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eugene
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Posted -
2003/8/24 下午 09:52:38
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各位好：
我是台灣的教友，
我經常來此閱讀討論區的文章，
受益良多。
最近有一位朋友問我這樣的問題，
由於我對禮儀方面不是很熟悉，
所以想來這裡請教各位：
1.在彌撒時完全按照公定禮儀，
那麼歌詞不屬於彌撒的詩歌創作
是否只能在彌撒以外的場合唱，不可插入彌撒中呢？
2.因為太多偉大的作曲家創作太多好聽的彌撒曲，
使得美妙的音樂讓人無法專心敬拜，
教宗禁止了海頓、莫札特等人的名作在天主教會演出...
(如果准許全曲全程演出，彌撒將變成音樂會，
失去敬拜內涵)
此禁令還是沒有解禁嗎？
如果”單曲”不是”全曲”也仍然受到禁止嗎？
謝謝各位
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Cecil
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Posted -
2003/8/25 上午 09:54:13
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以我非常有限的認識,彌撒某些部分的經文不可以用其他不同的'歌詞'唱出,"hymns"可以唱些不是經書中定好的彌撒經文,hymns可以在進堂時,獻禮時,領主是和禮成時唱;是否可以唱莫札特,海頓,孟德以遜等作家的曲,我則不大清楚,但韓德爾的,如亞肋路亞,我就不止一次在大禮儀中聽人唱過.
其實,莫札特的亞肋路亞一點不亞於韓德爾的,我本人很愛唱,可是從未在禮儀中的福音前歡呼內聽人唱過,可能真的是禁止了!
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Augustine
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Posted -
2003/8/26 下午 05:04:31
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Extracts from Motu Proprio of Saint Pius X on sacred music. 22 Nov 1903. Feast of S. Cecilia.
2. Sacred music should consequently possess, in the highest degree, the qualities proper to the liturgy, in particular, sanctity and goodness of form, which will spontaneously produce the final quality of universality.
It must be holy. Sacred music must, therefore, exclude all that is profane, not only in itself, but also in the manner in which it is presented by those who execute it.
It must be true art. Otherwise, in the minds of those who listen to it, sacred music will not be able to bring about the effect the Church intends, in admitting into her liturgy the art of musical sounds.
At the same time, however, sacred music must be universal in this sense. On the one hand, every country can admit its own native music forms into its compositions for church. On the other hand, these kinds of music must be subordinate to the general character of sacred music. This must be done in such a way that, on hearing the music, nobody of any other country would receive a negative impression.
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Augustine
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Posted -
2003/8/26 下午 05:07:45
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5. The Church has consistently favored the progress of the fine arts, admitting to the service of religion everything good and beautiful that human talent has produced, down through the ages. This has always been done, however, with due regard to the liturgical laws. Consequently, modern music is also allowed to enter the church. Contemporary (that is up to the beginning of 20th century) music furnishes compositions of such excellence, sobriety, and competence, that they are in no way unworthy of the liturgy.
Still, since modern music has come into being mainly to serve secular purposes, greater care must be taken with regard to it. This must be done so that contemporary musical compositions, allowed in church,
(1):will contain nothing profane,
(2):will be free from associations with melodies used in theaters,
and (3):will be not written in the style of secular pieces, even in their outward forms.
6. Among the different kinds of modern music, that which appears less suitable for accompanying the liturgy is the theatrical style which was exceptionally popular during the [nineteenth] century, especially in Italy.(So Italian Operatic stuffs are not allowed)
Of its very nature, this style is diametrically opposed to Gregorian Chant and classic polyphony and therefore to the most important standard of all good sacred music. The intrinsic structure, the rhythm, and the "conventionalism" of this style are poorly adapted to the requirements of true liturgical music.
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Augustine
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Posted -
2003/8/26 下午 05:15:42
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Qn:此禁令還是沒有解禁嗎?
Ans:沒有.if that piece of music really contains elements contrary to the requirements of a religious music set forth by S. Pius X.
