Gloria

Sacramentum Caritatis—no references

Redemptionis Sacramentum—no references

Chirograph of John Paul II—no references

JPII Address—no references

Paschale Solemnitatis

[On Holy Thursday] 50. During the singing of the hymn "Gloria in excelsis," in accordance with local custom, the bells may be rung but should thereafter remain silent until the "Gloria in excelsis" of the Easter Vigil, unless the conference of bishops or the local ordinary, for a suitable reason, has decided otherwise. [56] During the same period, the organ and other musical instruments may be used only for the purpose of supporting the singing.

[At the Easter Vigil] 87. After the readings from the Old Testament and the hymn "Gloria in excelsis," the bells are rung in accordance with local custom, the collect is recited, and the celebration moves on to the readings from the New Testament. There is read an exhortation from the apostles on baptism as an insertion into Christ's paschal mystery.

Then all stand and the priest intones the "Alleluia" three times, each time raising the pitch. The people repeat after him. [93] If it is necessary, the psalmist or cantor may sing the "Alleluia," which the people then take up as an acclamation to be interspersed between the verses of Psalm 117, which is so often cited by the apostles in their Easter preaching. [94] Finally, the resurrection of the Lord is proclaimed from the gospel as the high point of the whole liturgy of the word. After the gospel, a homily is to be given, no matter how brief.

1975 GIRM

17. Finally, of the other texts:

a. Some constitute an independent rite or act, such as the "Gloria," the responsorial psalm, the "Alleluia" verse and the verse before the

gospel, the "Sanctus," the memorial acclamation, and the song after communion.

b. Others accompany another rite, such as the songs at the entrance, at the preparation of the gifts, at the breaking of the bread ("Agnus Dei"), and at communion.

24. The parts preceding the liturgy of the word, namely, the entrance song, greeting, penitential rite, "Kyrie," "Gloria," and opening prayer or collect, have the character of a beginning, introduction, and preparation.

The purpose of these rites is that the faithful coming together take on the form of a community and prepare themselves to listen to God's word and celebrate the eucharist properly.

31. The "Gloria" is an ancient hymn in which the Church, assembled in the Holy Spirit, praises and entreats the Father and the Lamb. It is sung by the congregation, or by the congregation alternately with the choir, or by the choir alone. If not sung, it is to be recited either by all together or in alternation.

The "Gloria" is sung or said on Sundays outside Advent and Lent, on solemnities and feasts, and in special, more solemn celebrations.

87. After the penitential rite, the "Kyrie" and "Gloria" are said, in keeping with the rubrics (nos. 30-31). Either the priest or the cantors or even everyone together may begin the "Gloria."

[Mass without a Congregation] 215. He reads the entrance antiphon and says the "Kyrie" and the "Gloria," in keeping with the rubrics.

Voluntati Obsequens

Our congregation has prepared a booklet entitled, "Jubilate Deo", which contains a minimum selection of sacred chants. This was done in response to a desire which the Holy Father had frequently expressed, that all the faithful should know at least some Latin Gregorian chants, such as, for example, the "Gloria", the "Credo", the "Sanctus", and the "Agnus Dei".

Liturgicae Instaurationes—no references

Tres Abhinc—no references

Musicam Sacram

28. 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.

29. 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.

30. The following belong to the second degree:

(a) the Kyrie, Gloria and Agnus Dei;

(b) the Creed;

31. The following belong to the third degree:

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

(b) the songs after the Lesson or Epistle;

(d) the song at the Offertory;

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

32. The custom legitimately in use in certain places and widely confirmed by indults, of substituting other songs for the songs given in the Graduale for the Entrance, Offertory and Communion, can be retained according to the judgment of the competent territorial authority, as long as songs of this sort are in keeping with the parts of the Mass, with the feast or with the liturgical season. It is for the same territorial authority to approve the texts of these songs.

