가톨릭 신앙생활 Q&A 코너
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패러디 곡들이 미사 중에 금지된 배경 외.. [트리엔트공의회] [생활성가] [성음악] |
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2008-10-06 ㅣ No.814
이글은, 다음의 글의 각주[11]에서부터 시작합니다. http://www.vatican.va/holy_father/pius_xii/encyclicals/documents/hf_p-xii_enc_25121955_musicae-sacrae_en.html (클릭하십시요)
17. The progress of this musical art clearly shows how sincerely the Church has desired to render divine worship ever more splendid and more pleasing to the Christian people. It likewise shows why the Church must insist that this art remain within its proper limits and must prevent anything profane and foreign to divine worship from entering into sacred music along with genuine progress, and perverting it. 18. The Sovereign Pontiffs have always diligently fulfilled their obligation to be vigilant in this matter. The Council of Trent also forbids "those musical works in which something lascivious or impure is mixed with organ music or singing."[11] In addition, not to mention numerous other Sovereign Pontiffs, Our predecessor Benedict XIV of happy memory in an encyclical letter dated February 19, 1749, which prepared for a Holy Year and was outstanding for its great learning and abundance of proofs, particularly urged Bishops to firmly forbid the illicit and immoderate elements which had arrogantly been inserted into sacred music.[12]
출처: http://www.catholicreference.net/index.cfm?id=35824 (클릭하십시요) PROFANE The secular or merely human as compared with the sacred or divine. "Profane" does not, of itself, imply profanation, since the whole created universe, including human beings, is technically profane in contrast to the Creator, whose essence is to be holy precisely because he is the "totally other" who transcends the world that he made and continually sustains. (Etym. Latin profanus, lying outside the temple, ordinary, not holy.) 신성(神聖) 모독(profanation) 즉, profane music 은, 성음악(sacred music)이 아닌, 세속의 음악들에 대한 "통칭"입니다. 따라서, 세속 음악들에 있어서는, 세월이 흐름에 따라, 자꾸 다른 형태의 새로운 세속 음악들이 발생할 것입니다. 참고입니다만, 성음악의 예(Example)들은 "성음악 훈령"의 앞 부분에 있습니다. 그리고 전례 음악(liturgical musics)들은 모두 성음악(sacred music)이나, 그러나 성음악들 중에는, 전례 용도로 작곡되지 않았기에, 전례 음악이 아닌 것들이 많습니다. 참고: 이 글은, 전례 음악 봉사자들이 잘 알고 있어야 하는, 4-5개의 가톨릭 교회 전례 음악의 핵심 문헌들의 선포 당시의 문화적 배경을 이해하는 데에 많은 도움이 될 것입니다. 그런데 이러한 문헌들 어디를 들여다 보아도 parody(패러디) 단어를 찾을 수 없을 것입니다. 그 이유는 패러디 곡은 단지 "세속 음악(profane music)"의 한 종류일뿐이기 때문입니다. 다른 한편으로, 교회 핵심 문헌들의 경우에 있어 그 효력이 통상적으로 영구적인 속성을 가지고 있으므로, 사용하는 단어들이 추상적/보편적/포괄적일 필요가 있어, 예를 들어, parady(패러디)라는 단어 대신에, "세속 음악(profane music)" 이라는 더 추상적이고 포괄적인 용어를 사용하였으며, 이러한 포괄적인 용어의 사용은 매우 적절하다는 생각입니다. 다음의 글은, 교황청 신앙교리성 장관이셨던 라칭거 추기경(현재의 교황이신 베네딕토 XVI 교황님)의 책인 The Spirit of the Liturgy에서 발췌한 글입니다. 트리엔트 공의회에서 당시의 세속 음악이었던 "패러디 미사곡"들을 금한다는 Decree를 공포하게 된 것을 설명하고 있습니다.
Sacred Music in the West In the West, in the form of Gregorian chant, the inherited tradition of psalm-singing was developed to a new sublimity and purity, which set a permanent standard for sacred music, music for the liturgy of the Church. Polyphony developed in the late Middle Ages, and then instruments came back into divine worship--quite rightly, too, because, as we have seen, the Church not only continues the synagogue, but also takes up, in the light of Christ's Pasch, the reality represented by the Temple. Two new factors are thus at work in Church music. Artistic freedom increasingly asserts its rights, even in the liturgy. Church music and secular music are now each influenced by the other. This is particularly clear in the case of the so-called "parody Masses", in which the text of the Mass was set to a theme or melody that came from secular music, with the result that anyone hearing it might think he was listening to the latest "hit". It is clear that these opportunities for artistic creativity and the adoption of secular tunes brought danger with them. Music was no longer developing out of prayer, but, with the new demand for artistic autonomy, was now heading away from the liturgy; it was becoming an end in itself, opening the door to new, very different ways of feeling and of experiencing the world. Music was alienating the liturgy from its true nature. At this point the Council of Trent intervened in the culture war that had broken out. It was made a norm that liturgical music should be at the service of the Word; the use of instruments was substantially reduced; and the difference between secular and sacred music was clearly affirmed. (The Spirit of the Liturgy, pp 145-6)
------------------- Important too is the possible influence of the Catholic Reformation on the compositional style in the Gradualia. The Council of Trent's committee of deputies produced the canon relating to sacred music in September 1562. Like the English and continental Protestant reformers, the committee addressed itself to clarity of text music, it demanded, should not "give empty pleasure to the ear..." but should be constituted "in such a way that the words may be clearly understood by all...". "Lascivious and impure" influences in the music were banned. This last point concerned the use of secular themes in so-called 'parody' masses and motets such as the popular chanson L'homme arme, with all its innuendo, which had been copiously used by European composers (Dufy, Obrecht, Josquin etc.) as a cantus firmus on which to build mass settings.
