Tridentine Community News September 28, 2008
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The Centrality of the Holy Sacrifice of the Mass at Christendom College
THE CENTRALITY OF THE HOLY SACRIFICE OF THE MASS AT CHRISTENDOM COLLEGE The Church teaches that the Eucharist is “the source and summit of the Christian life”1 and that the celebration of the Mass “is a sacred action surpassing all others. No other action of the Church can equal its efficacy.”2 That is why “as a natural expression of the Catholic identity of the University. members of this community . will be encouraged to participate in the celebration of the sacraments, especially the Eucharist, as the most perfect act of community worship.”3 Those central truths are taught and lived at Christendom College, a “Catholic coeducational college institutionally committed to the Magisterium”4 of the Church, in the following ways: The Celebration of the Sacred Liturgy The Holy Sacrifice of the Mass • Mass is offered frequently: twice daily Monday through Thursday, three times on MONDAY (Friday), twice on Saturday, and once on Sunday (the day on which we gather as one family). • Mass in the Roman Rite is celebrated in all the ways offered by the Church: in the Ordinary Form in both English and Latin, and in the Extraordinary Form from one to three times per week, as circumstances permit. • The Ordinary Form of the Mass is celebrated with the solemnity appropriate to each feast, utilizing worthy sacred vessels and vestments, and drawing upon the Church’s rich tradition of chant, polyphony, and hymnody. • The Ordinary Form of the Mass is celebrated reverently and with rubrical fidelity. • No classes or other activities are scheduled during Mass times. • The majority of the College community attends daily Mass regularly and with great devotion. -
Dominican Rite Practicum
LSFT 2405 Dominican Rite Practicum Prepared by the Instructor 2020 Dominican School of Philosophy and Theology Fall 2020 LSFT 2405 First Meeting: Saturday, 9/5, SAP Library, 7:30 pm Dominican Rite Practicum Instructor: Fr. Augustine Thompson O.P. Office Hours: TBA at St. Albert’s Priory Course Description This course is a 1.5 unit graded liturgical practicum open to Dominican friar students, normally after residency year, best in the year of deaconal or priestly ordination. The goal is to acquire the ability to celebrate Low Mass and Missa Cantata according to the traditional Dominican Rite in Latin. The outcome will be a correct and fluid "dry Mass" celebration of the Dominican Rite Low Mass and of the Missa Cantata. These two exercises will in equal parts provide the two graded "exams" of the course. The format will be a practicum in which students perform the rite under the direction of the instructor. Admission to the Class Dominican friars who would like to be admitted to the class need to arrange an interview with the instructor. At the interview they will be asked to recite from memory the texts found on the next page. This memorization is not-negotiable and will serve to prove that the student is ready to undertake the heavy memorization element of the class. As this class is only open to Western Dominican Province student brothers it will be held at St. Albert’s with social distancing. Required Books and Materials William R. Bonniwell, ed., Dominican Ceremonial for Mass and Benediction (1946; rpt. Oakland: Dominican Liturgy Publications, 2012), $22.75, order at: http://www.lulu.com/shop/william-r-bonniwell-op/dominican-ceremonial-for-mass-and-b enediction/hardcover/product-21602438.html Dominican Altar Boys' Manual According to the Rite of the Order of Preachrs (1945; rpt. -
Thurifer at Missa Cantata
THURIFER AT MISSA CANTATA GENERAL AND HISTORICAL NOTES The Thurifer (Th) has the privilege of bearing the thurible during Mass and of the office of incensing the inferior ministers and the laity. The word thurible is derived from thus, which is Latin for incense. It is generally thought, that the thurible used by the Jews was very similar as employed at Mass now, that is, with three chains, though it is unknown if the Jewish thuribles had a cover. The thurible is also considered to be a liturgical object of great value in its symbolic use, as the thuribles made by the Jews were made of solid gold. This was perhaps done so as to imitate the Altar of Incense (on which incense was burnt three times a day), that stood outside the Temple, which was made of gold plate over wood. The history of the use of incense is very ancient, dating back to earliest ages. Incense was widely used by both the Jews in the Temple ceremonies, as commanded by Almighty God Himself, as well as by the pagan religions. In ancient times, burning incense was also used as an air freshener in countries under Roman or Asian influence; it too was used to incense the guests as a mark of respect at banquets. In fact incense was so widely used, that God Himself commanded the Jews, that the incense compound made for use in the Temple ceremonies, was to be used expressly for the Temple (i.e., God), under the penalty of death, so that it could not be used for secular functions. -
