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Chanting the Propers Chanting the Propers: A Comparative Study of Selected English Sources for the Catholic Mass By Katherine Schmitz M.S.M., University of Notre Dame, 2013 B.M., Trinity University, 2011 Submitted to the graduate degree program in Church Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chair: Michael Bauer ________________________________ James Higdon ________________________________ Scott Murphy ________________________________ Colin Roust ________________________________ William Keel Date Defended: 11 May 2017 The dissertation committee for Katherine Schmitz certifies that this is the approved version of the following dissertation: Chanting the Propers: A Comparative Study of Selected English Sources for the Catholic Mass ___________________________________ Chair: Michael Bauer Date Approved: 11 May 2017 ii Abstract Following the Second Vatican Council, the texts of the Catholic Mass, including the Propers, were translated into the vernacular. This shift away from the Latin liturgical texts created the need for new musical settings to fit the new texts of the Propers. The function of the Propers was also altered in the transition between pre-Vatican II and post-Vatican II liturgies. English chant Propers have been published beginning in 1964 and continuing until the present day. Similarities and contrasts between these publications are found based on the following criteria: melodic and modal structure of the antiphons; chant versus modern notation; a simple listing of which Propers are set; the translation of the text; function and use in the Novus Ordo, including choral and congregational participation; and musical interpretation of the chants. Five modern sources of English Propers that have been selected for this study include: Simple English Propers (Adam Bartlett); Lumen Christi Simple Gradual (Bartlett); Lalemant Propers (Jeff Ostrowski); Proper of the Mass (Fr. Samuel Weber, O.S.B.); and St. Meinrad Entrance and Communion Antiphons for the Church Year (Fr. Columba Kelly, O.S.B.). The two publications by Adam Bartlett: Simple English Propers and Lumen Christi Simple Gradual receive particular attention in these areas. iii CONTENTS Chapters 1. THE PROPERS .........................................................................................................1 Introduction ........................................................................................................1 Definitions..........................................................................................................2 What Are the Propers? .......................................................................................4 Vatican II ...........................................................................................................9 2. A HISTORY OF SOURCES ...................................................................................24 3. THE WORKS OF ADAM BARTLETT..................................................................46 Analysis............................................................................................................46 Simple English Propers ....................................................................................48 Lumen Christi Simple Gradual ........................................................................67 4. ENGLISH PROPERS: ADDITIONAL SETTINGS ...............................................75 Lalemant Propers .............................................................................................75 The Proper of the Mass ....................................................................................78 St. Meinrad Antiphons .....................................................................................84 5. CONCLUSION ........................................................................................................91 APPENDICES ...................................................................................................................95 1. Glossary .......................................................................................................95 2. English Propers ............................................................................................99 BIBLIOGRAPHY ............................................................................................................104 iv List of Tables Table 1. Ranges of the Eight Gregorian Modes ...................................................................4 Table 2. Melodic Formulae Examples in Graduale Parvum ..............................................36 Table 3. Propers and Their Sources ...................................................................................44 Table 4. Criteria for Comparison of Various English Chant Sources ................................47 Table 5. Melodic Formulae for Introits, Modes I-IV .........................................................52 Table 6. Melodic Formulae for Introits, Modes V-VIII .....................................................55 Table 7. Melodic Formulae for Offertory Chants, Modes I-IV .........................................60 Table 8. Melodic Formulae for Offertory Chants, Modes V, VI, and VIII .......................62 Table 9. Passer Invenit, Mode I, Communion Chant for Third Sunday of Lent ...............63 Table 10. Melodic Formulae for Communion Chants, Modes II-IV .................................63 Table 11. Melodic Formulae for Communion Chants, Modes V-VIII ..............................63 Table 12. Melodic Formulae for Lalemant Propers ...........................................................77 v List of Figures Example 1. Meditation Song, Complete English Propers..................................................25 Example 2. Communio, Graduale Romanum ....................................................................26 Example 3. Communio, Plainchant Gradual......................................................................26 Example 4. Entrance and Offertory, Simple Gradual ........................................................28 Example 5. Entrance and Responsorial Psalm, By Flowing Waters .................................29 Example 6. Offertory, Anglican Use Gradual ...................................................................31 Example 7. Introit, Graduale Romanum, Plainchant Gradual, and American Gradual .....32 Example 8. Entrance and Offertory, Simple Choral Gradual ............................................34 Example 9. Alleluia Antiphons, Graduale Parvum ............................................................39 Example 10. Tract, Graduale Parvum ................................................................................39 Example 11. Introit, Graduale Parvum ..............................................................................41 Example 12. Introit, Chants by Johnson ............................................................................42 Example 13. Offertory, Chants by Johnson .......................................................................42 Example 14. Offertory, Simple English Propers ...............................................................56 Example 15. Offertory, Simple English Propers ...............................................................56 Example 16. Offertory, Simple English Propers ...............................................................57 Example 17. Entrance, Lumen Christi Simple Gradual .....................................................69 Example 18. Seasonal Communion Antiphons, Lumen Christi Simple Gradual ..............71 Example 19. Communion, The Proper of the Mass ...........................................................80 Example 20. Communion, St. Meinrad .............................................................................87 vi Chapter 1 The Propers Introduction Gregorian chant is a musical style that has its origins in the texts of the Catholic liturgy. The melodies of chant were composed to specific sets of text leading to expressive text declamation as the starting point for the performance of chant. The texts to which these melodies were set include the Latin texts of the Roman Catholic liturgy. Gregorian melodies have been passed down through the centuries and have undergone many periods of codification, such as the Carolingian Renaissance, and revision, as in the chant editions following the Council of Trent. More recently the early manuscripts of Gregorian chant have been studied by the monks at the Abbey of Saint-Pierre de Solesmes in an effort to provide more scholarly and historically authentic editions of chant, a process that started in the nineteenth century. Following the Second Vatican Council,1 which ended in 1963, the use of the vernacular was permitted in the liturgy. These texts were thus translated into new languages creating the need for new and adapted melodies. There have been several sources of English chant Propers2 that developed following this allowance by the Council. Three of these settings were composed in the few years after the Council before the first translated edition of the Roman Missal in 1970. The remaining eleven 1 The Second Vatican Council was the twenty-first ecumenical council of the Roman Catholic Church called by Pope John XXIII in 1959. Four principal documents, or constitutions, resulted from the Council: Dei Verbum (Word of God) Dogmatic Constitution on Divine Revelation, Lumen Gentium (Light of the Nations) Dogmatic
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