Sacrosanctum concilium, the Second Vatican Council’s constitution on the liturgy, is often cited by scholars when assessing and commenting upon Roman Catholic liturgical music in the Council’s reception period, that is, the late-twentieth and early-twenty first centuries. The constitution, however, is only one of four constitutions promulgated by the Council that together create a vision for reform. Conciliar documents state principles which the Church’s teachers—the pope, bishops, pastors, and theologians—continually interpret for specific situations. This essay considers theological and historical factors that affected the Second Vatican Council’s statements about liturgical music. The Council’s overall concern was the Church’s effective proclamation of the Gospel in a world of diverse cultural settings facing modern problems. Liturgical music prior to the Second Vatican Council reflected the needs and concerns of a Church that, in a sense, no longer exists. Current theological methods begin by validating a congregation’s experience of God and placing it in dialogue with tradition. In this context, Gregorian chant and polyphony hold “pride of place” among a variety of musical styles that express the Church’s encounter with God. / text

Darbo tema – dorovinių vertybių formavimas 10 – 12 klasių dailės pamokose katalikiškos liturginės juvelyrikos pavyzdžiais. Tyrimo tikslas - išanalizuoti katalikiškos liturginės juvelyrikos įtaką formuojant dorovines vertybes 10 – 12 klasių dailės pamokose. Tyrimo uždaviniai - išanalizuoti mokslinę literatūrą dorovinių vertybių formavimo tema; apibūdinti katalikiškos liturginės juvelyrikos tipus ir funkcijas; išsiaiškinti 10 – 12 klasių mokinių dorovines, vertybines nuostatas; išsiaiškinti katalikiškos liturginės juvelyrikos pavyzdžių integravimo poveikį dailės pamokose bei nustatyti dorovinių vertybių formavimo galimybes dailės pamokose. Atlykus tyrimą paaiškėjo, jog daugumos mokslininkų bei aksiologijos tyrėjų nuomonės sutampa, kad ugdant visapusišką asmenybę, svarbus vaidmuo tenka doriniam arba doroviniam auklėjimui, asmenybės moralinių savybių formavimui, jog formuoti dorovines vertybes reikia kaip visumą, žmogaus santykių su savimi, visuomene, darbu, gamta, kultūrinėmis vertybėmis. Nagrinėjant ir lyginant respondentų dorovines, vertybines nuostatas pastebėjome, jog kontrolinės grupės respondentai teigiamiau vertina socialines, visuomenines ir materialumu paremtas vertybes, eksperimentinės grupės apklaustieji palankiau vertina vertybes susijusias su dvasingumu, atsakingumu ir pagarba. Katalikybės tradicijoje diegiamas vertybes, eksperimentinės grupės tyriamieji buvo linkę vertinti palankiau. Katalikiškos liturginės juvelyrikos pavyzdžių integravimo poveikį dailės pamokose... [toliau žr. visą tekstą] / Moral value formation by examples of the catholic liturgical jeweller of 10 – 12 classes in the art lessons is the subject of this work. Investigative purpose – to analyse influence of the catholic liturgical jeweller for moral value formation. Investigative tasks – to analyse scientific literature of moral value formating; to describe types and functions of catholic liturgical jeweller; to ascertain moral values of the respondents; to analyse influense of integration to art lessons by catholic liturgical jeweller and to find chance to formate moral values in the art lessons. When exploratory was accomplished, it emerged that opinions of scientists and researchers of acsiology are coincidentals. They agree that education of thorough person needs to be virtuous and moral. Formation of moral values needs to be universal, like human intercourse with himself, with society, work, nature and cultural values as well. While, analysing and comparing moral values of respondents, we noticed, that respondents of auditorial group were more interesting in social, material goods and respondents of experimental group were more interesting in values, which are coherent with spirituality, responsibility and respect. Respondents of experimental group were more interesting in catholic values than auditorial group. Comparing results of respondents of 10 – 12 classes analysis information, we noticed influence of catholic liturgical jeweller integration in the art lessons. Respondents of... [to full text]

Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation. The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today. This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.