A Comparison of the Two Forms of the Roman Rite
A Comparison of the Two Forms of the Roman Rite Mass Structures Orientation Language The purpose of this presentation is to prepare you for what will very likely be your first Traditional Latin Mass (TLM). This is officially named “The Extraordinary Form of the Roman Rite.” We will try to do that by comparing it to what you already know - the Novus Ordo Missae (NOM). This is officially named “The Ordinary Form of the Roman Rite.” In “Mass Structures” we will look at differences in form. While the TLM really has only one structure, the NOM has many options. As we shall see, it has so many in fact, that it is virtually impossible for the person in the pew to determine whether the priest actually performs one of the many variations according to the rubrics (rules) for celebrating the NOM. Then, we will briefly examine the two most obvious differences in the performance of the Mass - the orientation of the priest (and people) and the language used. The orientation of the priest in the TLM is towards the altar. In this position, he is facing the same direction as the people, liturgical “east” and, in a traditional church, they are both looking at the tabernacle and/or crucifix in the center of the altar. The language of the TLM is, of course, Latin. It has been Latin since before the year 400. The NOM was written in Latin but is usually performed in the language of the immediate location - the vernacular. [email protected] 1 Mass Structure: Novus Ordo Missae Eucharistic Prayer Baptism I: A,B,C,D Renewal Eucharistic Prayer II: A,B,C,D Liturgy of Greeting: Penitential Concluding Dismissal: the Word: A,B,C Rite: A,B,C Eucharistic Prayer Rite: A,B,C A,B,C Year 1,2,3 III: A,B,C,D Eucharistic Prayer IV: A,B,C,D 3 x 4 x 3 x 16 x 3 x 3 = 5184 variations (not counting omissions) Or ~ 100 Years of Sundays This is the Mass that most of you attend. -
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. -
Master of Ceremonies for High Mass (Missa Cantata)
MASTER OF CEREMONIES FOR HIGH MASS (MISSA CANTATA) REQUIREMENTS AND EXPECTATIONS OF A MASTER OF CEREMONIES A master of ceremonies (MC) must be what his title entails: the master, or expert, on the liturgical ceremonies. Hence, he must not only fully know the positions of the inferior ministers at High Mass, but also be acquainted with the celebrant’s actions. Additionally, the MC should have a thorough understanding of the general principles of the Roman Rite,1 be acquainted with the various liturgical books,2 the liturgical office of the schola and how it affects the MC’s position,3 and of course, the layout and preparation of the missal. The MC must also know how to correct a problematic situation with tact and discretion; this is especially true when advising the celebrant (C). In dealing with the servers, any corrections made (especially from a distance) should be as inconspicuous as possible. For minor matters, it is often better to simply let the matter pass and address it later outside of the ceremony in the sacristy. CONCERNING THE ORGANIZATION OF THE PREPARATIONS BEFORE MASS The MC must oversee all of the preparations that are necessary before the beginning of Mass. You must ensure they are done correctly and on time so that Mass may start as scheduled. As MC, you should remain the sacristy as much as possible, directing the preparations from there (there should be a permanent duties checklist in the sacristy assigning each server a specific duty to complete before Mass). In this way, you can ensure the servers are keeping silence in the sacristy, are organized and that any last minute details can be taken care of easily (such as replacing late servers). -
Musica Sanat Corpus Per Animam': Towar Tu Erstanding of the Use of Music
