第二次大公會議後菲律賓的天主教教會音樂

第二次大公會議後菲律賓的天主教教會音樂
第二次大公會議後菲律賓的天主教教會音樂
費里西達・普魯登德教授/菲律賓大學
葛羅利亞・史坦瑪莉雅教授/聖伊莎貝爾學院
摘要
這份論文主要探討自 1962~1965 年羅馬教皇約翰二十三世所召開歷史性的第二次大公會議後教會音
樂中所發生的重大變革之後，菲律賓儀式音樂的概況。
本份論文描述禮拜儀式者、聖工人員和一般信徒，依照第二次大公會議精神創作新儀式音樂的諸多
努力。本份研究揭示了不同教派(sectors)和社群的廣泛參與，以及形成菲律賓彌撒音樂和適合當地教區
(parishes)音樂中活躍的相互作用。而這種聖意轉移(appropriation)、地方化(localization)和新作品創作的音
樂策略，已成為後梵帝岡時期的特色。
本份論文的資料，來自於兩位自年輕時便浸濡在教會音樂中，同時是音樂學家與從事事工的天主教
徒作者的直接經驗。第一部分由 Prudente 撰寫，為菲律賓教會音樂提供一個歷史的觀點，以及詳細記錄
發生在 1960~1970 年代第二次大公會議時期的音樂趨勢。第二部份由本身為教會唱詩班指揮的 Sta. Maria
撰 文 ， 討 論 自 1980 年 代 的 音 樂 風 格 與 保 留 曲 目 ， 和 至 今 彌 撒 慶 典 期 間 所 演 奏 的 宗 教 音 樂 融 合
(amalgamation)。
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Catholic Church Music in the Philippine After Vatican
Felicidad A. Prudente/ University of the Philippines
Gloria Rosario Sta. Maria/ Sta. Isabel College, Manila
Abstract
This paper brings forth the liturgical music scene in the Philippines with a focus on what we view as
significant changes taking place in church music following the historic Vatican II Council convened by Pope
John XXIII from 1962 until 1965.
It describes the many efforts of liturgists, church workers and the laity in the creation of new liturgical
music in accordance with the spirit of Vatican II. The study reveals the broad participation of different sectors
and communities as well as the dynamic interplay that shaped the music for the Mass in the Philippines and
suited for the local parishes. Musical strategies of appropriation, localization and composition of new works
have characterized the post-Vatican period.
Materials for this paper are drawn from direct experience of the two writers, both musicologists and
practicing Catholics who from their youth have been immersed in church music. The first part of the paper
written by Prudente provides a historical perspective of Philippine church music and documents the musical
trends witnessed in the 60’s and 70’s right at the juncture of Vatican II. The second part by Sta. Maria, herself a
church choir director, discusses the musical styles and repertoire of the 80’s until today where an amalgamation
of religious music are rendered during Mass celebrations.
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第二次大公會議後菲律賓的天主教教會音樂
Catholic Church Music in the Philippine After Vatican II
Felicidad A. Prudente/ University of the Philippines
Gloria Rosario Sta. Maria/ Sta. Isabel College, Manila
This paper presents the liturgical music scene in the Philippines after Vatican II and brings forth the various
musical changes we deem significant in connection with the celebration of the Holy Mass, the center of Catholic
worship.
We view Vatican II as an agent of change within the Roman Catholic Church when it was convened by
Pope John XXIII (the 23rd) in 1962 and ended under Pope Paul VI in 1965.
Prior to Vatican II, music for the
Holy Mass was a function assigned to a choir representing the community. Mass songs were in Latin and often
accompanied by an organ.
Furthermore, the music was relatively difficult, at least with reference to the
Philippines, and needed specialized music skills to perform these.
Vatican II was a turning point in the history of the Roman Catholic Church. With Vatican II, the church
releases itself from a Latin-centered rite as it recognizes cultural diversities among of its members world-wide.
Vatican II’s effort of instituting change in the music of the Holy Mass relates directly in the use of local
languages instead of Latin and the idea of active participation by the faithful in the Holy Mass through
community singing.
