JANUARY 2024
sharing the paschal meal in readiness for their journey, the joyful confidence of God’s people on the march toward the Promised Land.”11
Te images in the description are communal: “the poor” and “God’s people.” People are together moving forward, making ready for a journey, and “on the march.” Te celebration of Eucharist is a regularly visited oasis that nourishes people who then continue on their journey—and is not an end in and of itself. It is the accompanying attitudes associated with these images that I find particularly intriguing: humble patience, alert expectancy, and joyful confidence. Might these offer us some direction as we consider the sound or feel of the music we sing? What might alert expectancy sound like in a particular culture . . . or in a particular musical style? Do we have Communion songs that sound “processional,” that evoke a sense of marching or movement? Do we have Communion songs that evoke joyful confidence or that, in the words of the GIRM, “show joy of heart”?12
We do not have enough Communion songs that evoke these attitudes, in my opinion! When hearing some of the most widely used Communion songs, one might get the impression that the Communion procession is best ritualized with a lyrical and romantic kind of sound, even if coupled with different kinds of texts. Te danger with a predominance of pieces with this kind of feel is that it may inadvertently reinforce an individualistic and sentimental “take” on the role of Holy Communion during Mass and in our lives. I’m not suggesting that we disregard our time-tested repertoire. But I am suggesting that the GIRM indicates we need other kinds of sounds at Communion as well—songs that evoke journey and purpose, alert expectation, and joyful confidence.
Te Texts We Sing
We have made a case that the ritual act of singing together during the Communion procession expresses and deepens our common identity and mission. We’ve explored briefly how the music we use can affect our ritual experience. Lastly, we turn to the texts we sing during Communion. Te texts of Communion songs have received a lot of attention in recent years, but in this article, they will receive the briefest treatment. Not because they are unimportant, but because the issues addressed above rarely receive the kind of attention they merit.
It goes without saying that a parish repertory of Communion texts should draw upon a variety of images, scriptural references, and theological perspectives, providing over time a number of mystagogical lenses through which to glimpse the Paschal Mystery at the heart of eucharistic celebration. Tese lenses are familiar, and they include Eucharist as sacrifice, as meal, as real presence, as sign and source of unity, as gift of unconditional love, as food for the journey, as foretaste of heavenly banquet, as a call to feed the hungry, etc. Tis kind of diversity is essential, as the Eucharist can never be described or understood from only one vantage point. Sing to the Lord recommends “themes of joy, wonder, unity, gratitude and praise.”13
the Canticle of Mary is one of the oldest Communion songs in Christian tradition.
Tere are two ways to examine a Communion repertory for this diversity of perspectives. One way is to list the songs used at Communion over a year and then examine their texts from symbolic, scriptural, theological, ecclesiological, and missiological perspectives. But this analysis alone provides a limited picture. It is also necessary to examine how often each piece is used. Songs that are sung most frequently will indicate which perspectives are privileged and predominant in a particular community. Do our texts embody the breadth of Catholic eucharistic teaching and spirituality? Do they deepen an experience of Communion and our call to mission? What do we have too much of? Which perspectives are missing?
I’ve called for us to take a new look at our Communion practices and repertory—and to consider using repertory that may enhance the short- and long-term effectiveness of the Communion song. I would be remiss if I did not provide a few examples of what I have in mind. Tese are pieces that, in my experience, are not typically sung during Communion but that may help foster a more unity-focused, mission-oriented, joyfully confident experience of the Communion procession— and thereby foster an everyday, mission-centered path to holiness. I hope these examples inspire you to discover others.
“Lord, You Give the Great Commission”
Tis venerable text by Jeffrey Rowthorn makes the connection between Eucharist and our mission as disciples, with a focus on the role of the Holy Spirit— something often lacking in our repertories. While
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Psalm settings should be considered. And
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