Quick reference need from B16

Recently I read about what Benedict the 16th said in regards to music at mass, can someone get me a link to that quote?

I can post excerpts later,from his books "A New Song to the Lord"
and “Feast of Faith”.

I think this might be what you’re looking for:


Sistine Chapel
Saturday, 24 June 2006 ](“http://www.vatican.va/holy_father/benedict_xvi/speeches/2006/june/documents/hf_ben-xvi_spe_20060624_fondazione-bartolucci_en.html”)

All the passages we have heard - and especially the performance as a whole in which the 16th and 20th centuries run parallel - together confirm the conviction that sacred polyphony, particularly that of the so-called “Roman School”, is a legacy to preserve with care, to keep alive and to make known, not only for the benefit of experts and lovers of it but also for the entire Ecclesial Community, for which it constitutes a priceless spiritual, musical and cultural heritage.

The Bartolucci Foundation aims precisely to safeguard and spread the classical and contemporary tradition of this famous polyphonic school that has always been distinguished by its form, focused on singing alone without an instrumental accompaniment. An authentic renewal of sacred music can only happen in the wake of the great tradition of the past, of Gregorian chant and sacred polyphony.
For this reason, in the field of music as well as in the areas of other art forms, the Ecclesial Community has always encouraged and supported people in search of new forms of expression without denying the past, the history of the human spirit which is also a history of its dialogue with God.

Perfect I was looking for the part where he references that Traditional songs and Chant are prefered.

From “A New Song to the Lord” pages 173-174

In the Christian faith the concept of mystery is inseparable from that of Logos. In contrast to many pagan mystery cults, the Christian mysteries are Logos-mysteries. They go beyond human reson,but instead of leading to the formlessness of intoxication or to the dissolution of reason into an irrationally understood cosmos,they lead to Logos,that is to the creative reason on which the meaning of all things are based. This ultimate sobriety,rationality,and verbal character of the liturgy come from this. A second element is connected to it : the Logos has become flesh in history; for Christians, therefore,orientation toward the Logos is also always orientation toward the historical origin of faith,toward the biblical word and its normative development in the Church of the Fathers. From looking at the mystery of a cosmic liturgy which is Logos-liturgy there arose the necessity to represent the character of the worship as communion, its character as action,and its determination as word in a visible and concrete way; all the individual instructions for the revision of books and rites are to be understood on this basis…

…Church music was no longer supposed to be a performance on the occasion of worship,but was to be liturgy itself,that is,a harmonizing with the choir of the angels and saints. Thus ,it was supposed to become transparent that liturgical music leads the faithful straight to the glorification of God,into the sober intoxication of the faith. The emphasis on Gregorian chant and classical polyphonic music was therefore ordered to both the character of the liturgy as mystery and its character as Logos,as well as to its bond to the historical word.

Here is a very authoritative and strong statement from Sacramentum Caritatis (bolding added):

Liturgical song

  1. In the ars celebrandi, liturgical song has a pre-eminent place. Saint Augustine rightly says in a famous sermon that “the new man sings a new song. Singing is an expression of joy and, if we consider the matter, an expression of love”. The People of God assembled for the liturgy sings the praises of God. In the course of her two-thousand-year history, the Church has created, and still creates, music and songs which represent a rich patrimony of faith and love. This heritage must not be lost. Certainly as far as the liturgy is concerned, we cannot say that one song is as good as another. Generic improvisation or the introduction of musical genres which fail to respect the meaning of the liturgy should be avoided. As an element of the liturgy, song should be well integrated into the overall celebration. Consequently everything – texts, music, execution – ought to correspond to the meaning of the mystery being celebrated, the structure of the rite and the liturgical seasons . Finally, while respecting various styles and different and highly praiseworthy traditions, I desire, in accordance with the request advanced by the Synod Fathers, that Gregorian chant be suitably esteemed and employed as the song proper to the Roman liturgy.
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