Transcript Slide 1
Training and Formation
on the Roman Missal, 3
rd edition
LITURGICAL MUSICIANS
Overview: Session 1
Review basic liturgical principles Discuss the connection between liturgy and the Christian way of life Consider how our attitudes and actions will effect successful implementation in our parishes Reflect on the function of music in the liturgy Learn about the new translation of the 3
rd typical edition of the Roman Missal
The history of the Roman Missal Why this is happening now.
Who is involved in the translation process.
Review the new USCCB document on music within the liturgy: Sing to the Lord: Music in Divine Worship.
Overview: Session 2
Hear the new texts of the Ordinary
Sing through some of the ICEL chants
Hear samples of metrical settings of the Ordinary
Discuss how you might implement these new musical settings in your parish
Liturgical Catechesis
BASIC LITURGICAL PRINCIPLES
from the Constitution on the Sacred Liturgy
Liturgy is: Font and summit of our Christian life Intrinsically Musical Transformative The Center of the Christian life Paschal Mystery enacted Dynamic Liturgy leads to: True Christian Spirit Mission of Christ Daily Christian lifestyle Charity, justice and evangelization Community in Christ
Liturgy as Font and Summit
from the Constitution on the Sacred Liturgy [10] Still, the liturgy is the summit toward which the activity of the Church is directed . . . the fount from which all the Church’s power flows. [7] . . . Every liturgical celebration . . . Is a sacred action surpassing all others; no other action of the Church can equal its effectiveness.
Liturgy as Active Participation
from the Constitution on the Sacred Liturgy
[14] paraphrased The fullness of the liturgy is received by participating fully, consciously and actively in the liturgy: . . . full, conscious and active participation in the liturgy is the aim to be considered before all else; for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit
Liturgy as Center of the Christian Life
from the General Instruction of the Roman Missal (2002) [16] The celebration of Mass, as the action of Christ and the People of God arrayed hierarchically, is the center of the whole Christian life for the Church both universal and local, as well as for each of the faithful individually. . . . the other sacred actions and all the activities of the Christian life are bound up with it, flow from it, and are ordered to it.
Liturgy as Mission
Why do we call it the “Mass”?
The word “Mass” comes from the Latin, Ite missa est, which we now translate as “The Mass is ended. Go in peace.” From mittere which means “to send”. Ite indicates the imperative or command form.
We come to Mass to be “sent” out to love and serve.
Liturgy as Beginning, Middle and End Keeping it in Perspective
Is the Mass a beginning or the end?
‘”The Mass is ended”, indicates that our leaving Mass and what follows as we carry on with daily living are not separate actions. In other words, Sunday Mass is not a stand-alone occasion; rather, it is woven into the very fabric of Catholic life.” Koester, Anne Y., Sunday Mass: Our Role and Why It Matters, p. 58
Liturgy as Transformation
Christ has no body now on earth but yours.
St. Teresa of Avila
from the Constitution on the Sacred Liturgy [7] . . . in the liturgy the whole public worship is performed by the Mystical Body of Jesus Christ, that is, by the Head and his members.
[10] The liturgy in its turn move the faithful, filled with “the paschal sacraments,” to “one in holiness”; it prays that “they may hold fast in their lives to what they have grasped by the faith?; the renewal in the Eucharist of the covenant between the Lord and his people draws the faithful into the compelling love of Christ and sets them on fire.
[26] Liturgical services are not private functions, but are celebrations of the Church, which is the “sacrament of unity,” namely a holy people united and organized. Therefore, liturgical services involve the whole Body of the Church.
Liturgy as Song
from the Constitution on the Sacred Liturgy [112] The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this preeminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy.
Liturgy as Paschal Mystery
from the Constitution on the Sacred Liturgy [6]. . . the Church has never failed to come together to celebrate the Paschal Mystery: reading those things “which were in all the Scriptures concerning him, celebrating the Eucharist, in which “the victory and triumph of his death are again made present”; and at the same time giving thanks “to God for his inexpressible gift”.
