2020-11-01 Gregorian Chant, Preliminary
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Introitus: the Entrance Chant of the Mass in the Roman Rite
Introitus: The Entrance Chant of the mass in the Roman Rite The Introit (introitus in Latin) is the proper chant which begins the Roman rite Mass. There is a unique introit with its own proper text for each Sunday and feast day of the Roman liturgy. The introit is essentially an antiphon or refrain sung by a choir, with psalm verses sung by one or more cantors or by the entire choir. Like all Gregorian chant, the introit is in Latin, sung in unison, and with texts from the Bible, predominantly from the Psalter. The introits are found in the chant book with all the Mass propers, the Graduale Romanum, which was published in 1974 for the liturgy as reformed by the Second Vatican Council. (Nearly all the introit chants are in the same place as before the reform.) Some other chant genres (e.g. the gradual) are formulaic, but the introits are not. Rather, each introit antiphon is a very unique composition with its own character. Tradition has claimed that Pope St. Gregory the Great (d.604) ordered and arranged all the chant propers, and Gregorian chant takes its very name from the great pope. But it seems likely that the proper antiphons including the introit were selected and set a bit later in the seventh century under one of Gregory’s successors. They were sung for papal liturgies by the pope’s choir, which consisted of deacons and choirboys. The melodies then spread from Rome northward throughout Europe by musical missionaries who knew all the melodies for the entire church year by heart. -
Understanding When to Kneel, Sit and Stand at a Traditional Latin Mass
UNDERSTANDING WHEN TO KNEEL, SIT AND STAND AT A TRADITIONAL LATIN MASS __________________________ A Short Essay on Mass Postures __________________________ by Richard Friend I. Introduction A Catholic assisting at a Traditional Latin Mass for the first time will most likely experience bewilderment and confusion as to when to kneel, sit and stand, for the postures that people observe at Traditional Latin Masses are so different from what he is accustomed to. To understand what people should really be doing at Mass is not always determinable from what people remember or from what people are presently doing. What is needed is an understanding of the nature of the liturgy itself, and then to act accordingly. When I began assisting at Traditional Latin Masses for the first time as an adult, I remember being utterly confused with Mass postures. People followed one order of postures for Low Mass, and a different one for Sung Mass. I recall my oldest son, then a small boy, being thoroughly amused with the frequent changes in people’s postures during Sung Mass, when we would go in rather short order from standing for the entrance procession, kneeling for the preparatory prayers, standing for the Gloria, sitting when the priest sat, rising again when he rose, sitting for the epistle, gradual, alleluia, standing for the Gospel, sitting for the epistle in English, rising for the Gospel in English, sitting for the sermon, rising for the Credo, genuflecting together with the priest, sitting when the priest sat while the choir sang the Credo, kneeling when the choir reached Et incarnatus est etc. -
Low Requiem Mass
REQUIEM LOW MASS FOR TWO SERVERS The Requiem Mass is very ancient in its origin, being the predecessor of the current Roman Rite (i.e., the so- called “Tridentine Rite”) of Mass before the majority of the gallicanizations1 of the Mass were introduced. And so, many ancient features, in the form of omissions from the normal customs of Low Mass, are observed2. A. Interwoven into the beautiful and spiritually consoling Requiem Rite is the liturgical principle, that all blessings are reserved for the deceased soul(s) for whose repose the Mass is being celebrated. This principle is put into action through the omission of these blessings: 1. Holy water is not taken before processing into the Sanctuary. 2. The sign of the Cross is not made at the beginning of the Introit3. 3. C does not kiss the praeconium4 of the Gospel after reading it5. 4. During the Offertory, the water is not blessed before being mixed with the wine in the chalice6. 5. The Last Blessing is not given. B. All solita oscula that the servers usually perform are omitted, namely: . When giving and receiving the biretta. When presenting and receiving the cruets at the Offertory. C. Also absent from the Requiem Mass are all Gloria Patris, namely during the Introit and the Lavabo. D. The Preparatory Prayers are said in an abbreviated form: . The entire of Psalm 42 (Judica me) is omitted; consequently the prayers begin with the sign of the Cross and then “Adjutorium nostrum…” is immediately said. After this, the remainder of the Preparatory Prayers are said as usual. -
