While this is a nice number, with Quasimodo singing about the light and good that is in him and the world, it's not one of the stronger songs within the movie. However, having the instrumental melody of "Hellfire" in the background, in a much softer way, is a subtle and clever touch.
The instrumental part of this song is ramped up to 100, as the movie looks to end in the biggest way possible, and having it all be focused around the bells of Notre Dame, which play such a significant part in the entire story is a great moment.
Bells Of Notre Dame Instrumental Songs
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The reference to "musical performances," as distinguished from the accompaniment to song, is something new in ecclesiastical pronouncements concerning musical instruments. It indicates that instruments may be used to play interludes or "background music" (barring the times of silence mentioned in paragraph 29). This would also include incidental passages of instrumental music, which are a part of a principally choral section of the Mass. The Instruction does not refer to the necessity of obtaining permission from the bishop for the use of instruments other than the organ (as does the Ceremoniale Episcoporum and the Motu Proprio). In so important a pronouncement as this it would seem that if such permission were still necessary, the Sacred Congregation would have mentioned the fact. This opinion is further corroborated by a final statement in this section of the Instruction in which bishops are cautioned to "carefully watch, above all with the assistance of the Diocesan Commission for Sacred Music, so that these prescriptions pertaining to the use of instruments in the Sacred Liturgy be strictly observed."60 No mention is made in this connection of the necessity of seeking the permission of the bishop for the use of instruments.61 Instruments In Church In reviewing the Church's law regarding the use of instruments in the liturgy, it is apparent that the official attitude toward them has become more and more favorable. The fears of the early Fathers are no longer valid in our day. The more recent pronouncements show that the Church has come to a realization that it is not generally the instruments themselves which are unfit for liturgy but, rather, the theatrical or profane use of them. The statements of the universal law have been very general. The Church must consider the variety of cultures present throughout the Christian world, that what may have a secular connotation for one territory has no such meaning in another, and many of these matters must be left to local legislation. It is important to note here that the pronouncements of private organizations and societies have no legal standing in the Church unless given such by a particular bishop. Thus, a listing of "approved music" published by such an organization is to be looked upon as a private interpretation and application of the law of the Church. Musical instruments other than the organ can and should be called upon "to give great help in attaining the lofty purpose of sacred music."62 Their use will be most fitting on occasions of great celebration, but in cathedrals and larger churches these occasions need not be rare. It must only be kept in mind that, lest we descend to the condition of art and liturgy prevalent at the time of Bishop Ethelred, the resources at hand must always be equal to the task of performance. Legally, as we have seen, the Universal Church is generally far more liberal than she is given credit for being. It is her sacred trust to guard those things, which have to do with the salvation and sanctification of the faithful. Music has no small part in this great work. Robert J. Novotny Endnotes 1 These excesses took the form of an ever-increasing emotional expressiveness in church music. The text was often disregarded or fragmentized in its treatment by soloists, quartets, duets, etc. The text was merely the springboard from which the composer jumped in all directions as he gave vent to his personal emotions. The music became increasingly grandiose both in its equipment (Benevoli's Mass for the dedication of the Cathedral of Salzburg in 1628 has fifty-three parts with any number of singers or instrumentalists on each part) and in its length. It was music to be heard (as the people went to "hear Mass") but not music for worship. 2 Among such composers who have contributed to the form of the Mass are Britten, Kodaly, Krenek, Poulenc, Stravinsky and Vaughn-Williams. 3 Migne, Patrologia Graeca, VIII, 443. 4 Ibid., XXIII, 1171. 5 Migne, Patrologia Latina, XXII, 871. Cf. also St. Ambrose, ibid., XIV, 751. 6 In the Ethiopian Rite the chant is often accompanied by drums, cymbals, and rattles or bells. Cf. Donald Attwater, The Christian Churches of the East (Milwaukee: Bruce, 1946), I, 149. 