In the Philippines, an initial and concrete step in the implementation of the Vatican II constitution in
connection with the music of the Holy Mass was led by German Jesuit Paul Brunner of the East Asia Pastoral
Institute at the Ateneo de Manila University. A leading liturgist, Fr. Brunner produced and published a 34-page
booklet which he called “Community Mass” in 1965. It contains hymns with straightforward melodies that
give focus to the religious text written in English. Three of the songs marked “P.B.” are attributed to Fr.
Brunner himself (see Example 1) and the other three hymns marked “J.V.d.S.” are composed by Belgian
missionary Rev. John Van de Steen, CICM who was then choir master in Manila Cathedral and a faculty at San
Carlos Seminary in nearby Makati (see Example 2). Two others, an entrance song entitled “To Jesus Christ our
Sovereign King” with text by Monsignor Martin B. Hellrieger and a brief chanting of the “Alleluia” are likewise
included in the booklet.
in Catholic schools.
The “Community Mass” was widely used in Metro Manila and was taught particularly
The whole repertoire was easily learned and sung in unison especially when accompanied
by organ. Furthermore, the hymns in the booklet became a primary model for those who would wish to
compose new songs following Vatican II. By the 10th printing in 1966, the booklet was expanded to sixty-six (66)
pages and was issued under a revised name of “Our Community Mass”.
A second important booklet of new songs and officially approved by the hierarchy of the Catholic church is
entitled “Sundry Mass” published in 1967. Sundry mass became the favorite religious songs particularly by the
Catholic youth in Manila and was most popular in the 70s.
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It was composed by a Maryknoll student Kristina
Benitez who wrote all eleven songs between 1966 and 1967. The composition of these songs began as a
Theology class project precisely directed towards the awareness of Vatican II. Influenced by the popular music
of the time such as those by American folk group Peter, Paul and Mary, Joan Baez and the Lettermen, the Sundry
songs of Benitez conveyed a youthful sound yet in consonance with the message of the Mass. For example, the
entrance song “Let us go to the Lord” and Alleluia are joyous and rendered in moderate tempo with a definite lilt.
The “Lord have mercy” utilizes heavy rhythms in a minor key. Here, the minor key was consciously employed
to express pleading and supplication.
The final hymn “Praise to the Father,” is triumphant and is characterized
by syncopated melodies supported by strong guitar strumming. All the songs are accompanied by guitar and
perhaps, it is for this reason that the Sundry Mass was often called by other names such as “guitar mass,” “folk
mass,” “jazz mass” or even “Tina’s mass” because it was first introduced at Maryknoll College by the composer
herself playing the guitar. Sundry Mass would later be widely promoted through the Student Catholic Action
(SCA), an organization of youth in Catholic schools centered in Manila. The following example is a processional
entrance song entitled “Let us go to the Lord” with text from Psalm 25 (see Example 3).
Although some community masses were disseminated during the early years after Vatican II, these however
were limited. Some local parishes have turned into the popular song repertoire, Black spirituals and folksongs
from different countries to fulfill the new mandate. Indeed, well-known songs commonly heard over the radio
were appropriated for community singing. For example, local love songs such as “Silayan” by Mike Velarde as
well as foreign popular songs like “I Believe” and “No man is an island” were rendered as Communion songs.
Still another strategy used by local churches was to change the lyrics of a popular song to suit the Holy Mass as
was done in the song entitled “Cruel War” where its tune was adopted to the fixed text of “Lamb of God.”
“Cruel War” was a favored song by the group Peter, Paul and Mary which was the model of popular singing
groups in Manila during this time. This practice of appropriating and localizing popular materials, however, did
not last long.
A commission called the National Liturgical Commission of the Philippines with a
sub-commission on sacred music was organized precisely to have some control of the free-wheeling situation as
well as give approval to musical works for church use. The commission set the guidelines which encouraged
the creation of new liturgical songs.
Meanwhile, the challenge to create masses in Philippine languages has slowly brought forth new
compositions from different areas of the country.
