Does the KKK believe in God

OFFICE FOR THE LITURGICAL CELEBRATIONS OF THE POPE
 

How to celebrate? / 2: Music and song (KKK 1156-1158)

 

Beautiful music and singing have long been an interface where the ups and downs of human emotional movements meet. But where they become part of the liturgy, their higher purpose is to glorify God adoringly, which of course dwarfs the noble but lesser aim and desire to perform brilliantly. Since it is mainly oriented towards God, “[the traditional music of the universal Church… represents a wealth of inestimable value, distinguished among all other artistic forms of expression, especially because, as the worship chant associated with the word, it is a necessary and integrating one Part of the solemn liturgy "(" Catechism of the Catholic Church "[KKK] 1156 and "Sacrosanctum Concilium“ [SC] 112). In the old covenant there was not only a rich inventory of psalms and hymns, which are of central value for both the Jewish and Christian liturgy, but also various artistic and symbolic records for various musical instruments (KKK 1156). From today's perspective it is difficult to reconstruct which instruments were used in each case at the time, but one can imagine their harmony if one thinks of the versatile possibilities of a pipe organ, with which one masterfully expresses and reproduces the various moods of the liturgical cycle of the year can. One should call the liturgical constitution (SC 120) in favor of special appreciation of the pipe organ, never lose sight of the fact, even if the use of other musical instruments is permitted in the liturgy, provided they are suitable for sacred use.

The difference in moods and their range can be seen in the various musical instruments that they expressed in the liturgy of the Old Testament. As stated in the first book of Chronicles (15:16) and in the book of the prophet Isaiah (5:12), one could hear the lyre, zither or "kinnōr" under the stringed instruments in the temple during festivals and feasts. As we know from the first book of Samuel (16:23), David also played this instrument to cheer Saul. The “nēbel” or harp was often played with the lyre, as Psalm 108 (107) suggests. The ten-string “nēbel” that appears in psalm 144 (143) mentioned, may be comparable to a zither, but does not resemble a lute. Among the wind instruments in Book Numbers (10) are the trumpets, which were used for festivals and other important ceremonies; Then there is the flute, which belongs to the group of instruments mentioned in the book of Daniel (3: 5) and the "halīl" or reed pipe, which - as can be seen from the book of Jeremiah (48:36) - was used, to express lament or to proclaim joy (1st book of Kings 1,40). There was also no lack of percussion instruments such as the cymbals in psalm 150 and the bells on Aaron's robes (Exodus 28: 33-35).

When devout music and singing accompany the liturgical celebration, it gives the treasures of the liturgy a breath of life. This exchange between us and God creates a place where God lives and where people are touched by God's unique life. This abode of God is the liturgy. It is not just a symbol of the divine mystery or a mere sign of the truth of Catholic revelation. In the liturgical celebration and through it, the Divine Mystery and Truth become present before us. These essential characteristics of the liturgy show that our celebration must not be limited to the feeling or the fact that we absolutely want to be satisfied with what we celebrate and how we celebrate it - without wanting to deny these aspects their importance when it comes to goes the means one must use to convey God's message. The liturgy must convey to those who take part in it the spiritual attitude of the Church and, at the same time, their own disposition, so as to feed people in spirit and truth. In a liturgy that appears as a long-distance relationship, fidelity will see to it that the feeling of distance will pass once the people have become accustomed to the sacred language of Mass. You shouldn't underestimate the people. If you stick to it, you soon come to the realization that texts that you get to know better and better will begin to love over time. There are three points that must be heeded so that music and singing develop their full potential: "the expressive beauty of prayer, the unanimous participation of the congregation at the scheduled times and the festive character of the celebration" (KKK 1157).

The liturgy builds and describes relationships. Relationships require persistence and misunderstandings can arise in the course of their development. The liturgy is the meeting point where God shows the depth of his covenant of love so that "the fallen man rises again on the wings of prayer" (Stanbrook Abbey Hymnal, "Lord God, your light which dims the stars", verse 2, published 1974). In the liturgy God meets the “anthropos” (man) on holy ground. That is why “the religious folk song ... should be diligently cultivated so that the voices of the believers can“ sound ”in accordance with church regulations during devotional exercises and worship celebrations and also during the liturgical acts themselves (SC 118, KKK 1158). Therefore, in our service to the liturgy and in the liturgical celebrations, it is not intended that we put our personal tastes or our own programs ahead of what the Church has handed down to us. True participation in the liturgy entails the celebration of truths that endure time and space, for “the Holy Spirit introduces believers in Christ to all truth. He makes the word of Christ dwell among them in abundance. For her part, the Church transmits everything she is and what she believes in and perpetuates it when she offers the prayers of all believers to God through Christ and in the power of the Holy Spirit ”(SC 33; “Liturgiam authenticam”, 19).