SUPPORTING THE NEW ENGLISH TRANSLATION OF THE MASS ORDINARY:

NEW MUSICAL RESOURCES FOR THE LITURGY

by

José “Peppie” Calvar, III

Bachelor of Music
East Carolina University, 2002

Master of Music
Georgia State University, 2004

Submitted in Partial Fulfillment of the Requirements

For the Degree of Doctor of Musical Arts in

Conducting

School of Music

University of South Carolina

2012

Accepted by:

Larry Wyatt, Major Professor

Chairman, Examining Committee

Alicia Walker, Committee Member

Reginald Bain, Committee Member

Andrew Gowan, Committee Member

Lacy Ford, Vice Provost and Dean of Graduate Studies

 UMI Number: 3548698

All rights reserved

INFORMATION TO ALL USERS

The quality of this reproduction is dependent upon the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript
and there are missing pages, these will be noted. Also, if material had to be removed,
a note will indicate the deletion.

UMI 3548698
Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author.
Microform Edition © ProQuest LLC.
All rights reserved. This work is protected against
unauthorized copying under Title 17, United States Code

ProQuest LLC.
789 East Eisenhower Parkway
P.O. Box 1346
Ann Arbor, MI 48106 - 1346
 © Copyright by José Calvar, III, 2012
Excerpts from the English translation and musical settings of The Roman Missal
© Copyright 1969, 1981, 1997, 2010,
International Commission on English in the Liturgy Corporation.
All rights reserved.
Mass of Renewal: © Copyright 2010 GFTSMusic Publishing Company, Inc.
Excerpts used by permission.
Mass for a Servant Church, Missa ad Gentes/Maryknoll Centennial Mass, and The Sound
of My People © Copyright 2010 by GIA Publications Inc. Excerpts used by permission.

ii
 DEDICATION

I wish to thank the members of my committee for their support throughout my

graduate studies, especially Dr. Larry Wyatt whose constant encouragement and

availability in any situation have been a true blessing. I am so grateful for my academic

professors’ intensity and passion for their work, and for giving so willingly of their time

and expertise, especially Dr. Reginald Bain, Dr. Danny Jenkins, and Dr. Gary Beckman.

Fr. J Michel Joncas and David Kauffman exchanged insights with me on their works, for

which I am most grateful. A random phone call from Vince Ambrosetti at ILP helped

jumpstart this project. None of this would have been possible without the support of

Michael LaRoche and Serena Hill, without whose hospitality I would not have survived

my residency.

The choir and the congregation of St. John Neumann Catholic Church in

Charlotte, North Carolina and their pastor Fr. Patrick Hoare have supported me in the

doctoral process from beginning to end. The students of the University of North Carolina

at Charlotte and Dr. Randy Haldeman inspired me and made me want to pursue the

credentials necessary to conduct at the college level on a permanent basis. I owe much

gratitude to my dear friend Mark Husey, whose exemplary music ministry has shown me

that contemporary styles need not define modern Catholic churches, and that it’s okay to

seek excellence in musicianship in the Catholic Church.

May my life’s work be a dedication to my wife Narja and my unborn son, and to

all those whose love has shown me how to give love in return.

iii
 ABSTRACT

On November 30th, 2011, Roman Catholic parishes throughout the United States,

by order of the US Council of Catholic Bishops, adopted the English translation of the

New Roman Missal for use in the liturgy. Several changes to the texts used in the Mass

resulted in the existing Mass texts and the supporting musical settings becoming obsolete

without significant revision. An enormous output of new musical composition took place

in preparation for this occasion. The specific changes between the previous and new

translation and their impact on music for the Ordinary of the Mass will be addressed in

the document. Focusing on settings with strong choral dependence, the document

provides an up-to-date annotated bibliography discussing styles, instrumental forces, and

performance implications. An analysis of four new Mass settings provides detail on

specific compositional approaches and provides indications and insights for performance.

Revised settings used in the previous English translation and new concert-style Mass

settings are not covered in this study.

iv
 PREFACE

In September 2011, the Diocese of Charlotte held its annual Diocesan Eucharistic

Congress. Thousands of Catholics, including an enormous representation of Hispanics,

came to the Charlotte Convention Center to participate in the Holy Mass offered by

Bishop Peter Jugis and all the priests of our diocese. This was an enormous opportunity

for our diocesan musical leadership to present a Mass setting representative of our

diocese and those present to participate in the Holy Eucharist. Musical leadership chose

to use the chant setting of the Mass released online by the United States Council of

Catholic Bishops. Although the texts were in English, and representative of the upcoming

incorporation of the new translation into liturgical use, the chosen music did not

acknowledge our Hispanic congregation or post-Vatican II musical developments.

It is plausible that decisions such as this were made because of the barrage of

materials Catholic liturgical music directors have received in the months leading up to

Advent, 2011. Publishers updated their catalogs and permanent hymnals in anticipation

of the change, and flooded the market with promotional materials. Many music directors

already overwhelmed by impending changes and preparations for supporting the new text

now had to sift through piles of promotional materials deciding which Mass settings were

best for their parishes.

Even the most renowned composers have discussed the difficulty of adapting the

new texts on their existing settings for revision. These circumstances have resulted in

v
favorite Mass settings of the previous text becoming strained and awkward under the

recent revision. Many composers have noted that their newly composed settings are much

better marriages of music and texts than their revisions.

Many music directors, suffering from the barrage of promotional literature which

gives little relevant information regarding style and programmability, have resorted to

using revised settings. In worse cases, directors have resorted to programming ancient

Masses in Latin, or the aforementioned chant Mass in English, distancing themselves

from opportunities to grow spiritually and musically from the change in texts. This study

is directed toward those directors who, for whatever reason, have not exposed themselves

to the musical (particularly choral) possibilities presented by the new translation, and the

new settings composed to serve it. Additionally, it examines new Mass settings composed

for bilingual congregations, in order to foster cross-cultural unity between English-

speaking congregations and growing Hispanic congregations who frequently worship in

the same space, sometimes at the same time.

vi
 TABLE OF CONTENTS

DEDICATION ....................................................................................................................... iii

ABSTRACT .......................................................................................................................... iv
PREFACE ...............................................................................................................................v
LIST OF FIGURES ................................................................................................................. ix
CHAPTER I THE ROMAN MISSAL AND VATICAN DOCUMENTS WHOSE CONTENTS INFORM
LITURGICAL MUSIC IN THE VERNACULAR ............................................................................1
CHAPTER II MAJOR TEXTUAL CHANGES IN THE NEW TRANSLATION AFFECTING MASS
SETTINGS ............................................................................................................................12
2.1 EXPLANATION OF FORMAT................................................................................13
2.2 GLORIA .............................................................................................................14
2.3 SANCTUS ...........................................................................................................19
2.4 MEMORIAL ACCLAMATIONS .............................................................................20
CHAPTER III ANALYSIS: MASS OF RENEWAL ......................................................................23
3.1 THE COMPOSERS ...............................................................................................23
3.2 VOICE TESSITURA .............................................................................................24
3.3 OVERVIEW ........................................................................................................24
3.4 MOVEMENTS AND PERFORMANCE TIMES ..........................................................26
3.5 ANALYSIS .........................................................................................................27
3.6 SPECIAL NOTES .................................................................................................35
3.7 PRODUCTS .........................................................................................................35
CHAPTER IV ANALYSIS: MASS FOR A SERVANT CHURCH ...................................................37
4.1 THE COMPOSER .................................................................................................37
4.2 VOICE TESSITURA .............................................................................................38
4.3 OVERVIEW ........................................................................................................38
4.4 MOVEMENTS AND PERFORMANCE TIMES ..........................................................40
4.5 ANALYSIS .........................................................................................................40
4.6 SPECIAL NOTES .................................................................................................50
4.7 PRODUCTS .........................................................................................................50
CHAPTER V ANALYSIS: THE SOUND OF MY PEOPLE ...........................................................51
5.1 THE COMPOSER .................................................................................................51
5.2 VOICE TESSITURA .............................................................................................52
5.3 OVERVIEW ........................................................................................................52
5.4 MOVEMENTS AND PERFORMANCE TIMES ..........................................................55

vii
 5.5 ANALYSIS .........................................................................................................55
5.6 SPECIAL NOTES .................................................................................................63
5.7 PRODUCTS .........................................................................................................64
CHAPTER VI ANALYSIS: MISSA AD GENTES/MARYKNOLL CENTENNIAL MASS ..................65
6.1 THE COMPOSER .................................................................................................65
6.2 VOICE TESSITURA .............................................................................................66
6.3 OVERVIEW ........................................................................................................66
6.4 MOVEMENTS AND PERFORMANCE TIMES ..........................................................69
6.5 ANALYSIS .........................................................................................................70
6.6 SPECIAL NOTES .................................................................................................84
6.7 PRODUCTS .........................................................................................................85
CHAPTER VII ANNOTATED BIBLIOGRAPHY OF SELECTED NEW MASS SETTINGS
WITH VIABLE CHORAL CONTENT: .......................................................................................86

CHAPTER VIII CONCLUDING REMARKS ..............................................................................99

REFERENCES .....................................................................................................................101
APPENDIX: DOCUMENTATION OF PERMISSION TO USE COPYRIGHTED MATERIAL............106

viii
 LIST OF FIGURES

Figure 2.1a. Gloria (Latin and RM2 English) ....................................................................15

Figure 2.1b. Gloria (RM3 English and Spanish) ...............................................................16

Figure 2.2a. Sanctus, first lines (Latin and RM2) ..............................................................19

Figure 2.2b. Sanctus, first lines (RM3 and Spanish) .........................................................20

Figure 2.3. Memorial Acclamation Form A ......................................................................20

Figure 2.4. Memorial Acclamation Form B.......................................................................21

Figure 2.5. Memorial Acclamation Form C.......................................................................21

Figure 3.1. Mass of Renewal Voice Tessitura....................................................................24

Figure 3.2. Mass of Renewal performance times by movement .................................. 26-27

Figure 3.3. Mass of Renewal “Sanctus” mm. 11-15 (reduced choral parts). .....................33

Figure 4.1. Mass for a Servant Church Voice Tessitura....................................................38

Figure 4.2. Mass for a Servant Church performance times by movement ........................40

Figure 4.3: Mass for a Servant Church “Kyrie” mm. 6-9 (accompaniment) ....................41

Figure 4.4: Mass for a Servant Church “Gloria” mm. 31-32, 45-46 (accompaniment) ....43

Figure 4.5. Mass for a Servant Church “Gloria” mm. 11-14 ............................................45

Figure 4.6. Mass for a Servant Church “Holy, Holy, Holy” mm. 8-12.............................46

ix
Figure 4.7: Mass for a Servant Church products and publisher numbers .........................50

Figure 5.1: The Sound of My People Voice Tessitura .......................................................51

Figure 5.2: The Sound of My People performance times by movement ............................54

Figure 5.3: The Sound of My People “Penitential Act” m. 24 ...........................................56

Figure 5.4: The Sound of My People “Gloria” introduction ..............................................57

Figure 5.5: The Sound of My People “The Lord’s Prayer” mm. 31-32 .............................61

Figure 5.6: The Sound of My People “Lamb of God” mm. 22-23 .....................................63

Figure 5.7: The Sound of My People products and publisher numbers .............................64

Figure 6.1. Missa ad Gentes Voice Tessitura ....................................................................66

Figure 6.2. Missa ad Gentes performance times by movement .........................................69

Figure 6.3: Missa ad Gentes “Gloria” mm. 7-8 .................................................................73

Figure 6.4: Missa ad Gentes “Gloria” mm. 18-20 .............................................................74

Figure 6.5: Missa ad Gentes “General Intercessions” mm. 6-7 .........................................78

Figure 6.6: Missa ad Gentes “The Lord’s Prayer” mm. 23-26 ..........................................82

Figure 6.7. Missa ad Gentes products and publisher numbers ..........................................85

x
 CHAPTER 1

THE ROMAN MISSAL AND VATICAN DOCUMENTS WHOSE CONTENTS INFORM

LITURGICAL MUSIC IN THE VERNACULAR

“If we approach from this theological vantage point, our implementation

of this reform will be derived from a liturgical-theological reflection rather
than rubrical adjustments or minor modifications. The Liturgy has always
undergone modifications throughout the centuries, there is only one
unchangeable text and that is the text of sacred Scripture. The Church has
undertaken in every age to cloth the liturgy in words and rites which speak
the ageless mysteries to their different time. Thus in her prayer as in her
teaching, the Church fulfills her responsibility as teacher of truth to guard
things old, that is, the deposit of tradition; at the same time it fulfills
another duty, that of examining and prudently bringing forth things new.1”

For concert musicians whose focus lies on classical and historical masterworks

regardless of their liturgical practicality, a basic understanding of the Mass’ textual

origins and a working comprehension of its translation suffice. Conductors and artistic

directors understand that concert Masses typically include the Ordinary of the Mass

(Kyrie, Gloria, Credo, Sanctus, Agnus Dei). Masses in Gregorian chant emerged first and

continue to be the musical artistic foundations for Roman Catholic Church music.

Thematic musical material unified Mass settings in the early Renaissance. Polyphony

became a contentious matter around the time of the Counter-Reformation. For all intents

                                                                                                               
1
United States Council of Catholic Bishops, “Reflections, United States Council of Catholic Bishops,
“Reflections: The Theological Vision of Sacrosanctum Conciliumand the Roman Missal,”
http://old.usccb.org/romanmissal/resources-reflections.shtml/resources-conferences.shtml (accessed
September 6, 2012)

1
and purposes, Grout and Palisca can provide concert artists with a working knowledge of

the musical Mass sufficient for their needs.2

Latin has never been abolished from the liturgy, but its use has waned to such an

extent that it is seen as token and nostalgic by some and completely out of place by

others. The resurgence of the Tridentine Mass (also known as the Mass of Pope Pius V)

is a relatively recent occurrence forwarded by the more conservative approaches of Pope

Benedict XVI, who remarks,

“The Roman Missal promulgated by Paul VI is the ordinary expression of

the 'Lex orandi' (Law of prayer) of the Catholic Church of the Latin rite.
Nonetheless, the Roman Missal promulgated by St. Pius V and reissued by
Bl. John XXIII is to be considered as an extraordinary expression of that
same 'Lex orandi,' and must be given due honour for its venerable and
ancient usage. These two expressions of the Church's Lex orandi will in no
any way lead to a division in the Church's 'Lex credendi' (Law of belief).
They are, in fact two usages of the one Roman rite.”3

Even in the Tridentine Mass, chant settings and settings by Renaissance masters would be

programmed long before anything else was considered. Prior to Vatican II, the Tridentine

Mass remained in use with very few significant alterations from 1570 to 1962.

Counter-reformationist sentiments, along with a desire to universally codify the

Mass inspired the Council of Trent and Pope Pius V’s ensuing Quo Primum stating,

“Let all everywhere adopt and observe what has been handed down by the
Holy Roman Church, the Mother and Teacher of the other churches, and
let Masses not be sung or read according to any other formula than that of
this Missal published by Us. Therefore, no one whosoever is permitted to
alter this notice of Our permission, statute, ordinance, command, precept,
grant, indult, declaration, will, decree, and prohibition should know that he

                                                                                                               
2
Donald J. Grout and Claude V. Palisca, A History of Western Music. 7th ed., W.W. Norton, 2006.
3
Pope Benedict XVI, Apostolic Letter "Summorum Pontificum" issued Motu Proprio, July 7, 2007,
http://www.ewtn.com/library/papaldoc/b16summorumpontificum.htm (accessed July 30, 2012) See also:
Jeff Israely, “Why the Pope is Boosting Latin Mass,” Time, July 7, 2007
http://www.time.com/time/world/article/0,8599,1641008,00.html (accessed July 30, 2012)

2
 will incur the wrath of Almighty God and of the Blessed Apostles Peter
and Paul.”4

The liturgical calendar including feast days was clearly codified. This continues to be an

evolving process, though texts from the Roman Missal remain largely the same. Its latest

release merely adds feast days for recently beatified and canonized saints.

As a mainstay in the church during and after the Renaissance, the Tridentine Mass

informed the vast majority of sacred composition in the Roman-Rite liturgy. Since so

many significant developments in music history coincide with the Tridentine Mass,

significant bias from academic and concert realms is given to master composers from

1600 onward, whose textual influences draw upon Latin-language liturgical sources.

However, many larger works including Latin-language oratorio works are sacred in

nature but were never conceived for use in the liturgy.

Regarding liturgical applications, however, circumstances differ. After the Second

Vatican Council (1962-1965), a major divergence occurred with the emergence of the

vernacular in Roman Catholic worship. Although the use of Latin in the liturgy was never

forbidden in any respect, the translation into the vernacular necessitated the assembly of

scholarly liturgists and linguists to represent every language of every region served by the

church. Although several editions of The Roman Missal existed prior to the Second

Vatican Council, liturgical scholars have historically called the 1969 Roman Missal the

first edition (RM1). This Missal incorporated all of the immediate outcomes of Vatican

II.

Pope Paul VI (1963-1978) greatly increased the proportion of the Bible read at

Mass. Sacrosanctum Concilium reads, “The treasures of the bible are to be opened up
                                                                                                               
4
Pope St. Pius V. QUO PRIMUM (1570). http://www.papalencyclicals.net/Pius05/p5quopri.htm (accessed
July 10, 2010)

3
more lavishly, so that richer fare may be provided for the faithful at the table of God's

word. In this way a more representative portion of the holy scriptures will be read to the

people in the course of a prescribed number of years.”5 Prior to RM1, only 1% of the Old

Testament and 16.5% of the New Testament was read at Mass. In Pope Paul VI's post-

Vatican II revision, 13.5% of the Old Testament and 71.5% of the New Testament are

read.6 He accomplished this by establishing a three-year cycle of Sunday reading and a

two-year cycle for weekdays. This increase in biblical content in the Mass also increased

the possibilities for applicable musical programming for the Mass, and may also have

necessitated a broadening of the liturgical musical repertoire.

Bishops from English speaking countries attending Vatican II assembled the

ICEL in 1963 in Rome. The Commission is “a mixed commission of Catholic Bishops'

Conferences in countries where English is used in the celebration of the Sacred Liturgy

according to the Roman Rite. The purpose of the Commission is to prepare English

translations of each of the Latin liturgical books and any individual liturgical texts in

accord with the directives of the Holy See.”7 Besides the United States, participating

nations include Australia, Canada, the nations of Great Britain, India, Ireland, New

Zealand, Pakistan, The Philippines and South Africa. For Spanish, similar coalitions, or

singular nations submit their translations to the Holy See for approval. The Argentinean

translation is also used in Chile, Uruguay and Paraguay. Colombia’s version also serves

Bolivia, Peru, Ecuador and Venezuela. The Mexican version was submitted for approval
                                                                                                               
5
Second Vatican Ecumenical Council. Constitution on the Sacred Liturgy: Sactrosanctum Concilium. The
Roman Curia, 1963.
6
Felix Just, S.J. "Lectionary Statistics,” Catholic-resources.org. January 2, 2009 http://catholic-
resources.org/Lectionary/Statistics.htm (accessed July 30, 2012)
7
International Commission on English in the Liturgy, “What is ICEL,” http://www.icelweb.org/whatis.htm
(accessed September 8, 2011)

4
during Holy Week, 2012 and will likely be adopted for use by all Central-American

nations’ Spanish-speaking congregations in the United States.8 French and German

congregations are benefitting from a newly revised translation replacing the previous

version “replete with inaccuracies.”9 In all these nations, however, liturgical singing in

Latin still occurs with some regularity, depending on locales and demographics.

Even in the Vatican, the Holy Mass is currently celebrated for the most part in

Italian from the altar, and in Latin from the choir loft. Vatican choirs are encouraged to

program music by master Catholic composers mostly from the high Renaissance, or

whose music stylistically matches that of the Roman Catholic heritage. Vatican II’s

Instruction on Music in the Liturgy provides an explanation:

“According to the Constitution on the Liturgy, ‘the use of the Latin

language, with due respect to particular law, is to be preserved in the Latin
rites…. Pastors of souls should take care that besides the vernacular ‘the
faithful may also be able to say or sing together in Latin those parts of the
Ordinary of the Mass which pertain to them’…. Gregorian chant, as
proper to the Roman liturgy, should be given pride of place, other things
being equal. Its melodies, contained in the ‘typical editions, should be
used, to the extent that this is possible…. It is also desirable that an edition
be prepared containing simpler melodies, for use in smaller churches”10

                                                                                                               
8
Andrés Beltramo,”Un Nuevo Misal Para México y Centroamerica” Sacro y Profano,
http://infocatolica.com/blog/sacroprofano.php/1204270210-un-nuevo-misal-para-mexico-y (accessed July
30, 2012)
9
Peter J. Elliott, Bishop, “Hear the Difference: New Translation Will Be Like Rediscovering Buried
Treasure,” The Record. March 2, 2011. http://www.therecord.com.au/site/index.php/Vista/hear-the-
difference-new-missal-translation-will-be-like-rediscovering-buried-treasure (accessed July 30, 2012)
10
See Second Vatican Ecumenical Council. Musicam Sacram: Instruction on Music in the Liturgy. The
Roman Curia, 1967. http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-
ii_instr_19670305_musicam-sacram_en.html (accessed April 5, 2011) and Second Vatican Ecumenical
Council. Constitution on the Sacred Liturgy: Sactrosanctum Concilium. The Roman Curia, 1963.
http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-
ii_const_19631204_sacrosanctum-concilium_en.html (accessed April 5, 2011)

5
Masses from the Liber Usualis remain in use in churches of all demographics and sizes.

Music in the Vatican and larger cathedral churches, however, varies greatly from smaller

parish churches by virtue of the implicit difference in their artistic capabilities.

The Instruction on Music in the Liturgy also stipulates:

“Adapting sacred music for those regions which possess a musical

tradition of their own, especially mission areas, will require a very
specialized preparation by the experts. It will be a question in fact of how
to harmonize the sense of the sacred with the spirit, traditions and
characteristic expressions proper to each of these peoples. Those who
work in this field should have a sufficient knowledge both of the liturgy
and musical tradition of the Church, and of the language, popular songs
and other characteristic expressions of the people for whose benefit they
are working.”11

Regional compositional style has played a major influence in post-Vatican II liturgical

musical development. Therefore, sub-cultural musical styles have also emerged as

foundations for Mass setting, such as Ariel Ramirez’s Misa Criolla, a Spanish-language

Mass setting employing Afro-Andean styles.12

Participation by the general public is strongly encouraged by the Instruction.

