Gregorian Chant – why sing it at Mass? Saint Brendan Catholic Church
Organic events in professional wrestling are among the most memorable moments in the business. Not only are they not the product of meticulous preparation and execution on the part of the promoter, but they are also the outcome of a dozen or more lucky accidents that all come together at the right time. The story of Blue Pants, a woman who was brought in as an enhancement talent at the last minute but who quickly rose to the status of NXT Superstar, is one of such transformation. ‘Leva Bates’ grew up watching professional wrestling, like did many other pro wrestlers.
It was something we watched on television all the time, and we’d also go out to attend the matches on occasion.” Despite the fact that she doesn’t recall anyone in particular (though her sisters are eager to point out that one of the highlights was witnessing Bill Dundee vs.
Upon graduating from college with a degree in radio/tv production as well as acting, she went on to study at FXC in Florida, where she learned under D-Von Dudley, A.J.
The following day, as D-Von went to begin training at the Team 3D Academy with his tag partner Bubba Ray, Leva trailed after.
- “They were both extremely hands on and taught everything,” says the writer.
- She did what many wrestlers do when they graduate from high school and begin their professional wrestling careers: she applied for a position with the WWE through their recruitment portal.
- Then she received a phone call informing her that she will be appearing on NXT.
- It was necessary to sort out the show’s flow before to its television broadcast.
- Carmella would say yes, and Enzo would then ask Cass if she wanted to wrestle.
- In addition to Enzo and Cass, Triple H was also there at ringside.
- When it came to presenting me, Enzo and Cass were always coming up with new ideas.
Welcome to the blue pants,’ I said.
As soon as we realized what was going on, we knew we were in trouble.
“My name was being chanted by the fans.
I really enjoy my blue pants!’ I said.
With matches against Sasha Banks, Emma, and Dana Brooke, Blue Pants has established herself as a popular fixture at NXT.
In spite of that, I was surprised at how interested Triple H was.
“No, I’d want something a bit smaller.” Every aspect of his life is handled with care and attention.
I mean, this is absolutely different on a sonic level.” As a recent radio/TV graduate, it’s been fascinating to see the directors, agents, and crew members who put the program together behind the scenes,” says the author.
She took advantage of every opportunity she had to learn from Sara Amato, Albert, Triple H, Michael Hayes, Rob Brookside, and the late Dusty Rhodes during her visits to the WWE.
I was rambling on and on when Dusty comes around and says, “Shut up, Blue Pants!” ‘Dusty?’ I exclaimed.
I assure you that everything will work out fine.” When it came to Rhodes, Bates discovered they had a lot in common.
Blue Pants was no longer a problem for me.
I felt like I was in an other universe.” Aside from his augmentation abilities, Bates possesses other characteristics.
The most recent performance by Leva Bates at Resistance Pro Wrestling was the one she mentioned when I asked her what matches people should check up to discover who Leva Bates is.
During the Shine Women’s Championship, Bates also spoke about her match versus Mia Yim, whom she lost against.
While competing against Marty Bell, Shimmer’s passion of having a good time was on full display.
The secret words were Three, I told the audience before the game.
A twist of my arm would be followed by the counting of three by the official.
That the secret word remained a mystery for the remainder of the night was the best part.
After the Girl Fight show in Jeffersonville, Indiana, she was the last of the wrestlers to be present at the gimmick tables, where she was no longer selling merchandise but instead conversing with fans in person.
Even then, she caused a snarl-up in Pondo’s post-show supper as she stopped to speak to and take selfies with fans on her way to the dressing room.
He was a fan of the NXT, and when he discovered who was seated at the table, he began yelling his excitement across the entire dining establishment.
” Now is the time to wear blue pants.
The shout of “NXT!” was prompted by the cheers of Blue Pants.
Her being an improbable superstar is part of what makes her so endearing to so many people. Whether she’s in NXT or Shimmer or wherever else in the world, you’re sure to have a good time when she steps into the ring.
Latin Chant and Choral Music for the Mass
When it comes to providing music for the Mass in English, the Catholic Musicians’ Association of America (CMAA) is mindful of the Second Vatican Council’s exhortation found inSacrosanctum Concilium, The Constitution on the Sacred Liturgy: “However, steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of The Ordinary of the Mass that pertain to them.” (SC54)
Core chant editions
The chant editions listed below should be included in the library of each parish musician.
