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New User Guide JUNE 12, ST. JOHN of SAN
JUNE 12, ST. JOHN OF SAN FACUNDO, CONFESSOR Errors? [email protected] St. John was born at St. Facundus in Spain, and belonged to the Augustinian Order. He was distinguished for his devotion during holy Mass; he loved peace-making and brought an end to a civil war among the factions in Salamanca. He died June 11, 1479. Commemoration of Sts. Basilides, Cyrinus, Nabor, and Nazarius: These men were Christian soldiers in the army of Maxentius. They were beheaded by order of Aurelius, prefect of Rome. New User Guide AT THE FOOT OF THE ALTAR AT THE FOOT OF THE ALTAR (Kneel) (Kneel) P: †In nómine Patris, et Fílii, et Spíritus P: †In the Name of the Father, and of Sancti. Amen. the Son, and of the Holy Spirit. Amen. P: Introíbo ad altáre Dei. P: I will go unto the altar of God. S: Ad Deum qui lætíficat juventútem S: To God, Who gives joy to my youth. meam. (Psalm 42) (Psalm 42) P: Júdica me, Deus, et discérne P: Judge me, O God, and distinguish causam meam de gente non sancta: my cause from the unholy nation, ab hómine iníquo et dolóso érue me. deliver me from the unjust and deceitful man. S: Quia tu es, Deus, fortitúdo mea: S: For Thou, O God, art my strength, quare me repulísti, et quare tristis why hast Thou cast me off? And why incédo, dum afflígit me inimícus? do I go about in sadness, while the enemy afflicts me? P: Emítte lucem tuam, et veritátem P: Send forth Thy light and Thy truth: tuam: ipsa me deduxérunt, et they have conducted me and brought adduxérunt in montem sanctum tuum, me unto Thy holy mount, and into Thy et in tabernácula tua. -
Singing in Latin.Pages
Why are we singing in Latin??? There are about 20 sets of Mass parts in Latin that were used commonly before the Mass was translated into the vernacular. The Sanctus and Agnus Dei that we are currently singing are from Mass XVIII, commonly used as Requiem Masses (funerals). The somberness and simplicity of this setting pairs well with the penitential season of Lent. Many of the other settings have more Joyful or uplifting qualities, so we shouldn’t Just associate singing in Latin with penance! Despite Latin being a dead language, the Catholic Church has retained it to this day as the official language of the Holy See and the Roman Rite. All liturgical documents, rites of the Church, and even official statements given by the Vatican are first published in Latin, and then translated into other languages for use throughout the world. So, why do we sing in Latin? It’s a layered answer. Given what I’ve already said, singing in Latin connects us to the Universal Church on a deeper level. It also tips a hat to our heritage of four centuries of praying the Mass in Latin – a tradition many “pre-Vatican II Catholics” remember. Now, you’re right in assuming that many parishes dropped the use of Latin after Vatican II. The Vatican II documents were interpreted and implemented differently in the United States than in other countries. While we saw an attitude of “out with the old, in with the new” here in the US, many other countries understood that one of the council’s goals was to retain the rich heritage of the Church, including the way churches were designed and decorated, the use of Latin, and so on. -
Signs of the Times for 1949
S S 11 TIMES THE WORLD'S PROPHETIC WEEKLY ti Vol. 76, No. 15 Because He Lives—see page 16 April 19, 1949 •• ,5•••• .0, • r'''Sk•• , your Bible Questions flowered SIGNS Dying Without the Gospel When a man has heard the word of God, he may accept it or reject it; but how about the individual who dies without ever having heard the Editor Arthur S. Maxwell gospel? E. D. TIMES Associate Editor . Merlin L. Neff Only God knows to what extent a person Assistant Editor . Francis A. Soper has had opportunity to learn of Him, either through His revelation in nature, or through divine providence, or by means of His written word. The decision in all such cases rests with Him, and we can accept without qeestion His verdict, whatever it be. It behooves us who have the opportunity to hear the word of God, to accept it in its fullness and allow it to trans- APRIL 19, 1949 Vol. 76, No. 15 COHTEHIS form our lives. F. A. S. Joshua's "Long Day" YOUR BIBLE QUESTIONS ANSWERED 2 Is there any record by astronomers of the "long day" caused by Joshua's having the sun stand EDITORIALS: To ALL THE WORLD 3 still? What is the date of the dark day? REQUESTS FOR THE "SIGNS" 4 E. 0. H. Professor Henry Norris Russell, who was ANYWHERE ANY TIME" " 4 director of the Princeton University observa- A PREVIEW OF WORLD HISTORY . Roy F. Cottrell 5 tory for thirty-five years, in a personal letter dated October 13, 1948, says: "There are no TRENDS OF THE TIMES 6 astronomical records from which the observed WHY GOD CHOSE ISRAEL . -