“Above all one must take particular care that the necessary ministers are obtained and

that these are suitable, and that the active participation of the people is encouraged.”13 Up

until the end of the fifth century at least, full and active participation by the congregation

was taken for granted. As Latin died, participation waned; new theological fashions

tended to emphasize the mystery of the ritual sacrament.14 To whatever extent the

                                                                                                               
11
Ibid.
12
Ariel Ramirez, Misa Criolla. Lawson-Gould Music Pubs, 1965
13
Second Vatican Ecumenical Council. Musicam Sacram: Instruction on Music in the Liturgy. The Roman
Curia, 1967.
14
Milner, Anthony. (1964-1965). Music in a Vernacular Catholic Liturgy. Proceedings of the Royal
Musical Association, 91. pp. 21-32

6
congregation participated musically, it is fair to assume that many had no idea what they

were actually singing.

The situation seems to continue in a different form. Lucy Carroll’s piece in the

Adoremus Bulletin recounts how events following the Second Vatican Council continued

to shape music ministry in the church.15 She blames the shift in musical literature used

and the eventual reduction in choral forces used in the Catholic liturgy on the psalmists

who in the mid-late 1960s became featured soloists throughout the liturgy. In her view,

“the utter abandonment of Latin” coupled with new and hastily written music to bring a

more folk approach to the Mass compounded the problem.16

Musicam Sacram poses a fundamental problem with Carroll’s argument:

“In selecting the kind of sacred music to be used, whether it be for the
choir or for the people, the capacities of those who are to sing the music
must be taken into account. No kind of sacred music is prohibited from
liturgical actions by the Church as long as it corresponds to the spirit of
the liturgical celebration itself and the nature of its individual parts, and
does not hinder the active participation of the people.”17

Perhaps music ministers thought that they needed to shift the musical literature in order to

adhere to edicts from church hierarchy and changing trends in musical participation (and

the quality thereof) by congregations. In many circumstances, Catholic congregants have

become consumers of the Mass, rather than participants in the Mass.

Carroll’s article calls for highly trained, professional level musicians to return to

Catholic liturgical choirs. While this would be ideal, the modern economy in every parish

church cannot withstand the financial implications of such a proposal. Moreover, many
                                                                                                               
15
Lucy A. Carroll, “Vatican II didn’t abolish choirs. So who did?” Adoremus Bulletin Online Edition 9, no.
2 (2003). http://www.adoremus.org/0403Choirs.html (accessed March 1, 2011)
16
Ibid.
17
Second Vatican Ecumenical Council. Musicam Sacram: Instruction on Music in the Liturgy. The Roman
Curia, 1967.

7
amateur musicians in many parish choirs with professional training are willing to freely

volunteer their talents without remuneration. Many church choirs are ready to present a

wide variety of repertoire that honors the church’s rich musical heritage, respects the

cultural and spiritual demands of their congregations, and serves the sacred liturgies’

implicit musical demands.

Perhaps the loss of perspective from congregants and the knowledge of degraded

participation by the full assembly informed the outcomes of the Second Vatican Council.

“The rite of the Mass is to be revised in such a way that the intrinsic nature
and purpose of its several parts, as also the connection between them, may
be more clearly manifested, and that devout and active participation by the
faithful may be more easily achieved. For this purpose the rites are to be
simplified, due care being taken to preserve their substance; elements
which, with the passage of time, came to be duplicated, or were added
with but little advantage, are now to be discarded; other elements which
have suffered injury through accidents of history are now to be restored to
the vigor which they had in the days of the holy Fathers, as may seem
useful or necessary.”18

With this spirit, RM1 and RM2 were translated and adapted for use in dioceses

worldwide. Philosophies for liturgical musical production have until recently followed

similar proverbial trajectories.

In the Jubilee Year, 2000, Pope John Paul II called for a third edition of The

Roman Missal. Liturgiam Authenticam expands specifically on the need for retranslation:

“Ever since the promulgation of the Constitution on the Sacred Liturgy,

the work of the translation of the liturgical texts into vernacular languages,
as promoted by the Apostolic See, has involved the publication of norms
and the communication to the Bishops of advice on the matter.
Nevertheless, it has been noted that translations of liturgical texts in
various localities stand in need of improvement through correction or
through a new draft. The omissions or errors which affect certain existing
vernacular translations – especially in the case of certain languages – have
                                                                                                               
18
Second Vatican Ecumenical Council. Constitution on the Sacred Liturgy: Sactrosanctum Concilium. The
Roman Curia, 1963.

8
 impeded the progress of the inculturation that actually should have taken
place. Consequently, the Church has been prevented from laying the
foundation for a fuller, healthier and more authentic renewal.”19

In many cases, English included, local vernacular translations did not grasp the full

essence of the original Latin. Therefore, despite the timeless nature of the Mass Ordinary,

changes made to the English bear a much stronger resemblance to the original Latin.

Hence, new Latin-language Mass settings for liturgical and concert use contain the same

familiar Latin texts present in the Tridentine Mass. However, the English revision has

resulted in significant textual and musical revisions of previously extant vernacular

settings, or their desuetude. Some liturgical musicians would consider this obsolescence

to be a welcome circumstance.

As an example, the “Credo,” by virtue of its final ‘o’ implies a first-person

singular voice. The first English translations of the Nicene Creed released by the

International Committee on English in the Liturgy (ICEL) began with the word “We,” a

first-person plural implication. 2008 amendments by Pope Benedict XVI (2005-present)

include changing the pluralistic “we” in the Nicene Creed back to “I”. This is the degree

of particularity with which the new translation has been produced and released. The

“Credo” is addressed here because it is the longest element of the Mass Ordinary. Its

length makes singing prohibitive so modern liturgical composers omit the Credo from

their settings.

Adjusting to a new translation in many cases has transpired rather smoothly,

thanks in large part to an edict from the United States Council of Catholic Bishops

                                                                                                               
19
Pope John Paul II, “Supplement to Press Release: Fifth Instruction for the Right Implementation of the
Sacrosanctum Concilium,” Liturgicam Authenticam, May 7, 2001,
http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20010507_comuni
cato-stampa_en.html (accessed July 30, 2012)

9
permitting dioceses to slowly implement the changes at the parish level before the

Advent, 2011 inception date. Pope Benedict XVI shared the following in the months

prior to the shift:

"Many will find it hard to adjust to unfamiliar texts after nearly forty years
of continuous use of the previous translation. The change will need to be
introduced with due sensitivity, and the opportunity for catechesis that it
presents will need to be firmly grasped. I pray that in this way any risk of
confusion or bewilderment will be averted, and the change will serve
instead as a springboard for a renewal and a deepening of Eucharistic
devotion all over the English-speaking world.”20

The transition has reinvigorated active congregational participation, as people previously

present physically at Mass but mentally going through the motions now find themselves

reconnecting to a text whose nature more exactingly represents Vatican models.

Similar efforts undertaken internationally have inherently resulted in a stronger

textual, pre-textual and contextual unification between all translations, especially in the

United States. According to The U.S. Census Bureau, Hispanics outnumbered African-

Americans and became the largest minority group in the U.S. in 2005.21 The latest census

revealed that Hispanics accounted for more than half of the population growth in the U.S.

from 2000 to 2010.22 Most Latino-Americans are Christians; 71% of Latino-Americans

consider themselves Catholic.23 With the continuing growth of Hispanic congregations

                                                                                                               
20
Pope Benedict XVI, “Greeting of the Holy Father,” given at the Luncheon of His Holiness Benedict XVI
With Members and Consultors of the Vox Clara Committee, April 28, 2010,
http://www.vatican.va/holy_father/benedict_xvi/speeches/2010/april/documents/hf_ben-
xvi_spe_20100428_vox-clara-committee_en.html (accessed July 31, 2012)
21
Robert Bernstein, “Minority Population Tops 100 Million” U.S. Census Bureau. May 17th, 2007.
http://www.census.gov/newsroom/releases/archives/population/cb07-70.html (accessed March 31, 2011)
22
Karen R. Humes and others, “Overview of Race and Hispanic Origin: 2010.” U.S. Census Bureau
http://www.census.gov/prod/cen2010/briefs/c2010br-02.pdf (accessed March 31, 2011)
23
Fraser, Barbara J., “In Latin America, Catholics down, church's credibility up, poll says,” Catholic News
Service June 23, 2005

10
throughout the United States, a more unified Mass can also help to foster a more unified

cultural community regardless of language barriers.

Overall, the third edition of the Roman Missal and its new translations will yield

several benefits. It will serve as a unifying force for Catholics everywhere, as their local

translations bear closer resemblances to the mother texts. From a musical standpoint, old

Mass settings whose artistic merit did not align with Musicam Sacram will become

obsolete, leaving music directors with opportunities to adopt settings whose musical

elements merit textual revision. New settings whose artistic merits recognize the best and

worst aspects of the last forty years of liturgical music will undoubtedly improve musical

quality in local liturgical practice, reopening possibilities for choral ministries to thrive

and eliciting the full and active congregational participation.

11
 CHAPTER 2

MAJOR TEXTUAL CHANGES IN THE NEW TRANSLATION

AFFECTING MASS SETTINGS

“The vocabulary chosen for liturgical translation must be at one and the
same time easily comprehensible to ordinary people and also expressive of
the dignity and oratorical rhythm of the original: a language of praise and
worship which fosters reverence and gratitude in the face of God’s glory.
The language of these texts is, therefore, not intended primarily as an
expression of the inner dispositions of the faithful but rather of God's
revealed word and his continual dialogue with his people in history.
Translations must be freed from exaggerated dependence on modern
modes of expression and in general from psychologizing language. Even
forms of speech deemed slightly archaic may on occasion be appropriate
to the liturgical vocabulary.”24

Significant changes in Mass translations exist between RM2 and RM3, especially

in the Eucharistic Prayers. Many have argued that this new translation contains a lofty

language that “uncovers buried treasure” brought about by the more accurate Latin-

English representations.25 Bishop Elliott of Melbourne Australia explains the

fundamental differences in approach to earlier translations in comparison to RM3:

“The Bishops in the early seventies were anxious to get the “new missal”
to the people as quickly as possible. But the translation they hastily

                                                                                                               
24
Pope John Paul II, “Supplement to Press Release: Fifth Instruction for the Right Implementation of the
Sacrosanctum Concilium,” Liturgicam Authenticam, May 7, 2001,
http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20010507_comuni
cato-stampa_en.html (accessed July 30, 2012)
25
Peter J. Elliott, Bishop, “Hear the Difference: New Translation Will Be Like Rediscovering Buried
Treasure,” The Record. March 2, 2011. http://www.therecord.com.au/site/index.php/Vista/hear-the-
difference-new-missal-translation-will-be-like-rediscovering-buried-treasure (accessed July 30, 2012)

12
 approved was distorted because it was based on a flawed principle of
translation known as ‘dynamic equivalence’. ICEL was faithful to much of
that instruction, and even went beyond it, so what we ended up with was a
paraphrase rather than a translation. Dynamic equivalence demands a
lively, modern translation that is supposed to get to the meaning of the
Latin without literally translating every word.”26

The extraordinarily time consuming and meticulous nature of the ICEL in this new

approach has yielded a much more precise syntax in accordance with Sacred Scripture.

For the purpose of this document, however, particular focus will be given to those

moments in the Mass Ordinary whose changes following this new translation necessitate

revisions in musical Mass settings, or make existing Mass settings obsolete. The Gloria,

Sanctus, and Memorial Acclamations shall remain the central focus, though it should be

noted that the new translation’s affects on the whole Mass are widespread and not

isolated to the movements discussed here.

2.1 EXPLANATION OF FORMAT:

For each scrutinized text, a line-by-line chart has been provided. Each analyzed

translation appears in its own column in its original configuration. The Latin texts will be

compared to the 1975 English translation of RM2, the newly released English translation

of RM3 and the existing Spanish translation from the newly approved Argentinean

translation of RM3.27 It should be noted that, unlike its English counterparts, this

translation remains unchanged from previous Missal texts. Line numbers are provided to

ease assessment of translation for each textual clause. Differences and improvements in

                                                                                                               
26
Ibid.
27
Comisión Episcopal de Liturgia, Nuevo Misal Para Argentina, Chile, Uruguay y Paraguay, 2010.
http://www.camino-neocatecumenal.org/neo/descargas/Misal%20Romano.pdf (accessed July 31, 2012)

13
translational accuracy will be discussed by corresponding line number. Lines whose

translation is accurate in all translations will remain unaddressed.

Bold lines in the Gloria charts (Figure 1a and 1b) represent the sectional breaks in

the Angelic Hymn. Constructed to praise the Triune God, the double line represents the

textual division between praises to God the Father and God the Son and Holy Spirit. Bold

single lines represent places where strophic Glorias often refer to their respective refrains.

Though seemingly insignificant, Gerald Custer’s Mass in Festive Style is the only setting

whose textual formula does not conform strictly to the bold lines.28 “I simply elided the

first two members of the Trinity for musical rather than liturgical or theological reasons:

to save a bit of time and to make things (relatively) easier to learn. {I have} no hidden

doecetist agenda.”29

2.2 GLORIA:

The longest sung portion of the Mass Ordinary, the Gloria is often among the

more vibrant and jubilant movements in modern Mass settings. Although some settings

can be particularly lengthy (such as Joncas’ Missa ad Gentes/Maryknoll Centennial

Mass, to be discussed in detail later) efforts are made by many composers to limit

musical length and honor sacred traditions by eliminating repeats and altering texts as

little as possible.30 Although many settings use lines 1 and 2 for responsorial material in

order to elicit full and active congregational participation, other settings flow sequentially

                                                                                                               
28
Gerald Custer, A Mass in Festive Style, Unpublished, used with the composer’s permission, 2010.
29
Gerald Custer (personal communication, September 20, 2011).
30
See pp. ??-?? and J. Michael Joncas, Missa ad Gentes, Full Score, Chicago: GIA Music Publications,
2010

14
 Latin RM2 English
1. Glória in excélsis Deo Glory to God in the highest
2. et in terra pax homínibus bonae and peace to his people on earth.
voluntatis
3. Laudámus te, Lord God, heavenly King, (9)
4. benedícimus te, Almighty God and Father, (10)
5. adorámus te, we worship you, (3)
6. glorificámus te, we give you thanks, (7)
7. grátias ágimus tibi we praise you (3)
8. propter magnam glóriam tuam, for your glory.
9. Dómine Deus, Rex cæléstis,
10. Deus Pater omnípotens.

11. Dómine Fili Unigénite, Iesu Christe, Lord Jesus Christ, only Son of the
Father,
12. Dómine Deus, Agnus Dei, Fílius Patris, Lord God, Lamb of God,

13. qui tollis peccáta mundi, you take away the sin of the world:
14. miserére nobis; have mercy on us;
15. qui tollis peccáta mundi,
16. súscipe deprecatiónem nostram.
17. Qui sedes ad déxteram Patris, You are seated at the right hand of the
Father:
18. miserére nobis. receive our prayer.
19. Quóniam tu solus Sanctus, For you alone are the Holy One,
20. tu solus Dóminus, you alone are the Lord,
21. tu solus Altíssimus, Iesu Christe, you alone are the Most High, Jesus
Christ,
22. cum Sancto Spíritu: with the Holy Spirit,
23. in glória Dei Patris. Amen. in the glory of God the Father. Amen.

Figure 2.1a: Gloria (Latin and RM2 English)

15
 RM3 English Spanish
1. Glory to God in the highest, Gloria a Dios en el cielo
2. and on earth peace to people of good y en la tierra paz a los hombres que ama
will. el Señor.

3. We praise you, Por tu inmensa gloria (8)

4. we bless you, te alabamos, (3)
5. we adore you, te bendecimos, (4)
6. we glorify you, te adoramos, (5)
7. we give you thanks te glorificamos, (6)
8. for your great glory, te damos gracias. (7)
9. Lord God, heavenly King, Señor Dios, Rey celestial,
10. O God, almighty Father. Dios Padre todopoderoso.

11. Lord Jesus Christ, Only Begotten Son,
12. Lord God, Lamb of God, Son of the
Father,
13. you take away the sins of the world,
14. have mercy on us;
15. you take away the sins of the world,
16. receive our prayer.
17. you are seated at the right hand of the
Father,
18. have mercy on us.
19. For you alone are the Holy One,
20. you alone are the Lord,
21. you alone are the Most High, Jesus
Christ,
22. with the Holy Spirit,
23. in the glory of God the Father. Amen.
Señor Hijo único, Jesucristo,
Señor Dios, Cordero de Dios, Hijo del
Padre:
tú que quitas el pecado del mundo,
ten piedad de nosotros;
tú que quitas el pecado del mundo,
atiende nuestra súplica;
tú que estás sentado a la derecha del
Padre,
ten piedad de nosotros:
porque sólo tú eres Santo,
sólo tú Señor,
sólo tú Altísimo, Jesucristo
con el Espíritu Santo
en la gloria de Dios Padre. Amén.

Figure 2.1b: Gloria (RM3 English and Spanish)

16
through the text with little to no deviation.31

Immediately upon examination of Figure 1, one is struck by the deviations present

in RM2. Entire lines of text were truncated or altogether ignored from the original Latin.

Under the guises of ‘dynamic equivalence,’ perhaps the translators felt that this

representation represented a modern linguistic slant on the ancient texts. A fascinating

account by Michael Davies from The Angelus tells of English and Welch, Scottish and

Irish discomfort with the impending translation and its deficiencies in comparison with

the Latin.32 Numbers have been added to the figures in parentheses to indicate their

directly corresponding Latin text. Lines unaddressed by the RM2 translation have been

left blank.

Straightaway in line 2, we have the text “peace to people of good will,” a much

closer match to “bonae voluntatis.” The Spanish “que ama al Señor” translates directly to

“who love the Lord.” While one might prefer to see the words “de buena voluntad,” a

direct quoting from Luke 2:14, perhaps the Comissión feels that the departure does not

contextually distort the Latin source, or that the risks and inconveniences of change in

this case outweigh the benefits.

Lines 3-8 show some of the most prominent changes from RM2 to RM3. The

words “we praise you” have been chosen to match the Latin “laudamus te,” in RM3.

Since “laudamus te” is the closest representation of “we worship you” (RM2), perhaps

the translators equated their choice with a repetition of line 3. Latin lines 4-6 seem

                                                                                                               
31
See pp. ??-?? and Michel Guimont, Mass for a Servant Church, Full Score, Chicago: GIA Music
Publications, 2010
32
Michael Davies, “The ICEL Betrayal,” The Angelus, July and August 1980,
http://www.angelusonline.org/index.php?section=articles&subsection=show_article&article_id=380
(accessed July 30, 2012)

17
completely absent from RM2. The Spanish representation of lines 3-8 is inverted. This is

simply a matter of grammatical and semantic taste, as an English recitation from RM3 in

that inverted order still reads well and accurately communicates the essence of the Latin.

When carefully compared to RM3 and the Latin, lines 9-10 raise an intriguing

issue. RM3 uses the word “O,” which does not exist in the Latin, which literally reads

“Lord, God, King heavenly, God, Father omnipotent.” The Spanish translation matches

the Latin nearly identically. The circumstance also raises the question as to why, in its

bias toward such lofty language elsewhere in its new translation, the translators chose not

to use the word “omnipotent.” Both in English and in Spanish, “almighty” stands for the

word “omnipotens,” but the Spanish translation uses the word “omnipotente” later in the

Eucharistic Prayers.

In lines 11-12 we begin to see the problems arising from RM2’s non-repetition of

textual elements as present in the Latin. “Domine Fili Unigenite” and “Filius Patris” are

brought together in RM2 as “only son of the Father.” RM3 and the Spanish translation

more accurately reflect the Latin text, as they represent both Latin clauses with similar

meaning in both lines. Linguists might argue that “Begotten” shows more proverbial

elevation than the Spanish representation, but both versions suffice in precision.

Threefold prayer lies at the center of lines 13-18. Following a similar structure to

the Kyrie and the Agnus Dei, the Gloria follows an identical formula of supplication to

the Lamb of God. RM2 misrepresents the formula completely, foregoing the opportunity

to textually and contextually connect to other elements of the Mass Ordinary in the name

of brevity. RM3 and the Spanish follow the tertian scheme, though “qui” in Latin refers

to “who,” as if to refer back to the “Domine Fili Unigenite” to give Him absolute credit

18
for his mercies. The Spanish representation accomplishes this best, with its “tú que

quitas,” or “you who take away.”

Clearly the RM2 version of the Gloria needed serious revision. The new

translation much more accurately represents the Latin texts, and lays a more firm

foundation for establishing and strengthening cross-cultural connections between

Hispanic and Anglophone congregations and music ministries.

2.3 SANCTUS:

Latin RM2 English

1. Sanctus, Sanctus, Sanctus Holy, Holy, Holy
2. Dominus Deus Sabaoth Lord God of power and might.

Figure 2.2a: Sanctus, first lines (Latin and RM2)

RM3 English Spanish

1. Holy, Holy, Holy, Santo, Santo, Santo
2. Lord God of Hosts. es el Señor, Dios del Universo

Figure 2.2b: Sanctus, first lines (RM3 and Spanish)

In comparison with the Gloria, changes in the Sanctus are miniscule, but still

necessitate revision for any Mass settings originally inspired by RM2. An examination of

the word Sabaoth reveals that its background lies in Hebrew and not Latin. It refers to the

hosts which, “according to some scholars represent, at least primitively, the armies of

Israel over whom Jehovah exercised a protecting influence. Others opine that the word

refers to the hosts of heaven, the angels, and by metaphor to the stars and entire

19
universe.”33 One can see how RM3 much more closely represents the word’s meaning

than RM2. Though the Spanish puts a slightly different slant on the definition as “God of

the Universe” still honors the context implicit in the word’s definition.

