Why Chant & Antiphons?

If you have attended (or viewed from home)  a Mass at St. Patrick in the last three years it is likely that you have heard music different than what you may have encountered in the past or even now at other parishes in the area. Since 2020, St. Patrick's liturgical music program has utilized chanted antiphons at the various processions throughout the Mass (beginning with the Entrance and Communion procession, and since Easter 2023, chant during the Offertory procession as well).

Why use these, what happened to just singing hymns?

Most Catholic parishes today (at least in the United States) have become accustomed to what is colloquially referred to as the "four-hymn sandwich," a set of four hymns selected by a priest or music director, to be used throughout the Mass. While this is an option that Second Vatican Council permits, it is not the first option. It is also a remnant from the pre-Conciliar Latin Low Mass when vernacular hymnody was permitted so that congregants could feel like they were participating while at the liturgy. The first option encouraged by Vatican II is to sing the texts of the Mass as given in the Roman Missal. The Church, in her liturgical books, offers texts (most often, specifically scriptural texts) to be used at the Entrance and Communion processions during the Mass. These are called the "antiphons." These antiphons help connect a theme or idea throughout the whole Mass, usually relating to at least one of the readings and/or the liturgical season. These help to keep our minds focussed on the liturgy at hand while singing from the divinely inspired Word of God.

Why chant?

Most of the settings for antiphons we use here at St. Patrick are from the Source & Summit Missal, composed by Adam Bartlett. These are chanted English settings of the antiphons for Mass. Second Vatican Council taught that chant is uniquely the Church's own music and that it should have  "pride of place" in liturgical celebrations. This is because it allows the focus to be on the words. In a metered piece of music (something in 4/4 time, or 3/4 time), often one is challenged to adapt or change words to fit the given number of notes in a phrase. With chant, the words do not have to be adapted to fit within the rigid structure of a metered tune. Source & Summit has done a beautiful job of adapting melodies for English chant with due homage for the Church's great tradition of sacred music while honoring the text itself.

How do we do them?

Anytime we chant an antiphon or responsorial Psalm, it is done in a responsorial style. The cantor will intone (sing) it once through for the congregation to hear, then it will be repeated for the congregation to join in. If one finds a chant particularly cumbersome, do not feel like you HAVE to sing it to be "actively" participating. Active participation refers to more than merely our external participation. Take the words of the antiphon to heart and sing it internally with praise to the Lord!

What about hymns?

Hymns are not disappearing altogether. Hymns are still utilized weekly during the preparation of the altar, communion procession and recessional to help more fully unite our voices in song weekly. In addition, during Solemnities and High Seasons, we combine the entrance antiphon with a hymn to help create an even more festive approach to our entrance into the celebration.

While we cannot permit just any or every hymn or song, those chosen are chosen because of their tie to the season, the readings, their place in the Liturgy, or because of their effectiveness in offering praise to God. Hymns are not chosen because they are favored or unfavored more or less than others. Hymns are not chosen just to be sung. Hymns - and ALL liturgical music - are done always in service of the Liturgy; to offer glory to God and to sanctify us.