From the intro to Michael Joncas’s book:

From Sacred Song to Ritual Music: (Collegeville: The Liturgical Press, 1997, v)
This quote is from the Annie Dillard book listed below.

There is a singing group in the Catholic church today, a singing group which calls itself
“Wildflowers.” The lead is a tall, square-jawed teen-aged boy, buoyant and glad to be
here. He carries a guitar; he plucks out a little bluesy riff and hits some chords. With him
are the rest of the Wildflowers. There is an old woman, wonderfully determined; she has
long orange hair and is dressed country-and-western style. A long embroidered strap
around her neck slings a big western guitar low over her pelvis. Beside her stands a frail,
withdrawn fourteen-year-old boy, and a large Chinese man in his twenties who seems to
want to enjoy himself but is not quite sure how to. He looks around wildly as he sings,
and shuffles his feet. There is also a very tall teen-aged girl; she is delicate of feature, half
serene and half petrified, a wispy soprano. They straggle out in front of the altar and
teach us a brand-new hymn.

It all seems a pity at first, for I have overcome a fiercely anti-Catholic upbringing in
order to attend Mass simply and solely to escape Protestant guitars. Why am I here?
Who gave these nice Catholics guitars? Why are they not mumbling in Latin and
performing superstitious rituals? What is the Pope thinking of?

Annie Dillard, Teaching a Stone to Talk: Expeditions and Encounters (New York: Harper
and Row, 1982) 18-19.
 Memo:    
 
To:  NAAL  Music  Seminar  
From:  Virgil  C  Funk  
Re:  Enclosed  Paper  
Date:  December  22,  2009  
 
Enclosed  is  a  paper  which  I  would  suggest  that  the  members  read  before  my    presentation.  It  
will  provide  a  background  to  Ratzinger’s  six  articles  on  Church  Music,  as  well  as  my  analysis  of  those  
articles.    
 
My  presentation  will  center  on  Starting  points  for  Music  and  Theology,  the  role  of  Revelation  in  
Ratzinger’s  thought,  and  relation  of  music  as  experience  to  theology  as  reflection  on  experience.  
 
My  plan  will  be  that  we  extend  the  opportunity  for  discussion  by  shorting  the  time  of  
presentation-­‐-­‐-­‐which  the  reading  of  the  paper  in  advance  will  facilitate.    
 
I  look  forward  to  the  opportunity  to  share  this  material  with  you  in  conversation.    
 2  
 

Faith Becoming Music:

Insights of Joseph Cardinal Ratzinger (1970-2000)
Rev. Virgil C. Funk
NAAL Music Seminar
Saturday, January 9, 2010 (10:30 11:15)
Discussion (11:15- 11:30)

“Faith becoming music is part of the process of the Word becoming Flesh.”
Joseph Ratzinger was never a pastoral musician. His unique insights come from his viewpoint of
a theologian, linking the experience of music to the reflective thought and beliefs of a theologian. His
writings reflect his musical experiences and his theological reflections. But upon examination, his
writings reflect his faith (the Church’s faith) in revelation, in the Paschal mystery made present, and the
role that music plays in the revelation of God.
Music as experience, first
Music, you probably will agree, is an experience. Music exists when it is executed; and, precisely
for that reason, to write or speak about it is a challenge. Music as an experience acquires its significance
by association: first, by personal association with the individual experience. But music also gains
significance through association with the culture in which it executed. These cultural associations may be
national identities (as “God Bless America”), sub-cultural social movement associations (“We shall
overcome”), or sub-cultural religious associations (“Holy God, We Praise Thy Name”), among other
possibilities for association. And these cultural associations, held in common by some members of the
community, provide, if not a universal objective significance to music, a communal significance, beyond
that which an individual perceives. Experience of music is significant of its association and its
signification.
Music exists as an experience with individual and communal associations which provide
individual and communal significations. Ratzinger’s articles examine the religious associations of the
experiences of music.
PART I. Insights on Music
Music in Ratzinger’s experience
Ratzinger’s experience of music is, therefore, important to his musical ear, just as mine and yours
are to our ears.
In June 1945, after two years of drafted service in the German army, eighteen-year-old Joseph
Ratzinger returned to his home. His two year older brother, Georg, does not return until July. Writing
about the return 50 years later in his autobiography, Ratzinger states:
“Yet something was still missing to make our joy complete. Since the beginning of April
[1945] there had been no news from my brother. And so a quiet sorrow hung over our house.
What an explosion of delight, then, when one hot July day, we suddenly heard steps and the one
we had missed for so long suddenly stood there in our midst, with a brown tan from the Italian
sun. Full of thanksgiving at his deliverance, he now sat down at the piano and intoned the hymn
“Grosser Gott, wir loben dich” (“Holy God, We Praise Thy Name.”) Ratzinger, Milestones 39-40
Ratzinger describes a formative musical experience, preceded by sorrow and loss, experienced in
silence, now relieved in joy, and expressed in music.
The echo of this experience returns when Ratzinger reflects on music in 1996, after 51 years of
theological study:

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Philip Harnoncort has expressed the same point very beautifully by adapting
Wittgenstein’s saying "One must remain silent about that which one cannot utter." This now
becomes: That which one cannot utter, can and must be expressed in song and music when
silence is not permissible.
In these few sentences we find set forth the fundamental principles of liturgical music.
Faith comes from hearing God's word. And whenever God's word is translated into human words,
there remains something unspoken and unutterable, which calls us to silence into a stillness which
ultimately allows the Unutterable to become song and even calls upon the voices of the cosmos to
assist in making audible what had remained unspoken. And that implies that church music,
originating in the word and in the silence heard in that word, presupposes a constantly renewed
listening to the rich plenitude of the Logos. IPOA 175
Personally, I find these images stimulating: that God’s word always contains a surplus, that we
are Hearers of the Word, receivers of a gift; that God’s word requires listening in silence, and that, when
we experience the Unutterable, song bursts forth from us (as it did from Georg), calling on the “voices of
the cosmos” to make audible what had remained unspeakable. His concluding insight is profound: “And
that implies that Church music, originating in the word and in silence heard in that word, presupposes a
constantly renewed listening to the rich plenitude of the Logos.” These thoughts represent a sequence, a
process, an order, beginning with listening to the Word-and that “ordering” is important to understanding
Ratzinger’s thought.
Augustinian Influence on Ratzinger’s reflections
Most commentators on Ratzinger observe Augustine’s influence on his thought; it is undeniable.
He wrote his doctoral dissertation on Augustine, and, doubtless, the experience shaped his understanding
of the Hellenization of Christianity, and indeed, the role Hellenization plays in the transition from Old
Testament (OT) to New Testament (NT) music. There are four significant areas of Augustine’s influence:
1. Music is a lover’s thing, cantare amantis est;
2. the rejection of Augustine’s use of a Platonic notion of Spirit, and the affirmation that the
de-materialization of the spirit is not authentic Christian theology, in spite of its
dominance in the early fathers;1
3. the development of Christology through musical repertoire in the NT;
4. the role of “Temple” in Augustine’s understanding and its role in justification of “art”
music in the Early Church.
All of these elements, connected with Augustine, are important to Ratzinger’s theological
observations on music.
Habilitation influence on Ratzinger’s reflections
Underlying all of his thought, in my opinion, is his habilitation on Bonaventure, though with a
little twist. It is not Bonaventure’s thought, but Ratzinger’s habilitation about Boneventure, that is to say,
it is Ratzinger’s thought about Revelation which is fundamental. As he tells the story, called the Drama of
the Habilitation, in his autobiography, the “experience” is easily recognizable in any academic’s life.
After ordination, he served in a parish for under a year before becoming a teacher in a Hochschule.
Ratzinger was then asked to teach theology at the graduate level, but before he had completed the
necessary habilitation. Ratzinger was on a fast tract. The ‘Drama’ (his word) occured when, at age 26, he
had his first house-a perk of professorship-his father suffered a stroke, and he moved his parents into this
new home. He submitted his habilitation on a new (that is, liberal) theory of Revelation. The first reader
accepted it in October, but the second reader, a conservative, didn’t read it until February, at which time,
he flunked Ratzinger. As Ratzinger described, it meant losing his job, his home, a move for his parents,
and a change in career. Ratzinger, of course went back and deleted some of the liberal elements, but
                                                                                                                         
1
 The  significance  of  this  point  for  music  is  that  it  establishes  the  “direction”  of  inspiration;  that  it  is  
movement  toward  matter,  not  away  from  matter.    See  the  discussion  of  Spirit  p  7  and  24.  

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ultimately defended his view of “Revelation.” And just to reinforce the role “Revelation” plays in his
experience, three years later, he was sitting with the greatest theologian of the time, Karl Rahner, revising
the rejected schema on De Revelatione for the II Vatican Council Dogmatic Constitution. My point:
everything in Ratzinger’s thinking filters through his experience of revelation—not an “emotional
revelation” but an soundly argued, clearly thought out, intellectual, emotional and experienced view of
revelation.
Ratzinger gives a precise summary of his central idea:
“Revelation, which is to say, God’s approach to man, is always greater than what can be
contained in human words, greater even than the words of Scripture. As I have already said in
connection with my work on Bonaventure, both in the Middle Ages and at Trent it would have
been impossible to refer to Scripture simply as a “revelation,” as is the normal linguistic usage
today. Scripture is the essential witness of revelation, but revelation is something alive, something
greater and more: proper to it is the fact that it arrives and is perceived-otherwise it could not
have become revelation. Revelation is not a meteor fallen to earth that now lies around
somewhere as a rock mass from which rock samples can be taken and submitted to laboratory
analysis. Revelation has instruments; but it is not separable from the Living God, and it always
requires a living person to whom it is communicated. Its goal is always to gather and unite men
[sic2], and this why the Church is a necessary aspect of revelation.
If, however, revelation is more than Scripture, if it transcends Scripture, then the “rock
analysis”–which is to say, the historical-critical method-cannot be the last word concerning
revelation; rather, the living organism of the faith of all ages is then an intrinsic part of revelation.
And what we call “tradition” is precisely that part of revelation that goes above and beyond the
Scriptures and cannot be comprehended with a code of formulas.” [Ratzinger, Milestones 127
Musically, there are multiple consequences for the relationship of music and Ratzinger’s
theology, indeed, music and faith. Among them:
1. Music lives in the realm of revelation, and its historical development is significant to
understanding how God has revealed himself in music. It cannot be put aside; just
because it is in Latin.
2. Secondly, his insight about music coming from “the surplus” of God’s revelation, leading
to joy, which must be expressed, echoed here, is directly linked to his two previous
experiences, his brother’s return expressed in the same musical pattern and the drama of
his habilitation.
Ratzinger’s writings and my interest
Ratzinger’s writings are voluminous, over 30 books and over 400 scholarly articles. Those in
which I am most interested are six articles3 on music written between1973-1999. I find them of particular
interest because these years overlap the period when I was President of NPM (1976-2001) and because
these were years when everyone was sorting through the initial development of the vernacular repertoire
of Roman Liturgy. But I’d like to lead us back to 1960-61, to the formative experiences of Chapter VI of
Constitution of the Sacred Liturgy of Vatican II (CSL).
Ratzinger association with CIMS
Anthony Ruff has done a suburb job of tracing the history of what he calls the “conservative
musicians’” struggle for their position, viz, the Treasury of the Sacred Music4 of Chapter VI.
                                                                                                                         
2
 Ratzinger  has  shown  in  the  translations  of  the  Catholic  Catechism  his  conservative  orientation  to  the  use  
of  “man”  especially  in  translating  the  psalms,  and  his  translators  choose  to  follow  his  use  in  the  German.  I  will  note  
this  for  my  readers  for  whom  this  is  an  significant  issue;  but  I  will  only  call  attention  to  such  translations  in  this  first  
quote.  VCF.  
3
 See  Appendix  One  for  a  complete  listing.    
4
 Ruff,  Sacred  Music  and  Liturgical  Reform:  Treasures  and  Transformations,  Hillenbrand  Books,  LTP,  2007.  