2.4 MEMORIAL ACCLAMATIONS:

The formula for the Memorial Acclamations has changed in the Latin Missale

Romanum, Editio tertia typica. After the priest said, “Let us proclaim the Mystery of

Faith,” the people would respond with one of four options as decided upon and incited by

the priest. The current prescription is for the priest simply to say “The Mystery of Faith”

(also more in keeping with the Latin “Mysterium Fidei”) followed by one of three options

similar to the previous four, but certainly not identical. RM2 (Latin) was different from

RM3. A comparative analysis of RM2 English is therefore immaterial for the purpose of

this study.

In this case, the new English translation generally reflects the Latin more

effectively than the Spanish. In the case of Form A, line 3, the Spanish text “Come, Lord

Jesus” functions as an imperative statement, while the English simply follows the Latin’s

declamatory nature. The text in Form B, line 3 more accurately renders the Latin.

Latin RM3 English Spanish

1. Mortem tuam We proclaim your death, Anunciamos tu muerte,
annuntiamus, Domine, O Lord,
2. et tuam resurrectionem and profess your proclamamos tu
confitemur, resurrection, resurrección.

3. donec venias. until you come again. ¡Ven Señor, Jesús!

Figure 2.3: Memorial Acclamation Form A

                                                                                                               
33
James F. Driscoll, "Sabaoth." The Catholic Encyclopedia. Vol. 13. New York: Robert Appleton
Company, 1912. http://www.newadvent.org/cathen/13286a.htm (accessed August 1, 2012)

20
 Latin RM3 English Spanish
1. Quotiescumque When we eat this Bread Cada vez que comemos de
manducamus panem este pan
hunc
2. et calicem bibimus, and drink the Cup y bebemos de este cáliz
3. mortem tuam we proclaim your Death, anunciamos tu muerte,
annuntiamus, domine, O Lord, Señor

4. donec venias. until you come again. hasta que vuelvas.

Figure 2.4: Memorial Acclamation Form B

Latin RM3 English Spanish

1. Salvator mundi, salva
nos,
2. qui per crucem et
resurrectionem tuam
3. liberasti nos.
Save us, Savior of the
world,
for by your cross and Por tu cruz y resurrección,
resurrection
you have set us free. nos has salvado, Señor.

Figure 2.5: Memorial Acclamation Form C

The apparent omission of line 1 in Form C can be deceiving. Unlike the Latin and

the English, each Spanish Memorial Acclamation is preceded by a distinct invocation, in

the case of Form C, “Cristo se entregó por nosotros” or “Christ gave himself up for us.”

Though not an exact translation of the Latin, it certainly provides insight into the

otherwise missing text. In spoken or sung Masses, the Spanish case proves advantageous

as it informs the form of acclamation to follow the invocation. Form A’s invocation is the

most similar to the English, and Form B translates to “Let us proclaim the mystery of

redemption.” Identical invocations in Latin and English for each of the three forms

actually requires proper collaboration between priests and music ministers during sung

21
Masses, and the priest simply begins the desired acclamation in a spoken Mass.

Kyrie and Agnus Dei texts undergo no changes with the new English translation,

but troping in either movement can create distinctions between individual Mass settings.

With the Credo frequently left unset by composers, the most significant modifications

with regard to music take place in the Gloria and the Eucharistic Acclamations. While

some composers have revised their older works to coincide with the 2010 revised Order

of Mass, many have seized upon the opportunity to add to the repertoire with music

designed specifically to serve the new text.

The following chapters contain analyses of four Mass settings that exhibit the

cultural and stylistic diversity of the larger body of new music for the liturgy. These four

works are representative of the artistic and creative zeal in the very best works in this new

body of repertoire, and they demonstrate some of the possibilities for musical adaptation

for the new liturgy. They are also among the selections establishing the editorial

benchmark for the greater body of works. While every setting leaves some room for

creative embellishment and interpretation from performers (and some a great deal more

than others), these settings will yield acceptable performances with the content on their

pages. More importantly, director’s resources for these settings leave few large technical

questions unanswered, preventing the need to purchase instrumental parts, choral parts

and accompaniment parts separately in an attempt to predict the results prior to the first

rehearsal.

22
 CHAPTER 3

ANALYSIS: MASS OF RENEWAL

WILLIAM GOKELMAN AND DAVID KAUFFMAN
ORGAN SCORE BY LENA GOKELMAN
©2010 GFTSMUSIC PUBLISHING COMPANY
WWW.MASSOFRENEWAL.COM

At the National Association of Pastoral Musicians (NPM) conference in 2010,

Gokelman and Kauffman’s Messa Rinnovare / Mass of Renewal was awarded first place

in the competition for new Mass settings to correspond to the new text translations in the

Roman Catholic church. More than 150 entries were submitted and a panel of five judges

selected four finalists to be rated by more than 2,000 convention participants.34

3.1 THE COMPOSERS:

William Gokelman is a Professor of Music, and the Chair of the Music

Department at the University of the Incarnate Word, San Antonio, where he directs the

Cardinal Chorale and Madrigal Choir, and teaches piano, vocal coaching, conducting,

and music appreciation. For eight years, Gokelman was a keyboard artist with the San

Antonio Symphony, and often performed chamber music concerts with members of the

orchestra. Gokelman served on staff at St. Mark the Evangelist Catholic Church for seven

years, where he directed the Chancel Choir and served as a cantor and pianist/organist.

                                                                                                               
34
www.massofrenewal.com (accessed July 6, 2012)

23
Gokelman holds a Bachelor of Music degree in piano performance from Incarnate Word

College, and a Master of Music degree in vocal coaching and accompanying from

Westminster Choir College in Princeton.35

David Kauffman is the founder of Good For The Soul Music™, a San Antonio-

based musical content creator and publisher specializing in Christian recorded music and

sheet music. Kauffman earned a BBA degree in finance from St. Mary’s University in

San Antonio in 1982, after which he launched a successful career in banking and real

estate. Despite his career’s success, Kauffman turned away from business and pursued

Christian music production in 1987 as a songwriter and performer. His achievements

include a performance at World Youth Day in Paris, France in 1997.36

3.2 VOICE TESSITURA:

Cantor: Assembly: Soprano: Alto: Tenor: Bass:

Figure 3.1: Mass of Renewal Voice Tessitura

3.3 OVERVIEW:

Remarkably versatile, the Mass of Renewal is presentable with a variety of

instrumental support formats. The full orchestra score is clean and well edited, with

enough detail for conductors to successfully study, understand, and ultimately

communicate all musical nuances to the orchestra, chorus, and cantor. The orchestral

version is scored for flute, oboe, two trumpets, two trombones, timpani (two drums), bass

guitar, piano and organ, strings (without divisi), and SATB chorus with cantor. The
                                                                                                               
35
http://www.uiw.edu/music/gokelman.html (accessed July 6, 2012)
36
http://massofrenewal.businesscatalyst.com/_blog/News/post/Gokelman_and_Kauffman_Collaborate_on_
Award-Winning_New_Catholic_Mass/ (accessed July 7, 2012)

24
orchestral score also includes chords for guitar, and suggested organ registrations. The

Mass is written in D-major, though it has some movements in D-minor with a few brief

tonicizations to neighboring keys. No advanced instrumental techniques are required to

successfully play the orchestral parts. Volunteer players from a good high school

instrumental program or civic orchestra should be able to play their respective parts with

relative success. A strong prevalence of unison writing between the first and second

violins may also allow directors to successfully perform the music with fewer violinists

than might be used for more traditional orchestral undertakings.

Although the Mass is scored for full orchestra, the composers have taken great

care to assure the music’s integrity with significantly smaller forces. Choral singing

dominates the majority of the piece, but its melodic qualities permit performance with a

single voice and either organ, piano, or guitar. The music can be supplemented with

strings, winds, or brass and timpani with relative ease. Occasionally, at the Mass

celebrated at the University of the Incarnate Word, where Lena Gokelman is organist, the

Mass of Renewal is performed with organ and brass only. David Kauffman says this

adaptation is “very regal.”37 With the ongoing proliferation of contemporary styles in

worship, including rock, Kauffman says that contemporary bands are free to include

drums in their performances of the music, despite a lack of scoring for trap set in any

resource.38 Performance with just flute, oboe, trumpet, and violin or any combination

thereof is plausible. Other instrumental combinations will require careful consideration

from prospective directors.

                                                                                                               
37
Phone conversation with David Kauffman, July 10, 2012.
38
Ibid.

25
 The orchestral score also includes a note suggesting that if the organ and piano

parts are “played together, slight note alterations may be desired, and are left up to the

performer’s discretion, as long as the fundamental harmonic character of the piece is

respected.”39 Although the wealth of available orchestral support may suggest otherwise,

the Mass cannot be performed in its entirety without support from a keyboard instrument

as evidenced by several sections in which the keyboard carries the harmonic

underpinning without or with minimal support from other instruments.

The bass guitar and double bass parts are not identical. If a director needed to

choose between the two, one might consider the electric bass, as the part-writing is more

prominent through the piece. Additionally, the through-composed bass guitar part seems

to coincide with the sections of the piano part that contain chords, fortifying the implicit

relationship between the bass and guitar. The double bass part in most cases appears to

function as the lower support for the string section in general.

3.4 MOVEMENTS AND PERFORMANCE TIMES:

Cleanse and Refresh (with three verses) 3:56

Kyrie 1:24

Gloria (with responsorial repeats) 2:24

Alleluia (with one verse) 1:03

Lenten Gospel Acclamation (with one 1:08

verse)

Sanctus 0:54

                                                                                                               
39
William Gokelman and David Kauffman, Mass of Renewal, orchestral score, San Antonio, GFTSMusic
Publishing Company, 2010, table of contents.

26
Mystery of Faith 0:51 (each)

Amen 0:45

Agnus Dei 1:33

Figure 3.2: Mass of Renewal performance times by movement

3.5 ANALYSIS:

Scored for flute, oboe, bass guitar, piano and/or organ, strings, and SATB chorus,

“Cleanse and Refresh,” music for the Sprinkling Rite, features original lyrics reminiscent

of biblical texts invoking appropriate aquatic themes. Presented in strophic form at a

slow, flowing tempo, the refrain is written in four parts. The three verses are written in

unison, and could be sung either by cantor, section, or full choir. Specific vocal

performance instructions are not provided in the verses.

A detail not exclusive to this movement, the first and second violins play in

unison throughout. Though the double bass plays in the introduction, the double bass is

tacet while the bass guitar plays through the entire verse. The violins play from the

beginning of the verses while the rest of the strings enter in descending parts as the verse

progresses. The bass guitar and cello parts are not identical, but there is parity between

the parts creating a relationship that fortifies the lower sound spectrum without obscuring

either part.

Tonic and subdominant chords open the movement, but the IV chord uses C-

sharp, functioning as #4 in G. The C-sharp on the G chord occurring in the first measure

of the keyboard part is supported by the viola in the second measure, and the inner choral

voices in mm. 3 and 4. Each occurrence of the C-sharp followed by a descent to B

27
functions as a suspension. The C-sharps in the keyboard and flute that occur during G

chords technically function as leading tones because they ascend to the tonic D.

However, their sound is still reminiscent of the same Lydian suspensions present in their

descending counterparts.

Presented in D minor, the “Kyrie” uses the same responsorial structure used in the

spoken Penitential Rite. The English text for the invocations or tropes is not symmetrical

or poetic in nature. Therefore, the text does not facilitate the construction of symmetrical

musical phrases. Gokelman and Kauffman use 2/4 measures against the prevailing

common time to create temporal tension between the invocations and each utterance of

the Kyrie, given in all three instances both in English and traditional Greek.

In the first invocation or trope, Gokelman and Kauffman have chosen to

emphasize the first syllable of the word ‘contrite’. There is argument in authoritative

sources on the accurate pronunciation of the word (and hence, the best way to set it in a

musical phrase), mostly because of the subtle differences between American and English

pronunciation. Most English language resources place the emphasis on the first syllable.40

Both dictionary.com and Oxford English Dictionary offer both pronunciations as

possibilities.41 An antiquated English language resource provides some assistance in the

correct pronunciation of the word ‘contrite’, saying that ‘contriteness’ and ‘contrition’

both have the middle syllable accentuated, leading one to think that the syllable ‘-trite’

                                                                                                               
40
Contrite, 2012, In Merriam-Webster.com,retrieved July 9, 2012, from http://www.merriam-
webster.com/dictionary/contrite
41
Contrite, 2008, Oxford English Dictionary, retrieved July 9, 2012, from
http://www.wordreference.com/definition/contrite

28
should be accentuated in its short form.42 This presumption is incorrect by most

authorities. Since the vast majority of the new translation has tended toward a formality

of language that favors The Queen’s English, this setting of the word seems appropriate.

The winds, brass, bass guitar and percussion are all omitted from this movement,

leaving it for cantor, choir, keyboard and strings. As in other moments, the bass guitar

could play simply by following the guitar chords. Additionally, the part specified for

cantor could also be sung by the priest or deacon.43

The Kyrie also ends on a V chord, A major. Approached by a root position

Neapolitan chord, the ensuing half cadence to end the piece seems to lead either to the

conclusion of the Penitential Rite (May almighty God have mercy on us…) or straight

into the Gloria, depending on whether the Confiteor is used. In either case, the seemingly

suspended conclusion implies a forward motion to the proceeding moment in the Mass.

In compound duple meter, the “Gloria” begins with an intonation a cappella.

Although Gokelman and Kauffman specify the intonation for cantor, the celebrant may

also sing the intonation. The composers have structured the intonation to be identical to

the refrain, for which they offer two musical options, a responsorial format, or a through-

                                                                                                               
42
Contrite, A Critical Pronouncing Dictionary and Expositor of the English Language, John Walker,
London, Thomas Tegg et al, 1823. Retrieved July 9, 2012,
http://books.google.com/books?id=9OsIAAAAQAAJ&pg=PA136&lpg=PA136&dq=contrite+syllable+em
phasis&source=bl&ots=QRSkKR-
DcQ&sig=z5OIJ1PCAtWZmI8t6FibD55GDZU&hl=en&sa=X&ei=poX7T9j_BIfq9ASnxLHkBg&ved=0C
EcQ6AEwAA#v=onepage&q=contrite%20syllable%20emphasis&f=false
43
“The Deacon At Mass,” The New Roman Missal: A Resource Guide for the Roman Catholic Diocese of
Providence, retrieved July 9, 2012, http://www.riliturgy.com/for-deacons/deacons-liturgy-guide/ citing the
General Instruction of the Roman Missal (GIRM, 2003, pg. 51) states the following as justification for
leadership by cantor, choir, or deacon. “After the Act of Penitence, the Kyrie is always begun, unless it has
already been included as part of the Act of Penitence (this follows form A & B and does not follow form
C). Since it is a chant by which the faithful acclaim the Lord and implore his mercy, it is ordinarily done by
all, that is, by the people and with the choir or cantor having a part in it. It may by introduced by the
Deacon.” In the absence of a choir, cantor or deacon, the priest would perform this segment of the Mass on
his own.

29
composed option. For churches that encourage congregational participation in singing as

often as possible, the responsorial format is encouraged. The through-composed option

shortens the music by about thirty seconds. Presented in traditional format, the

responsorial version includes responses between the clauses exalting God the Father, God

the Son, and God the Holy Spirit. The through-composed format recapitulates the

opening theme at the end.

Scored for full orchestra, the first and second violins play together in unison for

all except 24 measures. The flute also plays in unison (up the octave) with the melody

through the beginning of the piece, but as the music progresses, the flute becomes slightly

more independent, interjecting more counter-melodic content. The strings provide

harmonic support throughout the movement, but the lack of any significant flourishes

keeps attention directed toward the voices and brass.

In m. 39, the harmonic language becomes significantly more challenging.

Measure 38 features a typical dominant chord as the closing moment to a textual and

musical phrase. The transition descending by a harmonic third into an F major chord at

m. 39 is unexpected, but the repetition of the same harmonic motion four measures later

where the text repeats in the men’s voices is certainly suitable. At m. 47, another

harmonic descending third takes place moving from a G major chord to an E-flat major

chord. In both cases, the chord preceding the descending third functions as the dominant.

Appropriately, then, the short phrase in mm. 47-52 finally moves to A major as the

dominant chord, leading back into an authentic cadence and setting another responsorial

recapitulation at m. 53.

30
 These harmonic changes might also challenge some church choirs. Several

occurrences of D minor and F major result in the choir singing F-naturals instead of F-

sharps. The complications continue at m. 41 as the harmonies center around E-flat. The

outlined C minor triad in m. 44 in the basses could be problematic, especially as the

harmonic content begins to shift back toward D major. Additionally, the tenors might be

tempted to sing E-flat instead of D in m. 42, which functions as the major seventh of the

chord in that moment.

The rest of the movement transpires with relative harmonic ease. The optional

descant accompanied by fuller writing in the brass with slightly higher notes in the first

trumpet, bring the piece to a climax as it closes. The first trumpet (in B-flat) closes with a

high B natural, but the composer offers an ossia option for it to end on E instead. Surely,

the ritardando leading into the final chord with a fermata, timpani roll on D, and all parts

playing fortissimo provide a pleasant and rousing ending to the movement.

Also in compound duple meter, the “Alleluia” reutilizes the same opening

thematic material as the Gloria. Although the orchestra builds to full force through the

introduction, the brass opens followed by the winds and strings, Gokelman and Kauffman

wisely indicate that the brass are to remain tacet through the first time while the cantor

intones the melody. The limited vocal range expected on the part of the assembly is

equally conscientious, encouraging confident congregational participation. Only one

violin part is written for this movement.

The offered verses, quite simple in their melodic structure, lack any demand for

vocal virtuosity. While this eases the vocal energy required to sing the notes themselves,

some might say that the low tessitura diminishes the relative liturgical height of the

31
Gospel Acclamation. On the other hand, one might argue that easy music done well is

more liturgically appropriate and spiritually satisfying than difficult music done poorly.

In any case, this Mass setting offers eight independently composed textual options for the

verse. All are through-composed, allowing for the rhythmic energy to flow completely

through the movement without interruption. The brass and choir return for the concluding

“Alleluia” after the verse, featuring a tenor and soprano countermelody constructed

similarly to a descant. One should be prepared to handle one of the few soprano divisi in

the piece, located at the movement’s conclusion, which ends on a half-cadence in similar

fashion to the “Kyrie”.

The “Lenten Gospel Acclamation” features an appropriately more subtle and

introspective structure than the Alleluia. In D minor, the oboe introduces the movement;

cue notes are written in the piano and organ parts in the event that the Mass is performed

without winds. The cello joins the introduction in m. 2. Beyond the oboe and cello, no

further orchestral instruments participate in the movement. Although no indication is

made, it could be suggested to have the melody sung the first time through, and then have

the choir sing the acclamation in parts at the repeat.

The seven verses for this movement are constructed to serve each of the seven

weeks of the Lenten season. Constructed in chant tone, but similar to a recitative, the

piano or organ provide the harmonic underpinning while an unspecified voice delivers

the text. The recitative briefly visits the Neapolitan chord before continuing to the

dominant and returning to compound duple meter. The oboe and cello briefly prepare the

return to the recapitulation.

32
 Constructed in chant form with great simplicity, the “Prayer of the Faithful”

provides the singer with a single reciting note and cadence, for which the keyboard

provides a first inversion D major chord with an added second, followed by a G major

chord with an added second. Each prayer concludes with a transition to simple duple

meter, for which the choir is provided with a four-part response. Some churches may

wish to introduce the response prior to the first prayer.

Full strings, brass and winds return to participate in the “Sanctus,” whose opening

motive is identical to the “Alleluia.” Moreover, and also similar to the “Alleluia,” the

soprano and tenor voices echo the alto and bass voices at the beginning. The echoing

continues until m. 8, at which point the choir sings ‘full of your glory,’ followed by an

exuberant ‘Hosanna’ joined by the brass and timpani.

The ‘Hosanna’ ventures into a slightly more adventurous harmonic realm.

Progressing from a half-cadence into F major, G major and A major, and then to D

minor, before proceeding conventionally through predominant, dominant, and finally to

D major, mm. 11-15 pose potential hazards for every choral section, and should be

carefully rehearsed. These five measures contain two C-sharps and two C-naturals in

alternation for the tenors, and a myriad of F-naturals in the other voices. This content is

repeated twice at the final ‘Hosannas’ at mm. 20-28.

Figure 3.3. Mass of Renewal “Sanctus” mm. 11-15 (reduced choral parts).

33
 One should not overlook the subtle differences between the conclusion of the

“Alleluia” and the “Sanctus.” Both movements contain similar melodic content

throughout, including a soprano divisi in the final chord. Both movements also end with a

half-cadence. However, noteworthy instrumental differences should draw directors’

attention. In comparison with the “Alleluia,” Gokelman and Kauffman slightly raise the

tessitura of the winds, brass and strings at the “Sanctus’” conclusion. Additionally, the

brass conclude the “Alleluia” with legato playing, but the accents marked in the

“Sanctus” might imply a greater separation between the notes, heightening overall

musical intensity.

Brass instruments do not participate in the “Mystery of Faith.” After a brief

intonation for the presider marked colla voce for the keyboards, all three textual versions

are contained in the same score, allowing transitions between options to not require

additional instrumental rehearsal. Furthermore, the melody is presented by the choir in

unison first, and then repeated in four parts, allowing the congregation to hear the full

melody and join with the choir the second time. The orchestral writing thickens

substantially when the choir divides into four parts, thereby necessitating through-

composition for the orchestra instead of repeats. The movement concludes with an

authentic cadence in D major.

A starting pitch for the priest begins the “Amen,” though an option to begin at m.

6 exists for parishes with priests who choose another form for chanting the Eucharistic

Doxology. Simple but appropriate harmonic underscoring in the piano or organ

embellishes the very accessible chant provided by Gokelman and Kauffman. The music

34
enters compound duple meter as the priest concludes the Doxology with ‘all glory and

honor….’

