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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

Why Can’t We Use Secular Music During Mass?

Jeff Ostrowski · February 13, 2014

OMPOSER DAN SCHUTTE, formerly a Jesuit priest, published a musical setting in 2012 of the Glory To God which has been widely criticized because it changes the words. 1

To me, however, something else is even more problematic. Please listen to these brief excerpts and see if you can guess what I’m getting at:

* *  “Glory To God” • Refrain by Dan Schutte

* *  “My Little Pony” • Mp3 Audio Excerpt

Am I crazy, or is this resemblance jarring?

ON 22 NOVEMBER 2003, Blessed John Paul II decreed that Church music must “avoid any concessions to frivolity or superficiality.” He went on to remind us of many other important things. For instance, he said neither vocal nor instrumental music can be used at Mass if it “does not possess a sense of prayer, dignity and beauty.”

A few years ago, we created this video which presented Church legislation on Sacred music and drew some conclusions. Some of my friends were angry we used the term “Disney” to describe certain liturgical music. Others thought we were kidding. However, I stand behind that term, because technical descriptions like “modal” and “rhythmically free” mean nothing to the vast majority of Catholics who lack professional training in music.

PLEASE, DON’T LEAVE ANY NASTY COMMENTS saying I am “anti-Schutte” or anything like that. I have absolutely nothing against Schutte, who is incredibly accomplished 2 and literally world-famous. He’s free to write whatever he wishes and folks are free to purchase it.

However, I do object to certain would-be “scholarly” publications treating this music in a serious fashion, using the most outlandish psychobabble. 3 Sometimes I’m tempted to scream: “How can such things be written about a tune lifted from My Little Pony?” Just a decade ago, I believed Musicology symposia had a monopoly on this kind of gibberish — I was wrong!

N.B.   The musically-observant priest who discovered this Schutte/Pony similarity is currently Liturgy Director for a major Archdiocese in the United States. It was sent to me via email “chain letter.” This was the first time I’d ever heard Schutte’s Mass setting.




NOTES FROM THIS ARTICLE:

1   Musical settings which alter the official Mass texts were supposed to have been eliminated beginning in 2011.

2   Dan Schutte (b. 1947) is best known for composing the hymn “Here I Am, Lord.” He has received three honorary doctoral degrees, numerous Grammy nominations, and many other awards. He is considered one of the most influential living composers of “contemporary” Catholic liturgical music.

3   I have some examples I’ve saved over the years, but I hesitate to post them at this moment (I will explain another day).

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

Filed Under: Articles Tagged With: Dan Schutte Mass of Christ the Savior, Missa My Little Pony, Oregon Catholic Press, Secular vs Sacred Music at Mass Last Updated: October 28, 2024

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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

    17th Sunday in Ordinary Time (Year C)
    All of the chants for 27 July 2025, which is the 17th Sunday in Ordinary Time (Year C), have been added to the feasts website, as usual under a convenient “drop down.” The COMMUNION ANTIPHON—both text and melody—are particularly beautiful and exceedingly ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski
    Errors in Latin: “17th Sund. Ordinary”
    The COMMUNION for the 17th Sunday in Ordinary Time (Year C) contains several typos in the Jogues Illuminated Missal with regard to the Latin text. That particular COMMUNION ANTIPHON is extremely ancient, and the English Adaptation is utterly gorgeous. For the record, it’s normal for books to contain typos; even books by Father Fortescue and Monsignor Knox have errors. Books by Solesmes Abbey—surely among the finest ever produced—contain many printing errors. Click here to see a few examples of typos.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“I have, on the other hand, retained several more or less traditional tunes, absolutely valueless and without merit from a musical point of view, but which seem to have become a necessity if a book is to appeal—as I hope this one will—to the varied needs of various churches.”

— A. Edmonds Tozer (1905)

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