教宗论圣乐(2011-06-07 10:13:58)[编辑][删除]
标签： 礼仪生活文化
目前，令人深恶痛绝的事情，就是非圣乐，甚至是流行音乐侵入教会神圣的礼仪，践踏、亵渎天主的工程。
教宗再次强调圣乐在礼仪中的重要性，以保护礼仪的神圣，帮助我们正确地对待礼仪中的音乐。
圣乐发展要忠于传统并给予礼仪尊严
刊登日期: 2011. 06. 01
标签连结 : 歌咏团, 圣乐学院, 额我略圣歌
为庆祝宗座圣乐学院创立一百周年纪念，教宗本笃十六世在致圣座教育部长泽浓枢机主教的信函中表示：「教会是礼仪真正的主题，为此，圣乐必须能带动民众主动参与，回复礼仪的祈祷、庄严和美丽的意义。」
当前流行音乐可能对礼仪产生负面影响，而在一个世纪前则是歌剧的韵味影响礼仪，因此当时教宗庇护十世决意不让圣乐被那些不能相称表达出音符与神圣礼仪意义间密切关连的乐谱所取代。
在信函中，教宗本笃说：「为此，教宗庇护十世于一九一一年创办圣乐高级学校，二十年后教宗庇护十一世将它提升为宗座圣乐学院。」信函解释：「教宗庇护十世之所以着手进行的『深入改革』，因为他察觉教会需要有一个圣乐教学与研究中心，能将教宗的指示以忠实并胜任的方式，传达给作曲家、歌咏团指挥和礼仪专家。」
教宗本笃十六世强调，他认为「特别珍贵」的一面是，即使在今日自然的演变中，仍然可以发现「教会在礼仪圣乐训导方面的基本连续性」。
他写道：「在近代，教宗保禄六世和若望保禄二世都重申圣乐的宗旨和传统的基本准则，那就是祈祷、庄严和美丽的意涵；完全遵照礼仪的本文和姿势；带动信众的参与，也因此要能合情合理地适应当地的文化，同时保有普世性。」
他续说：「额我略圣歌该具有优先的地位，它是圣乐最高的典范，同时也该明智地重用其它的表达形式，尤其是复调乐曲，这些都是教会的礼仪和历史文化遗产的一部分；再就是歌咏团，尤其是主教座堂歌咏团的重要性。」
然而，教宗也提到：「我们必须始终自问：谁是礼仪真正的主题？答案很简单：教会。」他明确地说：「不是个人或团体在举行礼仪，礼仪主要是天主通过教会的行动，礼仪有它的历史、丰富的传统和它的创造性。」
教宗本笃指出：「礼仪因着健康的传统与合法的发展两者间保持的正确和不断的关系而存在，圣乐也是如此。」
最后，他说：「要始终牢记大公会议的教父们明确强调的这两个概念，它们相辅相成，因为传统是个活生生的事实，在其自身内包括发展和进步的原则。」
Benedict XVI Underlines Continuity of Sacred Music
Says Tradition Rightly Lives Alongside Progress
VATICAN CITY, MAY 31, 2011 (Zenit.org).- Benedict XVI is underlining the continuity of sacred music that stretches back to the “authentic and glorious tradition” begun by St. Gregory the Great.
In a letter address to Cardinal Zenon Grocholewski, grand chancellor of the Pontifical Institute of Sacred Music, the Pope called the centenary of its foundation an “important event,” and a “reason for joy for all the cultivators of sacred music.”
Placing the foundation of the institute in context, the Pontiff recalled that Pius X founded the institute in 1911, eight years after publishing an instruction on sacred music issued “motu proprio,” titled “Tra le Sollcitudini” (Among the Cares).
With the instruction, Benedict XVI recalled, Pius X “carried out a profound reform in the field of sacred music, returning to the great tradition of the Church against the influences exercised by profane music, especially operatic.”
The German Pope continued: “This masterful intervention needed, for its realization in the universal Church, a center of study and teaching that could transmit, in a faithful and qualified way, the lines indicated by the Supreme Pontiff, in keeping with the authentic and glorious tradition that goes back to St. Gregory the Great.
“Hence, in the span of the last 100 years, this institution has assimilated, elaborated and transmitted the doctrinal and pastoral contents of the pontifical documents, as well as of Vatican Council II, concerning sacred music, so that they can illumine and guide the work of composers, of chapel maestros, of liturgists, of musicians and of all formators in this field.”
Benedict XVI then highlighted the “essential continuity of the teaching on sacred music in the liturgy.”
Even modern Popes, he continued, such as Paul VI and John Paul II, reaffirmed “in the light of the conciliar constitution ‘Sacrosanctum Concilium,’ […] the end of sacred music, namely, ‘the glory of God and the sanctification of the faithful,’ and the fundamental criteria of Tradition.”
He noted several elements of the Tradition of sacred music, such as “the sense of prayer, of dignity and of beauty,” “the primacy of Gregorian chant, as supreme model of sacred music,” and “the importance of the ‘schola cantorum.'”
Benedict XVI said the more traditional forms of sacred music have been “considered expressions of a conception that responded to a past to be overcome and neglected, because it limited the liberty and creativity of the individual and the communities.”
“However,” he countered, “we must always ask ourselves again: Who is the authentic subject of the liturgy?”
“The answer is simple, the Church” the Pope answered. “Not the individual or the group that celebrates the liturgy, it is first of all the action of God through the Church, which has her history, her rich tradition and her creativity.”
“The liturgy, and consequently sacred music,” the Pontiff explained, “lives from a correct and constant relation between healthy ‘traditio’ and legitimate ‘progressio.'”
Benedict XVI then urged the institute, “on the basis of these solid and sure elements, to which are added an age-old experience,” to continued “with renewed impetus and commitment your service in the professional formation of the students, so that they acquire a serious and profound competency in the different disciplines of sacred music.”
“Thus,” he concluded, “this Pontifical Institute will continue to offer a valid contribution for the formation, in this field, of the pastors and lay faithful in the different particular Churches, fostering also an adequate discernment of the quality of the musical compositions used in liturgical celebrations.”
道明的共享空间 
