THE SONG LITURGICAL HYMN AND THE WAYS OF DEVELOPING THE GENRE IN THE MODERN PRACTICE OF THE ROMAN CATHOLIC CHURCH

The Second Vatican Council (1962—1965) formulated the principles of parishioners’ active participation in the liturgical and pastoral life of the Church. The introduction of congregational singing into the Catholic Church service led to a significant rethinking of the cult repertoire. The hymns of Proprium, which have not yet received a unified name in the Russian liturgical practice, became one of the leading genres of collective performance in the mass. In connection with the significant changes in hymnography that took place in the twentieth century, the concept of “song liturgical hymn” is introduced. It refers to the liturgical chanting in the national language for communal performance in the procession sections of the reformed mass. The article analyzes the hymns of the modern composers G. Gsel “You Are My Good Shepherd” and P. Bebenek “Glory to You, Lord”, deeply rooted in activities of the Russian Catholic parishes.

In the song liturgical hymn the traditional signs of Church chants are supplemented by attributes of secular culture. The indissoluble connection with the Church environment and the subordination to the liturgical tasks bring the new hymn-creating closer to the temple practice. The modern hymns are stylistically distanced from household music, but at the same time absorb some attributes of song. It is emphasized that the genre dominant of Church chants is constant; it has not changed for centuries. In the song liturgical hymn, the new conditions of performance influence the reintonation of the genre heritage.

The Second Vatican Council marked the beginning of the integration movement and gave impetus to the expansion of the musical vocabulary of the service. The official permission of national idioms in the Church practice played a significant role in changing today’s repertoire. The definition of “song liturgical hymn” reflects the new position of the Holy See regarding the direct participation of parishioners in the mass.

1. Constitution “On the Church Service”, Second Vatican Council: Constitutions. Decrees. Declarations. Brussels, Zhizn’ s Bogom Publ., 1992, pp. 79—117 (in Russ.).

2. Schuler R.J. A Chronicle of the Reform: Catholic Music in the 20th Century, Cum Angelis Canere: Essays on Sacred Music and Pastoral Liturgy in Honour of Richard J. Schuler. St. Paul MN: Catholic Church Music Associates, 1990, Appendix 6, pp. 349—419.

3. Musicam Sacram. Instruction on Music in the Liturgy. Sacred Congregation of Rites, 1967, 5 March.

4. Pawlak I. Muzika liturgiczna po soborze watykańskim II w świetle dokumentów kościoła. Lublin, Polihymnia Publ., 2000, 470 p.

5. Dobszay L. The Bugnini-Liturgy and the Reform of the Reform, Church Music Association of America Publ., 2010, 218 p.

6. Zosіm O.L. Dukhovna pіsennіst’ і suchasna bogosluzhbova muzika Rimo-katolits’koї tserkvi Ukraїni і Rosії: natsіonal’ne і konfesіine, Mistetstvoznavchі zapiski: zbіrnik naukovikh prats’. Kiev, 2011, no. 19, pp. 233—240.

7. Kan En E. Christian Hymnography in the History of Musical Culture of the Republic of Korea: An Experience of Western Tradition Adaptation: monograph. Moscow, 2015, 157 p. (in Russ.).

8. Bartlett A. Ever Ancient — Ever New: Implementing Musicam Sacram Today. Part II: Progressive Solemnity, Musicam Sacram’s Plan for Sung Liturgy in Every Parish, Adoremus Bulletin, January 12, 2017.

9. General Instruction to the Roman Missal, Rimskii Missal [Roman Missal]. Moscow, Frantsiskantsev Publ., 2011, pp. 13—89 (in Russ.).

10. Benofy S. The Instruction Musicam Sacram after Fifty Years: Rediscovering the Principles of Sacred Music, Adoremus Bulletin, September 15, 2016.

11. Leiderman N.L. Teoriya zhanra [The Theory of Genre]. Yekaterinburg, 2010, 904 p.

12. Fidenko Yu.L. National Versions of Worship as a Basis for a New Mass to Come, Observatoriya kul’tury [Observatory of Culture], 2014, no. 6, pp. 92—97 (in Russ.).

13. Trubenok E.A. Paraphrasing of Sacred Text-Musical Sources in Modern Roman Catholic Church (On the Example of the Hymn Te Deum), St. Tikhon’s University Review. Series 5. Problems of History and Theory of Christian Art, 2014, issue 2 (14), pp. 105—116 (in Russ.).

14. Efimova N.I., Kan En E. The “Own” and the “Alien” in the South Korean Hymnography: An Experience of Comprehending the Terms of Musical Relations in the Format of “East-West”, Bulletin of the Viktor Popov Academy of Choral Art, 2014, no. 4, pp. 44—66 (in Russ.).

15. Rutler G.W. The Stories of Hymns: The History Behind 100 of Christianity’s Greatest Hymns. Irondale, Alabama, EWTN Publishing, 2016, 322 p.

16. Zosim O.L. Sacred Poetry and East-Slavonic Sacred Songs of the 17th—18th Centuries, St. Tikhon’s University Review. Series 5. Problems of History and Theory of Christian Art, 2012, issue 2 (8), pp. 41—51 (in Russ.).

17. Subbotskaya N.E. The Aspects of Historical Phonetics of the Latin Language in the Hymns of St. Ambrose of Mediolanum, St. Tikhon’s University Review. Series 3. Philology, 2010, issue 2 (20), pp. 112—119 (in Russ.).

18. Korobova A.G. The Modern Theory of Musical Genres and its Methodological Aspects, Muzykovedenie [Musicology], 2008, issue 4, pp. 2—6 (in Russ.).

19. Sakharov P.D. Translation of Liturgical Texts into Russian in the Catholic Church of Latin Rite, V.V. Vinogradov Institute of Russian Language of the Russian Academy of Sciences: website. (in Russ.).

20. Fidenko Yu.L. Muzykal’no-liturgicheskaya praktika katolicheskikh prikhodov aziatskoi chasti Rossii na rubezhe XX—XXI vekov [The Musical-Liturgical Practice of Catholic Parishes of the Asian Part of Russia at the Turn of the 20th—21st Centuries]. St. Petersburg, 2015, 255 p.