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What the Novus Ordo Is -- and Isn't

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					What the Novus Ordo Is -- and Isn't

In October of 2006, along with a member of our choir, I represented the
Carmelite Monastery of Philadelphia at a meeting to discuss the US
bishops’ new document on liturgical music, Sing to the Lord. In the
afternoon’s open-mike session, I rose to quote something from Musicam
Sacram. A gentleman who has published many pop-style hymns interjected,
“Everyone knows that that document refers to the old Mass, not the new
Mass.”

He was wrong in two areas. First, the document, written in   1967, did
pertain to the “new Mass”. It explained the application of   music to the
revised liturgy, since the new ordering (or Novus Ordo) of   the Mass did
not have the separate distinctions of “high Mass” and “low   Mass” as in
the “old Mass” (now called “extraordinary form”).

But most importantly, there is no such thing as the “new Mass”. The very
term brings up memories of the commercial disaster following the
introduction of “New Coke”. The Coca-Cola people quickly restored “Coke
Classic” after that fiasco.

No, the Mass is not a new Mass. If so, it would be called the “Missa
nova”. This distinction is critical to understanding the application of
liturgical music. If this Mass were indeed something brand new, then none
of the earlier pronouncements on the use of sacred music would apply.
Indeed, this is what many people — including many who write and publish
music today — believe: that anything goes!

Before Pope Benedict made the extraordinary form more accessible through
the document Summorum Pontificum, people who visited our monastery for
the first time would often ask us “How did you get permission to do the
old Mass?” We would explain that it was the Mass, the “new ordering”.

Why did people question that? Because, they would tell us, at the
monastery Mass one found chant, Latin, incense, bells, pipe organ and
choir. They did not find this in their parishes. When we would tell them
that they should find this in their parishes, that we simply followed the
instructions in the current Roman Missal, they were quite surprised.

No, it is the same Mass, trimmed down and slightly re-ordered. All the
principles that preceded it still apply, as do the regulations, unless
specifically retracted.

In the extraordinary form, when the Mass was a Missa cantata or sung
“High Mass”, Latin was always used (except hymns before the Mass began
and after it ended); and everything was chanted or sung: Introit, Kyrie,
Gloria, Gradual, Alleluia and verse, Credo, Offertory verse, any hymns or
motets at Offertory, Sanctus, Agnus Dei, Communion verse, any Communion
hymns or motets. This changed in the ordinary form, or Novus Ordo.

Musicam Sacram, the 1967 Instruction on music from the Holy See,
explained that there was one classification of Mass, not “high” or “low”,
and that music should be added incrementally, in three stages or degrees.
It instructed, “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, 1967, 28.2)

That is, first in order of importance were the chants of the priest and
people, the acclamation at the Gospel, the prayer over the offerings,
preface and Sanctus, final doxology of the Canon (Eucharistic Prayer),
Pater Noster, prayer after Communion and formulas of dismissal. (How much
of this is sung at your parish Sunday Mass? Without it, nothing else
should be sung.)

If this “first degree” was sung, then these chants may be added: Kyrie,
Gloria, Agnus Dei, Credo, Prayer of the Faithful.

Now, if all of that was sung, then the final group (third degree) could
be added: songs at entrance and Communion processions, songs after the
Lesson (i.e., the Responsorial Psalm), Alleluia before the Gospel, song
at the Offertory, readings of sacred Scripture. Songs or hymns could be
substituted for the entrance, Offertory and Communion prayers of the day
“… as long as songs of this sort are in keeping with the parts of the
Mass, with the feast, or with the liturgical season.” (MS 32). Further,
the text of any such pieces was to come only from scriptural or
traditional sources.

Over the past five years, the monastery choir has had the opportunity to
sing for one Mass and four Solemn High Masses (extraordinary form). It
was an opportunity for the choir to understand the structure of the
current Order of Mass (ordinary form) as it derived from the older Mass.

And what was the new ordering? Some prayers are omitted, such as the
prayers at the foot of the altar, many prayers the priest prayed
silently, and the reading of the Last Gospel. The structure is somewhat
simplified. At High Mass, the Asperges — or sprinkling — preceded the
Mass. Today it may replace the Penitential Act. Where once there was a
sung Asperges, then after the Confiteor the sung Kyrie, now there is
either the Asperges or the Penitential Act. Then the Kyrie is sung, if it
has not already been incorporated into a Penitential Act.

