets, and of the pre-intonation of the Gloria and Credo. R. Neither is permitted. 23rd June, 1703.

3069. (St. Brieuc.) In churches where there is one priest, when 25th April falls on a Sunday, the sung Rogation Mass will satisfy as the parochial Mass ; the Gloria and Credo are to be omitted, and the Mass sung in the ferial tone. 14th August, 1858.

3421. (Ratisbon.) The publisher Pustet asks whether the Gloria and Ite missa est are to be sung in the tone of the B.V.M. during the octaves of Christmas and Corpus Christi, on feasts occurring during these octaves, and whenever the Preface of the Nativity is sung. R. Yes. 25th May, 1877.

3891. (Rome.) The Missal must be followed in the intonation of the Gloria and Credo, and in all the parts sung by the priest, with the corresponding responses by the choir, and any custorii to the contrary is to be abolished. 14th March, 1896.

3108. (San Marco.) In conventual Mass the Tract is to be sung in entirety by the singers when the organ is not played. 7th September, 1861. '

1588. (Seville.) The following customs are strongly denounced as abuses : The singing of the Passion in Holy Week not only by sub-deacons, but by laymen, oftentimes by married men ; also of singing the Passion in private Mass, or even without Mass ; a priest going vested to the altar while it is being sung. 16th January, 1677.

3110. Laymen cannot take the parts of Chronisla and Synagoga in the Passion. 13th June, 1899.

4044. (Buenos Ayres.) The deacon who represents the Synagoga may sing the sentences of single individuals, and the part of the turba may be taken by a lay choir. 7th July, 1899.

2169. (Terlizzi.) Nuns may not sing the part of the turba, under pain of suspension. 17th June, 1706.

1023. (Siguenza.) The Credo may not be sung alternately with the organ, but must be sung entirely and audibly. 16th March, 1657.

3104. (Santiago.) The celebrant may not continue the Mass immediately after the Incarnatus ; nor omit the singing of the Preface and Pater. 14th March, 1861.

3108. (San Marco.) The Credo to be sung in entirety. 7th September, 1861.

3110. (San Marco.) The organ may accompany the plain-chant Credo. 22nd March, 1862.

1936. (Genoa.) The celebrant may not go on with the Mass during the singing of the Credo. 17th December, 1695.

2682. (Marsi.) The Benedictus to be sung after the Elevation of the chalice. 12th November, 1831.

2951. (Flascala.) The organ may accompany the Ite missa est. 11th September, 1847.

3122. (Santiago.) The pause is to be observed at the asterisk in reciting the little Hours. 8th July 1864.

1180. (Genoa.) The verses of the Benedictus and Magnificat alternated with the organ are to be recited audibly. 20th November, 1660.

3054. (Avignon.) The great O's to be sung standing, slowly, gravely and solemnly, as is the custom ; and the Magnificat following to be sung to the solemn and not ferial tone. 9th May, 1857.

2343. (Montepulciano.) In ferial vespers in Advent, etc., the prayers said kneeling are sung with a fall of a third, fa-re, at each versicle ; the Pater is recited with the same fall at the end ; the Miserere is not sung, but recited in the same tone as the rest of the versicles. R. The custom to be abrogated and a monotone used (iitendum tono ac voce uniformi per simplicem fa). 9th May, 1739.

3110. (San Marco.) Repeats the preceding regulation. 22nd March, 1862.

3804. (Genoa.) The Lamentations, Responsories, Miserere and other portions of the liturgy on the three last days of Holy Week may not be sung to organ or instrumental accompaniment. An ancient custom of singing motets with organ or instrumental accompaniment before the B. Sacrament from Vespers of Maundy Thursday to Good Friday morning may be tolerated. 16th June, 1893.

3642. (Reims.) The words Aleph, etc., in the Lamentations are to be sung, and not supplied by an organ symphony. 23rd September, 1885.

1347. On doubles during the octave of the Immaculate Conception, the Benedicamus Domino of Our Lady is to be sung. 16th January, 1667.

1350. (Siena.) The same decree. 5th March, 1667.

2464. (Capaccio.) Nothing is to be sung during the blessing at Benediction. 3rd February, 1762.

2725. (The Swiss Capuchins.) At Benediction the blessing is not to be given during the words Sit et benedictio, but at the end of the hymn and prayer. 23rd May, 1825.

3058. (Utrecht.) At Exposition, during Lauds and Mass, the blessing is to be given once only, at the end of the prayer, and in silence. 11th July, 1857.

