/

/

1962~1965

(sectors)

(parishes)(appropriation)(localization)

Prudente

1960~1970 Sta. Maria

1980

(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 60s and 70s 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 80s until today where an amalgamation

of religious music are rendered during Mass celebrations.

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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 IIs 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. The Community Mass was widely used in Metro Manila and was taught particularly

in Catholic schools. 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. It was composed by a Maryknoll student Kristina

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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 Tinas 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. The songs brought into the

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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 Christs 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. Cayabyabs 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 peoples response to the call for renewal and change by Vatican II. Example 1: Sanctus by P. Brunner

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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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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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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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Flannery, O.P. Austin, general editor. Vatican Council II: The Conciliar and Post Conciliar Documents.

Ireland: Dominican Publications, St. Saviours.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. ONeill, S.J., compiler. Hosanna.

Manila: Archdiocese of Manila. 1973.

Sisters of St. Paul of Chartres. Just A People. Manila: Sisters of St. Paul of Chartres. 1972.

The Best of Bukas Palad: Choral Arrangements. Volumes 1&2. Quezon City: The Jesuit Ministry. 2000.

Urtasun, Fr. Carlos. Lets Celebrate: New Liturgical Songs. Singalong: n.p. 1969.

Villanueva, Fr. Rudy. Cancionero Cebuano. Cebu City: San Carlos Seminary College.1987.

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/

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Discussion / 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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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 changesfrom tradition to localthat 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: HeavenEarth-Man Union . Some local choirs perform the

works composed by 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 from the Orthodox Church in Russia to deliver a speech on the

situation of Christianity in Russia. According to Father , 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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Question & Answer Q1

A1

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Felicidad A. Prudente/ University of the Philippines