In our second article on church documents on music and liturgy, we explore what the General Instruction on the Roman Missal, the missal itself, and Sing to the Lord tell us about music in the liturgy and particularly about the introductory rites of the Mass. If you missed part one of this series, find it here.
Liturgy has a purpose: offering praise and thanks to God. Liturgy is an art. Like all art it has a foundation of rubrics, skills, vocabulary, and even laws that set a foundation. It has a vision of how these laws are to be applied. It has a fluidity and grace that invites us to enter into the dance of the ever ancient, ever new with a trust in our ancestors, a gift for our descendants, and a present reality that gives voice to the hopes and dreams and fears and faith of the community gathered and, indeed, all of God’s people. Liturgy is interpreted and lived in every community every time they gather.
Therefore, when we ask questions like, “How do we do liturgy?” or “What is allowed?” the answers are complex. At what level are we seeking an answer? Think about how one approaches a new piece of music. There are fundamentals like time signature, key, even discerning the notes in front of us. What is the road map of the piece? We then may look for patterns within the music. Of course, once we move beyond melody we investigate harmonies, instrumentation, etc. If it is liturgical music, there are still other questions to ask. Nothing about it is simple.
As we continue to explore some fundamentals of the church documents on music and liturgy, we’ll start with an interface of three important documents:
- The General Instruction of the Roman Missal (GIRM)
- The rubrics within the missal itself
- Sing to the Lord, Music in Divine Worship (STTL)
The first two are universal documents with some local adaptations for the United States. The third is the most recent document on music and liturgy from the United States Conference of Catholic Bishops.
This series of articles is just a beginning and certainly not exhaustive of options available as we prepare music for the celebration of the Mass. A more thorough reading of the above documents is encouraged.
A vision from the General Instruction of the Roman Missal (GIRM)
All the sacramental books have a praenotanda, or introduction. In essence, this provides an important lens through which the rest of the document should be read.
“… with due regard for the nature and other circumstances of each liturgical assembly, the entire celebration is arranged in such a way that it leads to a conscious, active, and full participation of the faithful, namely in body and in mind, a participation fervent with faith, hope, and charity, of the sort which is desired by the Church and which is required by the very nature of the celebration and to which the Christian people have a right and duty in virtue of their Baptism.” (GIRM 18. See also 20 et al.)
Before we examine the instructions surrounding the parts of the Mass we are reminded (multiple times) of the insistent refrain we read in the Vatican II’s Sacrosanctum Concilium. The Sacred Liturgy is a celebration requiring the assembly’s involvement. We gather not as spectators, but as an integral part of the liturgy. This is fundamental to our discussions and discernment as members of the church and as musicians or liturgists.
The GIRM in paragraphs 39-41 provides commentary on the importance of singing.
“Great importance should therefore be attached to the use of singing in the celebration of the Mass, with due consideration for the culture of peoples and abilities of each liturgical assembly.” (#40)
This section encourages the assembly to know some of the Mass parts in Latin so that when we gather from different countries, we are comfortable praying in this common language. In addition, while Gregorian chant “holds pride of place,” “other types of sacred music … are in no way excluded…” (#41)
This section also speaks to a norm called progressive solemnity.
Progressive solemnity
“Progressive solemnity means that ‘between the solemn, fuller form of liturgical celebration, in which everything that demands singing is in fact sung, and the simplest form, in which singing is not used, there can be various degrees according to the greater or lesser place allotted to singing.’
Progressive solemnity includes not only the nature and style of the music, but how many and which parts of the rite are to be sung. For example, greater feasts such as Easter Sunday or Pentecost might suggest a chanted Gospel, but a recited Gospel might be more appropriate for Ordinary Time. Musical selections and the use of additional instruments reflect the season of the liturgical year or feast that is being celebrated.” (STTL 111-112)
In other words, a papal Mass is different from a parish daily Mass. A parish daily Mass is different from Easter Vigil. Instinctively we know this. But also, Advent is not Christmas as much as Lent is not Easter. The Liturgical Year and Sanctoral Cycle add to the discernment of music. As we look at the various parts of the liturgy, this too affects our choices.
Let us begin with a look at concrete expectations of music for Mass, starting with what the GIRM says about introductory rites.
Introductory rites
The purpose of these rites is explicitly beginning, introduction, and preparation. (GIRM 46) The rubrics state, “When the people are gathered, the Priest approaches the altar with the ministers while the Entrance Chant is sung.” (#1)
What do we mean by the “Entrance Chant”?
“The text and music for the Entrance song may be drawn from a number of sources.
a. The singing of an antiphon and psalm during the entrance procession has been a longstanding tradition in the Roman Liturgy. Antiphons and psalms may be drawn from 108 GIRM, no. 46. 109 GIRM, no. 47. the official liturgical books—the Graduale Romanum, or the Graduale Simplex—or from other collections of antiphons and psalms.
b. Other hymns and songs may also be sung at the Entrance, providing that they are in keeping with the purpose of the Entrance chant or song. The texts of antiphons, psalms, hymns, and songs for the Liturgy must have been approved either by the United States Conference of Catholic Bishops or by the local diocesan bishop.” (STTL #144. See also GIRM #48)
So “Chant” should be understood in a general sense as “sung prayer” not the particular form “chant.”
To be even clearer, STTL also states, “Church legislation today permits as an option the use of vernacular hymns at the Entrance, Preparation of the Gifts, Communion, and Recessional. Because these popular hymns are fulfilling a properly liturgical role, it is especially important that they be appropriate to the liturgical action. In accord with an uninterrupted history of nearly five centuries, nothing prevents the use of some congregational hymns coming from other Christian traditions, provided that their texts are in conformity with Catholic teaching and they are appropriate to the Catholic Liturgy.” (STTL #115 d.)
Within the introductory rites, the dialogue between presider and people as well as Penitential Act #5 and #6 also have chant options in the missal. These Penitential Acts also have settings by contemporary composers. Recall that #6 provides for optional invocations taken from Appendix VI or even composed for the particular community, as long as the form is retained. (“You were sent to heal the contrite of heart: Lord have mercy.”) This allows for some creativity.
The Kyrie, either in English or Greek, is “Ordinarily done by all, that is by the people and the choir or cantor having a part in it.” (GIRM #52) STTL notes that it is ordinarily sung in a dialogue form between assembly and music ministry. (STTL #146)
A Sprinkling Rite may replace the Penitential Act, especially during Easter time. (GIRM #51, STTL #147). The prayers are found in Appendix II of the missal. The song that accompanies the sprinkling of the assembly is to be of a baptismal character, hence supporting the liturgical action.
The Gloria is an ancient hymn in our tradition. It is sung on Sundays outside of Advent and Lent, and Solemnities and Feasts. It may be through-composed or antiphonal, intoned by presider or cantor or choir. It may even be spoken, though given the solemnity of the days for which it is prescribed this would rarely be appropriate. It is not to accompany a sprinkling rite, if there is one, nor is it moved to a different part of the mass. (GIRM # 148-150, STTL #53)
Finally, the introductory rites conclude with the collect (opening prayer). This too may be chanted, and the tones are readily available in Appendix I in the missal.
In exploring just the portions of church documents on music and liturgy that address the introductory rites, you can see the many ways that music and liturgy are closely intertwined. In the next article in our series, we will continue to explore how the church documents guide our choices of music for the rest of the Mass.
Written by Mary Dumm, D.Min, who is a founding board member of CLEF and the pastoral associate at St. Blase Church in Sterling Heights, Michigan. Additionally, she teaches at Siena Heights University and SS. Cyril and Methodius Seminary.
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