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Proper Chants as Models of Liturgical Hymnody, by Fr John-Mark Missio

Proper Chants as Models of Liturgical Hymnody, by Fr John-Mark Missio

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This wonderful paper explains the background of the issue with regard to Mass propers.
This wonderful paper explains the background of the issue with regard to Mass propers.

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Published by: Church Music Association of America on Jun 06, 2011
Copyright:Attribution Non-commercial

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07/10/2013

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The Proper Chants of theEntrance, Offertory, and Communion Processionsas Models of Liturgical Hymnody
 An essay based on
Musicam Sacram
32
Dissertation submitted to the Liturgical Instituteof the University of St. Mary of the Lakein partial fulfillment of the requirementsof the degree of Master of Arts (Liturgical Studies) by Rev. John-Mark Missio, B.Math, B.Music, M.Div The Liturgical Institute, University of St. Mary of the LakeMundelein, IllinoisAugust 2006
 
ii
ContentsIntroduction
................................................................ 1
Chapter 1. The History of the Proper Processional Chants
......................... 41.1 New Testament Background: Scriptural Bases for Liturgical Song ............ 51.2 The Post-Apostolic Period: Ambiguity of Songversus ‘Psalm’ .............. 61.3 The Early Fourth Century: Psalms to the Forefront ......................... 81.4 Later Fourth Century: Early Links of Processions with Psalms ............... 81.5
Ordo Romanus Primus
: Psalms and Processions a Norm ................... 111.6 Summary of the Advent ProjectPhase ................................ 131.7 Medieval Tropes on Propers: Stability and Variation ...................... 141.8 The Age of Polyphony .............................................. 161.9 Summary of Chapter 1 .............................................. 18
Chapter 2. Changes at the Second Vatican Council and Beyond
................... 202.1
Sacrosanctum Concilium:
Active Participation as a Root Cause of Change to the Status of the Propers.................................. 202.2
Musicam Sacram
.................................................. 222.3
General Instruction on the Roman Missal 
............................... 232.4 The Shift from Propers to Hymnody Described ........................... 262.5 American Developments: Various Documents from the Conference of Bishops . 312.6
Music in Catholic Worship
.......................................... 34
 
iii2.7 The
Sacramentary: Foreword 
........................................ 372.8
Composers of Liturgical Music
: An Afterword to the Foreword .............. 372.9
Varietates Legitimae
: A Turn in the Tide................................ 382.10
 Liturgiam Authenticam
............................................ 402.11 Response to
 Liturgiam Authenticam
.................................. 412.12 The Revised
General Instruction on the Roman Missal 
(English translation) .. 422.13
 Redemptionis Sacramentum
......................................... 442.14 Summary of Chapter 2 ............................................. 44
Chapter 3. Analyses
........................................................ 463.1 Themes of the Developing Hymnology ................................. 463.2 Psalms versus Other Texts........................................... 503.3 The Effects of Singing Liturgical Songs ................................ 593.4 Formational Effects of Proper Chants .................................. 633.5 From Formation to Mystical Encounter ................................. 673.6 How the Propers Might Serve as Models for Liturgical Hymnody ............ 693.6.1 A Model of Content ........................................ 693.6.2 A Model of Form .......................................... 743.7 The
Graduale Simplex
: A Model of the Model ........................... 753.8 Summary of Chapter 3 .............................................. 78
Chapter 4. Conclusions
..................................................... 79

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