- In the first edition of the Gregorian Missal (Latin/English, 1990), you will find the whole Mass Ordinary and Propers for the current Roman rite for Sundays and Solemnities. Catholic Mass Ordinary in Latin for contemporary and traditional variants of the Roman rite
- Hymns, sequences, and other popular chants
- And the Catholic Mass Ordinary in Latin for modern and traditional forms of the Roman rite Graduale Romanum 1961: Complete Propers and Ordinary for traditional Masses (1962 Missal)
- Graduale Romanum 1961: Complete Propers and Ordinary for traditional Masses (1962 Missal)
- Graduale Romanum 1961: Complete Propers and Ordinary for traditional Masses (1962 Miss Liber Usualis (1961): complete Mass Ordinary
- Proper for Sundays, Feasts, common Votive Masses, Rogation Days, and Mass for the Dead
- Office for some feasts
- For traditional Masses (Extraordinary Form, 1962 Missal)
- For traditional Masses (
Kyriale: the Ordinary of the Mass
The Kyrialecontains the chant repertory for the ordinary sections of the Mass, including the Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, as well as the discussion chants, which are all included in the Kyriale. Even though this music is featured in the publications listed above, it is also available in standalone versions that are free to use and share as you choose.
- The Kyrialecontains the chant repertory for the ordinary sections of the Mass, including the Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, as well as the discussion chants, which are all included in the Kyriale. Even though this music is featured in the publications listed above, it is also available in standalone versions that are free to use and share.
TheGraduale Simplex: simpler music for the Ordinary Form
The Graduale Simplex, which was created at the request of the Second Vatican Council, contains simple chants for the Ordinary Form of the Mass that are “appropriate for use in smaller churches.” In addition to setting the Mass Ordinary, it includes seasonal chants that can be used in place of the propers during the liturgical year.
- Graduale Simplex
- Kyriale Simplex (excerpt from Graduale Simplex)
- Alleluias from the Graduale Simplex (article)
- Graduale Simplex (excerpt from Graduale Simplex)
- Graduale Simplex (excer
- The Communioproject consists of communion antiphons for use in either the Ordinary Form or the Extraordinary Form of the Mass.
Simpler options for the propers of the Extraordinary Form
- Chants Abreges (1926), Graduals and Alleluias: chants for the Gradual and Alleluia appropriate texts that are less difficult to perform
- Graduels Versets Alleluia Traits (Simplified Graduals and Alleluias, Solesmes, 1955)
- Graduels Versets Alleluia Traits (Simplified Graduals and Alleluias, Solesmes, 1955)
- Graduels Versets Alleluia Traits (Simplified Graduals and Alleluias Propers of the Church Year set to tones (1962 Missal)
- Propers of the Mass by Fr. Rossini
- Simplified Graduale, Major Propers (R. Rice)
- Simplified Graduale, Major Propers (
Additional chant anthologies
- The Graduals and Alleluias, composed by Abreges in 1926, are simpler chants for the Gradual and Alleluia proper texts. The Graduels and Alleluia Traits (Simplified Graduals and Alleluias, Solesmes, 1955)
- Graduels and Alleluia Traits (Simplified Graduals and Alleluias, Solesmes, 1955)
- Graduels and Alleluias (Simplified Graduals and Alleluias, Solesmes, 1955)
- Graduels and Alleluias (Solesmes, 1955)
- Graduels and Alleluias (Simplified Gradual R. Rice’s Simplified Graduale, Major Propers
- Propers of the Mass by Fr. Rossini
- Propers of the Church Year set to tones (1962 Missal)
- Simplified Graduale, Major Propers (R. Rice)
- Propers of the Church Year set to tones
Additional chant books for Masses in the Extraordinary Form
- Cantus Passionis (1952): Palm Sunday Gospels: Volumes I, II, and III
- Dominican Liturgical Books
- Graduale Romano-Seraphicum (1924, Franciscans)
- Graduale Romano-Seraphicum (1924, Franciscans). Christmas proclamation from the Roman Martyrology, the sung Gospel for Mass on solemn feast days, the sung lessons of the Triduum vigils (Tenebrae), all from the year 1940. Laudes Festivae (1940): Christmas proclamation from the Roman Martyrology
- In 1954, the Liber Brevior was published as a convenient alternative for the Liber Usualis, comprising music for Mass on Sundays and Solemnities (but without music for services and lesser days). The Mass and Vespers (1957)
- Offertoriale with Offertory Verses (1935)
- Offertory Verses (printable booklet)
- Officium Majoris Hebdomadis Et Octavis Pasch (Sung Liturgy of Holy Week) (1923)
- Proprium de Tempore (excerpt from the Graduale Romanum, 1961)
- Versus Psalmorum et Canticorum (psalm verses for introits and communion antiphons)
References for the Ordinary Form
For example, Cantus Passionis (1952), Palm Sunday Gospels (Volumes I, II, and III), Dominican Liturgical Books, Graduale Romano-Seraphicum (1924, Franciscans), Graduale Romano-Seraphicum (1924, Franciscans), Graduale Romano-Seraphicum (1924, Franciscans), and Graduale Romano-Seraphicum (1924, Franciscans). Christmas proclamation from the Roman Martyrology, the sung Gospel for Mass on solemn feast days, the sung lessons of the Triduum vigils (Tenebrae) are all included in Laudes Festivae (1940).
