The Three Degrees of Liturgical Singing

[LuxAurumque]

In the 1967 Instruction on Sacred Music in the Liturgy, Musicam Sacram , the Church creates the three “Degrees” upon which certain things in the Mass must be sung before one can “move on” to other things in the Liturgy. It seems that in most parish liturgies in the modern church, the three degrees are “flipped” upside down. How many people’s parishes actually follow the three degrees or at least attempt to do as the Church teaches?

Musicam Sacram states:

1. For the celebration of the Eucharist with the people, especially on Sundays and feast days, a form of sung Mass (Missa in cantu) is to be preferred as much as possible, even several times on the same day.

1. The distinction between solemn, sung and read Mass, sanctioned by the Instruction of 1958 (n. 3), is retained, according to the traditional liturgical laws at present in force. However, for the sung Mass (Missa cantata), different degrees of participation are put forward here for reasons of pastoral usefulness, so that it may become easier to make the celebration of Mass more beautiful by singing, according to the capabilities of each congregation.

These degrees are so arranged that the first may be used even by itself, but the second and third, wholly or partially, may never be used without the first. In this way the faithful will be continually led toward an ever greater participation in the singing.

1. The following belong to the first degree:

(a) In the entrance rites: the greeting of the priest together with the reply of the people; the prayer.

(b) In the Liturgy of the Word: the acclamations at the Gospel.

(c) In the Eucharistic Liturgy: the prayer over the offerings; the preface with its dialogue and the Sanctus; the final doxology of the Canon, the Lord's Prayer with its introduction and embolism; the Pax Domini; the prayer after the Communion; the formulas of dismissal.

1. The following belong to the second degree:

(a) the Kyrie, Gloria and Agnus Dei;

(b) the Creed;

(c) the prayer of the faithful.

1. The following belong to the third degree:

(a) the songs at the Entrance and Communion processions;

(b) the songs after the Lesson or Epistle;

(c) the Alleluia before the Gospel;

(d) the song at the Offertory;

(e) the readings of Sacred Scripture, unless it seems more suitable to proclaim them without singing.

and

in selecting the parts which are to be sung, one should start with those that are by their nature of greater importance, and especially those which are to be sung by the priest or by the ministers, with the people replying, or those which are to be sung by the priest and people together. The other parts may be gradually added according as they are proper to the people alone or to the choir alone.

Citation:
adoremus.org/MusicamSacram.html

 

[Tonks40]

In the 1967 Instruction on Sacred Music in the Liturgy, Musicam Sacram , the Church creates the three “Degrees” upon which certain things in the Mass must be sung before one can “move on” to other things in the Liturgy. It seems that in most parish liturgies in the modern church, the three degrees are “flipped” upside down. How many people’s parishes actually follow the three degrees or at least attempt to do as the Church teaches?

Citation:
adoremus.org/MusicamSacram.html

Looks like in our parish, we’re sloooowwly getting back to how it’s suppose to be. I don’t think I’ve seen our pastor NOT chant those places mentioned in the first degree…but then, our pastor has a pretty good chanting voice, and is not shy to do it.

 

[Chatter163]

True, most parishes do not follow this document, though some would point out that this document was written during the “interim period” when the framework of the Mass was still somewhat Tridentine (with two Sunday readings instead of three, a distinction between Solemn, Sung and Low Mass, etc.).

 

[demerzel85]

Hmm…I dont get this…

 

[LuxAurumque]

True, most parishes do not follow this document, though some would point out that this document was written during the “interim period” when the framework of the Mass was still somewhat Tridentine (with two Sunday readings instead of three, a distinction between Solemn, Sung and Low Mass, etc.).

It seems that this is not the case and that Musicam Sacram is still canonically binding.

ROME, 13 JAN. 2004 (ZENIT).

Answered by Father Edward McNamara, professor of liturgy at the Regina Apostolorum Pontifical Athenaeum.

Q: ? On March 5, 1967, the Sacred Congregation of Rites issued the instruction “Musicam Sacram” (AAS 59 [1967] 300-320) with the approval and confirmation of Paul VI, indicating its provisions should go into force on Pentecost Sunday, May 14, 1967. So far as I know, the document’s provisions never have been followed in the U.S. But also, so far as I know, the document’s provisions never have been replaced or abrogated.

