Why Chant The Epistle

A Special Chant for the Epistle of the Holy Innocents

KAMIL KRZACZYNSKI/THE TIMES-COLUMN On January 28, 2017, protesters gathered at O’Hare International Airport in Chicago, Illinois, to voice their opposition to President Donald Trump’s executive order on immigration.

How To Chant The Readings At Mass

The next video will guide you through the process of reciting the Gospel in English, step-by-step, in the following video. Because many deacons are called upon to sing the Gospel, this video may be of particular interest to them. You must first download the following files in order to see the video: 1.An example of a score that illustrates different tones instructions on how to use this tone in Latin and English HEFIRSTREADING At Mass, the “Prophecy Tone” is frequently used, which was originally designated for the Old Testament Lessons in the Extraordinary Form of the Mass.

This PDFdocument outlines how to go about it in detail: Instructions on how to recite the Second Reading in English and Latin The Solesmes books describe my favorite Gospel tone as “more antique” and as follows: Performing the Gospel in both English and Latin (ANCIENTTONE) As an example of what some consider to be the “more recent” tone of the Gospel: How to recite the Gospel in both English and Latin (SIMPLETONE) Furthermore, in the 1974 Graduale by Solesmes, all portions of the Mass are performed according to the “Toni Communes” in the Graduale by Solesmes.

This is nearly identical to what Abbot Pothier published as theEditio Vaticana in 1908, in the majority of cases.

A.

Is it possible for a priest to know how to correctly chant the readings (first reading, second reading, Gospel) in English using the Prophecy tone, the Epistle tone, and different versions of the Gospel tones (according to the rules in theLiber Usualis) without consulting the Liber Usualis or other sources?

(John 19) Exodus Chapter 3409, verse 8 Gospel according to II Corinthians Chapter 1310 (John 3) Free MP3 recordings of written samples of chanting the readings at Mass are available online.

Gospels & Epistles : Our Lady of Guadalupe Seminary

Trinity Sunday – Epistle
Trinity Sunday – Gospel
Corpus Christi – Epistle
Corpus Christi – Gospel
2nd Sunday after Pentecost – Epistle
2nd Sunday after Pentecost – Gospel
Sacred Heart of Jesus – Epistle
Sacred Heart of Jesus – Gospel
Feast of Ss. Peter and Paul – Epistle
Feast of Ss. Peter and Paul – Gospel
3rd Sunday after Pentecost – Epistle
3rd Sunday after Pentecost – Gospel
Feast of the Most Precious Blood of Jesus – Epistle
Feast of the Most Precious Blood of Jesus – Gospel
4th Sunday after Pentecost – Epistle
4th Sunday after Pentecost – Gospel
5th Sunday after Pentecost – Epistle
5th Sunday after Pentecost – Gospel
6th Sunday after Pentecost – Epistle
6th Sunday after Pentecost – Gospel
7th Sunday after Pentecost – Epistle
7th Sunday after Pentecost – Gospel
8th Sunday after Pentecost – Epistle
8th Sunday after Pentecost – Gospel
9th Sunday after Pentecost – Epistle
9th Sunday after Pentecost – Gospel
Assumption of the Blessed Virgin Mary – Epistle
Assumption of the Blessed Virgin Mary – Gospel
10th Sunday after Pentecost – Epistle
10th Sunday after Pentecost – Gospel
11th Sunday after Pentecost – Epistle
11th Sunday after Pentecost – Gospel
12th Sunday after Pentecost – Epistle
12th Sunday after Pentecost – Gospel
13th Sunday after Pentecost – Epistle
13th Sunday after Pentecost – Gospel
Exaltation of the Holy Cross – Epistle
Exaltation of the Holy Cross – Gospel
14th Sunday after Pentecost – Epistle
14th Sunday after Pentecost – Gospel
15th Sunday after Pentecost – Epistle
15th Sunday after Pentecost – Gospel
16th Sunday after Pentecost – Epistle
16th Sunday after Pentecost – Gospel
Dedication of St. Michael the Archangel – Epistle
Dedication of St. Michael the Archangel – Gospel
17th Sunday after Pentecost – Epistle
17th Sunday after Pentecost – Gospel
18th Sunday after Pentecost – Epistle
18th Sunday after Pentecost – Gospel
19th Sunday after Pentecost – Epistle
19th Sunday after Pentecost – Gospel
Christ the King – Epistle
Christ the King – Gospel
20th Sunday after Pentecost – Epistle
20th Sunday after Pentecost – Gospel
All Saints – Epistle
All Saints – Gospel
21st Sunday after Pentecost – Epistle
21st Sunday after Pentecost – Gospel
Commemoration of All Souls – Epistle
Commemoration of All Souls – Gospel
Dedication of the Archbasilica of Our Holy Redeemer – Epistle
Dedication of the Archbasilica of Our Holy Redeemer – Gospel
22nd Sunday after Pentecost – Epistle
22nd Sunday after Pentecost – Gospel
23rd Sunday after Pentecost – Epistle
23rd Sunday after Pentecost – Gospel
Resumed 5th Sunday after Epiphany – Epistle
Resumed 5th Sunday after Epiphany – Gospel
Resumed 6th Sunday After Epiphany – Epistle
Resumed 6th Sunday After Epiphany – Gospel
24th and Last Sunday after Pentecost – Epistle
24th and Last Sunday after Pentecost – Gospel

