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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

Should We Sing Patriotic Hymns at Mass?

Richard J. Clark · July 4, 2014

S AMERICANS CELEBRATE Independence Day today, I am mindful that our audience and contributors are international; there are patriotic songs that may evoke God from many countries. As an American, I can speak to our circumstance, but I will not claim to speak for others around the globe. That being said, I suspect that there are some common problems we all face.

The question of patriotic or nationalistic songs at mass is a part of a wider problem of “planning” mass according to 1 • personal preferences and 2 • what I call, “Missa de Hallmark Card”: secular and civic holidays influencing music, homilies, or other aspects of the mass.

O, I HAVE SOME PERSONAL PREFERENCES regarding American patriotic songs. I love them. I get misty-eyed at singing “America the Beautiful.” It sounds great on the organ. People sing at the top of their lungs. I get emotional. However, ideally, patriotic songs have no place whatsoever during mass. The reason is simple: sacred music for the liturgy serves one function and patriotic songs another. It is comparing apples and oranges. Nor does one diminish the other. Patriotic songs have a different milieu and serve a different purpose, even if God is mentioned.

Consider this coming Sunday, the Fourteenth Sunday in Ordinary Time. Matthew’s Gospel speaks of God’s consolation. Furthermore, even Jesus gives praise to His Father, so, should not we? “Matthew 11:25: “I give praise to you, Father, Lord of Heaven and earth…” The mass is full of praise for God. As such, the propers are fitting. This Sunday, my choir will sing a hymn version of the Introit, and my setting of the communion proper, (Gustate et videte) “Taste and See that the Lord Is Good.” When immersed into the readings and the propers, it feels out of place to put country — no matter how great our love for it — at the center of the Eucharistic Feast. Likewise, it would be incredibly odd and inconsiderate to sing a Marian Hymn at a Fourth of July Parade. Both are wonderful. Neither appropriate in the given context.

Also, the more we understand in our hearts the marriage of liturgical action and sacred music, the less patriotic hymns during mass make any sense. Vatican II reaffirmed the unique function of music within the sacred liturgy:

“Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” (Sacrosanctum Concillium § 112)

HICH LITURGICAL ACTION would God Bless America or America the Beautiful connect with the best? Entrance Procession? (perhaps during the incensing of the altar?) Offertory? Communion Procession? In these terms, I find it difficult to reconcile the texts – although composed with dignity and embedded in our country’s religious roots – with these particular liturgical actions, where Christ’s redeeming sacrifice for all is central. Furthermore, patriotic songs during mass would exist purely for their own sake, which is antithesis of the function of sacred music, which is to help us sing the texts of the mass itself.

Finally, I am mindful that this is a complex subject that evokes great emotion of very varying types. If one must sing a song of country at mass, (which I have done, and will likely do when Independence Day falls on a Sunday) the only possible consideration would be after the Final Blessing and Dismissal. Officially, the mass is over. Never, never, would one consider singing a patriotic hymn anywhere else, e.g., Offertory or post-communion. In light of accompanying the liturgical action, Patriotic hymns suddenly feel like a Salve Regina during at a Memorial Day Parade.

ADDENDUM

UNDERSTAND THE CONTEXT of my liturgical position: I am deeply interested in politics and history. I particularly enjoy reading books on American History regardless of political party. Among my favorites include Garry Wills’ Lincoln at Gettysburg and Wills’ book on Washington, Cincinatus, which describes Washington’s “abdication” of power after two terms which inspired poetry, paintings, sculpture, and music. However, do not mistake my interest in history or love of country as “conservative” or “liberal.” It is neither. I am in agreement and disagreement with both American political parties (not unlike the American Bishops and various Popes on a number of topics). Politics can be divisive. The Eucharist is Universal.

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

Filed Under: Articles Tagged With: liturgical action Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. 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. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

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“Each of our sins was one more thorn in our Lord’s crown; one blow the more to His scourging.”

— Cardinal Merry Del Val (shortly before his death)

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