A: The following extract (below) from the new General Instruction on the Roman Missal should respond in part to the question. From the footnotes it is clear that “Musicam Sacram” has not been abrogated and indeed its principles are still in force.

The new Roman Missal in Latin clearly shows the desire to remain faithful to the principles of “Musicam Sacram” by printing the musical notations for the ordinary of the Mass and for all of the major Prefaces. It even goes further in providing chant tones for the readings and for all four Eucharistic Prayers.

**In the choosing of the parts actually to be sung, however, preference should be given to those that are of greater importance and especially to those to be sung by the priest or the deacon or the lector, with the people responding, or by the priest and people together.2
**

---

Follow-up:

"1. We are primarily not to sing at or during the Mass, but SING THE MASS — that is, sing the important parts of the Mass in response to the priest. This means that the priority in singing should be the four Acclamations (Alleluia; Holy, Holy, Holy; Acclamation of Faith; and the Great Amen). If there is any singing, these are the first and most important before [the] entrance hymn or Communion hymns (cf. Nos. 7,16,29).

"3. For both of these wishes of the document to be implemented, the burden lies on the priest to lead and to instruct his choir and parishioners. If the priest does not chant the important parts, the people will not sing them (cf. Nos. 13,14,26)."

---

Regarding his affirmation that we are not to sing at Mass but sing the Mass — paraphrasing a famous statement of Pope Pius XI regarding not praying at Mass but praying the Mass — I would add that not just the acclamations but also the greetings and responses (“The Lord be with you,” etc.), the presidential prayers, the responsorial psalm and the people’s invocation of the Prayer of the Faithful, the Our Father, the Lamb of God and the final blessing should also ideally be sung.

Often this aspect is neglected while there are endless discussions about selecting the most appropriate entrance, offertory or Communion hymn, which, as Father Schineller correctly points out, are the least important elements from the liturgical point of view.

Finally, Father Schineller correctly places much of the onus on the priest to carry out the Church’s desire regarding the proper order of liturgical singing. The traditional simple chants used for singing priestly prayers and greetings are well within the range of most priests although the magnificent tone for the preface can sometimes be a challenge.

The priest is the first who has to lose his fear of singing, including his fear of appearing ridiculous. Once begun he will find that singing the prayers and greetings not only adds a touch of solemnity but also frees him from the temptation of having to act or stress the prayers in order to put feeling or meaning into them.

Thus singing, rather than emphasizing the individual personality of the priest, serves to accentuate his priestly function.

These prayers were probably composed in order to be sung and find their best expression in the traditional simple prayer chants or in similar tones adapted to the vernacular.

Once the priest leads he will find that the people will follow him. And the spiritual benefits of singing the Mass will undoubtedly follow for, as St. Augustine said, “He who sings prays twice.” ZE04012723

Citation: ewtn.com/library/Liturgy/zlitur16.htm

(Emphasis Added and Edited for Length)

 

[Chatter163]

I never said that Musicam Sacram was not still binding; I stated that some might not feel that its is, due to the framework of the Mass having changed subsequent to the issuing of the decree.

 

[LuxAurumque]

Indeed, and that is unfortunate that again people are presupposing that the mass should be celebrated as “low” as possible. It only makes sense for the Novus Ordo, which by its very nature presupposes a “High” Mass, would adhere to its “pyramid” of singing. My parish sings all the dialogues and all of the prayers with the exception of the Credo, which hopefully will be remedied soon. At our liturgies, absolutely everything is sung except the bidding prayers, sermon, and announcements haha.
It seems that most parishes have it all backwards: where they insert hymns before they chant the ordinary, and they chant the ordinary before the priest chants the orations and the dialogues…
it should be the exact opposite…
All of the priestly parts should be chanted, then once all of these are chanted it is OK to move on to the next “degree.”
Once all of the ordinary is chanted then it is okay to move on to the “propers.” And in reality we should be doing the propers and not hymns but thats another thread alltogether.