The Place of Chanting the Lessons at High Mass

A typical image from a S. Magnus Liturgy can be seen above, which depicts the Subdeacon reading the Epistle of the Mass, who is being joined by the Master of Ceremonies. Rubricists will be outraged at the blatant disrespect for Roman custom in a parish that professes to follow the old Roman Rite to the letter and spirit. It is true that I too have pondered how to justify the seemingly odd practice of having the Subdeacon sing the Epistle from the Sanctuary’s entrance gates on occasion. In my writings, I frequently refer to the Classical Roman Ritual, which refers to the evolved rite that existed in regional “dialects” both inside and without the immediate Central supervision of subsequent Committees.

  1. This phrase inherently encompasses a variety of customs that were distinctive to a certain region, and some of these practices related to the location where the Epistle(s) were read at Mass.
  2. However, there is another aspect to consider: the question of practicality.
  3. Churches vary in size and shape, with some being huge and others being little in proportion.
  4. At home, one of my favorite images is a black and white shot of the old Roman church of Santa Maria in Cosmedin, whose portico houses the famed “Bocca della Verita,” or Mouth of Truth, which is one of my favorite places in the world to visit.
  5. Throughout my life, I’ve been convinced that the starkness and simplicity of the church’s moldings are overshadowed by its beautiful marble patterns, the warmness of the frecoes, and the intimate, enveloping form of the basilican schola.
  6. The schola structure also reveals where and how the teachings and gospels would have been read in the ancient Roman community.
  7. The one on the north side is allocated for the Gospel, while the one on the south side is reserved for the Epistle and Lessons.

The following is taken from the Catholic Encyclopedia: Originally, there was only one ambo in a church, which was located in the nave and served by two flights of steps: one from the east, which led to the side of the altar, and the other from the west, which led to the side of the altar.

In many churches, two ambones were built as a result of the obvious discomfort of just having one ambo at the time of the service.

One of the best examples of this layout may still be seen at the church of St.

At many churches, a permanent candlestick was added to the gospel ambo; the one attached to the ambo in St.

Where there were two or more ambos, one was reserved exclusively for the reading of the Gospel.

Maria in Cosmedin at Rome, etc.).

The north is also the right side of the altar, and as a result, it is the most honorable side.

When there were three ambos, two were on the south, one for all other teachings and one for the Epistles, while the third was on the north.

There were two platforms where there was just one amboit: a lower platform for the Epistle and other teachings, and a higher platform for the Gospel (Durandus, “Rationale”, IV, 16).