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Encapsulating and paraphrasing, Ruff posits that musicians were arguing for a specific repertoire, that is,
Gregorian chant, polyphonic Ordinaries, polyphonic motets, and hymnody, either because they knew and
loved this repertoire, or because they envisioned a theoretical justification for this repertoire which had
been overlooked by liturgical reformers. Ruff5 identifies five issues dividing liturgists and traditional
musicians:
1. The value of High Mass
2. The role of the choir
3. The place of Gregorian Chant
4. The liturgical language (Latin or vernacular)
5. The nature of Active Participation
On close examination, the Latin element of the repertoire supports the other five. Bugnini’s
version of the story of Chapter VI, CSL6 characterizes conservative musicians as “impossible to work
with” and narrates that the compromise of “Treasury of Sacred Music” alongside the munus minsteriale
(ministerial function of music) was negotiated with rancor.
This repertoire, it should be remembered, was already a reformed repertoire. From the perspective
of John XXXIII’s call for an aggiornamento (an updating) in the light of Ressourcement (the new
discoveries in Bible, early manuscripts, and liturgical studies), liturgical music had already been part of
the liturgical movement and included a “chant revival,” a rejection of operatic polyphony, as well as new
compositions in the approved polyphonic form (even if many were judged as mediocre). This liturgical
musical reform was in the hands of these same “conservative” (Ruff’s term) musicians: Msgr Pamies I.
Anglés, president of the Instituto di Musica Sacra (Rome), Msgr Dominico Bartulucci, choir director of
the Sistene chapel Choir (Rome), Msgr. Johannes Overath, president of Caecilian Society of Germany ,
and Msgr. Fiorenzo Romita, President of International Federation of Pueri Cantores (Spain) among
others, all envisioned themselves as representatives of a musical reform movement which had already
taken place. In their eyes, the II Vatican Council did not envision the extensive vernacularization of the
liturgy, implemented by the Consilium and aggressively they resisted the vernacular liturgy. I presume
that the reader knows the story first through the Caecilian movement and then in the formation of the
Consociatio Internationalis Musicae Sacrae (CIMS)7. It was at a CIMS meeting that I first met Joseph
Cardinal Ratzinger.
Ratzinger’s Reform movement and role of “Latin”
In 1969, Ratzinger formed Communio. It consisted of a minority position of the Consilium
Implementing Group, and to some extent, started and soon became a protest or a resistance to the
implementing practices endorsed by the Consilium8. It is not necessary to trace the history of either group,
since they deal mainly with theological concerns. But the “elephant in the room” is the endorsement of
the vernacular by the Consilium in 1964 and its expansion through 1969 and the reaction to that
endorsement by multiple groups: the Lefebvre Group, the Conservative Musicians and Communio, the
Universa Laus group, and the Liberal group, represented here by the Dutch musicians of the
Dominuskircke. I say “elephant in the room” because Latin (and the attitude toward the role of Latin) does
indeed divide these groups, if one remembers that “Latin” is hooked to the four other elements in Ruff’s
                                                                                                                         
5
 Ruff,  Sacred  Music  248.    
6
 Bugnini,  Reform,  p  21  
7
 Bugnini,  Reform    885ff;  Fellerer,  The  History  of  Catholic  Church  Music,  187;  Skeris,  Crux  and  Cithara,  see  
esp  Overath,  Sacred  Music  since  the  Council,  122;  reference  missing.  
8
 As  Aidan  Nicholols,  OP  in  The  Thought  of  Benedict  XVI  sums  up  “the  unity  of  the  Council’s  twin  
imperatives  of  Ressourcement  and  aggiornamento  (based  on  patristic  literature)  proved  more  fragile  than  
expected.  When  aggiornamento  parted  company  with  Ressourcement,  adaptation  could  degenerate  into  mere  
accommodation  to  habits  of  mind  and  behavior  in  the  secular  culture.  The  excuse  was  pastoral  necessity.  
Lighthearted  unconcern  towards  the  tradition  as  a  whole  was  sometimes  justified  or  even  deemed  obligatory  (as  in  
feminism)  in  an  effort  to  relate  the  hypothetically  Christian  origin  to  contemporary  needs  and  expectations.  

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description of the “conservative musicians” and in fact, is linked to much more than merely a language
issue. Here, it is only necessary to see the divisions which take place surrounding Latin and vernacular.
Again, there are four: Latin only, Latin leading the vernacular, vernacular and then adding in the Latin,
vernacular only. Ratzinger is an advocate for the second group: Latin leading to the vernacular.
The four positions regarding Latin
The Lefebvre group argued for Latin only, and argued that the High Mass was the prime form for
Latin celebration. Ratzinger argues that because of the Church’s view of revelation, there must be an
organic connection from the Latin to the vernacular, just as there must be an organic development in the
liturgy, and indeed, in the theology of the Church. His position is that theologically, the Vatican Council
couldn’t authorize a “new Liturgy, and we don’t create a New Church, so we don’t sing “a new” song.
The third position, represented by Universa Laus, was that a mandate was given to create a vernacular
liturgy, that practitioners should take proper and immediate action, and that such action would include the
Latin repertoire where it was functionally important. The Dutch DominicusKircke rejected the tradition as
passé. Aggioramento (updating) was the challenge, not only musically, but also theologically, culturally,
and socially. Marxism was not off the table in terms of “what could be considered” as updating.
Faith reflection on musical experience
Ratzinger, being a theologian, began to express concern. He recognized early on that music as
symbol was as the center of the discussion—not just repertoire development, but, as he calls it, the
“musification” [Musikverdungen] of faith. How faith is expressed in music is part of the process of the
word becoming flesh. The very notion of revelation of the word becoming flesh was at stake in the
musification of the faith. Musification becomes a key faith-reflection on his musical experiences. And he
writes brilliantly about it.
Ratzinger on music—some observations
Between 1973 and 1999, Ratzinger wrote six articles on music which in some way or another
deal with theology, theological problems, liturgy, Bible, tradition, and principles. They are not practical
articles, that is, they are not written to guide the pastoral musician’s work. They do not deal primarily
with text-a unique position in the American Episcopal conversation regarding music. Ratzinger writes as
a believing theologian with a comprehensive understanding of music (he is pianist; his brother a priest-
choir director). His arguments are not designed to convince a non-believer about music’s role, either
Church music or music of the culture. He writes, rather, as a believing Christian with musician’s
experience from a theological perspective. His belief begins with revelation: that God the creator is giving
the cosmos meaning, that the Word became Flesh in Jesus, that the Paschal mystery includes the
redemption of the cosmos as an “already accomplished” but “not yet” finished event; that the communio
(the koinonia of the Church) plays a significant role as the primary receiver of revelation. Ratzinger
affirms the Christology of II Nicea and that the history of salvation is related to revelation. In short,
Ratzinger is a believing theologian and with this belief, Ratzinger’s writings on music (his experience)
provide the context for his reflections. His writings are deeply concerned about the transition from Latin
to the vernacular in the area of music and the consequences of that transition from a specifically music
qua music point of view. These articles, are for me, unlike any other literature written during that period.
They contain a profundity, a clarity, and a ultimately a challenge to the present development unlike any
other articles. They are not to be dismissed as “conservative” or longing for a former repertoire, even
though Ratzinger’s experience does play a role in the formation of his ideas. As John Baldovin states,
“there are many positive aspects to Ratzinger’s approach to liturgical music.”9 In short, they are worth the
effort to read10 and study.

                                                                                                                         
9
 Baldovin,  Renewal,  84  
10
 Cite  the  Six  articles  here  

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PART II: What Ratzinger says about music
This section only skims the surface of Ratzinger’s reflections (insights), but hopefully provides a
stimulus both to our discussion and to your further exploration of the material. I am in the process of
writing a book, tentatively titled “Faith Becoming Music: the Insights of Benedict XVI on Music.”

I. The Theological Foundations of Church Music11

In 1973, Ratzinger’s first article, Theological Foundations of Church Music, surprisingly, takes
on the theological authorities, not only Rahner, but Thomas Aquinas as well as Augustine. Ratzinger
challenged Karl Rahner’s position that “all music of the past” must be set aside because of the new
structure and participatory (as Ratzinger calls it, activating) role of the liturgy; Aquinas view of Augustine
and Jewish music, and Augustine’s notion of spirituality.
Aquinas and Spirituality
Theological Foundations primarily centers around an analysis of Aquinas’ article II II Question
9112. Ratzinger’s arguments are extraordinarily contorted13. First-and this is unfair shorthand-Ratzinger
corrects Aquinas’ view of spirituality and deity as being improperly influenced by Greek thought, leading
to a spirituality that fosters “dematerialization.” In its simplest terms, Ratzinger attributes this false
spiritualization to an incorrect “direction,” meaning the moving away from the body (matter), in order to
climb to the heights of spirit (viewpoints held by Plato, and Augustine, and expressed in the ascetical
practices of flagellation of desert monks). Musically, the consequences are the early Church’s restrictive
use of instruments (in Aquinas’ viewpoint, a concession to the Israelite’s orientation toward matter) and
no longer needed in Christianity—which was misunderstood as a move away from matter toward the
Spirit.

Proper understanding of Spirit

Ratzinger affirms the proper role of Spirit, moving toward matter, expressed in the Incarnation,
the Word becoming flesh, and in his basic notion of revelation, the revealing of God’s presence. In this
article, he does identify with four of the five elements Ruff identifies with the conservative musicians, 14
(and perhaps with all five, if “High Mass” becomes “Temple” language in Ratzinger’s thought.15)
The II Vatican Council on Music
The article concludes by quoting the directives of Council, the only time in these six articles that
he does so. Ratzinger is not a commentator or a “parser” of the liturgical music directives. His quote
“music must be in accord with the spirit of the liturgical action; it must be ‘suitable’ or be capable of
                                                                                                                         
11
 Cf  Appendix  One  
12
 Thomas  Aquinas  II  II  Question  91  On  Taking  the  Divine  Name  for  the  purpose  of  Involving  it  by  means  of  
praise.  Art  1  Whether  God  should  be  praised  with  the  lips,  and  Art  2Whether  God  should  be  praised  with  song?  
13
 The  arguments  are  so  convoluted  it  made  me  wonder  if  Ratzinger  is  not  defending  the  question  mark  
that  Paul  VI  placed  alongside  these  arguments  when  they  were  first  presented  in  1960  (cf  Bugnini,  904  ftnt  12).    
14
 Art  Music:  “what  they  do  not  find  alien  to  their  nature  is  art  music”  TBCM  p  97.  Choirs:  “choirs  should  
be  cultivated,  especially  in  cathedral  churches.”  TBCM  p  98.  Chant:”  Gregorian  Chant  is  particularly  recommended,  
but  there  is  also  express  affirmation  of  polyphony.”  TBCM  p  98.  Latin:  “grim  impoverishment  when  beauty  for  its  
own  sake  is  banished  from  the  church”  TBCM  99.  “Ultimately  it  goes  back  to  conception  of  activity,  community  and  
equality  which  no  longer  knows  the  unity-­‐creating  power  of  shared  listening”  TBCM  p.  101.  Ratzinger  supports  the  
conservative  agenda  in  IPOA.  177-­‐195  
15
 Temple  is  contrasted  with  Synagogue;  the  Temple  has  Art  music,  just  as  the  High  Music  is  the  place  for  
Art  music,  especially  in  its  polyphonic  forms.    

