Children, Liturgy and Music

​Teachers in Catholic primary schools are expected to be a “jack-or-jill-of-all-trades.” On top of the myriad and ever-increasing professional responsibilities they have signed up for is an assumption that they are also expert liturgists. Many have probably been somewhat overwhelmed when called upon to prepare a Mass or Liturgy of the Word for their class, or school, sometimes to be celebrated in the context of parish worship. And the majority of teachers have been offered little or no training in liturgy.

There are so many things to consider during the process of preparing liturgy. If it is a Eucharistic liturgy, Mass, the structure and content of many of the elements is already provided by the Church in the Lectionary for Mass and the Roman Missal. In addition to these texts, it is vital that all primary teachers become familiar with the 1973 Vatican document, the Directory for Masses with Children (DMC). Although it is over 50 years old, the DMC continues to provide inspiring encouragement and guidance on making various adaptations and choices to involve and engage children as active participants in liturgy. Despite it being a ‘lawful’ liturgical document, the DMC is one of the Church’s best kept secrets, with even many priests unaware of its contents. Teachers unpacking the documents together with their priest would be a very valuable contribution to both primary school and parish liturgy.

One of the main areas where liturgical choices and decisions must be made is in the music for the celebration. Which parts of the Mass should be sung and which particular songs should be sung in those parts? Before getting to these details, it is worth stepping back to briefly consider some foundational liturgical principles and the purpose and place of music in the liturgy.

Liturgy ‘belongs’ to the Church and is gifted to the faithful, as the “summit and source” of our Christian lives. Liturgy, especially the Eucharist, is the best way to praise and worship God, and to make us more holy (Sacrosanctum Concilium - Constitution on the Sacred Liturgy [SC] #10). The liturgical reforms of Vatican II emphasised the importance of the “full, conscious and active participation” (SC #14) of all who have gathered for a liturgical celebration, including children. The DMC acknowledges that children struggle to understand much of what happens in liturgy. Indeed, the Church fears that “spiritual harm” will be caused to children if they “repeatedly experience things that are barely comprehensible” (DMC #2). Consequently, “active and conscious participation is … even more significant for Masses celebrated with children” (DMC #22).

Music and song are among the main ways that everyone, especially children, actively participate in liturgy. “Singing must be given great importance in all celebrations, but it is to be especially encouraged in every way for Masses celebrated with children, in view of their special affinity for music” (DMC #30). Choosing music to maximise active participation is crucial but this is not the sole consideration.  It is important to understand that not just any song, no matter how well the children know and love it, can be automatically ‘slotted’ into Mass. A mention of “God,” “Jesus,” “love” or “sharing and caring” in the lyrics doesn’t necessarily qualify it as a liturgical song.

The helpful document, Sing to the Lord: Music in Divine Worship (STL), from the US Catholic Bishops, reminds us that there are two key considerations for liturgical music; that it ‘fosters maximum participation of the gathered assembly’ (STL #122) and that it ‘serves the needs of the liturgy’ (STL #125).  All liturgical music, including for children, must  be ‘singable’ for them but it must also be suitable for the liturgy and its different parts.

Many children’s religious songs were composed for catechetical and educational purposes and were never intended to be sung at Mass. However, such songs are often chosen as Gathering and Communion songs, based on the fact that the children love to sing them, even though the piece doesn’t serve the needs of those parts of the liturgy.

So how should music for Masses with children be chosen? The answer is that the music should be selected in the same way that it would be for any Mass. There are two paradigms to take into account. Firstly, the ‘hierarchy’ of liturgical music – what is the ‘importance ranking’ of the parts of the Mass that can be sung? Secondly, what needs to be considered when choosing specific pieces to sing in those parts of the Mass?

The Church subscribes to a principle of “progressive solemnity,” for liturgical music; that is, the singing of those parts that have more liturgical significance must be prioritised. (Sing to the Lord [STL] #115). For a Mass in a primary school on a regular weekday, the music can be broadly placed into the following groupings:

Group I: (should always be sung)

Acclamations – Gospel Acclamation, Holy Holy Holy, Memorial Acclamation, Amen

​Responsorial Psalm – preferably the whole psalm but at least sing the response is sung

Processional Songs: Gathering Song, Communion Song

Group II: (should preferably be sung)

Repeated Responses (Litanies) – Lord Have Mercy, Lamb of God

“Hymns” – Gloria (Glory to God) should be sung at Masses on solemnities and particular feast days.

Group III: (may be sung)

Other Songs:  

Preparation of the Offerings (Offertory),

Song of Praise after Communion

Sending Song (Recessional)

After establishing which parts should be sung, selections then need to be made for each specific piece of music.

Firstly, regarding the acclamations for the Eucharistic Prayer, consider choosing one of the three Eucharistic Prayers for Masses with Children for liturgies in the primary school. These are official Vatican-approved prayers which use language that is much more accessible to children. The second of these Eucharistic Prayers for Masses with Children is especially recommended as it contains extra sung acclamations throughout the prayer to involve and engage the children. There are a number of musical settings available for these acclamations with call/response settings being particularly effective.

