Liturgical Music:
The Ideal, The Innovation, The Future

Gary D. Penkala

What follows is an outline of a talk given on one evening of a week-long "Adult Vacation Bible School" at Saint James Catholic Church in Charles Town WV, on July 12, 2012.

• The Ideal is rooted in Roman sources, particularly from Vatican II and following.
• The Innovations stem from work of the Consilium (Archbishop Annibale Bugnini)
• The Future lies with us — the "Faithful Moderates"!

A) The IDEAL Music of the Mass

Finding the "ideal" — What are some of the sources?

1. Tra le sollicitudini [TLS] Motu proprio of Pope Saint Pius X (1903)
2. Mediator Dei [MD] Venerable Pope Pius XII (1947)
3. Musicæ sacræ [MS-55] Venerable Pope Pius XII (1955)
4. Sacrosanctum concilium [SC-VII] Constitution on the Sacred Liturgy, Vatican Council II (1963)
5. Musicam sacram [MS-67] Servant of God, Pope Paul VI (1967)
6. General Instruction on the Roman Missal [GIRM] Vatican CDWDS (2002)
7. Chirograph on Sacred Music [CSM] Pope Blessed John Paul II (2003)
8. Redemptionis Sacramentum [RS] Vatican CDWDS (2004)
9. Sacramentum caritatis [SC-Ben] Pope Benedict XVI (2007), gloriously reigning

The Mass

Prelude: No specific mention is made of a prelude in the documents

In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things [SC-VII 120].

Entrance Chant: Introit from Roman Missal (Latin or English) or Graduale Romanum (Latin)

… the antiphon from the Missal or the antiphon with its Psalm from the Graduale Romanum, as set to music there or in another setting … sung alternately by the choir and the people or similarly by a cantor and the people, or entirely by the people, or by the choir alone [GIRM 48].

Greeting: sung; music is provided in The Roman Missal

… in the choosing of the parts actually to be sung, preference is to be given to those that are of greater importance and especially to those which are to be sung by the Priest with the people replying [GIRM 40].

Penitential Act [Kyrie eleison]: sung alternately by cantor/choir and people; music is provided in The Roman Missal in English and Greek chant

… it is usually executed by everyone, that is to say, with the people and the choir or cantor taking part in it. Each acclamation is usually pronounced twice, though it is not to be excluded that it be repeated several times, by reason of the character of the various languages, as well as of the artistry of the music or of other circumstances [GIRM 52].

— or —

Sprinkling Rite: Vidi aquam or I Saw Water Flowing

From time to time on Sundays, especially in Easter Time, instead of the customary Penitential Act, the blessing and sprinkling of water may take place as a reminder of Baptism [GIRM 51].

Gloria: sung; music is provided in The Roman Missal in English and Latin chant

The Gloria in excelsis (Glory to God in the highest) is intoned by the Priest or, if appropriate, by a cantor or by the choir; but it is sung either by everyone together, or by the people alternately with the choir, or by the choir alone. It is sung or said on Sundays outside Advent and Lent, and also on Solemnities and Feasts, and at particular celebrations of a more solemn character [GIRM 53].

Collect: sung according to tones in The Roman Missal (solemn tone or simple tone)

The following belong to the first degree: (a) In the entrance rites: … the Prayer (Collect) [MS-67 #29].

All the presidential prayers in the Missal (Collects, Prayers over the Offerings, Prayers after Communion) may be pointed for use with the solemn tone … or the simple tone. [Roman Missal, Appendix I].

First Reading: normally read, but may be sung; always in the vernacular

Tones for the Readings: I. The Old Testament and Acts of the Apostles [Roman Missal, Appendix I].

Responsorial Psalm: sung by psalmist (cantor), with people taking response as indicated in The Lectionary

It is preferable for the Responsorial Psalm to be sung … the psalmist, or cantor of the Psalm, sings the Psalm verses at the ambo or another suitable place, while the whole congregation sits and listens, normally taking part by means of the response, except when the Psalm is sung straight through, that is, without a response. In the Dioceses of the United States of America, instead of the Psalm assigned in the Lectionary, there may be sung either the Responsorial Gradual from the Graduale Romanum, or the Responsorial Psalm or the Alleluia Psalm from the Graduale Simplex, as described in these books, or an antiphon and Psalm from another collection of Psalms and antiphons, including Psalms arranged in metrical form, providing that they have been approved by the Conference of Bishops or the Diocesan Bishop. Songs or hymns may not be used in place of the Responsorial Psalm [GIRM 61].