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being made suitable, for sacred use; it must accord with the dignity of the Temple and truly contribute to
the edification of the faithful”16 reflects something of a frustration. The artistic music which he has
experienced in Church is being replaced, in the early 70s, with almost every type of music imaginable,
and Ratzinger is trying to discover some way to shape or direct that music in a positive direction. He
introduces the terms “utility music” and “esoteric” music and rejects both of them.
Conclusions from Aquinas
Ratzinger draw three conclusions from his examination of Aquinas’ thought:
1. The strictly vocal character of Church music17
2. We must surely admit the liturgy of the incarnate word is necessarily word-oriented18.
3. He agrees with Aquinas’ point that listening can be a form of participation, based on
Aquinas’ statement about people of his time being able to understand the meaning even if
they don’t understand the exact words of the text19. One could criticize Ratzinger for
accepting Aquinas’ position on “listening” on the same grounds he rejects Aquinas’
position on spirituality, namely their sitz in leben.20
“Doxa”
In this article, Ratzinger introduces the notion of the glorification of God, in Greek, “doxa”,
which appears frequently throughout his writings on music.
The twofold purpose of music21 is the glorification (doxa) of God and the sanctification of people.
Ratzinger’s theology of creation finds the doxa of God in the “creative meaning” given to creation by the
Logos, the trace of meaning (and more-for example, beauty) from God, the creator. Revelation reveals the
“doxa” of God in creation and music plays a role in revealing that doxa of creation. In Christology, Christ
is the Glory of God now accessible to us, and the Spirit sighs, speaks and gives thanks in us in response to
the doxa. The Church’s theology of doxa (of glory) lies at the center of its theology of revelation; both the
revelation of creation and the revelation of the Paschal Mystery. Orthodoxy (right praise) and doxology
(praise spoken), as you know, are from this same Greek root.
I. Summary of Theological Basis of Church Music
1. Ratzinger establishes himself as theoretical defender of “conservative” musicians’
position by defending the role of the choir, Latin, polyphony, redefining active
participation as listening, and “Art” music as appropriate to “Temple” music.
2. Ratzinger establishes that the inherited repertoire is related to the word, and indeed to the
Logos.
3. Ratzinger provides a corrective notion of Aquinas’ and the patristic notion of
spiritualization, not as a move from matter to a higher level of meaning; but rather a
movement of the Spirit toward matter, the spirit transforming matter as word transforms
the flesh. Music also moves in this direction.

                                                                                                                         
16
 TBCM  p  120  
17
 TBCM  120  
18
TBCM  120  
19
 TBCM  121  It  also  may  be  that  Ratzinger  wants  to  establish  that  “active  participation”  necessarily  
includes  “listening  to  music  and  uses  the  authority  of  Thomas  Aquinas  for  such  a  position.  It  is  the  question  mark  
of  Paul  VI  which  Ratzinger  is  now  answering  in  an  academic  discussion.  One  might  have  a  scholarly  discussion  
regarding  the  appropriateness  of  Aquinas’  position,  based  on  the  same  arguments  Ratzinger  uses  to  defeat  his  
positions  on  spirituality.  
20
   Listeners  in  Aquinas’  era  are  clearly  influenced  by,  and  perhaps  dependent  on,  the  cultural  framework  
of  an  illiterate  society,  without  taking  into  consideration  its  sitz-­‐in-­‐leben,  especially  since  Ratzinger  is  so  careful  in  
situating  “spirituality”  in  its  proper  context  in  all  his  discussions.  
21
 In  Roman  Catholic  official  teachings.      See  Constitution  on  the  Sacred  Liturgy,  and  see  Chapter  VI  

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4. Ratzinger locates doxa in creation, the Paschal mystery, and revelation; in turn, links all
of these to music’s role.

II. Theological Problems of Church Music 22

Function and Church Music
In his 1977 article, Theological Problems of Church Music, Ratzinger introduces his discussion
on function with regard to Church music. This is a particularly difficult topic to summarize, because
Universa Laus (UL) uses the term, function, in different way than Ratzinger does. Confusion between the
two definitions easily proliferates. and I’ll not spend this time clarifying the three meanings of function
(derived from the Latin munus, in the CSL Chapter VI phase munus minsteriale). It is enough to say that
the German members of UL, especially Helmut Hucke, also had difficulty with UL’s use of “function” in
reference to Church music, that is, that music has a ministerial function in the liturgy that somehow
“trumps” the artistic and/or historical function of music in worship. Ratzinger critiques function on two
levels: the banal pragmatic “functional” level of administrator versus artist as well as a more theoretical
level, that is, modern societies’ reorientation of everything to a “functional” judgment, including,
especially, art and music. Nevertheless, the discussion of munus and its translations (it also can be
translated “gift”) are important and fundamental for Church music.
Artistic Music
At the center of the 1977 article is the argument that “Church music with artistic pretensions is
not opposed to the essence of Christian liturgy, but is rather a necessary way of expressing belief in the
world-filling glory of Jesus Christ.23” [TPCM p. 231] Ratzinter based the argument on his Augustinian
studies, specifically on Temple as a place for artistic music, echoing Isaiah, chapter 6, and the worship
described in Revelations.
Music and Revelation
Ratzinger introduces, through the Church’s notion of revelation, that what has heretofore been
hidden has now been revealed.
“The Church’s liturgy has a compelling mandate to reveal in resonant sound the
glorification of God which lies hidden in the cosmos. This then is the liturgy’s essence, to
transpose the cosmos, to spiritualize it into the gesture of praise through song and thus to redeem
it; to ‘humanize’ the world.” [TPCM p 221]

This sentence is a good example of the multiple levels of meaning contained in Ratzinger’s
writing, which makes reading and understanding his thought both a challenge and a pleasure. In addition
to the obvious first meaning of the sentence, that liturgy and its music participated in the revelation of the
“doxa” which lies hidden in creation; Ratzinger uses the musical metaphor of “transpose” and applies it to
the Church’s notion of spiritualization, which is to say, not the movement away from matter, but the
movement toward matter and that activity (the movement toward matter) of revealing the “doxa”
transposes the cosmos-it redeems, and it humanizes it-all at one time. Music has taken on a theological
significance, or even, if you wish, a theological function, above and beyond, engaging people in a sing-
along in Church. The threefold task of transposing, spiritualizing, and humanizing as the role of music is
a worthy meditation.
“Sacred versus Secular” debate
                                                                                                                         
22
 Cf  Appendix  One  
23
 Ratzinger  carries  on  a  fascinating  exploration  of  the  connection  of  rejection  of  art  forms  (by  the  
Marxists  on  one  extreme  and  the  simply  rejection  of  art  music  on  another)  as  a  return  to  iconoclasm,  and  makes  
interesting  observations  about  the  parallels  to  the  rejection  of  art  music  by  contemporary  musicians.    

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A careful reader will recognize that the sacred-secular debate has been introduced, but not from
the usual perspective. Ratzinger has a number of interesting positions, not the least of which is that the
human condition is in need of transformation, including the secular culture, even though creation’s
meaning is always ready to reveal the “doxa” of God. The sacred-secular music discussion is set in the
context of the divine being revealed in the human.
From Cosmic to Human Music
Revelation provides clues to the use of music in the secular culture:
“The liturgy demands an artistic transposition [based upon] (out of) the spirit of faith, an
artistic transposition of the music of the cosmos into the human music which glorifies the Word
made flesh.” [TPCM 222]
Faith becoming music and music becoming faith, this interaction of faith and music is connected
to, or actually participates in, the revelatory act of God.
“Faith becoming music is part of the process of the word becoming Flesh.”[LCM 386]
The cosmos contains a musical foundation, expressed in the mathematical formulations
discovered by Pythagoras. While Ratzinger knows that many people, from Augustine to Galileo and
Goethe, had a role in developing this metaphor, and that the metaphor must be used with caution in
modern scientific language, nevertheless, the fact that there is a concealed mathematical underpinning to
both music and the cosmos does support his view of revelation serving as a revealer of a mystery once
hidden, now revealed. And it matches his theology of doxa left in creation as well as creative meaning
given to creation by the Logos. And faith becoming music has a role in revealing this truth.
Music and the role of the Logos and the Spirit
“Such music must obey a stricter law than the commonplace music of everyday life (sacred-
secular issue); such music is beholden to the Word and must lead to the Spirit.” [TPCM 222] Ratzinger
will spend the next article dealing the precisely this topic: the Logos, the Spirit, and how they relate to
music.
Music and its role of integration of all divisions
“Hence Church music must find its way while constantly contending in two directions: in
the face of puritanical pride she must justify the necessary incarnation of the spirit in music; and
vis-à-vis the commonplace she must seek to point the spirit and the cosmos in the direction of the
divine. [TPCM 222]
This twofold direction of music is of course the twofold direction of religious belief: the move of
God toward humans and the response of humans to God’s initiative. What is unique about Ratzinger’s
theology of revelation is that these two movements must remain in balance. It is easy to observe the rush
toward contemporary participatory music as a move toward the human and the move away from chant,
polyphonic Ordinaries, motets, and hymns as perhaps a move away from the divine, at least in
Ratzinger’s experience. Regardless, this revelatory and unifying aspect of music is a function of music,
but defined significantly beyond the mere liturgical functionality of Universa Laus, of applying the
“functional” element to the entrance rite, or the mere “feel-good” unity that takes place in participatory
music.
Role of the musician
This movement of the spirit toward matter, this spiritualization of the secular, this revelation of
the “doxa” of creation becomes the vocation of the Church musician. But the gift is not bestowed without
the preparation which the musician offers though his or her own effort.
“When this takes place, it is not a matter of exercising a mere hobby without obligation.” What
making Church music requires is “the living out of a necessary dimension of Christian faith, and in so
doing, retaining a necessary dimension of what it means to be a human being.” [TPCM 222]

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This is an examination of conscience for Church musicians. Ratzinger envisions a lofty role for
Church music, and, therefore, the Church musician who is engaged in this task takes on several
characteristics. The first is that this is not a hobby, somehow a fill-in gig, without requirements. Secondly,
the call of the musician has two requirements: faith, not as something to be believed in, but as something
to be lived out. Music is the creation of an experience; it is, indeed, faith becoming music—it is the
creation of the event of music. So, the religious commitment of the musician is important to Ratzinger.
But the second element is equally important: Church musicians have been distinguished by their
humanity-their love of life, their non-piety, if you will. And Ratzinger reflects this spirit while calling for
living the faith, he also speaks about “retaining the necessary dimension of what it means to be a human
being.” The earthiness, the ordinariness, the non-religious aspect of Church music is part of the call to be
a Church musician. Ratzinger concludes that without this balance between faith in practice and
humanness, “culture and humanity irresistibly decay from within.” [TPCM p 222]
A summary of Theological Problems of Church Music
1. The function of music is controversial because of the multiple meanings of function.
2. Artistic music is justified by history of music.
3. The Church’s mandate of proclaiming revelation is relevant to the musification of faith.
4. Sacred and secular music concerns relate to the Incarnation, the penetration of the Word
with flesh, the penetration of spirit with matter.
5. This process is definitional for the authentic role of musicians—to go from spirit to
matter.
III. Liturgy and Church Music24
More than meets the eye
In 1986, in Liturgy and Church Music Ratzinger examined music in its relationship with Liturgy.
“Liturgy and Music have been closely related to one another from their earliest
beginnings…liturgy and music are closely connected, their relation to one another has also been
stained, especially at turning points of history and culture…In the disputes of the Council and
immediately thereafter, the proper form of music in the liturgy has become controversial.” [LCM
377]
Ratzinger continues to lift the discussion of music to another level, deliberately moving beyond
the apparent controversy between liberal and conservative musicians, beyond pastor and musician
squabbles, on to something he calls “the interior dignity” of music and the pastoral norm that interior
dignity provides for music.
Music and “interior dignity”
The reader will remember the revelation as something-which-was-hidden-and-has-now-been-
revealed is applied to the category of music; namely, that there is something hidden in the very nature of
music, music’s interior dignity which Ratzinger now explores.
“It seemed to be merely a question of the difference between pastoral practitioners and
Church musicians. Church musicians did not want to be subject to mere pastoral expediency
[previously defined as esoteric versus utility; then as functional versus artistic) but Church
musicians attempted to emphasize the interior dignity [innere Wűrdigkeit] of music as a pastoral
norm in its own right. The controversy seemed to move essentially on the level of application
only.” (emphasis mine) [LCM 377]
Ratzinger takes the discussion from “surface issues” to
1. the essence of liturgical action as such
2. the anthropological foundations of liturgy and liturgical music an
                                                                                                                         