3110. (San Marco.) At the act of Exposition singing may be permitted at the option of the Bishop. 22nd March, 1862.

3638. (Montreal.) Prayers during Exposition, not of the Mass or canonical Hours, are to be sung with a single inflexion at the end of each. 18th July, 1885.

3050. (Port Louis.) The expression precatio suffragii in the reply given to Turin, 11th September, 1847, includes the Dies irce. The Offertory must be sung in Masses of the Dead. 9th May, 1857.

3767. (Calahorra.) In the more solemn ferias of Lent, the ferial Mass is recited with deacon and sub-deacon, while the choir is singing Sext and None. In Masses of the Dead the Dies ircB is not sung. Both customs must be prudently abrogated as abuses. 13th February, 1892.

3956. (St. Brieuc.) The Dies ires to be said whenever a Mass for the Dead is sung, and on the privileged days, i.e., the day of death, etc. 21st May, 1897.

3108. (San Marco.) The Libera is not to be begun till the priest and sub-deacon are in position by the bier. 7th September, 1861.

3110. (San Marco.) Repeats the previous decision and adds that the cantors are to wait a signal from the Master of Ceremonies.

4009. (Dubium.) May the organ accompany the Preface and Pater? R. The Cceremoniale Episcoporum is opposed to it (1. I. c. 28, § 9) and is to be followed 27th January, 1899.

1490. (Cordova.) The organ permitted at Mass and Vespers on the Fourth Sunday of Lent and Third of Advent. 16th September, 1673.

2245. (Benevento.) The organ may be used only for Mass and Vespers on those Sundays ; not for any other Canonical Hours. 2nd April, 1718.

2424. (Coimbra.) In Lent and Advent and on vigils, the custom of playing the organ at the votive Mass of Our Lady on Saturdays, and at her Litany after Vespers, may be retained. 14th April, 1753.

2059. (Turin.) At high Mass and Vespers on Sundays of Lent and Advent with regard to the organ the Ceremonial is to be observed strictly, notwithstanding any custom to the contrary. 11th September, 1847.

2965. (Florence.) The same. 22nd July, 1848.

3183. (The Belgian Franciscans.) The Provincial asks permission to use the organ in Masses and Office of the Dead and in Lent and Advent, because their numbers are few and they employ no external help.

R. The Rubrics are to be observed. 26th September, 1868.

3333. (Turin.) By immemorial custom Vespers are not sung before solemn feasts in the Metropolitan Church, and the organ is played in Advent and Lent, except on Palm Sunday. R. The custom is not to be retained. 22nd June, 1874.

2365. (Aix in France.) To the question whether the organ is forbidden on Septuagesima, etc., Sundays, the answer is that it is permitted when the ministers use dalmatic and tunic, even purple. 2nd September, 1741.

3515. (Vigevano.) May the organ accompany the singing of the Gloria at Mass on Maundy Thursday ? R. Servetur consaetudo. 11th June, 1880.

3535. (Urgel.) An immemorial custom of using the organ during the whole Mass on Maundy Thursday is to be eliminated. 30th December, 1881.

4044. (Buenos Ayres.) May the pianoforte (cymbalum seu Pianoforte) be used at Tenebrse and ferial Masses when the organ is forbidden ? R. Negative in omnibus. 7th July, 1899.

1283. (Milan.) Certain musical professors of Milan use musical instruments contrary to authoritative decrees, on the ground that the latter only affect churches under the Ambrosian rite, and do not extend to exempt churches or to lay folk. R. The constitutions apply to all churches and persons, exempt and lay. 26th January, 1664.

PISANA

Whereas by the " Ceremonial of Bishops," and by many decrees of the Congregation of Sacred Rites, it cannot be permitted, custom notwithstanding, to sing the Lamentations, Responsories, the psalm "Miserere? and the rest of the liturgy on Wednesday, Thursday, and Friday of Holy Week with organ or other instrumental accompaniment, the Most Reverend Lord Guido Salvioni, Canon, Dean and Vicar Choral of the Primitive Church of Pisa, rightly knowing this fact, has humbly petitioned this Sacred Congregation for a solution of the following doubtful points, to wit :

I. Whether in the Primitive Church of Pisa, on the above-mentioned ferial days, in consideration of ancient custom, it may be suffered that the Lamentations, Responsories, and the psalm " Miserere " be chanted to the accompaniment of the harmonium and other instruments of slight volume — the stringed instruments violin, viola, and bass ?