http://history.hanover.edu/texts/trent/ct22.html (클릭하십시요) DECREE CONCERNING THE THINGS TO BE OBSERVED, AND TO BE AVOIDED, IN THE CELEBRATION OF MASS. ...... They shall also banish from churches all those kinds of music, in which, whether by the organ, or in the singing, there is mixed up any thing lascivious or impure; as also all secular actions; vain and therefore profane conversations, all walking about, noise, and clamour, that so the house of God may be seen to be, and may be called, truly a house of prayer. ......
http://210.71.61.165/school/lyric/classic-naxos/THE_HISTORY_OF_CLASSICAL_MUSIC.doc (클릭하십시요) One of the recommendations the Council made was that church music should be standardised, and also that bishops should exclude music in which anything impious and lascivious finds a part.
http://en.wikipedia.org/wiki/Parody_mass (클릭하십시요) and by the first half of the 16th century this style was the dominant form. The Council of Trent, in a document dated September 10, 1562, banned the use of secular material, "...let nothing profane be intermingled ... banish from church all music which contains, whether in the singing or the organ playing, things that are lascivious or impure."
http://www.ignatiusinsight.com/features2006/ratzinger_sotlmusic_jun06.asp (클릭하십시요) Religious and Liturgical Music Whether it is Bach or Mozart that we hear in church, we have a sense in either case of what gloria Dei, the glory of God, means. The mystery of infinite beauty is there and enables us to experience the presence of God more truly and vividly than in many sermons. But there are already signs of danger to come. Subjective experience and passion are still held in check by the order of the musical universe, reflecting as it does the order of the divine creation itself. But there is already the threat of invasion by the virtuoso mentality, the vanity of technique, which is no longer the servant of the whole but wants to push itself to the fore. During the nineteenth century, the century of self-emancipating subjectivity, this led in many places to the obscuring of the sacred by the operatic. The dangers that had forced the Council of Trent to intervene were back again. In similar fashion, Pope Pius X tried to remove the operatic element from the liturgy and declared Gregorian chant and the great polyphony of the age of the Catholic Reformation (of which Palestrina was the outstanding representative) to be the standard for liturgical music. A clear distinction was made between liturgical music and religious music in general, just as visual art in the liturgy has to conform to different standards from those employed in religious art in general. Art in the liturgy has a very specific responsibility, and precisely as such does it serve as a wellspring of culture, which in the final analysis owes its existence to cult. (The Spirit of the Liturgy, pp 146-7)
http://www.adoremus.org/MotuProprio.html (클릭하십시요) http://www.adoremus.org/0604LucyCarroll.html (클릭하십시요) http://www.time.com/time/magazine/article/0,9171,791586-1,00.html (두 번째 페이지 참고) http://www.musicasacra.com/pdf/blacklist.pdf (Black List) 모차르트(Morzart), 조세프 하이든(Joseph Haydn), 슈베르트(Schubert), G. 로씨니(G. Rossini), C. M. 본 베버(C. M. von Weber)의 종교적 악곡들의 음악적 가치가 문제가 되는 것이 아닙니다. 비오 10세 교황님의 자의 교서(Motu Proprio), 그리고 비오 11세 교황님의 교황령(Apostolic Constitution)에 윤곽이 그려진 원칙들에 따르면, 제기된 이의(the exception taken)는 이 악곡들의 순전례적인 부적절함(purely liturgical unfitness)에 있습니다. NOTE: The Society of St. Gregory, at its convention held in Rochester, New York, May 4-6, 1922, registered an emphatic protest against the efforts made by certain publishers of Catholic Church Music to create an impression that “revised editions” of Masses by Mozart, Haydn, Schubert, Weber, Gounod, Millard, Giorza, Farmer, Kalliwoda and other composers of the operatic school were edited to conform to the requirements of the Motu Proprio. 주: 성 그레고리오 회(Society of St. Gregory)는, 1922년 5월 4-6일간, Rochester, New York 에서 개최된 자신의 총회에서, Mozart, Haydn, Schubert, Weber, Gounod, Millard, Giorza, Farmer, Kalliwoda 그리고 오페라 학파(operatic school)의 다른 작곡가들에 의하여 작곡된 미사곡(Masses)들의 “개정판(revised editions)들”이 [비오 10세 교황님의] 자의 교서의 요구 사항들에 순응하도록 편집되었다는 인상을 주고자 가톨릭 교회 음악 분야의 특정 출판사들에 의하여 행하여지는 노력들에 반대하는 단호한 항의를 등재하였습니다. http://www.musicasacra.com/pdf/whitelist1947.pdf (클릭하십시요) (White List) (MotuProprio의 지침에 따른 미사 중 사용이 허락된 혹은 권장되는 곡들의 목록. 선곡시 매우 도움이 되는 자료. 제공처: Society of St. Gregory of America, 1947년) 참고: 이들 Black List 및 White List 를 잘 들여다 보시면 전례 중 사용할 음악들의 선곡에 많은 도움이 될 것입니다. 이들 pdf 파일들은 전번에 올려드렸던 다음의 글 중에서 안내해 드렸던 사이트에서 제공하고 있는 자료입니다: http://www.musicasacra.com 소개 (클릭하십시요) --------------------
