Inter plurimas pastoralis officii sollicitudines, non huius Supremae Cathedrae tantum, ad quam abscondito Dei numine sumus, quamvis indigni, nuperrime evecti, sed singularum ecclesiarum, absque dubio illa principem tenet locum, cuius est munus decori favere domus Dei, in qua et divina peraguntur mysteria et Christifidelium grex convenit, ut Sacramentis fruatur, collectam et dominicum agat, Corporis D. N. Sacramentum adoret, precibusque Ecclesiae in publico et solemni liturgico officio communicet. Nihil igitur in templo sit quod pietatem et religionem Christifidelium perturbet vel minuat, nihil quod fastidio vel malo exemplo sit, nihil praesertim quod SS. Rituum decus et sanctitatem offendat, ideoque orationis domo et Dei maiestate minime sit dignum.

. We do not touch separately on the abuses in this matter which may arise. Today Our attention is directed to one of the most common of them, one of the most difficult to eradicate, and the existence of which is sometimes to be deplored in places where everything else is deserving of the highest praise -- the beauty and sumptuousness of the temple, the splendor and the accurate performance of the ceremonies, the attendance of the clergy, the gravity and piety of the officiating ministers. Such is the abuse affecting sacred chant and music. And indeed, whether it is owing to the very nature of this art, fluctuating and variable as it is in itself, or to the succeeding changes in tastes and habits with the course of time, or to the fatal influence exercised on sacred art by profane and theatrical art, or to the pleasure that music directly produces, and that is not always easily contained within the right limits, or finally to the many prejudices on the matter, so lightly introduced and so tenaciously maintained even among responsible and pious persons, the fact remains that there is a general tendency to deviate from the right rule, prescribed by the end for which art is admitted to the service of public worship and which is set forth very clearly in the ecclesiastical Canons, in the Ordinances of the General and Provincial Councils, in the prescriptions which have at various times emanated from the Sacred Roman Congregations, and from Our Predecessors the Sovereign Pontiffs.

Malos usus qui occurrere possint singillatim non pertractabimus. Nunc vero prae omnium oculis illum malum usum ponimus, qui et saepissime evenit et qui auferatur difficillimus esse videtur; aliquoties insuper vituperandus est etiam cum omnia maxima sint laude digna templi venustate, caeremoniarum ordine, clericorum frequentia, pietate et religione celebrantium. Hic maius usus in cantu et sacris musicis est reperiendus. Enimvero sive huius artis natura fluctuantes variaeque, sive iudicii, volventibus annis, deformatione, sive malo influxu, quo ars profana et theatralis in eam influit, quae merito sacra appellatur, sive voluptate, quae ex musicis directe captatur, neque debitis modis facile contineri potest, sive denique plurimis errantibus iudiciis, quae in hac arte pullulant, etiam apud nonnullos viros vel auctoritate praeditos et religione conspicuos, peccatur in lege, quae vult SS. Ritus artem subter se habere; quae lex in singulis Ecclesiae canonibus et Conciliis vel generalibus vel provincialibus, et SS. Romanarum Congregationum et RR. Pontificum decretis saepe saepius clare aperteque inducitur.

It is with real satisfaction that We acknowledge the large amount of good that has been effected in this respect during the last decade in this Our fostering city of Rome, and in many churches in Our country, but in a more especial way among some nations in which illustrious men, full of zeal for the worship of God, have, with the approval of the Holy See and under the direction of the Bishops, united in flourishing Societies and restored sacred music to the fullest honor in all their churches and chapels. Still the good work that has been done is very far indeed from being common to all, and when We consult Our own personal experience and take into account the great number of complaints that have reached Us during the short time that has elapsed since it pleased the Lord to elevate Our humility to the supreme summit of the Roman Pontificate, We consider it Our first duty, without further delay, to raise Our voice at once in reproof and condemnation of all that is seen to be out of harmony with the right rule above indicated, in the functions of public worship and in the performance of the ecclesiastical offices.