For example in Visayas, mass songs were composed in the
Sebuano language by American-trained musician Monsignor Rudy Villanueva of Cebu as well as in the Ilonggo
language by Pablito Maghari of Panay. In Manila, the Masses by Jesuit priest Eduardo Hontiveros were written
in the Filipino language. These include “Misa Antipona” (1968), “Misa ng Bayan sa Awit,” “Misa ng Alay
Kapwa,” and “Misa ng Pagbabalik-Loob.” The Hontiveros Masses represent a musical landmark in church music
in the Philippines.
These were immediately received and used nation-wide.
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The songs brought into the
第二次大公會議後菲律賓的天主教教會音樂
church a local folksong style characterized by almost dance-like rhythms and the use of triple and six/eight (6/8)
meter (see Example 4).
The creative efforts of religious nuns in the 60s and 70s also deserve special mention for they were also
instrumental in bringing change to liturgical music in the Philippines. From the congregations of Sisters of St.
Paul de Chartres (SPC), the Religious Virgin of Mary (RVM), Benedictines (OSB) and Carmelites (OCD)
emanated numerous repertoires of songs for the Holy Mass. For example, in a publication “Just a People” in
1972, the songs coming from the Sisters of St. Paul de Chartres are inspired works by conservatory-trained nuns
like “Mass of the New Covenant” by Sr. Ma. Anunciata Sta. Ana, “Pilgrims Folkmass” by Sr. Maria Eden Orlino,
“Mass for Filial Constancy” by Sr. Francisco Ma. Quitoriano and “Mass in Pilipino” by Sr. Marie Vincent
Llamzon in collaboration with Sr. Marie Sarah Manapol.
Many of their songs are in modal style and more
suited to guitar accompaniment.
Catholic mass songs in the 80s until the present are generally a synthesis of ballad-type repertoire and styles
composed by local artists coming from various sectors of the Philippine community. Ballad style in this context
refers to the Filipino penchant for highly expressive and sentimental songs. It is evident that the expressiveness
of secular love songs has been carried over to religious music in the Catholic church.
Ballads expressing
personal relationship with God as well as Biblical messages are central themes of the songs. With long and
flowing melodic contours, religious ballads are sentimental, romantic and lyrical similar to secular ones. The
Society of Jesus is currently in the forefront of this movement. Well-known religious ballads sung today in the
Holy Mass can be attributed to Jesuit priests Manuel V. Francisco, Arnel Aquino, Nemy Que, and Charlie
Cenzon, to name a few.
The Jesuit Communications Foundation has provided the leadership in the promotion
of Catholic Filipino music. They have effectively utilized modern media and released many publications in the
form of compact discs, anthologies and sheet music and thereby dominated the present church music scene.
Jesuit ballad songs utilize English and Filipino. The song “Ama Namin” (Our Father) by Fr. Manuel V.
Francisco, S.J. (see Example 5) contains lyrics directly quoted from Like 11:1-4, a passage from the New
Testament revealing Christ’s teaching on sincerity of prayer. In Mass celebrations, this song is sung before the
distribution of the Eucharist when the priest invites the congregation to pray to God. Customarily, the faithful
including the priest, altar servers and lectors join and raise their hands in singing this song. Set in Filipino
language, the song moves in a rather slow 4/4 time characterized by flowing lyricism with a predominant 4-bar
phrase structure.
Moreover, Fr. Francisco utilizes the middle register of the piano, allowing everybody to sing.
Another religious order that promotes the ballad style is the Divine Word or S.V.D. The works of Arturo
Bastes, Nielo Cantilado, Ted Magpayo, and Nicolas Sengson among others, represent this new idiom for the
Holy Mass. The SVD like the Society of Jesus also publishes songs as in their two-volume “Misa Collection
Songbook.”
An example from the SVD congregation is a ballad entitled “Song to the Lamb of God” by Fr.
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Arturo Bastes (see Example 6). It is a song rendered immediately before Holy Communion. Set in a rather
slow tempo, the ballad follows a triple meter with melodic range still appropriate for community singing.
The Secular priests have also played a significant role in shaping Catholic Church music since the 1980s.
