Updated July 2020
Anthem: A hymn of acclamation and loyalty, it may be a musical composition set to a sacred text, or a patriotic song expressing celebration and praise.
Antiphon: Alternate chanting. A psalm or hymn alternately sung by two choirs. A form of chant introduced in the West about A.D.500, displacing the responsorial form.
Doxology: A hymn or formula of praise to God. "Glory to God in the Highest," recited or sung at Mass, is known as the greater doxology. "Glory be to the Father and to the Son and to the Holy Spirit" is the lesser doxology.
Feast: Days set apart by the Church for giving special honor to God, the Savior, angels, saints, and sacred mysteries and events .
Gospel Acclamation: See Responsorial Psalm
Gradual: The response and versicle to the Epistle formerly made at High Mass, and so named because it was sung on the step of the altar.
Hymnody: Religious lyric poetry different from epic poetry and distinct from profane lyric poetry. Catholic hymnody is divided into liturgical and nonliturgical. The former has hymns belonging by their nature to the Sacrifice of the Mass and the canonical hours such as are found in the Breviary. The nonliturgical embrace hymns for use in private devotion or during the liturgy when they are approved by the hierarchy.
Introit: The entrance or introductory rite of the Mass.
Ordinaries: texts that remain the same for every Mass. Those sung by the choir are, in the Latin Mass, the Kyrie, Gloria, Credo, Sanctus (sometimes divided into Sanctus and Benedictus), and Agnus Dei, although the intonations of Gloria and Credo are sung by the celebrant.
Propers: The Proper of the Mass includes the scriptural texts that change daily with the liturgical calendar. The Proper texts sung by the choir, with the participation of soloists, are the Introit, Gradual, Alleluia or Tract, Sequence, Offertory, and Communion.
Responsorial Psalm: Antiphonal psalm that is said or read before the Gospel at Mass. Normally the psalm is taken from the lectionary and has some bearing on the particular text from Scripture. After the second reading and before the Gospel the Alleluia is either sung or read, followed by its appropriate verse. If the Alleluia or the verse before the Gospel is not sung, it may be omitted. Except on Easter Sunday and Whitsunday, the sequences (special festive hymns) are optional.
Second Vatican Ecumenical Council: 21st ecumenical council of the Roman Catholic Church (1962–65), announced by Pope John XXIII on Jan. 25, 1959, as a means of spiritual renewal for the church and as an occasion for Christians separated from Rome to join in search for reunion. Preparatory commissions appointed by the Pope prepared an agenda and produced drafts (schemata) of decrees on various topics. In opening the council on Oct. 11, 1962, the Pope advised the council fathers to try to meet the pastoral needs of the church.
Solemnity: The highest liturgical rank of a feast in the ecclesiastical calendar.
Tract: the verse or verses recited after the Gradual and replacing the Alleluia on days of sorrow or penance, as in ferial Masses in Lent. In the revised liturgy a tract is a psalm with a responsory.
Vigil: The day or eve before a more or less prominent feast or solemnity.
"The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this pre-eminence is that, as a combination of sacred music and words, it forms a necessary or integral part of solemn liturgy." 20 The composition and singing of inspired psalms, often accompanied by musical instruments, were already closely linked to the liturgical celebrations of the Old Covenant. The Church continues and develops this tradition: "Address . . . one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all your heart." "He who sings prays twice."
Catechism of the Catholic Church, paragraph 1156
According to the teachings of the Roman Catholic Church, high quality music is vital to worship during the Holy Sacrifice of the Mass. The Church recognizes human voice as the primary and highest instrument used during liturgies, but allows the use of other instruments whether for accompaniment or solo performance. In order to adhere as much as possible to the Church's teachings, St. Leo's Choir is focused on producing the highest quality music available, with emphasis on the human voice. St. Leo’s Choir diligently works to perform music solely “Ad Majorem Dei Gloriam” (for the greater glory of God).
