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The
Gospel of the Lord: “Alleluia” is our song!
The word “Alleluia”
has its origins in the Hebrew Scriptures and literally means, “Praise God.”
No other word or phrase comes close to expressing the joy that Jews and
Christians experience in their prayer of praise. This acclamation of rejoicing
is found in the psalms, and it eventually became part of the Christian
worship service as a song of joy for the celebrations of Easter. As every
Christian liturgical celebration is a proclamation of the resurrection,
of the risen Lord in our midst, “Alleluia” expresses a central emotion
of our Christian worship, our hope in a God who calls us each by name.
It expresses the hope that we hang on to throughout the journey of our
lives. It makes sense, then, that “Alleluia” be our song and our expression
of faith when we greet and acclaim the public proclamation of the Gospel.
The role of the Gospel
acclamation is distinct from that of the responsorial psalm. The responsorial
psalm is not an acclamation. The responsorial psalm exists for its own
sake, not as a ritual moment leading to something else. The Gospel acclamation
should be seen in terms of its ritual function; it is anticipatory
in its character, and it should possess a relentless fierceness in terms
of where and how it should lead the assembly to direct its attention: to
the Gospel proclamation that follows. Just because a musical selection
has the words “Alleluia,” it does not necessarily mean that it is a good
Gospel acclamation. The acclamation does not have to be fast, but it must
have strong rhythmic vitality and energy and must be led with strength.
We must remember that ritual acclamations express more than mere assent;
rather, they should express an investment on the part of the assembly.
So many acclamations fail to do this. While it should go without saying,
the Gospel acclamation is always sung, and along with the other primary
acclamations (Holy, memorial acclamation, and Great Amen) it should be
given most careful attention. These ritual acclamations are more important
than the opening and closing hymn because these are the moments when the
assembly takes ownership of its role in not just singing at the
liturgy but rather (as I am often relentless in expressing in this column)
in singing the liturgy.
Depending on the
liturgical choreography, it is important also to realize that the Gospel
acclamation is processional music, accompanying the procession of
the Gospel Book to the ambo prior to its proclamation. The length of the
Gospel acclamation ideally is determined by the amount of time necessary
to complete this ritual action. The most important consideration here is
that the presider should be moving with the Book of the Gospels during
the singing of the acclamation and ready with the initial proclamation
(“The Lord be with you”) immediately upon the completion of the acclamation.
Any other gestures or postures (holding the book, incensing the book and
ambo, blessing the deacon) should all take place during the music, not
afterward in silence. If the music is not long enough to accompany these
actions, either the musician should lengthen the acclamation or add additional
verses or the gestures should be reconsidered.
There is a lot of
discussion about whether or not the acclamation should be repeated after
the Gospel proclamation. We need to remember the basic essence of what
“Alleluia” means: “Praise the Lord.” What do we usually recite (and may
I add, poorly and lethargically) at the end of the Gospel? “Praise to you,
Lord Jesus Christ.” It would seem that singing the acclamation at the end
of the Gospel reading would be a creative option in keeping with the spirit
and intention of the assembly response. It might even produce a more passionate
response.
So it is good for
all of us who serve in the ministry of music to reflect on what an honor
it is to lead the people of God in this most precious moment of praise.
As believers, when we find it impossible to find the words or the song
to express the depth of our joy, we need look no further: Alleluia! Praise
the Lord! ML
David Haas is director of The Emmaus Center for Music, Prayer and
Ministry and campus minister and artist in residence at Benilde-St. Margaret's
High School in St. Louis Park, Minn. As a composer, he has published and
recorded more than 35 collections of liturgical music. He is an active
author, workshop and retreat leader, pastoral musician and recording artist.
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