Music in the Mass (2): Right hymns for the right part of the Mass

BY FR MALCOLM McLAREN

Having looked at how music can enhance the shape of the liturgy, Fr MALCOLM McLAREN explains the role and place of hymns in the Mass. The first part of this series is entitled “Music in the Mass: Striking the right note”.

A choir in full song. In the second of his two articles on music in the liturgy, Fr Malcolm McLaren says that hymns must be chosen to reflect the correct part of the Mass.

It is unfortunate that hymns receive so much priority because they undermine an understanding of participation during Mass. It is also witness to a foreign tradition of worship that has entered into the Mass. Here I speak of those hymns sung as the entrance, offertory, Communion and recessional hymns.

Apart from the Sanctus, the Gloria is the only other part of the Mass referred to as a hymn. As a hymn of praise, the Church documents stress the importance of the Gloria being sung (although it is recognised that this is not always possible).

The difficulty in composing music for the Gloria, and also the shortage of suitable and even durable settings, has seen many choirs sing versions which have altered the parts of the original English text. It is also a reflection, in part, of the desire to increase community singing by making the Gloria more accessible.

However there has also, regrettably, been much abuse at this point of the Mass. In an attempt to ensure that something is sung at this point rather than recite the Gloria, random hymns have been sung simply because they contain the word “glory”, or even “praise”.

The new English translation provides an opportunity to improve our practice. There are already a number of musical settings of the Gloria using the new English translation, and I hope that with patience and perseverance they can be introduced successfully.

Considering now, in turn, the four “traditional” hymns, it may surprise some people that the recessional hymn is not part of the Mass! Liturgically, the Mass ends immediately after the deacon (or priest) has given the dismissal and the assembly has responded with “Thanks be to God”. It seems strange, therefore, that it should receive so much focus, since its function is simply to accompany the priest and ministers out of the sanctuary.

The purpose of the entrance, offertory and Communion hymns should primarily be seen as accompanying a ritual action. (Here the entrance hymn differs from the recessional hymn, because the Mass does not begin with the Sign of the Cross but with the entrance hymn/antiphon).

The entrance hymn accompanies the procession of the priest and ministers to the sanctuary, the offertory hymn the presentation and preparation of the gifts, and the Communion hymn the procession of the assembly to receive Holy Communion.

However, there are also secondary roles. For example, the entrance hymn also draws the attention of the assembly to the altar as the central focus point of the Mass. The entrance and offertory hymns may also accompany the action of incensing the altar and the gifts.

The point here is that when either of these hymns is too long or too short to accompany the ritual action, then the hymn has failed in its primary purpose. Occasionally, the use of musical improvisation can assist where hymns might be too short, however care must be taken in singing hymns which are either too long or which, when cut short, somehow seem to be incomplete.

It is no harm to recall that the tradition at these three points of the Mass was to sing an antiphon or refrain (still provided in the missal), accompanied by a suitable number of verses from a psalm for the duration of the ritual action. This was concluded by repeating the antiphon.

Many standard collections of liturgical music include well written antiphonal type “hymns”, both in English and in a musical form that allows for community participation. Their value should not be ignored, especially since a short refrain can easily be learned before Mass, and a choir or cantor can sing the verses.

It is also disappointing to see how the vast array of hymns has almost displaced the tradition of using the psalms in the Mass, with the exception of the responsorial psalm.

However, even here, the bad practice of singing hymns in place of the responsorial psalm must be noted. Space prevents further discussion in this area, however it should be said that when it is sung (even if only the refrain), the responsorial psalm gives the assembly an opportunity to meditate and reflect on the Word of God, in a way similar to that of Taizé chant.

Finally, there is no requirement that offertory hymns refer to the gifts of bread and wine, or that Communion hymns refer to Holy Communion. Indeed, at neither of these times must the entire assembly join in the singing.

Therefore, in place of an offertory hymn, the choir might sing a religious song related to the theme of the Mass or liturgical season, or alternatively the action may be accompanied simply with instrumental music.

Despite themes relating to the Eucharist being appropriate for Communion time, it is possible to increase the range of music used for Communion by looking to the Communion antiphon as a guide. During the Sundays in Eastertide, for example, only one of the Communion antiphons given in the Missal makes reference to the Eucharist. Although the priority of a post-Communion hymn in the context of liturgical music is relatively low, pastorally it may have a place such as during the taking of a collection.

These two articles are intended to be an introduction, covering broadly the areas of greater significance in liturgical music. Much more can—and should—be discussed, perhaps in parish liturgy groups or diocesan music workshops. And yet this article might already seem overwhelming or reflect very differently from the current practice in your parish.

I also appreciate that some of the suggestions I have outlined are not achieved overnight. They require thought, prayer, education, and commitment, not only from those in music ministry but from the priest, deacon and entire assembly.

However, if truly liturgical music not only adds to the beauty of the Mass, but allows the prayers of the Mass, and the Mass itself to speak more fully, then this should be enough to inspire us to make the effort.

Fr Malcolm McLaren is a priest of the archdiocese of Johannesburg. This two-part series is based on a talk that was given to those involved in music ministry at St Patrick’s church in La Rochelle.