The Latin Mass Society
Ordo 2010 Compiled by Gordon Dimon Principal Master of Ceremonies assisted by William Tomlinson for the Latin Mass Society © The Latin Mass Society The Latin Mass Society 11–13 Macklin Street, London WC2B 5NH Tel: 020 7404 7284 Fax: 020 7831 5585 Email: [email protected] www.latin-mass-society.org INTRODUCTION +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Omnia autem honeste et secundum ordinem fiant. 1 Cor. 14, 40. This liturgical calendar, together with these introductory notes, has been compiled in accordance with the Motu Proprio Rubricarum Instructum issued by Pope B John XXIII on 25th July 1960, the Roman Breviary of 1961 and the Roman Missal of 1962. For the universal calendar that to be found at the beginning of the Roman Breviary and Missal has been used. For the diocesan calendars no such straightforward procedure is possible. The decree of the Sacred Congregation of Rites of 26th July 1960 at paragraph (6) required all diocesan calendars to conform with the new rubrics and be approved by that Congregation. The diocesan calendars in use on 1st January 1961 (the date set for the new rubrics to come into force) were substantially those previously in use but with varying adjustments and presumably as yet to re-approved. Indeed those calendars in use immediately prior to that date were by no means identical to those previously approved by the Congregation, since there had been various changes to the rubrics made by Pope Pius XII. Hence it is not a simple matter to ascertain in complete and exact detail the classifications and dates of all diocesan feasts as they were, or should have been, observed at 1st January 1961. -
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. -
MA Thesis Ceremonials FINAL
ABSTRACT CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg Rituals have been used throughout history as a way to process change and emotion. In the modern day, people are beginning to turn away from organized religion and to take on more personalized rituals and spirituality. As such, identifying as a witch is a growing phenomenon that serves to empower many personally, politically, and spiritually. This creative thesis takes an autobiographical approach to explore how ritual and the identity of the witch can be used as tools of empowerment, tracing the artist’s own journey from Catholicism to a more fluid spiritual life. On February 22nd, 2019, Ceremonials: A Ritual Play opened as part of Miami University’s Independent Artist Series. The play was devised with a student ensemble over a period of five months and stands as the culmination of a series of performance projects that sought to combine ritual and theatre. This portfolio spans the breadth of that practice-based research and includes examples from performance experiments and the devising process, as well as reflections on how ritual and devised theatre can help to empower the individual and the artist. CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Rachel Lynn Brandenburg Miami University Oxford, Ohio 2019 Advisor: Saffron Henke Reader: Julia Guichard Reader: Christiana Molldrem Harkulich ©2019 Rachel Lynn Brandenburg This Thesis titled CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg has been approved for publication by The College of Creative Arts and Department of Theatre ____________________________________________________ Saffron Henke, MFA ______________________________________________________ Julia Guichard, MFA _______________________________________________________ Christiana Molldrem Harkulich, PhD Table of Contents 1. -
Ninth Sunday After Pentecost, 11Th August, 2019
