A Look at the Mass: The Entrance Antiphon

We finally see green on a Sunday again! I almost forgot it was a liturgical color.

I said awhile back that I was going to go through each part of the Mass in more detail, and now that Lent and Easter, and all the major feasts immediately following them, are over, I can finally begin it. When I did the Mass meditations, that was a brief meditation on each part. I now intend to dedicate a more in-depth meditation to each part. We'll begin with the Entrance Antiphon this Sunday going through the Liturgy of the Word on the following Sundays, which should take us up to Advent.

Historical information will be taken from The Mass of the Roman Rite by Joseph A. Jungmann, S.J., unless otherwise noted.

So let's begin.

Daily Mass attendees may be familiar with the Entrance Antiphon, but rarely is it done on a Sunday. Generally, it is replaced by a hymn. While this is perfectly acceptable, I feel that something is missing when the Entrance Antiphon is altogether omitted. This is because the Entrance Antiphon works well for setting the tone of the particular mysteries brought before us in the Mass.

Before I get into that, though, let me just give a brief history of the Entrance Antiphon's place in the Mass. It finds its origin in the Introit of the Extraordinary Form. Both are generally taken from one of the psalms, with some exceptions. However, the Introit in the Extraordinary Form has much more of a prescribed text, whereas the Entrance Antiphon of the Ordinary Form can be combined with any psalm. In fact, when used, it is commonly used as the refrain of a psalm, similar to the manner of the Responsorial Psalm at Mass.

In history, its practical function was to provide something to accompany the procession of the clergy to the altar, as episcopal processions were often lengthy. The psalms were used due to the fact they could easily be sung to chant, as the use of instruments was forbidden in the early Church. Additionally, the heresy of Arianism used hymns to spread, so the Roman Church forbid the use of hymns at Mass, except the ones taken from Scripture, i.e. the psalms and canticles.

Now, it is interesting to note that although the schola were the principal singers for the Introit, the people often had a part to sing as well. Here I would like to insert my opinion that the use of the Entrance Antiphon with a psalm would work well to accomplish two things. First, as there would only be an antiphon to sing, the people would find it easier to watch the procession to the altar, as processions are kind of meant to be watched. It's like a parade! But more on that idea next week.

Secondly, the Faithful may find it easier to meditate upon the Entrance Antiphon if they aren't super focused on the words coming next, a common problem with singing hymns. Since you need to stay focused on the text, you aren't able to watch the procession or meditate as easily. This brings up the question of participating in the singing, but once again, that topic is scheduled for Wednesday, so back to the Entrance Antiphon. 

Understand that I'm not trying to bash hymns in any way. I love hymns, but they have their place. They are written by men. The psalms are written by God through men. Thus, in the highest form of worship, it seems appropriate to use the highest texts.

However, my main reason for advocating the use of the Entrance Antiphon is, as Jungmann phrases it, "the antiphon established the tone [for the Mass] in a double sense, the musical note, the psychological mood (p. 329)."

As I said, hymns are good, but they don't carry the same melody as chant in itself does, which isn't necessarily problematic, but as Jungmann noted it can set the stage for all the chant of the Mass. In my opinion, this is best because it shows unity. The Mass, like the body, although it is composed of different parts, is in itself an organic unity.

Like our bodies we can add external things to it, such as clothing, and it is even appropriate to do so. However, as any parent (or at least mother, considering I probably won't do this) will attempt to teach their child, you want your clothes to match. The same thing goes with the Mass. Singing and/or chanting is not necessary to have a valid Mass, but it is appropriate to do so on Feasts and Solemnities. When we do this, though, we want the hymns and melodies to match, both the occasion and each other.

What is nice about the antiphon is that the Church has already matched it to the Mass for us. Therefore, choir directors don't have to try and work with the priest/liturgist/whoever to try and match their hymn to the day. Secondly, chant already matches the melodies of the rest of the Mass, because it is purely the human voice, without the organ or any other instrument (albeit another instrument may accompany it if necessary).

Additionally, as I began with, the Entrance Antiphon can set the "psychological mood" for the Mass. For example, the Entrance Antiphon for Laetare Sunday, the Fourth Sunday of Lent, is, "Rejoice, Jerusalem, and all who lover her. Be joyful, all who were in mourning; exult and be satisfied at her consoling breast (Roman Missal, Third Edition)." These first words of the Mass tell us that although we are in the period of Lent, we should rejoice, for Christ will console us in the coming Easter feasts, and it sets the mood of the whole Mass of that Sunday, which is one of rejoicing.

Once again, I'm not calling for throwing out hymns, instead what I'm calling for is the restoration of the Entrance Antiphon to the Mass, at least on the more festive occasions. Personally, I can think of no better way to "go to the altar of God (Psalm 42:4)" to praise Him and enter into the Sacred Mysteries, than with the words given us by God.    

All historical information taken from:
Rev. Joseph A. Jungmann, S.J. The Mass of the Roman Rite: Its Origins and Development. Volume 1. Part III: The Introit Chant, 320-333. Translated by Rev. Francis A. Brunner, C.SS.R. (Christian Classics: Notre Dame, Indiana, 1951).