Priority for Singing
The amount of singing should correspond to the degree of solemnity of the occasion. The order of preference of parts for singing is based on four key principles outlined in Musicam Sacram.
These key principles are, in order: intrinsic musicality (MS, 6), intrinsic importance (MS, 7), diversity of genres (MS, 16), and degree of participation of the assembly (MS, 28-36). The following table shows the priority of singing, in terms of a "star rating", based on these principles.
Intrinsic Musicality
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By their nature, require to be sung
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More naturally recited
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kind and form of music |
song with accompaniment, |
simple chant, unaccompanied |
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Intrinsic Importance |
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Lesser
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Greater |
Lesser |
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| Degree of Participation | A |
B |
C |
D |
E |
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1st Degree of Participation: Acclamations, Dialogues and Prayers |
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 |
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2nd Degree of Participation: Chants of the Ordinary and Litanies |
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Third Degree of Participation: Chants of the Proper (and Other Songs in keeping with the part of the Mass, the feast or the season), and Readings. |
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On the most solemn occasions,cantillation of readings, and their acclamations |
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Let's look at the detail behind the star ratings. Firstly, let's review the specifics of the four key principles:
- Intrinsic Musicality:
"parts especially should be sung which by there very nature require to be sung, using the kind and form of music that is proper to their character" (MS, 6); - Intrinsic Importance:
"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" (MS, 7); - Diversity of Genres:
"first of all include acclamations, responses to the greetings of the priest and ministers and to the prayers of litany form, and also antiphons and psalms, refrains or repeated responses, hymns and canticles" (MS, 16); - Degree of Participation:
"for the sung Mass (Missa cantata), different degrees of particpation 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" (MS, 28).
"It is desirable that the assembly of the faithful should participate in the songs of the Proper as much as possible, especially through simple responses and other suitable settings.
The song after the lessons, be it in the form of gradual or responsorial psalm, has a special importance among the songs of the Proper. By its very nature, it forms part of the Liturgy, of the Word. It should be performed with all seated and listening to it—and, what is more, participating in it as far as possible" (MS, 33).
"There is no reason why some of the Proper or Ordinary should not be sung in said Masses. Moreover, some other song can also, on occasions, be sung at the beginning, at the Offertory, at the Communion and at the end of Mass. It is not sufficient, however, that these songs be merely "Eucharistic"—they must be in keeping with the parts of the Mass, with the feast, or with the liturgical season" (MS, 36).
Now let's look at the story behind these principles. The first thing we notice is that there is some tension between these principles. It is important to remember that what is envisaged is not the traditonal form of solemn sung Mass (Missa cantata), nor the said Mass. Rather: "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" (MS, 27). Thus, while "the distinction between solemn, sung and read Mass, sanctioned by the Instruction of 1958 (n. 3), is retained" (MS, 27), a completely new form of sung Mass is now proposed. This form is an adaption of the traditional said and sung Mass forms, aimed at encouraging the people's participation in all the genres of musicality of the Mass.
Some parts by their very nature are meant to be sung, though on occasion they may be recited (e.g. the Gloria). Their kind and form of music is generally a specially composed song with accompaniment or a more elaborate chant (melodic range of six or more notes with a variety of intervals). Other parts by their very nature are more naturally recited, though on occasion they may be chanted (e.g. the Greeting). Their kind and form of music is generally a simple unaccompanied cantillation. A few parts by their very nature can be either sung or recited (e.g. the Our Father, the Kyrie, the Litany of saints). Their kind and form of music includes options for specially composed songs, elaborate chants and simple unaccompanied cantillation.
Some parts by their very nature are more important. A good indicator of the importance of a part is whether it is always included in Mass, or only included on certain occasions. Another good indicator of the importance of a part is whether it is integral to a special rite (e.g. the Sanctus, the Responsorial Psalm, the Lumen Christi and Exsultet, the Pange Lingua; the antiphons and songs accompanying certain rituals such as the Washing of the Feet, the Veneration of the Cross, the Procession of Palms and the Anointing at Confirmation).
Some parts are less important. The Kyrie is less important, being omitted when other rites are included at the start of Mass (e.g. the Sprinkling rite, the Procession of Palms, the Reception for Baptism, etc.). The Sprinkling song is less improtant, being an optional alternative to the Penitential Act on Sundays only "from time to time" (GIRM, 51). The Gloria is less important, only being sung on Sundays, Solemnities and Feasts, and omitted in Lent and Advent (GIRM, 53). The Sequence is less improtant, being optional except for the Solemnities of Easter and Pentecost (GIRM, 64). The Litany of Saints is less important, only occuring in special rites. The Offertory song is less important, having no specified text and being one of the opportunites for instrumental music only (MS, 65). The Hymn of Praise after communion is less important, being an optional extra depending on what is opportune for the particular situation (GIRM, 88). The Recessional is less important, having no specified text, and being one of the opportunities for instrumental music only (MS, 36; 65).
Most parts are sung by the priest or ministers with the people responding, or by the priest and people together. But some parts may be sung entirely by the choir alone, for example, some settings of the Gloria and some processional songs. Priority should be given to those parts sung by the priest or ministers with the people responding, or by the priest and people together (MS, 6; GIRM, 40).
Another key principle is the singing of the full diversity of genres (cf. MS, 16). It must be remembered that the apostle Paul does not exhort the Colossians to sing dialogues and acclamations! Rather he exhorts them "to sing together psalms, hymns, and spiritual songs" (GIRM, 39; cf. Col 3:16). While the first degree of particpation is the acclamations and responses, the first priority is those parts having intrinsic musicality. It makes no sense to sing acclamations and responses that are more naturally recited ahead of singing psalms, hymns and other spiritual songs that are required to be sung.
The degrees of participation designated in Musicam Sacram for a sung Mass cover the full diversity of genres of song (MS, 16), intrinsic musicality (MS, 6) and intrinsic importance (MS, 7). A matrix of these principles can be constructed covering the three degrees. This results in the table of five columns and three rows shown above. In order to accomodate the priority for singing the full diversity of genres (all three degrees) in the first place (MS, 16), the star rating is so arranged that the first degree in column B is no greater than the third degree in column A, and so forth for each subsequent column.
Let's look at the detail of the "star rating" table. In column A, those parts in the first degree, which by their nature are of greater importance AND required to be sung, are rated five stars. Similarly, those in the second degree are rated four and a half stars, and those in the third degree are rated four stars. In column B, those parts in the first degree, which by their nature are of lesser importance AND required to be sung are rated four stars. Those parts in the second degree, which by their nature are of lesser importance AND required to be sung are rated three and a half stars. And so the pattern continues across the five columns. (Items in brackets in the table are not specified in MS; their degree is determined based on similarity of genre).
This relative importance ranking, based on the four principles outlined in Musicam Sacram, determines the priority for additional singing according to the degree of solemnity of the occasion. The simplest form of celebration has no singing. It is desirable that at least the 5-star items would be sung at most weekday Masses. On Sundays, additional parts would be sung according to the degree of solemnity of the celebration. For more information, refer to the details on progressive solemnity and increased amount of singing.
A final note regarding the acclamations at the Gospel. Musicam Sacram ranked the people's acclamations at the Gospel in the first degree. But there are three acclamations. What is the prioritiy for singing? The Alleluia acclamation is naturally required to be sung and has highest priority (5-stars), while the Gospel greeting and the acclamation after the Gospel are more naturally spoken (2-stars). With regard to the Alleluia verse Proper, it is also naturally required to be sung, but is ranked in the third degree (4-stars).