Abstract

Joseph Ratzinger developed a liturgical theology that encompasses the historical dimension of worship, its rootedness in salvation history, and, of course, its eschatological dimension. But he did not fail to show that Christian liturgy encompasses matter and corporeality. In this article, therefore, an approach to Ratzinger’s theology of sacred music is sought to highlight the cosmic character of the liturgical celebration, exemplified by the use of instruments in it. That is, the various musical instruments – especially the organ – represent and exemplify how sacred music is connected to the logic of the Incarnation – to the fact that the Logos became incarnate and, in the resurrection, assumed and transformed matter – and, with nature, they participate in the praise that the whole Church intones in its celebrations.

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