Sanctus

Sacramentum Caritatis—no references

Redemptionis Sacramentum

[54.] The people, however, are always involved actively and never merely passively: for they "silently join themselves with the Priest in faith, as well as in their interventions during the course of the Eucharistic Prayer as prescribed, namely in the responses in the Preface dialogue, the Sanctus, the acclamation after the consecration and the "Amen" after the final doxology, and in other acclamations approved by the Conference of Bishops with the recognitio of the Holy See".133

Chirograph of John Paul II—no references

JPII Address—no references

Paschale Solemnitatis—no references

1975 GIRM

16. There are other parts, extremely useful for expressing and encouraging the people's active participation, that are assigned to the whole congregation: the penitential rite, the profession of faith, the general intercessions, and the Lord's Prayer.

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.

55. The chief elements making up the eucharistic prayer are these:

a. Thanksgiving (expressed especially in the preface): in the name of the entire people of God, the priest praises the Father and gives thanks to him for the whole work of salvation or for some special aspect of it that corresponds to the day, feast, or season.

b. Acclamation: joining with the angels, the congregation sings or recites the "Sanctus" This acclamation is an intrinsic part of the eucharistic prayer and all the people join with the priest in singing or reciting it.

c. Epiclesis: in special invocations the Church calls on God's power and asks that the gifts offered by human hands be consecrated, that is, become Christ's body and blood, and that the victim to be received in communion be the source of salvation for those who will partake.

d. Institution narrative and consecration: in the words and actions of Christ, that sacrifice is celebrated which he himself instituted at the Last Supper, when, under the appearances of bread and wine, he offered his body and blood, gave them to his apostles to eat and drink, then commanded that they carry on this mystery.

e. Anamnesis: in fulfillment of the command received from Christ through the apostles, the Church keeps his memorial by recalling especially his passion, resurrection, and ascension.

f. Offering: in this memorial, the Church-and in particular the Church here and now assembled-offers the spotless victim to the Father in the Holy Spirit. The Church's intention is that the faithful not only offer this victim but also learn to offer themselves and so to surrender themselves, through Christ the Mediator, to an ever more complete union with the Father and with each other, so that at last God may be all in all.[42]

g. Intercessions: the intercessions make it clear that the eucharist is celebrated in communion with the entire Church of heaven and earth and that the offering is made for the Church and all its members, living and dead, who are called to share in the salvation and redemption purchased by Christ's body and blood.

h. Final doxology: the praise of God is expressed in the doxology, to which the people's acclamation is an assent and a conclusion.

The eucharistic prayer calls for all to listen in silent reverence, but also to take part through the acclamations for which the rite makes provision.

168. The preface is said by the principal celebrant alone; the "Sanctus" is sung or recited by all the concelebrants with the congregation and the choir.

169. After the "Sanctus," the concelebrants continue the eucharistic prayer in the way to be described. Unless otherwise indicated, only the principal celebrant makes the gestures.

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 response

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.

34. The songs which are called the "Ordinary of the Mass", if they are sung by musical settings written for several voices may be performed by the choir according to the customary norms, either a capella, or with instrumental accompaniment, as long as the people are not completely excluded from taking part in the singing.

In other cases, the parts of the Ordinary of the Mass can be divided between the choir and the people or even between two sections of the people themselves: one can alternate by verses, or one can follow other suitable divisions which divide the text into larger sections. In these cases, the following points are to be noted: it is preferable that the Creed, since it is a formula of profession of faith, should be sung by all, or in such a way as to permit a fitting participation by the faithful; it is preferable that the Sanctus, as the concluding acclamation of the Preface, should normally be sung by the whole congregation together with the priest; the Agnus Dei may be repeated as often as necessary, especially in concelebrations, where it accompanies the Fraction; it is desirable that the people should participate in this song, as least by the final invocation.

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.

27. Also note the following points with regard to the sung Mass:

a) If the priest and his ministers go in procession by a long aisle, it would be permissible for the choir, after the singing of the Introit antiphon, and its psalm verse, to continue singing additional verses of the same psalm. The antiphon itself may be repeated after each verse or after every other verse; when the celebrant has reached the altar, the psalm ceases, and the Gloria Patri is sung, and finally the antiphon is repeated to conclude the Introit procession.

b) After the Offertory antiphon is sung, it is also allowed to sing the ancient Gregorian melodies of the original Offertory verses which once were sung after the antiphon.

Additional Verses

But if the Offertory antiphon is taken from a psalm, it is then permitted to sing additional verses of this same psalm. In this case, too, the antiphon may be repeated after each verse of the psalm, or after every second verse; when the offertory rite is finished at the altar the psalm is ended with the Gloria Patri, and the antiphon is repeated. If the antiphon is not taken from a psalm, then any psalm suited to the feast may be used. Another possibility is that any Latin song may be used after the Offertory antiphon provided it is suited to the spirit of this part of the Mass. The singing should never last beyond the "Secret".

c) The proper time for the chanting of the Communion antiphon is while the priest is receiving the holy Eucharist. But if the faithful are also to go to Communion the antiphon should be sung while they receive. If this antiphon, too, is taken from a psalm, additional verses of this psalm may be sung. In this case, too, the antiphon is repeated after each, or every second verse of the psalm; when distribution of Communion is finished, the psalm is closed with the Gloria Patri, and the antiphon is once again repeated. If the antiphon is not taken from a psalm, any psalm may be used which is suited to the feast, and to this part of the mass.

After the Communion antiphon is sung, and the distribution of Communion to the faithful still continues, it is also permitted to sing another Latin song in keeping with this part of the Mass.

Before coming to Communion the faithful may recite the three-fold Domine, non sum dignus together with the priest.

d) If the Sanctus-Benedictus are sung in Gregorian chant, they should be put together without interruption; otherwise, the Benedictus should be sung after the Consecration.

e) During the Consecration, the singing must stop, and there should be no playing of instruments; if this has been the custom, it should be discontinued.

f) Between the Consecration, and the Pater Noster a devout silence is recommended.

g) While the priest is giving the blessing to the faithful at the end of the Mass, there should be no organ playing; also, the celebrant must pronounce the words of the blessing so that all the faithful can understand them.

29. The first way the faithful can participate in the low Mass is for each one, on his own initiative, to pay devout attention to the more important parts of the Mass (interior participation), or by following the approved customs in various localities (exterior participation).

Those who use a small missal, suitable to their own understanding, and pray with priest in the very words of the Church, are worthy of special praise. But all are not equally capable of correctly understanding the rites, and liturgical formulas; nor does everyone possess the same spiritual needs; nor do these needs remain constant in the same individual. Therefore, these people may find a more suitable or easier method of participation in the Mass when "they meditate devoutly on the mysteries of Jesus Christ, or perform other devotional exercises, and offer prayers which, though different in form from those of the sacred rites, are in essential harmony with them" (Mediator Dei, AAS 39 [1947] 560-561).

In this regard, it must be noted that if any local custom of playing the organ during low Mass might interfere with the participation of the faithful, either by common prayer or song, the custom is to be abolished. This applies not only to the organ, but also to the harmonium or any other musical instrument which is played without interruption. Therefore, in such Masses, there should be no instrumental music at the following times:

a. After the priest reaches the altar until the Offertory;

b. From the first versicles before the Preface until the Sanctus inclusive;

c. From the Consecration until the Pater Noster, where the custom obtains;

d. From the Pater Noster to the Agnus Dei inclusive; at the Confiteor before the Communion of the faithful ; while the Postcommunion prayer is being said, and during the Blessing at the end of the Mass.

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.

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.