Liturgy as Life
from Sing to the Lord: Music in Divine Worship [8] The Paschal hymn, of course, does not cease when a liturgical celebration ends. Christ, whose praises we have sung, remains with us and leads us through church doors to the whole world . . .
[9] Charity, justice, and evangelization are thus the normal consequences of liturgical celebration. . . The body of the Word Incarnate goes forth to spread the Gospel with full force and compassion.
Liturgy as Dynamic
from the Constitution on the Sacred Liturgy
[21] For the liturgy is made up of immutable elements divinely instituted, and of elements subject to change. These not only may, but ought to be changed with the passage of time if they have suffered from the intrusion of anything out of harmony with the inner nature of the liturgy . . .
Liturgical Changes in our Lifetime Changes to the Roman Missal since Vatican II
Interim Rite 1 st typical edition Latin (1965) English (1966) Latin (1969) English (1970) 2 nd typical edition Latin (1975) English (1985) 3rd typical edition Latin (2002) English (20??)
Accepting Change
Change can be frustrating, but it is part of life. The process of updating ritual texts is also part of the life of the Roman Catholic Church.
If Paschal Mystery-centered liturgy transforms us into the Body of Christ called to live the mission of the Gospel, how do we continue that mission as we begin the catechesis and implementation of a new translation of the Roman Missal?
Will we use this new translation as an opportunity for renewal and catechesis or will we focus on our own discomfort?
At this critical point in the history of the Church, will we be a force for unity or division?
Our Role in the Implementation Pastoral Musicians as Agents for Unity
Questions for Discussion What is the Church calling me as a Music Minister to do in preparation for this change?
How can I help others who find change difficult make this adjustment more easily?
How could my attitude, actions and words affect others in accepting these changes?
How can parish music ministers act as agents for unity in this time of change?
The Catechetical Role of Liturgical Musicians How Can I Assist in the Catechesis of the Assembly?
Modeling full, conscious and active participation.
Modeling Paschal Mystery living by embracing this change and focusing on the universal good.
Accepting that change is difficult and allowing others to “vent” to you while you share accurate information about the translation process.
Learning more about liturgy and sharing this information with others.
Serving the liturgy and attending to its proper preparation. Good liturgy catechizes.
Called from Worship into Service Lord Whose Love in Humble Service
Called from worship into service, forth in your great name we go.
To the child, the youth, the aged, love in living deeds to show, Hope and health, good will and comfort, counsel, aid, and peace we give, that your children Lord, in freedom may your mercy know and live
The 3
rd
typical edition of the
Roman Missal
•
History of the Missale Romanum
T h e 5 t h I n s t r u c t i o n o n V e r n a c u l a r I n s t r u c t i o n o n t h e R o m a n M i s s a l : •
Liturgiam Authenticam
•
The Process of Translation
A Brief History of the Roman Missal 900 1474 1570 1604 1634 1884
First appearance of a missal as we know it.
After invention of the printing press, the first book with the title Missale Romanum is printed Missal promulgated after Council of Trent Corrections and revisions to 1570 missal
1920 1962
Pope Leo XIII introduces new typical edition that takes into account all of the changes since Pope Urban VIII Revision by Pope Pius X Pope John XXIII issues a new typical edition of the Roman Missal
Why is the RM Being Retranslated Now?
Liturgiam Authenticam
In 2001,a new instruction on the use of vernacular languages in the publication of the books of the Roman Liturgy was released. It outlined a new process for the translation of sacred texts.
Two Objectives of
Liturgiam Authenticam
What did Liturgiam Authenticam want to change?
Objective #1: "To set forth anew, and in the light of the maturing of experience, the principles of translation to be followed in future translation" (LA, 7).
Liturgiam Authenticam (cont.)
Objective #2: "To consider anew the true notion of liturgical translation in order that the translations of the Sacred Liturgy into the vernacular" meet these two criteria: These vernacular texts will “stand secure as the authentic voice of the Church of God”; and They will be part of “a new era of liturgical renewal which . . . Safeguards also the faith and the unity of the whole Church of God”.
