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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

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

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)

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

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