Reminiscent of the ‘Hosannas’ in the “Sanctus,” the ‘Amen’ response to the

Doxology is also in D major but contains similar harmonic language, causing analogous

potential problems especially for the tenor section. With the ‘Amen’ response beginning

in ms. 8, the tenors alternate between using C-natural and C-sharp in every second

measure proceeding to the end. Conversely, the full orchestra rejoins the accompaniment,

in which the first and second violins only play in unison for a single measure out of the

ten in which they participate. Directors may wish to note that no orchestra instrument

doubles the melody, so fortissimos will need to be controlled to protect choral

prominence in the balance.

Gokelman and Kauffman make an intriguing temporal choice in setting the

“Agnus Dei.” While the movement takes place predominantly in common time, the

introduction, and each phrase begin with a measure of two and a measure of three. Set to

the words ‘Lamb of God,’ the timing seems to add space prior to the next textual clause.

Though the rest of the movement continues in simple meter, the composers use long

notes and rests to create similar space between the remaining textual portions in the

movement.

Condensed into a single line, the first and second violins never divide in the

“Agnus Dei.” The oboe leads the introduction with underscoring from the keyboards and

an entrance in ms. 3 by the string family. The oboe doubles the melody in concert with

choral sections, with occasional support from the violin and flute. Each occurrence of the

words ‘Lamb of God’ is marked for cantor, but the choir could also sing this portion

35
together in unison. Scored without brass, the piece and each main phrase begin with

submediant chords, but the movement overall is in D major and concludes with an

authentic cadence.

3.6 SPECIAL NOTES:

The preview CD is actually performed a full step higher than written. Although

the piece in E is vocally brighter than in D, and the voicings in the guitar (which plays in

the CD) are open to greater possibilities in this key, playing with orchestra in this key

would require transposed parts, or players capable of transposition at sight.

3.7 PRODUCTS:

• Piano-Organ-Choral-Guitar Accompaniment Book (includes separate sections for

Piano/Choral, Organ/Choral, and Guitar/Choral scores)

• SATB Choral Book

• Assembly Booklet

• Cantor Book

• Contemporary-Youth Edition (SATB parts removed)

• Full Orchestra Score (comes with extracted parts)

• CD

• Settings to support the Mass in Spanish are prepared but awaiting final approval of

the updated translation from the USCCB before being released for sale.

36
 CHAPTER 4

ANALYSIS: MASS FOR A SERVANT CHURCH

MICHEL GUIMONT
©2010 GIA PUBLICATIONS, INC.
WWW.GIAMUSIC.COM

4.1 The composer:

Native to Quebec, Michel Guimont (b. 1950) is the director of music at the Notre-

Dame Cathedral Basilica in Ottawa as well as a resource musician for the Roman

Catholic diocese of Montreal.44 After graduating from Concordia University with a

degree in Psychology, he continued his education with a Bachelor’s degree in music and

then a Master's degree in music composition, both from the University of Montreal. He

has also taken courses in choral and orchestral conducting at Westminster Choir

College.45 Important national recognition was given to him in 1992 when he was the co-

music editor of the Missal released by the Conference of Canadian Catholic Bishops in

Ottawa.

Guimont has been Director of Music at St. John de Brébeuf Parish and was later

Director of Music and Organist at St. Augustine of Canterbury, both in Montreal. Since

1991, he has been the Director of Music at Notre-Dame Basilica in Ottawa, where he has

developed the music program from a single choir to the present five choirs. His music

                                                                                                               
44
“Michel Guimont, ” GIA Website, http://www.giamusic.com/bios/michel-guimont (accessed July 25,
2012)
45
University of Ottawa Biographies, http://www.uottawachoir.ca/E-Bios.php (accessed July 25, 2012)

37
program is arguably one of the best Cathedral choirs in Canada.46 He has served as

director of the University of Ottawa Choir since September 2010. A specialist in bilingual

French and English composition and music production, Guimont has also released two

complete Psalm collections under GIA.47

4.2 Voice Tessitura:

Presider: Assembly: Soprano: Alto: Tenor: Bass:

Figure 4.1: Mass for a Servant Church Voice Tessitura

4.3 Overview:

A hybrid setting, Michel Guimont’s Mass for a Servant Church will satisfy

conservative parishes that appreciate post-Vatican II musical and liturgical developments.

Though lively and rhythmic in nature, its exacting representation of the texts sets the

setting apart from more contemporary stylized settings, and its heavy reliance on choir,

organ and brass gives Guimont’s Mass a more traditionalist essence in keeping with

current trends in church hierarchy and politics. The alternate third verse in the “Glory to

God” facilitates programming for cantored Mass without choir.

Guimont’s Mass for a Servant Church is the only Mass in these analyses not

featuring any series of Gospel Acclamations. It also stands apart in that it sets form B of

the Penitential Rite to music (identified in the music as Form 1).48 The most concise of all

the settings, text repetition is rarely used to serve the music. There is a threefold “Amen”

                                                                                                               
46
Ibid.
47
Michel Guimont, Lectionary Psalms, GIA, 1998.
48
Form A is also known as the Confiteor, and form C is the oft-set troped Kyrie.

38
following the priest’s “Doxology.” Despite its strophic and responsorial construction, a

few textual repetitions in the “Gloria” (which offers a version without repetitions) serve

as the only textual departures from the Mass Ordinary. Therefore, musical phrases are

often asymmetrical and frequently employ mixed meters. In the centuries-old battle

between text and music, the text reigns victorious in the Mass of a Servant Church, but

the music plays a strong, valuable, and worthily representative supporting role.

Scored for two trumpets (in C), two trombones, timpani (two drums), keyboard

and SATB choir, every movement except the “Lamb of God” is in the key of D, though

plenty of tonicizations and harmonic explorations exist throughout the work. The

preeminent harmonic device used throughout the work is modal mixture. The

promotional audio and the style overall suggest the organ as the best accompanying

keyboard instrument for all movements. Organists will need to decide how best to

register their instrument, as the publisher does not provide supporting materials.

The second trombone player will require an F trigger to be able to play the part’s

full range.49 Though playable with two drums, Guimont scores several tuning changes in

the timpani without allowing time for players to tune. With the lowest composed note as

F2, and the highest as D, directors will want to make certain that the largest of the two

drums is at least 29 inches in diameter, and that it is tuned to reach F2 prior to beginning

rehearsal. Timpani with tuning gauges will certainly improve a timpanist’s performance,

but directors should not be surprised if they hear portamentos or imprecise tuning,

especially in the Sanctus.

Guimont’s setting is arguably an artistic highpoint among the new musical

resources for the liturgy. Its central dependence on modality and its transcendence
                                                                                                               
49
The lowest note in the trombone part is D2.

39
beyond major and minor key centers sets the movement at a compositional zenith.

Moreover, the composer’s nearly unfaltering commitment to stepwise bass stretches for

measures on end with very few interruptions. Though stepwise motion simplifies organ

pedaling, one is led to wonder if the bass lines informed the melodies’ conception, or if

the harmonies were conceived to support both entities. Perhaps this is a divinely inspired

compositional work where the composer is simply unaware of any possible correlations.

4.4 MOVEMENTS AND PERFORMANCE TIMES:

Penitential Act Kyrie: 0:45

Form 1: 0:29
Form 2: 0:51

Gloria 3:16

Sanctus 0:52

Mystery of Faith 0:23 (each)

Doxology/Amen 0:29

Lamb of God 0:48

Figure 4.2: Mass for a Servant Church performance times by movement

4.5 ANALYSIS:

Guimont immediately begins exploring harmonic relationships between B minor

and D major, ending the first two short phrases with both chords respectively, though an

identical melody exists in both. Each call and response pair of phrases features identical

melodies, but different harmonizations in each phrase. Secondary functions present

themselves in mm. 6-8. The G-sharps in mm. 6-7 function differently from the G-sharp in

40
Figure 4.3: Mass for a Servant Church “Kyrie” mm. 6-9 (accompaniment).

m. 8, with the first two G-sharps resolving upward to A-natural following Dorian modal

conventions, but the third (in m. 8) moves from G-sharp in the bass to A-sharp in the

tenor, outlining the B melodic minor scale. Ironically, m. 9 resolves the melodic minor

motion deceptively by going to an inverted G major seventh chord.

A tuning note might be necessary for the cantor/presider prior to beginning the

“Kyrie,” or the organist might play the first two measures alone as a smooth introduction.

The tenors should carefully treat the A-sharp in m. 8, and the C-natural in m. 12 may

catch the basses and altos by surprise. Trumpeters will need to play delicately in order to

match the delicate texture. Organists may wish to prepare the cantor/presider measures

for choir manual only, and thicken the registration for the choral responses. Directors

may also wish to listen to the promotional audio and consider singers’ needs when

assessing whether to add pauses between textual clauses. Fermatas and cessuras are not

written into the score.

Devoid of four-part choral writing, “Penitential Act: Form 1” sets music to pp.

516-517 of the new Roman Missal. It should be noted that, although the familiar “Lord,

Have Mercy” text is not used, the ending of Guimont’s “Form 1” should proceed directly

to the absolution, in accordance with the Missal’s instructions. The music forms a

41
satisfying harmonic contour, as the piece begins and ends in D minor, with an F major

chord concluding the first cadence.

More liturgically familiar and chorally integral, Guimont’s “Penitential Act: Form

2” sets music to the troped Kyrie. With the cantor/presider’s parts set in free rhythm with

keyboard providing simple harmonic underscoring, other invocations could easily be

substituted for those written in the score. Similar harmonic challenges exist here as in the

“Kyrie,” with melodic and harmonic fluctuations between G-natural and G-sharp. The

movement ends with the tenors on D-sharp, providing the third of a deceptive B major

chord.

Parishes averse to Greek or Latin should consider using “Penitential Act: Form

2,” instead of the “Kyrie” which can be adapted for use without the tropes. The slightly

increased prevalence of major sonorities gives “Form 2” a gentler tone than “Form 1.”

Priests encouraged to sing the “Absolution” will find a smoother musical transition from

the other sung penitential movements to the “Glory to God,” since neither “Form 1” nor

“Form 2” end with D major chords.

With its rousing brass introduction, the “Glory to God” continues to set a High-

Church tone for the Mass of a Servant Church. One should not deride the lack of four-

part choral writing in the setting’s refrain, as a unison choir with descant is much more

suitable for creating balance against the full contingent of brass and timpani. The choral

writing becomes much more intricate as the movement progresses.

Though scored with two sharps in the key signature, Guimont’s constant use of C-

natural F-natural continue his use of modal mixture from the Penitential Acts.

Widespread chromaticism and modality do not impede a universally consumable

42
harmonic flow. Shifts between Mixolydian and Dorian modes keep the music reminiscent

of ancient sacred musical traditions. Very few C-sharps exist in the score at all; most of

the leading tones remain limited to verse 1 and to dominant chords preceding the refrain.

Verse 1 features the first moment in which Ionian mode fully encompasses the

melody. C-sharps in the accompaniment confirm the Ionian as the preeminent mode in

mm. 15-28, but frequent chromatic shifts interrupt the Ionian modal structure. B-flat

major seventh and C minor seventh chords confirm a brief visit to Phrygian mode in m.

19. The D major chord in m. 20 quickly relieves harmonic tension in m. 19. Other brief

modal visitations in the first verse include Mixolydian (m. 23) and Lydian (m. 27). Altos

will need to strive to create high G-sharps in m. 27, and low G-naturals in m. 28 to make

the most of Guimont’s modal mixture.

A key signature change at verse 2 indicates a rather significant modal shift.

Beginning in Aeolian mode at m. 29, the E-flat in m. 31 elicits a brief shift to the

Phrygian mode, a shift that is almost immediately reversed by the E-natural in the

ensuing measure. Once again, the alto voices receive the challenge to maximize the

modal shifts in mm. 31 and 32. It may also serve to note that the same harmonic

construction exists in mm. 45-46, and in both cases the E-flat tends downward toward a

subsequent D. However, the argument that the E-flat functions as a 4-3 descending

tendency tone may only be partially true. The E-flat in m. 31 resolves to the third of a B-

Figure 4.4: Mass for a Servant Church “Gloria” mm. 31-32, 45-46 (accompaniment).

43
flat major seventh chord. In m. 45, the E-flat resolves to the fifth of a G minor seventh

chord. Moreover, the F in the tenors in m. 46 moves down to E-natural, simulating a 4-3

suspension. C may be absent from the first chord in m. 46:1, but it clearly contains

dominant tendencies toward the first inversion F chord in m. 46:3.50

Only slight fluctuations exist between the organ and the choir in mm. 29-35.

Written for manuals only, speculation that Guimont’s intentions may have been for this

section to be performed a cappella is plausible. Note in the lower position in the right

hand in mm. 29-30 may suggest that an alto divisi may have been sought. Similarly, the

bass voice and the low position in the left hand in m. 35 only slightly deviate from one

another. The section can be performed a cappella and remain true to the overall texture’s

harmonic implications, but perhaps these small embellishments in the organ justify an

accomagnato structure allowing the choir to sing without a potentially difficult divisi.

As the choir moves into unison singing in m. 36, a stronger tendency toward F as

the harmonic gravitational center suggests a relative tonal shift from D minor (Aeolian)

to F major (Ionian) in mm. 36-39. The only E-natural to F-natural in these measures

occur in interior voices in the right hand’s lower position as a result of four consecutive

parallel fifths in mm. 37-39. However, the harmonies in mm. 36 and 37 (IV, I6, ii7, I6)

provide a strong harmonic foundation without using a leading tone.

Following an optional brass interlude identical to the introduction, and a third

repeat of the refrain, verse 3 has two rather musically diverse options: one for choir and

one for cantor. The choral option contains a much higher vocal tessitura and

comparatively independent and rhythmically ornate brass writing. Though mode mixture
                                                                                                               
50
See Figure 4.4.

44
remains prevalent in the choral third verse, Guimont isolates Ionian and Aeolian gestures

to simulate parallel key relationships as they suit the melody. The single exception lies in

m. 57, where the accompaniment simultaneously plays F-natural and B-natural. The

promotional audio has too much reverb to determine whether the B-natural is played.

Considerations including its highly disruptive dissonance, its momentary Dorian

implication, heavy doubling in the brass and choir, and the chord’s otherwise firm

voicing as first inversion F major, raises suspicion to its possible erroneousness.

Modal shifting continues through the coda, where F-natural and C-natural in the

penultimate and antepenultimate measures may suggest Dorian implications. However,

F-sharps in mm. 10-11 and 14, as well as a startlingly dissonant F-sharp in m. 12 also

insinuate Mixolydian modality. Remarkably free of leading tones in the coda, the

movement ends on a delightfully satisfying D major chord.

Figure 4.5. Mass for a Servant Church “Gloria” mm. 11-14.

The pulse implicit in Guimont’s 2/2 and 3/2 time signatures does not necessarily

mandate half-note icti from conductors. Providing the quarter note pulse will assure a

45
more pointed sound from the brass and elicit a more buoyant sound from the choir. It

may prove useful to conduct half-notes in the first two verses, where the absence of brass

and increased melodic lyricism in the voices would be improved by a longer, more

flowing gesture.

Following a similar modal and compositional formula to the Gloria, the “Holy,

Holy, Holy” begins with a four-measure brass introduction with similar stepwise melodic

and harmonic features. Modal shift points coincide with textual phrases. Intervals remain

true to the key signature in the beginning, signaling Ionian mode in mm. 1-7. The phrase

ending in m. 10 on A major clearly implies a half cadence, but the harmonic material in

Figure 4.6. Mass for a Servant Church “Holy, Holy, Holy” mm. 8-12.

the previous two measures can be misleading. Although the melody features a D-natural

in m. 8:4 and m. 9, the harmonic D-sharp in the alto in m. 8:2 points to an entirely

different modal idea. Perhaps Guimont wants to give the F-sharp minor chord in m. 8 a

Dorian feel with the raised sixth, and the rest is simply conventional harmony, with the

G-sharp in m. 9 (and m. 14) functioning as a secondary preparation for the half cadence.
46
Measures 11-12 and 16-17 feature familiar harmonic progressions similar to the end of

the Gloria.

As opposed to the Gloria’s refrain, Guimont sets four-part chorus against the full

brass in the Sanctus. Directors of smaller choirs may wish to ask the brass to play this

movement one dynamic level softer than marked. Regardless of choir size, singers should

be encouraged to sing note values of a quarter-note or larger with undetached buoyance

and energy at the onset of the note. This will facilitate cleaner diction and greater balance

between the voices and brass. Transitioning between mm. 11 and 12 may be difficult for

the tenors with their shift between B and F-sharp.

Guimont’s Memorial Acclamations show some distinct contrasts from one

movement to the next. Since only one of the three movements is performed during the

liturgy, listeners will remain oblivious to these differences. All three movements feature

uninterrupted texts without repetitions, introductions or priestly invocations. Tuning

pitches can be given to the presider to evoke a chanted invocation that leads directly into

any of the three Acclamations. Additionally, brass players will need to be cautioned once

again regarding volume and balance, as choral writing remains in four-parts through all

three movements. Their brevity is remarkable in itself; each movement is six measures in

length.

“We Proclaim Your Death” separates itself slightly from the Sanctus’ modality.

G-sharp is included in the melody in m. 3:4, but it switches back to G-natural in m. 4. A

similar moment with an F-sharp minor chord in the “Holy, Holy, Holy” suggests that

perhaps the composer may be trying to recall an F-sharp Dorian feel. The chord in m. 3:4

is analysed as vii7 and functions as dominant to the proceeding D major chord. The G-

47
sharp implies a temporary Lydian sentiment, but as the only chromatic accidental in the

movement, perhaps the composer was simply adding color. Similar circumstances color

the final cadence, in which the composer creates a 4-3 motion by raising A-sharp in the

final chord, ending the movement with an F-sharp major sonority. Because A-natural is

prevalent throughout the movement, the argument for Guimont’s tonal color strengthens.

Several instrumental and vocal considerations encompass this movement. Range

will be a factor once again for the second trombonist, as notes below the typical trombone

exist in the first full measure. The timpanist should also prepare for G on the lowest drum

following the Sanctus if this Acclamation is programmed. Each beginning gesture in the

first trumpet echoes the first two melodic pitches of each phrase. Soprano notes at the

beginning and in m. 3 sound two beats later in the first trumpet. The final first trumpet

gesture acts as an upward extension of the melodic line, as the sopranos descend into the

final cadence. The basses will need to treat the minor sevenths in mm. 3 and 4 with care.

Measure 4 features the only moment in which the left hand’s lower voice does not move

in stepwise motion. However, the right hand’s motion to C-sharp in m. 4:2 reveals

Guimont’s foundational desires for his composition. The spread nature of the

accompaniment, stretching a tenth in m. 1:1, also indicates Guimont’s bias for organ

despite the accompaniment’s limit to two-lined grand staves.

The second and third acclamations, “When We Eat This Bread” and “Save Us,

Savior” contain fewer modal shifts than any other movement in the Mass for a Servant

Church. Both movements feature a brief visit to B minor in m. 4, only to functionally

lead toward tonic D shortly thereafter. Both movements end with authentic cadences in

which the basses sing A to D. One would expect stepwise motion to continue through the

48
final cadence in these movements as well, but perhaps Guimont has sacrificed stepwise

bass motion for textual and musical concision.

There is no musical break between the “Doxology” and the Great “Amen,” as the

final syllable of the former coincides with the first syllable of the latter. Secondary

function informs the existence of G-sharp in the presider’s “Doxology.” Surrounded by

G-naturals, the G-sharp on the word “unity” serves to move the harmony from E major to

A major. The “Amen” incorporates all the modal mixture one might expect from the

conclusion of the Eucharistic Acclamations in this setting. Guimont’s use of D Ionian

with D and F-sharp Dorian, and his steadily ascending brass writing in conjunction with

soprano descant bring the Eucharistic Acclamations to a rather pleasing finale.

With D as the dominating harmonic and melodic foundation throughout the rest of

the Mass for a Servant Church, one is led to wonder why Guimont chooses to set the

“Lamb of God” with E as tonic. Perhaps the tonic ascent is meant to elicit thoughts of the

transubstantiation of the bread and wine. Then again, perhaps the unison choral writing

throughout the movement is meant to symbolize Christ’s simplicity in mortality.

Rhetorical suppositions aside, Guimont remains true to stepwise motion in the bass

accompaniment until the very end, where B to E confirm an authentic cadence. The

descant is marked to be sung in the second “Lamb of God” as an option, but the

promotional audio waits until verse three, appropriately stacking the descant above the

trumpet, above the rest of the voices and accompaniment.

4.6 SPECIAL NOTES:

49
 Although a guitar score is available, it is highly likely that the guitar score does

not fully or adequately represent the harmonic language the composer has achieved

through his work simply because of the guitar’s natural instrumental limitations in

comparison with the piano or the organ. Parishes constantly struggle to marry musical

trends from either side of Vatican II. The absence of chords in the full score, and fast

harmonic motions throughout the work suggest that this Mass may not be appropriate for

parishes with guitar-driven music ministries.

4.7 PRODUCTS:

Full Score G-7851FS

Choral/Accompaniment G-7851

Guitar G-7851G

Assembly edition (printed or download available) G-7851A

Presider Edition (printed or download available) G-7851P

Brass and Timpani edition (printed or download) G-7851INST

Promotional Audio (available as download or CD) X-7851CD00

Figure 4.7: Mass for a Servant Church products and publisher numbers

50
 CHAPTER 5

ANALYSIS: THE SOUND OF MY PEOPLE

M. ROGER HOLLAND, II
©2010 GIA PUBLICATIONS, INC.
WWW.GIAMUSIC.COM

5.1 THE COMPOSER:

M. Roger Holland, II is a graduate of the Manhattan School of Music where he

received a Master's Degree in Piano Performance. He received his Bachelor's Degree

from Westminster Choir College in Princeton, NJ, majoring in Music Education, with a

concentration in piano and voice. Holland toured nationally and internationally with The

Boys Choir of Harlem, working with them as a conductor, pianist, instructor and arranger

for several of their recordings. Holland served as Minister of Music for Our Lady of

Charity Roman Catholic Church in Brooklyn, NY for 12 years and was Liturgical Music

Consultant for the New York Archdiocese Office of Black Ministry, acting as Music

Director for their special masses at St. Patrick's Cathedral. Most recently he was the

Minister of Worship and Christian Arts at Calvary Baptist Church in Jamaica Queens,

NY. Currently, Holland is Artist in Residence at Union Theological Seminary in New

York City and directs their Gospel Choir. In addition to his Broadway credits, which

include, playing for the Broadway production of Oprah Winfrey’s The Color Purple,

Roger is also a clinician, presenting workshops for

51
McDonald's Gospelfest, the Clarence Rivers Music Institute, Archbishop Lyke Liturgical

Conference and at the Hampton University Ministers' Conference.51

5.2 VOICE TESSITURA:

Cantor: Presider: Soprano: Alto: Tenor: Bass:

Figure 5.1: The Sound of My People Voice Tessitura

5.3 OVERVIEW:

GIA’s promotional materials state, “The Sound of My People utilizes various

gospel styles from deep within the African American tradition of Christian worship.”52

This statement does not do justice to this music’s likeness to cutting edge, urban

contemporary gospel artists such as Donald Lawrence, Israel Houghton, Fred Hammond

and Yolanda Adams.53 Holland has found a way to incorporate the new text into the

idiomatic rhythmic and harmonic components of urban contemporary gospel style in a

manner that authentically represents both. The composer also begins the first and last

movements of his setting in D-flat major, a key often used by African-American

composers in the gospel genre because it uses all five black keys on the keyboard.

