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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

Have We Lost The Church Music Battle?

Jeff Ostrowski · September 8, 2014

897 Keep Calm ERNADETTE FARRELL once argued that Church musicians like James MacMillan should choose the “selfless path” and stop insisting upon our Church’s traditional music, but her argument was erroneous. Those of us who work in parishes know that nothing is easier than giving people “the music they want”—and I suspect many of us are guilty of playing inappropriate music to avoid conflict (especially at weddings).

On the other hand, standing up for music corresponding to the Church’s criteria requires bravery and strength. I’ve received hundreds of emails from our readers, and many have shared their heroic stories. They are trying to implement the music they feel called by God to implement, but often encounter fierce opposition. Many have burning questions:

“Why isn’t there a Schola Cantorum in each church? Why aren’t the Propers sung everywhere? Why do so many parishes allow such horrible music? Why am I persecuted for trying to follow Church teachings in this area? How did we lose the battle over good church music?”

My answer may shock you. I feel our movement HAS BEEN SUCCESSFUL BEYOND OUR WILDEST DREAMS. Now, let me explain why I say this.

WHILE IT’S TRUE THAT TOO MANY Catholic churches employ inappropriate music, the good news is that—against all odds—the traditional music still triumphs in one important area: parishes run by “no-nonsense” priests. Whenever I encounter serious parishes, I notice they choose authentic Sacred music without exception. 1 Moreover, new resources are added constantly. I recently mentioned eleven collections of Mass Propers, and we’ll soon be posting a review of the new English Gradual by Belmont Abbey.

Why don’t more churches choose authentic Sacred music? For one thing, it’s difficult; and we tend to avoid difficult things due to human nature. However, there are deeper reasons, and it’s crucial that we become aware of them. It’s imperative that we know “what we’re up against.”

Listen to this brief excerpt from Disney’s Lion King :

      * *  Mp3 Audio File: Lion King (Disney, 1994) — “Stampede”   2

The soundtrack here is absolutely superb. Perfectly composed, flawlessly performed, skillfully mastered—it fits this film like a glove. The director knew what music was suitable (to borrow Bugnini’s favorite word) and no one disputes this. Yet, when it comes to Church music, it has been forbidden over the past four decades to discuss what type of music is suitable for Mass. A drafter of the USCCB document on Church music even said publicly that Church music “need not sound Catholic.”

Now, consider an example from Barney & Friends :

      * *  Mp3 Audio File: Disgusting Sprechstimme (Barney & Friends)   3

Did you notice how the soloists spoke their lines, instead of singing true pitches? Such a technique can be acceptable on occasion—like when Rex Harrison does it—but it’s become a plague. In fact, this technique is abused so often, it has contributed to the erosion of our culture. Children no longer understand what it means to sing. By the way, the banal lyrics to that Barney song remind me of much contemporary Church music. 4

The next example dates back to 1999, when I was in 12th grade. At that time, I was rehearsing a Mozart concerto in a practice room:

      * *  Mp3 Audio File: Mozart Concerto No. 23 — Practice Session Excerpt (1999)

      (Please excuse any errors. At that time, I lacked experience playing concerti.)

Mozart wrote that beautiful concerto for just one reason: the delight of the listener. I am so grateful that I had parents and teachers who taught me to value such music. I had disavowed by that time all the music I used to love—Pearl Jam, Nirvana, Green Day, Foo Fighters, and so forth—because I had found something better. In fact, I smashed all my rock’n’roll tapes with a hammer.

Pop music has done much to erode our culture. So many pop songs are obscenely simplistic and excessively repetitive. For instance, consider Viva la Vida (a wildly popular song by Coldplay). The entire piece is set over a four-bar phrase that repeats for the entire song. Should we really be shocked that good Catholic people have difficulty appreciating more sophisticated art forms like Gregorian chant & polyphony?



NOTES FROM THIS ARTICLE:

1   For the record, the same thing applies to the Catholic Church’s “hard” teachings. For instance, down the road from us, a young “traditional” priest was recently assigned as Pastor. He has refused to “water down” the Gospel. For example, they have glossy pamphlets at each door explaining Catholic teaching on artificial contraception. Yet, this doesn’t drive anyone away. The pews are packed each Sunday, tithing has more than quadrupled, and the free Bible study courses are packed. It seems people are hungry for the truth!

2   I’d prefer that you listen, but if you absolutely must watch, click this link.

3   You can see the video by clicking this link. For the record, this isn’t the best song for Barney, since his facial expression remains the same no matter what.

4   If you think I’m exaggerating, Google the lyrics to “Bread Of Friendship, Bread Of Love,” written by Owen Alstott (husband of Bernadette Farrell).

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

Filed Under: Articles Tagged With: Owen Alstott Bernadette Farrell, Secular vs Sacred Music at Mass 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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President’s Corner

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —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

Quick Thoughts

    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That is the university Fulton J. Sheen went to, as well as Dr. Myrna Keough.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski
    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed

Random Quote

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

Recent Posts

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  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)
  • Grotesque Pairing • “Passion Chorale”

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