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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

Rebellion in the Liturgy

Richard J. Clark · June 6, 2014

T IS HUMAN NATURE to rebel, especially at certain times of one’s life including adolescence in which fighting authority is instinctive. The 1953 Marlon Brando classic, “The Wild One” comes to mind in which someone asks, “Hey Johnny, what are you rebelling against?” Johnny (Brando) immediately replies, “Whadda ya got?” Sometimes this happens in the Church as well!

Aside from physiological reasons, youth and young adults are trying to create an identity for themselves and demonstrate independence. This is not a bad instinct at all. In fact, it can be quite good. For example, artists often need to push boundaries to discover their identity and establish a unique voice. This sort of rebellion or pushing of boundaries can create extraordinary art, oftentimes forcing others to think in ways outside of one’s comfort zone. These are good things that foster growth.

But what I speak of is of the individual. In corporate prayer, this becomes tricky and problematic, as the focus is not on us, but on God. It fosters unity with each other. The self—the ego—is subdued, which is an act of humility, something most necessary when praying as a community. Yet, this is often seen as stifling self-expression or creativity. Of course this is missing the point entirely (something I have learned only slowly over the years).

O, IN THE LAST FIFTY YEARS SINCE Vatican II’s first document, Sacrosanctum Concilium, we know what followed was a period of great misunderstanding of this text. Enormous experimentation ensued to say the least. Coupled with great societal change, to rebel against “The Man” – or in this case – “The Church” or “The Liturgy,” became a knee jerk reaction. Perhaps the Church was experiencing a new period of adolescence, painful and perhaps necessary. Only now, fifty years since, has the Church begun to understand its awkward struggles and hopefully mature in its worship. In the meantime, the result was more than a generation of lost tradition.

Here is a truth of human nature: When we can’t have something we want it. When something is forced upon us, we often reject it. Forcing traditions upon others is no way to pass them on. Take them away, and we’ll demand to have them back. In part, it is the latter that seems to have transpired more recently. It is the latter that in part drives the movement towards more reverent liturgy and restoration of our sacred treasury of music. In short, the rejection and denial of our traditions to more than one generation has greatly fueled the Reform of the Reform.

ODAY, I AM PRIVILEGED to correspond and converse with many young people and seminarians who are embracing our traditions. To seek out tradition when I was their age was unheard of! Is it possible that since they were often deprived of them that they are rebelling against the older generation, and in doing so, forging their own identity? This may in fact play a part, but I think there is more to it than that. These are young people who truly hunger to understand our faith and its foundations. Time will tell if it has taken root.

Therefore, how we pass on our traditions matters. Forcibly so is a recipe for rejection and failure. It is only our love that can evangelize, especially to our children. It is this love for the mass that will in time be instilled within them. This is our responsibility so that they are not empty and meaningless words and gestures.

As such, our traditions must not be left as relics of the past—monuments to antiquity. Tradition lives and breathes within us today. In doing so, it informs us of who we are. Fascinatingly, tradition helps each of us find our unique voice.

So at times, our children may rebel, make mistakes and forge their own identity. They need to find their own voice. When they do, their faith will take root even deeper, because it will be their own.

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

Filed Under: Articles Tagged With: Liturgical Abuse, Passing on Tradition 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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Corpus Christi Watershed

President’s Corner

    PDF • “Music List” (Sunday, 28 December)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Holy Family of Jesus, Mary, & Joseph (28 Dec. 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon are particularly gorgeous. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • “Music List” (Xmas Midnight Mass)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Christmas Midnight Mass (“Ad Missam In Nocte”). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is simple, but quite beautiful. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF • “Music List” (4th Sunday of Advent)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 21 December 2025, which is the 4th Sunday of Advent (Year A). If such a thing interests you, feel free to download it as a PDF file. The ENTRANCE CHANT is the famous “Roráte Coeli” and the fauxbourdon setting of the COMMUNION is exquisite. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    What does this mean? “Pre-Urbanite”
    One of the things informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal has to do with 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
    Pope Leo XIV on Sacred Music
    On 5 December 2025, Pope Leo XIV made this declaration with regard to liturgical music.
    —Corpus Christi Watershed

Random Quote

“It is the same Church which has introduced the vernacular into the sacred liturgy for pastoral reasons, that is, for the sake of people who do not know Latin, which gives you the mandate of preserving the age-old solemnity, beauty and dignity of the choral office, in regard both to language, and to the chant.”

— Pope Saint Paul VI (15 August 1966)

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