Similar endeavors frequently have difficulty pairing through-composition with an

authentic stylistic representation. With rote learning as a central tradition in urban

contemporary gospel style, and with an oral tradition of music composition resulting in

                                                                                                               
51
“Bio” http://www.rogerhollandmusic.com/ (accessed July 22, 2012)
52
M. Roger Holland, II, The Sound of My People, GIA Publications Inc, 2010, back cover.
53
“Urban contemporary gospel” is sometimes still marketed as “Black gospel” to help distinguish it from
other contemporary and historical gospel forms (Wikipedia http://en.wikipedia.org/wiki/Gospel_music
{accessed July 22, 2012})

52
little use of written musical skills, the best composers in the genre compose and produce

their music by ear and either leave their distributors to produce skeleton scores, or the

music goes unwritten. On the other hand, skilled composers with experience reading and

writing music often have no real experience with gospel style, so their results seem

inauthentic and, at times, contrived. Holland’s experience marries the best of both

situations to produce a stylistically authentic product with enough information (at least

chorally) to be performed with the same legitimacy.

Assembly parts are available for the setting, but heavy choral content in the

“Gloria” verses makes programming without full choir extremely prohibitive. Other

movements have markings for “assembly,” and the assembly card (available from the

publisher) facilitates congregational participation with a choir by providing melody lines

for the Kyrie, Sanctus, Memorial Acclamations, Amen and Agnus Dei, with refrains for

the “Gloria” and Gospel Acclamation. In the absence of SATB chorus, the “Gloria” from

Michael Joncas’ Missa ad Gentes / Maryknoll Centennial Mass could substitute since its

style is also rooted in African-American traditions.

Most of The Sound of My People is lively and upbeat. However, with the “Gloria”

as the only movement in this work that uses the “gospel shout” style, it may be difficult

to present a performance that can be perceived as stylistically unified if it is substituted

for a Gloria setting from another work. As such, this is an excellent setting for churches

who have SATB voices present at every liturgy. Perhaps this setting would be best

employed as a featured Mass in churches with strong music ministries, but who cannot

sustain an SATB choir at every liturgy.

53
 While the choral parts are complete and ready for performance, and the written

piano line provides stylistically adequate underscoring, instrumental improvisation is

required in order to fully maximize stylistic potential. The promotional audio provides an

excellent representation with piano, bass, drums and drawbar organ, but through-

composed parts for the other instruments remain unavailable. Bass players could read

from the piano’s lower line, but in instances such as m. 26 of the “Gloria,” the bass line

dips below the range of a typical five-string bass.54 Directors willing to write chords in

their scores may realize improved and more authentic performances from their

instrumentalists, but they should prepare for chord alterations idiomatic to urban

contemporary gospel and jazz styles. Additionally, a solid bass player can free a pianist’s

left hand from providing harmonic foundations, allowing for more complex improvised

chords.

The rhythmically and vocally challenging choral parts match the style as well.

When not singing in unison, the tenors frequently stretch into their upper register.

Soprano notes stay well below typical soprano lines in order to facilitate chest-voice

singing throughout the work. Although urban contemporary gospel is often scored SAT,

Holland has brilliantly integrated a singable yet uncontrived bass part. In triadic

structures, the basses are always doubled by another voice, but seventh and altered chords

sometimes put basses in unusual positions in the chord. As is idiomatic to the style, the

melody line does not always appear in the upper voice in a choral structure. The altos

carry the melody at the end of the Kyrie, Sanctus, and Agnus Dei.

Singers and directors should be cautioned regarding potential oversinging.

Holland’s choral writing supports using the strong chest-voice production idiomatic to
                                                                                                               
54
Five-string bass is preferred over four-strings in urban contemporary gospel. Its lowest note is B0.

54
this style. Clean, straight-tone singing should not be encouraged, nor should vocally

unhealthy and strident tone. Singers should be reminded that beauty and health should

never be sacrificed for volume. Urban contemporary gospel is often conceived for small

choirs of six to twelve voices, making this setting particularly suitable for smaller church

choirs.55 Directors may wish to amplify voices and instruments, encouraging controlled

volume from drummers. ProMark H-Rods allow drummers to play energetically while

reducing volume.

5.4 MOVEMENTS AND PERFORMANCE TIMES:

Penitential Act 1:49

Gloria 2:59

Alleluia 2:22

Lenten Gospel Acclamation 1:52

Holy, Holy, Holy 1:02

We Proclaim Your Death 1:08

When We Eat This Bread 1:08

Save Us, Savior 0:57

Amen 1:04

The Lord’s Prayer 2:34

Lamb of God 1:25

Figure 5.2: The Sound of My People performance times by movement

5.5 ANALYSIS:

From its onset, the “Penitential Act” sets the stylistic mood. With a slow and

lilting compound duple, the style warrants that any improvised subdivision of the eighth
                                                                                                               
55
A choir of no more than eight singers performs the promotional audio.

55
note be at the triplet in order to promote a swing feel similar to a jazz waltz as evidenced

by through-composed ornaments in the score at mm. 8, 12, 13 and 27. Furthermore,

Holland’s promotional audio confirms this supposition, as at m. 17, the pianist plays the

sixteenth notes unevenly.

Opening with a G-flat major ninth chord in D-flat major, harmonic function

seems standard throughout, but through-composed chord alterations fortify the work’s

stylistic roots and ornament its vertical qualities. Some quartal constructions, especially

in the coda, create some remarkable sounds more commonly associated with jazz than

with sacred music. The purest of these examples can be found in m. 24, where Holland

stacks F-sharp, B, E, A, and D to create D6add9. In mm. 22 and 26, the composer

Figure 5.3: The Sound of My People “Penitential Act” m. 24

stacks the choir in fourths starting with F-sharp in the bass voices, but places B as the

foundation of the chord in the piano to create Bm7add4.

A repeat indicates that the choir should sing “Lord Have Mercy” and “Christ

Have Mercy” in unison, but the last occurrence of the main theme features the choir in

four parts after a modulation to D major. Recalling that urban contemporary gospel most
56
often appears in three-part SAT chorus, Holland admirably incorporates bass voices

whose line departs from the lower extremities of the piano enough to possibly identify it

as a countermelody beneath the altos. The movement ends with a short coda uttering the

last two measures four times while the piano creates slight harmonic contrasts in each

pair.

Beginning with F7,(add13), E-flat9,(add13), D7,(#9b13), then moving to dominant and

tonic, the “Gloria” is fraught with split thirds, tritone substitutions, and other advanced

jazz harmonies, all through-composed in the piano part. Though complex, the speed with

Figure 5.4: The Sound of My People “Gloria” introduction.

which the harmonies take place can make them seem insignificant, but the music’s

stylistic essence is found within these harmonic intricacies. Drummers should honor the

shout style by playing in double time, with snare on the second eighth note, rather than on

the second quarter note as is more commonly used in rock.

Chord complexity and speed will likely require careful practice for typical parish

pianists; a full chordal analysis may also prove useful in comprehending structures and

57
generating ideas for improvisation. The composer has added a few technical ornaments to

the through-composed part, such as the right hand in m. 25 where chords are struck with

complex rhythms to create interest, and at m. 73 where a fast descending C blues scale

ornaments the accompaniment.

In the first verse, the sopranos begin call and response structures idiomatic to the

genre. Although Holland marks the assembly out of this section, by simply echoing the

sopranos with the choir, the assembly could feasibly sing mm. 10-17. These call and

response structures feature accents on off-beats, which may cause some choirs to rush the

tempo to energize off-beats. Singers should be encouraged to accent the off-beats while

staying “in the pocket.” This can often be achieved by having singers freely move their

bodies to larger beat units (quarter notes in this case), while constantly thinking about

smaller beat units (unwavering eighth or sixteenth notes). A good drummer will also add

emphasis by striking an open high-hat on the choral accents.

Despite a lack of phrase symmetry in the second verse, Holland achieves musical

forward motion through strategic placement of half and deceptive cadences. Through

secondary functions (as is customary in urban contemporary gospel), the composer keeps

the first verse in the key of A and does not resort to a root position C major chord until

the refrain’s return. The cadence at mm. 38 and 39, where the harmonies move from C/G

to E7 to A major, shows how deceptive cadences can serve to unify the music while

allowing more space to cover more text in a section. The same harmonic structure is used

for the text “receive our prayer” (mm. 41-42) and both instances of “have mercy on us”

(mm. 38-39, 45-46).

58
 Constant scalar motion emulating a walking bassline pervades the left hand after

m. 53. Based on C, these adaptations of the blues scale commonly used in gospel shout

music can contain raised or lowered thirds, but always contain a sixth and a leading tone.

In this case, the third is minor resulting in the set: C, E-flat, F, F-sharp, G, A, B-flat,

and B.

In all cases in this “Gloria,” these shout scales ground themselves on the first and

fifth scale degrees, mostly because the harmonic underpinning remains rooted on C in

mm. 53-58.56 The chord root moves to F at m. 59, so the scale is transposed.

Appropriately, when the text reaches ‘Amen’ in m. 68, the scale shifts to major, replacing

E-flat with E-natural. These shout scales are often repeated in urban contemporary gospel

churches either to extend songs and allow prolonged soloistic improvisation, or to

provide music after the end of an upbeat song. In situations where time constraints do not

limit the liturgy, the “amen” section at the end of the “Gloria” could be prolonged with a

safety-repeat for the choir and instrumentalists at m. 71.

Although the tempo marking for the “Gospel Acclamation” reads “medium rock,”

the pulse should be heavily accented and driving. More harmonically and rhythmically

subdued than the previous movement, the Alleluias would seem quite flowing without the

eighth note pulses in the bass accompanied by driving rhythm. In the promotional audio,

the drawbar organ plays the quarter note Ds written in the right hand of the piano in m. 2

as an ostinato throughout the first three measures. Since this ostinato pattern is also

associated with secular musics of the 1980s, a synthesizer might also produce a more

stylistically idiomatic sound. In any case, drawbar organ is appropriate throughout the

movement.
                                                                                                               
56
Other similar scales are available for tonic and subdominant.

59
 An unwritten improvised vocal solo livens the promotional audio when the piece

modulates from D to E-flat major. Low microphone levels on the soloist suggest this

improvisation’s optional nature, but improvised solos are idiomatic during extended

endings as exhibited by the “Gloria’s” written content. Without the improvisation at the

end, and a melodic range in the refrain of only three notes, the vocal parts are far less

flashy and prominent in comparison to other movements even considering the cantor’s

solo verses mid-movement.

One might argue that the “Lenten Gospel Acclamation” in F major features far

more virtuosic and attractive vocal content, which might seem liturgically

counterintuitive. However, the Gloria is omitted during penitential seasons. Therefore,

considering the entire setting’s significantly more subdued nature without its “Gloria,”

the “Lenten Gospel Acclamation” and “The Lord’s Prayer” become The Sound of My

People’s musical and artistic pinnacles during Lent.

The promotional audio also features improvised vocal solos during the coda

where the choir rests. Interest in the vocal line increases before m. 21 as the choir inverts

to a higher position in the F major chord. Although the score does not indicate whether or

where the assembly might cease to participate or change positions with respect to the

choir around m. 21, the previous melody fits within the harmonic structure as the choir

moves.

Each of the Eucharistic Acclamations is thematically unified by several factors.

The vocal texture is predominantly unison; all five movements combined feature only ten

measures of four-part choral singing. Each movement ends with similar harmonic and

melodic structures, featuring CM9, Em7(add4), and then moving to a plagal cadence with

60
G(add2) and D. “Save Us, Savior” slightly departs from this structure. Harmonic motion in

the “Amen” leaves the movement in suspension as it ends on C6(add2).

Choral structures in the “Holy, Holy, Holy” divide at m. 25 into a texture similar

to the “Gospel Acclamation,” with the exception of the basses, whose echoing movement

in mm. 25-26 is more reminiscent of the “Penitential Rite.” Dissonance in the bass’ F-

sharp in m. 26 may make this note difficult to tune against Em7. A quick choral

interjection in the “Amen” at m. 22 interrupts an otherwise subdued choral texture and

requires strong emphasis. Though still accompanied by non-traditional chords, the

presider’s “Doxology” bears the entire setting’s closest resemblance to traditional chant.

Holland’s setting of “The Lord’s Prayer” seems inspired by Richard Smallwood

and Glenn Burleigh, the previous generation of composers in this genre. Composed in D-

flat major, the movement’s final cadence has very similar harmonic language to

Smallwood’s “Total Praise,” a piece held in highest esteem in the urban contemporary

gospel community.57 The shift from the presider’s invocation to the choral return in mm.

31-32 is harmonically identical to the shift from the verse to the chorus in “Total

Praise.”58

Figure 5.5: The Sound of My People “The Lord’s Prayer” mm. 31-32.

                                                                                                               
57
Richard Smallwood, “Total Praise,” Zomba Songs, Inc., 1996.
58
Ibid.  

61
 Following common compositional formulas for lyrical pieces in urban

contemporary gospel, “The Lord’s Prayer” begins in unison, but slowly integrates four-

part choral singing. The melody as the choir splits into four parts, marked in the tenor line

in m. 20, seems high and difficult for typical congregations. Although the basses double

the tenors at the octave, the melody’s ascent to G-flat4 may intimidate congregational

singers. However, the music’s rousing climax and lyricism overall should satisfy

congregational needs, especially if the setting is not programmed for weekly parish use.

Drastically different from the “Doxology” in character, though similar in

harmonic underscoring, the priestly invocations ascend in pitch and energy as they lead

toward the choir’s reentry in m. 32. As found in the promotional audio, bias should be

given to the ossia D-flat in m. 31, as it provides additional propulsion in m. 32. Since

there is no strophic form, and the choral component seems interrupted by the priestly

invocations, the texture continually builds to an explosion of choral sound at the final

“amen.”

The “Lamb of God” begins with the same ascending melodic gesture as the

“Amen.” Equally unifying to the setting, the introduction and the choral ending to the

“Lamb of God” uses the same harmonic gesture as the conclusion to the “Gloria.”

Though mostly in unison, the four-part choral sections at mm. 22-23 and 28-33 are well-

conceived and match the movement’s overall texture tastefully. Basses should carefully

address the A in mm. 22-23, since its function as the dominant seventh might be

problematic. Additionally, the tenors final note, F-sharp, may be a welcome opportunity

for them to utilize a lighter vocal production. In light of the entire choir’s ascent in pitch

62
but descent in volume toward the final cadence, head voice production may be advisable

from all singers in mm. 28-33. The movement’s instrumental ending employs the same

CM9 chord reminiscent of the “Holy, Holy, Holy,” and a deceptive cadence concluding

the piece with a B major chord!

Figure 5.6: The Sound of My People “Lamb of God” mm. 22-23.

5.6 SPECIAL NOTES:

From an academic perspective, The Sound of My People is comparable to the

musics of Rollo Dilworth, Paul Caldwell and Sean Ivory, and Jeffrey Ames. Since

classical Masses (liturgical and concert) from masterworks by master composers are

often programmed in academic settings, perhaps this Mass could be programmed

alongside another Missa Brevis as an academic exploration into how musical styles are

used to interpret an ancient and artistically revered text.

63
5.7 PRODUCTS:

Keyboard/Choral (hard copy) G-7748

Assembly edition G-7748A

Presider Edition G-7748P

Promotional Audio (available as download or CD) X-7748CD00

Figure 5.7: The Sound of My People products and publisher number

64
 CHAPTER 6

ANALYSIS: MISSA AD GENTES/MARYKNOLL CENTENNIAL MASS

FR. JAN MICHAEL JONCAS
©2010 GIA PUBLICATIONS, INC.
WWW.GIAMUSIC.COM

6.1 THE COMPOSER:

Michael Joncas (b. 1951) is a priest, liturgical theologian, composer, and

professor at the University of St. Thomas in St. Paul, MN. Joncas earned the MA degree

in theology and liturgical studies from the University of Notre Dame in 1978, and then

attended the Pontifical Liturgical Institute in Rome. He has received numerous national

and international awards and recognitions for scholarly liturgical work.59 A survivor of

Guillain-Barré syndrome, Joncas is best known for his more than 200 contemporary

Catholic music compositions including “On Eagle’s Wings,” which was performed at St.

Patrick’s Cathedral in New York City at the memorial service for the victims of

September 11th, 2001.60 Joncas’ viewpoints on liturgical music can be summarized as

follows: "We pastoral musicians do not sing to entertain bored worshipers or to seduce

them into brainless ecstasy; we may sing in the Spirit, but we also sing with our minds."61

                                                                                                               
59
See University of St. Thomas News Service, “Father Michael Joncas to receive Franciscan International
Award,” Bulletin Today, April 30, 2012, http://www.stthomas.edu/bulletin/2012/04/30/father-michael-
joncas-to-receive-franciscan-international-award/ (accessed July 12, 2012).
60
See Jim Winterer, “When Thoughts are All You Have Left: Theologian Mike Joncas Reflects On His
Journey Through the World of Paralysis,” St. Thomas Magazine, Vol. 21, No. 1, Winter, 2005,
http://www.stthomas.edu/magazine/2005/winter/Joncas.html (accessed July 12, 2012).
61
J. Michael Joncas Bio, GIA Music Publications website, http://www.giamusic.com/bios/jan-michael-
joncas (accessed July 12, 2012).

65
6.2 VOICE TESSITURA:

Cantor: Assembly: Soprano: Alto: Tenor: Bass:

Figure 6.1: Missa ad Gentes Voice Tessitura

6.3 OVERVIEW:

Joncas provides prospective directors with an enlightening and detailed account

of the work’s commission and the circumstances under which the composition was

conceived. He also provides an informative and contextually refreshing movement-by-

movement explanation addressing textual, musical, and pastoral issues.

“For more than a century, Maryknoll members (priests, brothers, sisters, lay
missioners) have served the physical, emotional, mental and spiritual needs of
countless human beings in Central and South America, Africa, Asia, Oceania…. I
was deeply honored when, in preparation for the centennial of papal approval,
Maryknoll officials, through Fr. Michael Duggan, contacted me about creating a
musical setting of the new English translations of the text for Roman Rite
Eucharist that could be used both by the Maryknoll missioners and by the
English-speaking churches. One of the most intriguing parts of the commission
was that the various movements should represent musically both Maryknoll’s
United States heritage and the diverse cultures Maryknoll missioners serve.”62

Joncas’ compositional philosophy, along with Duggan and others whose input he credits

in his notes, shed light on the relative musical and stylistic disunity presented in this Mass

setting as a whole when compared to its modern counterparts. Altruistically, however,

Joncas accomplishes his mission to represent a “great diversity of languages and

cultures.”63

                                                                                                               
62
J. Michael Joncas, “Notes,” Missa ad Gentes, Full Score, Chicago: GIA Music Publications, 2010, p.2.
63
Ibid.

66
 Among the myriad of cultures represented by Joncas’ compositional approach is

his own upper-Midwestern regional culture as exemplified by his heavy reliance on

choral singing. Whether he consciously intended this representation or its existence is

incidental is not detailed in his notes. Only a few brief moments in the piece are sung in

unison; most of the choral singing takes place in four parts, and the “Penitential Rite,”

“Lord Have Mercy,” “General Intercessions,” “The Lord’s Prayer,” and sections of the

“Sanctus” should ideally be sung a cappella. Joncas makes compositional provisions in

the event that a choir may not be available. However, for the ideal performance, a choir

comfortable with spending long periods singing a cappella is strongly recommended.

Scored for flute, oboe, two trumpets, horn, two trombones, timpani (three drums),

keyboard and SATB voices, Joncas’ attempt to offer a stylistically diverse Mass results in

different combinations of instruments for the Mass’ various movements. Otherwise

stated, the aforementioned instrumental combination is never used in its entirety at any

point in the work. A cappella movements and sections with only keyboard proliferate the

work’s outer extremities, with a few movements including woodwinds.

The entire set of Eucharistic Acclamations (Sanctus, Memorial Acclamations,

Amen) includes scoring for brass and timpani. In the full score, the trumpets are scored in

C, and the horns are scored in F. One might anticipate difficulty with the realization of

these parts with a trumpeter having to transpose C parts on a B-flat instrument. Moreover,

GIA’s website is a bit unclear regarding the brass parts’ construction and distribution.64

The page indicates that there are only four pages in the brass and timpani parts, but

                                                                                                               
64
See GIA’s webpage for “Brass and Timpani Parts,” Missa ad Gentes: Maryknoll Centennial Mass,
http://www.giamusic.com/search_details.cfm?title_id=11342 (accessed July 13, 2012).

