The thesis examines the development of liturgical music after the Second Vatican Council, focusing on how the Council's guidelines have transformed musical practices in the Catholic Church. The Council's call for »full, conscious and active participation« in the liturgy was extended to the area of sacred music, emphasising the need for compositions that resonate with the Christian spirit and are at the same time accessible to all members of the communion. Particular attention is paid to the performance of youth songs, which are now widespread. Alongside the organ, which was confirmed by the Council as the central instrument for liturgical use because of its solemnity and historical importance, and coral chants as »the supreme model for sacred music«, the master’s thesis also addresses the growing presence of other instruments such as the guitar, and the singing of youth songs. These have become popular for their versatility and simplicity, especially in smaller or less formal settings. The acceptance of different instruments and music styles highlights a wider movement towards the inclusion and practicality of music in liturgy, which aims to encourage greater involvement of the people.
It also looks at the process of selecting songs for the liturgy, which has evolved to reflect the Council's vision of more active participation. The songs are chosen not only for their theological depth, but also for their ability to unite the community. Through a detailed analysis of the rhythmic compositions, the work explores the delicate balance between personal preference and general acceptance. Between what seems and what is appropriate among the newer forms of expression that resonate in contemporary communities. In doing so, it highlights the ongoing dialogue between tradition and innovation in the context of sacred music.
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