I think JSBach or Handel is OK. But Mozart I'm not sure (after all he was involved with Freemasons).
But if you use Verdi, Puccini or Bizet...sorry, NO.
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Cecil
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Posted -
2003/8/26 下午 05:18:41
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那麼,整體而言,十九世紀的意大利歌劇曲式,並不合在禮儀中採用.
新派的19,20世紀作品如C. FRANCK的PANIS ANGELICUS,C. GOUNOOD 的AVE MARIA等,是可以在禮儀中唱.
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Augustine
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Posted -
2003/8/26 下午 05:32:20
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Gounod's "Ave Maria" is transcribed from the first Prelude and Fugue from his "48" in C by J.S.Bach. Gounod only put in the words and create a new melodic line on top of the harmony of Bach. That's really great music.
But titles could be misleading, for example, Schubert's "Ave Maria" was banned by the CHurch due to its profaness. I think if this piece is treated simply as an art song, that's great.
Verdi's "Requiem" is simply a theatretical version of the last judgement.
Actually, as I remember, during the Tridentine Latin Mass we have sang the C. Franck's "Panis Angelicus" at least twice, during the Offertory.
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Cecil
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Posted -
2003/8/26 下午 05:36:44
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You are right - the prelude and fugue is in polyphonic style, typical of JS BACH.
Yet I heard a 'hymn' in church in the tune of 'Love is Blue', with words altered to a sacred theme. Apart from the copyright issue, I wonder if the tune is alright too!
So, Beethoven's famous chorus from symphony No. 9(?Choral Symphony) was adopted by the Church?
By the way, what about the Caribbean Lord's Prayer? Father Zhao Yi Zhou of Taiwan adamantly opposed to it! But it is so immensely popular in my parish, fooooooooooooo.
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Cecil
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Posted -
2003/8/26 下午 05:43:27
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唉呀,差點兒忘了,蔡神父說過,樂曲是否聖樂,首先看創作動機是否為此,因為最重要的,是聖神是否在曲內工作.如此看,神曲oratorios是合格的作品,opera則不是,symphony也很難說,但借其曲調配以新的祈禱文,則不失是因聖神的感動而來的創作.
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Augustine
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Posted -
2003/8/26 下午 05:54:00
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Caribbean Lord's Prayer??
But that's not universal, as stated in the S. Pius X Motu Proprio. I donno what "Love is Blue" is originally about, but if it is profane by suggesting immorality or casual relationships...etc. I think it's not OK.
A good example is the Beethoven Ode to Joy. Yes, it is universal, a real piece of art (by a great master) and also, sacred by virtue of the sung text.
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Cecil
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Posted -
2003/8/26 下午 06:04:23
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其實教區對英文的彌撒曲沒有甚麼指引.如果可以的話,希望可以參考如北美教區的approved hymns.現在很多folk choir唱的東西十分奇怪的,真不知是否universal,更遑論神聖不神聖.
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Cecil
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Posted -
2003/9/4 下午 05:14:01
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"Offices and Ministries in the Mass (GIRM #103)
The schola cantorum or choir exercises its own liturgical function among the faithful. Its task is to ensure that the tasks proper to it, in keeping with the different types of chants, are carried out becomingly and to encourage active participation of the people in singing. What is said about the choir applies in a similar way to other musicians, especially the organist."
以上是新版'羅馬經書總綸'關於歌詠團的禮儀角色的其中一項.
Commentary: The choir has a definite purpose at liturgy. Try not to approach the choir's role from a non-liturgical Protestant model wherein the choir offers "an anthem" at a particular point in the service. Rather, the documents primarily envision the choir evolving out of a Roman model, wherein a schola (a group of singers, often in unison) offered various chants of the Mass proper (Introit, Gradual, Offertory, Communion, etc.). Ideally, in addition to singing an anthem alone, the choir should alternate with the congregation in the Proper of the Mass and may even (particularly in the instances above) legitimately sing them in place of the congregation.