24
 Cf  Appendix  One  

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3. the theological foundations of Liturgy and Church music.
“The controversy about Church music is becoming symptomatic for the deeper question
about what the liturgy is.” [LCM 378]
Liturgy and Logos
The essence of liturgy itself is its connection to the Logos, which Ratzinger develops in his
exegesis of Rom 12:1 Logike Latreia (wordly worship, or as Ratzinger translated it: worship according to
the Logos). The anthropological foundations of liturgy and liturgical music are summed up in his
statement “Faith becoming music are part of the process of the word becoming flesh. The theological
foundations of liturgy and music, discussed in his first article, are now renamed “the Inner Exodus” of
liturgy (matching “the inner dignity” of music). This is Ratzinger at his best as a theologian approaching
music. After reading Jeremy Beggie’s Theology Music and Time, and Don Saliers’, Music and Theology,
I realized that Ratzinger’s six articles belong to this category of literature. The significant differences are
starting points: Saliers and Beggie begin with their musical experiences, which lead them to God; R.
begins with a belief in the revelatory activity of God, which leads him to the role of music in revelation.
Participatory music
Ratzinger begins with a critique of Eugenio Costa, SJ and Felici Rainoldi’s25 article Canto e
musica in the Italian New Dictionary of Liturgy. Ratzinger’s objection to this article is the impression that
the starting point of the liturgy is the “group”, the local Church, and therefore, for Ratzinger, it is too self-
contained. Social group dynamics overwhelm the universal Church. Ratzinger rejects music which is no
more than a sing-a-long, rejecting “music which shows itself as the power that effects the cohesion of the
group. The familiar songs as it were, are the indentifying words of a community.” LCM 380] This is no
small objection to participatory music. Ratzinger observes that this emphasis on the role of music to
increase participation and self identity, while developing individual parish worship, simultaneously
deteriorates the universal characteristic of liturgy and its music-and this occurs not only on a theoretical
level but also on a practical level. Worshippers identify with the music as theirs, and when that music
changes, their identity is taken away and they drift away from the parish worship. Ratzinger therefore
challenges the communitarian role of music (the sense of group activity) is the or a fundamental function
of Church music.
Activating the Assembly does not equal participation
Activating the assembly through music does not equal active participation for Ratzinger. Active
participation is about participation in the Paschal mystery made available to believers through the process
of revelation. This, too, is a bold critique of participation music as a musical form. In a rare example,
Ratzinger critiques the “text” and the “musical form” in his criticism of Missa Nicaragua, arguing that the
introduction of music for secular-social persuasion violates the musical rules of liturgy. An easy example
in our world would be the effect of “We Shall Overcome,” with its solidarity experience and social cause,
overwhelming the opus Dei the work of God in Ratzinger’s liturgical model.
Challenge to popular notion of full, conscious, and active participation
Ratzinger challenges “full, conscious, active participation” as it exists in popular use from several
points of view:
1. Participation refers to participation in the sacred mysteries (the Pascal Mystery), not
simply by participation in song.
2. Activity in the liturgy, according to Guardini, is not “doing” but “receiving” and “being,”
we don’t “activate” redemption, we participate in it.

                                                                                                                         
25
 Costa  and  Rainoldi  were  both  significant  members  of  the  Universa  Laus,  even  though  this  article  does  
not  deal  with  unique  UL  ideas.    

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3. Activating the assembly in worship, that is, making them “do” something exterior, is
misdirected.
4. Participation in worship can be achieved by listening as well as by singing.
5. Nor does active participating mean active participation in social movements, e.g. in
Missa Nicaragua. This is bringing social issues into worship through music. Music of
this type shows the passion for action in the culture.26
Music and Logos
Ratzinger’s exegesis of Romans 12:1 provides a translation of Logike Latreia, normally translated
as spiritual worship to “worship according to the Logos.” By 1986, Ratzinger had become Prefect of CDF
and head of the Pontifical Biblical Commission (PBC), and in his role at PBC, had addressed the question
of historical-critical method in relationship to a newer method, the canonical-critical method.27 Whatever
one makes of the translation, Ratzinger continues to use “logos” as the primary reference to Jesus when
writing about Church music. While he himself in the articles on music never explains this usage, it can be
explained on several levels. Biblically, Jesus receives the names Messiah (Christ/Anointed one), Kyrios
(Lord/God), Uios (son/son of God) and Logos (word/creative meaning). While all of these names are
biblical, Ratzinger shows a preference for Word/Logos in these articles on music; Logos comes from the
Greek with at least these two meanings, “word” and/or “creative meaning” and describes the pre-existent
role of Jesus, that is, the Trinitarian role.28
“Interior dignity” of Music and Logos
Ratzinger identifies the “interior dignity” of music with Logos. Revelation consists in discovering
the mystery that has been hidden. Ratzinger finds in music a link-hidden throughout the history of
music-between faith and music. “Faith becoming music is part of the process of the Word becoming
Flesh.”[LCM 385] The revelation of the word becoming flesh, the hidden mystery, is expressed in faith
becoming music. And faith becoming music reveals the Word becoming Flesh. Word in Greek thought
came to mean more than mere words; Heraclites (c 535-475 BC) used the term to refer to the “mind of
god at the moment of creation.” By Augustine’s time, Logos had taken on the meaning of “creative
meaning” that is to say, the mystery that exists in creation because it is the spoken word of the Logos.
Creation gains its meaning from the Logos; and faith becoming music reveals that meaning.
Ratzinger’s theology is significantly more precise and definitely more intricately arranged than
my summary, for he combines these notions of faith becoming music not only with the word becoming
flesh, but also with his Augustinian notions of spirituality, namely, that the Spirit moves into matter, also,
and that the Spirit transforms matter and matter transforms spirit. And this process of transformation is
observable in music; when
“wood and metal become tone, the unconscious and the unreleased become ordered and
meaningful sound. A corporealization takes place which is a spiritualization, and a spiritualization
which is a corporealization. The Christian corporealization is always a spiritualization at the same
time, and the Christian spiritualization is a corporealization into the body of the incarnate Logos.”
LCM 386
Faith becoming music equals ”musification” of faith
Most readers, even thoughtful ones, may find themselves confused at this point. This is
unfortunate, because these are some of Ratzinger’s most profound and beautiful reflections about music,
                                                                                                                         
26
   A  good  example  from  Ratzinger’s  experience  (which  he  does  NOT  refer  to)  would  be  the  social  
conformity  which  occurred  around  Nazi  Rally  songs  and  movement.  Certainly,  he  has  the  experience  of  misuse  of  
music  associated  with  social  conformity.  
27
 Päpstliche  Bibelkommission,  Dokument,  Die  Interpretation  der  Bibel  in  der  Kirche,  Einführung,  1993.  
28
 As  does  uios/  Son.    However  Son,  as  Biblical  title  can  be  more  ambiguous  (as  in  Son  of  God,  Son  of  Man)  
in  regard  to  pre-­‐existence  which  is  not  true  of  Logos.  

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spirit, spirituality, matter, humanity, and music’s “interior dignity.” As Word becoming flesh is a two-
directional activity-the word becomes flesh and the flesh is transformed by the word through the Paschal
mystery-so, too, faith becomes music and music transforms the faith in the act of becoming. The two-way
street that exists between music and faith has a parallel in the two-way street between Word and Flesh in
the Incarnation. Ratzinger uses parallel words Musikverdungen (becoming music/or musification) and
Fleischverdungen (becoming Flesh/or incarnation). Ratzinger’s Musikverdungen is his unique word—it
doesn’t exist in everyday German. The Musification of Faith is part of the process of the incarnation of
the word, or to state in another way Faith becoming music is part of the process of the Word becoming
Flesh.

Musification applied to Liturgy

Ratzinger turns to the theological foundations or consequences of the musification of faith for
liturgical music. The first consequence is that he calls music’s inner dignity a participation in liturgy’s
“inner Exodus.” So music is linked to liturgy in the mystery of music linked to the mystery of liturgy (that
is, the participation in all the saving deeds of God.)
“The music that corresponds to the liturgy of the incarnate Christ raised on the cross lives
from another, greater and broader synthesis of spirit, intuition and sensuous sound.” LCM 387
Ratzinger now takes a peek at the entire history of the musification of faith, beginning with the
psalms, and continuing up until our own times, and observes that Gregorian chant, polyphony, and
hymnody has come from the “inner wealth” [inneren Reichtum29] of this synthesis. “This greatness exists
only here because it alone was able to grow out of this anthropological ground that joined the spiritual and
the profane into an ultimate human unity. This unity is dissolved in the measure that his anthropology
disappears.” LCM 388
Ratzinger’s personal experience of music
And he ends his reflections on liturgy, declaring openly that music is an experience and the only
place that music actually exists, even for a theologian, is in the experience of music. How we experience
music is faith-forming. Ratzinger openly testifies to that reality in his own life:
“The greatness of this music is, for me, the most immediate and the most evident
verification of the Christian image of man and of the Christian faith in redemption that history
offers us. He who is touched by it knows somehow in his heart that the faith is true, even if he
still has a long way to go to re-enact this insight with reason and will. “ LCM p 388
A summary of Liturgy and Church Music
1. Music is related to the liturgy; the ‘inner dignity’ of music is related to the ‘exodus’ of
the liturgy; revealing a mystery which is hidden.
2. The tension between music and liturgy is more than participation music versus art music
but exists in the tension of faith becoming music, the word becoming flesh.
3. The “inner dignity” of music comes from its association with the Logos.
4. Faith becoming music is part of the process of the word becoming flesh.
5. The process (verdungen—of becoming) goes in two directions: musification of faith and
faith becoming music, just as the word penetrates the flesh, and flesh is transformed by
the word.
6. Musification of faith takes place in the liturgy, that is, the “inner dignity” of music is part
of the complete Paschal mystery, which is to say, the mystery of the Eucharist.
7. Personal testimony about the primacy of music is based on the experience of faith.