What will this new translation achieve?
Make the English (and other vernaculars) closer to the Latin Make the connection between Scripture and liturgy clearer Add prayers for recently canonized saints Add prefaces for the Eucharistic Prayers, Votive Masses, and Prayers for Various Needs and Intentions Update and revise rubrics (instructions) for the celebration of the Mass.
Who’s Who in the Translation Process Three Primary Committees Involved in Translation Process
ICEL (International Committee on English in the Liturgy) The Congregation for Divine Worship and the Discipline of the Sacraments
Vox Clara
ICEL International Committee on English in the Liturgy
Established in 1963 by the bishops of the English speaking countries that were in attendance at the Second Vatican Council.
It is a Commission of Conferences of Bishops in countries where English is used in the celebration of Sacred Liturgy according to the Roman Rite.
Purpose is to prepare the English translation of Latin Liturgical Books and texts at the direction of the Pope.
Bishops Conferences included in ICEL
Australia Canada England and Wales India Ireland New Zealand Pakistan The Philippines Scotland South Africa United States
Congregation for Divine Worship and the Discipline of the Sacraments
Part of the Roman Curia Responsibilities include: Regulation and promotion of the liturgy Promoting liturgical pastoral activity Revision of liturgical texts Granting the recognitio (approval) to translations of liturgical books and their adaptations Ensuring that liturgical norms are accurately observed
Vox Clara
Established on July 19, 2001 as part of the Roman Curia Assists and advises the Congregation for Divine Worship and the Discipline of the Sacraments in its responsibilities regarding the vernacular translations of liturgical texts.
12 bishops from the world’s English-speaking Bishops Conferences Reviews the translations of ICEL in light of the directives of Liturgiam Authenticam.
Liturgical Changes in our Lifetime How Did we Translate the Roman Missal in the Past?
The answer is simple, prior to Vatican II, we didn’t. All nations said the Mass in Latin. The issue of translating the Latin into several other vernacular languages is a relatively new development. We are learning as we go.
Putting it Together: The GIRM and the Roman Missal
What is the relationship between the GIRM and the 3rd typical edition of the Roman Missal?
The GIRM is the introduction to the Roman Missal. It will appear in the front of the new book. It give theological and rubrical information.
Putting it Together: The GIRM and the Roman Missal
November 2002 The English translation of the General Instruction of the Roman Missal was approved by the USCCB and confirmed by the Holy See on March 17, 2003.
The General Instruction of the Roman Missal, containing the basic outline and instructions for the celebration of Mass, includes a number of adaptations for the Dioceses of the United States. It was published by USCCB Publishing in 2003.
Putting it Together: The GIRM and the Roman Missal Why was the Introduction (GIRM) to the Missal published before the Missal?
The GIRM was completed prior to the Missal. In addition, the answer has to do with the different natures of these two texts. The language of the ritual text itself is much more controversial, because it is prayer. The GIRM is the “instruction manual” for the Roman Missal. This type of language uses a more straightforward process of translation. There are not as many variables.
History, Liturgiam Authenticam, and Translation
Questions and Answers
The Ministerial Function of Music in the Liturgy ART IN SERVICE TO COMMUNAL PRAYER
The Function of Music in the Liturgy
from the Introduction to the Order of Mass (USCCB 2003) [40] Liturgical Music as an art placed at the service of communal prayer, liturgical music is part of the liturgical action, one that is “a particularly apt way to express a joyful heart, accentuating the solemnity of the celebration and fostering the sense of a common faith and a shared love” 1 .
1
Dies Domini, no. 50
The Function of Music in the Liturgy
from the Constitution on the Sacred Liturgy [7] Manifests Christ’s presence in the assembly [30] Promotes active participation [33] Gives us a way to respond to God speaking to us in the liturgy and Christ proclaiming the Gospel [113] Gives the liturgy a nobler aspect
The Function of Music in the Liturgy
from The Constitution on the Sacred Liturgy [112] Serves a ministerial function Joins us to the liturgical rite Adds delight to prayer Invests the rites with greater solemnity Fosters oneness in Spirit Forms a necessary part of the solemn liturgy
What Do We Sing?