A prominent composer is Fr. Carlo Magno S. Marcelo who has made his songs popular in the air waves. One
song entitled “Only Selfless Love” (see Example 7) popularized by pop artist Jamie Rivera was a commissioned
work for the 4th World Meeting of Families in 2003. This song is normally rendered as recessional or final hymn
in the Holy Mass. “Only Selfless Love” is organized in strophic form with refrain, bridge and coda. It is set
in duple time of moderate tempo and a melody featuring a sloping contour which gives the song an expressive
content. Fr. Marcelo has many other well-know religious songs including “The Great Jubilee” and “Ina ng
Santo Rosaryo” (Mother of the Rosary).
Aside from works of the clergy, there is growing interest in local parishesto include songs from the Catholic
Charismatic movement as well as compositions by the lay community. Among the most prominent are the
many songs of worship from the Elim Music Ministry and multi-awarded Filipino composer Ryan Cayabyab.
Cayabyab’s “Mass for Peace” has been commercially released in compact disc and popularized by young pop
artists like Carol Banawa, Jamie Rivera and Piolo Pascual.
Today, songs from “Mass for Peace” have become standards in the Mass repertory.
The broad participation of different sectors of Philippine society has largely contributed to the
transformation of liturgical music in the country. Through the years after Vatican II, the dynamic interplay
among religious congregations, schools, modern media, communities and the youth brings forth an
amalgamation of musical styles and forms for the Holy Mass. The creative efforts of many people from diverse
backgrounds and the utilization of musical strategies of appropriation, localization and innovation in the
composition of new works are the Filipino people’s response to the call for renewal and change by Vatican II.
Example 1:
Sanctus by P. Brunner
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第二次大公會議後菲律賓的天主教教會音樂
Example 2:
Lamb of God by Van de Steen
Example 3:
Let us go to the Lord by K. Benitez
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Example 4:
Ang Puso ko'y Nagpupuri by Eduardo P. Hontiveros, S.J.
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第二次大公會議後菲律賓的天主教教會音樂
Example 5:
Excerpt from Ama Namin by Manuel V. Francisco, S.J.
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Example 6:
Song to the Lamb of God by Arturo Bastes, S.V.D.
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第二次大公會議後菲律賓的天主教教會音樂
Example 7:
Excerpt from Only Selfless Love by Fr. Carlo Magno Marcelo
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Bibliography
Abejo, R.V.M., Sr. Rosalina. Praise in Song Series 1 & 2: Misang Bayan and Community Mass. Manila:
The
National Liturgical Commission of the Philippines, Sub-commission on Sacred Music. n.y.
Ama Namin. Manila: Song and Sword Media Services, Inc. 1998.
Beatrice, O.C.D., Sr. Beatrice and Sr. Marie Madelaine, O.C.D.
Our Prayer Bread.Jolo: Carmel in the
Philippines. c.1973. Mimeograph.
Beatrice, O.C.D., Sr. Beatrice and Bro. Andresito Lamboso, f.m.s. Mass Songs for theYoung. Cotabato City:
Marist Brothers. 1973. Mimeograph.
Benitez, Ma. Kristina. Sundry Mass. Makati: Society of St. Paul. 1967.
Benitez, Tina. Sundry Mass and other songs for church. Quezon City: Peek Publications, Inc. 1972.
Berkouwer, G.C. The Second Vatican Council and the New Catholicism. Translated by Lewis B. Smedes.
Michigan: William B. Eerdmans Publishing Company.
1965.
Blessing Lyrichordbook: Love, Praise and Prayer in Song. Volumes 3&4. Manila:Rejoice Communications.
2000-2001.
Bukas Palad Pasko Na! Vocal Arrangements. Quezon City: Jesuit Communications Foundation, Inc. 2002.
Call Me Happy. Manila: Springs Foundation, Inc. 2002.
Cayabyab, Ryan. Mass for Peace. Quezon City: n.p. 2001.
Community Mass. Quezon City: East Asian Pastoral Institute. 1965.
Our Community Mass. 10th printing. Makati: MDB. 1966.