                                                                                                                         
29
 German  edition,  p  169  

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IV. Biblical Directives for Church Music30
Bible, music, faith
In 1990, in Biblical Directives for Church Music, Ratzinger turned to the primary source of
liturgical music, not for musical texts, but to examine the role of the bible as a revelation which takes
place in music.
“Particularly in the area of music, the faith of the Church has become creative far beyond
all other cultural spheres, not least of all because, in terms of its creative expression, it has
constantly judged itself on the biblical directives and with the passage of time has learned to
plumb their inner wealth.” BDCM 132
A list of biblical insights about music
It will not be possible in this paper to explore all the issues Ratzinger deals with in his biblical
material. That is unfortunate, since Ratzinger’s reflections, both in the Old and New Testament, are
among his most interesting and unique. His brief exegesis of the Song of Moses and how it relates to the
Song of the Apocalypse; his exploration of how the psalms grew from personal experience to communal
celebration in Temple worship; his belief that not only the text but the music qua music of the psalms is
under the inspiration of the Holy Spirit; his analysis of the Toda Psalms; his observation that the theme of
Love is not contained in the psalms but rather in the Song of Songs are just some of his musical insights
of the OT.
A important preliminary: Method of biblical interpretation
Ratzinger, at first, seems to use an older theological method of biblical interpretation when he
states “Can we find one biblical text that sums up the way Holy Scripture sees the connection between
music and faith?” (BDCM 122) In fact, he draws on a wide range of material, including the historical-
critical method31, used with caution32, while tending toward canonical-criticism.33 As Prefect of the
Pontifical Biblical Commission, he oversaw a consensus document worth reading regarding biblical
interpretation.34
Exegesis of zamir Maskil
Even his detailed exegetical work on zamir Maskil (to sing artistically35) of Psalm 47:8, while
extensive in this article, is revisited in 1999 (Music and Liturgy) for clarification. In 1999, zamir “to sing”
used 308 times in the NT, becomes an imperative for revelation; Maskil, so authoritatively used to defend
“art music” in his 1990 article “Bible and Church Music,” is academically softened in later writings. I
point to this as an example of how Ratzinger, the academic, now Cardinal prefect of CDF and PBC,
remains committed to honest scholarship throughout these articles. Biblical scholars find it difficult to

                                                                                                                         
30
 Cf  Appendix  One  
31
 For  example,  his  human  development  of  the  psalms  ML  139.  
32  Ratzinger,  On  the  Hundreth  Anniversary  of  PBC,  Relationship  between  Magesterium  and  Exegesis.  
Faith  and  Science,  “Magisterium  and  exegesis,  therefore,  are  no  longer  opposed  as  worlds  closed  in  on  themselves.  
Faith  itself  is  a  way  of  knowing.  Wanting  to  set  it  aside  does  not  produce  pure  objectivity,  but  comprises  a  point  of  
view  which  excludes  a  particular  perspective  while  not  wanting  to  take  into  account  the  accompanying  conditions  
of  the  chosen  point  of  view.  If  one  takes  into  account,  however,  that  the  Sacred  Scriptures  come  from  God  through  
a  subject  which  lives  continually-­‐  the  pilgrim  people  of  God-­‐  then  it  becomes  clear  rationally  as  well  that  this  
subject  has  something  to  say  about  the  understanding  of  the  book.”  
33  Tracey  Rowland:  Ratzinger’s  Faith:  The  Theology  of  Pope  Benedict  XVI  
34  Päpstliche  Bibelkommission,  Dokument,  Die  Interpretation  der  Bibel  in  der  Kirche,  Einführung,  1993  
35  Translation  of  Maskil  is  unknown.  As  Ratzinger  himself  observes  in  BDCM  138  ftnt  5  and  again  in  ML  
143  

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agree that his translation of Maskil as “artistically” or “with wisdom” establishes “that there is one
biblical text that sums up the way Holy Scripture sees the connection between music and faith,” and in
1999, Ratzinger affirms just such weakness; the full discussion of which, however, contains more nuances
than would here be appropriate.
Music and the theologian
Bible and Church Music makes the clearest statement regarding the link between music and
theology
“When theologians try to contribute something to this struggle, they must make use of the
means available to them. They cannot enter into the musical discussions per se, but they can
nonetheless ask where the seams are, so to speak, that link faith and art. They can try to explain
how faith prepares an interior place for art and which directives it gives for the path of art.”
BDCM 122
Theology is traditionally defined by Anselm’s definition as fides quaerens intellectum, faith
seeking understanding, and Ratzinger has described music as faith becoming music. It is useful to reflect
is useful on the terms before proceeding. I have described music as an experience with associations, and
Ratzinger is very consistent in speaking about music qua music and not about its text. Faith, on the other
hand, has multiple meanings, three of which are in play in Ratzinger’s work. Faith has a biblical meaning
of “trust”; faith is a theological virtue and as such is a gift from God, the potency or the ability to believe;
and faith can refer to “the faith” as in the deposit of faith, as stated in creedal formulas, etc.
“Faith” applied to faith becoming music
When the three different meanings are placed in the sentence, “Faith becoming music is part of
the process of the word becoming flesh” a range of images become available: the obvious first meaning
would be that the deposit of faith [the creed] is turned into music. Ratzinger seldom moves in this
direction. Faith as biblical trust (as in Abrahamic trust in God) turned into music does seem to apply
more often. Most interesting, however, is faith referring to the theological virtue (a gift from God giving
one the ability to believe, paralleling the theological virtue of love, the gift from God to love, as well as
hope) . The initial movement toward believing (theological faith) seems to be the object of musification;
this faith becomes music. Composers turn their gift of faith into music; worshippers turn their act of faith
into music, and this act of musification is something that was initiated first in the OT biblical era and
continues throughout the NT era, and indeed throughout history of religious belief. Hymnals are named
“Sing the Faith” and the threefold meaning of faith does indeed come into play.
The development of faith through music
Linking the lively individual theological virtue of faith to the more static (if you will) theological
deposit of faith36 with the image of the musification of faith throughout history points us in the direction
of the development of faith through music. Ratzinger believes that the Word becoming flesh is an living
revelation. So, too, is the experience of music of faith growing the deposit of faith in a living manner, all
images consistent with Ratzinger’s view of revelation.

Authentic development of faith

Ratzinger the theologian will hang an “authentic” tag on this faith, requiring it to be consistent
with the entire history of the Church’s belief, both the burden and the gift of the musicians’ vocation.
Recall that he referred to this vocation as a twofold activity: a humanizing one and the gift which is
bestowed, though not without proper preparation. The musification of faith is part of the process of the
Word becoming flesh, and, therefore, requires an authentic experience of the divine presence in music.
This is another window into Ratzinger’s “inner dignity,” the association music has with the Logos.
                                                                                                                         
36
 Catherine  Pitstock  has  an  interesting  argument  of  why  the  Creed,  the  deposit  of  faith,  should  be  sung.    

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Linking Music to Trinity
Through just such an association with “inner dignity,” Ratzinger takes us further
into the mystery of Christian music by associating music with his Trinitarian theology In
Eph 5: 18-20 Paul states:

“Stop getting drunk on wine, which only leads to licentiousness. Seek instead to be filled
with the Spirit, by reciting songs, hymns, inspired canticles, by singing to the Lord and chanting
his praises with all your heart, giving thanks always for everything in the person of our Lord
Jesus Christ to God the Father.”
Ratzinger associates the “inner dignity” of music with sober inebriation, the sober referring to the
creative meaning, or creative rationality, of the Logos, and the inebriation to the Spirit whom “I will send,
who will teach you everything in my name.” (see also Jn 14:2; 14:18,16:5) The metaphor engages my
musician’s mind because music does have a twofold element of mathematical rationality in its foundation,
mixed with the ability to stir and associate with a wide range of emotions, right up to the point of
inebriation. Ratzinger identifies unbridled inebriation in music with rock concerts, while affirming the
ecstasy of great art with sober inebriation. Music is an experience with associations, as we agreed at the
beginning, and language is an imperfect vehicle by which to describe the experience. Sober inebriation
describes Ratzinger’s attempt to identify the musification of faith, and his musical experiences are based
on his cultural experiences with Baroque “illumination” in Art music. Since he does not make such a
restrictive comparison, neither do we.
Music’s contribution to Christology
Ratzinger explores the development of theology, especially Christology, through hymn writing in
the early Church, citing the prologue of John and the hymn in Philippians as the third stage of historical
development: the first being the use of Jewish psalm singing, and the second, the use of hymns with OT
themes, such as the Benedictus and Magnificat. Combined with Greek musical forms, Christian hymn
singing became a vehicle for theological development.
“the early development of Christology, its every deeper recognition of Christ’s divinity,
probably occurred essentially and particularly in the hymns of the Church, in the blend of
theology, poetry and music.” BDCM 131
A reflection
It would be well to pause here and reflect. Since something as fundamental as the linking of the
Logos to Jesus took place through music, a true example of the musification of faith, how much more
pressure does that place on the use of authentic texts and musical forms in the present situation? Did the
youthful exuberance of composers during the period of 1969-2000 reflect the significance of the task at
hand, especially in the light of 3,000 years of history of music and texts?
A summary of Bible and Church Music
1. The Bible is the source for directives for Church music.
2. To sing (zamir) is an imperative command, and zamir begins to shape the inner dignity of
music.
3. Theology links “inner direction” of music to Logos.
4. Theology and the bible also link the “inner direction of music” to the Trinity, that is, to
sober inebriation.
5. Musical texts were formative in the theology of Christology and continue, through
revelation, to be so today.
6. The formation of Christology through music is not only textual, but music qua music.

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Part V. Music and Tradition37
History beyond nostalgia
The past writes the future. Nostalgia is wishing things could be the way they used to be.
Ratzinger is not about nostalgia, but about the constant revelation of Christianity’s core identity, the
anamnetic action which makes the authoritative historical past present in more than remembering. For
Ratzinger, revelation is a continuing dialogue with the living God; revelation is ongoing, and therefore
history and tradition serve as guides for the present and for the future. There is nothing nostalgic in the
Church’s belief in revelation, but neither does revelation begin in the present; it is an ongoing, historically
based activity of God continually revealing the creative meaning of creation and the “doxa,” the glory,
which is creation.
Music’s history participates in the Logos becoming flesh, the divine becoming human, as well as
the transformation of the flesh by the Word, the redemptive act of the Paschal Mystery. Ratzinger’s
history of music includes the historical development of musical forms with an emphasis on the Church’s
teachings in times of musical crises: the Council of Laodicea (365); the Council of Trent (1563) and Tra
le solectitune (1903). The rationale for this emphasis is based on the current question: when it comes to
music, how far can enculturation go?
Council of Laodicea
The Council of Laodicea (c. 363 – c. 364) teaches that pruning is sometimes necessary, as it was
when the Gnostic crises threatened music through use of hymnody and singers with its logos mysticism.
Laodicea’s restrictions to psalm singing and restricted singers were a necessary pruning, a return to the
restrained, purely vocal style of singing taken over from the synagogue. The pruning paid off: “A return
to apparent cultural poverty saved the identity of biblical faith, and the very rejection of false
inculturation opened up the cultural breadth of Christianity for the future.” (emphasis mine.)ML 141
Nevertheless, in regard to the scope of enculturation that continues to drench our repertoire,
“We certainly do not need to inflict upon ourselves the strict discipline the Church
practiced in the second and third centuries when, in the face of the Gnostic temptation, she
reduced church music to the Psalms. We do not need this if only because, in the meantime, an
infinitely larger trove of music that is really appropriate to faith has become available.”[BDCM
136]
Council of Trent
In the second crisis, John XXII’s teaching38 on Ars nova, followed by the Council of Trent (1545
– 1563), returned to the central historical question “how far can enculturation go?” There are three
affirmations from Trent:
1. Liturgical music should be at the service of the Word.
2. The use of instruments was substantially reduced.
3. The difference between secular and sacred music was clearly defined.
Ratzinger provides both a positive and negative view of the music of the Baroque after Trent:
affirming positively that the music of Baroque achieved an outstanding unity of secular music-making
with the music of the liturgy; exposing the “luminous power of music” in Mozart and Bach (ideas consist
with Ratzinger’s view of revelation); claiming such music enables us “to experience the presence of God
really more vividly than many sermons (interesting affirmation for a theologian, who deals with words).
But the Baroque is not perfect, it already has signs of dangers to come:
1. subjective experience is held in check (often, barely),

