Znaczenie i funkcje introitu mszalnego

• Authors: Piotr Towarek

Title variants

EN

Significance and functions of the Mass introit

Abstracts

EN

Throughout the centuries the Mass liturgy shaped its form of introduction and preface in the form of singing that is defined as “introit” from the Latin “introitus” (entrance) and introire (to enter), belonging to a group of proprium missae singing. Its origins should be searched in the 4th and the 5th centuries in the so-called papal station liturgies (penitent and festive), connected either with the singing of the litany to Saints (on the way to the station church), or on festive days the singing of antiphon intermingled with the lines of psalm (the liturgy of awaiting the pope in the station church), which is confirmed by Instructio ecclesiastici ordinis (Ordo Romani I). In terms of the selection of texts one may differentiate: the biblical introits (introitus regularis), where the antiphon is taken from the same psalm which is in the introit, or from the Epistle for a given day (the reading from the New Testament) and the non-biblical introits (introitus irregularis), taken from the texts of the early-Christian writers or the Apocrypha (e.g., Sedulius; the 4th Book of Ezra). In some cases their influence and significance became so strong that specific masses and even Sundays took their proper names from the first words of the text, e.g., Rorate, Gaudete, Laetare, Requiem. In modern times this type of singing is recalled by the books published following the Second Vatican Council, e.g., Graduale Romanum, Ordo Cantus Missae, and in particular, by Missale Romanum, where in Institutio Generalis it is recalled that the singing at the commencement of the Mass should be performed by a schola or a cantor interchangable with the congregation, or alternatively by a schola or the faithful, or it may be recited by the congregation, some of them or by a lector. In the music practice of the church in Poland following Vaticanum II the introits have been almost completely supplanted by the church songs, as well as by songs having nothing to do with the liturgy. While the above-mentioned rubrics of Institutio Generalis explicitly define the norms which stem from the function of the mass singing for the entrance: it is to open the liturgical action, deepen the unity of the congregation, introduce the minds into the experiencing of the mystery of the liturgical period or a celebration of a festive occasion and to accompany the procession of a priest and the entourage to the altar. That conditions specific requirements demanded of church musicians regarding the preparation and the appropriate selection of proper songs, hymns and chants, as far as they are not directly taken from the missal form in the form of an introit.

Keywords

EN

Mass introit; Antiphon; verse; the entrance singing; liturgical singing

• Publisher: Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
• Journal: Studia Elbląskie
• Year: 2013
• Volume: 14
• Pages: 359-370

Dates

published

2013

Contributors

author

Piotr Towarek

• Wyższe Seminarium Duchowne Diecezji Elbląskiej
• Misyjne Seminarium Duchowne Księży Werbistów w Pieniężnie
• Uniwersytet Warmińsko-Mazurski w Olsztynie

• https://orcid.org/0000000258095060

References

• Ashworth H., Le nuove messe per i defunti nel Missale Romano di Paolo VI, „Rivista liturgica” 58(1971), s. 254–381.
• Bodzioch B., Śpiewy liturgii Adwentu, „Liturgia Sacra” 5(1999) nr 2 s. 345-364.
• Callewaert G., Introitus, EL 52(1938), s. 484–489.
• Caeremoniale Episcoporum ex decreto Sacrosancti Oecumenici Concilii Vaticani II instauratum auctoritate Ioannis Pauli pp. II promulgatum, Editio typica, Libreria Editrice Vaticana 1995.
• Chomiński J., Wilkowska-Chomińska K., Wielkie formy wokalne, Kraków 1984.
• Forger J., Le chant de l’introitus, EL 62(1948), s. 248–255
• Habler F., Der Introit des Messe, “Zeitschrift für Kirchenmusik” 75(1955), s. 5–8.
• Gamber K., Die urspüngliche Art des Vortrags von Introitus und Communio, HiD 15(1961), s. 114–118.
• Haggh B., Bortbeck J.T., Ottosen K., Liturgy as Theological Place. Possibilities and Limitations in Interpreting Liturgical Texts as Seen in the Office of the Dead, w: Liturgy and the Arts in the Middle Ages, hrsg. E.L. Lillie, N.H. Petersen, Kopenhagen 1996, s. 168–180.
• Liber Usualis. Missae et offici pro dominicis et festis cum canto gregoriano ex editione vaticana adamussim exscerpto, S. Sedis Apostolicae et Sacrorum Rituum Congregationis Typographi, Pariss – Tornaci – Romae – Neo Eboraci 1960.
• Missale Romanum ex Decreto Sacrosancti Concilii Tridentini restitutum S. Pii V Pontificis Maximi iussu editum aliorum Pontificum cura recognitum a Pio X reformatum et Benedicti XV auctoritate vulgatum. Editio I iuxta typicam Vaticanam, Ratisbonae 1920.
• Mszał rzymski dla diecezji polskich, Poznań 1986.
• Parsch P., Rok liturgiczny, t. I: Okres Bożego Narodzenia, przekł. Z. Dąbrowska, Poznań 1958.
• Pawlak I., Muzyka liturgiczna po Soborze Watykańskim II w świetle dokumentów Kościoła, Lublin 2000.
• Ratzinger J., Duch liturgii, Poznań 2002.
• Ratzinger J., Nowa pieśń dla Pana, Kraków 1999.
• Zumthor P., Langue et techniques poétiques à l’époque romaine, Paris 1963.

Identifiers

Biblioteka Nauki

2167873