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第二次大公會議後菲律賓的天主教教會音樂
Flannery, O.P. Austin, general editor.
Vatican Council II: The Conciliar and Post Conciliar Documents.
Ireland: Dominican Publications, St. Saviour’s.1975.
Himig Heswita 2:
Choral Arrangements and Parangal kay Honti. Quezon City:
Jesuit Music Ministry. 1994.
Hontiveros, S.J., Eduardo. Misa Antipona. Quezon City: Loyola House of Studies.1968. Mimeograph.
Hontiveros, S.J. Eduardo. Mga Awiting Pansamba. Bagong edisyon. Manila: Vera-Reyes, Inc. 13th printing. 1987.
[First printing 1976]
Hontiveros, S.J., Eduardo. Papuri sa Diyos. Manila: Vera-Reyes, Inc. 1991.
Maghari, Pablito C. Concierto Sang Kabuhi. Volume 1. Antique: St. Vincent Ferrer Major Seminary. 1977.
Marcelo, Carlo Magno. Jubilee Album. Manila: The Jubilee Music Ministry. 1998.
Misa Collection Songbook. Manila: Logos Publications, Inc., 1997.
Misa Collection Songbook. Manila: Logos Publications, Inc., 2000.
Raymundo, D.C., Sr. Gratiana, Sr. M. Scholastica Benitez, O.S.B. and Fr. T. O’Neill, S.J., compiler. Hosanna.
Manila: Archdiocese of Manila. 1973.
Sisters of St. Paul of Chartres. Just A People.
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The Best of Bukas Palad: Choral Arrangements. Volumes 1&2. Quezon City: The Jesuit Ministry. 2000.
Urtasun, Fr. Carlos. Let’s Celebrate: New Liturgical Songs. Singalong: n.p. 1969.
Villanueva, Fr. Rudy. Cancionero Cebuano. Cebu City: San Carlos Seminary College.1987.
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第二次大公會議後菲律賓的天主教教會音樂
費里西達・普魯登德教授/菲律賓大學
葛羅利亞・史坦瑪莉雅教授/聖伊莎貝爾學院
與談（Discussion）
與談人：黃懷秋教授 / 輔仁大學宗教學系系主任
1. From Aesthetic Feeling to Numinous Feeling (Religious Feeling)
According to the famous religious author Rodolf Otto, religion, though it also lays claim on human reason,
is first of all something of the order of feeling. Aesthetic feeling, being not religious feeling, is nevertheless one
that comes closest to religious feeling. In this regards, Otto does not mean that religious feeling is developed
from aesthetic feeling. He is not an evolutionist. What he means is rather that religious feeling, being an “a
priori category” (as a gift from the Lord), is an inborn human faculty. In other words, every body is potentially
religious. Nevertheless, as Otto opines, aesthetic feeling is really the occasion that induces religious feeling to
come true (from potential to actual). Human spirit most easily springs to the highest point when it emerges in
beauty, whether this belongs to nature or to culture, that it may encounter the holy which is already hidden there.
For Otto, the difference between aesthetic feeling and that of religion is whether the holy is present. Of course,
one may say that aesthetic feeling is also holy, but “holy” is used here not in a strict sense, just as everything that
is beautiful is also holy. But the nature of religion is “the holy”. This does not mean that we infer the holy from
religious feeling, rather, religious feeling, the so-called numinous feeling (that is, trembling and fascinating) is a
concomitant of the holy that is already hidden there.
All this amounts to say that aesthetic feeling can do without a transcendent dimension, whereas religion is
formed first of all by a transcendent cause.
2. From Music to Religion
As for the relation between music and religion, let us make mention of David Geraets from the Order of St.
Benedict who says in the following way: “Art can function as an intermediary for the uplifting of a creature to
his Creator and a means of communicating these experiences encountered on high to others.”
Man is raised to
his Creator, and thus is able to “know” Him. This belongs to the order of revelation. Thus music is basically
revelatory. He says thus: “In rare moments, some fortunate men have been given a brief sight of this knowledge.
They have outlined it in a material way, or re-expressed it by symbols. These take the forms of revelation…”.