At suspicantibus Nobis aliquid boni proximis temporibus factum esse videtur et in hac alma Urbe plurimisque Italiae nostrae ecclesiis; praecipue vero apud nonnullas nationes, ubi viri egregii religione flagrantes, hac suprema Sede adprobante et Ordinariis dirigentibus, iure sociati fecerunt ut in singulis ecclesiis et sacrariis musica omnino floreret. Sed quod captum est bonum non apud omnes populos invenitur Nostra quidem sententia; quod si rationem habemus plurimarum conquestionum, quae undique Nostras ad aures latae sunt hoc exiguo temporis spatio, quo Domino visum est Nos ad supremum Pontificatus fastigium evehi, diutius differre nolentes, quidquid in sacris agendis a lege, quam supra exposuimus, alienum est et vituperandum et damnandum clare aperteque censuimus.

Hence, in order that no one for the future may be able to plead in excuse that he did not clearly understand his duty and that all vagueness may be eliminated from the interpretation of matters which have already been commanded, We have deemed it expedient to point out briefly the principles regulating sacred music in the functions of public worship, and to gather together in a general survey the principal prescriptions of the Church against the more common abuses in this subject

Itaque ne quis in medium afferat sui iuris inscitiam, et ut quaeque in interpretatione quorumdam rerum cunctatio auferatur, principia, quae musicam sacram gubernant brevi exponenda esse censuimus, et hac in tabula colligenda praecipua Ecclesiae decreta malos usus in hac disciplina ad vitandos.

. We do therefore publish, motu proprio and with certain knowledge, Our present Instruction to which, as to a juridical code of sacred music (quasi a codice giuridice della musica sacra), We will with the fullness of Our Apostolic Authority that the force of law be given, and We do by Our present handwriting impose its scrupulous observance on all.

Certa scientia igitur et motu proprio hanc Nostram Instructionem in lucem edimus, quae vel codex iuris sacrorum musicorum et quasi lex plenitudine Nostrae Apostolicae Auctoritatis placet et mandamus ut vigeat et valeat, eamque omnes Christifideles ad litteram servent.

Instruction on Sacred Music

INSTRUCTIO
DE SACRIS MUSICIS

I  General principles

I. 
Principia generalia.

1. Sacred music, being a complementary part of the solemn liturgy, participates in the general scope of the liturgy, which is the glory of God and the sanctification and edification of the faithful. It contributes to the decorum and the splendor of the ecclesiastical ceremonies, and since its principal office is to clothe with suitable melody the liturgical text proposed for the understanding of the faithful, its proper aim is to add greater efficacy to the text, in order that through it the faithful may be the more easily moved to devotion and better disposed for the reception of the fruits of grace belonging to the celebration of the most holy mysteries.

1. Musica sacra, prout pars integrans solemnis liturgiae, huius particeps est finis, qui gloriam Dei et sanctificationem Christifidelium spectat. Ipsa decus caeremoniarum ecclesiasticarum adauget, et quod eius praecipuum munus est concentu opportuno verba liturgiae exornare, ita musicis sacris haec verba intelligentiora fieri debent, quo facilius Christicolae ad fidem et religionem eccitentur, et abundantius percipiant gratiam, quae sacrorum mysteriorum propria est.

2. Sacred music should consequently possess, in the highest degree, the qualities proper to the liturgy, and in particular sanctity and goodness of form, which will spontaneously produce the final quality of universality.

2. Ex quo evenit ut musica sacra omnibus muneribus liturgiae praedita sit, praesertim sanctitate, bonitate formarum quibus et uniersalitas oritur.

It must be holy, and must, therefore, exclude all profanity not only in itself, but in the manner in which it is presented by those who execute it.

Sit sancta, eiiciat igitur e sacris profana, non tantum in se, sed etiam quoad formam qua a cantoribus proponitur.

It must be true art, for otherwise it will be impossible for it to exercise on the minds of those who listen to it that efficacy which the Church aims at obtaining in admitting into her liturgy the art of musical sounds.

Sit ars cera, ut in animis audientium illam habeat virtutem, quam Ecclesia postulat quum musicis liturgiam societ.

But it must, at the same time, be universal in the sense that while every nation is permitted to admit into its ecclesiastical compositions those special forms which may be said to constitute its native music, still these forms must be subordinated in such a manner to the general characteristics of sacred music that nobody of any nation may receive an impression other than good on hearing them.