67
further investigation reveals that each part is four pages in length, and that parts for B-flat

and C trumpet are indeed included.65

Composer choices in keys further differentiate the Eucharistic Acclamations from

the setting’s other movements. Joncas sets the Eucharistic Acclamations in G major; the

“General Intercessions” are scored in E minor; the other movements are scored in F

major. Joncas says, “I'm fairly certain the "Lord have mercy" was very early and that the

"Glory to God" was a re-working of a piece from many years back that I had worked on,

but I honestly can't remember how the rest of the pieces fell out.”66

The Acclamations are much more unified stylistically and thematically. Joncas

discloses in his notes, “Since the General Instruction for the Roman Missal (GIRM)

presents the Eucharstic Prayer as the ritual highpoint of the Mass, I have attempted to

provide the richest music for the Prayer.”67 His overall compositional approach seems to

differ greatly in his treatment of the rest of the Mass. When asked about the order in

which he conceived the work’s various movements, Joncas confessed, “I haven't kept any

records of the order in which I composed the various elements of the Missa ad Gentes.”68

Another major consideration for programming the Missa ad Gentes is

performance time. If all repeats are taken, the music can be prohibitively long for use in

an hour-long worship. Even without repeats, some music ministries might require some

truncation in order to facilitate adoptability for weekly programming. In order to honor

                                                                                                               
65
Ibid, and “Brass and Timpani Parts,” Missa ad Gentes: Maryknoll Centennial Mass, GIA Music
Publications, 2010.
66
J.M. Joncas (personal communication, July 16, 2011).
67
J.M. Joncas, “Notes,” p.5.
68
J.M. Joncas (personal communication, July 16, 2011).

68
local traditions and Sunday morning schedules, one may wish to consider which

particular elements must be sung, and which might be best spoken.

However, the work’s diversity can serve as a major point of consideration when

special feasts arise. Feasts celebrating the Church’s unity in diversity such as Corpus

Christi Sunday, Divine Mercy Sunday, or unofficial ecumenical occasions such as World

Youth Day or World Communion Sunday might be excellent occasions for programming.

The availability of presider and assembly cards can also ease learning and encourage

participation from the general public.

6.4 MOVEMENTS AND PERFORMANCE TIMES:

Penitential Act 3:53

Lord Have Mercy 1:44

Gloria (with responses)69 6:35

Gospel Acclamation (with repeat) 2:55

(without repeat) 1:53

General Intercessions 1:59

Holy, Holy, Holy 2:10

Memorial Acclamations 1. 0:49

2. 0:44
3. 0:48

Doxology/Amen 0:48

The Lord’s Prayer 2:36

Agnus Dei (with repeats) 4:26

(without repeats) 2:44

Figure 6.2: Missa ad Gentes performance times by movement

                                                                                                               
69
See comments on length on p. 71.

69
6.5 ANALYSIS:

In his notes, Joncas likens his setting of the “Penitential Act” to the style of

Stephen Foster noting his desire “to evoke Maryknoll’s heritage as a distinctively United

States Missionary Movement.”70 With the sopranos and basses prolonged separation by a

harmonic third, the counterpoint’s simplicity in mm. 1-2 and 5 strengthens musical

similarities. While the movement’s overall harmonic structure certainly matches his

description, the wholly choral underscoring expands and diversifies the movement’s

cultural prism. The composer’s notes indicate that the music is to be performed a

cappella, unless a choir is not available, in which case the choral parts “may be played on

a keyboard (preferably organ).71

It should be noted that the “Penitential Act” simply acts as a longer version of the

Kyrie, and that Joncas offers his simplified “Lord Have Mercy” as a shorter option to

perform the Penitential Act. Joncas’ setting of the “Penitential Act” includes three

tropes.72 Some parish music directors and pastoral staff may agree that both versions are

simply too long for weekly Mass programming. The composer has approved the

following formula as a truncation of the Penitential Rite: first, the sopranos introduce

mm. 1-2 to to the congregation with ATB underscoring on a neutral syllable. Then, repeat
                                                                                                               
70
J.M. Joncas, “Notes,” p.2.
71
Ibid., p.3.
72
The New Roman Missal contains the most widely used trope in the Order of the Mass (pp. 518-519). The
Missal offers seven more trifold options for invocations in the Penitential Act (appendix vi). The GIRM
stipulates, “52. After the Penitential Act, the Kyrie, eleison (Lord, have mercy), is always begun, unless it
has already been part of the Penitential Act. Since it is a chant by which the faithful acclaim the Lord and
implore his mercy, it is usually executed by everyone, that is to say, with the people and the choir or cantor
taking part in it. Each acclamation is usually pronounced twice, though it is not to be excluded that it be
repeated several times, by reason of the character of the various languages, as well as of the artistry of the
music or of other circumstances. When the Kyrie is sung as a part of the Penitential Act, a “trope” precedes
each acclamation.” The GIRM nor the Roman Missal clarify whether it is necessary only to use tropes as
suggested by either resource. Joncas also seems unopposed to end-users composing their own tropes for use
in this setting, with stipulations.

70
mm. 1-2 with the choir on text, inviting the congregation to sing the melody. Next, use

the same formula for mm. 3-4 as in mm. 1-2. Then, the sopranos sing mm. 10-11 while

ATB sing underscoring from mm. 7, 9. Then all parts sing mm. 10-11 on text. This

formula allows the congregation to hear the final response, but provides harmonic

contrast to propel the music toward the end. The resulting scheme allows the Kyrie to

take place in approximately 0:36. Joncas comments, “this would turn the pattern into a

‘call-response’ litany. I'd have no objection to that. I tend to think of my church

composition less as ‘classical’ (e.g., a Mozart or Haydn concerted Viennese Mass where

only the notes the composer has written should be played) and more ‘segmental’ (e.g.,

where I have provided a variety of segments of varying complexity that can be combined

in a variety of ways depending on the capacities of the worshiping community and their

ritual needs).”73

This “Gloria” setting poses significant problems for parishes planning regular

weekly liturgical programming due to its substantial length. Although the score is marked

at 60bpm, GIA’s performance tempo of 41bpm in its promotional audio recording

compounds the issue. Set in compound duple meter, the slower tempo allows the piece to

flow similarly to a jazz waltz. “This movement aimed at highlighting a distinctively

American contribution to sung worship: the African American “gospel” song.”74 Stylistic

implications and performance time act as two opposing elements in this movement. The

promotional audio’s tempo is certainly more idiomatic of the composer’s intended

stylistic effect, but the resulting performance time is inadvisable for weekly use in the

Mass (6:35). The composer’s marked tempo produces the opposite effect, markedly
                                                                                                               
73
J.M. Joncas (personal communication, July 16, 2011).
74
J.M. Joncas, “Notes,” p.3.

71
shortening the performance (4:22) but sacrificing stylistic authenticity.

“Since the musical setting is extensive, I would recommend singing this setting

during seasons of festivity (Christmastide, Eastertide) and not on ‘ordinary’ Sundays.”75

This recommendation may be advisable, but taking the piece at the marked tempo and

foregoing all the repeats will result in a performance time of approximately 3:20, which

is much more manageable for weekly programming and increases justification for the

institutional expense in owning the materials necessary for performance. Though not

specifically sanctioned by the composer, omitting the four measure instrumental coda can

also slightly shorten performance times.

Repeated text in the “optional refrain” also adds to the movement’s length.

However, Joncas’ refrain features musical phrase symmetry that the text itself does not

inherently provide. Thus, many other settings of the new translation fail to set the text to

music with four or eight-measure phrases and neatly tailored periods. In other words,

they sacrifice the music’s integrity to serve the text, instead of tailoring the text to serve

the music. Some might argue that a well-constructed musical phrase is worth lengthening

this sung liturgical moment by a few seconds.

The scoring for piano and chorus only reduces barriers for potential programming.

Stylistic implications warrant the integration of bass and drums; guitars, Hammond organ

(or some similar sounding emulator), and some additional percussion can also be

assimilated with relative ease. Improvised playing on the part of the pianist is an implicit

mandate in honoring the musical style.

With its many secondary chords, the “Gloria’s” harmonic structure is certainly in keeping

with its intended style. Though in four parts (most modern gospel music is in three parts),
                                                                                                               
75
Ibid.

72
most of the choral writing poses few extraordinary challenges. More difficult sections for

the chorus are usually in areas where secondary chords are prevalent. Measures 7-8

feature some particularly challenging choral material that recurs throughout the score. Its

harmonic motion (ii7, viiº7/ii, ii, V7) forces the altos to sing F, F-sharp, G and F-natural.

Some altos might be tempted to sing F-sharp a second time. Additionally, the tenors sing

an E-flat in m. 7, but an E-natural in m. 8. This moment may not be as challenging for the

tenors as the altos because the E-natural takes place on a dominant chord.

Figure 6.3: Missa ad Gentes “Gloria” mm. 7-8.

Measures 10 and 18-20 feature some voice crossing between the alto and tenor

voices. Although this is commonly regarded as a faux-pas in choral writing, there are

several possible justifications: 1., the stepwise ascending and descending motion in the

tenors makes the part in mm. 10 and 18 easier to sing and draws more attention toward

the moving line as countermelodic. 2., if the parts were not crossed, but the same notes

were used, there would be a great deal of difficult chromaticism present in the tenor line.

Perhaps Joncas believed that crossing the voices would actually make the notes easier to

73
sing. 3., the vocal weight inherent in having the tenors sing above the altos alto proves

advantageous when certain members of the chord require less bias. In the case of m. 20,

the altos sing the third of the chord below the tenors. The altos sustaining the third can be

heard despite their placement below the tenors.

Figure 6.4: Missa ad Gentes “Gloria” mm. 18-20.

The first instance of unison singing in the entire Missa ad Gentes occurs in the

first verse of the “Gloria.” Though lasting only two measures, this unison singing

provides a stark contrast to the rich vocal harmonies permeating the majority of the work.

Joncas’ use of unison singing throughout the remainder of the movement exists mostly in

moments where Joncas chooses once again to repeat texts. In places like mm. 46-49, 54-

57, and 62-65, the text appears first in unison, and then repeats in four-part harmony.

In each of these cases, Joncas’ setting has created musical phrase symmetry.

Moreover, the text ‘have mercy on us,’ whose repetition is an important feature in the

74
new English translation, becomes more emphasized in this setting. Phrase symmetry

continues as a central component to the “Gloria.” The second verse contains four phrases,

each with four measures except for the last phrase, to which the composer adds an extra

measure to emphasize the end of a major textual section and propel the music either

toward the “optional refrain” or to the third verse. Similarly, the third verse contains four

phrases, each with four measures. The last phrase contains a threefold ‘Amen.”

An appropriate through-composed descant ornaments the final refrain. Bearing in

mind Joncas’ comments regarding style and its improvisatory nature, perhaps a well-

informed improvised solo might advance artistic and stylistic authenticity. It should be

noted that the descant’s text is designed as a response to the choral content. Most modern

gospel music features the soloist providing the upcoming text to the choir, which assists

the choir and the congregation in singing the proceeding material.

The stylistic shift from the “Gloria” to the “Gospel Acclamation” indicates the

cultural and musical diversity with which Joncas has approached the Missa ad Gentes.

The meter constantly changes between compound duple and simple triple meter, similar

to the Huapango tipico found in classic mariachi music. Indigenous to Eastern and

Northeastern Mexico, Huapango rhythms have been adapted most notably by Leonard

Bernstein in “America” from West Side Story. Joncas quite accurately duplicates the style

with his choice of rhythmic content.

His choice of instrumentation, however, is not as authentic a portrayal of the

Huapango. Since Joncas makes no direct allusion to the Huapango in the score or his

notes, one might merely assume that he sought a certain style to loosely emulate, and that

his intention was not to portray this movement in the exact style, which its rhythms so

75
closely resemble. Scored for flute, oboe, piano and voices, the “Gospel Acclamation”

could also be ornamented with guitars and bass. To make this a more authentic stylistic

representation, trumpet and violin would replace the flute and oboe. Joncas also suggests

that hand percussion might be added as an option.76 However, percussion is not typically

used in the Huapango style, confirming the composer’s desire not to replicate it

exactingly.

Bilingual delivery is the composer’s preferred performance method per his notes.

Joncas adds optional repeats and instructs users that, “communities should feel free to

adapt other Gospel verse texts to my melodic pattern in either language.”77 In his Spanish

translation of the Gospel verse, in mm. 47-48, Joncas writes “Ábrelonos.” To reflect the

English text to which the choral response corresponds (“Open our hearts”) and apply it to

the existing notes, Joncas changes the Spanish text to read “Open it for us.” It should be

noted that the Spanish translation is incorrect and should read “Ábrenoslo” ({You} Open

us it). In Spanish, positive commands with direct and indirect objects must feature the

indirect object first, unlike English. Fortunately, the correct Spanish still fits within

Joncas’ rhythmic framework. Although this error is miniscule, the composer’s desire to

service a diverse world of Catholics in a post-Vatican II manner would ideally demand

that their language be used as eloquently as one’s own.

Throughout the movement, the harmonic language is simple and stylistically

authentic, bearing in mind that the Huapango tipico is not regarded as high art in its

region of origin. Four-part choral writing is pervasive throughout the movement, with the

exception of the initial incantation. The choral repeat of the refrain is entirely in four-
                                                                                                               
76
Ibid., p.4.
77
Ibid.

76
parts with the assembly singing the melody with the sopranos. The end of the choral

refrain in mm. 41-42 features the final sung chord in F-major in which no member of the

choir sings the third, probably to reduce dissonance in the subsequent G-minor chord,

during which the choir still holds F and C. The choir provides interjections between

phrases introduced by the cantor in the Gospel verse.

A unique and rare vocal structure in the final refrain relies on the assembly’s

participation for success. As written, the assembly carries the melody on its own while

the altos, tenors and basses continue with choral underscoring and the sopranos sing what

appears to be a descant. Moreover, an added coda to the final refrain features the

assembly repeating the last four measures of the melody three times while the sopranos

echo the assembly each of the first two times. In churches where the assembly’s

participation is unreliable or unremarkable, it may be advisable for the sopranos to

divide, having the second sopranos sing the assembly’s part while the first sopranos sing

the descant written in the soprano line. The final ‘Alleluia’ features all parts singing

homophonically, ending with a fully voiced F-major chord with the tenors carrying the

third.

Similar in texture to the “Lord Have Mercy,” the “General Intercessions” can be

sung wholly a cappella with underscoring provided by the choir. The only movement in

the Missa ad Gentes in E minor, the “General Intercessions” are constructed simply to

provide a through-composed choral response to intentions given a reciting tone and

whose texts the cantor, deacon or priest provides. The choir responds in Spanish, Latin

and English. While Joncas explains in his notes that any one language can be used

77
repeated three times, it may be difficult to isolate a single language and set it as musically

and appropriately to the phrase as Joncas has in three languages.

Directors concerned with a choir’s music theory comprehension might choose to

use this movement to illustrate the interchangeability of raised and lowered sixths and

sevenths in minor keys. The basses and altos constantly meander between C and C-sharp,

and D and D-sharp. These same principles may cause intonation issues and should be

carefully rehearsed.

Figure 6.5: Missa ad Gentes “General Intercessions” mm. 6-7

An entirely new instrumental and stylistic texture encompasses the music during

the Eucharistic Acclamations beginning with the “Sanctus.” Though scored in two-line

grand staff, bias toward the organ as the primary keyboard instrument instead of the

piano is implicit considering the movement’s overall scoring. Scored for keyboard, brass,

timpani (three drums) and choir, the Eucharistic Acclamations arguably act as the Missa

ad Gentes’ artistic and spiritual pinnacle. “I think after all the idiomatic styles of the other

movements I wanted the Eucharistic acclamations to sound more high church/timeless,

78
though without losing an ‘American’ flavor.”78 Although the “Sanctus” and the rest of the

Eucharistic Acclamations do not share some of the harmonic complexities of the Missa

ad Gentes’ other movements, its functionality, harmonic flow, and triumphant scoring do

great justice to the liturgical moments served by the music.

As Catholicism progresses further from its Latin pre-Vatican II roots, an

occasional usage of Latin reminds Catholics of their roots in a single universal language

as another tie binding a universal church. Joncas’ “Sanctus” sets each phrase to be

presented in Latin, and then repeats the music of each phrase in English with contrasting

musical forces. Though ultimately simple in texture, the juxtaposition of choir and horn

in Latin with full brass, organ, and optional choir with assembly in English provides

musical contrast while simultaneously reminding all users not only of the congregational

participation encouraged by Sacrosanctum Concilium, but of Latin’s central role in the

church’s vast history.79

Throughout the Eucharistic Acclamations, supporting the bass is the second

trombone’s primary function. Since the traditional structure of brass quintet is two

trumpets, horn, trombone and tuba, and many tuba players also specialize in baritone

horn or euphonium, perhaps playing the second trombone lines on euphonium in C might

facilitate the programming of other music for choir and brass quintet.

The Memorial Acclamations (“We Proclaim Your Death,” “When We Eat This

Bread,” and “Save Us, Savior”) all share similar harmonic and melodic content. The

textual structures do not lend themselves to symmetrical phrases in every case. Thus,

                                                                                                               
78
J.M. Joncas (personal communication, July 16, 2011).
79
Sacrosanctum Concilium Art. 113: “Liturgical worship is given a more noble form when the Divine
Offices are celebrated solemnly in song, with the assistance of sacred ministers and the active participation
of the people.”

79
Joncas has set each of the three movements separately. “We Proclaim Your Death” and

“Save Us Savior” are both twenty measures in length, both containing four four-measure

phrases and the four-measure introduction with the presider’s incantation. In the event

that the presider does not sing the incantation as written, the entire introduction should

likely still be played. The identical introduction in “When We Eat This Bread” precedes a

6+4+4 phrase scheme. In all three Memorial Acclamations, the assembly is not supported

by any choral part, necessitating a well-prepared and informed assembly, or a choral

divisi. Since the altos sing higher than the melody at the end of each movement, it would

be advisable to split the alto section, having the first altos sing the alto line as written, and

the second carry the melody. It may also be prudent to have the second sopranos sing alto

in the last four measures of either movement, thus rebalancing the lower voices against

the sopranos as they extend upward in their ranges to a G. Conversely, the horn doubling

the melody throughout might provide all the necessary support for the assembly, allowing

the choir simply to sing as written.

Concluding the Eucharistic Acclamations as the most musically and stylistically

unified section of the Missa ad Gentes, the “Doxology/Amen” features brass composition

resembling that of the Memorial Acclamations. The “Doxology” takes place over ten-

measures, of which the first three feature harmonized chant. The last measures of the

doxology, in simple triple meter, lead rhythmically and harmonically to the choir’s

“Amen” response. Unlike previous movements, where the choir has the option to provide

underscoring a cappella, this movement appears not to be as flexible and requires

accompaniment ideally from the organ. Due to similar vocal construction at the end of

80
this movement as the Memorial Acclamations, directors will need to use discretion to

determine if additional support is necessary for the assembly.

Remarkably similar to a Romantic motet, “The Lord’s Prayer” attempts to

emulate Russian chant. A cappella throughout, great care must be taken in transitioning

from the “Doxology/Amen” into this movement in order to compensate for a change in

key (back to F major) and energy. Since the congregation rises from their knees at this

moment in the liturgy, it may be wise to allow for a few brief moments of silence for the

choir to reset mentally in preparation for “The Lord’s Prayer.”

Beginning with the priest’s invitation to pray in chant harmonized by the

accomaniment, and similar in texture to the “Penitential Rite” and “Lord Have Mercy”

Joncas’ setting provides a reflective and quite inspired musical rendition. The choir sings

the body of the prayer in homophony and common time with careful simplicity as the

music ebbs and flows together with key moments in the text. Measures 11-17 feature the

only phrase in the movement whose size exceeds four measures to compensate for the

extended text in the phrase.

More likened to the “Gloria” in harmonic complexity, the overall texture demands

a clean, unembellished tone from the choir. With its closely voiced chords throughout the

movement, the choir should strive for balance and phrase shape as informed by the music

and the text. Widespread stepwise motion in all four parts with minimal intervals larger

than a third in the upper voices should make clean intonation readily achievable for

choirs more experienced in a cappella singing.

81
 A feature exclusive to the Roman Rite Eucharist is the “embolism extending the

petitions of the prayer for the fruits of communion by the priest.”80 Set in similar fashion

to the opening chant, it features a half-diminished G seventh chord in mm. 24 and 26 with

descending chromaticism in the basses and altos respectively. The movement returns to

common time as the choir closes the prayer. Joncas once again uses the assembly as a

fifth voice in the final four notes of the piece, requiring careful consideration for handling

on the part of directors. If the assembly part in the last two measures is not sung

accurately and in balance with the rest of the choir, essential chords and colors will be

left unheard.

Figure 6.6: Missa ad Gentes, “The Lord’s Prayer” mm. 23-26

                                                                                                               
80
J.M. Joncas, “Notes,” p.5.

82
 Harkening to Asian musics, the entire melody in the “Agnus Dei” is based on the

minor pentatonic scale. Built using D, F, G, A, and C, the tone set gets its cultural

derivation from the anhemitonic yo scale.81 Most commonly used in Japanese folk music,

Joncas’ marriage of this mode with D minor and F major as a harmonic basis works

rather effectively, though periodic B-flats and E-naturals seem to bring brief moments of

dissonance in the underscoring.

Scored for flute, oboe, keyboard, optional guitar and chorus, the composer

suggests piano as the main keyboard instrument, although harp might also be

appropriate.82 The composer also suggests marimba to emulate Gamelan musics, but the

marimba played by one person with four mallets may be too difficult to carry the

keyboard part on its own. Additionally, playing all the keyboard notes on marimba would

require a five-octave instrument, which is not a typical fixture in a liturgical church.

Marimba should probably be used in conjunction with piano or organ, but given the

amount of space the instrument consumes, and the amount of usage called for by the

setting, directors should use discretion when evaluating the need to use marimba. An

electronic emulator may also suffice as it takes up less space, creates nearly authentic

sounds, and can be changed to fill other needs.

Phrase and harmonic structure in the main melody are quite remarkable. Joncas

constructs the main melody as a parallel period, but the harmonic content implies the

opening phrase in D minor, and the closing phrase in F major. However, the melody’s

pentatonic nature and the composer’s attempts to honor pentatonicism in the

                                                                                                               
81
Minoru Maki, Composing for Japanese Instruments, Rochester: University of Rochester Press, 2008, p.2,
http://books.google.com/books?id=FC7wgPhX4D0C&printsec=front
cover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false (accessed July 20, 2012)
82
J.M. Joncas, “Notes,” p.5.

