Edward McNamara, LC
(ZENIT News / Rome, 10.07.2024).- Answered by Legionary of Christ Father Edward McNamara, professor of liturgy and sacramental theology and director of the Sacerdos Institute at the Pontifical Regina Apostolorum university.
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Q: The choir at our church is located to the side of the sanctuary. Is it preferred for the choir to face and sing toward the altar, or angle toward the assembly? — J.F., White Bear Lake, Minnesota
A: This is one of those questions where it is almost impossible to give definitive answers. Much depends on the structure and architecture of each building. The best we can offer is to show some of the principles involved which should determine the concrete choices.
First, we have the overarching principles of the General Instruction of the Roman Missal (GIRM):
“103. The schola cantorum or choir exercises its own liturgical function among the faithful. Its task is to ensure that the parts proper to it, in keeping with the different types of chants, are carried out becomingly and to encourage active participation of the people in the singing. What is said about the choir applies in a similar way to other musicians, especially the organist. […]
“294. The people of God assembled at Mass possess an organic and hierarchical structure, expressed by the various ministries and actions for each part of the celebration. The general plan of the sacred building should be such that in some way it conveys the image of the gathered assembly. Thus, it should also allow the participants to take the place most appropriate to them and assist all to carry out their individual functions properly.
«The faithful and the choir should have a place that facilitates their active participation.
«The priest celebrant, the deacon and other ministers have their place in the sanctuary. At the same time, seats for the concelebrants should be prepared. If there is truly a great number of concelebrants, then seats should be arranged in another part of the church, but near the altar.
«Even though all these elements must express a hierarchical arrangement and the diversity of functions, they should at the same time form a deep and organic unity, clearly expressive of the unity of the entire holy people. The character and beauty of the place and all its appointments should foster devotion and show the holiness of the mysteries celebrated there. […]
“312. ‘In relation to the design of each church, the schola cantorum should be so placed that its character as a part of the assembly of the faithful that has a special function stands out clearly. The location should also assist the exercise of the duties of the schola cantorum and allow each member of the choir complete, that is, sacramental participation in the Mass.’”
These indications regarding the placement of the choir are made more explicit in two documents of the U.S. bishops’ conference: one on church buildings (“Built of Living Stones”) and another on liturgical music (“Sing to the Lord”).
The document on church buildings briefly addresses the question of where to place the choir.
“§ 90 § The directives concerning music found in the General Instruction of the Roman Missal and the guidance offered by Music in Catholic Worship and Liturgical Music Today can assist the parish in planning appropriate space for musicians. The placement and prayerful decorum of the choir members can help the rest of the community to focus on the liturgical action taking place at the ambo, the altar, and the chair. The ministers of music are most appropriately located in a place where they can be part of the assembly and have the ability to be heard. Occasions or physical situations may necessitate that the choir be placed in or near the sanctuary. In such circumstances, the placement of the choir should never crowd or overshadow the other ministers in the sanctuary nor should it distract from the liturgical action.”
The document on liturgical music tackles the question from different angles. For example, regarding the choir it says:
“28. The Second Vatican Council stated emphatically that choirs must be diligently promoted while ensuring that ‘the whole body of the faithful may be able to contribute that active participation which is rightly theirs ….’ The choir must not minimize the musical participation of the faithful. The congregation commonly sings unison melodies, which are more suitable for generally unrehearsed community singing. This is the primary song of the Liturgy. Choirs and ensembles, on the other hand, comprise persons drawn from the community who possess the requisite musical skills and a commitment to the established schedule of rehearsals and Liturgies. Thus, they are able to enrich the celebration by adding musical elements beyond the capabilities of the congregation alone.
“29. Choirs (and ensembles—another form of choir that commonly includes a combination of singers and instrumentalists) exercise their ministry in various ways. An important ministerial role of the choir or ensemble is to sing various parts of the Mass in dialogue or alternation with the congregation. Some parts of the Mass that have the character of a litany, such as the Kyrie and the Agnus Dei, are clearly intended to be sung in this manner. Other Mass parts may also be sung in dialogue or alternation, especially the Gloria, the Creed, and the three processional songs: the Entrance, the Preparation of the Gifts, and Communion. This approach often takes the form of a congregational refrain with verses sung by the choir. Choirs may also enrich congregational singing by adding harmonies and descants.
“30. At times, the choir performs its ministry by singing alone. The choir may draw on the treasury of sacred music, singing compositions by composers of various periods and in various musical styles, as well as music that expresses the faith of the various cultures that enrich the Church. Appropriate times where the choir might commonly sing alone include a prelude before Mass, the Entrance chant, the Preparation of the Gifts, during the Communion procession or after the reception of Communion, and the recessional. Other appropriate examples are given in the section of this document entitled ‘Music and the Structure of the Mass’ (nos. 137-199). The music of the choir must always be appropriate to the Liturgy, either by being a proper liturgical text or by expressing themes appropriate to the Liturgy.