St. Leo's Choir is responsible for providing music to the liturgies at certain Masses throughout the year. These Masses include:
Regular weekend Masses (Saturday vigil and Sunday morning)
Certain High Feasts on the liturgical calendar, especially Holy Days of obligation, as determined by the Director of Music
Eastertide Masses - Holy Week (Palm Sunday, Holy Thursday, Good Friday, Easter Vigil, and all Easter Sunday Masses)
Christmas Masses - Christmas Eve, Christmas during the night, Christmas morning
St. Leo's Choir is not responsible for additional or other special Masses, but may be requested to sing for them as determined by availability and at the discretion of the Director of Music. These additional Masses may include, but are not limited to:
First Masses of newly ordained priests
Weddings
Funerals
Eucharistic processions
Others by request
Song and music fulfill their function as signs in a manner all the more significant when they are "more closely connected . . . with the liturgical action," 22 according to three principal criteria: beauty expressive of prayer, the unanimous participation of the assembly at the designated moments, and the solemn character of the celebration. In this way they participate in the purpose of the liturgical words and actions: the glory of God and the sanctification of the faithful…
Catechism of the Catholic Church, paragraph 1157
The harmony of signs (song, music, words, and actions) is all the more expressive and fruitful when expressed in the cultural richness of the People of God who celebrate. 25 Hence "religious singing by the faithful is to be intelligently fostered so that in devotions and sacred exercises as well as in liturgical services," in conformity with the Church's norms, "the voices of the faithful may be heard." But "the texts intended to be sung must always be in conformity with Catholic doctrine. Indeed they should be drawn chiefly from the Sacred Scripture and from liturgical sources."
Catechism of the Catholic Church, paragraph 1158
Hymns are sung regularly throughout Mass to both draw the faithful more deeply into the mystery of the sacrifice of the Mass and to fill the time for the celebrant to perform the necessary steps to prepare for it. When possible, the hymns ought to reflect the readings of the Mass or reflect the appropriate feast (if any) remembered on the day. The moments during the Mass that hymns may be sung are as follows:
Processional
The Introit should take "pride of place" during this rite. However, during the procession of the celebrant, deacon (concelebrants and subdeacons if any) and altar servers, a hymn may be sung by the faithful, led by the choir. The purpose of this hymn is to draw the faithful into the majesty of the Mass, as well as to uplift praise to the Almighty Father for his sacrifice of his Son, our Lord Jesus Christ. The hymn should reflect celebration, awe, praise, and humility while holding as much reverence as possible to the sacrifice of the Mass.
Offertory (Preparation of the Gifts)
The preparation of the gifts begins the liturgy of the Eucharist, and as such, should reflect a deep reverence for the sacrifice being prepared. This hymn may reflect the readings if possible, but should always be reflective, reverent, and humble. This hymn may be sung entirely by the choir alone, by the faithful and choir together.
Communion
After the Communion Antiphon, a hymn of thanksgiving may be sung during the reception of communion. This hymn, as is appropriate, should ultimately convey deep mystery and love of the Holy Eucharist. The purpose of this hymn should never be to fill time, but rather it should be sung in the hopes of deepening the meditation of the faithful in the mystery and love of Jesus Christ truly present in the Holy Eucharist. The communion hymn typically is sung after the choir has received communion (when possible). If this is not possible, it is the responsibility of the choir director to ensure communion is offered to the choir at a different time. It is not necessary for the hymn to be sung by the faithful but may be invited to do so.
It should be noted that, as previously stated, this hymn should never be sung/played for the purpose of filling time. Silence during communion and especially the cleansing of the altar is completely appropriate. Verses should not be repeated for the sake of filling time, nor should the organ play more than one verse as a solo after the verses are complete.
Recessional
This hymn is sung after the dismissal of the faithful. Thematically, this hymn is much more flexible. Often, if possible, it will reflect the readings. It should always be praise-giving and should, in some way, reflect the words of the dismissal: "Go in peace, glorifying the Lord by your life (or, "Go forth, the Mass has ended"). Thanks be to God."
Hymns can be replaced by a well-rehearsed anthem of the choir director's choosing. This is most appropriately done during holidays and higher feasts, but may be done at any time. All anthems must be approved for use by the Director of Music.
At the beginning of Mass, the cantor/choir director will announce a welcoming, state that the hymns are listed on the hymn boards, and invite the faithful to sing with the choir the processional hymn. For consistency's sake, this welcoming will be scripted by the Director of Music, and will be altered depending on the week and season. Cantors and choir directors are to use the scripted welcoming at all Masses.
Each hymn may begin with an organ introduction. This is played at the discretion of the organist and/or choir director. An introduction is done for a number of reasons:
to allow time for the faithful to open to the correct hymn
to allow the choir and faithful to become familiar with the hymn
to set the tempo for the choir/faithful
During Lent, hymn use is reduced to reflect the deep solemnity of the season. The most significant change is that the Introit replaces the processional hymn completely. Also, at the Pastor's request, the Chaplet of Divine Mercy is often sung as the Communion hymn during Lent.