Second Reading: normally read, but may be sung; always in the vernacular

Tones for the Readings: II. The Epistle and the Book of Revelation [Roman Missal, Appendix I].

Gospel Acclamation: sung by everyone, led by choir or cantor

It is sung by everybody, standing, and is led by the choir or a cantor. The verse, on the other hand, is sung either by the choir or by a cantor [GIRM 62].

Gospel: may be sung, even if other readings are not

The reading of the Gospel constitutes the high point of the Liturgy of the Word. The Liturgy itself teaches the great reverence that is to be shown to this reading by setting it off from the other readings with special marks of honor [GIRM 60]. Tones for the Readings: III. The Gospel [Roman Missal, Appendix I].

Homily: always spoken, always in the vernacular

The Homily is part of the Liturgy and is highly recommended, for it is necessary for the nurturing of the Christian life. It should be an explanation of some aspect of the readings from Sacred Scripture or of another text from the Ordinary or the Proper of the Mass of the day and should take into account both the mystery being celebrated and the particular needs of the listeners [GIRM 65].

Profession of Faith [Creed]: sung by everyone; music is provided in The Roman Missal in English and Latin chant

The Creed is to be sung or said by the Priest together with the people on Sundays and Solemnities. If it is sung, it is intoned by the Priest or, if appropriate, by a cantor or by the choir. It is then sung either by everybody together or by the people alternating with the choir [GIRM 68].

Universal Prayer [Prayer of the Faithful]: the response may be sung by the people, as well as the petitions by a cantor

Music given for the Prayer of the Faithful [Roman Missal, Appendix I].

Preparation of the Gifts [Offertory]: Offertory from Graduale Romanum (Latin) This chant was never translated for The Roman Missal.

The procession bringing the gifts is accompanied by the Offertory Chant, which continues at least until the gifts have been placed on the altar. The norms on the manner of singing are the same as for the Entrance Chant (cf. no. 48). Singing may always accompany the rite at the Offertory, even when there is no procession with the gifts [GIRM 74].

Prayer over the Offerings: sung according to tones in The Roman Missal (solemn tone or simple tone)

The following belong to the first degree: (c) In the Eucharistic Liturgy: the Prayer over the Offerings [MS-67 #29].

All the presidential prayers in the Missal (Collects, Prayers over the Offerings, Prayers after Communion) may be pointed for use with the solemn tone … or the simple tone. [Roman Missal, Appendix I].

Preface Dialogue: sung according to tones in The Roman Missal

The following belong to the first degree: (c) In the Eucharistic Liturgy: the preface with its dialogue and the Sanctus [MS-67 #29].

… in the choosing of the parts actually to be sung, preference is to be given to those that are of greater importance and especially to those which are to be sung by the Priest with the people replying [GIRM 40].

Preface: sung according to tones in The Roman Missal — every Preface is written out with music

The following belong to the first degree: (c) In the Eucharistic Liturgy: the preface with its dialogue and the Sanctus [MS-67 #29].

Sanctus: sung by everyone; music is provided in The Roman Missal in English and Latin chant

The following belong to the first degree: (c) In the Eucharistic Liturgy: the preface with its dialogue and the Sanctus [MS-67 #29].

The whole congregation, joining with the heavenly powers, sings the Sanctus (Holy, Holy, Holy). This acclamation, which constitutes part of the Eucharistic Prayer itself, is pronounced by all the people with the Priest.

Eucharistic Prayer [first half]: may be sung; Chants for the Eucharistic Prayers are provided in The Roman Missal

Now the center and high point of the entire celebration begins, namely, the Eucharistic Prayer itself, that is, the prayer of thanksgiving and sanctification [GIRM 78].

Mystery of Faith: may be sung

This acclamation is not even mentioned in lists of important elements of the Eucharistic Prayer.

Eucharistic Prayer [second half]: may be sung; Chants for the Eucharistic Prayers are provided in The Roman Missal

Now the center and high point of the entire celebration begins, namely, the Eucharistic Prayer itself, that is, the prayer of thanksgiving and sanctification [GIRM 78].

Amen: everyone should sing

The following belong to the first degree: (c) In the Eucharistic Liturgy: the final doxology of the Canon [MS-67 #29].

The concluding doxology ("Through him and with him …", by which the glorification of God is expressed and which is affirmed and concluded by the people's acclamation Amen.

