1. 30 April 2011 Fr. Jan Michael Joncas
Musical Perspective on the Roman Missal, Third post-Vatican II Edition: Opportunities and Challenges
30 April 2011
Fr. Jan Michael Joncas
a) cursory overview of changes in RM; b) examine effect of new texts on music; c) criteria for best settings for parish; d) spirituality and vision needed to teach and deal with change

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 (5th 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/3rd post-Vatican II edition of the Roman Missal granted
To be used in dioceses of the United States beginning the First Sunday of Advent, 2011.
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 [5th edition])
To educate ourselves and our people on the Church’s understanding of liturgical music (Sing to the Lord: Music in Divine Worship)
To assess our present practices and understandings in the light of the Church’s guidelines (personnel, acoustic resources, participation aids, etc.)

14. To “retire” parts of our repertoire that may not accord well with the Church’s 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 Church’s 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)

24. Antiphons and Psalms (116b)

25. Refrains and Repeated Responses (116c)

26. Hymns (116d)

27. Musical Elements

28. Pitch Volume 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 + Text Accompanying an Action
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