Gregorian Chant, a Textbook for Seminaries, Novitiates And
^» «»»» * » » » 3 » Please handle this volume with care. The University of Connecticut Libraries, Storrs Music MT K6 C-7 MUSIC LIBRARY UNIVERSITY OF CONNECTICUT §TQRRS, CONNECTICUT MUSIC LIBRARY UNIVERSITY OF CONNECTICUT 8T0RRS, CONNECTICUT Digitized by the Internet Archive in 2013 http://archive.org/details/gregorianchantteOOklar GREGORIAN CHANT GREGORIAN CHANT A TEXTBOOK FOR SEMINARIES, NOVITIATES AND SECONDARY SCHOOLS MUSIC LIBRARY CUI ONWER^OFCON CONHECTICUIS STORRS. by REV. ANDREW F. KLARMANN Teacher of Music Cathedral College, Brooklyn, N. Y. Published by GREGORIAN INSTITUTE OF AMERICA TOLEDO, OHIO Imprimatur *MOST REV. THOMAS E. MOLLOY, S.T.D. ~* Bishop of Brooklyn * i Nihil Obstat REV. JOHN F. DONOVAN^ Censor Ltbrorum JANUARY 27, 1945 Desclee and Company of Tournai, Belgium, has granted permission to the author to use the rhythmic marks in this textbook. Copyright, 1945, by Gregorian Institute printed in u.s.a. all rights reserved Dedicated to MOST REVEREND THOMAS E. MOLLOY Bishop of Brooklyn FOREWORD In the following pages Father Klarmann presents a clear, orderly, systematic treatment of liturgical chant. At the very beginning of his treatise he provides an explanation of certain fundamental terms, such as notation, signs, rhythm, chant structure, etc., which is very serviceable in preparing the reader for the fuller development of the general theme in the sub- sequent chapters of this book. With the same thought and purpose the author more particu- larly gives an early definition of the chief subject of discussion, namely, chant, which he defines, in the usually accepted sense, as liturgical music in the form of plain song, which is monophonic, unaccompanied and free in rhythm. -
In Latin and English
THE HOLY MASS OF THE SECOND VATICAN COUNCIL in Latin and English for the Solemn Celebration of the Ordinary Form of the Roman Rite at St. John the Beloved Catholic Church in McLean, Virginia “Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites.” (Vatican II, Sacrosanctum Concilium, n. 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.” (Vatican II, Sacrosanctum Concilium, n. 50) “Pastors of souls should take care that besides the vernacular ‘the faith- ful may also be able to say or sing together in Latin those parts of the Ordinary of the Mass which pertain to them.”’ (Sacred Congregation of Rites, Musicam sacram (1967), n. 47) “The Roman Church has special obligations towards Latin, the splen- did language of ancient Rome, and she must manifest them whenever the occasion presents itself.” (John Paul II, Dominicae cenae (1980), n. 10) “Mass is celebrated either in Latin or in another language, provided that liturgical texts are used which have been approved according to the norm of law. Except in the case of celebrations of the Mass that are scheduled by the ecclesiastical authorities to take place in the language of the people, Priests are always and everywhere permitted to celebrate Mass in Latin.” (Congregation for Divine Worship and the Discipline of the Sacraments, Redemptionis Sacramentum (2004), n. 112) “I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we for- get that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.” (Bene- dict XVI, Sacramentum caritatis (2007), n. -
The Epistle Revelation 21:1-6A
The Feast of All Saints, Year B The Epistle Revelation 21:1-6a START HERE A Reading from the Book of Revelation. saw a new heaven and a new earth; will be with them; he will wipe every Ifor the first heaven and the first tear from their eyes. Death will be no earth had passed away, and the sea was more; mourning and crying and pain no more. And I saw the holy city, the will be no more, for the first things new Jerusalem, coming down out of have passed away.” And the one who heaven from God, prepared as a bride was seated on the throne said, “See, I adorned for her husband. And I heard a am making all things new.” Also he loud voice from the throne saying, “See, said, “Write this, for these words are the home of God is among mortals. He trustworthy and true.” Then he said to will dwell with them as their God; they me, “It is done! I am the Alpha and the will be his peoples, and God himself Omega, the beginning and the end.” Allow for a brief silence, then say: The Word of the Lord. Revised Common Lectionary NRSV Translation The Feast of All Saints, Year B The Psalm Psalm 24 START HERE Please join me in reading verses from Psalm 24 responsively by half verse. 1 The earth is the Lord’s and all that is in it, * the world and all who dwell therein. 2 For it is he who founded it upon the seas * and made it firm upon the rivers of the deep. -