The Ordinary of the Mass employs texts that remain the same for every Mass, and include:
Kyrie (Lord have Mercy)
Gloria (Gloria to God)
Credo (Nicene Creed)
Sanctus (Holy, Holy, Holy)
St. Leo's uses a set of music called a Mass Setting to accomplish these parts of the Mass. The Mass Setting often includes the Memorial Acclamation, an 'amen' for the Doxology, as well as other regularly used songs for the Mass. St. Leo’s Choir uses a variety of Mass Settings depending upon the season, and the solemnity dictated by it. Mass Settings are selected for use by the Director of Music.
Mass Propers Procedures
Introit (Entrance Antiphon)
Gradual (Responsorial Psalm)
Alleluia or Tract during Lent (Gospel Acclamation)
Communio (Communion Antiphon)
St. Leo's Choir sings the Propers of the Mass out of the Ignatius Pew Missal Propers Book distributed by Lighthouse Catholic Media.
During Ordinary Time, Eastertide, and Christmastide, the Entrance and Communion Antiphon are sung before the hymns that ordinarily follow. The Entrance Antiphon should be sung for the procession of the clergy, but may be sung shortly before Mass begins as a preparatory prelude, followed by the Processional hymn. The Communion Antiphon may be sung directly after the celebrant has received communion, or after the deacon has done so when present (this is often signified by the ringing of liturgical bells).
Verses for Antiphons may be sung at the discretion of the choir director to and may vary in length. Verses should always be completed in full.
There are slight variations during different seasons:
During Ordinary Time, Eastertide, and Christmastide all Propers (excluding the Offertory Antiphon) are sung in a choral setting and may be accompanied by the organ or sung a Capella. The Alleluia is sung during Ordinary Time as the Gospel Acclamation.
During Lent, all Propers (excluding the Offertory Antiphon) are chanted, either in English from The Proper of the Mass for Sundays and Solemnities by Fr. Samuel F. Weber, O.S.B., or in Latin from the Gregorian Missal. Either the Tract, or "Praise to you, Lord Jesus Christ, King of endless glory." is sung during Lent in place of the “Alleluia” as the Gospel Acclamation.
For regular, accompanied liturgies, the performance of the Responsorial Psalm and Gospel Acclamation/Tract are to be sung in the following format:
Starting chord/pitch provided from pitch pipe or organ (if necessary)*
Cantor intones, with organ accompaniment
Choir leads congregation in initial response
Choir or cantor sings verses with organ accompaniment or a Capella
*This means that the organ does not play through the Psalm first, only provides a starting chord or pitch for the cantor to intone
Rehearsal times are determined by the Director of Music.
The goals of each rehearsal are twofold:
To learn, practice, and perfect music performed at Mass, and
to grow together as individual musicians and as an ensemble.
Because of this holistic approach to rehearsal, regular attendance is highly recommended. Please attend rehearsal when able. Serving the church in any regard requires some level of sacrifice, and singing in the choir is no exception.
Rehearsal attendance during Ordinary Time is not required for participation during weekend Masses. For extraordinary Masses during Ordinary Time, such as rehearsals for the Feast of All Saints Day or the Solemnity of Mary, the Mother of God, attendance at rehearsal is required.
Rehearsal attendance for holiday Masses (Holy Week/Easter and Christmas) is required for participation.
Mandatory rehearsal attendance should not be a deterrent to choir members’ participation. If there are scheduling conflicts, please contact the Choir Director and make arrangements.
Music selection for Masses during all seasons is done by the Director of Music no less than one month in advance. Music selections and a form to offer hymn suggestions for upcoming Masses can be found on the church's website.
Instrumentation Policies
The use of musical instruments to accompany the singing can act as a support to the voices, render participation easier, and achieve a deeper union in the assembly. However, their sound should not so overwhelm the voices that it is difficult to make out the text… - Second Vatican Ecumenical Council Musicam Sacram - Instruction on Music in the Liturgy - 5 March, 1967 ( Art. 64)
In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things. - Musicam Sacram ( Art. 120)
In order to adhere to the Church's extensive teachings on music in the liturgy, St. Leo's Choir is to be primarily accompanied by the organ. The piano and all other instruments are considered extraordinary and will be used intermittently. Other instruments are acceptable for liturgies at the discretion of the Church Pastor and Director of Music.
Employed and volunteer personnel are supervised by the Director of Music. St. Leo's Choir regularly contracts local musicians and other professionals. Any contracting, paid or volunteer, must be submitted for approval to the Director of Music before the contracted date. Unapproved contracts are strictly prohibited.
