A Look at the Mass: The Responsorial Psalm

We've come to a very interesting part of the Mass, i.e. the Responsorial Psalm. Now I say this part of the Mass is interesting because it is a part of the Mass that continually underwent development, and continues to undergo development. Today, almost all are familiar with how this part of the Mass works; the choir/cantor intones the response, the people repeat it, and then the choir/cantor sings a verse which is followed by the people repeating the response. Easy, right?

Well not so historically! As I stated in the post on the First Reading (here), the original format for the readings was one from the Old Testament, a psalm or canticle, a reading from the New Testament, the Alleluia and a verse, and a Gospel reading, and it appears that the psalm/canticle was done in the same manner as today, with only one apparent difference - there was no attempt made to really link it to the readings (with the exception of some more important feast days). Instead it would more often simply be a means of praising God.

However, a balance, which the Western Church has always struggled to find, is one between art and inclusiveness. The more artistic talent flourishes in various liturgical settings, the more the people end up becoming less active participants at the Liturgy. While this is not to discredit their actual spiritual participation, it does present a certain dilemma on account of a decrease in the people's immediate knowledge of what is happening, and thus their ability to participate, at least so the argument seems to run.

The reason I bring the foregoing up is that it is on account of the artistic developments of the West that the method of response and verse fell out of use. This method was inherited from the Jewish synagogue, once again showing how much of our worship finds its origins in Judaism, just like the Faith itself. Nevertheless, once separated from Judaism, the Eastern and Western churches began their own developments, and the West was the center for artistic developments. As Jungmann points out, "Already in St. Augustine's time [4th-5th century] the singers displayed the tendency more and more to enhance the chant with richer melodies. The external beauty of God's house had been enhanced, the service increased in splendor; it was but natural that the music should follow suit (The Mass of the Roman Rite, 426)." With the increase in musical talent required to sing the psalm, it lost its position as a song of the people, and belonged exclusively to the schola.

And as the musical setting for the psalm developed in complexity, the psalms themselves began to be cut to only a few verses, leading to the setting found in the Extraordinary Form today. All that is left of what was once an entire psalm, is what is known as the Gradual, which consists of what may have been the response and then a verse of the psalm. However, there remains no longer any form of responsory in the Mass Gradual. This could be on account of the length of time it takes to sing the Gradual, for it is perhaps the most embellished and lengthy of the parts of the schola.

Whatever, the reason though, this should underlay the importance of the this part of the Mass. Even as the responsory form died out, a need was clearly felt to continue the idea that this was not simply another chant used to fill time, but was actually a meditation, a proclaimed reading! To further stress this it should be noted that, within the Extraordinary Form, the sacred ministers are not performing any function at this point, unlike during the other chants of the Mass. Instead they, like the people, are called to listen to the words being sung. Jungmann beautifully notes it as:

"These songs [the Gradual and Alleluia] were not like those of the schola, intended merely to fill out a pause, nor were they, like the latter broken off at the signal of the celebrant. They were independent, self-sufficient members inserted between the readings like a moment of pious meditation, like a lyrical rejoicing after the word of God had reached the ears of men (The Mass of the Roman Rite, 432)."

Although there has been a return to the ancient tradition of using the response and verse format, ergo, calling this part of the Mass the Responsorial Psalm, the importance of Jungmann's words remains. This is not simply a song, nor should we compare it to the Introductory, Offertory, or Communion chants. While hymns and the chants of the Mass are important for setting the mood and providing meditations for us, the Psalm at this point is so much more profound. The other parts use a line from the psalm to emphasize a point, but here the entire psalm is brought before us. This is a reading in its own right; it is a further instruction in the Faith.

St. Ambrose said on the Psalms:

"A psalm is a blessing on the lips of the people, a hymn in praise of God, the assembly's homage, a general acclamation, a word that speaks for all, the voice of the Church, a confession of faith in song. . . . In a psalm, instruction vies with beauty. We sing for pleasure. We learn for our profit. What experience is not covered by a reading of the psalms? . . . What is a psalm but a musical instrument to give expression to all the virtues? The psalmist of old used it, with the aid of the Holy Spirit, to make earth re-echo the music of heaven. . . . David . . . taught us that we must sing an interior song of praise, like St. Paul (From The Explanations of Twelve Psalms)." 

The psalms are only put in their proper context when sung. They were designed as songs, not as texts to be recited. Thus, the Responsorial Psalm only achieves its full ardor and purpose when it is sung/chanted by the people. Music in and of itself awakens certain emotions in men that words alone cannot do. There are inflections, tones, and melodies which move a person to naturally feel with the words. "Be merciful, O Lord, for we have sinned (Psalm 51, Ash Wednesday Responsorial Psalm)," moves the heart to sadness and contrition in accordance with its low tone. "This is the day the Lord has made; let us rejoice and be glad (Psalm 118, Easter Sunday Responsorial Psalm)," carries triumphant joy which lifts the soul up in glorious praise of God. "The Lord is near to all who call upon him (Psalm 145, today's Responsorial Psalm)," pours forth thoughts of confidence in the Lord, Who has been so good to us.

To summarize all that I've said so far, let us recall that within the Mass the first reading has been finished. Within it, there are many things we may have been reminded of or instructed in. For example, if from the Old Testament, we may have heard of God's Providence throughout history for His beloved people. If the reading was from the New Testament, we would have been instructed in the new life Christ has gained for us. Whatever it may have been, it should have so moved our hearts so that they now cry out in a song of praise to God. 

However, let us not forget that although the Responsorial Psalm is a means whereby we might praise God, it still is part of the Service of Readings. Therefore, it is a means whereby God speaks to us; the psalms are another means for our instruction in the Faith. For an example of this, let us consider the psalm of today's Mass, Psalm 145. The response is, "The Lord is near to all who call upon him." This is both a statement of belief and an instruction in the Faith; we believe the Lord is near to us, but we also need to be reminded of this. The verses of the song then speak of the kindness of God and His beneficence in all His works. 

Through the response we are able to praise God through song; within the verses we are instructed in the ways of God and of all the emotions of the human condition. This provides us with another opportunity for meditation within the Holy Mass. We praise God for all His works, for His mercy, and for His glory, but our minds must naturally move towards what is about to come, i.e. the Gospel. Although it may not immediately follow, the Responsorial Psalm is another means whereby our hearts, minds, and ears are open to hear the Gospel of Christ, the Good News!

The last thing I wish to say in regards to the Responsorial Psalm has to do with all I said about the Gradual of the Extraordinary Form. The Gradual is actually still an option, which may be utilized in place of the Responsorial Psalm, although this is rarely done. My suspicion of the reasons for this is if the Graduals were to be used, they would have to be done in Latin, as no translation exists for them. As I stated above, they are the most drawn out piece of the Mass, so this could consume a great deal of time with the people unable to understand the words.. 

While I personally do not care for that excuse, I will say a reverence for the ancient tradition of the Church and the practicality of the Responsorial Psalm do often seem to make it a better choice for the normal Parish Mass.
 
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 Intervenient Chants, 421-442. Translated by Rev. Francis A. Brunner, C.SS.R. (Christian Classics: Notre Dame, Indiana, 1951).