As a result of this history, we can observe that the practice of facing the altar evolved as a result of the usage of a single Ambo.

without turning one’s back to the Altar), this action was theologised as providing a link between the Liturgy of the Word and the Liturgy of the Eucharist (a division that deserves its own post!

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The fact that churches devised their own arrangements in accordance with the construction of their buildings, and that pragmatism reigned when it came to reading to the faithful, is also evident.

It’s time to share these two images with you.

This is essentially what happens at S.

A celebration of the Extraordinary Form of the Roman Rite (not to be confused with the Dominican Rite) was held at Blackfriars, Oxford, as shown in the second photograph.

Modern Roman Liturgical practice is characterized by the perpetuation of the erroneous divide between “Liturgy of the Word” and “Liturgy of the Sacrament,” which is one of the most egregious aspects.

In order to retain the ethos of the Roman Rite, it is necessary for anybody who wishes to do so to take this connection with the Altar into consideration while making the decision to depart from Roman custom in the interest of pragmatism.

First, we can see that the Subdeacon is instructed to remain slightly beyond the screen, but on the topmost step.

He is also reading from a “ambo,” which is a “high position,” having been elevated from the lowest level of the church by a few steps.

As a result, we can see that there is some legal wiggle room in the location of the Epistle during High Mass in the Classical Roman Rite.

The point of being overly prescriptive without taking into consideration the circumstances is that there is no purpose. I’d love to hear recommendations about where the Subdeacon should go to sing the Epistle in the gorgeous, multi-levelchurch of San Miniato in Florence!

Why are the readings not chanted?

At the Pontifical High Mass at the Lateran Basilica, which was celebrated by the Prefect of the Congregation for Divine Worship, the epistle was sung by the congregation. The topic of who should deliver the readings at Mass in the contemporary rite has recently been the subject of an interesting debate online. (See, for example, Benedict Constable and Joseph Shaw.) The issue of instituted Lectors has been brought up, and it has been addressed. While the Lectorate has been a minor order since at least the time of Tertullian, Pope Paul VI established the Apostolic LetterMinisteria Quaedam in 1972, which established the Lectorate as a lay ministry.

  1. The Lector of a traditional seminary recently informed me that Lectors at such schools do not read or chant the epistle at Mass, as is customary in most other seminaries.
  2. During Low Mass, the epistle is always chanted by the celebrant.
  3. When it comes to the first reading, the celebrant or a deacon must take on the position of Lector if the contemporary ritual is to follow tradition.
  4. Those who advocate for the contemporary rite would almost certainly claim that lay persons have a liturgical function and multiple ministries, and that one of these ministries is to do the reading.
  5. What I’d want to bring up is the topic of why the readings are practically never recited in the congregational setting.
  6. In the traditional style of Mass, you essentially have two options: a sung Mass or a “Low” Mass, which is pronounced aloud.
  7. According to the contemporary ritual, there is a hierarchy of what is more significant to sing.

Whatever the regulations, great “set-piece” liturgies in the contemporary rite held in cathedrals and seminaries across the world are lauded to the heavens for their beautiful music, even when neither the Introit nor the Communion, let alone the Offertorium, are performed during the service itself.

  1. Even at seminaries and other places of learning, the Gospel is occasionally sung, although this is still unusual; most people will only have heard something like this if they are watching papal liturgies on television.
  2. Why is St Paul so underappreciated if the Preface at Mass or the Sanctusis are both chanted?
  3. Two developments have played a role in the degrading of the Lord’s word to an effective degree.
  4. Unlike in the past, where words could be heard even if they were only uttered, the chant allowed the voice to go farther and more effectively in a huge building.
  5. On the other hand, at Low Mass, the passages that would normally be sung at Solemn Mass are said aloud, and the private prayers are once again recited secreto.
  6. In reality, the microphone makes it easy to overlook the line between public and private prayers, and as a result, this distinction is in fact neglected, causing a disruption in the balance of components in the Roman Rite.
  7. However, I believe that the subject of what exactly we are doing when we proclaim the word of God is far more intriguing.