Scripture [CSL 24] Sacred Scripture is of the greatest importance in the celebration of the liturgy. For it is from Scripture that . . . psalms are sung; . . . Liturgical songs are scriptural in their inspiration.
Liturgical texts [IOM 46] The selection of liturgical music begins with the liturgical texts themselves. [IOM 40] The inestimable treasure of liturgical music is considered integral to worship because it is so closely bound to the liturgical texts.
Jesus in the Paschal Mystery [CSL 83] Christ Jesus, High Priest of the new and eternal covenant, taking human nature, introduced into this earthly exile the hymn that is sung throughout all ages in the halls of heaven.
Documents on the Use of Music in the Liturgy
FINDING DIRECTION
Documents on Music in the Liturgy
Musicam Sacram (1967)
Vatican
Music in Catholic Worship (1972)
US Bishops
Liturgical Music Today (1982)
US Bishops
Sing to the Lord: Music in Divine Worship (2007)
US Bishops
Documents on Music in the Liturgy
Musicam Sacram (1967)
. . . was the first document on liturgical music written in the wake of Vatican II. It was written as a universal instruction for the use of music in the liturgy. It was written in Latin and translated into other languages.
USCCB Documents on Music in the Liturgy
Music in Catholic Worship (1972) Liturgical Music Today (1982)
Documents on the appropriate use of music in the English liturgy promulgated by the USCCB (United States Conference of Catholic Bishops). Liturgical Music Today was considered a “supplement” to the Music in Catholic Worship.
Documents on Music in the Liturgy
Sing to the Lord: Music in Divine Worship (2007)
U.S. Conference of Catholic Bishops This document from the USCCB uses the foundational work of the Council fathers to remind the Church of its call to full, active, and conscious participation in the liturgy through song. At the same time, it addresses the practical concerns of pastoral leaders including cultural diversity, instrumentation, formation, acoustics, and copyrights. Finally, it outlines important considerations for preparing and selecting music for worship with an in-depth review of the musical structure of the liturgy.
What’s Inside STL?
Table of Contents I. Why We Sing II. The Church at Prayer III. The Music of Catholic Worship IV. Preparing Music for Catholic Worship V. The Musical Structure of Catholic Worship VI. Conclusion
Why We Sing
from Sing to the Lord: Music in Divine Worship God, the giver of song is present when his people sing his praises.
Music is a way for God to lead us to higher things.
Music is a sign of God’s love for us.
Music is a sign of our love for God, Singing together in church expresses the sacramental presence of God to his people.
Scripture tells us to sing as God’s Chosen People sang.
Why We Sing (cont.)
from Sing to the Lord: Music in Divine Worship St. Paul instructed the Ephesians to sing.
Song is a common, sung expression of faith.
Song strengthens our faith when it grows weak and draws us into the divinely inspired voice of the Church at prayer.
Music makes the liturgical prayers of the Christian community more alive and fervent.
Jesus and his apostles sang a hymn before their journey to the Mount of Olives.
Why We Sing (cont.)
from Sing to the Lord: Music in Divine Worship In Liturgy, we use words, gestures, signs, and symbols perceptible to the senses to proclaim Christ’s presence and to reply with our worship and praise.
The primordial song of the Liturgy is the canticle of victory over sin and death.
Charity, justice, and evangelization are particularly inspired by sung participation. It leads the body of the Word Incarnate to go forth to spread the Gospel with cull force and compassion.
The Gathered Liturgical Assembly
STL emphasizes the unified and self-sacrificing character of the assembly.
[24] “In the celebration of Mass the faithful form a holy people, a people whom God has made his own, a royal priesthood, so that they may give thanks to God and offer the spotless Victim not only through the hands of the priest but also together with him, and so that they may learn to offer themselves.”