Ninth Sunday after Pentecost, 11th August, 2019 “And when he was now coming near the descent of mount Olivet, the whole multitude of his disciples began with joy to praise God with a loud voice, for all the mighty works they had seen, Saying: Blessed be the king who cometh in the name of the Lord, peace in heaven, and glory on high!” (Lk 19:37-38). Yes, you would be right in thinking: we have just joined the triumphal entry of Jesus on Palm Sunday. Yet, while the other Gospels: Matthew, Mark, and John, have him then immediately entering the city of Jerusalem amidst these acclamations, St Luke has him weeping as his disciples appeared to be rejoicing: “And when he drew near, seeing the city, he wept over it, saying: If thou also hadst known, and that in this thy day, the things that are to thy peace; but now they are hidden from thy eyes” (Lk 19:41-42). The “whole multitude” of disciples rejoiced because of “all the mighty works they had seen” (Lk 19:37), while the Lord wept because he knew however that Jerusalem herself would prove blind to these same “works”: “they are hidden from thy eyes” (Lk 19:41-42). The Lucan triumphal entry is therefore tinged with a touch of sadness, as it indeed is, though implicitly, in the accounts in the three other Gospels: Yes, he, the Son of David, the Messiah, is entering David‟s city of Jerusalem, but we know that it is nevertheless in order to suffer, to be crucified, and to die; an event tinged with sadness, even though the outcome will eventually be joyful: he will rise again from the dead, a week after entering the city. -
2020-11-01 Gregorian Chant, Preliminary
All Souls’ Day (Transferred from November 2) Sunday, November 1, 2020, 5:00 p.m. ALL SOULS’ DAY/ALL SOULS’ REQUIEM The tradition of observing November 2 as a day of commemoration began in the tenth century as a complement to All Saints’ Day, November 1. The traditional service of remembering the dead — whether on this day or during an actual funeral — is called a Requiem, the first word of the Latin text, meaning “rest.” The solemnity of the liturgy and the beauty of the music help us to mourn with hope. Thus we are encouraged to trust ever more in God’s gift of eternal life through the death and resurrection of our Lord Jesus Christ. THE GREGORIAN CHANT REQUIEM The oldest musical setting of the Requiem is the version in Gregorian Chant (plainsong, melody only, no harmony). Created sometime in the first millennium A.D., it does have one “new” movement, the Dies irae, dating from no later than the 1200s. The Dies irae melody has been quoted in non-Requiem music by Hector Berlioz, Franz Liszt, Sergei Rachmaninoff, and Camille Saint-Saëns, among others. Some composers of Requiem settings have omitted the Dies irae text, either because of its length or because of its expression of fear, guilt, and judgment. Regarding the latter issue, Jesus, his apostles, and his Hebrew prophets do indeed declare a day of reckoning, and fear is a legitimate human feeling, expressed in the Psalms and in the Prophets. However, God’s grace can ease our fear, and — through the Holy Spirit’s ministry — can offset it by giving us confidence in Christ’s merit rather than our own. -
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. -
The Development of the Roman Rite by Michael Davies
The Development of the Roman Rite By Michael Davies The Universe is the Catholic newspaper with the largest circulation in Britain. On 18 May 1979 its principal feature article was by one Hugh Lindsay, Bishop of Hexam and Newcastle. The Bishop's article was entitled "What Can the Church Change?" It was a petulant, petty, and singularly ill-informed attack upon Archbishop Lefebvre and Catholic traditionalists in general. It is not hard to understand why the Archbishop is far from popular with the English hierarchy, and with most hierarchies in the world for that matter. The Archbishop is behaving as a true shepherd, defending the flock from who would destroy it. He is a living reproach to the thousands of bishops who have behaved as hirelings since Vatican II. They not only allow enemies to enter the sheepfold but enjoy nothing more than a "meaningful dialogue" with them. The English Bishops are typical of hierarchies throughout the world. They allow catechetical programs in their schools which leave Catholic children ignorant of the basis of their faith or even teach a distorted version of that faith. When parents complain the Bishops spring to the defense of the heterodox catechists responsible for undermining the faith of the children. The English Bishops remain indifferent to liturgical abuse providing that it is initiated by Liberals. Pope Paul VI appealed to hierarchies throughout the world to uphold the practice of Communion on the tongue. Liberal clerics in England defied the Holy See and the reaction of the Bishops was to legalize the practice. The same process is now taking place with the practice of distributing Communion under both kinds at Sunday Masses. -
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.