Sit universalis hac ratione, scilicet quamvis singulis nationibus liceat in musicis sacris admittere illos praecipuos modos, qui formam earum musicae constituant, hi tamen modi legibus generalibus sacrorum musicorum subiiciantur, ne ullius alienigenae animus, eos cum audiat, perturbetur.

II. The different kinds of sacred music

II. 
De sacrorum musicorum generibus.

3. These qualities are to be found, in the highest degree, in Gregorian Chant, which is, consequently the Chant proper to the Roman Church, the only chant she has inherited from the ancient fathers, which she has jealously guarded for centuries in her liturgical codices, which she directly proposes to the faithful as her own, which she prescribes exclusively for some parts of the liturgy, and which the most recent studies have so happily restored to their integrity and purity.

3. Hae dotes praecipue inveniuntur in cantu gregoriano, qui igitur Ecclesiae Romanae est, quem ea a maioribus accepit, et in codicibus liturgicis, volventibus aevis, fidelissime servavit, quem vero, prout est proprius, Christicolis proponit et aliquoties in liturgia praecipit, quem denique novissima studia pristinae dignitati et integritati restituerunt.

On these grounds Gregorian Chant has always been regarded as the supreme model for sacred music, so that 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.

His de causis cantus gregorianus ut exemplar optimum sacrorum musicorum semper est habitus, cum vera sit haec lex: musica compositio eo magis est sacra et liturgica, quo in modis cantum gregorianum sequitur, et eo minus templi digna est, quo magis illo optimo exemplo peccat.

The ancient traditional Gregorian Chant must, therefore, in a large measure be restored to the functions of public worship, and the fact must be accepted by all that an ecclesiastical function loses none of its solemnity when accompanied by this music alone.

Cantus gregorianus, quem transmisit traditio, in sacris solemnibus omnino est instaurandus, et omnes pro certo habeant sacram liturgiam nihil solemnitatis amittere, quamvis hac una musica agatur.

Special efforts are to be made to restore the use of the Gregorian Chant by the people, so that the faithful may again more [actively] participate in the sacred liturgy, as was the case in ancient times.

Praesertim apud populum cantus gregorianus est instaurandus, quo vehementius Christicolae, more maiorum, sacrae liturgiae sint rursus participes.

4. The above-mentioned qualities are also possessed in an excellent degree by Classic Polyphony, especially of the Roman School, which reached its greatest perfection in the sixteenth century, owing to the works of Pierluigi da Palestrina, and continued subsequently to produce compositions of excellent quality from a liturgical and musical standpoint. Classic Polyphony agrees admirably with Gregorian Chant, the supreme model of all sacred music, and hence it has been found worthy of a place side by side with Gregorian Chant, in the more solemn functions of the Church, such as those of the Pontifical Chapel. This, too, must therefore be restored largely in ecclesiastical functions, especially in the more important basilicas, in cathedrals, and in the churches and chapels of seminaries and other ecclesiastical institutions in which the necessary means are usually not lacking.

4. Quas supra exposuimus dotes, eae optime reperiuntur in classica poliphonia, praesertim Scholae Urbanae, quam XVI vertente aevo Petrus Aloysius Praenestinus ad sidera tulit, neque in posterum sibi defuit. Classica poliphonia optime exemplo totius musicae sacrae cohaeret, quod exemplum est cantus gregorianus, quam ob rem una simul cum cantu gregoriano accepta est in solemnibus liturgiis Ecclesiae, quae sunt illae Pontificiorum musicorum (della cappella pontificia). Instauranda est igitur et haec in maximis basilicis, in ecclesiis cathedralibus, in sacrariis seminariorum aliorumque conventuum, qui opibus florent.

5. The Church has always recognized and favored the progress of the arts, admitting to the service of religion everything good and beautiful discovered by genius in the course of ages -- always, however, with due regard to the liturgical laws. Consequently 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.

5. Progredientibus artibus semper Catholica Ecclesia favit, cum cultui servire voluisset quidquid boni et pulchri, vertentibus annis, ingenium invenerit, servatis tamen legibus liturgicis. Ex quo efficitur ut et musica hodierna in ecclesiis admittatur cum sit modis suavis nec sacris liturgiis minime indigna.