Inter Oecumenici

57. For Masses, whether sung or recited, celebrated with a congregation, the competent, territorial ecclesiastical authority on approval, that is, confirmation, of its decisions by the Holy See, may introduce the vernacular into:

a. the proclaiming of the lessons, epistle, and gospel; the universal prayer or prayer of the faithful;

b. as befits the circumstances of the place, the chants of the Ordinary of the Mass, namely, the Kyrie, Gloria, Credo, Sanctus-Benedictus, Agnus Dei, as well as the introit, offertory, and communion antiphons and the chants between the readings;

c. acclamations, greeting, and dialogue formularies, the Ecce Agnus Dei, Domine, non sum dignus, Corpus Christi at the communion of the faithful, and the Lord's Prayer with its introduction and embolism.

Missals to be used in the liturgy, however, shall contain besides the vernacular version the Latin text as well.

Sacram Liturgiam—no references

Sacrosanctum Concilium—no references

De Musica Sacra

25. In solemn Mass there are three degrees of the participation of the faithful:

a) First, the congregation can sing the liturgical responses. These are: Amen; Et cum spiritu tuo; Gloria tibi, Domine; Habemus ad Dominum; Dignum et justum est; Sed libera nos a malo; Deo gratias. Every effort must be made that the faithful of the entire world learn to sing these responses.

b) Secondly, the congregation can sing the parts of the Ordinary of the Mass: Kyrie, eleison; Gloria in excelsis Deo; Credo; Sanctus-Benedictus; Agnus Dei. Every effort must be made that the faithful learn to sing these parts, particularly according to the simpler Gregorian melodies. But if they are unable to sing all these parts, there is no reason why they cannot sing the easier ones: Kyrie, eleison; Sanctus-Benedictus; Agnus Dei; the choir, then, can sing the Gloria, and Credo.

Recommended Chants

In connection with this, the following Gregorian melodies, because of their simplicity, should be learned by the faithful throughout the world: the Kyrie, eleison; Sanctus-Benedictus; Agnus Dei of Mass XVI from the Roman Gradual; the Gloria in excelsis Deo, and Ite, missa est-Deo gratias of Mass XV; and either Credo I or Credo III. In this way it will be possible to achieve that most highly desirable goal of having the Christian faithful throughout the world manifest their common faith by active participation in the holy Sacrifice of the Mass, and by common and joyful song (Musicæ sacræ disciplina: AAS 48 [1956] 16).

c) Thirdly, if those present are well trained in Gregorian chant, they can sing the parts of the Proper of the Mass. This form of participation should be carried out particularly in religious congregations and seminaries.

31. A final method of participation, and the most perfect form, is for the congregation to make the liturgical responses to the prayers of the priest, thus holding a sort of dialogue with him, and reciting aloud the parts which properly belong to them.

There are four degrees or stages of this participation:

a) First, the congregation may make the easier liturgical responses to the prayers of the priest: Amen; Et cum spiritu tuo; Deo gratias; Gloria tibi Domine; Laus tibi, Christe; Habemus ad Dominum; Dignum et justum est; Sed libera nos a malo;

b) Secondly, the congregation may also say prayers, which, according to the rubrics, are said by the server, including the Confiteor, and the triple Domine non sum dignus before the faithful receive Holy Communion;

c) Thirdly, the congregation may say aloud with the celebrant parts of the Ordinary of the Mass: Gloria in excelsis Deo; Credo; Sanctus-Benedictus; Agnus Dei;

d) Fourthly, the congregation may also recite with the priest parts of the Proper of the Mass: Introit, Gradual, Offertory, Communion. Only more advanced groups who have been well trained will be able to participate with becoming dignity in this manner.

81. Accordingly, the playing of the organ, and all other instruments is forbidden for liturgical functions, except Benediction, during the following times:

a) Advent, from first Vespers of the first Sunday of Advent until None of the Vigil of Christmas;

b) Lent and Passiontide, from Matins of Ash Wednesday until the hymn Gloria in excelsis Deo in the Solemn Mass of the Easter Vigil;

c) the September Ember days if the ferial Mass and Office are celebrated;

d) in all Offices and Masses of the Dead.

