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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

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— SACRAMENTUM CARITATIS

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