83
accompaniment seem to obscure tonal centers from a diatonic perspective. In m. 12, the

final measure of the opening period, the guitar chord is marked F6. Although F provides

the bass and the melodic conclusion, D still remains present in the chord. To provide

restful conclusion, the movement’s final chord omits the D and presents a fully voiced F

major chord.

A four-measure interlude identical to the introduction exists between each phrase

of the main text containing options for cantor tropes. Since performance length can prove

liturgically problematic, directors should assess whether to use the repeat option. In either

case, Joncas stipulates that the four-measure interlude must be played regardless of

whether the tropes are sung.

Choral involvement and difficulty increase as the movement progresses. The

choir introduces the first main period in octaves, but after the first interlude, the choir

returns with the sopranos and altos together on the melody with the tenors and basses on

new material reintegrating B-flats. Presented in open score, the third main period

reintroduces E-natural into the choral parts and features each of the four parts singing

independently. The altos carry the melody while the sopranos sing descant-like material

including a high A. Although the flute part provides support for the sopranos, care should

be taken that the sopranos don’t overbalance the melody. Although stepwise motion once

again dominates each line, careful rehearsal will be necessary to prevent mishaps. To

provide restful conclusion, the movement’s final chord omits the D and presents a fully

voiced F major chord.

84
6.6 SPECIAL NOTES:

Aside from Joncas’ very helpful and informative “Notes” at the beginning of the

full score, the promotional audio can also provide ideas regarding optional

instrumentation. The “Gloria” and “Gospel Acclamation” both include tambourine and

congas. The “Gospel Acclamation” also employs claves and shakers.

Guitar chords are present throughout the score, but the audio confirms the

composer’s accompanimental priorities as organ or piano. Guitar only gets used in the

“Gloria.” The “Gospel Acclamation” and the “Gloria” both use bass, but the bass player

doubles the lowest notes in the keyboard accompaniment. Though far from ideal, a

synthesizer with good instrumental samples can provide a significant savings in

personnel, cartage and available space. A synthesizer can emulate a Hammond B3 organ

with Leslie oscillators for the “Gloria,” timpani in the Eucharistic Acclamations, and harp

or marimba in the “Agnus Dei.”

6.7 PRODUCTS:

Choral/Accompaniment Edition G-7864

Full Score G-7864FS

Parts for Brass Quintet and Timpani83 G-7864BR

Parts for Two Woodwinds G-7864WW

Assembly Edition G-7864A

Presider Edition G-7864P

Compact Disc84 G-7864CD

Figure 6.7: Missa ad Gentes products and publisher numbers

                                                                                                               
83
Two trombones, not trombone and tuba as traditionally accepted.
84
MP3 files can also be purchased online. The cost of the CD or the MP3 collection is $5.00.

85
 CHAPTER 7

ANNOTATED BIBLIOGRAPHY OF SELECTED NEW MASS SETTINGS

WITH VIABLE CHORAL CONTENT

Music for this chapter has been chosen based on choral content. Revised settings

and settings for unison voices have been omitted. Although the list is exhaustive, it does

not cover every new liturgical choral Mass setting in the repertoire. Some settings have

short sections with multiple voice parts. In other settings, unison singing dominates with

some simple choral embellishments. The listed settings contain some combination of at

least three voice parts. Those that can function with cantor still possess choral content

that supports the melody in specific sections, and provides independent musical content

in other moments.

For most parishes, style is one of many critical considerations when evaluating

Mass settings for adoption. The annotations below use terms to provide a general stylistic

overview of the setting. An explanation of each term’s general implications is located

below:

Contemporary: Primarily driven by guitar, these settings are typically used in parishes
where no organ is present, and where modern American popular music and
Christian rock inform liturgical musical style.

Ethnic: Stylistically informed by music of other cultures, ethnic settings will have more
specific descriptions in each annotation.

High Church/Cathedral: A setting characterized by heavy use of organ and elegant choral
flourishes often associated with anthems and other repertoire performed in major
diocesan occasions and at cathedral churches. These settings will frequently
require significant resources for successful performance.

86
Hybrid: A setting whose stylistic versatility can be tailored to fit multiple situations.
Hybrid settings typically can incorporate either drums or organ.

87
Traditional/Conservative: A setting in keeping with the church’s artistic traditions,
commonly incorporating organ and elements reminiscent of chant.

Alonso, Tony. Mass of Joy and Peace. Chicago: GIA Publications, 2010.

Hybrid. SAB choir, keyboard and guitar, optional string quartet, flute and oboe. This is a
good setting for small choirs and parishes with limited resources. The composer admits to
the music’s overall simplicity, and to the brilliance brought to the setting by the optional
instruments, arranged by Chris de Silva. Though the setting can be performed without
accompaniment, careful discernment should inform whether to program the Mass without
at least one voice per part.

Bancks, Jacob. Mass of the Most Sacred Heart. Published online by the composer, 2010.
http://jbancks.com/home/?page_id=232 (accessed August 1, 2012)

Traditional. SATB choir, organ (or piano). A totally free resource, the composer offers
settings of the Kyrie, Gloria, Sanctus and Agnus Dei in the mother tongue and English.
With little to no textual repetition, this setting is appropriate for conservative parishes
who insist upon precise textual representation in music.

Berberick, Gael and Barney Walker. Mass of the New Covenant. Portland: Oregon
Catholic Press, 2010.

Contemporary. SATB choir, keyboard. This simple setting, which can stand with or
without choir, also provides chords for guitarists. Its progressions seem simple enough to
integrate guitar with bass and drums to support contemporary worship ensembles.
Promotional audio uses synthesizers and guitar. Choral parts often diverge from the
melody, so a cantor should always be present.

Bolduc, Ed. Mass of Saint Ann. Franklin Park: World Library Publications, 2011.

Contemporary. SAT choir, keyboard, guitar, optional flute, trumpet. Critically acclaimed,
Bolduc’s Mass is a favorite among bloggers. In keeping with his Lifeteen style, keyboard
parts are guitaristic in nature and should be loosely followed. Choral parts are simple but
elegant; cantors can sing the work solo. The composer stipulates that any basses should
double the sopranos. This Gloria is among the more musical and artistically constructed.
The Agnus Dei appears in earlier collections.

Canedo, Ken. Mass of the Holy Trinity. Portland: Oregon Catholic Press, 2010.

88
High Church. SATB choir, keyboard, optional solo instruments in C, B-flat, or E-flat.
With music based on ST PATRICK BREASTPLATE, a traditional Irish tune, Canedo’s
choral parts are beautiful and intricate, yet accessible. The lack of a full-score and
promotional audio without optional instruments prohibits assessment of the setting’s full
potential. The three separate downloadable instrumental parts seem to be identical to
facilitate playing by virtually any instrument.

Chiusano, Gerard. Mass of the Holy Angels. Portland: Oregon Catholic Press, 2010.

High Church. SATB choir, organ, two solo instruments in C, two trumpets in B-flat, two
trombones, timpani and handbells. With no available full score, it is difficult for directors
to manage the many instrumental contributions to this work. Promotional audio
synthesizes all the instruments to provide some degree of clarity. The Gloria has no
repeated text, and the Sanctus features a descant. Extensive options for Gospel
Acclamation verses are provided. Can function without choir.

Clark, Richard J. Mass of the Angels. Charles Town WV: CanticaNOVA Publications,
2011.

Traditional/Conservative. SATB choir, organ. Using melodies from Mass VIII (Liber
Usualis ‘De Angelis’) and Credo III, the Mass can easily be sung by cantor only.
Reminiscent of the modern harmonizations of ancient chants by Maurice Duruflé, this
setting follows similar compositional patterns. Clear pedal markings for the organist also
provide clarity. Though not as thoroughly choral as Duruflé. This setting also contains a
Credo setting with optional refrains in free rhythm.

Collegeville Composers Group, The. “Mass I, The Psallite Mass: At the Table of the
Lord.” Lift Up Your Hearts: Music for the Order of Mass. Collegeville: The
Liturgical Press, 2010.

Traditional/Conservative. SATB choir, organ. A trilingual English, Spanish, Latin Mass,

mostly in free rhythm. The superlative Gospel Acclamation in a lively 7/8 with
percussion seems a bit out of place. Both the Nicene and Apostles Creeds provide a
single musical line with reciting chords and cadences usable by SATB choir a cappella
which is to be repeated in a cycle. This setting provides a great platform for teaching
choral psalm tones.

Custer, Gerald. A Mass in Festive Style. Unpublished, used with the composer’s
permission, 2010.

Hybrid. SATB choir, piano. Custer’s customarily lush choral writing is apparent
throughout the score; some of the choral parts are deceptively tricky, but potential
rewards certainly merit the risks. Cantor can sing the melody throughout the piece.

89
Though capable of being stylized for contemporary ensembles, guitar chords are not
included in the composer’s score. Custer’s setting was one of the inspirations for this
study.

De Silva, Chris. Mass from Age to Age. Chicago: GIA Publications, 2010.

Contemporary. SATB choir, keyboard, guitar, optional flute, cello and trumpet. If
available, rhythm section including bass and drums will maximize stylistic possibilities.
The composer admits to deliberate inconsistencies in choral texture. With the Sanctus for
three voices, and the Memorial Acclamations for two voices, choral requirements vary
throughout the work. Assembly parts diverge from the choir at the end of the Lord’s
Prayer. Choral parts sometimes have a tendency to sound like back-up vocals, also
supporting the style.

DeBruyn, Randall. Mass of the Resurrection. Portland: Oregon Catholic Press, 2010.

High Church/Cathedral. SATB choir, organ, two trumpets, two trombones, timpani. The
full score only contains music for movements with brass. Musicians screening for
potential programming need to obtain both the full score and the keyboard/choral score
for a complete analysis. Brass interjections in the Sanctus are strategically placed. A
larger choir will experience better results with this setting.

Duncan, Norah, IV. Unity Mass. Chicago: GIA Publications, 2010.

Hybrid/Ethnic. SATB choir, keyboard, two trumpets, two trombones, timpani. The
promotional recording reveals a great deal about stylistic potential for this piece. With the
Gloria’s delightful calypso feel, accompanied by piano, bass, drums, and drawbar organ.
Other movements show a more reverent elegance. Choral parts contain sixteenth notes
and syncopations. Strong choral readers will enjoy the rhythmic challenge and lighter
style. Brass players will need instruction to match intended styles.

Fisher, Bobby. Mass of St. John. Portland: Oregon Catholic Press, 2010.

Contemporary/Rock. SATB choir, keyboard. The composer’s background as a guitar

specialist shows through. This music begs for rhythm section, including bass and drums.
Good guitarists could carry this music without keyboard support. A well-written choir
part seems out of place in this style; the music seems more suited for a good band with a
small body of excellent, literate vocalists. Not for cathedral use or for solemn occasions.

Garcia-Lopez, Estela and Rodolfo Lopez. Misa Santa Cecilia. Portland: Oregon Catholic
Press, 2010.

90
Ethnic/Afro-Caribbean. SATB choir, keyboard, two trumpets. Offers three versions: 1.
All English, 2. All Spanish, 3. Bilingual. Ideal performances will include Afro-Cuban
percussion including congas, guiro and shakers. Upright bass and nylon stringed guitars
would also be appropriate. Excellent for fostering cross-cultural collaboration; both
cultures would agree on the setting’s festive nature but should avoid programming during
penitential seasons.

Glover, Rob. Mass of Plenty. Chicago: GIA Publications, 2010.

Hybrid. The printed music might be new, but this is a revised setting. The first setting
was released in 2003 as part of Music In The Air, a recording of Glover’s music geared
specifically for children. Scored for SATB choir, keyboard and guitar with options for
flute, oboe, two trumpets, two trombones, string quartet and handbells, this setting will
require a large choir when set against the full contingent of instruments. Ideal for
collaborations between multiple parishes, or diocesan events.

Gokelman, William and David Kauffman. Mass of Renewal. San Antonio: Good For the
Soul Music Publishing Company, 2010.

Hybrid. SATB choir, piano and/or organ, guitar, bass guitar, flute, oboe, two trumpets,
two trombones, timpani, full strings. Award winning Mass setting at NPM Convention
2010. Among the most versatile of the works assembled in this study. Thoroughly
prepared and accessible, the full score is easily legible and leaves nothing to the
imagination. Contingency plans are made for every feasible combination of forces. This
setting can be performed with cantor and keyboard easily. The music is modern; it can
serve a high-church audience but can be tailored for contemporary ensemble.

Gouin, Normand. Mass of Saints Peter and Paul. St. Louis: Birnamwood Publications,
2011.

High Church/Hybrid. SATB choir, organ, optional two trumptets, two trombones,
timpani. The Agnus Dei is provided in English and Latin and is modeled from the
familiar melody from the XVIII Mass in the Liber Usualis. The mixed meters in the
Agnus Dei replace the chant’s familiar timing and cadence. The Gloria and Sanctus are
highly accessible and feature some brilliant brass composition. A musical line is provided
for the cantor through the entire score.

Guimont, Michel. Mass for a Servant Church. Chicago: GIA Publications, 2010.

High Church. SATB choir, organ, two trumpets, two trombones, timpani. Able to be
performed with cantor or small choir with organ alone, brass will assuredly drown out

91
choirs without large memberships. A compositional achievement, this piece integrates
modal writing and ancient styles with harmonic language consumable by modern
congregations.

Haas, David. Mass for a New World. Chicago: GIA Publications, 2010.

Modern/Contemporary. SATB choir, keyboard, guitar, two optional C instruments. Haas

addresses the reduced creative strain of starting from scratch as opposed to revision an
existing work in his foreward. Can be driven equally by guitar or keyboard, but a sparsely
written keyboard part demands an improvisatory approach. Can be presented with cantor
and accompaniment. An excellent setting for developing choirs. Guitar edition contains
all choral parts in a larger font.

Harris, Kim R. with M. Roger Holland. Welcome Table: A Mass of Spirituals. Chicago:
GIA Publications, 2012.

Ethnic/African-American Spiritual. This Mass was released as this project was being
completed. It contains melodic interpolations of “Ride On, King Jesus,” “Give Me
Jesus,” “Fix Me, Jesus,” “Ol’ Time Religion” and other spirituals. The setting is entirely
a cappella and needs full choir for successful performance. Although weekly
programming would demand a consistently strong choir, Welcome Table would be an
excellent setting for touring choirs.

Haugen, Marty. Storrington Mass. Chicago: GIA Publications, 2010.

Conventional. SATB choir, keyboard, guitar, optional flute, oboe, two trumpets, two
trombones, timpani, handbells. Though massively scored, the setting seems to be an
attempt to combine high church instrumentation with contemporary harmonic and choral
elements. Capable of representing both styles, directors should use discretion when
programming to assure the appropriate instrumentation for the locally desired stylistic
outcome.

Holland, M. Roger, II. The Sound of My People. Chicago: GIA Publications, 2010.

Ethnic/Urban contemporary gospel. SATB choir, keyboard. An enormous choral

achievement and a breakthrough in modern liturgical composition, Holland finds a
medium between the ancient liturgy and urban contemporary gospel with this work. The
score provides enough information for choirs to sing authentically. The promotional
audio uses drums, bass and drawbar organ, along with some improvised vocal solo work
and a great deal of keyboard technique not present in the score. Needs flexible
instrumentalists willing to improvise.

92
Janco, Steven R. Mass of Wisdom. Franklin Park: World Library Publications, 2010

Conventional/High Church. SATB choir, organ, optional guitar, two woodwinds in C,

two trumpets, two trombones, timpani, handbells. Classifying his own setting as
conventional, Janco’s setting matches styles of seasoned veterans in commercial
liturgical choral production. A blend of unison and choral singing promises not to
overwhelm the choral rehearsal, but the music is well constructed. Though chords are
provided, many guitarists will wish to play the setting in E instead of E-flat. Surely, the
piece was conceived with compositional bias toward other elements. Excellent
composition is included for brass and handbells.

Joncas, Michael. Missa ad Gentes: Maryknoll Centennial Mass. Chicago: GIA

Publications, 2010.

Markedly hybrid. SATB choir with divisi, organ or piano, flute, oboe, French horn, two
trumpets, two trombones, timpani. Conceived to serve a different style with each
movement, the setting is a bit long for weekly programming, particularly in the Gloria.
Excellent choral writing will challenge more experienced ensembles. Can serve as a
source for parishes using multiple settings simultaneously to serve their liturgy.

Keil, Keith. Mass of St. Francis Cabrini. Portland: Oregon Catholic Press, 2010.

High Church. SATB choir, organ, flute, three trumpets, two trombones, tuba, timpani,
string quartet. Critically acclaimed, simple yet dignified choral parts are central
throughout the work. Verse sections of both Gospel Acclamations provide choral psalm-
tone-style parts. Promotional audio contains parts for organ and choir only, and full
scores are not commercially available. The composer graciously agreed to provide a full
score for this study, but its analysis could not be created prior to the study’s conclusion.
Review of the instrumental parts suggests that they could be played together for an
orchestral liturgy.

Kirkpatrick, Bernard. Mass of Christ the Redeemer. Portland: Oregon Catholic Press,
2010.

High Church. SATB choir, organ, two trumpets in C, two trombones, timpani, handbells,
harp. An impressive score with thoroughly prepared organ registration suggestions, the
promotional audio poorly represents the piece’s majestic potential. The Kyrie and Gloria
utilizes some Greek or Latin, but English is predominantly used throughout the work.
This work should not be attempted without a designated cantor or cantor section, as in
some sections, the choir does not sing the melody.

93
Krisman, Ronald F. Misa Una Santa Fe / One Holy Faith Mass. Chicago: GIA
Publications, 2010.

Hybrid. SATB choir, keyboard, guitar, optional flute, oboe, two trumpets, two
trombones, latin percussion. The ethnic component in this setting precludes it from
reaching high church style, but the instrumentation heightens the music beyond mere folk
status. This bilingual Mass seems to elevate both represented cultures, and is an excellent
means of fostering cross-cultural collaboration elevating the sacred liturgy and her texts
above any cultural implications. The choral component will challenge less experienced
ensembles; collaborating parties can manage this through careful, discrete and respectful
delegation.

Krubsack, Donald. “Mass V: Mass in Honor of Mary, Mother of God.” Lift Up Your
Hearts: Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Conventional. SATB choir, keyboard. With simple melodies, conventional harmonic

progressions, and well-conceived choral writing, Krubsack’s setting is among the more
mainstream settings in this larger collection. With opportunities to sing in their upper
registers, tenors and especially sopranos will enjoy the challenge. This Mass cannot be
sung without cantor or cantor section.

Lawton, Liam. The Glendalough Mass. arr. Paul A. Tate. Chicago: GIA Publications,
2010.

Conventional. SAB choir, keyboard, guitar, optional flute and oboe. An excellent setting
for developing choirs and choirs with depleted tenor sections, this setting offers
ensembles opportunities to sing in parts without strenuous technical nuances. A simplistic
keyboard accompaniment and guitar chords allow for ornamentation through
improvisation. This setting can be easily presented with or without choir. Many parishes
are using movements from this Mass in conjunction with parts of other settings.

Manalo, Ricky, CSP. Mass of Spirit and Grace. Portland: Oregon Catholic Press, 2010.

Hybrid. SATB choir, keyboard, optional guitar, C instrument, two C trumpets, two
trombones, timpani, handbells. A well-written score with potential for various
performance styles, the Gloria has a through-composed form and a version with refrain
and verses. Keyboard players may wish to observe guitar chords in order to play more
ornamentally. Bell ringers will enjoy the rich chords in the “Alleluia” and the Sanctus.
Beautiful choral harmonies pervade the score, but do not isolate any specific playing
style. The Agnus Dei could be performed as a stunning a cappella choral selection on its
own.

94
Morris, Sally Ann. Black Mountain Liturgy. Chicago: GIA Publications, 2010.

Conventional. SATB choir, piano, optional C of B-flat instrument. Morris serves at

Parkway Presbyterian Church in Winston-Salem, North Carolina and draws inspiration
for this setting from Montreat NC in the Black Mountains, where the Presbyterian
Association of Musicians holds annual conventions. A simple setting published in several
newly released permanent hymnals, it contains an appropriate blend of choral and unison
singing for small or developing ensembles. Upbeat tempos throughout provide high
energy without drawing attention from the liturgy. This is one of the few new settings to
set the Eucharistic Preface Dialogue to music. Easily presentable with or without choir.

Pardini, J. Christopher. The New Century Mass. St. Louis: Birnamwood Publications,
2011.

Conventional. SATB choir, organ, optional handbells, horn in F, and trombone. Some
excellent harmonic explorations result in a smattering of accidentals throughout the
melody. Four-part choral writing is limited but effective, making this an excellent choice
for small groups of strong musicians. Organ parts are well marked with suggested
registrations. The setting also contains an instrumental Gospel Processional.

Reza, Mary Frances. Misa Santa Fe. Portland: Oregon Catholic Press, 2010.

Ethnic/Spanish. SATB choir, piano, guitar. The choral/guitar edition features an

ingenious format for managing a bilingual Mass. Both languages are stacked line-by-line
in score form on top of each other, facilitating understanding while also allowing syllabic
and textual nuances to take place in either language without altering the accompaniment.
Bilingual performances will be lengthy. Choral parts are moderately easy, but four-part
writing exists throughout the score. Style could be helped through carefully chosen
tempos and integrating various instruments such as bass and percussion. Conductors will
need two different scores to see the piano part and the choral score.

Schutte, Dan. Mass of Christ the Savior. Portland: Oregon Catholic Press, 2010.

Conventional. SAB choir, keyboard, optional C instruments (two harmonized, one

doubles the melody). A somber, simple, attractive setting, this might be effective for
programming during penitential seasons as an alternative to chanted settings or more
conservative choices. Tempo changes and performance practice can energize the music in
comparison with promotional audio. Harmonically stable, developing choirs and
congregations will find this setting readily accessible. Promotional audio uses piano as
the lead keyboard with organ playing during refrains and larger sections.