“31. When the choir is not exercising its particular role, it joins the congregation in song. The choir’s role in this case is not to lead congregational singing, but to sing with the congregation, which sings on its own or under the leadership of the organ or other instruments.
“32. Choir members, like all liturgical ministers, should exercise their ministry with evident faith and should participate in the entire liturgical celebration, recognizing that they are servants of the Liturgy and members of the gathered assembly.
“33. Choir and ensemble members may dress in albs or choir robes, but always in clean, presentable, and modest clothing. Cassock and surplice, being clerical attire, are not recommended as choir vesture.”
It also deals with the question of the optimal placement of the choir and touches upon this topic within the context of acoustics:
“95. Musicians and musical instruments should be located so as to enable proper interaction with the liturgical action, with the rest of the assembly, and among the various musicians. Ideally, ministers of music are located so as to enable their own full participation by being able to see and hear the Liturgy. In most cases, it will work best if musicians are in close proximity with each other—for example, by placing the organ console or keyboard close to the choir and to the cantor’s stand.
“96. When not engaged in the direct exercise of their particular role, music ministers, like all ministers of the Liturgy, remain attentive members of the gathered assembly and should never constitute a distraction.
“97. The cantor should generally be located in front of the congregation to lead the singing. When a congregation is able to sing on its own, either in response to the priest or ministers or through instrumental leadership, the cantor does not need to be visible. The Responsorial Psalm is usually proclaimed from the ambo or another location that is visible to the assembly. The psalmist, therefore, should sit in a place where the ambo is easily accessible.
“98. The placement of the choir should show the choir members’ presence as a part of the worshiping community yet serving in a unique way. Acoustical considerations will also play a role in determining the best location for the choir.
“99. Placement of the organ console and pipes, speakers of amplified instruments, and acoustic instruments such as the piano is determined both by visual considerations, so that there is no distraction from the liturgical action, and by acoustical considerations, so that the sound can support the congregation and so that the instrumentalist is readily able to accompany cantors, psalmists, and choirs.
“100. If the space occupied by the choir and instruments is visible to the assembly, it must reflect the sacredness of the music ministry. Any appearance of clutter or disorganization must be avoided. Just as no one would tolerate stacks of books and papers in the sanctuary, the music ministry space should be free from clutter.
“101. Acoustics refers to the quality of a space for sustaining sound, especially its generation, transmission, and reception. While individual ministers of the Liturgy, ensembles, and even choirs can be sound-enhanced through amplification methods, the only amplification of the singing assembly comes from the room itself. Given the primacy of the assembly’s song among all musical elements of the Liturgy, the acoustical properties of the worship space are critical. For this reason, specialists in acoustics should be consulted when building or modifying liturgical space.
“102. If each member of the assembly senses his or her voice joined to the entire community in a swell of collective sound, the acoustics are well suited to the purpose of a gathered community engaged in sung prayer. If, on the other hand, each person hears primarily only his or her own voice, the acoustics of the space are fundamentally deficient.
“103. Sound-absorbing building materials include carpet, porous ceiling tiles, soft wood, untreated soft stone, cast concrete or cinder block, and padded seating. Avoiding excessive use of such materials makes it easier to achieve the ideal of many voices united in song.
“104. The acoustics of a church or chapel should be resonant so that there is no need for excessive amplification of musical sound in order to fill the space and support the assembly’s song. When the acoustics of the building naturally support sound, acoustic instruments and choirs generally need no amplification. An acoustically dead space precipitates a high cost of sound reinforcement, even for the organ.”
Note that none of these documents offer precise or detailed indications as to where to place the choir.
They do offer good principles so that the placement of the choir should show it is part of the assembly that is offering a particular service or ministry. Therefore, the ideal is that the choir be visible and audible in such a way that it assists in elevating the community’s worship while never becoming a distraction.
There will be many concrete practical solutions that can put the above principles into practice.
Nothing in the above documents suggests a preference for a choir near the sanctuary facing toward the people or the altar. Both solutions would be allowed but, given that the choir is part of the assembly, it would be preferable, if possible, that the choir be able turn toward the altar at least during the Liturgy of the Eucharist.
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Readers may send questions to zenit.liturgy@gmail.com. Please put the word «Liturgy» in the subject field. The text should include your initials, your city and your state, province or country. Father McNamara can only answer a small selection of the great number of questions that arrive.
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