There are plenty of patristic homilies that remark on the Gospel of the day, and there is no doubt that the instructive or catechetical aspect has a long and glorious history.

Although this is rarely addressed, it does not exclude the idea that the chanting of the texts during Mass has a doxological as well as sacramental character.

The whole ceremony, including the recital of the texts, is considered a form of worship.

They are intended to be delivered with reverence and seriousness.

Acclamation in response to the reading from scripture is Deo gratiasorLaus tibi Christe, not pursed lips and a nod of agreement.

In the current style of Mass, why is it that the readings are always delivered and never chanted during the homily?

Just like with the Responsorial Psalm, it is possible that new chants may be produced, particularly for passages containing a great deal of compassion and “mothering” imagery, which could result in the prophet Hosea sounding like a cross between the Carpenters and Dolly Parton.

I expressly disclaim any and all responsibility for any such effects, whether they occur now or in the future, notwithstanding anything to the contrary.

What’s Up With the Chanting?

In the coming months, you will see that Zion’s pastors will begin to include more chanting into their weekend services, which will be noticeable. As far as the Divine Service goes, this is a new practice in that we haven’t been chanting much throughout it up until now. A second interpretation would be that this is simply an extension of the chanting that we have already been doing at Midweek services throughout Advent and Lent, which has been warmly welcomed. We make every effort to clarify the reasons for any changes we make at Zion, particularly in worship, so that people understand why we are making the changes.

  • Contrary to popular belief, chanting has been practiced at least since the time of Gregory the Great, and it is not exclusive to the Roman Catholic faith (540-604 AD).
  • In other words, chanting is a part of our Lutheran heritage just as much as it is a part of Roman Catholic heritage.
  • As a result, as Lutherans, we do not reject salutary and useful activities merely because they are practices of the Roman Catholic Religion (or any other church, for that matter) or because they are practices of any other church.
  • But even if chanting isn’t “too Catholic,” why are we introducing it at this point in time?
  • Due to a combination of factors, we feel it will be helpful to our church.
  • Words are continuously being spoken to us, whether through podcasts and YouTube commercials, or through casual chat and business meetings.
  • The words we are hearing and chanting are not simply any words that we could use in a normal chat over a cup of coffee.

God’s precise words are being heard and spoken by us right now.

), chanting lets us enter that particular time and place where heaven meets earth and our God communicates to us for the first time in a fresh way.

The light of the world, according to Jesus, is the church, which is described in Matthew 5:14.

In the same way, via the preaching of the Gospel, we direct people to the light of Christ.

One of the most effective ways we can draw attention to the light of Christ is to demonstrate to the rest of the world that what Jesus offers us in worship is something completely unique.

Speaking is a necessary part of a boring activity.

Chanting, on the other hand, may be readily adjusted in terms of pitch and tempo.

Did you know that for hundreds of years, the pastor shouted the Gospel reading at church?

The evangelist (the person who authored the Gospel; think “narrator”) was sung in a high tenor voice, as did the rest of the congregation.

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It was possible to distinguish Jesus’ statements from the rest of the passage by using an audio hint, which was quite useful.

3.Chanting is a method of teaching that relies on repetition.

During the chanting process, parts of the service that are currently unfamiliar to you will become quite familiar to you.

They were the only way I could recall them was to silently recite them in my brain.

This will assist our youngsters who are working on learning the liturgy, but it will also benefit all of us since we will learn more about the liturgy and will be able to carry more of God’s Word with us to internally digest throughout the week as a result of our increased knowledge.

However, we feel that increasing the amount of chanting will be good to all of us as we strive to convey the Gospel in the most effective way possible in our area and at this time.

The seasons of Lent and Advent will feature less chanting, as is appropriate for a penitential season.