Lord's Prayer: should be sung; music is provided in The Roman Missal in English and Latin chant

The following belong to the first degree: (c) In the Eucharistic Liturgy: the Lord's prayer with its introduction and embolism MS-67 #29].

The invitation, the Prayer itself, the embolism, and the doxology by which the people conclude these things are sung or are said aloud [GIRM 81].

Rite of Peace: sung; music is provided in The Roman Missal.

Fraction / Agnus Dei: sung; music is provided in The Roman Missal in English and Latin chant

The supplication Agnus Dei (Lamb of God) is usually sung by the choir or cantor with the congregation replying; or at least recited aloud. This invocation accompanies the fraction of the bread and, for this reason, may be repeated as many times as necessary until the rite has been completed. The final time it concludes with the words, "grant us peace" [GIRM 83].

Communion Chant: Communion Antiphon from Roman Missal (Latin or English) or Graduale Romanum (Latin)

While the Priest is receiving the Sacrament, the Communion Chant is begun, its purpose being to express the spiritual union of the communicants by means of the unity of their voices, to show gladness of heart, and to bring out more clearly the "communitarian" character of the procession to receive the Eucharist. The singing is prolonged for as long as the Sacrament is being administered to the faithful. [GIRM 86].

In the Dioceses of the United States of America, there are four options for singing at Communion:

1. the antiphon from the Missal or the antiphon with its Psalm from the Graduale Romanum, as set to music there or in another musical setting;
2. the antiphon with Psalm from the Graduale Simplex of the liturgical time;
3. a chant from another collection of Psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including Psalms arranged in responsorial or metrical forms;
4. some other suitable liturgical chant (cf. no. 86) approved by the Conference of Bishops or the Diocesan Bishop. This is sung either by the choir alone or by the choir or a cantor with the people [GIRM 87].

[Song after Communion]: optional

When the distribution of Communion is over, if appropriate, the Priest and faithful pray quietly for some time. If desired, a Psalm or other canticle of praise or a hymn may also be sung by the whole congregation [GIRM 88].

Prayer after Communion: sung according to tones in The Roman Missal (solemn tone or simple tone)

The following belong to the first degree: (c) In the Eucharistic Liturgy: the prayer after the Communion [MS-67 #29].

All the presidential prayers in the Missal (Collects, Prayers over the Offerings, Prayers after Communion) may be pointed for use with the solemn tone … or the simple tone. [Roman Missal, Appendix I].

Blessing: may be sung; music is provided in The Roman Missal

Music given for use: At the Solemn Blessing [Roman Missal, Appendix I].

Dismissal: should be sung; music is provided in The Roman Missal

The following belong to the first degree: (c) In the Eucharistic Liturgy: the formulas of dismissal [MS-67 #29].

[Closing Song -or- Organ Recessional]: choose anything

There is absolutely no mention of any specific kind of music after the deacon's dismissal and the people's response.

Some generalizations about the IDEAL:

1. Why does the Ideal include congregational singing?

   " …the pre-eminent manifestation of the Church consists in the full active participation of all God's holy people in these (cathedral) liturgical celebrations" [SC-VII 41].

   One (but not the only) manifestation of this is corporate singing by the entire congregation.
    

2. Why does the Ideal include music for choir [or Schola as it's called in many documents]?

   "The treasure of sacred music is to be preserved and fostered with great care. Choirs must be diligently promoted" [SC-VII 114].

   Choirs must not "replace" the people's participation, but neither, in those places specified by the documents (like the Introit, Gloria, Communion) should the people feel that the choir's singing somehow "infringes" on their rights to always sing these parts.
    

3. Why does the Ideal include English (the vernacular) for the people?

   "Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites. But since the use of the mother tongue (vernacular) frequently may be of great advantage to the people, the limits of its employment may be extended. This will apply in the first place to the readings and directives, and to some of the prayers and chants [SC-VII 36].
   
   "In Masses which are celebrated with the people, a suitable place may be allotted to their mother tongue. This is to apply in the first place to the readings and the Prayer of the Faithful." [SC-VII 54].

   Some use of the vernacular was envisioned by the Council to aid the people's understanding of the readings, in particular.
    

4. Why does the Ideal include Latin for the people?

   "Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites" [SC-VII 36].
   
   "Steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them" [SC-VII 54]
   
   "The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services" [SC-VII 116]