`Musica sanat corpus per animam': Towar tU erstanding of the Use of Music in Responseto Plague, 1350-1600 Christopher Brian Macklin Doctor of Philosophy University of York Department of Music Submitted March 2008 BEST COPY AVAILABLE Variable print quality 2 Abstract In recent decadesthe study of the relationship between the human species and other forms of life has ceased to be an exclusive concern of biologists and doctors and, as a result, has provided an increasingly valuable perspective on many aspectsof cultural and social history. Until now, however, these efforts have not extended to the field of music, and so the present study representsan initial attempt to understand the use of music in Werrn Europe's responseto epidemic plague from the beginning of the Black Death to the end of the sixteenth century. This involved an initial investigation of the description of sound in the earliest plague chronicles, and an identification of features of plague epidemics which had the potential to affect music-making (such as its geographical scope, recurrence of epidemics, and physical symptoms). The musical record from 1350-1600 was then examined for pieces which were conceivably written or performed during plague epidemics. While over sixty such pieces were found, only a small minority bore indications of specific liturgical use in time of plague. Rather, the majority of pieces (largely settings of the hymn Stella coeli extirpavit and of Italian laude whose diffusion was facilitated by the Franciscan order) hinted at a use of music in the everyday life of the laity which only occasionally resulted in the production of notated musical scores. -
Musicians' Appendix Is Brought to You by Researchonline@ND
Pastoral Liturgy Volume 51 Issue 3 Pastoral Liturgy 51 No 3 Article 9 20-5-2021 Musicians’ Appendix Follow this and additional works at: https://researchonline.nd.edu.au/pastoral-liturgy Part of the Catholic Studies Commons, and the Liturgy and Worship Commons Recommended Citation "Musicians’ Appendix." Pastoral Liturgy 51, no. 3 (2021): 1-3. https://researchonline.nd.edu.au/pastoral-liturgy/vol51/iss3/9 This Musicians' Appendix is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Pastoral Liturgy by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. et al.: Musicians’ Appendix Musicians’ Appendix Abbreviations and Explanations PM Psalms for All Time. Paul Mason © 2007 Paul Mason Published by Willow Publishing Pty Ltd. Sales: [email protected] Paul Mason’s website www.liturgicalsong.com PM Vol 2 Psalms for All Time: Lectionary psalms for Sundays and Feasts. Paul Mason © 2017 Paul Mason. Published by Liturgical Song. PFS Psalms for Feasts and Seasons; Revised and Augmented Full Music Edition Christopher Willcock. Published by Collins Dove. All music copyright © Christopher Willcock SJ 1977, 1990 LPSF The Lyric Psalter: Revised Grail Lectionary Psalms, Solemnities Feasts and Other Occasions. Music by Tony Alonso and Marty Haugen Published by GIA Publications, Inc. © GIA 2012 LPB The Lyric Psalter: Revised Grail Lectionary Psalms, Year B Music by Tony Alonso and Marty Haugen Published by GIA Publications, Inc. © GIA 2012 CWB Catholic Worship Book I Published by Collins and E J Dwyer 1985 © Compilation the Roman Catholic Archdiocese of Melbourne 1985 CWBII Catholic Worship Book II Published by Morning Star Publishing 2016 © Compilation the Australian Episcopal Conference of the Australian Catholic Church AOV1 As One Voice Volume 1. -
Roman Gradual
De musica sacra et sacra liturgia (1958) Musicam sacram (1967) 3 degrees of Participation (chapter 25): 3 degrees of Participation (chapters 28-31): 1 – Dialogues-Responses Graduale Romanum (Roman Gradual) 1 – Dialogues-Responses + Pater Noster 2- Kyriale + Credo Includes: Dialogues-Responses(D-R), Kyriale+Credo (K), Proper (P) 2- Kyriale + Credo + Prayer of Faithful 3- Proper Latin chant (square notes), no explanatory text 3- Proper EXTRAORDINARY FORM (Tridentine) ORDINARY FORM (Novus Ordo) 1961 Roman Gradual 1974 Roman Gradual Liturgical Devotional Liturgical Must be used for EF Missa Cantata, per rubrics CHANTING IN LATIN Preferred in OF sung mass, other options are OK ENGLISH TRANSLATIONS (ICEL) LIBER USUALIS Gregorian Missal D-R, K, P + Matins, Lauds, Vespers D-R, K, P (only Sundays and Feasts) Books by father weber Latin chant (square notes) Latin chant (square notes) and English translations https://sacredmusicus.wordpress.com/ Missal Latin, Rubrics in English Missal Latin-English (OT) THE PEW MISSAL (D-R, K, P) THE PROPER OF THE MASS FOR SUNDAYS AND SOLEMNITIES English chant (square notes) PARISH BOOK OF CHANT D-R, K, Hymns in Latin (no Proper) Order of sung Mass (both EF and OF) Books by adam bartlett Latin chant (square notes) and English translations https://illuminarepublications.com/ Explanation on chant notation, latin pronunciation. Lumen Christi collection (Missal, Gradual, Hymnal,..) English chant (square notes) CHANTS ABREGES Graduale Simplex simpler P (ONLY GRADUAL AND ALLELUIAS) D-R, K, simpler P melodies Latin chant -
Editorial Endeavours: Plainchant Revision in Early Modern Italian Printed Graduals