The Gospel is something we are looking forward to hearing and proclaiming with you in the future, as well as singing thanks to our Lord through songs and hymns and spiritual songs (Eph. 5:19), including chants. In thanksgiving to the Lord, Pastor Grimmer is a man of God.

The Chanting of the Gospel in Greek in Certain Papal Celebrations

OFFICE FOR THE LITURGICAL CELEBRATIONSOF THE SUPREME PONTIFFThe Chanting of the Gospel in Greekin Certain Papal CelebrationsAs has been noted, in the worship of the early Christians there were present:preaching, the reading of Sacred Scripture, prayers, hymns for a didacticpurpose.In the year 150, Saint Justin, in hisApologyand in hisDialogue with Trypho, gave the first description of the Roman Mass, divided into two parts: the”didactic” part, made up of readings from the Prophets and the Apostles and the”sacrificial” part focused on the Passion of the Lord.Greek was used in the liturgy; the use of Latin came in toward the fourthcentury; before the fourth century here and there the readings were customarilyread in Greek, and afterwards translated into Latin; thus an almost bi-lingualMass existed. Thus, the custom of proclaiming the readings of the Mass in Greekseems simply to have originated from the need to promote participation amongthose faithful who could not yet understand Latin.Nevertheless, the on-going development of the primacy of the Bishop of Rome,from the time of Saint Ignatius of Antioch who, in the second century, definesthe Church of the City of Rome as the Church that “presides in charity,” andlikewise that the universal Church is an organic body built on mutual charity,will have an influence on the preservation of certain parts of the Papal Liturgyin Greek – an indication of the Pope’s solicitude for the all the churches, inparticular the Eastern Churches. For example, still today in the Roman Liturgyof Good Friday one sings the Greek chant known as theTrisagion, addressed to the Lord Jesus Christ, Who is thrice-holy, because He is God, theStrong One, the Immortal One, and has mercy on us.After the schism of 1054 between Rome and Constantinople, the longing for therestoration of unity did not die out; rather, the Supreme Pontiff did not giveup the intention of reestablishing the communion of the Eastern Churches withthe Apostolic See: one thinks of the Council of Florence and afterwards of theestablishment in Rome of the Greek College in 1577 by Pope Gregory XIII. Onerecalls the institution of the Greek College because this act had its effects,in a certain sense, on the rite of proclaiming the readings in Greek and then inLatin translation. In fact, it was from the Greek College that the Papal Masterof Ceremonies used to draw to conduct a bilingual liturgical service.The detailed description of the rite of proclaiming the Epistle and Gospel inGreek and in Latin in the Papal Liturgy goes back to the last century:The Apostolic Subdeacon takes from one of the Clerics of the Pontifical Chapelthe Epistle Book, and having made a genuflection to the altar and to the SupremePontiff, with the assistance of a Pontifical Master of Ceremonies, goes to thefar end of the pew, in which the Cardinal Priests are seated, waits until allare seated, and at the sign from the Master of Ceremonies chants the Epistle. He remains there for the duration of the Epistle chanted in Greek. The Epistlehaving been chanted in Latin, the Subdeacon of the Greek Rite takes from anotherCleric of the Pontifical Chapel the Greek Epistle Book, and having carried outthe same ceremonies, and assisted by another Pontifical Master of Ceremonies,chants the Epistle next to the Apostolic Subdeacon.After the chanting of the Epistle in Greek, the Apostolic Subdeacon and that ofthe Greek Rite, guided by the Pontifical Masters of Ceremonies, go to the papalthrone, and having made a genuflection, go up, kissing, one after the other, thefoot of the Pontiff; then the deacons genuflect to the Pope and return to thealtar, where each one genuflects to the Cross, and returns the Epistle Book tothe Cleric of the Pontifical Chapel.The Subdeacon of the Greek Rite returns to the column of the altar, to theEpistle side, and the Apostolic Subdeacon stops near the Cardinal Deacon who isministering, and then reads