7 Cf. Early Medieval Music up to 1300, ed. Dom Anselm Hughes, Vol. II of New Oxford History of Music (London: Oxford University Press, 1954), pp. 354-55. 8 Cf. Curt Sachs, The History of Musical Instruments (New York: W. W. Norton & Co., 1940), p. 271. 9 Cf. Edmund A. Bowles, "Instruments in Middle Ages Sacred Drama," Musical Quarterly, XLI (January, 1959), 67. 10 From Prynne, Histriomastix (London: 1633), quoted by Robert Donington in letter to editor, Galpin Society Journal, XI (May 1958), 85. 11 Cf. Rudolph Ficker, "Music in the Gothic Period," Musical Quarterly, XV (October, 1929), 494. 12 Cf. Andre Pirro, Histoire de la Musique de la Fin de XIVe Siecle a la Fin de XVIe Siecle (Paris: Librairie Renouard, 1940), p. 20. 13 Edmund A. Bowles, "Haut and Bas; The Grouping of Musical Instruments in the Middle Ages," Musica Disciplina, VIII (1954), 115, 14 Cf. Gustave Reese, Music in the Middle Ages (New York: W. W. Norton & Co., 1940), p. 124. 15 Cf, G. Reaney, "Voices and Instruments in the Music of Guillaume de Machaut," Revue Belge de Musicologie, X (1956), 3. 16 Ibid., p. 8. 17 Frederick Dorian, History of Music in Performance (New York: W. W. Norton & Co., 1942), p. 38. 18 Otto Gombosi, "About Organ Playing in the Divine Service, Circa 1500," Essays on Music (Cambridge: Department of Music, Harvard University, 1957), p. 66. 19 Curt Sachs, op. cit., p. 303. 20 Cf. Gustave Reese, Music in the Renaissance (New York: W. W. Norton & Co., 1954), p. 690. 21 Cf. Gustave Reese, ibid., pp. 487-88. 22 Cf. D. Arnold, "Brass Instruments in Italian Church Music of the 16th and 17th Centuries," Brass Quarterly (December, 1957), p. 81. 23 Ibid., p. 83. 24 Ibid. 25 The Camerata was a group of men interested in music who met at Florence and proposed that music be made more expressive of the words which it accompanied. This idea led to the creation of a new form, the opera, in which the expressive qualities of music could most readily be displayed. 26 Cf. A. G. Martimort & F. Picard, Liturgie et Musique (Paris: Cerf, 1959), p. 155. 27 Pope Pius XII, Musicae Sacrae Disciplina, trans., National Catholic Welfare Conference (Washington: N.C.W.C., 1956), par. 25. 28 Ibid., par 27. 29 Ibid., par. 30. 30 Saint Pius X, Motu Proprio, quoted by Pope Pius XII, ibid., par. 57. 31 Migne, Patrologia Graeca, IX, 439. 32 lbid., VIII, 443. 33 Mansi, Sacrorum Concilliorum nova et amplissima collectio (Paris: Hubert Welter, 1902), XXIV, 130. 34 Quoted by Florentius Romita in Jus Musicae Liturgicae (Rome: Edizioni Liturgiche, 1947), p. 46. 35 Mansi, XXXII, 1190. 36 Ibid., XXXII, 1184. 37 Concilii Tridentini Acta, ed. Stephanus Ehses (Friburgi Brisgoniae: B. Herder, 1904-1922), V, 963: "Ab ecclesiis vero musicas eas, ubi sive organo sive cantu lascivum aut impurum aliquid miscetur, item saeculares omnes actiones, vana atque adeo profana colloquia, deambulationes, strepitus, clamores arceant, ut Domus Dei vere domus orationis esse videatur ac dici possit." 38 Ibid., 927: "Sacerdotes, dum missarum sollemnia agunt . . . caveant etiam, ne ita submissa voce verba proferant, ut non commode ab aliis intelligantur, sic tamen, ne clamoroso vocis strepitu audientium fervorem frangant." 39 Mansi, XXXIV, 57. 40 Ibid., XXXV, 631-32. 41 Quoted by Florentius Romita, op. cit., p. 95. 42 lbid. 43 lbid. 44 Ceremoniale Episcoporum (Ratisbon: Pustet, 1902), Lib. 1, Cap. XXVIII, No.11. 45 Cf. Florentius Romita, op. cit., p. 102. 46 It is to be noted that this document was a disciplinary decree, not an infallible statement of what is essentially related to faith and Christian Worship. It should, therefore, be viewed with a certain aspect of relativity dependent on time and place. 47 Saint Pius X, Motu Proprio of Church Music, trans., C. J. McNaspy, S.J. (Toledo: Gregorian Institute of America, 1950), p. 12. This document is sometimes referred to by its Italian title: Tra le Sollecitudini. 48 Ephemerides Liturgicae (Rome: Desclee, Lefebvre et Socii, from 1887), XIX (1905), 324. 49 Regulations for Sacred Music in Rome, February 2, 1912, quoted by Gregory Sunol, Text Book of Gregorian Chant (Tournai: Desclee & Co., 1930), p. 186. 50 Pope Pius XI. Divini Cultus. (translation, Conception: Altar & Home, 1945), p. 26. 51 Ibid. 52 Pope Pius XII, Musicae Sacrae Disciplina, par. 56. 53 Ibid., par. 59. 54 Ibid. 55 Sacred Music and Sacred Liturgy: Instruction of the Sacred Congregation of Rites, September 3, 1958, trans., National Catholic Welfare Conference (Washington: N.C.W.C., 1958). 56 Ibid., par. 60. 57 Ibid. 58 Ibid. 59 Ibid., par. 68. 60 Ibid., par. 69. 61 Two recent commentators on this Instruction agree that permission is no longer necessary. Cf. A. G. Martimort & Francois Picard, op. cit., p. 155, and J. B. O'Connell, Sacred Music & Sacred Liturgy: A Translation and Commentary (London: Burns & Oates, 1959), p. 71. 62 Pope Pius XII, Musicae Sacrae Disciplina, par 59. 2ff7e9595c