                                                                                                                         
37
 Cf  Appendix  One,  material  for  this  section  is    drawn  mainly  from  In  the  Presence  of  Angels,  as  well  as  
the  culture  section  of  Liturgy  and  Church  Music.    
38
 John  XXII,  Papal  Bull:  Teachings  of  the  Holy  Fathers  (1324)  

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2. passion is held in check (often, barely),
3. there arises the threat of a virtuoso mentality,
4. a vanity of technique,
5. music may no longer be the servant of the whole,
6. music may wish to push itself to the foreground, even in liturgy.
Tra La Solectitudine
In the third crisis, Pius X, aiming to remove the operatic element from sacred music, declared
Gregorian chant the standard for liturgical music and the great polyphony of the age of the Catholic
Reformation (of which Palestrina was the outstanding representative) the standard for liturgical music. In
the article defending his brother, Georg’s musical practices of the Cathedral in Regensburg, Ratzinger
argues that the reform of Vatican II is part of the same reform begun with Pius X. He justifies the
Regensburg Cathedral music practices as organically united to the one reform officially initiated with Pius
X. Regensburg Cathedral, in fact, played a significant role in the initiation of the reform of Pius X. It is an
example of the Latin to vernacular approach, which Ratzinger defends as the authentic reflection of the
intentions of the II Vatican Council, knocked off balance by the “rush to the vernacular.”
History and modern culture
“Since church music is faith that has become a form of culture, Church music necessarily shares
in the current problematic nature of the relationship between Church and culture.” DBCM 119
Ratzinger’s view of culture is even more important than his view of history, and both are viewed
as a believing theologian through the lens of revelation. And this returns us to Ratzinger’s primary
experience, his habilitation. Ratzinger’s habilitation began with an exploration of salvation history in
Bonaventure. Salvation history, an idea developed in the 1920’s, viewed history from the point of view of
a believer and revelation, namely, that God has a plan revealed throughout history, beginning with
creation, the history of Israel, the word becoming flesh, the Paschal Mystery’s transformation of all of
creation and the playing out of that transforming history, beginning with the early Church, Christianity’s
development in the East and West, and so forth. The Enlightenment can be viewed in this history from
various viewpoints---either as a break from the revelation, or as a continuation, or even a purification of
the revelation in history. Ratzinger envisions the Enlightenment as a break from Salvation History.
Critical to his understanding of revelation is his theological perspective, namely, that the measure of
progress is its connection to the authentic revelation which has gone before. Without this “organic
connection,” progress is simply personal development, not the continuation of the revelatory act of God.
Without going into extensive detail, highlighting the significance of this position is important: it
shapes Ratzinger’s critique of Rahner’s theology, his critique of the Vatican II Constitution, The Church
in the Modern World, and serves as a key component of the critique by the communio theologians and
followers. This viewpoint shapes his stance not only of modern culture and Church-State relations, but
significantly, for our purpose, the role of music coming from modern culture as well as the use of that
music from the secular culture in liturgical and religious music. Almost every comment about modern
music, and this includes the process of enculturation which takes place during the vernacularization of the
liturgy, is filtered through this critique of modern culture based on revelation or salvation history.
Ratzinger marks the Enlightenment with its tendency toward the scientific methodology as the
sole source for truth, its’ affirmation of egalitarianism and its’ reshaping of freedom as liberty, as the
beginning of a split between Church and culture, or more precisely, the abandoning of revelation as the
guide for cultural development. Music developed by modern culture first of all reflects the new culture—
with its commercialism, its elitism, and even its drive toward the self---as art reflects culture, and
secondly, indicates why the music “tainted” with subjectivism, often unseen by the casual modern
observer, is unacceptable as a source for worship. While giving a bow to the chant revival and the
Caecilian movement, “all in all the gap has become wider and in the confusing conflict between the
cultural experiments and cultureless pragmatic activities of the Church today, it is obvious that we are at a

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loss as to how faith can and should express itself culturally in the present era.” [BDCM 120] Art seems
lost; culture has lost its quo vadis, indeed the central question has become “What is the meaning of life?”
For this reason, the issue of Church music is a vital piece of a comprehensive task for our age
which requires more than mere dialogue; it requires us to rediscover ourselves. In this, Ratzinger agrees
with Harnoncourt “For the encounter with the mystery of faith I am convinced that there is…in a certain
way, appropriate, and also inappropriate music.”39
Three categories of music
Slowly in Ratzinger’s work, three categories of music emerge, which he never names, but which
are useful for understanding his writings: the music of the past being used in the liturgy today in an
authentic way (not as museum pieces); new music in the vernacular and in Latin that successfully reflect
the “interior dignity” of history, tradition, the bible and Revelation; and, finally, music being used at the
liturgy which does not reflect the “interior dignity,” so-called “utility music,” which, in fact, misleasg the
experience of the believing community.
Music which is unacceptable
Ratzinger states that it is easier to describe which music qua music is unacceptable to liturgy than
to state the positive characteristics. Rock music is excluded (because it is directed toward the self); pop
music is excluded (because of its commercialism and banality) ; elite artistic music is excluded (because
of its esoteric orientation)-and all three of these are excluded because they violate the “inner dignity” of
music for the Logos. “Music which serves the worship cannot be rhythmic ecstasy, sensuous suggestions
or anesthetization, bliss of feeling or superficial entertainment.” [LCM 385] There is agitation music
which animates man for different collective purposes. There is sensual music which leads man into the
erotic or essentially aims in other ways at sensual feelings of pleasure. There is light music which does
not wish to say anything but only to break up the burden of silence. There is rational music in which the
tones serve only rational construction but in which no real penetration of spirit and sensibility results.
[LCM 388]
Music in practice
In this testimony to his brother, he supports Georg Ratzinger’s concrete practices and the
“Regensburg Tradition,” namely, the use of the choir, Latin, and polyphonic Sanctus-Benedictus and
Agnus Dei, aligning himself and his brother with the “conservative” musicians identified by Anthony
Ruff. I will not go into detail, other than to observe that in the six articles, this is the most specific
material he presents and secondly, to point out differences among the four groups regarding Latin in
liturgy. I mentioned earlier that Ratzinger identifies with the second group, that is, the one that believes
that the vernacular should flow from the Latin and not the third group, which believes that Latin should
be added to the vernacular repertoire. This is the section of Ratzinger’s writings conservative musicians
most frequently quote, often leaving aside his more challenging reflections. In this concrete example,
there appears, for me, one of the most challenging critiques of contemporary liturgy---namely, the
affirmation of the polyphonic Sanctus, silently critiquing the new liturgical structure of the Missal of Paul
VI.40
Road markers

                                                                                                                         
39
 IPOA  175  quoted  from  Harnoncourt,  Gesang  und  Musik  (see  n  14)    21.  
40
 Ratzinger’s  Bavarian  experience  supports  the  Polyphonic  Ordinaries  in  way  unfamiliar  to  most  American  
readers.    The  Polyphonic  Ordinaries  work  only  in  a  Latin  Mass  structured  as  a  High  Mass-­‐-­‐-­‐and  it  is  a  portion  of  this  
structure  (namely,  the  Sanctus)  which  Ratzinger  defends  here.    His  support  of  the  Tredentine  High  Mass  celebrated  
at    St  Peter’s  may  indicated  further  support  for  this  structure,  necessary  to  support  the  Polyphonic  Ordinary  
musically.  See  his  comments  further  on  regarding  directives  regarding  “words”  on  this  same  page.      

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Ratzinger identifies three road markers for Church music. First, great works of Church music
have a transcendence of self containing an “inner structure” of the image of man based on the word made
flesh, a Trinitarian viewpoint, and a reflection of the doxa. Second, liturgical music corresponds to the
demands of the polyphonic Ordinary, that is, the Kyrie, Gloria, Credo, Sanctus and Agnus Dei. These
texts provide an inner direction for music, but need not be word music only. Third, Gregorian chant and
Palestrina provide an orientation. Ratzinger places two important caveats: these road markers should not
be imitated, and what may arise through creative appropriation of such an orientation should not be
“established in advance.” [LCM 389] Ratzinger as theologian and musician knows that flexibility is
required for creativity to function, while, at the same time, remaining cognizant that history provides a
directive and a measure of the present revelation of faith becoming music.

A Summary of music and tradition

1. The guide to the present enculturation of music is historical: first, in the teachings of the
Church about music, then in the actual music developed by the Church historically.
2. The decrees of Laodicea, Trent, and Pius X show the tension between new and old music
in past generations and provide models for our time.
3. The Synod of Laodicea addressed a situation in which enculturation of music had gone
too far, resulting in the rejection of false theology [Christology].
4. Bishops at and after the Council of Trent struggled to purify a new form of music, ars
nova, an effort that required multiple legislative efforts regarding a new enculturation of
polyphony.
5. Pope Pius X, with the reform of Gregorian chant and polyphonic Ordinaries, established
positive guides from history for use in future enculturation attempts, a process that
continued in the reforms of Vatican II.
6. Modern culture’s break from its religious roots results in making use of music from
secular culture in ways problematic and different from previous secular enculturation
processes. Enculturation of Church music has become a sub-culture.
7. Music that is unacceptable for church use is more easily defined than music that is
acceptable
8. There are three road markers for the enculturation of music: its interior dignity, its
relationship to authentic historical texts, and its relationship with authentic historical
tradition.
9. Ratzinger identifies himself with conservative musicians by supporting, with his brother,
Latin, choirs, and polyphonic Ordinaries.41

VI Music and Liturgy42

Summary and reprieve
Music and Liturgy, 1999, the last of the six articles, reflects on previous material, including
correcting, as I have mentioned, some previous statements. It is far more than mere summary. Every time
Ratzinger reflects on the material connected with music, faith, revelation, Logos, sober inebriation,
culture, history, secular music, and so on, he adds to the depth, the complexity, and the inner rationale of
his theology. Unlike the previous five articles, he does not start with a problem43.
                                                                                                                         
41
 Ratzinger  however  fails  to  reference  the  inherent  problems  of  Polyphonic  Ordinaries  challenging  the  
new  structure  of  the  Liturgy,  thus  silently  supporting  Tredentine  High  Mass  structure;  as  well  as  the  issue  of  
vocalization  of  the  presider  of  the  Eucharistic  Prayer.  Cf  Baldovin,  Reform,  p.    
42
 Cf  Appendix  One  
43
 Ratzinger’s  method  of  article  writing  consists  of  beginning  with  a  specific  problem,  commenting  on  the  
problem  from  various  positions,  and  then  drawing  his  conclusion.    I  mention  this  because  his  articles  do  on  consist  