There are now two readings before the Gospel, one from the Old Testament
and one from the New Testament.

The Gradual and Alleluia verse are now separated. The Gradual has been
expanded into the Responsorial Psalm. The Alleluia and verse still
precede the Gospel.

Some practices vary between the two forms. In the extraordinary form, the
priest and people always face the tabernacle together (ad orientem, or
toward the East); while in the ordinary form, the priest almost always
faces the people (versus populi), though the Council never mandated this
change in posture, and it is not required.

After the Council, Communion rails often were removed, or were not
installed in new churches, though this was an innovation. The rails were
not just to keep folks out of the sanctuary. The Communion rail can be
seen as a kind of “extension” of the altar, and, like the altar, the
railing was often made of marble.

Contrary to some mistaken ideas, bells and incense have never been
forbidden. Indeed, the Novus Ordo allows for a more generous use of
incense.

But even with the variations, the ordinary form of the Mass is still the
Sacrifice of Calvary prefigured at the Last Supper and completed in the
Resurrection. It is not something new.

The chart on this page shows a simplified structure of the Mass, as it
applies to sacred music. (Note that a recessional hymn is not an actual
part of the Mass in either form, but it works well to accompany the
priest and servers as they leave the sanctuary in procession.)

As the chart shows, the principal parts of the Mass remain the same in
both forms. There is no “rupture” between them. So when Pope Saint Pius X
wrote that Gregorian chant was to be restored, this still applies. Pope
Pius XII’s description of sacred music for the liturgy remains valid:
“The music must have holiness and beauty of form. From these will come
the third quality: universality”. And there is continuity with liturgical
tradition when Pope John Paul II wrote that the closer the form of the
music is to Gregorian chant, the more appropriate it is for the
Eucharistic liturgy.

Continuity helps to define basic principles — along with limitations.
Thus, then-Cardinal Ratzinger wrote, “In its essence, [liturgical] music
must be different from a music which is meant to lead the listener into
rhythmic ecstasy, or stupefied torpor, sensual arousal, or the
dissolution of the Ego.” (Joseph Cardinal Ratzinger, “In the Presence of
Angels I Will Sing Your Praise”, see Adoremus Bulletin October 1996).

So mariachi bands, rock bands, jug bands, theatrical or commercial styles
are not suitable for the Eucharistic liturgy. Frantic arm-waving,
dancing, and such are not to accompany sacred music for the Eucharistic
liturgy.

Pope John Paul II, in his Chirograph on Sacred Music (7) wrote:
“Gregorian Chant continues also today to be an element of unity in the
Roman liturgy.” But it cannot be a unifying element if no one is singing
it.

Pius XII, in Musicae Sacrae (59), was very clear: “Besides the organ,
other instruments can be called upon … so long as they play nothing
profane [secular], nothing clamorous or strident and nothing at variance
with the sacred services or the dignity of the place.” Thus, instruments
such as the electronic keyboard, electric guitar, maracas, drum sets and
the like are certainly not considered to be sacred; they are secular
instruments suitable for secular music. Those instruments, and the music
for which they are suited, are meant as entertainment. (Please the
folks!) But the purpose of liturgical music is to carry the sacred texts
of the Mass to God, not to gratify one’s neighbor.
In a lecture at Boston College on April 17, 2007, Cardinal Gottfried
Daneels of Belgium warned that emphasis on human experience can “… take
possession of the liturgy. In some cases, this can lead to a sort of
liturgical coup in which the sacred is eliminated, the language
trivialized, and the cult turned into a social event or a piece of
theatre.”

And what of the contemporary music written in inappropriate styles, music
which is secular rather than sacred in nature? Provided that the words to
this music are doctrinally sound, such compositions might be used at
meetings, prayer gatherings, and concerts. But not at the altar of
sacrifice.

The Second Vatican Council reaffirmed that chant has pride of place; the
pipe organ is preferred; the choir is an integral part of the liturgical
team. The music must be sacred in nature. The Novus Ordo is a
continuation, not a new invention.

				
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