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• W208302271 abstract "Anyone familiar with Gregorian chant knows repertoire is massive and can afford to reserve special chants for specific days year. Of these propers, most musically ornate tend to be used towards beginning of Mass, and so-called easier antiphons find their place towards end. It is providential if not intentional that culmination of every Mass (the Eucharist) is accompanied by relatively simpler sorts of antiphons. This allows more people to sing with less potential distraction, and possibly with greater purity of intention. The Church Music Association of America, in its publishing of Communio, acknowledges this group of chants as having some of best potential for use by scholas and parishes who are just beginning to incorporate chant into their liturgies. Dr. William Mahrt has called communion chants good place to begin, reasoning that the antiphon can be sung in alternation with psalm verses, allowing desirable repetition (a few times) to familiarize both congregation and choir with chant. (1) One of these antiphons is subject of this paper. Tu puer is proper communion antiphon for Feast of St. John Baptist, celebrated on June 24. The date only falls on a Sunday when chance occasions, as was case in June 2007. This gave opportunity for a full High Mass to be celebrated. The words, music, and their interplay provide for an exploration into some exceptional aspects of medieval creativity. A literal translation of Latin text follows below, courtesy of Fr. Anthony Ruff, O.S.B. The Latin word order preserves that of Vulgate (Luke 1:76), except for a minor omission of et (which means and) at beginning of verse. Tu, puer, propheta Altissimi vocaberis; praeibis You, child, prophet of-the-Most-High will-be-called; you-will-go enim ante faciem Domini parare vias eius. indeed before the-face of-the-Lord to-prepare ways his. The organization is strikingly chiastic. Three main concepts appear, each having a divine and human element. You and his [God's], self and other, contingent and Creator: this confrontation presents a most intense paradox and frames entire verse. It is this relationship of God and man (or God and child, here) which scripture means to illuminate. The chiasm will be addressed further below, but first a cursory sequential exposition of both tone and word is advisable, both to give attention to flow of text and to accustom reader to an older form of musical notation. I am grateful once again to Fr. Ruff for guiding me to a revised version of melody from Beitrage zur Gregorianik. [FIGURE 1 OMITTED] The most recent Vatican-approved editions of chants, such as Graduale Romanum or Graduale Triplex (they differ only in annotation) present melodies that, over time, have been somewhat changed. For example, in Tu puer antiphon, Graduale gives D as starting note, which is final tone of Modes I and II. How much more expressive it is, however, to delay that defining tone until first nine notes have passed, and start on a very weak degree (E) instead. In fact, compared to melodic reconstruction, Graduale eliminates all Es until very end. The four alterations are marked in example below. [FIGURE 2 OMITTED] Let us turn again to corrected version. The first three notes, which deceivingly hint at some form of deuterus mode, accompany a strong plosive t, all of which declare this tu (you) to be very mysterious and important. Until second word is uttered, it is not clear to whom tu applies. Is he a sinner, or a holy man, or a way of referring to all faithful? He is a child, Here chosen pitches begin to clarify mode, as E and G of tu give way to A and F of puer. …" @default.
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• W208302271 date "2009-03-22" @default.
• W208302271 modified "2023-09-24" @default.
• W208302271 title "Prepare the Way: An Analysis of Tu Puer" @default.
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