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Faith becoming music
It is not possible to review all the topics, much less the nuances, that Ratzinger adds to his
reflections on the musical experience of the Church. I found this article to be the richest of his insightful
reflections. Ratzinger explores the imperative of zamir, to sing; the tension between music and liturgy, by
relating it to the “already” and “not yet” of redemption; “new” song, not as new music we sing, but the
theology of “new” song, sung first at the Exodus, continued in the psalms, tied to the Song of Moses at
the Easter Vigil, and anticipated in the Apocalypse; the book of psalms in both Jewish and Christian use
is revisited with insight after insight; the continuing dialogue between humans and God in response to the
revelation of saving deeds of God; the role of the Holy Spirit as sober inebriation (nűchterne44
Trunkenheit45); exploring the Spirit’s inspiration of music qua music of the psalms and all authentic
Church music since then. “It is above all in Church music that the sober inebriation of the faith takes
place.” LM 140 Sober inebriation is Ratzinger’s description of the Logos and the Spirit at work in Church
music. Of course, all of this material is read in the light of “musification,” that is to say, that faith
becoming music is the sober inebriation and part of the process of the word becoming flesh.
Why sing? Motivations for church music
Music and Liturgy deals with the motivation for singing: the OT motivation of the psalms
(affliction to joy); the NT motivation of the revelation of the Paschal mystery (distress to redemption),
and the third motivation, coming from Augustine’s thought, Love. Love is related to revelation
“Ultimately, love lies hidden in the trust that deeply marks all these texts, but the love remains diffident,
precisely hidden.” [ML 142] Nevertheless, hidden though it may be, the singing of the Church ultimately
comes out of love. “Cantare amantis est” says St. Augustine, singing is a lover’s thing. And the motive of
love leads us again to the Trinitarian interpretation of Church music: the Holy Spirit is love, and it is the
Spirit who produces singing. This person is the Spirit of Christ, the Spirit who draws us into love for
Christ and so leads us to the Father.” [Ml 142] Each of these motives is “inner driving forces of Church
music.” [ML 142]
Duality and resolution
One of Ratzinger’s most difficult reflections on Church music is the resolution of all duality. His
idea is more than that singing unites us psychologically or sociologically. The union that takes place in
Church music is also theological. I will present a succinct view of very exact theological reflection about
the experience of music qua music.
Faith and music are two distinct elements, which, throughout Ratzinger’s writings, he continually
brings together, making them one, just as Word and Flesh are brought together in one in Jesus. Faith
transforms music just as the musification of faith reflects faith. It is most clearly expressed in the sentence
“musification of faith is part of the process of word becoming flesh.”
Weaving through Ratzinger’s writings is a long list of dualities, seemingly irreconcilable
opposites. Usually one facet is \ on the side of word or faith; and the other on the side of flesh or music, as
when compared with the sentence “Faith becoming music is part of the process of the word becoming
flesh.”
As I recorded these contrasting ideas, the list grew. As you read through it, reflect on revelation,
that is, reflect on the concrete or visible aspect of the second item and the revealed or hidden aspect of the
first.

                                                                                                                                                                                                                                                                                                                                                                                                       
of  a  “systematic”  approach  to  music,  even  though  a  casual  observer  will  notice  the  pattern  described  earlier:  
Theology,  Bible,  Liturgy  Tradition.    
44
 Nüchtern:  sober,  dispassionate,  temperate,  moderate,  clam,  reasonable,  sensible,  level-­‐headed,  clear-­‐
headed  
45
 Trunkenheit:  drunkenness,  intoxication,  inebriation  

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Faith/music Latin/vernacular
Revelation/reasoning High Mass/community Mass
Thought=reflection/experience Feast/ferial
Stational ritual/Agape
God/man Temple/synagogue
Divine/human
Transcendence/immanence Monarchy/democracy
Word/flesh King-prince/peasants
Spirit/matter Hierarchy/subjects
President/citizens
Theology/music Objective/subjective
Source of music: God/source of Ressourcement/aggioramento
music/man’s inspiration Freedom=salvation/Freedom=li
Ascetic element/able to sing beration
element Priest/prophet
Sursum Corda/sense of No change/change
community (camaraderie) Conservative/liberal
Sacred/secular Elitist/ordinary
Listening/doing Art/functionality
Silence/learning by doing

The point is that there are distinctions (theologians make distinctions) and divisions, but in the
end, Ratzinger’s theological center (his personal belief) in love and the revelation of the incarnation holds
that these divisions, distinctions and separations are in process of being united.46
An accurate understanding of Incarnation from theology can and must resolve these tensions and
it is contained in the German word “verdungen,” which may be translated as “becoming” as in Word
Fleischverdungen (Word becoming Flesh). This aspect of two becoming one, the union of God with man
in Jesus, the greatest element of our faith, is then applied to music. Therefore, Ratzinger can look at
Jewish and Christian history and speak of his expectations for music, namely, Faith Musikverdungen
(becoming music). The musification (Musikverdungen) of faith is part of the process of the Word
becoming Flesh (Fleishverdungen), or to carry the parallel to its English extreme, the fleshification of the
Word [that is, the Logos]). The point is that it is a two-way street, a dialogue, an act of giving and
receiving love. So Ratzinger creates the expectation that all of these “dualities” will be resolved in ritual
music, and they are resolved in the unity of experience.
Experience and reflection on experience
And perhaps that returns us to the thought with which we began, with music as experience and
the theologian as one reflecting on that experience. Ratzinger’s reflections on Church music are like those
of no other modern commentator. He simultaneously provides a theoretical defense for the conservative
musicians’ position, an apparent critique of the modern vernacular movement, but which, as we have
seen, is mostly a theological reflection which brings theology and music together on a theoretical level.
What about the union on the practical level?
Music on the practical level

                                                                                                                         
46
 This  unification  on  a  theological  level  can  be  described  in  the  conversation  regarding  dialectical  arguments  (so  
often  used  by  Aquinas)  and  analogical  imagination  (used  by  modern  theologians,  as  David  Tracy),  which  is  now  going  on  at  
Catholic  Theological  Society  of  America  between  Tilley  and  Weinandy,  see  2009  CTSA    Annual  Meeting.  
 

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Ratzinger concludes “theoretical solutions are perhaps even less helpful here.” Every pastoral
musician may here sigh in relief, expecting that, finally, Ratzinger will deal with the practical. Alas, he
will not.
He simply states: “There has to be a renewal from within.” (This is another form of “renew of the
renewal.”) Nevertheless, by way of conclusion, I will make two summaries: one is contained in Appendix
I, which contains many of the principles Ratzinger develops through these six articles. The second is a list
of observations based on my viewpoint as President emeritus of National Association of Pastoral
Musicians in the United States.
Conclusion
Ratzinger dodges the bullet. Confronting theory and practice, he chooses to avoid the world of
practice. Does this disqualify him as a commentator on Church music? Many would say yes, but not I.
Yes, his ideas, which justify the position of Latin conservatives who seek the vernacular to flow from the
Latin, are almost impossible to apply. It is akin to putting the toothpaste back in the tube. Nevertheless,
the present-day vernacular repertoire should come under the scrutiny of his critique. We know of two
practical consequences since he has become Pope: the Tredentine permission, with its the decree that the
High Mass may be celebrated in Latin-and indeed has been, at St Peter’s Basilica and using the
Tredentine rite. And secondly, his re-affirmation of Gregorian chant in Sacramentum caritatis,
“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 (130) as the chant proper to the Roman liturgy” [42]

Beauty and God’s glory (doxa) are linked in Benedict XVI’s aesthetic; beauty is Jesus in the
Paschal Mystery, in the dying and rising of salvation. Beauty is not simply a harmony of proportion or
form, and the beauty of liturgy (and, therefore, of music) share in this mystery. The call for beauty in
music is a theological summons; not a pragmatic one.
In addition, I believe that Ratzinger offers these critical observations of and about the present
repertoire and some attitudes of many pastoral musicians in the United States. I offer them in his name:
1. The fallacy when the exclusivity of participation becomes the primary, or worse, the only
function of Church music.
2. The resultant form of music (qua-music) as participatory music that has proliferated, that
is to say, hymnody, pop-folk tunes, providing the primary experience of Church music.
3. The realization that music qua music (in addition to the texts) creates an experience
which shapes and expresses the faith of the Christian. This musical experience as music
presents the revelation of God, creating the Paschal mystery, the doxa of creation. If
music forms are not multi-faceted, then the meaning of God and revelation will be
reduced and may be “distorted” toward the “self.”
4. Art music has a role in worship, including the active listening of the assembly.
5. The definition of liturgical participation contains musical participation as one form of the
participation in the paschal mystery.
6. History, especially musical history, has a significant, if not defining, role in carrying on
and revealing the “inner dignity” of music and music’s role in faith.
7. Music participates in the revelation of the “doxa” of all creation.
For anyone familiar with Ratzinger’s writings about music, these positions are no surprise. What
does surprise is the consistent lack of attention that those implementing the vernacular repertoire have
paid and continue to pay to theoretical positions regarding Church music. Ratzinger stands boldly in favor
of developing a vernacular repertoire; he simply has rejected the method used to develop the present
repertoire. This does not mean that we should not develop a vernacular repertoire; it means that we must
pay better attention to methodology, for faith becoming music is part of the process of the word becoming
Flesh.
This paper is a small effort to address that issue.

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APPENDIX ONE:
THE ARTICLES

“I  am  not  attempting  to  involve  myself  in  scholarly  discussion  and  research.  I  am  simply  offering  
an  aid  to  the  understanding  of  faith,  and  to  give  the  faith  its  central  form  of  expression  in  the  liturgy.”  
Joseph  Cardinal  Ratzinger,  from  the  Preface  of  The  Spirit  of  the  Liturgy.  
 