the Epistle and the Gradual. Two Archbishopsassisting at the foot of the throne ascend the papal throne with the Book andwith the Candle. The Supreme Pontiff reads the Epistle, the Gradual and theGospel. When the Supreme Pontiff signs the Gospel, the Cardinal Deacon who isministering, takes off his miter, descends from the altar, and receives theGospel Book from the Train-bearer. The Cardinal Deacon then, having made theprescribed bows, places the Gospel Book on the altar, and remains near thealtar, until the Pope has finished reading. Afterwards the Cardinal Deaconapproaches the papal throne, to kiss the hand of the Holy Father.At the same time, a Pontifical Master of Ceremonies leads the Thurifer-Prelate,who holds the thurible and the boat, to the papal throne, for the imposition ofincense. The Cardinal Suburbicarian Bishop holds the boat before the Pope, towhom he offers, with the prescribed kisses the little spoon, asking the Pope forthe blessing of the incense with the usual formula.The Cardinal Deacon who is ministering, having kissed the hand of the Pope,returns to the altar and, having genuflected on the edge of the predella, saysthe prayer:Munda cor meum, etc.The Voting Acolytes of the Apostolic Signatura, taking into their hands sevencandelabra, stop near the steps leading up to the altar, with the ApostolicSubdeacon standing in their midst.The Thurifer with the thurible and the boat, returns to the throne at the altar,and places himself near the Prelates who carry candles, on the Epistle side.The Cardinal Deacon who is ministering, having said theMunda cor meum, takes the Gospel Book from the middle of the altar, descends from there, andplaces himself to the right of the Apostolic Subdeacon. All genuflect to theCross, except for the Cardinal Deacon, who makes a profound bow.Turning around and turning back afterwards, they switch so that the CardinalDeacon who is ministering, as he proceeds to the throne, would be on the rightof the Subdeacon, and at the right of the Cardinal would go the four Acolytesand the three others would be placed to the left of the Subdeacon.Having arrived before the steps of the throne, all genuflect, except for theCardinal Deacon who is ministering, who bowing profoundly toward the SupremePontiff, asks for the blessing, saying:Iube, Domne, benedicere. The Pope gives him the blessing, responding,Dominus sit in corde tuo, etc.After the Pope has given the blessing, all stand up, and again genuflect, exceptfor the Cardinal Deacon who is ministering, who makes a profound bow. By theshortest route, they proceed, in the same way from the altar to the throne, nearthe lectern already prepared by a Cleric of the Pontifical Chapel, near the pewof the Cardinal Deacons, by the altar.The Thurifer stays with the Pontifical Master of Ceremonies to the left of thelectern, at the back side of which the Apostolic Subdeacon positions himself.The Prelate Acolytes line up in such a way that four of them are on the right ofthe lectern and three on the left. The Cardinal Deacon who is ministering standsbefore the lectern and opens the Gospel Book on it, for the chanting of theGospel.Meanwhile, the second Assisting Cardinal Deacon takes the gremial and the miterto the Supreme Pontiff. The Supreme Pontiff rises and remains standing untilthe chanting of the Gospel has ended.The Cardinal Deacon who is ministering, sings:Dominus vobiscumand then:Sequentia sancti Evangelii, etc., signing at the same time the Gospel Book and himself. The Thuriferhands the thurible to the Cardinal Deacon who is ministering, who then incensesthe Gospel Book, and afterwards returns the thurible to the Thurifer, whoremains in the same place, for the chanting of the Gospel in Greek.The Gospel having been chanted in Greek, the Apostolic Subdeacon takes theGospel Book and, holding it before his chest, stops at the right of the lectern.The Pope sits, and the first Assisting Cardinal Deacon hands the miter to thePope.Two Acolytes remainhinc indenear the lectern, the other five, having made the required genuflectionsto the Supreme Pontiff and to the altar, while the Cardinal Deacon who isministering makes a profound bow, they return to the credence table and put downthe candelabra.The Cardinal Deacon who is ministering, goes