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Contemporary Catholic liturgical music encompasses a comprehensive number of styles of music for Catholic liturgy that grew both before and after the reforms of Vatican II. The dominant style in English speaking Canada and the United States began as Gregorian chant and folk hymns, superseded after the 1970s by a folk-based musical genre, generally acoustic and often slow in tempo but that has evolved into a broad contemporary range of styles reflective of certain aspects of age, culture and language. There is a marked difference between this style and those that were both common and valued in Catholic churches before Vatican II. == History == In the early 1950s the Jesuit priest Joseph Gelineau was active in liturgical development in several movements leading toward Vatican II.〔(【引用サイトリンク】 url=http://www.giamusic.com/bios/gelineau_joseph.cfm )〕 In particular the new Gelineau psalmody in French (1953) and English (1963) demonstrated the feasibility and welcome use of such vernacular language settings. Contemporary Catholic liturgical music grew after the reforms that followed the Second Vatican Council, which called for wider use of the vernacular language in the Roman Catholic Mass. The General Instruction of the Roman Missal states: :Great importance should ... be attached to the use of singing in the celebration of the Mass, with due consideration for the culture of the people and abilities of each liturgical assembly. :Although it is not always necessary (e.g. in weekday Masses) to sing all the texts that are of themselves meant to be sung, every care should be taken that singing by the ministers and the people is not absent in celebrations that occur on Sundays and on holy days of obligation.〔(General Instruction of the Roman Missal ), 40〕 It adds: :All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful. :Since the faithful from different countries come together ever more frequently, it is fitting that they know how to sing together at least some parts of the Ordinary of the Mass in Latin, especially the Creed and the Lord's Prayer, set to the simpler melodies.〔(General Instruction of the Roman Missal ), 41〕 The reforms sparked a wide movement in the English-speaking Roman Catholic church where an entire body of older Protestant hymnody and newly composed Contemporary Catholic Liturgical Music was introduced through new hymnals such as (World Library Publication's ) People's Mass Book, the Living Parish, We Celebrate, NALR's three volumes of Glory and Praise, and Mayhew-McCrimmon's 20th Century Folk Hymnal volumes. A great deal of the early composed Contemporary Catholic liturgical Music of the 70s was inspired by popular music of the day, which used guitars and other instruments commonly associated with "folk" music, and included songwriters such as Ray Repp, and Joe Wise and later members of American groups such as the St. Louis Jesuits, and the Dameans. Of this group, the St. Louis Jesuits music spread widely and many compositions continue to be popular today. In the United Kingdom, the Catholic Charismatic Movement also contributed to these changes, introducing the "praise and worship" approach to liturgical music, which was incorporated into publications by Mayhew-McCrimmond. By the 1990s, and into the early 21st century, this style of music drew less on its folk roots but rather on a number of different styles and influences from contemporary society. In many areas of the United States, and regions throughout the English-speaking world, most or all of the music played during Sunday Mass was taken from this late 20th century body of work. As a result, traditional forms of Catholic music (such as Gregorian chant) had become rare in many churches, and unknown in some. By the year 2000 most Catholic Songbooks preferred Contemporary Catholic Liturgical Music, some hymnody, and a very small collection of Chant (which, at one point was the sine qua non of Catholic Church Music). In addition to its spread within the American Roman Catholic community, a number of pieces from the body of late 20th century Catholic liturgical music had become commonplace among American mainline Protestants. This is true of Lutherans—particularly the Evangelical Lutheran Church in America—where both the more hymn-like assembly songs as well as portions of mass and psalm settings can be found among recent hymnals such as Evangelical Lutheran Worship and With One Voice. Marty Haugen, a Lutheran, and one of the commonly known composers, creates both Roman Catholic and Lutheran versions of his mass settings, as well as writing pieces for specifically Lutheran rites. Although musical mass settings are not as widely used in most mainline Protestant denominations, a number of the more well-known hymns / assembly songs have been added to the traditional hymn repertoire of these churches, and appear in many late 20th century denominational hymnals. These include compositions such as Bernadette Farrell's "Christ be our Light", Dan Schutte's "Here I Am, Lord", John Foley's "One Bread, One Body", David Haas's "Blest Are They", and a number of Haugen's pieces, including "All Are Welcome", "Gather Us In", "Awake, Awake, and Greet the New Morn", and "Healer of Our Every Ill". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Contemporary Catholic liturgical music」の詳細全文を読む スポンサード リンク
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