Overview:
The Director of Music is directly responsible for any and all music related activities within the parish. The most vital role is planning, rehearsing, and leading music for various liturgies at St. Leo’s. Other responsibilities include: coordinating and leading the choir directors and members, both volunteer and employed, as well as coordinating and leading various accompanists and other contracted employees.
Reports to: Parish Business manager & Parish Pastor
Plan music for regular weekly Masses and holiday/feast Masses
Hire and supervise choir directors and accompanists
Coordinate volunteer choir members
Recruit choir members
Engage with and hire professional musicians to enhance the music ministry at various liturgies throughout the year
Plan and lead regular rehearsals for weekly and holiday/feast Masses
Research church documents and teachings regarding music within the liturgy
Plan, rehearse, and execute extracurricular activities with the choir
Manage the music library
Monitor the choir’s yearly budget
Make approved purchases (music, instruments, etc.,) to benefit music ministries
Execute commissions for new music for the church
Administrative/Personnel Responsibilities
Coordinate and supervise all personnel, volunteer and employed
Manage maintenance of equipment and instruments
Contracts professional musicians
Organize and maintain music library
Parish Ministry Responsibilities
Responsible for any and all music activities at the parish including:
weekend liturgies
Liturgical events
Parish community events
Rectory dinners and special events
Other music-related activities
Social Media, Marketing, and Advertising
Monitor and administer functions of Facebook, Twitter, Instagram to engage with the parish, and to recruit choir members
Utilize Gmail and social media to communicate with choir members
Update choir page on church website (stleosminot.org) to provide essential information to choir and to public
Qualifications
A successful Director of Music will have a degree in music, or a related field; associates is acceptable, bachelors is preferred. In addition, experience directing ensembles, teaching music lessons privately, coordinating with professional and non-professional musicians is essential. Leadership and/or management experience is preferred but not necessary.
Overview:
Choir directors are responsible for leading engaging and effective rehearsals each week, as well as directing the rehearsed ensembles for weekend liturgies. Choir directors are expected to assist the Director of Music with solemnities such as Christmas and Easter. This may include leading additional rehearsals and liturgy times as determined by the Director of Music.
Reports to: Director of Music
Lead rehearsals with the choir, accompanists, and other musicians
Responsible for knowing information regarding:
Weekly music
Upcoming events
Social media updates (Facebook page/group and gmail primarily)
Study weekly music in preparation for rehearsal and Mass
Execute weekly rehearsal plans with the following:
Thorough knowledge of all accompaniment, instrumental, and vocal parts
Professionally direct all choir members and instrumentalists
Instruct singers in proper technique and musicality for their respective parts
Set up and tear down for rehearsals and Masses & other liturgical activities when scheduled
Meet regularly with Director of Music to discuss and plan music for various liturgies and events
A successful candidate must have a working knowledge of music theory, conducting technique, vocal technique, and basic piano skills. The choir director must be willing to attend training opportunities provided by St. Leo the Great Church and/or the Director of Music. Effective communication skills are essential and leadership experience is preferred.
Overview:
A cantor is responsible for intoning all necessary music such as antiphons, responsories, and gospel acclamations at weekend liturgies.
Reports to: Director of Music
Study cantored music as assigned to prepare for rehearsals and liturgies
Lead congregational singing when a full choir is not present for lower Masses with the direction of a choir director or the Director of Music
Qualifications:
A cantor must be able to read and sing music fluently. Basic understanding of music theory is preferred but not required. Must be willing to attend additional training as needed.
Overview:
An accompanist's responsibility is to assist the choir with music played on the organ, and/or on the piano. The piano is preferred for special music such as anthems for regular weekend liturgies, and certain solemnities, such as Christmas and Easter as well as other events as determined by the Director of Music.
Reports to: Director of Music
Job Responsibilities:
Study accompanying music parts as assigned to prepare for rehearsals and liturgies
Accompany choir during rehearsals and liturgies under the direction of the choir director or Director of Music.
Assist with additional rehearsals as necessary where applicable.
Qualifications:
An accompanist must be able to read music fluently. Basic understanding of music theory is preferred but not required. Must have keyboard experience. Organ experience is preferred, but not required. Must be willing to attend additional training as needed provided by St. Leo the Great Church or the Director of Music. Must have regular availability for weekend Masses, as well as availability for additional masses during certain solemnities, especially Christmas and Easter.