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The Entrance Song in Roman Catholic Worship

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The Entrance Song in Roman Catholic Worship THE CATHOLIC UNIVERSITY OF AMERICA Cantus ad introitum: The Entrance Song in Roman Catholic Worship A DISSERTATION Submitted to the Faculty of the School of Theology and Religious Studies Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Jason J. McFarland Washington, D.C. 2010 Cantus ad introitum: The Entrance Song in Roman Catholic Worship Jason J. McFarland, Ph.D. Director: The Rev. Msgr. Kevin W. Irwin, S.T.D. Abstract: This study explores the history and theology of the entrance song by means of a contextual method. It considers how the entrance song functions within the Roman Rite, what its purpose is, and what can be expressed theologically by means of the text and melody of an entrance song. Part one of the study explores the development of the entrance song throughout history—in particular the Roman Rite introit—and delineates the theology and ritual function of the entrance song from ecclesiastical documents. Part two begins by proposing several models of the entrance song for present-day use. The models address two questions: what should Roman Rite Catholics sing at the beginning of Mass, and what influence should the proper chant tradition have upon contemporary entrance song practice? The study concludes with a contextual theological analysis of the entrance song in terms of ritual/theological function, text, and liturgical enactment, focusing upon the entrance song of the Holy Thursday Evening Mass of the Lord’s Supper Nos autem gloriari, including a detailed analysis of the chant and its liturgical context. Several principles for choosing an entrance song are articulated, concluding with a consideration of what the dissertation as a whole might imply for the discipline of liturgical studies and pastoral practice concerning the entrance song. 2 This dissertation by Jason J. McFarland fulfills the dissertation requirement for the doctoral degree in Liturgical Studies approved by The Rev. Msgr. Kevin W. Irwin, S.T.D., as Director, and by The Rev. Dominic Serra, S.L.D., and The Rev. Michael G. Witczak, S.L.D. as Readers ________________________________________ The Rev. Msgr. Kevin W. Irwin, S.T.D., Director ________________________________________ The Rev. Dominic Serra, S.L.D., Reader ________________________________________ The Rev. Michael G. Witczak, S.L.D., Reader ii To my parents James and Cynthia, who have heartened my every step. iii Table of Contents List of Examples .............................................................................................. ix List of Figures.................................................................................................. xi List of Tables ................................................................................................... xi Acknowledgments........................................................................................... xii Introduction to the Study and Its Methodology....................................................................1 The Topic and Its Significance ..........................................................................6 The Theological Interpretation of Liturgical Music ........................................10 Methodological Foundations ...........................................................................13 Outline of the Study.............................................................................13 Foundations of a Contextual Method...................................................14 The Contextual Method of This Study.................................................17 PART ONE CONTEXTUAL STUDIES OF THE ENTRANCE SONG Chapter One: The Entrance Song in Its Historical Context ......................................................................22 Introduction......................................................................................................22 Foundational Contexts ....................................................................................26 The Origins of Christian Culture and Music........................................27 Early Christian Singing........................................................................30 Terminus post quem & ante quem for the Origin of a Gregorian Proper Chant Tradition ................................................33 The Toleration and Adoption of Christianity in the Roman Empire...................................................33 The Psalmodic Movement and the Selective Singing of Psalms ....................................................35 The Incorporation of Litany and Acclamatory Forms in the West....................................................37 iv Liturgical Homogenization ..................................................................37 Early Christian Liturgical Language in the West ................................39 The Transition from Psalms as Readings to Psalms as Chant ...............................................................................40 A Fixed Corpus of Proper Texts and the Addition of Thursdays to the Liturgical Year .........................41 The Fully-developed Roman Rite Introit.........................................................44 The Ordines Romani............................................................................46 The Manuscript Tradition ....................................................................54 Terminology.............................................................................54 Mode and Performance............................................................61 Sources of the Antiphon Texts.................................................63 How Source Texts Are Used....................................................65 The Elaboration of the Entrance Song Tradition .............................................71 Introit Tropes .......................................................................................72 Harmonic Embellishment of Chant Melodies......................................76 Polyphonic Settings of Proper Chants .................................................77 The Dis-integration of the Form and Function of the Introit in Liturgical Praxis .....................................................................86 The Transition from Using a Variable Number of Verses to Using Only One ...............................................................................87 The Separation of the Choir’s Liturgical Role from That of the Presider .....................................................................88 Instrumental Introits.............................................................................90 The Beginnings of the Reform and Renewal of the Roman Rite Entrance Song....................................................................92 The Council of Trent............................................................................92 Precursors to the Vatican II Reform of the Graduale Romanum...................................................................95 Conclusion .......................................................................................................98 v Chapter Two: The Entrance Song of the Roman Rite in Recent and Contemporary Ecclesiastical Documents..................................................101 The Nature and Interpretation of Liturgical Norms after Vatican Council II .................................................................................101 The Sources of Ecclesiastical Norms after Vatican Council II .................................................................................110 Ecclesiastical Documents Pertaining to the Entrance Song...........................114 Pre-Conciliar Documents...................................................................114 Conciliar and Post-Conciliar Documents...........................................118 The Liturgy Constitution........................................................118 The Post-Conciliar Gradual...................................................119 The Roman Missal.................................................................129 Other Documents ...................................................................131 Foundational Norms for the Post-Conciliar Entrance Song ..........................133 The Importance of Singing in the Liturgy .........................................134 The Active Participation of the Faithful ............................................137 Which Texts of the Mass Should Be Sung?.......................................139 Translating the Latin Proper Texts and Composing New Texts in the Vernacular ...................................143 Official Sources of the Entrance Song...............................................147 Conclusion .....................................................................................................148 PART TWO IMPLICATIONS OF THE CONTEXTUAL STUDIES Chapter Three: Models of the Entrance Song ..............................................................................................151 Introduction....................................................................................................151 Model One: The Proper Antiphon and Verses of the Graduale Romanum.............................................................................157 Sources, Texts, and Music .................................................................158 Performance .......................................................................................161 vi Functional Strengths and Weaknesses...............................................162
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