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Ignatius
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Posted -
2003/9/16 下午 08:47:34
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彌撒用歌曲的選擇/譜曲的準則－趙一舟
梵二禮儀革新對聖樂，尤其對彌撒用歌曲非常重視。《禮儀憲章》稱：「用語言所配合的聖歌形成隆重禮儀的必要或組成要素」。由於禮儀語言的本地化，以及各地傳統音樂的採用（參閱《禮儀憲章》112、54、119），在各地教會中出現了「多采多姿」的聖歌集。也使得禮儀的舉行顯得多元化。
由於所採用的歌曲，無論歌詞、曲調或質量方面多有差異，有些根本不適用於禮儀中，所以有時在彌撒中使人感覺到好似在亂唱。因此在新訂的《彌撒經書總論》中，特別規定適用於彌撒慶典中的歌詞，除取自聖經者外，也和曲調同樣要經過主教團的批准（48、393）。據說有些國家的主教團已經依此規定，制訂了適用於彌撒的聖歌集 。今就《總論》中兩項規定予以申述，提供為彌撒選歌或譜曲者參考。
適當的歌詞
1、彌撒經文中的歌詞
所謂大禮彌撒或歌唱彌撒（Missa cantata）通常是指歌唱彌撒的各部分的經文，包括常用經和專用經等。舊禮彌撒為進堂詠（Introitus）、獻禮詠、領主詠，均提供歌詞。新禮彌撒對進堂詠及領主詠僅提供對經，對獻禮詠則未提供任何歌詞。目前在不同的堂區團體中，這三部分所用的歌曲並不相同。原則上，這些歌曲的歌詞應經由主教團批准（〈聖禮中的音樂〉32，《總論》48）。
2、取自聖經或由聖經啟發的歌詞
這類歌詞優先受到教會的重視，也是教會傳統為禮儀聖歌通常所採用的歌詞。最常用的歌詞首推聖詠（參《禮儀憲章》24、121）。雖然聖詠是舊約時代的作品，有些情節需要懂得其歷史背景才能了解，但許多章節、詩句適合做現代人的祈禱詞或歌詞。
自從禮儀革新運動以來，就有不少作曲家曾為本地語言的聖詠譜曲。江文也先生可以說是這一方面的先鋒，譜寫了具中國音樂特色的聖詠選集。因此鼓勵作曲家儘量利用聖詠的章節、詩句來譜曲，或經由聖詠內容的啟發編寫適合禮儀用之歌詞。
3、符合禮儀精神的歌詞
禮儀行為主要是對天主的敬禮，是祈禱，是讚頌，是感恩，應表達在歌詞中。在選擇歌曲前要先看歌詞所想表達的是甚麼。通常彌撒禮儀敬禮的對象是天主（或稱上主），故敬禮聖人的聖歌，直接向聖人歌唱的聖歌，通常不適於用在彌撒中。
4、符合禮儀慶節/季節的歌詞
歌唱主要在表達對某一慶節或季節之奧蹟的慶祝。所唱歌詞應顯示出與慶節或季節的關係。每個禮儀節期均有其特點，歌詞中應表達出來。適於四旬期之歌，不宜在復活期詠唱。每個特殊時期有其專用聖歌。
5、與相關彌撒部分配合的歌詞
彌撒的歌唱部分各有不同的功能與特點，所用歌詞應顧及之，並予以充分表達。因此，適宜進堂詠之歌詞不得用作奉獻詠。在後續的文章中將對彌撒各歌唱部分再做較詳盡的論述。
6、具有詩意或優美的歌詞
教會特別重視在禮儀中藝術的運用，使禮儀慶典達至優美典雅的境界。所謂禮儀藝術包括建築、用品、各項儀式，當然也應包括聖歌。優美的歌詞和樂曲，引人舉心向上，默觀美善的天主。