Finally he even mentions how music can be raised to religion: “Such outlines represent the substance of that
which they are only the shadow. To experience them properly is to have a simulated experience of the Divine.”
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第二次大公會議後菲律賓的天主教教會音樂
In other words, aesthetic feeling, being not necessarily with a transcendent dimension, will nevertheless
inducts religious feeling once this dimension is really present.
3.
From Tradition to Local
Professor Prudente and Professor Sta. Maria have accurately and aptly introduced to us the liturgical music
scene in the Philippines, focusing on its significant changes（from tradition to local）that have been taken place
since Vatican II. We know that the Philipino is a People of music. Among the Taiwan People who speaks
Mandarin, Catholic local music is not that prosperous. In the Sunday mass we usually sing songs that are
translated from the West. Songs that are composed by local musicians are relatively rare. Roughly 6-7 years ago,
our department made the first attempt to organize a competition of Catholic liturgical music composition, with
high bonus. The result was not very encouraging. Last month (September 13th), Shih-chu Parish held a local
concert, with the title “Unto us a Child was born: Heaven–Earth-Man Union ”. Some local choirs perform the
works composed by 曾興魁，江文也，黃友棣。We hope that it is a good beginning.
The Catholic Church in Taiwan lacks local liturgical music. This may due to the fact that there is no music
education in the Catholic Church. This situation is very different from that of the Protestant Churches that pay
great attention to local music formation. Many years ago, it is said, the bishops conference intended to organize a
music college. We do hope that one day we may witness to the prosperity of the church music in Taiwan.
4.
From Local to Tradition
There are two elements within any inculturation: the one is tradition, and the other is culture. The sign of
tradition is history, whereas the character of culture is plurality. Inculturation is just like a dialectic exercise with
two opposite theses, the positive and the negative. Its aim is not to discard but to promote. How to let the
Catholic music appear with a new face without damaging its tradition is the dilemma to be solved by
inculturation. It is often complained that after Vatican II the liturgy became easier and understandable, yet it is no
longer as solemn and as magnificent as before. Some body wears short pants and some body rocks. Last
Saturday our department invited Father 黎明 from the Orthodox Church in Russia to deliver a speech on the
situation of Christianity in Russia. According to Father 黎明, Russia still maintains an three-hour mass with a
standing pose. Nobody except old ladies can stand. The youth all collapse. The church is considering to provide a
shortened form for the youth. We sigh. Is the Russian church to abandon her tradition so that after this generation
it will disappear altogether? Similarly, I myself also cherish the Latin masses that I used to attend. It was not
understood easily but the atmosphere was so holy that everybody was moved. God seems to be present in the
music. A very interesting phenomenon: the Gregorian chant has become the most popular song for the
contemporary age. What does this mean for us?
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提問與回應（Question & Answer）
Q1：我自己本身也是天主教徒，我想要回應黃懷秋老師所提到的天主教音樂在創新與在地化所遇到的瓶
頸，就是它的神聖性消失了。我記得我在國外讀書的時候有一位波蘭的同學，她自己小時候的經驗
就是彌撒是用拉丁文唱的，而她很懷念那時候的效果，就是雖然聽不懂，但是有神聖性的效果。我
想要把它串聯到早上有一篇發表是關於原住民的音樂儀式，我們有討論到有時候我們自己聽不懂，
可是那個音樂可能會影響到生理反應和心理層次的提升，所以那個字與歌詞懂不懂，也許不是很重
要。我想請問史坦瑪莉雅教授她對於天主教音樂的困境，即在地化後失去了拉丁文音樂彌撒原有的
神聖性有什麼看法？（提問人：台灣藝術大學表演藝術研究所助理教授 倪淑蘭）
A1：菲律賓民族是一個很熱情、感情性的民族，用本地的語言作彌撒會使本地人民感覺更接近，更了解
彌撒。使用拉丁文會因不了解而難感到神聖感，和本地文化相差太大。我並不認為天主教音樂的在
地化使神聖感被拿走了，本地語言的引介使更多年輕人進入教會。
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