to sit at the faldstool and puts onhis miter. In the meantime, the Deacon of the Greek Rite takes the Gospel Bookfrom a Cleric of the Chapel, and places it on the mensa of the altar, havingmade genuflections to the Supreme Pontiff and to the Cross.Afterwards, the Cardinal Deacon descends immediately and again genuflects to theCross, goes to the papal throne, genuflects, and goes up to the top step of thethrone to kiss the foot of the Pope. The Cardinal Deacon returns to the altar,and while still kneeling in the middle on the highest step, says the prayer thatone usually says before the proclamation of the Gospel.In the meantime the Subdeacon of the Greek Rite waits before the stairs of thealtar, in order to join the Deacon. The Deacon, having said the prayer, takesthe Gospel Book, descends from the altar, genuflects to the Cross together withthe Subdeacon and, accompanied by a Pontifical Master of Ceremonies, both go tothe steps leading up to the papal throne. All remain kneeling on the floorbefore the steps while the Deacon asks for the blessing of the Supreme Pontiff.Then all rise, genuflect to the Holy Father, and go by the shortest route to thelectern. The Subdeacon places himself at the back of the lectern, and the Deaconat the front of the lectern, opening thereon the Gospel Book.In the meantime, the second Assisting Cardinal Deacon takes the miter from thePope, who then stands up and remains standing for the duration of the chantingof the Gospel.The Cardinal Deacon who ministers takes off the miter, rises and remainsstanding before the faldstool.The Deacon of the Greek Rite begins the chanting of the Gospel, and with thethurible handed to him by the Thurifer, incenses the Gospel Book. He hands backthe thurible and continues the chant until the end. The Subdeacon, with thechanting of the Gospel complete and having said the words:Doxa soi, Kyrie, doxa soi, takes the Gospel Book, and positions himself to the left of the ApostolicSubdeacon.The Greek Deacon, flanked by two Acolytes, returns to the Epistle side near thecolumn of the altar. The Acolytes place the candelabra on the credence table.The Apostolic Subdeacon, the Greek Subdeacon (followed by the Thurifer with thethurible, together with a Pontifical Master of Ceremonies) move toward thethrone, and one after the other, ascending the throne, without genuflecting,present the Sacred Text to the Supreme Pontiff, who meanwhile kisses it andrepeats the words:Per evangelica dicta, etc.Both Subdeacons descend from the throne, genuflect to the Supreme Pontiff, andreturn to the altar. Having made a genuflection near the steps, each one handsover his respective Gospel Book to the Cleric of the Pontifical Chapel. TheApostolic Subdeacon positions himself near the Cardinal Deacon who isministering; the Greek Subdeacon joins the Greek Deacon near the column of thealtar, on the Epistle side.The Assisting Cardinal Bishop, guided by the Master of Ceremonies, after thePope has kissed the Sacred Text of the Gospels in Latin and in Greek, descendsonto a step, and, having received the thurible from the Thurifer, incenses theSupreme Pontiff with a triple swing, returning the thurible to the Voting Memberof the Signatura who, having genuflected to the Pope and the altar, gives it tothe Acolyte of the Pontifical Chapel. (Giambattista Maria Menghini,Le Solenni Ceremonie della Messa Pontificale Celebrata dal Sommo Pontefice,ed. Descl�e Lefebvrec., edit. Pontifici, Roma 1904, cap. IV.� 3)In conclusion, without any pretense of having treated this topic in anexhaustive manner, one can hold that the present practice of chanting the Gospelin Greek during theLiturgia Verbi, as well as that of the diptychs of the Anaphora, has solid historical andtheological foundations reminding one of the interdependent relationship betweenthelex credendiand thelex orandiin the Christian Liturgy. Besides, this practice of chanting the Gospelin both Latin and Greek is always a manifestation of the sole Catholic Church,even when the Liturgy is celebrated in a particular community. The RomanLiturgy, specifically, manifests the Catholic ecclesiology which recognizes theBishop of Rome as the universal pastor.
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Orthodox Chant: HYMNOGRAPHY

