Category Archives: Chirograph for the Centenary of TLS

Let’s wrap up our examination of John Paul’s chirograph on sacred music. The last entry: 15. I hope that the centenary commemoration of the Motu Proprio Tra le Sollecitudini, through the intercession of their holy Author together with that of St … Continue reading →

Pope John Paul II is certainly aware that the primary musical instrument of the liturgy is the human voice. That said, other musical instruments are used to accompany singers or to stand on their own as part of an effort of … Continue reading →

Pope John Paul II advises support for the bishops to make good discernments in the efforts of promoting sacred music: 13. Lastly, I would like to recall what St Pius X disposed at the practical level so as to encourage … Continue reading →

People still compose music for liturgy. Maybe as much as they did one or two generations ago. Let’s see what John Paul II said about it. 12. With regard to compositions of liturgical music, I make my own the “general … Continue reading →

I had to go back to see what Sacrosanctum concilium said about “popular religious song” to get to the bottom of what John Paul II was trying to tell us, referring to this term. I confess I still don’t get … Continue reading →

If you are new to the discussion of this document, don’t be shy: chime in. Feel free to comment on previous posts, too. Today let’s have a look at John Paul II’s brief thoughts on contemporary compositions: 10. Since the Church has … Continue reading →

Good musicians don’t grow on trees. John Paul II knew that, as did his predecessors. Vatican II endorsed the musical formation of the clergy: 9. In this area, therefore, the urgent need to encourage the sound formation of both pastors and … Continue reading →

CCTLS section eight treats not only choirs, but touches on other music ministers, too. Let’s start with the choir: 8. The importance of preserving and increasing the centuries-old patrimony of the Church spurs us to take into particular consideration a … Continue reading →

The past two days we’ve covered John Paul II’s take on the three judgments in his chirograph, issued one century after Pope Pius X released his motu proprio on sacred music, Tra Le Sollecitudini. Today, from Pope John Paul II’s … Continue reading →

John Paul II offers a look at the intersection of liturgical music and conciliar reform in section 6 of this document. When he writes “music and song,” what does he mean, do you suppose? Accompaniment and melody? Music and text? … Continue reading →

What’s CCTLS? Just John Paul II’s Chirograph on the Centenary of Tra Le Sollecitudini, issued one century after Pope Pius X released his motu proprio on sacred music. Today, let’s look at a few qualities of sacred music. You may indeed … Continue reading →

Two weeks of John Paul II’s chirograph gets into a meaty, substantive matter with the necessity of having holiness as a reference point. Let’s explore what this means after reviewing the text of section 4: 4. In continuity with the teachings of … Continue reading →

We continue a look at Pope John Paul II’s chirograph. Today, yet another endorsement for active participation. And more, “intense” participation. 3. On various occasions I too have recalled the precious role and great importance of music and song for … Continue reading →

Liam suggested we take a peek at this document, issued one century after Pope Pius X released his motu proprio on sacred music, Tra Le Sollecitudini. Today, from Pope John Paul II’s chirograph, a look at the heritage of Vatican … Continue reading →