Gregorian Chant
GREGORIAN CHANT GREGORIAN CHANT A TEXTBOOK FOR SEMINARIES, NOVITIATES AND SECONDARY SCHOOLS by REV. ANDREW F. KLARMANN Published by GREGORIAN INSTITUTE OF AMERICA TOLEDO, OHIO Imprimatur *MOST REV. THOMAS E. MOLLOY, S.T.D. Bishop of Brooklyn Nihil Obstat REV. JOHN F. DONOVAN Censor Librorum JANUARY 27, 1945 Desclee and Company of Tournai, Belgium, has granted permission to the author to use the rhythmic marks in this textbook. COPYRIGHT, 1945. BY GREGORIAN INSTITUTE PRINTED IN U.S.A. ALL RIGHTS RESERVED Dedicated to MOST REVEREND THOMAS E. MOLLOY BISHOP OF BROOKLYN FOREWORD In the following pages Father Klarmann presents a clear, orderly, systematic treatment of liturgical chant. At the very beginning of his treatise he provides an explanation of certain fundamental terms, such as notation, signs, rhythm, chant structure, etc., which is very serviceable in preparing the reader for the fuller development of the general theme in the sub- sequent chapters of this book. With the same thought and purpose the author more particu- larly gives an early definition of the chief subject of discussion, namely, chant, which he defines, in the usually accepted sense, as liturgical music in the form of plain song, which is monophonic, unaccompanied and free in rhythm. Very interestingly also chant structure is explained. The author then proceeds to record the his- torical development of chant at least in its salient features. It is readily understood of course that the Infant Church could not promote a notable advancement in liturgical music during the period of ruthless persecution. And still it seems quite certain that even in the catacombs hymns were used in connection with religious worship. -
Textbook of Gregorian Chant
TEXT BOOK OF GREGORIAN CHANT ACCORDING TO THE SOLESMES METHOD BY Dom Gregory SUNOL, 0. S. B., Monk of Montserrat TRANSLATED FROM THE SIXTH FRENCH EDITION WITH AN INTRODUCTION BY G. M. DURNFORD OBLATE OF SOLESHES. SOCIETY OF ST JOHN EVANGELIST D£SCLEE & Co Printers to the Holy See and the Sacred Coogr. of Rites TOURNAI (Belgium) PREFACE. Few words are necessary to introduce the present work to English speaking students of plainsong. Such a handbook has long been needed and is sure of its welcome. Neither the well- known Stanbrook Grammar of Plainsong nor Madame Ward's valuable school courses cover so much ground as Dom Gregory Suflol in his Spanish " Metodo ". The book first appeared in 1905, prefaced by a commendatory letter from Dom Andre Mocquereau, the famous director of the Solesmes School. Its author has many years of teaching experience behind him, as well as sound theoret- ical knowledge of his subject. His work has proved its popu- larity and practical usefulness by going through a number of editions in the original Spanish, besides being translated into French and German. Indeed by compressing the Solesmes teach- ing within the narrow limits of a general text book Dom Sufiol has rendered good service to the Gregorian cause. Not everyone has access to the monumental publications of Solesmes, the Mono- graphies gregoriennes or the Paleographie Musicale> and countless students will be glad to find the subject matter of this latter Work, especially the important seventh volume on Gregorian Rhythm, here summed up and analysed, while the extensive quotations from Dom Mocquereau's Nombre Musical gregorien, with which the Spanish author has enriched his later editions, will make them desirous of seeing this fascinating synthesis of the whole subject brought out in English. -
Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: -
Pdf • an American Requiem