Introduction:TraditionalMelodic Genres
1. Psalmodic or Stichologic Genre
2. SticheraricGenreThe 3 Classesof Melodic Forms for Stichera:Idiomela (Samoglasny)Automela (Samopodobny)Prosomoia (Podobny)
3. HiermologicGenre
4. Canonarchal/ResponsorialGenre
5. PapadicGenre
6. CommonChants
7. AnomalisticChants
8. Ecphonesis
9. Paraliturgical Singing
Sources for ChantMelodies

8. Ecphonesis

Ecphonesis (also known as Cantillation, Melodic Reading, or “Poglasitsa”) is the traditional method of vocalizing non-musical aspects of the worship rituals of the whole Orthodox Church, and it is still used today. The following are examples of this genre:

  • “Poglasitsa” is the traditional way of vocalizing non-musical aspects of the worship services of the whole Orthodox Church, which is also known as Cantillation, Melodic Reading, or “Poglasitsa.” Following are examples of this genre:

Solo declamation is referred to as “poglasitsa,” whereas communual declamation/recitative is referred to as “govorka.” Govorka is used for “Having beheld the resurrection of Christ.” at Matins, the Creed and the Lord’s Prayer at daily Liturgies, the Paschal Hours, portions of the Typica when it is chanted on Sundays and holidays (in the priestless tradition), and a few other occasions. 1) Byzantine Chant Tradition (and other related topics): It is presently permissible to utilize the simple speaking voice; nevertheless, this is not the conventional method.

Psalms are recited in the Russian manner, and while it is still melodic recitation, it is a very basic recitation, which one does not hear from the reader very often.

Official service books do not provide detailed instructions on how to read in a certain style; it is something that we have just picked up over time.

Images (from unidentified sources): 120,121,123,124,125,129,130,Epistle,Gospel 2) Russian Znamenny Tradition (and other related matters): A well-developed oral tradition among the Old Believers includes each of the types outlined above, and none of them is notated with neumatic syllables (although in some ofthe earliest Slavonic manuscripts of the Gospels there existed a type oflectionary notation, now long gone from use or understanding).

The simplereading style employs very little vocal modulation, but the numerous scriptural and homiletic styles make extensive use of intricate melodies and cadences, as seen in the following examples.

In contrast, the horrible dramatic current Russian technique of starting a reading at a low pitch and gradually raising it to a high pitch will hardly never be heard.) The Russian Church has had a very intricate ceremonial chanting of the “Many Years” during the Royal Hours for the feast of the Nativity of Christ from ancient times, which was notably prevalent in cathedrals and monasteries prior to the 1917 Revolution of the Russian Empire (and subsequent loss of the royal family).

This song was also performed on major national occasions such as the tsar’s birthday, the birth of a royal heir, cornations, military triumphs, and other celebrations of the Russian people.

The improvisatory language has been copied from several historical sources (the wording was always altered to meet the occasion, but the commemorative formula remained fairly consistent throughout its history), however there are relatively few musical sources for this rite.

In the 1909Valaam Obikhod(PDF), which was published in Jordanville, New York in 1970, there is the most thorough example that we have. (PDF),,. (PDF) Galician and Carpatho-Russic Epistle Tone Studies by Dr. Stephen Reynolds (PDF) Image courtesy of Poglasitsa Recordings (unknown source) (to be added)

Links:

Plainsongand Medieval Music – Volume 12, Issue 1 – The Theory And Practice Of EkphoneticNotation: The Manuscript Sinait. Gr. 213 (Sandra Martani)- ArticleAbstract (information now unavailable, but one can still order the article) PROPHETOLOGION- Readings for Vespers ���������� � ������������ ������������ � � �������������������� �������� �������������� ���������� ������(original/another source)��������� � ��������� �������� �������������. ��������� ������������ ���������: ������ �.������ � ������� �������� � ��������(original)

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