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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

Five Questions No Liturgist Can Answer

Jeff Ostrowski · August 5, 2014

983 Pope Paul VI Fanon ERE IN TEXAS, there’s been much discussion about undocumented minors entering the USA. A few weeks ago, in a doctor’s waiting room, I saw an argument on television about this very issue. One of the talking heads said we should accept all these minors and allow them to be USA citizens. The other said the USA cannot accept all the minors in the world who’d like to come here. Again and again, he asked this question: “How many minors can we accept? A hundred thousand? A million? Six million? Give me a number, and we’ll proceed.”

It would be totally inappropriate for me to comment on which course of action we should take. However, I must admit the 2nd man’s tactic was very effective. He insisted upon a number, and the other guy refused to answer.

WATCHING THAT MAN REFUSE to answer the question “struck a nerve” with me. For a long time, serious liturgists have been asking questions which simply will not be answered. This is perplexing. 1

                    QUESTIONS WHICH HAVE NEVER BEEN ANSWERED :

It has been asserted that music for Mass ought to be chosen according to the individual tastes of members of the congregation. But what happens when Person A likes rock’n’roll, Person B prefers jazz, and Person C likes Gregorian chant?

The Traditional Mass contained 1,182 orations. The reformers eliminated 760, and altered about half of the remaining ones. Why were these prayers deleted? Where did the Second Vatican Council ask for anything like this?

Were the liturgical reforms an effort to adapt the ancient rites for “Modern Man,” or restore a “Pristine” liturgical era? How does that square with what the Consilium’s Secretary said? “The entire revision must be carried out in accordance with the tradition of the Church.”

Some liturgists have called Gregorian chant a “weapon” and said there’s no such thing as “sacred” music. But surely not every musical style is suitable for Mass, right?

Why were clear directives of the Second Vatican Council ignored, distorted, and contradicted? For example, why was Latin eliminated in some dioceses, 2 when the Council had expressly ordered that it be preserved?


UNDOUBTEDLY, YOU NOW DESIRE to hear my brilliant solution, right? All we have to do is imitate Dom Pothier, who worked for the restoration of authentic Gregorian chant decades before it actually happened, at a time when no sane person believed his research would ever sway the current situation.

I feel it’s our duty to form some sort of coalition in support of true liturgical reform. Then, when the time comes for Rome to correct “reforms” not in accordance with the Council, the rationale will already be available. Indeed, much has already been accomplished, 3 so perhaps we could start by assembling all those statements in one place: carefully, professionally, and with discernment.

UPDATE:

Here’s a “riddle” that liturgists will understand:

The Roman Rite has gotten off track before. Homo Modernus of Paul VI is akin to the “Classicism” of Urban VIII.



NOTES FROM THIS ARTICLE:

1   Please recall, while reading this list, that the reformers began their work in earnest only after the Council ended.

2   A list of dioceses which illicitly “corrected” the Council on this point is given toward the end of this document by Msgr. Johannes Overath.

3   Dr. James Hitchcock is the husband of Helen Hitchcock, whose organization (Adoremus) is intended to suggest improvements to the Ordinary Form. Consider what he wrote in 1974:

The process of liturgical change was handled badly from a number of points of view: the people were never consulted as to their wants and needs; there was insufficient education in the new ways prior to their introduction; change was often presented as a hierarchical command to be obeyed; there were conflicting signals about the rationale for the changes (for example, was it to restore the ancient liturgy or to come to terms with modern culture?); change was piecemeal and hence doubly confusing. Although many liturgists oppose it, a permanent missal for the laity would be an important symbol at this time, implying that a new age of stability has been reached. The present welter of discardable booklets, mimeographed sheets, divergent paperback hymnals, etc. is not only confusing but appears to signify a haphazard, impermanent, jerry-built liturgy and has unfortunate psychological effects. Habits of irreverence and in attention are built up, for example, by the feeling that rites currently being used may be revised or discarded and hence are of little significance.

Dr. Hitchcock would probably be pleased with this book, published four decades after his statement.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, Helen Hull Hitchcock Adoremus Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Those who teach Latin must know how to speak to the hearts of the young, know how to treasure the very rich heritage of the Latin tradition to educate them in the path of life, and accompany them along paths rich in hope and confidence.”

— Pope Francis (7 December 2017)

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  • Funeral Music “Template” • For Families

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