II. And, so far as the answer to I. is negative, whether, in the given case, the sound of the harmonium at least may be suffered ?

And the Sacred Congregation, on the report of the undersigned Secretary, having heard the Most Reverend Lord the Archbishop of Pisa, and having obtained the opinion of the Liturgical Commission, has determined that to either question a negative answer must be returned, in accordance with the " Ceremonial of Bishops " (lib. i., cap. xxviii.), and Decrees 2959 Taurinen., of 11th September, 1847, to I. ; 3704, Goana, of 16th June, 1893, to II. ; and 4044, Bonaeren, of 7th July, 1899, to I. And so it has answered, and commands it to be observed. 20th March, 1903.

S. Card. Cretoni, Prefect.

D. Paxici, Abp. of Laodicea, Secretary.

URBIS ET ORBIS

Our Most Holy Lord Pope Pius X., by Motu Proprio of 22nd November, 1903, under the form of an Instruction on Sacred Music, happily restored to its original use in the Churches the venerable Gregorian Chant according to the true reading of the Manuscripts. At the same time, to promote or restore in the temples the sanctity and dignity of the sacred harmonies, he collected into one body the principal prescriptions, and to this collection, out of the fulness of his Apostolic

Authority, he gave the force of law for the universal Church as to a Juridical Code of Sacred Music. Wherefore the same our Most Holy Lord, through this Congregation of Sacred Kites, commands and makes it a precept that the aforesaid Instruction x shall be received of all the Churches, and shall be most sacredly observed, any privileges and exemptions soever notwithstanding, including even such as may demand specific mention as do the privileges and exemptions granted by the Apostolic See to the greater Basilicas of the City, and especially those of the sacred Church of the Lateran. And while he recalls privileges and commendations of the Apostolic See and this Sacred Congregation by which any other more modern forms of the liturgical chant were in formerly existing circumstances brought in, the same His Holiness is graciously pleased to grant that in those Churches where they now obtain the aforesaid more modern forms of liturgical chant may be lawfully retained and sung, until, as soon as possible, the venerable Gregorian Chant according to the true reading of the Manuscripts shall be supplied in their place, all things whatsoever to the contrary notwithstanding.

Concerning all the above matters, our Most Holy Lord, Pope Pius X., has commanded that the present Decree be dispatched by this Sacred Congregation. The 8th day of January, 1904.

D. Panici, Abp. of Laodicea, Sec.

S. Card. Cretoxi, S.R.C., Pre/.

COMPOSTELLANA

The Most Eminent and Most Reverend Lord Cardinal Joseph M. de Herrera y de la Iglesia, Archbishop of Compostella, sending to the Sacred Congregation of Rites a question concerning both the feasts which in his Cathedral Church are solemnly celebrated with 1 The Motu Proprio.

vocal and instrumental music ("orchestra"), and of the instruments which the musicians use on these same solemnities; and further desiring an authentic interpretation of the principles laid down by our Most Holy Lord, Pope Pius X., in his Motu Proprio on sacred music, namely : " Sometimes, within due limitations, other instruments can be allowed, but not without the consent of the Bishop, as the " Ceremonial of Bishops " ordains, has laid reverently before the same Sacred Congregation the following doubtful points for solution, to wit :

I. Whether, and upon what feasts, may be allowed the use of the instruments — violin, viola, violoncello, double-bass, flute, claronet, and trumpet — enumerated in the statement of case ?

II. Whether the use of instruments may be allowed in the Office and Mass of the dead ?

III. Whether in parochial and conventual churches the use of the harmonium in the Office and Mass of the dead is to be prescribed ?

Further, on the report of the undersigned Secretary, the Congregation of Rites, having inquired the will of the Commission on Music and the sacred Chant, has judged well to reply :

To I. As to the first part, in the affirmative ; as to the second part of the question, in those functions and at those seasons in which the sound of the organ and other instruments is not forbidden by the " Ceremonial of Bishops," by the aforesaid Motu Propria, or by Decrees of the S. R. C, such as Pisana of 20th March, 1903, and Compostellana of 8th January, 1904, concerning the Three Days of Holy Week ; but only according to the prudent judgment of the Ordinary, in particular cases, with dispensation from the law and custom of employing in sacred functions the Gregorian Chant or polyphonic or other approved music.

To II. In the Office, negatively ; in the Mass and