The Entrance Chant:
48. This chant is 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 In the Dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Missal or the antiphon with its Psalm from the Graduale Romanum as set to music there or in another setting; (2) the antiphon and Psalm from the Graduale Simplex for 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 metrical and responsorial forms; (4) another liturgical chant that is suited to the action, the day, or the time of year, similarly approved by the Conference of Bishops or the Diocesan Bishop
The Preparation of the Gifts
74. The procession bringing the gifts is accompanied by the Offertory Chant (cf. no. 37 b), which continues at least until the gifts have been placed on the altar. The norms on the matter 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.
Communion
87. 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 music 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 repsonsorial and metrical forms; (4) some other suitable liturgical chant (cf. no. 86) approved by the Conference of Bishops or the Diocesan bishop. ...
Vernacular hymns
The singing of hymns in the vernacular was also a feature of most people’s experience of the “New Mass”. This, too, was promoted by liturgists before the Council. In some European countries, especially in German-speaking ones, hymns had been sung at Mass for centuries and some ethnic parishes in the US retained the custom. Though it was not the general practice, some liturgists — especially those who worked for more use of the vernacular —began to encourage hymn-singing at Mass.
In 1956 there was a presentation called “Making Active Participation Come to Life” at the Liturgical Week sponsored by the Liturgical Conference. In it Father Eugene Walsh, SS, a professor at Baltimore’s St. Mary Seminary, introduced what he claimed was “the most all round useful means for making active participation come to life, a program that is to be used at low Mass”. (“Making Active Participation Come to Life” People’s Participation and Holy Week: 17th North American Liturgical Week. Elsberry, MO: The Liturgical Conference, 1957, pp. 47-48.)
The program consisted of a “dialogue Mass” at which the people spoke their responses in Latin and also sang hymns in English at the Entrance, Offertory, Communion, and at the end of Mass. Father Walsh clearly thought this method of participation was superior to the singing of the actual Mass texts in Gregorian chant.
During the discussion after Father Walsh’s presentation, two priests in the audience, both from rural parishes, explained how they were able to instruct their parishioners in the basic Gregorian chants so that they could regularly participate in the sung high Mass. But Father Walsh defended the superiority of his “Low Mass Program”.
I think we must always distinguish between participating, and participating with an insistence on learning.… I come from a large urban area, and I feel that we have to reach all of these people, and I do not think that we can do it just by the sung Mass. This is one of the beginning programs which lends itself to more simplicity and perhaps is catechetically better because it is more in the language of the people…. (p. 48)
In 1958 the Sacred Congregation for Rites issued the “Instruction on Sacred Music and the Sacred Liturgy”, which explicitly allowed such vernacular singing, but did not consider it “direct participation” because it did not involve the actual liturgical texts prescribed for those parts of the Mass.
At low Mass the faithful who participate directly in the liturgical ceremonies with the celebrant by reciting aloud the parts of the Mass which belong to them must, along with the priest and his server, use Latin exclusively.
But if, in addition to this direct participation in the liturgy, the faithful wish to add some prayers or popular hymns, according to local custom, these may be recited or sung in the vernacular. (§14b)
The practices that were introduced on November 29, 1964 — use of the vernacular language, the priest celebrating Mass facing the people, singing vernacular hymns, standing to receive Communion and the removal of altar rails — were almost universally understood to be part of the “New Mass”. As we see, none of these were required by the Second Vatican Council’s Constitution on the Liturgy, but all had a significant “pre-conciliar” history.
I would like to hear from, if there is such a person around, someone who can speak to the pre-contemporary use of hymnody in Mass, and its development into our current practices. If we sing hymns because we are copying Lutherans, that is bad. If we sing hymns because we have always sung hymns (regardless of whether the official Liturgical Books agree on the matter) that would be an entirely different thing altogether.
"If we sing hymns because we are copying Lutherans, that is bad."
Why, Adam?
is our paradigm for choosing hymns at Mass, and then our paradigm for what makes a Catholic hymnal, based on the Low Mass idea of the '50's; and if so, should we not be striving for something higher?
1. HYMNS. I gather the best texts and music that I could find, had the text mimeographed on sheets, in order to try them out, and eventually selected the best-suited. I was, and still am, convinced that one should not begin with Latin but with English. These hymns were for before and after Holy Mass and for evening services. First they were practiced with the children; then in church with people and childn (usually after evening services) and also in society meetings. Now our parish sings over 100 hymns, which were printed on durable cards in the color of the various seasons. Before services the number of the hymns are posted on the hymn-board.
3. I am firmly convinced that we need a reasonable reduction of black Masses, lest a spiritual black-out is experienced. No organist for any length of time can play a daily Requiem (or two or three on the same day) and remain spiritually fresh; nor will priest and people--especially the children. If endless Requiems were according to the mind of the Church, why did the Church not supply us with some five or six different musical settings? We have eighteen chant Masses for feasts, but only ONE for the "Requiem." Est modus in rebus. It is not difficult to teach the people to ask Masses of the Day instead of Requiems for their offerings. From a pastoral viewpoint the "Requiem problem" is a serious matter.
Yup. The "Missa Cantata" or the real Solemn High Mass (defined above) is the ideal, complete with congregation singing all the responses and Ordinary in Chant, maybe even the antiphons of Introit, Offertory, and Communion propers.
This answers the original question quite succinctly and accurately, from all my own research.
sacred silence?
To participate in the discussions on Catholic church music, sign in or register as a forum member, The forum is a project of the Church Music Association of America.