Mass and Vespers (1957); Offertoriale with Offertory Verses (1935); Offertory Verses (printable booklet); Officium Majoris Hebdomadis Et Octavis Pasch (Sung Liturgy of Holy Week) (1923); Proprium de Tempore (excerpt from the Graduale Romanum, 1961); Versus Psalmorum et Canticorum (psalm verses for introits and communion antiphons); Versus Ps
- Older editions include: Anthologia Quinta Vocalis (1927)
- Secunda Anthologia Vocalis (Trios, Ravanello, 1907)
- And Anthologia Quinta Vocalis (1927).
- Richard Rice’s Introits for Treble Choir are among the new pieces.
- A. Antiphonale (1912)
- B. Antiphonarium (1923)
- C. Graduale Romanum (1908)
- D. Graduale Romanum (Pustet ed.) (1871)
- E. Liber Responsorialis (1895)
- E. Processionarium (Dominican 1913)
- E. Processionarium (Franciscan 1925)
- E. Processionarium (Domini
Gregorian chant is a type of liturgical music performed in unison or in monophony by the Roman Catholic Church to accompany the readings of the mass and the canonical hours, sometimes known as the divine office. The Gregorian chant is named after St. Gregory I, who was Pope from 590 to 604 and during whose reign it was collected and codified. King Charlemagne of the Franks (768–814) brought Gregorian Chant into his country, which had previously been dominated by another liturgical style, the Gallican chant, which was in general usage.
- The passages that are repeated from one mass to the next are included in theOrdinary of the Mass.
- The first appearance of the Gloria was in the 7th century.
- The Gloria chants that follow are neumatic.
- TheSanctus andBenedictus are most likely from the period of the apostles.
- Since its introduction into the Latin mass from the Eastern Church in the 7th century, theAgnus Dei has been written mostly in neumatic form.
- The Proper of the Mass is a collection of texts that are different for each mass in order to highlight the significance of each feast or season celebrated that day.
- During the 9th century, it had taken on its current form: a neumatic refrain followed by a psalm verse in psalm-tone style, followed by the refrain repeated.
As time progressed, it evolved into the following pattern: opening melody (chorus)—psalm verse or verses in a virtuously enriched psalmodic structure (soloist)—opening melody (chorus), which was repeated in whole or in part.
Its structure is similar to that of the Gradual in several ways.
Synagogue music has a strong connection to this cry.
Sacred poems, in their current form, the texts are written in double-line stanzas, with the same accentuation and amount of syllables on both lines for each two lines.
By the 12th century, just the refrain had survived from the original psalm and refrain.
The Offertory is distinguished by the repeating of text.
The song has a neumatic feel to it.
Responses are short texts that precede or follow each psalm and are mostly set in syllabic chant; psalms, with each set to a psalm tone; hymns, which are usually metrical and in strophes or stanzas and set in a neumatic style; and antiphons or refrains, which are short texts that precede or follow each psalm and are mostly set in syllabic The Gradual’s form and style are influenced by the sponsor’s contribution.
