MORE About Introit Antiphons

The INTROIT ANTIPHONS prescribed by the Church are often replaced on Sundays with more elaborate hymns. The Latin word, "introit," simply means "to enter." Even when omitted, they are pithy jewels that would serve well in our prayerful preparation for Mass.

It has become an increasing concern of mine that many people do not really know what the Mass is about. To help remedy this situation in one parish, I offered forty sessions on the Mass. Without the Mass, we as Catholic Christians would suffer spiritual hunger and thirst, even our souls might die. This is why priests so often tell people that they must go to Mass; we want everyone to live in God's good graces and one day go to heaven. I encourage children not to be afraid in reminding negligent parents of their obligation to take them to Mass every Sunday. More important than toys, concerts, and ball games-- the Mass offers us eternal life. If parents want to care for their children with a supernatural love, they will do this.

One duty of the usher omitted here is their collection of the money at the offertory. They bring it forward as representatives of the worshipping community.

St. Augustine is quoted in the posting, he writes in book nine of his CONFESSIONS:

"Nor was there any end in those days to the unspeakable delight wherewith I considered the depth of thy counsels concerning the salvation of mankind. How plentiful did I weep in those hymns and psalms, being touched to the very quick by the notes of thy Church so sweetly singing. Those words did flow into mine ears, and the Truth which was contained therein distilled melting into my heart, and from thence the affection of piety did overflow, so that my tears ran streaming down, and happy did I find myself therein."

This incredible doctor of our faith mentions something which we might be presumptuous in assuming, that the hymns we sing teach "Truth". The Methodists have appreciated this for a long time. All one has to do to discover their theology is to look at their songs. Infected with a kind of religious relativism, we as Catholics have appropriated much of the music in the Protestant repertoire with minimal scrutiny to doctrinal deviation. While I will admit that most of it seems quite fine, this kind of concern should not be dismissed. Further, many of the more recent Catholic compositions seem trite and syrupy. The Latin Scriptural chants circumnavigated these potential problems. I will not even deign to discuss the debacle of singing non-religious "pop" songs.

The song is to reaffirm that we are entering time out of time, touching eternity. Back in 1996, a recording entitled CHANT, performed by the Benedictine Monks of Santo Domingo de Silos had sold over 1.8 million copies in France alone. In comparison, there are very few people breaking the doors down to purchase the sentimental dribble to which we have become accustomed these past four decades. Looking at the back of the CD jacket, two introits are labeled in the collection of Gregorian Chant: Puer natus est nobis and Spiritus domini. If such music was still heard in our churches, perhaps we could draw more people to Christ and less to music stores? Ironically, Protestants have been buying the work up, after having been informed that chants are largely the singing of Scripture. New Agers, not aware of what it is, are buying it as mantra material. Catholic young people are listening to it in droves, and a whole generation does not know that this music is their birthright.

In a particular fashion, the song or antiphon "introduces them [the congregation] to the mystery of the season or feast" (General Instruction of the Roman Missal, n. 25), setting the tone and mood for the celebration.

Although not ordained, in a broad sense, the congregation is involved with Christ's ministry. "For their part, the faithful join in the offering of the Eucharist by virtue of their royal priesthood ... Taking part in the Eucharistic Sacrifice ... they offer the Divine Victim to God, and offer themselves with it" (Constitution on the Church, 10 & 11). The congregation is to exercise their baptismal priesthood by "knowingly, devoutly, and actively" participating in the Sacrifice of the Mass. Additionally, "by offering the Immaculate Victim, not only through the hands of the priest, but also with him, they should learn to offer themselves too" (Constitution on the Sacred Liturgy, 48). By surrendering ourselves as an oblation with Christ, we participate in the Mass.

When the persecuted early Church celebrated the Eucharist secretly in the catacombs and in Roman safe-houses, a processional introit was unnecessary. But, with the peace of Constantine matters rapidly changed. Ceremonials were quickly devised for the basilicas and other structures given the Church. For the Romans, a rhythmic psalm chant was utilized as the pope proceeded to the altar. It became. so to speak, the overture to the drama of the liturgy.

CHANT

Both Gregorian Chant and much of modern hymnady relies upon the psalms. They are incorporated throughout the Mass, as in the communion antiphon or song and most explicitly in the restored Responsorial Psalm (Gradual). Structured like the Responsorial, the early alternation in the singing of the introductory psalms found its seed in the synagogue service. After two readings from the Scriptures, a reader sang a psalm. This form of singing was retained by those who accepted Christ. Due to massive conversions and the new-found grandeur of the fourth-century basilicas, the meager voice of a solo-singer was largely inaudible as congregations expanded in size. Resolving the dilemma, the two choirs or a choir and the assembly alternately sang with one another. The first would issue a brief introductory selection which would give voice to the main theme as well as express the tune. This antiphon was rapidly followed by the first verse of the psalm. Then the congregation, which did not have books, even if they were literate, and which had not put the psalms to memory, responded by echoing the antiphon. The choir then continued by offering the next verse of the psalm, and so on. The "Gloria Patri" doxology was appended to the psalm after the fifth century. Originating in fourth century Antioch, antiphonal singing spread throughout all of Christendom. Canon A. Croegaert writes in THE MASS - A LITURGICAL COMMENTARY, Vol 1:

"St. Basil (+379) bears witness to its use at Caesarea and the author of the PEREGRINATIO ETHERIAE clearly refers to its two parts as used at Jerusalem: psalmus respondetur, similiter et antiphonae. St. Ambrose introduced it into Milan (389), and following the example of Milan, Rome also adopted responsorial psalmody. It is certain that Celestine I (422-32) ordered the antiphonal singing of one of the 150 psalms at the ceremony of entrance. [He did this in 423 AD.] It is beyond doubt that at least some of the texts and tunes of the antiphons and responses were composed before the pontificate of St. Gregory the Great (590-604). (p. 103)