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Views from the Choir Loft

Why Don’t Serious Catholics Address This?

Jeff Ostrowski · December 14, 2015

935 PAINT MAGINE ENTERING a room where children are using paint to draw cartoons on the walls. When you ask if a parent gave permission, they reply, “Yes, we have permission.” They go on to explain: “Our parents have not come here and forced us to stop what we’re doing, so we have their permission.”

Sounds crazy, right? Yet, this same situation is what the USCCB has “interpreted” for Masses in the United States.

The official Ordinary Form rubrics 1 REQUIRE that any hymn replacing the 1974 Graduale Propers use a text specifically approved by the local bishop. Over the years, the USCCB has “interpreted” this requirement in many ways. The most serious way is by claiming that any song has “automatic approval” from the local bishop—even though he hasn’t heard the song—unless that bishop specifically forbids the song. 2 This interpretation was confirmed by the USCCB again on 20 November 2012. Moreover, the Bishops’ Liturgy Committee has officially refused to walk back or modify this bizarre policy. Our current situation, therefore, allows anyone—even non-Catholics—to compose lyrics which replace, for example, the ENTRANCE ANTIPHON without permission from any bishop.

Over the years, I’ve heard many powerful talks by strong Catholics: Scott Hahn, Edward Sri, folks from Catholic Answers, folks from Saint Joseph Communications, Adoremus Bulletin, Homiletic & Pastoral Review, and so forth. Many liturgical institutes and blogs also profess to care about sacred music. Why won’t anyone address this issue? Why is this issue never brought up? This situation does incredible damage to sacred music, yet nobody will address it.

If you desire to test the USCCB policy, try this experiment. Compose some lyrics and mail them to your bishop with his name & permission. I promise your bishop will not be pleased. You can try to explain “tacit permission” to him, but I guarantee it won’t do any good. You will be told to immediately remove that permission notice…because this whole “tacit permission” thing is nonsense—and anyone who carefully examines what’s been happening for 40 years will agree.



NOTES FROM THIS ARTICLE:

1   These are found in the current General Instruction of the Roman Missal.

2   As you’ve probably guessed, not many bishops forbid songs of whose existence they are unaware!

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

Filed Under: Articles 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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Corpus Christi Watershed

President’s Corner

    Proof Which All Can Immediately See!
    “A little knowledge is a dangerous thing,” as the famous maxim goes. Over the years, I’ve observed malicious attacks on the Brébeuf Catholic Hymnal. Rather than scoring a ‘hit’ on the Brébeuf Hymnal, its attackers often reveal profound ignorance. I’ve been advised never to reply … but I break that rule today. Certain voices online assert that the Brébeuf Hymnal is “untraditional” because it includes both the Urbanite and pre-Urbanite versions of the hymns. But if only they would glance at a copy of the 1913 VESPERALE (printed by order of Pope Saint Pius X) they would see how mistaken such statements are.
    —Jeff Ostrowski
    New Bulletin Article • “8 June 2025”
    My pastor requested that I write short articles each week for the parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article includes a few anecdotes about Archbishop Fulton J. Sheen and Abraham Lincoln.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Unfortunately, on the one hand a deadly error in judgment placed the official leadership of this committee into the hands of a man who—though generous and brave—was not very knowledgeable: Cardinal Lercaro. He was utterly incapable of resisting the maneuvers of the mealy-mouthed scoundrel that the Neapolitan Vincentian, Bugnini, a man as bereft of culture as he was of basic honesty, soon revealed himself to be.”

— ‘Fr. Louis Bouyer, an important member of the Consilium’

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