Music in the Mass (1): Striking the right note

With the new translation of the missal, a new emphasis is placed on the music of the liturgy. FR MALCOLM?McLAREN explains how.

Choir members sing during a Mass. The introduction of the new Roman missal in late November will pose challenges to those involved in the liturgical music ministry. (Photo: Mike Crupi, Catholic Courier)

Discussions regarding music in the liturgy evoke many emotions and a wide range of opinions.  This is demonstrated by articles and letters to the editor which have appeared in this newspaper, and by the many confrontations between priests, choirs, musicians and parishioners.

Frequent topics relate to preferred or detested hymns, the suitability of various musical instruments such as the organ, keyboard, guitar and drums, and the use of Latin and vernacular languages.

The reality is that, lacking a sound liturgical foundation, most of these discussions are simply opinions, and opinions about opinions.

When we refer to liturgical music, discussion must not be limited to the use of musical instruments and hymns, but should (and primarily so) also refer to the use of voice and unaccompanied singing.

We can then define the two extremes when it comes to music in liturgy: either everything is sung (or chanted), or nothing is sung.

This article does not suggest that every Mass must be fully sung. It is neither sustainable nor even desirable. In addition, the validity and efficacy of the Mass is not dependent on the quantity of music.

Yet, it is clear that music or song can add to the beauty of the Mass. Music can also highlight the greater importance or solemnity, for example, of a Sunday Mass during Eastertide in relation to a weekday Mass during Ordinary Time. This article is written to suggest some initial liturgical and pastoral guidelines as to how both may be achieved.

Having been involved in church music for 15 years, it occurred to me that most of those involved in both music ministry and parish liturgy lack a good understanding of the role and place of music in the Mass. For most, the choice of music is made on the basis of factors such as the theme of the Mass, having to sing something at a particular stage, whether a hymn is popular or has a nice tune, whether it is suitable for our combination of musical instruments, or whether it has always been done in the past.

Although musical factors have a part to play, these should not be at the expense of the liturgical (and pastoral) ones. Mass should never be about how inspiring the music was! This is why many pieces of religious or sacred music, which may be beautiful in themselves, are not automatically liturgical.

Music should instead help the community to celebrate the Mass well, by highlighting the shape of the Mass, by focusing on those parts which are of greater significance, and by allowing them to fulfil their roles within the assembly. For example, the singing of the “Amen” at the end of the Eucharistic Prayer has much more significance than singing a hymn during the sign of peace.

The highpoint of the liturgy of the word is the proclamation of the gospel. The first and second readings build up to the gospel, and having heard the gospel, the congregation then listens to the homily, makes their profession of faith, and offers up the Prayer of the Faithful.

Music could be used in two ways to emphasise the importance of the gospel. Firstly, at both the start and the end of the Gospel, the deacon or priest might sing/chant the start of the dialogue and allow the people to respond. Even using a simple tone, this provides a richer way of acknowledging the importance of what is to be, and what has been, heard.

Secondly and perhaps more easily achieved, it seems fitting that the gospel acclamation (“Alleluia”, or one appropriate to the liturgical time) should be sung, to highlight not only what is to be heard, but also to show that it is indeed an acclamation of the people. This is why the guidelines in the Roman missal suggest that if it is not sung, it may be omitted: an acclamation should be sung!

There are two highpoints during the liturgy of the Eucharist. The first is the reception of Holy Communion by the assembly and the second is the Eucharistic prayer.

This prayer begins with the dialogue “The Lord be with you” and ends with the doxology and the great “Amen”.

Applying the same principle as used for the liturgy of the word, a richer expression of the priest’s invitation to pray and the people’s response to that invitation takes place when the dialogue is sung.

It is equally appropriate that one word “Amen”, as a response not only to the doxology but to the entire Eucharistic prayer, be sung. In this response the assembly unite themselves powerfully to the prayer made on their behalf by the priest, thus making it their own.

Finally, contained within the Eucharistic prayer there are two acclamations made by the assembly:  the Sanctus and the memorial acclamation. As for the gospel acclamation, the use of music at these two moments increases the sense that they are acclamations.

Having looked very briefly at the shape of the Mass, notice how those parts which I have suggested be sung (either with or without accompaniment) are the same in each Mass. It is these acclamations and responses made by the community that should receive greater priority than the hymns.

Pastorally it also seems to make sense that rather than introducing new and different hymns each week, a community would learn more easily something that is done every Sunday (or even on weekdays).

If parishes were able to implement singing in some of these areas, beginning perhaps with the Amen and the gospel acclamation, not only would it be a valuable moment of catechesis, but an opportunity to aid more meaningful participation.

Before reflecting on the place of hymns in the Mass, two brief comments are in order. Firstly, the Sanctus is a very different part of the Mass when compared with the Kyrie or Agnus Dei.

Whereas the Sanctus is an acclamation of praise, the Kyrie is a plea or petition for mercy, and the Agnus Dei a simple litany. As three distinct and unique parts of the Mass, it seems appropriate that they should be sung with different melodies. The Sanctus should also receive priority over the other two.

Secondly, if singing the dialogue at the start of the gospel and Eucharistic prayer leads to a richer expression of invitation by the priest and response from the assembly, it follows that the dialogues at the start and end of Mass (together with the dismissal) might also be sung.

Fr Malcolm McLaren is a priest of the archdiocese of Johannesburg.