Still, since modern music has risen mainly to serve profane uses, greater care must be taken with regard to it, in order that the musical compositions of modern style which are admitted in the Church may contain nothing profane, be free from reminiscences of motifs adopted in the theaters, and be not fashioned even in their external forms after the manner of profane pieces.

Tamen, quod musica hodierna finem habet profanum , curandum est ne musicorum modi hodierno stylo, qui in ecclesiis admittuntur, quid habeant théâtrale vel profanum, neve quoad formas alienos modos attingant.

III. The liturgical text

III. 
De texto liturgico.

7. The language proper to the Roman Church is Latin. Hence it is forbidden to sing anything whatever in the vernacular in solemn liturgical functions -- much more to sing in the vernacular the variable or common parts of the Mass and Office.

7. Ecclesia latina lingua utitur; in sacris igitur liturgiis prohibetur quidlibet vulgari sermone canere, praesertim partes variantes vel communes Missae et Officii.

8. As the texts that may be rendered in music, and the order in which they are to be rendered, are determined for every liturgical function, it is not lawful to confuse this order or to change the prescribed texts for others selected at will, or to omit them either entirely or even in part, unless when the rubrics allow that some versicles of the text be supplied with the organ, while these versicles are simply recited in the choir. However, it is permissible, according to the custom of the Roman Church, to sing a motet to the Blessed Sacrament after the Benedictus in a solemn Mass. It is also permitted, after the Offertory prescribed for the mass has been sung, to execute during the time that remains a brief motet to words approved by the Church.

8. Cum singulis liturgiis sint texta statuta, quae musicis cani possint, et ordo, hunc perturbare non licet, neve statutis textis ad libitum alia substituere, neve penitus ea amittere vel imminuere, nisi liturgicae rubricae concedant ut organum aliqua verba texti, quae in choro recitentur, substituat. Liceat tamen more Romanae Ecclesiae canere cantiunculam (mottetto) in honorem SS. Sacramenti post Benedictus in missa solenni. Concedimus denique ut, Missae Offertorio absoluto, brevis cantiuncula canatur super verba ab Ecclesia adprobata.

9. The liturgical text must be sung as it is in the books, without alteration or inversion of the words, without undue repetition, without breaking syllables, and always in a manner intelligible to the faithful who listen.

9. Textum liturgicum ut est in libris sine verborum permutatione vel repetitione et intelligibili forma Christicolis audientibus est canendum, neque dividantur verba.

IV. External form of the sacred compositions

IV. 
De forma exteriore sacrarum compositionum.

10. The different parts of the mass and the Office must retain, even musically, that particular concept and form which ecclesiastical tradition has assigned to them, and which is admirably brought out by Gregorian Chant. The method of composing an introit, a gradual, an antiphon, a psalm, a hymn, a Gloria in excelsis, etc., must therefore be distinct from one another.

10. Singulae partes missae et divini officii et in musicis servent quam ecclesiastica traditio eis dedit formam, quae in cantu gregoriano optime invenitur. Non eodem enim modo componitur introitus, graduale, antiphona, psalmus, hymnus Gloria in excelsis etc.

11. In particular the following rules are to be observed:

11. Haec praesertim sunt servanda:

(a) The Kyrie, Gloria, Credo, etc., of the Mass must preserve the unity of composition proper to the text. It is not lawful, therefore, to compose them in separate movements, in such a way that each of these movements form a complete composition in itself, and be capable of being detached from the rest and substituted by another.

a) Kyrie, Gloria, Credo Missae habeant unitatem compositionis texto pertinentem. Non liceat igitur Kyrie, Gloria etc. ita separatim componere ut singulae eorum partes perfecta musica compositio videantur et quae evelli possint vel aliis substitui partibus.

(b) In the office of Vespers it should be the rule to follow the Caeremoniale Episcoporum, which prescribes Gregorian Chant for the psalmody and permits figured music for the versicles of the Gloria Patri and the hymn.

b) In solemni recitatione Vesperarum sequendum est Caeremoniale Episcoporum, quod praecipit cantum gregorianum salmodiae, et concedit musicum concentum (musica figurata) hymno et versibus Gloria Patri.

It will nevertheless be lawful on greater solemnities to alternate the Gregorian Chant of the choir with the so called falsi-bordoni or with verses similarly composed in a proper manner.

