Abstract

By means of the Constitution "Sacrosanctum Concilium" the Vatican II reassessed the function of music as an expression of the congregation and the rites and furthermore identified singing as a sign of the Church that celebrates. Forty years later, we can confidently assert that the conciliar directives inaugurated a liturgical-musical season of unforeseen scenarios, not to mention contradictory and unsatisfactory results. The discussion made in this paper takes its cue from an inquiry carried out in the diocese of Pescara-Penne - using a form submitted to both the parish priests and the singing operators working in the various parishes - to verify what actually happens 'on the ground' with regard to chant and liturgy. In brief, the results confirm that there are two fundamental problems facing liturgical music: on the one hand, the lack of any dialogue between liturgy and contemporary art music; and on the other, the lack of training of many parish operators. What is needed, therefore, is not only composers prepared to share the experience of faith and to transmit it through their art, but also animators and directors competent in both the liturgical and musical fields. These figures must be capable of performing a 'transversal' pedagogical function on the congregation taking part in the rite through choir singing. In this way they would also offer the community the opportunity to develop musically, first through listening and then through direct participation in the singing.