Plainsong and Medieval Music, 29,1,51–80 © The Author(s) 2020. doi: 10.1017/S0961137120000066 Editorial endeavours: plainchant revision in early modern Italian printed graduals MARIANNE C.E. GILLION* ABSTRACT. The extensive melodic revision of plainchant in editions of the Graduale Romanum published in Italy from the late sixteenth century onward resulted in musically diverse repertoires that could depart widely from earlier chant traditions. The scale of the changes in these sources, both in type and in number, has obscured certain aspects of their editors’ work: their familiarity with the corpus, their aims and techniques, and their approach to the task. Previous analyses concluded that the editors worked on a chant-by-chant basis, and were either unaware of or ignored any shared melodic relationships between pieces of plainchant. An examination of the revisions to the recurrent melody used by the eight Ostende alleluias in three influential Italian printed graduals – Gardano 1591, Giunta 1596 and Medici 1614/15 – provides a different perspective. Analyses of the reshaped chants reveal that the editors pos- sessed knowledge of the repertoire guiding aims, and favoured revision techniques. The combination of these factors, whether intentionally or not, resulted in the chants’ continued structural connection in the midst of increased melodic diversity. The individuation evident the chants did not necessarily signal the editors’ unfamiliarity with the repertoire, but could have been indicative of their intentional rejection of shared elements. Further, the revisions to the Ostende alleluias reveal that the editorial process could be flexible, with the chants approached both as individual entities and as groups. -
Saints 1 November AD 2018 Forthcoming Traditional Latin
- All Saints 1 November AD 2018 Forthcoming Traditional Latin Masses at St Wulstan’s ++ Missa Cantata ++ 3:00 p.m. on Sunday 11 November Requiem Mass for the Fallen Mass on the Centenary of the Armistice will be a Sung Requiem Mass for the Fallen and preparations are already well under way: the parish catafalque and funeral pall have been unearthed; the six wrought iron funeral candle stands for the catafalque have been cleaned and repainted; and even a set of antique black vestments has been acquired. The Requiem Mass will be offered in what is now formally called the Extraordinary Form of the Roman Rite, but which would have been entirely familiar to Catholics of all sides at the time of both World Wars. The celebrant will be Dom Jonathan Rollinson OSB. Mass will be sung by Schola Gregoriana Malverniensis. ++ Missa Cantata ++ 3:00 p.m. on Sunday 25 November 24th & Last Sunday after Pentecost The celebrant will be Dom Jonathan Rollinson OSB. Mass will be sung by Schola Parva. This Mass will mark the first anniversary of our move from Spetchley Park to St Wulstan’s. St Wulstan’s Christmas Fair – Wed 28 November AD 2018 A Christmas Fair & Coffee Morning 10:00-13:30 at Welland Parish Hall (WR13 6NT) in aid of the Restoration of St Wulstan's Church. Entrance £3 (£5 for two) including coffee/tea & biscuits. Commercial stalls include: Black Mountain Smokery (smoked fish, meats, etc.); David Birtwhistle (art); Jean Brown Knitwear; Redland Pottery; and Cowleigh Park Candles. Also Home Produce, St Wulstan's Christmas Cards, Bottle Tombola, Books & Music, and a Christmas Raffle. -
Music at Funerals Archdiocese of New York Music Is Integral to the Funeral Rites
November 2014 Guidelines for Music at Funerals Archdiocese of New York Music is integral to the funeral rites. It allows Prepared by the the community to express convictions and Office of Liturgy of the Archdiocese of New York feelings that words alone may fail to convey. It has the power to console and uplift the mourners and to strengthen the unity of the assembly in faith and love. The texts of the songs chosen for a particular celebration should express the paschal mystery of the Lord’s suffering, death, and triumph over death and should be related to the readings from Scripture. —Order of Christian Funerals, 30. !1 November 2014 In the celebration of her funeral rites, the Church recalls and participates in the redemption won for humanity by the Passion, Death and Resurrection of Jesus Christ. In these same liturgies, the Church ministers to those who mourn the loss of a loved one and prays for those who have completed their earthly journey. The music which is chosen for the celebration of these rites can play a powerful role in supporting, consoling, and uplifting the participants, helping “to create in them a spirit of hope in Christ’s victory over death and in the Christian’s share in that victory.”1 The following guidelines are meant to assist family and friends of the deceased, music directors, and celebrants in the selection of music for funeral liturgies that will reflect Christ's Paschal Mystery and the Church’s hope in eternal life. ACTIVE PARTICIPATION The Second Vatican Council’s Constitution on the Sacred Liturgy states that full, conscious, and active participation is the right and duty of every baptized person, and is demanded by the very nature of the liturgy.