— Liceat tamen in quibusdam solemnitatibus cantum gregorianum et eos qui dicuntur falsibordoni alternis psallere aut versus simili modo apte compositos..

It is also permissible occasionally to render single psalms in their entirety in music, provided the form proper to psalmody be preserved in such compositions; that is to say, provided the singers seem to be psalmodising among themselves, either with new motifs or with those taken from Gregorian Chant or based upon it.

Liceat denique aliquoties singulos psalmos musice canere, dummodo forma propria salmodiae servetur, idest dummodo cantores alternis psallere videantur modis vel novis vel e cantu gregoriano sumptis vel huic similibus

The psalms known as di concerto are therefore forever excluded and prohibited.

Prohibemus igitur psalmos qui dicuntur concentus (di concerto).

(c) In the hymns of the Church the traditional form of the hymn is preserved. It is not lawful, therefore, to compose, for instance, a Tantum ergo in such wise that the first strophe presents a romanza, a cavatina, an adagio and the Genitori an allegro.

c) In hymnis Ecclesiae forma traditionis hymni servetur. Non licet ideo componere, exempli gratia, Tantum ergo ita ut prior stropha videatur romanza vel adagium et Genitori allegro.

(d) The antiphons of the Vespers must be as a rule rendered with the Gregorian melody proper to each. Should they, however, in some special case be sung in figured music, they must never have either the form of a concert melody or the fullness of a motet or a cantata.

d) Antiphonae Vesperarum cantu gregoriano proponendae sunt; quod si musice canantur videri non debent concentus melodiae, neque cantiunculae amplitudinem habeant.

V. The singers

V. 
De cantoribus.

12. With the exception of the melodies proper to the celebrant at the altar and to the ministers, which must be always sung in Gregorian Chant, and without accompaniment of the organ, all the rest of the liturgical chant belongs to the choir of levites, and, therefore, singers in the church, even when they are laymen, are really taking the place of the ecclesiastical choir. Hence the music rendered by them must, at least for the greater part, retain the character of choral music.

12. Praeter melodias celebrantis ad altare et ministrorum, quae cantu gregoriano semper cani debent sine organi sequentia, quae cantus liturgici extant sunt Chori Levitarum, ideoque cantores ecclesiastici, quamvis non clerici, chori ecclesiastici munere funguntur. Musica igitur, quae proponitur servare debet formam musicae choralis.

By this it is not to be understood that solos are entirely excluded. But solo singing should never predominate to such an extent as to have the greater part of the liturgical chant executed in that manner; the solo phrase should have the character or hint of a melodic projection (spunto), and be strictly bound up with the rest of the choral composition.

Sed non excluditur vox, at in sacris solemnibus haec ita non supersit ut maior pars texti liturgici hoc modo proponi videatur; videatur potius simplex indictio melodica et compositioni, ut forma choralis, strictius adhaereat.

13. On the same principle it follows that singers in church have a real liturgical office, and that therefore women, being incapable of exercising such office, cannot be admitted to form part of the choir. Whenever, then, it is desired to employ the acute voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church.

13. Ex eodem principio sequitur ut cantores in ecclesia liturgico munere fungantur, ideoque mulieres, cum huius muneris non sint capaces, admitti non possint ad chorum vel ad musicos. Quod si igitur voce acutiore (soprani) vel acuta proxima (contralti) uti velimus, perantiquo ecclesiastico more a pueris hae voces edantur.

14. Finally, only men of known piety and probity of life are to be admitted to form part of the choir of a church, and these men should by their modest and devout bearing during the liturgical functions show that they are worthy of the holy office they exercise. It will also be fitting that singers while singing in church wear the ecclesiastical habit and surplice, and that they be hidden behind gratings when the choir is excessively open to the public gaze.

14. Denique ecclesiasticorum musicorum (cappella di chiesa) participes tantum sint viri religione et pietate conspicui, qui pie et devote sacris cum adsint, munere, quo funguntur, digni videantur. Convenit ut cantores, dum in ecclesia canunt, induant talarem vestem et superpelliceum; quod si in orchestris palam adstantes prospicientibus sint, transennis edentur.