Latin in the Liturgy
Sing to the Lord: Music in Divine Worship
Chapter II, Section I discusses the use of Latin in the liturgy. While it states that the vernacular is the norm, it suggests that all assemblies should know at least their parts in Latin. This would be helpful at multi cultural or international celebrations. It also states that if Latin is used, it should be pronounced correctly and the chants should be well exe.cuted
The Human Voice What is the Most Important Instrument in the Church?
[STL 86] Of all the sounds of which human beings, created in the image and likeness of God, are capable, voice is the most privileged and fundamental. Musical instruments in the Liturgy are best understood as an extension of and support for the primary liturgical instrument, which is the human voice.
What Parts Do We Sing?
from Sing to the Lord: Music in Divine Worship A.
B.
C.
D.
Dialogues and Acclamations Antiphons and Psalms Refrains and Repeated Responses Hymns
Sing to the Lord: Music in Divine Worship
Dialogues and Acclamations
STL re-emphasizes the importance of the sung dialogues between the priest/deacon and the acclamations.
Chapter IV is entitled “Preparing Music for Catholic Worship”. The contents of Section A: [115a] states: “What Parts Do We Sing” are listed here. Among the parts to be sung, preference should be given “especially to those to be sung by the priest or the deacon or the lector, with the people responding, or by the priest and people together.”
STL: Antiphons and Psalms
Antiphons and Psalms
[STL 115b]The psalms are poems of praise that are meant, whenever possible, to be sung.
The Responsorial Psalm after the 1 st reading “holds great . . . importance, because it fosters meditation on the word of God.” Psalms are also appropriate for the Entrance and Communion chants
STL: Refrains and Repeated Responses
Refrains and Repeated Responses
[STL 115c]The Liturgy also has texts of a litanic character that may be sung as appropriate.
These include the Kyrie and Agnus Dei of the Mass, the response to the Prayer of the Faithful at Mass or the intercessions at Morning Prayer and Evening Prayer, and the Litany of the Saints in various rites.
Hymns
Hymns
[STL 115d] Hymns that have been judged appropriate by the competent authorities may be used.
Hymns may be used at the Entrance, Preparation of the Gifts, Communion and Recessional.
Should be appropriate to liturgical action.
Hymns from non-Catholic traditions may be used if the text is in conformity with Catholic teaching.
Music at Daily Mass
STL encourages the assembly to sing some of the dialogues and chants even at daily Mass. It states, “Even when musical accompaniment is not possible, every attempt should be made to sing the acclamations and dialogues.”
Sing to the Lord: Music in Divine Worship
Sacred Silence STL re-emphasizes the importance of silence as an element of liturgical music. It states, “The importance of silence in the Liturgy cannot be overemphasized.
Judging the Qualities of Music for the Liturgy
The Three Judgments: One Evaluation STL reiterates the concept of the Three Judgments needed in selecting liturgical music: Liturgical Pastoral Musical
STL: The Three Judgments
The Liturgical Judgment Is this composition capable of meeting the structural and textual requirements set forth by the liturgical books for this particular rite?
STL: The Three Judgments
The Pastoral Judgment Does a musical composition promote the sanctification of the members of the liturgical assembly by drawing them closer to the holy mysteries being celebrated?
STL: The Three Judgments
The Musical Judgment Does this composition have the necessary aesthetic qualities to bear the weight of the mysteries celebrated in the liturgy. It is technically, aesthetically, and expressively worthy?
References Cited
1.
Constitution on the Sacred Liturgy (Sacrosanctum Concilium) Second Vatican Ecumenical Council 1963
2.
General Instruction on the Roman Missal (Third Typical Edition), English Translation, International Committee on English in the Liturgy, USCCB, Washington DC 2002
3.
Introduction to the Order of Mass: A Pastoral Resource of the Bishops’
Committee on the Liturgy, Pastoral Liturgy Series 1, USCCB, Washington DC 2003
4.
5.
Sing to the Lord: Music in Divine Worship, Pastoral Liturgy Series 4, USCCB Washington DC 2007 Koester, Anne Y., Sunday Mass: Our Role and Why It Matters, Liturgical Press, Collegeville MN