Amy Tikkanen has made the most current revisions and updates to this page.
This recitation of the Nicene Creed, a list of fundamental beliefs that was first written at the First Council of Nicaea (now in Turkey) during the 4th century AD, is known as the Credo of the Church. The length of the text, like with the Gloria, allows for natural gaps in the chanting to take place throughout. Given that the Credo was the final Ordinary chant to be added to the Mass, there are just a handful of various Credo melodies to choose from in the Gregorian tradition. Credo in unum Deum, Patrem omnipotentem, factorem cli et terri, visibilium omnium et invisibilium, factorem cli et terri, visibilium omnium et invisibilium, factorem cli et terri, factorem cli et terri, factorem cli Furthermore, in unum Dominum, Jesum Christum,Filium Dei unigenitum, and from the beginning of time to the end of time.
- And incarnatus is the Spiritu Sanctoex Maria Virgine, and homo factus is the one who is incarnated.
- And it is in the Holy Spirit, Dominum, and vivificantem that this process is carried out, according to the will of the Father.
- And the Church is one, holy, catholic, and apostolic in nature.
- And, in anticipation of the resurrection of the dead, and the renewal of life in the heavens, Amen.
- It is my belief that there is only one Lord Jesus Christ, the Only Begotten Son of God, who was born of the Father before the foundation of the world.
- God is the source of all things.
- For our sake, he was crucified under Pontius Pilate, he died and was buried, and he rose from the dead on the third day, just as the Scriptures said.
- He will return in splendor to judge both the living and the dead, and his dominion will last forever and without end.
It is my belief that there is only one holy, catholic, and apostolic Church. For the forgiveness of my sins, I confess one baptism in the name of Jesus Christ, and I look forward to his resurrection, as well as the life of the world yet to come. Amen.
A brief history of Gregorian chant
A Gregorian chant rehearsal at the school’s St. Vincent Chapel was conducted on October 10 by Timothy S. McDonnell, director of music ministries at The Catholic University of America’s Institute of Sacred Music, Benjamin T. Rome School of Music in Washington. Gregorian chant is the chanting of the liturgy, and the texts are nearly completely drawn from the Bible. (CNS photo courtesy of Chaz Muth) (CNS) – Washington, D.C. – Whenever Erin Bullock walks in front of the altar at Washington’s Cathedral of St.
- During an October Mass at the church, her function as cantor is as obvious as the priest’s, and much of the music she intones with her powerful soprano – together with the choir and those in the seats – is the unadorned resonances of Gregorian chant.
- In their performance by a choir, the chants are normally chanted in unison and unaccompanied by any kind of rhythmic or melodic accompaniment, with the tones rising and falling in an ad libitum way.
- McDonnell, director of the Institute of Sacred Music at The Catholic University of America in Washington, the history of sung prayer extends back to the first millennium, with Gregorian chant being the suitable music of the mature Roman rite.
- Despite its resurgence in popularity in recent decades, the chant is not the primary musical accompaniment in most Catholic parishes in the United States, according to McDonnell of Catholic News Service.
- According to Elizabeth Black, assistant music director at St.
As an example, when the priest sings, “the Lord be with you,” and the congregation responds in song, “and with your spirit,” they are participating in Gregorian chant because those holy texts are an essential part of the Mass, according to Black, who spoke to Catholic News Service in a recent interview about the practice.
- When you sing a component of the liturgy that is fundamental to the Mass, you’re singing Gregorian chant, according to Lang, who is an expert on the subject.
- Despite the fact that hymns, which are typically layered in rich harmonies, are liturgical in character, such melodies are intended to beautify the Mass with meditative spirituality rather than serving as a key component of the liturgy, according to Black.
- However, there are several exceptions to this unofficial chant rule, and certain choirs embellish their chants with harmonies and musical accompaniment on occasion.
- But, according to theologian John Paul II, it is only recently that Gregorian chant, which began to take shape in the ninth century, has been written down and kept for historical preservation.
The development of Gregorian chant is unlikely to have been a direct result of Pope Gregory I’s efforts, according to McDonnell, who described him as a “building pope” who helped reorder the liturgy in a more practical way, creating the artistic environment necessary for the establishment of some form of plainchant.
