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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Mutuality vs. Male Headship within Marriage

Fr. David Friel · January 7, 2018

LENTY OF discussion has taken place within the Church over recent years on the topic of marriage. Some of this discussion was occasioned by the new English translation of the marriage ritual (published in 2016). Certainly much of the conversation has also been prompted by the 2014-2015 extraordinary synod on the family and Pope Francis’ post-synodal apostolic exhortation, Amoris laetitia (2016).

Recently, my research interests took me in the direction of marriage, also. I decided to study a host of liturgical rites for marriage throughout history in order to assess their approach to the relationship between husband and wife. In particular, I looked for evidence of rites that stress mutuality between spouses versus rites that stress the headship of the husband.

The result of my research is an article published in Antiphon: A Journal for Liturgical Renewal (vol. 21, no. 3, 252-289; full article available here). Antiphon is the journal of the Society for Catholic Liturgy, which bills itself as a multidisciplinary association of Catholic scholars, teachers, pastors, and professionals (including architects, musicians, etc.) that promotes scholarly study and practical renewal of the Church’s liturgy in the Anglophone world.

The title of my article is Mutuality and Male Headship: Liturgical Evidence from Marriage Rituals throughout History. It begins with consideration of the marriage rituals of the Roman Empire and Judaism before proceeding to those of the Christian East and West.

Summarizing the findings of this research is quite difficult, on account of the number of rites consulted and the widely disparate approaches they take. Nevertheless, the following paragraph from the article’s conclusion helps to convey some of what I discovered in concise fashion:

Generalizing quite broadly, the earliest Christian rites could be characterized by their ability to accept differentiation of roles together with equality. The rites of the middle period tend to stress the differences of roles to the exclusion of equality. Finally, in the more modern rites, there is a propensity toward the rejection of role differentiation in the name of total equality.1

As I have noted elsewhere, the marriage rite has historically proven itself to be very adaptable. This exploration of so many marriage rituals revealed to me anew the great richness of the Church’s liturgical theology on marriage.

The same issue of Antiphon also features:

1. An important analysis of Magnum principium by Msgr. Maurizio Barba, S.L.D. (“The Motu Proprio Magnum Principium on the Edition of Liturgical Books in the Vernacular Languages”)

2. An interesting argument for restoring proper order to the Sacraments of Initiation by Joshua Madden, Ph.D. (“‘Circa Aetatem Discretionis’: A Proposal in Favor of Restored Order Confirmation”)

3. A scriptural-liturgical approach to St. John’s Apocalypse by Ian G. Coleman, M.A. (“The Rubrics of Revelation: A Liturgical Reading”)

Access the full articles by becoming a subscriber to Antiphon or by requesting single issues of the journal here.




NOTES FROM THIS ARTICLE:

1   David M. Friel, “Mutuality and Male Headship: Liturgical Evidence from Marriage Rituals throughout History” Antiphon 21, no. 3 (2017): 287.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Antiphon Journal, Marriage Synod, Nuptial Mass Last Updated: January 22, 2021

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“The main place should be given, all things being equal, to gregorian chant, as being proper to the roman Liturgy. Other kinds of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.”

— ‘2011 GIRM, §41 (Roman Missal, 3rd Edition)’

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