95
Shenk, Calvert, ad. Adam Taylor. Mass of the Redemption. Charles Town WV:
CanticaNOVA Publications, 2011.

Traditional/Cathedral. SATB choir, organ. A cappella sections mandate that this setting
cannot be performed without full choir. Providing music for Memorial Acclamation Form
A only, a Kyrie in Greek only, and limited congregational participation in the Gloria and
the Agnus Dei make this a good choice for touring choirs and churches with strong choral
traditions. Expanded choral ranges, entire phrases a cappella, and a brief tenor solo in the
Gloria will help visiting choirs make a solid impression.

_______. Modal Mass. Charles Town WV: CanticaNOVA Publications, 2010.

Conservative/Cathedral. SATB choir, organ. An intriguing setting employing ancient

church modes, no sharp or flat notes appear in any movement. Limited congregational
participation also means that this setting might be best used in specialized applications
such as ordination Masses.

Smith, Timothy R. Mass of the Sacred Heart. Portland: Oregon Catholic Press, 2010.

Conventional. SAB, piano, optional C instrument. A solid middle school cherub choir
would do wonderfully with this setting. Limited lower ranges for basses and restricted
ranges in the upper voices make this an excellent selection for changing voices. Standard
harmonic structures and easily flowing melodic lines assure a high probability of success
for young choristers. The accompaniment is easy and unobtrusive.

Soper, Scott. Mass of Awakening. Franklin Park: World Library Publications, 2010.

Hybrid/High Church. SATB choir, organ or piano, optional guitar, handbells, two C
woodwinds, two trumpets, two trombones. Based on the fourteenth century German
hymn CHRIST IST ERSTANDEN, full instrumental support brings this setting into the
high church style with a very conservative slant. Choral parts are moderately accessible,
though some stepwise parallel motions occasionally result in unexpected dissonances
(and consonances). Harmonic progressions may make immediate assimilation difficult
for contemporary ensembles, but strong rhythmic drive in the Gloria and Eucharistic
Acclamations are too strong to ignore. The full score makes directorial preparation
simple.

_______. Mass of New Life. Portland: Oregon Catholic Press, 2010.

Hybrid/Contemporary. SATB choir, piano, two optional solo instruments. Containing

several flat sixths and sevenths resulting in melodic major construction and occasional
choral and harmonic dissonance, this rhythmically driven setting can be programmed for

96
piano or rhythm section. Widespread choral chromaticism can be moderately challenging,
but easy guitar chords and an accessible melody make this setting malleable to traditional
or contemporary ministries.

Stephan, Curtis. Mass of Renewal. Portland: Oregon Catholic Press, 2010.

Contemporary. SAB choir, piano, two optional solo instruments. Not to be confused with
Gokelman and Kauffman’s setting by the same title, Stephan’s setting is exclusively
contemporary. Promotional audio uses bass and drums as well as some unwritten
harmonizations. Excellent for Lifeteen and other contemporary programming, but choral
parts sound too much like back-up vocals to merit programming in traditional settings.

Still, Matthew S. “Mass X: Mass in Honor of Saint Dominic.” Lift Up Your Hearts:
Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Conventional. SATB choir, organ. Easily accessible for congregations, but the choir will
face a few isolated challenges. Still accomplishes the task of moving the melody through
the choral voices without obstructing it for the congregation. Mixed meters in the
Memorial Acclamations serve the text.

Strassburger, Frederick W. “Mass IV: Mass in A Minor.” Lift Up Your Hearts: Music for
the Order of Mass. Collegeville: The Liturgical Press, 2010.

Conventional/Traditional. SATB choir, organ. A musically well-unified setting, nearly

every movement begins with identical melodic themes, which will undoubtedly facilitate
and speed congregational participation. Melodies are remarkably well constructed, and
the text setting seems markedly less labored than some other settings. The composer’s
stalwart commitment to the melody in the soprano without descants may stifle choral
potential.

Trapp, Lynn. Centennial Mass. St. Louis: Birnamwood Publications, 2011.

Hybrid. SATB choir, keyboard, two optional C instruments, trumpet, timpani. This
setting features an English and Greek blended Kyrie with variable tropes. Choral writing
is pervasive and attractive with several hemiolas in the Gloria. Setting the perceived style
will be a matter of choosing between rhythm section and organ. The melody is smooth
and will convey clearly in either respect. Introductions and conclusions may need to be
shortened in a time-constrained liturgy.

97
_______. Morning Star Mass. St. Louis: Birnamwood Publications, 2011.

High church/Cathedral. SATB, organ, two trumpets, two trombones, timpani. A cappella
sections restrict programming to Masses with choir only. Timpani parts are difficult,
requiring multiple mid-movement adjustments. Chant-like melodies and rhythmic
elements in the Memorial Acclamations are offset by choral material elsewhere. Among
the more conservative settings in this study, it also conscientiously considers the
congregation’s participation.

Vogt, Kevin Christopher. “Mass VII: Mass in Honor of Saint Michael.” Lift Up Your
Hearts: Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Conventional/Traditional. SATB choir, organ. Throughout the setting, the organ supports,
but does not embellish the choir. The only instrumental ornaments occur during unison
singing and choral silence. A cappella choral sections prohibit the setting’s programming
without full choir.

Walker, Christopher. Mass of St. Paul the Apostle. Portland: Oregon Catholic Press,
2010.

Hybrid. SATB choir, keyboard, guitar, two trumpets, tenor trombone, bass trombone. A
versatile setting with contemporary rhythmic interest but elevated choral and brass
writing, the Mass could be performed with a contemporary or a progressive traditional
flavor. Singable with cantor only, choral parts include soprano divisi for descant in the
Agnus Dei and melodic displacement throughout each voice especially toward the end of
larger movements. Brass quartet parts are compressed to a single part, so each player
receives the same pages. There is no full score available for directors to see the choral
parts as they relate to the brass, but melodic cue notes in the brass part help
instrumentalists keep their place.

Warner, Steven C and Karen Schneider Kirner. Mass for Our Lady. Franklin Park: World
Library Publications, 2010.

Conventional/High church. SATB choir, keyboard, guitar, C instrument, string trio,

trumpet, trombone, handbells. The promotional audio uses cantor with piano and guitar
only, creating a conventional style. Adding the instruments, choir and organ would
instantly elevate this Mass to high church style. All scores provide the necessary
information and the choral parts are easy to read and sing. The setting also includes music
for the Sprinkling Rite and The Lord’s Prayer.

98
Willcock, Christopher, SJ. Missa Magis. Portland: Oregon Catholic Press, 2010.

Conventional. SATB choir, organ. The Kyrie is in Greek only, and the Gloria at the
marked tempo lasts significantly longer than four minutes, far too long for time-
constrained liturgies. However, the setting includes a through-composed Credo in
English, and a well-conceived Agnus Dei with viable yet accessible choral content.
Directors may wish to examine this setting for specific movements to blend with those
from other settings.

99
 CHAPTER 8

CONCLUDING REMARKS

The newly composed Mass settings released for the new English translation of the

Roman Missal offer stylistic and cultural variety reflecting the incredible diversity

present in Catholic congregations throughout the United States. From the simplicity and

traditional conservatism of Clark’s Mass of the Angels to the blatant stylistic

progressivism found in Bolduc’s Mass of St. Ann or Fisher’s Mass of St. John, the body

of new Mass settings with choral content seems to cover all our cultural bases. Holland

and Harris’ settings authentically and tastefully address the African-American heritage

from both modern (The Sound of My People) and historical (Welcome Table)

perspectives. Settings by Krisman and Reza address the growing need for resources in

English and Spanish to serve a bilingual liturgy, and Joncas’ global approach in his Missa

ad Gentes addresses seemingly countless other cultures.

Although some new settings are intentionally designed to serve congregations

whose artistic standards may have no interest in high musical art or the church’s ancient

musical traditions, many settings reveal that post-Vatican II compositional philosophies

involve a great deal more than just folk musics with guitars providing the central

instrumental impetus for the liturgy. The volume of settings containing strong

composition for choirs indicates that the choral art form is alive and well in parishes.

Some settings demand extensive experience and technical prowess for proper

99
performance, but many settings with lesser choral demands sound quite spirited and

remarkable. While weekend schedules often make choral singing impossible in every

Mass, many new settings reveal that their artistic integrity remains in tact with or without

a full choir.

This new body of composition may also have the artistic and musically technical

fortitude to leave the confines of the church. Many academic choirs in this era often

choose to program ancient liturgical Mass settings and concert Masses. Perhaps this

resurgence of artistry and creativity will inspire academic choral directors to consider

modern liturgical Mass settings for programming in their concerts.

100
 REFERENCES

Alonso, Tony. Mass of Joy and Peace. Chicago: GIA Publications, 2010.

Bancks, Jacob. Mass of the Most Sacred Heart. Published online by the composer, 2010.
http://jbancks.com/home/?page_id=232 (accessed August 1, 2012)

Benedictines of Solesmes, ed., The Liber Usualis, with Introduction and Rubrics in
English. Desclee & Co., 1962.

Berberick, Gael and Barney Walker. Mass of the New Covenant. Portland: Oregon
Catholic Press, 2010.

Breihl, Susan. Do This in Memory of Me. Promotional materials. GIA.

http://www.giamusic.com/search_details.cfm?title_id=634 (accessed September
6, 2011)

Bolduc, Ed. Mass of Saint Ann. Franklin Park: World Library Publications, 2011.

Canedo, Ken. Mass of the Holy Trinity. Portland: Oregon Catholic Press, 2010.

Carroll, Lucy A.. “Vatican II didn’t abolish choirs. So who did?” Adoremus Bulletin
Online Edition, Vol. 9, No. 2: April 2003.
http://www.adoremus.org/0403Choirs.html (accessed March 1, 2011)

Chiusano, Gerard. Mass of the Holy Angels. Portland: Oregon Catholic Press, 2010.

Clark, Richard J. Mass of the Angels. Charles Town WV: CanticaNOVA Publications,
2011.

Collegeville Composers Group, The. “Mass I, The Psallite Mass: At the Table of the
Lord.” Lift Up Your Hearts: Music for the Order of Mass. Collegeville: The
Liturgical Press, 2010.

Cortez, Jaime. Interview. Initiated electronically on February 25 2011.

Custer, Gerald. A Mass in Festive Style. Unpublished, used with the composer’s
permission, 2010.

101
Davies, Michael. “The ICEL Betrayal.” The Angelus. July and August 1980,
http://www.angelusonline.org/index.php?section=articles&subsection=show_artic
le&article_id=380 (accessed July 30, 2012).

De Silva, Chris. Mass from Age to Age. Chicago: GIA Publications, 2010.

DeBruyn, Randall. Mass of the Resurrection. Portland: Oregon Catholic Press, 2010.

Duncan, Norah, IV. Unity Mass. Chicago: GIA Publications, 2010.

Elliott, Peter J., Bishop. “Hear the Difference: New Translation Will Be Like
Rediscovering Buried Treasure.” The Record. March 2, 2011.
http://www.therecord.com.au/site/index.php/Vista/hear-the-difference-new-
missal-translation-will-be-like-rediscovering-buried-treasure (accessed May 4,
2010)

Fanning, William. ”Gloria." The Catholic Encyclopedia. Vol. 3. Robert Appleton

Company, 1908. http://www.newadvent.org/cathen/06583a.htm. (accessed
September 6, 2011.)

Fisher, Bobby. Mass of St. John. Portland: Oregon Catholic Press, 2010.

Garcia-Lopez, Estela and Rodolfo Lopez. Misa Santa Cecilia. Portland: Oregon Catholic
Press, 2010.

Glover, Rob. Mass of Plenty. Chicago: GIA Publications, 2010

Gokelman, William and David Kauffman. Mass of Renewal. San Antonio: Good For the
Soul Music Publishing Company, 2010.

Gouin, Normand. Mass of Saints Peter and Paul. St. Louis: Birnamwood Publications,
2011.

Guimont, Michel. Mass for a Servant Church. Chicago: GIA Publications, 2010.

Haas, David. Do This in Memory of Me. Chicago: GIA Publications, 2003.

_______. Mass for a New World. Chicago: GIA Publications, 2010

Harper, John. The Forms and orders of western liturgy from the tenth to the eighteenth
century. New York: Oxford University Press, 1991.

Haugen, Marty. Storrington Mass. Chicago: GIA Publications, 2010.

Holland, M. Roger, II. The Sound of My People. Chicago: GIA Publications, 2010

102
_______. Welcome Table: A Mass of Spirituals. Chicago: GIA Publications, 2012.

International Commission on English in the Liturgy. The English translation and chants
of The Roman Missal, 3rd ed., 2010.

_______. The English translation and chants of The Roman Missal, 2nd ed., 1997.

_______. http://www.icelweb.org/whatis.htm (accessed September 8, 2011)

Janco, Steven R. Mass of Wisdom. Franklin Park: World Library Publications, 2010

John Paul II, Pope. “Supplement to Press Release: Fifth Instruction for the Right
Implementation of the Sacrosanctum Concilium,” Liturgicam Authenticam, May
7, 2001,
http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdd
s_doc_20010507_comunicato-stampa_en.html (accessed July 30, 2012)

Joncas, Michael. Missa ad Gentes: Maryknoll Centennial Mass. Chicago: GIA

Publications, 2010.

Keil, Keith. Mass of St. Francis Cabrini. Portland: Oregon Catholic Press, 2010.

Kirkpatrick, Bernard. Mass of Christ the Redeemer. Portland: Oregon Catholic Press,
2010.

Krisman, Ronald F. Misa Una Santa Fe / One Holy Faith Mass. Chicago: GIA
Publications, 2010.

Krubsack, Donald. “Mass V: Mass in Honor of Mary, Mother of God.” Lift Up Your
Hearts: Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Lawton, Liam. The Glendalough Mass. arr. Paul A. Tate. Chicago: GIA Publications,
2010.

Limb, John J. ed. Flor y Canto. 2nd ed. Portland: Oregon Catholic Press, 2001.

Maki, Minoru. Composing for Japanese Instruments. Rochester: University of Rochester

Press, 2008. http://books.google.com/books?id=FC7wgPhX4D0C&printsec=front
cover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false (accessed
July 20, 2012)

Manalo, Ricky, CSP. Mass of Spirit and Grace. Portland: Oregon Catholic Press, 2010.

McGreevy, John. Catholicism and American Freedom. New York. W.W. Norton & Co.,
2003.

103
Morris, Sally Ann. Black Mountain Liturgy. Chicago: GIA Publications, 2010.

Ostdiek, Gilbert. “Principles of Translation in the Revised Sacramentary.” Liturgy for a

New Millennium: A Commentary of the Revised Sacramentary, ed. M.R. Francis
and K.F. Pecklers. Collegeville: Liturgical Press, 2000. 17-34.

Panayiotou, Andrea Christine. An Examination of Pre and Post-Vatican II Music for the
Roman Liturgy: Ethnic Diversity as a Vehicle for Unity. M.A. Thesis: Florida
Atlantic University, 2011.

Pardini, J. Christopher. The New Century Mass. St. Louis: Birnamwood Publications,
2011.
Pius V, Pope St. “Quo Primum,” Apostolic Constitution. July 14, 1570. Papal Encyclicals
Online. http://www.papalencyclicals.net/Pius05/p5quopri.htm (accessed May 4,
2012)

Ramirez, Ariel. Misa Criolla. Van Nuys: Lawson-Gould Music Pubs, 1965.

Reza, Mary Frances. Misa Santa Fe. Portland: Oregon Catholic Press, 2010.

Russell, Joan. “A ‘Place’ for Every Voice: The Role of Culture in the Development of
Singing Expertise.” Journal of Aesthetic Education, Vol. 31, No. 4 (Winter,
1997), 95-109.

Schutte, Dan. Mass of Christ the Savior. Portland: Oregon Catholic Press, 2010.

Second Vatican Ecumenical Council. Musicam Sacram: Instruction on Music in the

Liturgy. The Roman Curia, 1967.
http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-
ii_instr_19670305_musicam-sacram_en.html (accessed April 5, 2011)

Second Vatican Ecumenical Council. Constitution on the Sacred Liturgy: Sactrosanctum

Concilium. The Roman Curia, 1963.
http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-
ii_const_19631204_sacrosanctum-concilium_en.html (accessed April 5, 2011)

Shenk, Calvert, ad. Adam Taylor. Mass of the Redemption. Charles Town WV:
CanticaNOVA Publications, 2011.

_______. Modal Mass. Charles Town WV: CanticaNOVA Publications, 2010.

Shrock, Dennis. Choral Repertoire. New York, Oxford University Press, 2009.

Smith, Timothy R. Mass of the Sacred Heart. Portland: Oregon Catholic Press, 2010.

Soper, Scott. Mass of Awakening. Franklin Park: World Library Publications, 2010.

104
_______. Mass of New Life. Portland: Oregon Catholic Press, 2010.

Sosa, Juan J. Misa de la Aurora. Oregon Catholic Press, 1999.

Stephan, Curtis. Mass of Renewal. Portland: Oregon Catholic Press, 2010.

Still, Matthew S. “Mass X: Mass in Honor of Saint Dominic.” Lift Up Your Hearts:
Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Strassburger, Frederick W. “Mass IV: Mass in A Minor.” Lift Up Your Hearts: Music for
the Order of Mass. Collegeville: The Liturgical Press, 2010.

Trapp, Lynn. Centennial Mass. St. Louis: Birnamwood Publications, 2011.

_______. Morning Star Mass. St. Louis: Birnamwood Publications, 2011.

United States Council of Catholic Bishops (USCCB). “Timeline.” Welcoming The Roman
Missal Third Edition. http://old.usccb.org/romanmissal/resources-timeline.shtml
(accessed May 4, 2012)

Velló, Frederic Oriola. “Los coros parroquiales y el motu proprio de Pío X: La diócesis
de Valencia (1903-1936).” Nassarre, Vol. 25 (2009), 89-108

Vivaldi, Antonio. Gloria (RV 589). William Herrmann, ed. G. Schirmer, 1973.

Vogt, Kevin Christopher. “Mass VII: Mass in Honor of Saint Michael.” Lift Up Your
Hearts: Music for the Order of Mass. Collegeville: The Liturgical Press, 2010.

Walker, Christopher. Mass of St. Paul the Apostle. Portland: Oregon Catholic Press,
2010.

Walsh, Christopher J. “Issues of Liturgical Language Arising in Revision.” Worship,

74(6), 2000. 482-503

Warner, Steven C. Mass for Our Lady. Franklin Park: World Library Publications, 2010.

Wikipedia contributors, "Gloria in excelsis Deo," Wikipedia, The Free Encyclopedia,

http://en.wikipedia.org/w/index.php?title=Gloria_in_excelsis_Deo&oldid=448437
607 (accessed September 6, 2011).

_______. “Roman Missal.” Wikipedia, The Free Encyclopedia,

http://en.wikipedia.org/wiki/Roman_Missal (accessed April 26, 2012).

Willcock, Christopher, SJ. Missa Magis. Portland: Oregon Catholic Press, 2010.

105
 APPENDIX: DOCUMENTATION OF PERMISSION
TO USE COPYRIGHTED MATERIAL
 
From: Kyle Cothern <kylec@giamusic.com>
Date: Friday, August 17, 2012 11:39 AM
To: Peppie Calvar <peppie@calvar.net>
Subject: Re: permission for dissertation

Dear Peppie,

Thank you for submitting the portion of your rough draft. Know that your intellectual
property will be protected with the utmost consideration. I had noted from your first
message yesterday that your publication is noncommercial and strictly for educational
purposes; your draft confirms these details.

In this instance GIA is happy to grant gratis reprint permission for excerpts of the Mass
settings Welcome Table, Mass for a Servant Church, and Missa ad Gentes/Maryknoll
Centennial Mass per your request in the below email thread. Please include the phrase
"used by permission" along with your citation of copyright notice for the excerpts of the
material according to style and document layout.

Best wishes for your work.

Regards,
Kyle Cothern
Associate Permissions Editor

GIA Publications, Inc.

7404 S. Mason Ave.
Chicago, IL 60638
phone: 708-496-3858 x49
fax: 708-496-3828
kylec@giamusic.com

On Aug 20, 2012, at 9:03 PM, Peppie Calvar wrote:

Correction:

I am using Holland's The Sound of My People, not Welcome Table. Sorry for the
confusion.

Thanks.

106
From: Kyle Cothern <kylec@giamusic.com>
Date: Tuesday, August 21, 2012 10:06 AM
To: Peppie Calvar <peppie@calvar.net>
Subject: Re: permission for dissertation

Dear Peppie,

That is fine. Thank you for letting me know.

Regards,
Kyle Cothern
Associate Permissions Editor

GIA Publications, Inc.

7404 S. Mason Ave.
Chicago, IL 60638
phone: 708-496-3858 x49
fax: 708-496-3828
kylec@giamusic.com

------------------------

From: David Kauffman <david@goodforthesoulmusic.com>

Date: Wednesday, August 15, 2012 3:06 PM
To: Peppie Calvar <peppie@calvar.net>
Cc:
Subject: RE: Calvar dissertation permission

Dear Peppie,

Please let this email serve as permission to use excerpted pieces of the Mass of Renewal
(Gokelman/Kauffman) for use in your Doctoral Dissertation. We’re honored that you’re
using it for examples, and look forward to hearing you passed with flying colors.

God bless you.

All our best,

David Kauffman

------------------------

From: Jason McFarland <jmcfarland@eliturgy.org>

Date: Friday, August 3, 2012 9:18 AM
To: Peppie Calvar <peppie@calvar.net>
Subject: RE: Calvar dissertation

107
Dear Mr. Calvar,

Thank you for your email of 31 July 2012.

We are pleased to grant permission, free of charge, for the inclusion of ICEL material in
your publication contingent upon the following conditions:

1. The appropriate copyright notice will be included:

Excerpts from the English translation and musical settings of The Roman Missal © 2010,
International Commission on English in the Liturgy Corporation. All rights reserved.

2. This item is not for sale.

With every good wish.

Edmund Yates
Assistant to the Executive Director

International Commission on English in the Liturgy

1100 Connecticut Avenue, NW, Suite 710
Washington, DC 20036 USA
202-347-0800 x3
icel@eLiturgy.org

108