- Gregory the Great’s death that the music we know today as Gregorian chant began to develop, according to Dr.
- “In fact, most historians believe it was Pope Gregory II (715-731), who reigned about 100 years later, who was the Pope Gregory who actually had more of a hand in formulating this body of chants that we know today as Gregorian chant,” he said.
- Matthew the Apostle.
- John the Beloved, has made the chant a natural component of the liturgy.
McDonnell stated that “Gregorian chant has the potential to be extremely sophisticated, intricate, and convoluted, as well as possessing a high level of artistic merit.” However, much of its beauty may be found in the simplicity of the design and the fact that most of it is accessible to members of the congregation and children.” According to him, “everyone can learn to sing some amount of Gregorian chant,” and the church has organized the chants into categories based on their accessibility over the years.
- There are numerous chants that are intended to be sung by the faithful as part of their participation in the liturgy, and those chants are every bit as much Gregorian chant as the more florid and complex ones,” says the author.
- The chant is more effective because of this technique, in some ways,” says the author.
- According to him, the causes of these waves are unpredictable.
- “When the popes returned from Avignon (a period from 1309 to 1376 during which seven popes resided in Avignon, France, rather than in Rome), the city was in utter disarray, and the culture of Rome had to be reconstructed,” he explained.
As a result, we witnessed the resurgence of Gregorian chant.” The Renaissance polyphony of the 16th century, with its intricate texturized harmonies, became the dominant music in the church and for a time superseded Gregorian chant, according to McDonnell, who believes that the Renaissance was a period of cultural restoration.
Then, in 1947, Pope Pius XII released his encyclical “Mediator Dei” (“On the Sacred Liturgy”), which encouraged active involvement by the laity in the liturgy while also strengthening the use of Gregorian chant, according to historian Black.
The use of Gregorian chant was advocated for in papers produced during Vatican II in the 1960s; but, as the Latin Mass was replaced by the vernacular, most parishes opted for music that was more in tune with popular culture, such as praise and worship and folk genres, according to McDonnell.
When “Chant,” an incredibly successful CD produced by the Benedictine monks of Santo Domingo de Silos, Spain, was published in the 1990s, interest in the practice was once again piqued, according to him.
Gregorian chant is no longer the dominant force in parish life as it once was, but according to McDonnell, if history repeats itself, it is in the process of regaining its former prominence and might once again become a mainstay of church music.
Gregorian Chant Schola
Every few weeks, Mass will be celebrated using Gregorian Chant, a sort of holy music that is most typically performed in Latin and is a type of sacred music. A new ministry at the parish, the Gregorian Chant Schola will provide this meditative and thoughtful form of music to our community liturgies, which will be supplemented by other musicians. It is possible that reintroducing Latin to our Mass through this archaic form of music may raise some issues. There’s nothing to worry about! For further information, please see Fr.
What exactly is the Gregorian Chant?
On the whole, Gregorian Chant is written in Latin, yet there are a few cases where the Greek language is interwoven into the music.
I was under the impression that the Church had done away with it in the 1960s.
Sacrosanctum Concilium, Vatican II’s (1962-1965) declaration on the Sacred Liturgy, made it possible for the celebration of the Mass to be conducted in a more inclusive manner using vernacular language.
Both Blessed John Paul II and Pope Benedict XVI, as well as our own United States Conference of Catholic Bishops, have voiced a wish to have Gregorian Chant used more frequently in the liturgical celebrations.
Each and every Mass should encourage individuals in attendance to engage as completely, deliberately, and actively as they are able throughout the service itself.
Providing answers, whether they be spoken or sung, is also considered involvement.
Some Gregorian Chant may be taught quickly and simply by those who have a musical inclination.
Why does it appear that Catholics are the only ones who worship in a language that is no longer spoken?
In some cases, Orthodox Christians will speak in Church Slavonic or Koine Greek, neither of which is a widely spoken language in the modern world.
Muslims pray in Arabic, regardless of whether it is their native tongue or not.
What impact will this have on the Mass at St.
The Gregorian Chant Schola will perform approximately every three weeks, cycling through a variety of Masses in the process.
Those that are sung will be in the Latin language, of course. Feel free to contact Fr. Roberts at [email protected] if you have any questions or would want to take part in this event.