VI. Organ and instruments

VI. 
De organo et musicis instrumentis.

15. Although the music proper to the Church is purely vocal music, music with the accompaniment of the organ is also permitted. In some special cases, within due limits and with proper safeguards, other instruments may be allowed, but never without the special permission of the Ordinary, according to prescriptions of the Caeremoniale Episcoporum.

15. Quamquam Ecclesiae musica propria est illa vocalis, tamen permittitur musica cum sequentia organi. Aliquoties, servatis servandis, admitti possunt alia musica instrumenta, sed annuente Episcopo, ut Caeremoniale Episcoporum praecipit.

16. As the singing should always have the principal place, the organ or other instruments should merely sustain and never oppress it.

16. Quod cantus vocalis superesse debet, organus et musica instrumenta eum tantum substineant, non opprimant.

17. It is not permitted to have the chant preceded by long preludes or to interrupt it with intermezzo pieces.

17. Non licet longa praeludia praemittere cantui vel partibus intermediis interrumpere.

18. The sound of the organ as an accompaniment to the chant in preludes, interludes, and the like must be not only governed by the special nature of the instrument, but must participate in all the qualities proper to sacred music as above enumerated.

18. Sonus organi in sequentiis cantus, in praeludiis, interludiis, similibus, huius instrumenti naturam non solum sequatur, sed musicae sacrae omnium qualitatum, quas supra exposuimus, particeps sit.

20. It is strictly forbidden to have bands play in church, and only in special cases with the consent of the Ordinary will it be permissible to admit wind instruments, limited in number, judiciously used, and proportioned to the size of the placeprovided the composition and accompaniment be written in grave and suitable style, and conform in all respects to that proper to the organ.

20. Prohibetur omnino illis quae dicuntur musica urbana (bande musicali) in ecclesiis canere; tamen, annuente Episcopo, liceat admittere aliqua musica instrumenta vocalia, ratione perpensa, dummodo compositio et sequentia sit in stylo gravi et omnino simili stylo organi.

21. In processions outside the church the Ordinary may give permission for a band, provided no profane pieces be executed

21. In publicis supplicationibus liceat Episcopo admittere musicam urbanam, dummodo ne haec modos profanos canat.

. It would be desirable in such cases that the band confine itself to accompanying some spiritual canticle sung in Latin or in the vernacular by the singers and the pious associations which take part in the procession.

Est in votis musicam urbanam in his casibus tantum sequi aliquem hymnum spiritualem latino vel vulgari sermone a cantoribus, vel a piis congregationibus, quae supplicationis sunt participes, praepositum.

VII. The length of the liturgical chant

VII. 
De amplitudine musicae liturgicae.

22. It is not lawful to keep the priest at the altar waiting on account of the chant or the music for a length of time not allowed by the liturgy. According to the ecclesiastical prescriptions the Sanctus of the Mass should be over before the elevation, and therefore the priest must here have regard for the singers. The Gloria and the Credo ought, according to the Gregorian tradition, to be relatively short.

22. Non licet ratione cantus vel soni sacerdotem ad altare longius quam caeremonia liturgica quaerit, expectare. Iuxta ecclesiastica decreta Sanctus Missae ante elevationem perficiatur, ideoque etiam sacerdos celebrans cantorum rationem habeat. Gloria, et Credoiuxta gregorianam traditionem brevia satis sint.

23. In general it must be considered a very grave abuse when the liturgy in ecclesiastical functions is made to appear secondary to and in a manner at the service of the music, for the music is merely a part of the liturgy and its humble handmaid.

23. Generatim est omnino damnandum, ut maius usus, in sacris solemnibus liturgiam inferiorem locum habere, quasi musicorum sit ancilla, at contra tantum pars liturgiae.

VIII. Principal means

VIII. 
De mediis praecipuis.

24. For the exact execution of what has been herein laid down, the Bishops, if they have not already done so, are to institute in their dioceses a special Commission composed of persons really competent in sacred music, and to this Commission let them entrust in the manner they find most suitable the task of watching over the music executed in their churches. Nor are they to see merely that the music is good in itself, but also that it is adapted to the powers of the singers and be always well executed.

24. Quae statuimus ut rite serventur, Episcopi in propria dioecesi instituant, nisi iam fecerint, societatem (commissione) virorum sacrae musicae expertium, qui, uti aptius Episcopi videatur, pervigilandi musicam, quae in ecclesiis canitur, munus habeant. Curent insuper ut musica optima sit, cantorum aequa viribus et semper optime canatur.

