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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

In every age, the challenge is the same

Dr. Peter Kwasniewski · January 17, 2013

BIBLE PASSAGE that has always struck me very forcefully is Romans 12:1–2: “I appeal to you therefore, brethren, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. Do not be conformed to this world but be transformed by the renewal of your mind, that you may prove what is the will of God, what is good and acceptable and perfect” (RSV).

Saint Paul is appealing to us by the very mercies of God, so this must be serious stuff indeed. And what is he asking us to do? To present our bodies as living sacrifices: to make of ourselves, even in our bodiliness—“from top to bottom,” one might say—a pleasing sacrifice to the Lord. And he says that if we do this, it counts as our spiritual worship. He could not be clearer in affirming the fundamental unity of man as a creature of body and soul, who worships the Lord as one being, not as a mind doing its own thing and a body left behind to do its own thing. Then, as if to explain further what he means, he says that we must not take on the form of this world, but rather be transformed through those good, acceptable, and perfect things that express God’s will. And this will amount to a re-creation of us, a making new of what has become old, stale, and wretched in our fallen nature: “Behold, I make all things new,” as Jesus says in the Book of Revelation (21:5).

There could not be a teaching more timely and more urgent in our day, when Catholicism has been reduced in its glory and transformative power by decades of facile conformism to the fads and fashions of a secular anti-culture. Nowhere can this be seen more evidently than in the realm of sacred music for the liturgy. Saint Paul’s solemn appeal to give ourselves body and soul to the spiritual worship of God, resolutely turning our backs on this world’s depraved, tawdry, or imperfect offerings, was ignored, even denied, as churches were filled with insipid or heretical lyrics, worldly rhythms, and secular styles.

Thanks be to God, a reversal is beginning to be seen, and a growing number of musicians are taking a different path—one that is genuinely new, with the freshness of the Spirit that hovers over the Church in all ages, not the oldness of the flesh celebrated in the carnal carnival of contemporary society. Centuries of magnificent musical treasures inspired by the Holy Spirit are being newly discovered and sung, in accord with the manifest mind of the Church. And new music worthy of the temple of God is being written—music that strives to be good, acceptable, and perfect, by the high standards of the Sacrifice of Praise.

In every age, the challenge is the same. Christianity should inform culture and transform the world, rather than being informed by the prevailing secular culture and being itself transformed into a second-rate image of the world. We must always be on guard lest the world mould our minds after its image, rather than letting ourselves be renewed in our minds after Christ’s image.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“The scholar who lives only for his subject is but the fragment of a man; he lives in a shadow-world, mistaking means for ends.”

— Msgr. Ronald Knox (1888-1957)

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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