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The Roman Missal: the Order of Mass — a Guide for Composers

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The Roman Missal: the Order of Mass — a Guide for Composers The Roman Missal The Order of Mass — A Guide for Composers DRAFT TEXT This document is being prepared to support the eventual publication of the English and Welsh edition of the Roman Missal 3rd edition. It will not be finalised until the English translation has received approval. At that the approved texts for the Order of Mass will be inserted together with any further information about the provision of music in the new edition. Until that time this document is offered for comment and as an indication of future guidance. Introduction The publication of the third edition of the Missale Romanum in 2002 and the subsequent translation into the vernacular offers an opportunity to both evaluate current musical settings for the Mass and provide guidance to composers in the future. This guide for composers highlights the provision for music in the Order of Mass in the Roman Missal. It brings together the core texts of the liturgy for musical setting as a reference and recommends best practice. This guide does not cover: the rites of Liturgical Year, celebrations of Sacraments and Funerals or the provision of hymns though many of the principles described will apply. This document is arranged in two parts. The Introduction is divided into sections on the Ministry of the Composer and general principles about the setting of liturgical texts and music for the liturgy. The second part is a description of the Order of Mass with details of both the liturgical and musical issues affecting each part. The Ministry of the Composer Composers, filled with the Christian spirit, should feel that their vocation is to develop sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be only sung by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful. The texts intended to be sung must always be in conformity with Catholic teaching; indeed they should be drawn chiefly from holy Scripture and from liturgical sources. Sacrosanctum Concilium 121 Inspired by the Holy Spirit composers have served the Church well in the liturgical reforms since the Second Vatican Council. The composition of memorable Mass settings has enabled the active participation of the assembly. Through settings of scripture and liturgical texts they have deepened people’s faith and understanding. They have created melodies that have enabled the Body of Christ to be united in song. This draft document was issued by the Department for Christian Life and Worship, Boshpos’ Conference of England and Wales for comment 2003. Text © 2003 Bishops’ Conference of England and Wales. The Roman Missal Through creativity and imagination they have shaped how we celebrate. From simple unaccompanied chant to festive settings with choirs and instruments they have moved hearts and minds to the praise of God. The ministry of the composer, like all ministry, is one of service. • Service to the word: allowing the text to be communicated, proclaimed and prayed. The insight of the composer can reveal new layers of meaning within a text but as liturgy is the activity of the whole Church care should be taken to avoid the sentimental and overtly individualistic. It is worth recalling the essential ‘noble simplicity’ of the Roman Rite. • Service of the people of God. Composers are called to write music that enables the assembly’s participation in the liturgy in a diversity of communities which a variety of resources available to them from the unaccompanied song of the assembly itself to communities with cantors, choir, organ and instrumentalists. We can now look back at nearly a century of liturgical renewal from attempts early in the last century to encourage participation through the singing of chant, the inclusion of hymns in the dialogue Mass of the 1950s, the growth of ‘folk music’, Taizé chants, to the development of settings of the Breaking of Bread integrating liturgical action and song. Through the experience of and reflection on both successes and mistakes we can both let go of the more ephemeral and continue to uncover how music can serve the rite and enable the assembly participation in the Paschal Mystery. As we face a new generation of liturgical texts the challenge remains for the composers to learn from what has gone before, to study and reflect on the liturgical texts and renew the song of the Church so that it will continue to ‘Sing a new song to the Lord’. Texts of the Mass One of the criteria of the translation of the Missale Romanum is that it should be suitable for singing. It is therefore expected that the texts found in the Roman Missal and the Lectionary be the basis of any liturgical setting. The Roman Missal This contains the Order of Mass and proper texts for the liturgical seasons and the Saints. Also of interest to composers are the texts for the Entrance and Communion antiphons and other texts for processions such as on the Presentation of the Lord and Palm Sunday as well as hymns and other texts for the Easter Triduum. (Samples of the antiphons together with other texts are offered in the Appendix) The Lectionary This contains the texts for the Liturgy of the Word including for musicians the Responsorial Psalm, the Gospel Acclamation and the four Sequences. The current edition of the Lectionary uses the Jerusalem Bible together with Grail Psalms (1963 edition) for the psalter. The following versions of scripture are also approved by the Bishops’ Conference of England and Wales for use in the liturgy: Page 2 A Guide for Composers • Revised Standard Version • New Revised Standard Version • New Jerusalem Bible • Grail Psalm (1993 revision) Adaptation of Texts 2. The repetition of words and phrases within a particular text is permissible but it should neither unduly prolong the setting nor affect the structure or meaning of the text. 3. To facilitate participation refrains for the assembly, based on the text, may be added to texts such as the Gloria. 4. In some cases texts may be adapted slightly to accommodate the musical line (for example the Memorial acclamation “When we eat this bread…” might be expressed “When we eat this living bread…”) but care should be taken that the essential meaning of the text is respected. These adaptations should be based on the text itself, or scriptural or liturgical sources. 5. Where there is some freedom for the creation of new texts or tropes, for example, Penitential Rite C and processional songs replacing the antiphons, the texts should not only be theologically sound and accessible in their language but also suited to the liturgical context. Paraphrased texts Paraphrases or versifications of the liturgical texts should not replace any part of the Mass. The exception is paraphrased versions of the psalms which are used to accompany the Entrance, or other, processions. Music for the Missal 1. The use of music at the Eucharist is primarily to enable the full, conscious and active participation of the assembly. 2. Texts can be sung in a variety of ways: by the assembly alone (e.g. Gospel Acclamation), by a minister (presider, cantor, choir) in alternation with the assembly (e.g. Responsorial Psalm), by the choir alone (e.g. Gloria) and by a minister alone (e.g. Eucharistic Prayer). 3. Composers can embellish the song of the assembly with choir harmonies or instrumental descants. 4. Care should be taken, especially in settings of longer texts such as the Eucharistic Prayer, the Exsultet or chants for readings, that the text can be proclaimed with clarity; that. the music is cohesive and has a perceivable shape and that this does not run counter to the structure of the text. Liturgical and Musical Structures Liturgical texts often take a particular form. For example: dialogue (at the beginning of the Eucharistic Prayer), litany (Lamb of God), acclamation (Alleluia) etc. Liturgical music is also constructed from a variety of forms such as: hymn, verse/refrain etc. There can be a direct correlation between these textual and musical Page 3 The Roman Missal forms (e.g. litany) in other cases there is a flexibility and creativity as how the text is expressed — the use of an ostinato chant for the Gospel Acclamation for example. Composers should respect the textual structure in their musical settings. Musical style No style of music is excluded from the liturgy. All styles have the potential to be grace-filled and able to communicate Christ. Care should be taken, however, that the style does not have distracting connotations for those who have gathered. Particular care is necessary when adapting existing melodies. The structure of the liturgical text should be respected and the original text of the melody should not have unhelpful resonances. Consequently it is best to avoid the use of such melodies in composing for the parts of the Mass. The Place of Music in the Missal The music provided in the Missal (i.e. Altar edition) indicates the integral nature of music to the liturgy. It provides music in the proper place in the book for the Priest Celebrant and offers a base setting suitable for use by any community. Wherever music is suggested in the text a sample or model setting is provided. The majority of these are simple chants. Key signatures are avoided to allow the music to be sung at a pitch suitable for the assembly and ministers. The use of a chant style does not suggest an exclusion of other styles of music. Basic Repertoire for Presiders It is strongly recommended that priests are familiar with, and can sing with confidence, the chants provided in the Missal for the Preface Dialogue, Invitation to the Memorial Acclamation and Doxology to the Eucharistic Prayer.
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