25. In seminaries of clerics and in ecclesiastical institutions let the above-mentioned traditional Gregorian Chant be cultivated by all with diligence and love, according to the Tridentine prescriptions, and let the superiors be liberal of encouragement and praise toward their young subjects. In like manner let a Schola Cantorum be established, whenever possible, among the clerics for the execution of sacred polyphony and of good liturgical music.

25. In seminariis clericorum et in conventibus ecclesiasticis, iuxta Tridentina decreta, magna cum diligentia et studio cantus gregorianus, quem transmisit traditio, colatur, et iuvenibus praepositi omnimodo faveant. Ubi fieri potest inter clericos Schola Cantorum erigatur, quae sacram poliphoniam et optimam musicam liturgicam exequatur.

26. In the ordinary lessons of Liturgy, Morals, and Canon Law given to the students of theology, let care be taken to touch on those points which regard more directly the principles and laws of sacred music, and let an attempt be made to complete the doctrine with some particular instruction in the aesthetic side of sacred art, so that the clerics may not leave the seminary ignorant of all those subjects so necessary to a full ecclesiastical education.

26. In quotidianis lectionibus liturgiae, theologiae moralis et iuris canonici, quibus imbuuntur discipuli scholae theologicae, doctores curent ut quae sacram musicam attingant, pertractent, et discipulos pulchrum artis sacrae doceant, ne clerici, studiorum cursu absoluto, his notionibus cultui rerum ecclesiasticarum necessariis, careant.

27. Let care be taken to restore, at least in the principal churches, the ancient Scholae Cantorum, as has been done with excellent fruit in a great many places. It is not difficult for a zealous clergy to institute such Scholae even in smaller churches and country parishesnay, in these last the pastors will find a very easy means of gathering around them both children and adults, to their own profit and the edification of the people.

27. Detur opera ut restituantur, saltem apud priores ecclesias, antiquae Scholae Cantorum, ut iam plurimis in locis actum est. Clero volenti haud difficile est has Scholas instituere etiam in ecclesiis minoribus et ruralibus, quin etiam his Scholis pueri et grandes natu facilius ad sacerdotem conveniunt suo ipsorum fructu et populi religione.

28. Let efforts be made to support and promote, in the best way possible, the higher schools of sacred music where these already exist, and to help in founding them where they do not. It is of the utmost importance that the Church herself provide for the instruction of her choirmasters, organists, and singers, according to the true principles of sacred art.

28. Curetur denique et quoque modo Scholae superiores sacrae musicae ubi iam sint provehantur et augeantur, ubi vero adhuc non sint, fiant. Oportet enim Ecclesia faveat et provideat, iuxta sacrae artis principia, cultui et humanitati suorum coriphaeorum et cantorum.

IX. Conclusion

IX. 
Conclusio.

29. Finally, it is recommended to choirmasters, singers, members of the clergy, superiors of seminaries, ecclesiastical institutions, and religious communities, parish priests and rectors of churches, canons of collegiate churches and cathedrals, and, above all, to the diocesan ordinaries to favor with all zeal these prudent reforms, long desired and demanded with united voice by all; so that the authority of the Church, which herself has repeatedly proposed them, and now inculcates them, may not fall into contempt.

29. Mandamus denique coriphaeis, cantoribus, clericis, praepositis seminariorum et conventuum ecclesiasticorum et religiosorum, parochis et rectoribus ecclesiarum, canonicis collegialibus et cathedralibus, praesertim Ordinariis ut omni modo et studio his sapientibus reformationibus faveant, iam diu optatis ab omnibusque Christifidelibus expetitis, ne Ecclesiae auctoritas contemnatur, quae eas saepe saepius proposuit, nunc vero rursus inculcat.

Given from Our Apostolic Palace at the Vatican, on the day of the Virgin and martyr, Saint Cecilia, November 22, 1903, in the first year of Our Pontificate.

Ex Aedibus Vaticanis, in festo S. Caeciliae V. et M., X Kalendas Decembris, Pontificatus Nostri anno primo.

Pius X, Pope

 PIUS PP. X