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Musical Perspective on the Roman Missal, Third post-Vatican II Edition: Opportunities and Challenges 30 April 2011 Fr. Jan Michael Joncas.

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Presentation on theme: "Musical Perspective on the Roman Missal, Third post-Vatican II Edition: Opportunities and Challenges 30 April 2011 Fr. Jan Michael Joncas."— Presentation transcript:

1 Musical Perspective on the Roman Missal, Third post-Vatican II Edition: Opportunities and Challenges 30 April 2011 Fr. Jan Michael Joncas

2 Overview of the 3rd post-Vatican II edition of the Roman Missal

3 Post-Vatican II Roman Rite Eucharist 1969: Ordo Missae 1970: Missale Romanum, editio typica [1974: USA Sacramentary] 1975: Missale Romanum, editio typica altera [1985: USA Sacramentary] 2002/2008: Missale Romanum, editio typica tertia [2011: USA Roman Missal]

4 Missale Romanum 2002/2008 editio typica tertia

5 2002/2008: Missale romanum editio typica tertia (emendata) 2008 corrects spelling, grammatical and typographical errors in 2002 (e.g. unum in Apostles Creed as well as the Nicene-Constantinopolitan Creed) Both include revised GIRM (5 th ed.) Three new dismissals appear in the Order of Mass: Go, proclaiming the Gospel of the Lord; Go in peace, glorifying the Lord with your (pl) life; Go in peace. Certain saints designations left out in 2002 are restored in 2008 Vigil Mass formularies for Epiphany, Ascension and Pentecost appear Prayers over the People for each day of Lent appear

6 Apostles Creed is recommended especially during Lent and Easter Layout of Masses for Various Needs and Occasions Insertion of St. Pius of Pietrelcina (Padre Pio) (23 Sep) / St. John Didacus Cuauhtlatoatzin (Juan Diego)(9 Dec) / Our Lady of Guadalupe (12 December) into the General Roman Calendar with proper collects Inclusion of Eucharistic Prayers for Reconciliation I and II + for Various Needs and Occasions in an Appendix to the Ordo Missae [NOT at the end of the book] Relegation of the Eucharistic Prayers for Children to a separate Book Emendations to Holy Week – –

7 Order of Mass Approved – 2006 June 15, 2006 English translation of the Order of Mass approved by the USCCB. After more than two years of review and consultation and three drafts, the English translation of the Order of Mass, along with a number of adaptations for the Dioceses of the United States, is approved. After the text of the Order of Mass was completed, each of the remaining 11 sections of the Roman Missal were presented in similar fashion.

8 Order of Mass Confirmed – 2008 June 23, 2008 English translation of the Order of Mass confirmed by the Holy See. While the revised translation of the Order of Mass cannot yet be used in the celebration of the Mass, the Vatican Congregation for Divine Worship and the Discipline of the Sacraments granted the recognitio in order that catechesis on the revised texts could begin and musical settings of the texts could be prepared.

9 U.S.A. Roman Missal Approved – 2009 November 17, 2009 Final segments of the Roman Missal (third edition) approved by the U.S. Bishops. Concluding a lengthy process that began with the publication of the Missale Romanum, editio typica tertia in 2002, the United States Conference of Catholic Bishops gives its approval to the final sections of the English translation of the third edition of the Roman Missal. (Other sections were approved in November 2008 and June 2009.) While the Holy See prepares and approves a final text, a remote catechetical period is underway to prepare clergy and lay faithful in the United States to receive the new translation.

10 Where We Are Now Recognitio for 2010 English translation of Ordo Missae/3 rd post-Vatican II edition of the Roman Missal granted To be used in dioceses of the United States beginning the First Sunday of Advent, Publishers are preparing the altar books, participation aids, hymnals and catechetical materials needed to prepare ourselves and our congregations for the changes

11 Genres of Church Music

12 Kerygma (Heralding) = Evangelical Music Didache (Teaching) = Catechetical Music Koinonia (Communion) = Fellowship Music Martyria (Witness) = Profession Music Diakonia (Service) = Therapeutic Music Leitourgia (Worship) = Liturgical Music

13 Ten Opportunities and Challenges To educate ourselves and our people on the meaning of the texts and ceremonies of the Mass (General Instruction of the Roman Missal [5 th edition]) To educate ourselves and our people on the Churchs understanding of liturgical music (Sing to the Lord: Music in Divine Worship) To assess our present practices and understandings in the light of the Churchs guidelines (personnel, acoustic resources, participation aids, etc.)