St Pius X's reform aimed specifically at purifying Church music from the contamination of profane theatrical music that in many countries had polluted the repertoire and musical praxis of the Liturgy. In our day too, careful thought, as I emphasized in the Encyclical Ecclesia de Eucharistia, should be given to the fact that not all the expressions of figurative art or of music are able "to express adequately the mystery grasped in the fullness of the Church's faith"[14]. Consequently, not all forms of music can be considered suitable for liturgical celebrations.
Sacred music serves the Word of God ...... Many complain about popular or secular forms of music creeping into the liturgy, but this has been a perennial problem for the Church. What causes this recurring problem, and how have the great renaissances in sacred music such as those fostered by Palestrina and Pope St. Pius X turned the tide? For example, in early centuries, all music other than chanting was strictly forbidden by Church authorities, because use of musical instruments had strongly pagan associations. In the 19th century, the style of opera had so greatly influenced Church music that Pope St. Pius X warned strongly against this “profane” music, and forbade composing music imitating operatic styles. He initiated the 20th Century Liturgical Movement by his 1903 document, “Tra le Sollecitudini.” In particular he encouraged Gregorian chant, which he said in the third paragraph of the document, “has always been regarded as the supreme model for sacred music,” thus “it is fully legitimate to lay down the following rule: The more closely a composition for Church approaches in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with that supreme model, the less worthy it is of the temple.” It was Pope Pius X, also, who coined the phrase “active participation” of the people. And he also said in paragraph five of the document that “modern music is also admitted to the Church, since it, too, furnishes compositions of such excellence, sobriety and gravity, that they are in no way unworthy of the liturgical functions.” After the Second Vatican Council it was the pop and folk style music of the late 1960s and 1970s that dominated newly composed music for worship -- Catholic and Protestant. Despite the Constitution on the Liturgy’s emphasis on the “pride of place” for Gregorian chant in the liturgy, the council’s teaching was ignored, and chant virtually disappeared. The reasons for this are many and complex. But one major element was plain confusion and misunderstanding. The liturgical reform following the Council was astoundingly rapid, and serious upheavals in the secular world of those times also affected the anti-authoritarian mood within the Church. This was played out dramatically in the liturgy. Changes were made precipitously with too little consultation with the bishops. During the papacy of Pope John Paul II, we began to see a sober reassessment of the post-conciliar liturgical changes, culminating in his last encyclical, “Ecclesia de Eucharistia.” The present “renaissance” in liturgical music we are now seeing is in large part due to Pope Benedict XVI and his many scholarly works on the subject even before he became Pope. The historic heritage of sacred music, then, always serves as an indispensable teacher and model of what best serves the celebration of sacred worship, and leads worshipers to greater holiness. ...... ----------------------
그리고 이러한 배경에 대한 이해없는 해당 문헌의 임의적 자구 해석은, 특히 우리말로 번역된 해당 문헌의 임의적 자구 해석은, 영 엉뚱한 결론을 내리게 하므로, 매우 조심하여야 할 것입니다. 기회가 있을 때 마다 이 문제점을 지적해 왔건만 여전히 문제가 되고 있으며, 지난 7-8년 동안의 경험에 비추어 볼 때에, 특히 성경 말씀에 대한 임의적 자유해석을 경험하신 분들이, 예를 들어 개신교에서 최근에 개종하신 분들이, 교회의 핵심 문헌들을 이해할 때에도 마찬가지로 임의적 자유 해석을 하는 경우가 종종 있었음을 또한 지적하지 않을 수 없습니다.
http://www.musicasacra.com/theological-problems (클릭하십시요)
http://ch.catholic.or.kr/pundang/f/549.htm (꼭 클릭하여 읽어 보도록 하십시요.) ----------
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