Four Judgments, One Evaluation

To guide decisions about liturgical music, the Church offers four interdependent judgments which, when considered together, inform one final evaluation: “Is this particular piece of music appropriate for use in this particular liturgy?” (STL #126). Each judgment requires some knowledge and expertise, so a final decision would often entail a collaboration between pastor, teachers and musicians.

A: The Liturgical Judgment

Does this song serve the needs of this liturgy and this particular part of this liturgy?  The texts of the Acclamations (Group I above) are liturgically sound as they are provided by the Church in the Roman Missal and other liturgical books. However, informed choices must be made about how various musical settings of these texts, particular Mass settings, support the participation of the gathered assembly of children.

Careful, informed judgments must also be made when choosing other hymns and songs where texts have been written independently. Do the lyrics support and amplify the scripture readings or the liturgical season? Does the song fulfil and express the liturgical purpose and accompany the ritual action, for example of a Gathering song, or a Communion song? This is where an understanding of theology, the liturgy and the various rites within it, is vital.

The General Instruction of the Roman Missal (GIRM) explains that two of the main purposes of the Gathering song are to “foster the unity of those who have gathered [and to] introduce their thoughts to the … liturgical season or festivity” (GIRM #47). To fulfil these purposes, the gathered assembly must be able to enthusiastically participate in the song, so that they can experience and express their unity. Do the children know the song? Can they sing it? Is it vibrant, and engaging? Does it use language of “unity” – we, us, our rather than I, me, my? Does the song reflect the overarching themes of the feast or the current season of Advent, Christmas, Lent, or Easter?

Like Gathering songs, the Communion song is about unity in and through the Body of Christ, rather than reverence and adoration of the Body of Christ. The purpose of this song is “to express the communicants’ union in spirit by means of the unity of their voices, to show joy of heart, and to highlight more clearly the ‘communitarian’ nature of the procession to receive Communion” (GIRM #86). In support of this principle, DMC #54 advises that “there should be singing, suited to the children, during the communion procession.” Once again, the children must be able to easily participate in the song and it should use “we” language rather than “me” language.

B: Musical Judgment

The musicians, music teacher or choir director would often assist with the musical judgment. The basic question here is, “Is this composition technically, aesthetically, and expressively worthy?” (STL #134). Does it make musical sense? Is the melody too high, too low, or the melodic range too wide for the children? Is it ‘good’ music? The document Music in Catholic Worship (MCW) advised that care needs to be taken to ensure that personal preferences in musical style or compositional complexity are not confused with musical value (MCW #28). Many songs specifically composed for children contain repetition and simple melodies and harmonies, however ‘simplicity’ is not necessarily the same thing as ‘banality.’ Simple, ‘singable’ songs which are well-crafted can be enthusiastically sung by children and adults alike.

C: Theological/Textual Judgment

This judgment considers the content of the lyrics sung in liturgy. The Church cares deeply about the words that are prayed when the community sings. Indeed, liturgical song texts should be drawn chiefly from scripture and liturgical sources and must always be true to Catholic teaching (SC #121). There is a principle expressed in Latin as lex orandi, lex credendi, which roughly translates to “as we pray (or sing), so we believe.” If we repeatedly sing texts which are not theologically or liturgically correct, we eventually come to believe and accept them as truth, even when they are not ‘quite right.’

A particularly pertinent example is in the choice of Communion songs. Pieces that sing of “bread and wine” without making a clear and immediate connection to the sacramental presence of the “body & blood of Christ” are problematic for Communion. As songs “stick” in the memory and inform beliefs, it is most important that everyone, including children, sings good theology.

D: Pastoral Judgment

A song which is liturgically appropriate and musically excellent is of little use if it does not engage and speak ‘to and through’ the children who are celebrating. The pastoral judgment “takes into consideration the actual community gathered to celebrate in a particular place at a particular time” (STL #130).  Echoing this pastoral aspect is the DMC’s direction that “the culture of various peoples and the capabilities of the children present should be taken into account” (DMC #30). Can these children sing this song?  Does it resonate with their age and their culture? Does this piece help this school community to consciously and actively pray together?

That is not to suggest that every song at a school Mass should be a children’s song. Indeed, it is most important that schools become familiar with general Church and parish repertoire and participate as they are able. Teaching children O Breathe On Me as one of the hymns for Pentecost or Confirmation, or Hail Redeemer for Passion/Palm Sunday or the feast of Christ the King is to be heartily encouraged.

This discussion has concentrated on music for the Mass, but the same basic principles should be employed when choosing songs for a non-Eucharistic Liturgy of the Word. While there may be a little more flexibility than preparing a Eucharistic celebration, a Gathering Song, Psalm, Gospel Acclamation, and Sending song will usually still be required and should abide by the principles outlined above.

The ‘hierarchy of importance’, along with the musical, liturgical, theological and pastoral judgments, must be considered together when choosing each piece of music for a particular celebration. In so doing, our children are given the best opportunity to actively participate, and authentically celebrate liturgy together, by singing appropriate and meaningful songs which support and accompany their worship as members of the Body of Christ.

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​This article was originally published in the Newsletter of the Australian Pastoral Musicians Network (Vol 13/2, June 2023).  Reprinted with the permission of the author.

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