The Recovering Choir Director

In response to Francis Cardinal Arinze’s recent address and his conversation with Inside the Vatican’s Robert Moynihan (see 4th paragraph), and to useful comments made by Sam Schmitt, Nick Kleszczewski, and others, here are my thoughts on how to implement music once the upcoming liturgical disciplinary document comes out. Of course, I’m anticipating what the document will say, so none of this may mean a thing.

Here is one example whose objectives are to maximize active (and to a certain extent, activist) congregational participation, clearly delineate a role for the choir, and give Latin and Gregorian chant “pride of place” as outlined in Sacrosanctum Concilium.

(Where “Gregorian chant” is called for, Latin is implied, but where merely “chant” is specified, the vernacular is a possibility.)

Introit, Entrance Chant, or Entrance Song: A verse/refrain setting based on the Introit psalm as found in the Graduale Romanum. All sing the refrain, choir sings the verses.
Opening dialogues (Sign of the Cross, Greeting): chanted on a straight tone (recto tono) or a simple melody.
Kyrie: Gregorian chant, sung antiphonally between celebrant/choir and congregation.
Gloria: Gregorian chant.
Collect/Opening Prayer: recto tono.
Old Testament/Acts/Revelation reading: spoken or chanted.
Verbum Domini/”The Word of the Lord” dialogue: recto tono or as found in the Kyriale.
Gradual or Responsorial Psalm: As found in the Lectionary or the Graduale Romanum.
Reading of the Epistle: spoken or chanted.
Verbum Domini/”The Word of the Lord” dialogue: recto tono or as found in the Kyriale.
Alleluia, Gospel Acclamation, or Tract: proper to the day.
Gospel reading: spoken or chanted. If previous readings are chanted, it only makes sense that the Gospel be chanted as well.
Verbum Domini/”The Gospel of the Lord” dialogue: recto tono or as found in the Kyriale.
Credo: Gregorian chant alternating between choir and congregation.
Celebrant’s preface to the Prayer of the Faithful: spoken or chanted.
Prayer of the Faithful: spoken or chanted to a simple formula, without improvised texts for the responses.
Offertory: see Introit.
Orate fratres/”Pray, brethren” dialogue: spoken or chanted.
Prayer before the Preface: spoken or chanted.
Preface dialogue: chanted.
Preface: chanted.
Sanctus: Gregorian chant.
Canon/Eucharistic Prayer: spoken or chanted in a simple formula.
Mysterium fidei and Anamnesis: Gregorian chant.
Per ipsum/”Through him” dialogue: Gregorian chant.
Invitation, Lord’s Prayer, Embolism and Peace dialogue: spoken, chanted, or suitable through-composed setting.
Agnus Dei: Gregorian chant.
Communion: see Introit.
Greeting: spoken or chanted.
Final blessing: spoken or chanted.
Ite, missa est/”The Mass has ended…”: chanted.
Recessional hymn: A suitable hymn, choral anthem or instrumental postlude.

On second look, this looks a lot like what was specified in a certain Church document. Part III of Musicam Sacram, perhaps? I guess, then, that anything above that doesn’t conform to that document is my own idea and should be dismissed. The Church thought of everything else 8 years before I was born.

So as far as music goes, implementing the new liturgical disciplinary document is as simple as doing what an older liturgical document asks. With proper catechesis, of course. And skillful execution.

Not very simple, come to think of it.