An American Requiem Our nation’s first cathedral in Baltimore An American Expression of our Roman Rite A Funeral Guide for helping Catholic pastors, choirmasters and families in America honor our beloved dead An American Requiem: AN American expression of our Roman Rite Eternal rest grant unto them, O Lord, And let perpetual light shine upon them. And may the souls of all the faithful departed, through the mercy of God, Rest in Peace. Amen. Grave of Father Thomas Merton at Gethsemane, Kentucky "This is what I think about the Latin and the chant: they are masterpieces, which offer us an irreplaceable monastic and Christian experience. They have a force, an energy, a depth without equal … As you know, I have many friends in the world who are artists, poets, authors, editors, etc. Now they are well able to appre- ciate our chant and even our Latin. But they are all, without exception, scandalized and grieved when I tell them that probably this Office, this Mass will no longer be here in ten years. And that is the worst. The monks cannot understand this treasure they possess, and they throw it out to look for something else, when seculars, who for the most part are not even Christians, are able to love this incomparable art." — Thomas Merton wrote this in a letter to Dom Ignace Gillet, who was the Abbot General of the Cistercians of the Strict Observance (1964) An American Requiem: AN American expression of our Roman Rite Requiescat in Pace Praying for the Dead The Carrols were among the early founders of Maryland, but as Catholic subjects to the Eng- lish Crown they were unable to participate in the political life of the colony. -
Volume 93, Summer 1966
Volume 93, Summer 1966 Published quarterly by the Church Music Association of America Offices of publication at Saint Vincent Arcfiabbey, Latrobe, Pennsylvania 15650 Continuation of: CAECILIA, published by the St. Caecilia Society since 1874 and THE CATHOLIC CHoiRMASTER, published by the St. Gregory Society since 1915. EDITORIAL BOARD Rt. Rev. Rembert G. Weakland, O.S.B., Chairman Mother C. A. Carroll, R.S.C.J., Music review editor Louise Cuyler, Book review editor Rev. Richard J. Schuler, News editor Rev. Ignatius J. Purta, O.S.B., Managing editor Frank D. Szynskie, Circulation Rev. Lawrence Heiman, C.PP.S. Rev. C. J. McNaspy, S.J. Very Rev. Francis P. Schmitt J. Vincent Higginson Rev. Peter D. Nugent Editorial correspondence may be sent to : SACRED MUSIC, SAINT VINCENT ARCHABBEY, LATROBE, PENNSYLVANIA 15650 CHURCH MUSIC ASSOCIATION OF AMERICA EXEcUTIVE BoARD Rt. Rev. Rembert G. Weakland, O.S.B., President Rev. Cletus Madsen, Vice-president Rev. Richard J. Schuler, General Secretary Frank D. Szynskie, Treasurer Cecilia Kenny, Regional Chairman, East Coast Rev. Robert Skeris, Regional Chairman, Middle West Roger Wagner, Regional Chairman, West Coast Rev. Joseph R. Foley, C.S.P. Mother Josephine Morgan, R.S.C.J. Rev. John C. Selner, S.S. J. Vincent Higginson Very Rev. Francis P. Schmitt Sister M. Theophane, O.S.F. Memberships in the CMAA include a subscription to SACRED MUSIC. Voting membership, $10.00 annually; by subscription only, $5.00; student membership, $4.00. Application forms for voting and student memberships must be obtained frdm• Sister M. Theophane, O.S.F., Chairman, Membership Committee, CMAA, 3401 South 39th Street, Milwaukee, Wisconsin 53215. -
A Conductor's Guide to the Da Vinci Requiem by Cecilia Mcdowall
University of South Carolina Scholar Commons Theses and Dissertations Spring 2020 A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall Jantsen Blake Touchstone Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Touchstone, J. B.(2020). A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5920 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A CONDUCTOR’S GUIDE TO THE DA VINCI REQUIEM BY CECILIA MCDOWALL by Jantsen Blake Touchstone BaChelor of MusiC Mississippi College, 2011 BaChelor of MusiC Education Mississippi College, 2013 Master of MusiC Mississippi College, 2013 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of MusiCal Arts in Conducting SChool of MusiC University of South Carolina 2020 ACCepted by: AliCia W. Walker, Major Professor Jabarie Glass, Committee Member Andrew Gowan, Committee Member J. Daniel Jenkins, Committee Member Cheryl L. Addy, ViCe Provost and Dean of the Graduate SChool © Copyright by Jantsen Blake Touchstone, 2020 All Rights Reserved ii DEDICATION To my wife, Amy Touchstone, for your endless support, patience, love, and saCrifiCe. Your support, patience and understanding have allowed me to complete this projeCt; I thank you. iii ACKNOWLEDGEMENTS I would begin by thanking CeCilia MCDowall for writing such wonderful choral musiC and allowing such aCCess to her life and thoughts.