14 To retire parts of our repertoire that may not accord well with the Churchs understanding of liturgical music To reclaim important elements of our liturgical music heritage that may have fallen out of use To learn and implement new repertoire that might accord more closely with the Churchs understanding of liturgical music

15 To learn and model how to sing the Mass and not simply sing while Mass is going on To learn and model full, conscious and active participation in the liturgy and not simply musical performance To collaborate with the leadership and volunteers of the worshiping community in developing a unified experience of worship (e.g., priest, deacon, preacher(s), reader(s), ministers of holy communion, acolytes, ministers of hospitality, visual artists, etc.)

16 To identify, invite, and support new music ministers for your worshiping community

17 Criteria for Choosing Musical Settings for a Worshipping Community

18 Sing to the Lord: Music in Divine Worship (2008)

19 Ritual Dimension

20 Analysis of Ritual Dimension Textual Genres (dialogues and acclamations, antiphons and psalms, refrains and repeated responses, hymns) Musical Elements (pitch, volume, duration, timbre, scale, texture, form) Ritual Settings (music alone, music + action, music + text, music + text accompanying an action)

21 Textual Genres

22 Dialogues and Acclamations (116a)

23

24 Antiphons and Psalms (116b)

25 Refrains and Repeated Responses (116c)

26 Hymns (116d)

27 Musical Elements

28 Pitch – Congregation: C c // Ab eb – Choral: melody probably placed in alto line // possible settings in which SB sing in octaves with T above the melody and A below the melody – Instrumental: emulate organ, i.e., bass BELOW range of congregational singing to ground harmony and establish meter; mid-range IN THE MIDST of congregational singing to establish harmony; descants ABOVE the congregational singing to offer contrasts Volume – Congregation: Volume depends on genre (loud = acclamation; soft = litany) – Choral: when singing alone, follow score; when singing with congregation, adjust to assembly – Instrumental: when playing alone or accompanying choral ensemble, follow score; when playing to accompany congregation, adjust to leading instrument

29 Duration (meter / rhythm) – Congregation: most comfortable with regular meters and rhythms – Choral: when singing alone, may be adventurous; when supporting the congregation, use regular rhythms and meters – Instrumental: when playing alone or accompanying a vocal ensemble, may be adventurous; when supporting the congregation, use regular rhythms and meters Timbre – Congregation: love the sound of untrained congregational unison – Choral: when singing along, timbre appropriate to the style of music being sung (chant, Bach chorale, shape-note hymn, spiritual); when singing with the congregation, assume refined congregational timbre – Instrumental: when playing alone or accompanying vocal ensemble, timbre appropriate to the style of music being played/sung; when accompanying the congregation, sustain singing

30 Scale/Melody/Harmony – Pentatonic – Diatonic (modal) – Chromatic (lightly) – Not dodecaphonic or micro-tonal Texture – Monophonic – Heterophonic – Homophonic – Polyphonic Form (congruent with ritual requirements) – Open forms (antiphon + psalm verses; mantra) – Closed forms (through-composed; hymns)

31 Ritual Settings

32 Music Alone – Bugler playing Taps at graveside – 3-part invention after psalm on Trinity Sunday Music + Action – President Entering Room for a Press Conference – Wedding Procession Music + Text – Edith Piaf in concert – Cantor offering Responsorial Psalm Music + Text Accompanying an Action – You put your right hand in…. – Lamb of God during Fraction Rite

33 Spiritual Dimension

34 Mediates Transcendence Assists memorization of sacred texts Facilitates group identity and action Expresses and evokes emotion Structures time and symbolizes eternity Models ordered creativity

35 Cultural Context


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