目前有些聖歌集中的「舶來品」歌曲，曲調優美，而歌詞彆扭，文法不通，顯然是從外語翻譯而來的。如「我的生命，吾主，獻給；我的生命獻給…」。這是大家琅琅上口的歌，但若將歌詞分析，確實有問題：主體在哪？是誰在奉獻？按文法講，似乎有兩個主體，即我的生命和吾主在奉獻。其實，是要把生命獻給吾主。若翻譯歌詞時，能稍加修改為：「我把生命全部獻給主，我把生命獻給主…」，在詞義與文法上，就沒「洋味」啦！
或許你也曾多次發現，有些翻譯的歌詞只是國字，而非國語。我們並不反對引進美好的外語歌曲，但要翻譯得像「話」，像本地話。
適當的曲調
通常一首聖歌的樂曲，透過耳朵直接觸動人的心靈與感覺。好聽的樂曲或旋律往往使人著迷，使人心曠神怡。但在禮儀中選曲時，對迷人的歌曲更要當心，以免為感覺所左右，而失去理性的思考。在選曲上通常也受主觀因素影響，兒童、青少年、成年、長者各有自己喜歡的樂曲。那麼，適用於彌撒慶典的樂曲到底要以什麼客觀標準來審斷呢？
《禮儀憲章》指示：「聖樂愈能和禮儀行動相調諧，才愈見神聖：就是使祈禱更覺得甘飴，促進（會眾）同心合意，使聖禮更顯莊嚴隆重」（112）。
1、與禮儀行動密切結合的曲調
在彌撒慶典中，有不同的時刻，性質不同的行動，功能不同的儀式，因此，不僅歌詞，而且曲調也應與其密切配合，以發揮功能。所以，彌撒中需要有配合彌撒不同部分的歌曲。懇求的曲調不同於默想或讚頌的曲調。如：求主垂憐經與光榮頌之曲調就各有不同。
2、表達祈禱韻味的曲調
彌撒禮儀中有不同性質的祈禱詞，聖樂的目的在把其特性表達出來，使人覺得這端祈禱「甘美可口」（suavis）；同時也使得禱詞更能銘刻於心，並能在日常生活中引起迴響，不時重複歌唱。
3、促進會眾同心合意的曲調
在禮儀聚會中大家異口同聲歡唱，促進團體的團結合一。彌撒中的歌曲並不是全部都要大家一同唱，但卻要大家都參與：彌撒中不同的歌唱部分，由不同的唱者依照禮規的指示分工合作；自己不歌唱時，要注意聆聽主祭或其他人歌唱。
4、適合信眾程度的曲調
梵二以前的隆重彌撒有些高難度的歌曲，如進堂詠、獻禮詠、領主詠等，只有歌詠團能唱，一般信眾僅可聆聽；又是以拉丁文詠唱，信眾大多聽不懂。禮儀歌曲的革新在於使全體信眾都能參與歌唱。因此，為信眾歌唱部分不宜選難度過高的曲調，但也不須常用一些平淡、無奇、不必練唱的歌曲。真正適當而美好的歌曲，也需要學習，以加強禮儀慶典的美。
5、尊重歌詞的曲調
樂曲是為歌詞而服務的。通常應先有歌詞，再來譜曲。一首聖歌的曲調需有助於歌詞的瞭解，同時透過曲調與歌詞的結合，引導信眾進入所舉行的奧蹟。若使人沉迷於曲調之美，而忽略了所唱歌詞的意義，這樣的歌曲不宜在禮儀中採用。
結語
根據教會傳統，所謂歌唱彌撒，原則上是要詠唱彌撒各部分的經文，而非選唱與經文無關的歌曲作點綴。因此負責為彌撒選曲者，首先要看歌詞是否適當，與彌撒該歌唱部分性質是否相合，然後再看曲調是否適當。要使歌曲發揮它應有的功能，需要審慎的選擇。選擇的標準，不應只看信眾會不會唱。
（原載見證月刊2003年9月）
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Cecil
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Posted -
2003/9/17 下午 03:19:48
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想問問,英文彌撒的答唱詠歌集有哪些? 何處可買得到?
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