82. Only the organ may be used on the Sundays of Septuagesima, Sexagesima, and Quinquagesima, and on the ferial days following these Sundays.

83. However, during the seasons, and days just mentioned, the following exceptions to the rule may be made:

a) the organ may be played, and other instruments used on holy days of obligation, and holidays (except Sundays), on the feasts of the principal local patron saint, the titular day, and the dedication anniversary of the local church, the titular or founder's day of a religious congregation, and on the occasion of some extraordinary solemnity;

b) the organ only (including the harmonium or reed organ) may be used on the third Sunday of Advent, and the fourth Sunday of Lent, on Thursday of Holy Week during the Mass of Chrism, and during the solemn evening Mass of the Last Supper from the beginning to the end of the hymn Gloria in excelsis Deo;

c) the organ only may be used at Mass, and Vespers for the sole purpose of supporting the singing.

Local Ordinaries may determine more precisely the application of these prohibitions, and permissions according to the approved local or regional customs.

84. Throughout the Sacred Triduum, from the midnight before Holy Thursday until the hymn Gloria in excelsis Deo of the Solemn Mass of the Easter Vigil, the organ or harmonium shall remain completely silent, excepting the instance mentioned in paragraph 83b.

This prohibition holds even for private devotions during the Sacred Triduum; no exceptions or contrary custom are to be tolerated.

Musicae Sacrae—no references

Mediator Dei—no references

Divini Cultus—no references

Tra le Sollicitudini

10. The different parts of the mass and the Office must retain, even musically, that particular concept and form which ecclesiastical tradition has assigned to them, and which is admirably brought out by Gregorian Chant. The method of composing an introit, a gradual, an antiphon, a psalm, a hymn, a Gloria in excelsis, etc., must therefore be distinct from one another.

11. In particular the following rules are to be observed:

(a) The Kyrie, Gloria, Credo, etc., of the Mass must preserve the unity of composition proper to the text. It is not lawful, therefore, to compose them in separate movements, in such a way that each of these movements form a complete composition in itself, and be capable of being detached from the rest and substituted by another.

(b) In the office of Vespers it should be the rule to follow the Caeremoniale Episcoporum, which prescribes Gregorian Chant for the psalmody and permits figured music for the versicles of the Gloria Patri and the hymn.

It will nevertheless be lawful on greater solemnities to alternate the Gregorian Chant of the choir with the so called falsi-bordoni or with verses similarly composed in a proper manner.

It is also permissible occasionally to render single psalms in their entirety in music, provided the form proper to psalmody be preserved in such compositions; that is to say, provided the singers seem to be psalmodising among themselves, either with new motifs or with those taken from Gregorian Chant or based upon it.

The psalms known as di concerto are therefore forever excluded and prohibited.

(c) In the hymns of the Church the traditional form of the hymn is preserved. It is not lawful, therefore, to compose, for instance, a Tantum ergo in such wise that the first strophe presents a romanza, a cavatina, an adagio and the Genitori an allegro.

(d) The antiphons of the Vespers must be as a rule rendered with the Gregorian melody proper to each. Should they, however, in some special case be sung in figured music, they must never have either the form of a concert melody or the fullness of a motet or a cantata.

22. It is not lawful to keep the priest at the altar waiting on account of the chant or the music for a length of time not allowed by the liturgy. According to the ecclesiastical prescriptions the Sanctus of the Mass should be over before the elevation, and therefore the priest must here have regard for the singers. The Gloria and the Credo ought, according to the Gregorian tradition, to be relatively short.

23. In general it must be considered a very grave abuse when the liturgy in ecclesiastical functions is made to appear secondary to and in a manner at the service of the music, for the music is merely a part of the liturgy and its humble handmaid.