Joseph  Cardinal  Ratzinger   On  the  Theological  Basis  of  Church  Music  1974  
This  article  first  appeared  as  Zur  theologischen  Grundlegung  der  Kirchenmusick,  in  F  Fleckenstein  (ed),  
Gloria  De-­‐Pax  Hominibus,  in  ACV  Schriftenreihne  9  (Bonn  1974)  39:62.  It  also  appeared  in  DAS  FEST  DES  GLAUDENS,  
Johannes  Verlag,  Einsiedeln,  Switzerland,  1981  and  appears  as  the  second  article  in  Part  Two  Practical  Applications  
in  THE  FEAST  OF  FOOLS:  APPROACHES  TO  A  THEOLOGY  OF  THE  LITURGY,  translated  by  Graham  Harrison,  Ignatius  Press,  San  
Francisco,  1986,  pp  97-­‐126.    
Jo seph  Cardinal  Ratzinger,  Theological  Problems  of  Church  Music  1977  
   This  article  was  first  a  lecture,      Kirchenmusik  eine  geistig-­‐geistliche  Disziplin  ,  given  to  the  Department  of  
Church  Music,  State  Conservatory  of  Music,  Stuttgart,  Germany,  January,  1977.  It  was  first  published  under  that  
title  “Church  Music:  A  Spiritual  and  Intellectual  Discipline.”  (Stuttgart,  1978).    Quotes  for  this  work  are  drawn  from  
its  English  translation  published  in  “CRUX  ET  CITHARA:  SELECTED  ESSAYS  ON  LITURGY  AND  SACRED  MUSIC  TRANSLATED  AND  EDITED  
ON  THE  OCCASION  OF  THE  SEVENTIETH  BIRTHDAY  OF  JOHANNES  OVERATH”  by  Robert  Skeris  (Verlag  Alfred  Coppenrath,  
Altotting,  1983),  pp  215-­‐222.    
Joseph  Cardinal  Ratzinger,  L iturgy  and  Church  Music  1986  
Originally  published  in  L’Obsservatore  Romano  3  March  1986;  then  republished  under  the  title  Liturgie  
und  Kirchenmusik,  in  the  INTERNATIONALE  KATHOLISCHE  ZEITSCHRIFT  COMMUNIO  15,  1986  pp  243-­‐56,  and  in  the  English  
edition  of  COMMUNIO,  translated  by  Stephen  Wentworth  Arndt,  under  the  title  Liturgy  and  Sacred  Music  1986,  pp.  
377-­‐391.    It  also  appeared  in  MUSICES  APTATIO,  JARBUCH,  1986.    It  appears  as  Christus  in  Ecclesia  cantat  German  
edition  (Rome,  1986)  pp.  60-­‐74  and  in  the  English,  Italian,  French  and  Portuguese  editions  of  this  volume  (Rome,  
1986).    Also  in,  HOMILETIC  &  PASTORAL  REVIEW  86  (1986)  10/22.  It  also  appears  as  Chapter  7  under  the  title  of  The  
Image  of  the  World  and  of  Human  beings  in  the  Liturgy  and  Its  Expression  in  Church  Music,  in  NEW  SONG  FOR  THE  
LORD  (Crossroads,  NY,  1996)  Translated  from  the  German,  EIN  NEUES  LEID  FUR  DEN  HERRN:  CHRISTUSGLAUBE  UND  LITURGIE  IN  
DER  GEGENWART  (Verlag  Herder,  Freiburg  in  R,  1995)  by  Martha  M  Matesich  (reprinted  in  2005  under  the  authorship  
of  Pope  Benedict  XVI).  The  English  quotes  are  from  Stephen  Wentworth  Arndt’s  English  translation,  the  German  
quotes  are  from  the  2007  edition  of  EIN  NEUES  LEID  FUR  DEN  HERRN.      
Joseph  Cardinal  Ratzinger  Biblical  Directives  for  Church  Music  -­‐1990  
First  published  as  Biblische  Vorgaben  fur  die  Kirchenmusic  in  the  BRIXENER  INITIATIVE  MUSIK  UND  KIRCKE:    
DRITTES  SYMPOSION  “Choral  und  Mehrstimmigkeit”  (Brixen,  1990)  pp  9-­‐21.    It  was  also  published  as  Chapter  6  under  
the  title  Sing  Artistically  for  God:  Biblical  Directives  for  Church  Music,  in  NEW  SONG  FOR  THE  LORD  (Crossroads,  NY,  
1996)  Translated  from  the  German,  EIN  NEUES  LEID  FUR  DEN  HERRN:  CHRISTUSGLAUBE  UND  LITURGIE  IN  DER  GEGENWART  
(Verlag  Herder,  Freiburg  in  R,  1995)  by  Martha  M  Matesich  (reprinted  in  2005  under  the  authorship  of  Pope  
Benedict  XVI).  The  English  quotes  in  this  work  are  from  Chapter  6.        
Joseph  Cardinal  Ratzinger  I n  the  Presence  of  Angels  I  will  sing  your  praise .  1 995  
This  article  was  first  a  sermon  of  Joseph  Cardinal  Ratzinger  on  the  occasion  of  the  retirement  of  his  
brother,  Monsignor  Georg  Ratzinger,  as  choirmaster  of  the  Regensburg  Cathedral.  It  was  first  published  as  In  der  
Spannung  zwischen  Regensburger  Tradition  und  nachkonziliarer  Reform  :  Musica  Sacra      114  (1994)  379/89  English  
Version:  Betwixt  and  Between  the  Regensburg  Tradition  and  Post-­‐conciliar  reform:  SACRED  MUSIC  122/2  (Summer  
1995)  5/17.  It  was  originally  published  in  three  parts,  and  then  collected  as  one  article  In  the  presence  of  the  

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Angels  I  will  Sing  your  praise:  The  Regensburg  Tradition  and  the  Reform  of  the  Liturgy  translated  by  Robert  Skeris  
(MUSICA  SACRA,  ONLINE  EDITION,  Vol  2,  Nos  6-­‐8,  Oct  –Dec  1996)      This  also  appears  as  Chapter  8  under  the  title  "In  the  
Presence  of  the  Angels  I  Will  Sing  Your  Praise"  :  The  Regensburg  Tradition  and  the  Reform  of  the  Liturgy."  in  NEW  
SONG  FOR  THE  LORD  (Crossroads,  NY,  1996)  Translated  from  the  German,  EIN  NEUES  LEID  FUR  DEN  HERRN:  CHRISTUSGLAUBE  
UND  LITURGIE  IN  DER  GEGENWART  (Verlag  Herder,  Freiburg  in  R,  1995)  by  Martha  M  Matesich  (reprinted  in  2005  under  
the  authorship  of  Pope  Benedict  XVI).  The  English  quotes  in  this  work  are  from  the  OnLine  translation  of  Robert  
Skeris.          
 J oseph  Cardinal  Ratzinger   Music  and  Liturgy  1999  
Music  and  Liturgy  published  in  J  Ratzinger,  THE  SPIRIT  OF  THE  LITURGY,  TR  BY  John  Saward.  Part  Three,  Chapter  
two.    (Ignatius  Press,  San  Francisco,  2000)  and  the  German  edition:    DEN  GEIST  DER  LITURGIE  EINE    EINFŰHRUNG,  
SONDERAUSGABE  2006  (1999)    

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Appendix TWO: The Principles

Collection of Ratzinger’s Principles:

Theological Principles of Church Music

1. Liturgy is for all. (catholic)
2. “Catholic” does not mean uniformity.
3. “Active participation” requires a redefinition.
4. Utility music is not acceptable.
5. The privilege regarding music for mission cultures should not, however, overlook European
musical history.
Theological Problems of Church Music
There were no principles identified in this document.
Liturgy and Church Music
1. Faith becoming music is part of the process of the Word becoming Flesh.
2. Musification is ordered to the inner turn of the incarnation, namely the whole Paschal mystery.
3. The appropriateness of liturgical music is measured according to its inner correspondence to a
fundamental anthropological and theological form.
4. The liturgical music of the Church must be ordered to the integration of the human being that
appears before us in faith in the incarnation.
4.a. Liturgical music does not will a pure spiritualization but an integration of sensibility and
spirit so that both become person in one another.
4.b. Liturgical music does not make the senses less real when they are penetrated by the spirit,
rather, in this way they first receive a share in its infinity.
4.c. The music of faith seeks the integration of the human being in the sursum corda; human
beings, however does not find this integration in himself, but only in self transcendence towards the
incarnate Word.
5. Sacred music, which stands in the structure of this movement, becomes the purification and the
ascent of the human person.
6. This music is not the work of the moment but participation in history.
7. Sacred music is not realized by individuals, but only in community.
8. Sacred music is the precise means by which faith enters history and the community of all the
members of the Body of Christ expresses itself.
9. Sacred music permits joy, a higher kind of ecstasy which does not extinguish the person but
unites and thus liberates the person.
10. Sacred music provides a glimpse of what a freedom is that does not destroy but gathers and
purifies.
Biblical Directives for Church Music
There were no principles identified in this document
In the Presence of Angels
1. The Emphasis on Gregorian chant and sacred polyphony was ordered to the “mystery” aspect
of the liturgy and its Logos-like character as well as its link to the word in history. Music is both historical
and mysterion-known and unknown to be revealed.
2. The fundamental principles of Church music are according to this sequence: Faith comes from
hearing God’s word. Whenever God’s word is translated into human words, there remains something
unspoken and unutterable, which calls us to silence. In silence, there remains something unspoken and
unutterable, which calls us to silence, into a stillness, which ultimately allows the Unutterable to become

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song and even calls upon the voices of the cosmos to assist in making audible what had remained
unspoken.
3. Church music, originating in the word and in silence heard in that word, presupposes a
constantly renewed listening to the rich plenitude of the Logos.
4. Not any kind of music can be used in worship: music meant to serve the Christian liturgy must
be appropriate and fitting for the Logos, which means, concretely, music must be meaningfully related to
the word in which the Logos has found utterance.
5. Even in its purely instrumental form, music cannot disengage itself from the inner direction or
orientation of this word, which opens up infinite space but also draws certain boundaries and establishes
criteria of distinction.
6. Sacred music must be different from music which is meant to lead the listener into rhythmic
ecstasy, or stupefied torpor, sensual arousal or the dissolution of the Ego.
7. This interior standard of a music appropriate to the Logos must be related to life in the world.
8. Sacred music must introduce human beings into the fellowship of Christ as fellow suppliants at
prayer here and now, in this era and in a specific location.
9. Sacred music must be accessible to human beings while at the same time leading them onwards
in the directions of a “sursum corda.”
Music and Liturgy
Principle One
1.1. Music of Christian worship is related to the events of God’s saving action to which the Bible
bears witness and which the liturgy makes present.
1.11. In liturgical music, based as it is on biblical faith (faith becoming music), there is a clear
dominance of the Word.
1.12. Music rises up out the love that responds to God’s love, made flesh in Christ, the love that
for us went to death.
1.13. The relation of liturgical music to Logos means, first of all, simply its relation to words, and
the “concrete historical word” a moment in history, and the Logos, the Word that is spoken throughout
history. The Logos is eternal; specific in Jesus; and present in history in Jesus, the Christ, the Anointed
one, and/or the Logos.
1.2. Singing in the liturgy has priority over instrumental music because the relation of liturgical
music to Logos means its relation to words.
1.3. The Biblical and liturgical texts are the normative words from which liturgical music has to
take its bearings.
1.4. Liturgical music drawing its bearings from the normative words of the bible and liturgy does
not exclude the continuing creation of “new songs”, but instead inspires them and assures them of a firm
grounding in God’s love (read: “authentic revelation”) for mankind and his work of redemption.
Principle Two:
2.1. Liturgical music supersedes words, but not The Word, the Logos. This is the second and
deeper sense in which liturgical music is related to the Logos.
2.11. Not every kind of music can have a place in Christian worship. Christian music has its
standards and that standard is the Logos. (In the German, Standard is singular in both instances)
2.2 . Sursum Corda liturgical music which serves the Logos, because the Logos is Kyrios (Lord),
integrates the human person by lifting up the human heart (in the fashion of the sursum corda of the
Preface.)
Principle Three:
3.1. All singing is singing and praying with the great liturgy that spans the whole of creation.
3.2. The beauty of music depends on its conformity to the rhythmic and harmonic laws of the
Universe. The more that human music adapts itself to the musical laws of the universe, the more beautiful
it will be.
3.21. To sing with the universe means, then, to follow the track of the Logos and to come close to
him.

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3.22. All true human art is an assimilation to the artist, to Christ, to the mind of the creator.
3.22.a. Summary of Principle Three: The idea of the music of the cosmos, of singing with the
angels, leads back again to the relation of art to Logos, but now is broadened and deepened in the context
of the cosmos. Yes, the cosmic concept that gives art in the liturgy both its measure and its scope. A mere
subjective creativity is no match for the vast compass of the cosmos and the message of its beauty. When
a man conforms to the measure of the universe, his freedom is not diminished but expanded to a new
horizon. 154
3.3. The cosmic character of liturgical music stands in opposition to the two tendencies of the
modern age: 1. music as pure subjectivity 2. music as expression of mere will.
3.4 We sing with the angels–but this cosmic character is grounded ultimately in the ordering of
all Christian worship to Logos.

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Faith  Becoming  Music  

Insights  of  Joseph  Cardinal  Ratzinger  (1970-­‐2000)  
Rev.  Virgil  C.  Funk  

 
NAAL  Music  Seminar  
Saturday,  January  9,  2010  (10:30  11:15)  
Discussion  (11:15  -­‐  11:30)  
 
 

NAAL  Music  Seminar  Paper