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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

“Liturgy Wars” and Four Universal Principles

Richard J. Clark · November 13, 2015

ITH ENDLESS DEBATE about musical styles, the term “Liturgy Wars” is now a common part of the liturgical lexicon. So common, in fact, that it has lost its shock value to the point that it is in some circles not even controversial. It is an accepted reality.

In some ways, this is a healthy sign because reasonable, intelligent people need to be able to work together even when they don’t agree. Or more commonly, we may have superiors with whom we must work with even if we believe (or know) we are correct, or backed by the Liturgy Documents, etc. Catechesis is a process. A working trust is a process. Often it takes years. More realistically, it takes a lifetime.

The political reality in most every parish is that there are numerous “factions” and preferences. This requires the reality of doing many styles of music even in one liturgy. This has advantages and disadvantages—too many to discuss. But an important political reality is that when advocating for 100% purity of style or approach, one will usually leave the table with nothing. This helps no one. And the people may be cheated of ever being exposed to music that is their birthright—the Treasury of Sacred Music of the Church.

CASE CAN BE MADE for a hybrid music program in which one may chose from the “best of the best.” In some circumstances, this is the only way to introduce chant or polyphony or traditional hymnody. In many parishes, regular use or even introduction of such music is progress. It also will be something to build upon.

An important approach when utilizing multiple styles in one liturgy is to filter the music through the most important musical and liturgical principles. Regardless of styles of music we must consider the following:

1) The Three Judgments — When selecting music, 2007 US Bishop’s document Sing to the Lord: Music in Divine Worship requires that we consider three elements when choosing music: 1) Liturgical 2) Pastoral 3) Musical. I wrote a good deal more about this here. Does the music fulfill these requirements? This is an essential guideline that will help filter out lesser music, and direct our hearts and minds toward God.

2) In the liturgy, the Word is preeminent. From a liturgical perspective, it is vital to note the text of the music. All too often, the particulars of text are not considered carefully enough or at all. What is the theological content? Is the text from scripture? Is the text a setting of any of the antiphons? Different styles can go a longer way when the text correlates to the words of the Mass in this manner.

3) When rehearsing music of different styles, pay a high level of attention to universal musical principles: phrasing, diction, choral blending, etc. Apply all of these regardless of the style. It will also earn the respect of the choir, the people, and the pastor.

4) Music of all styles for the liturgy must be filtered through the prism of reverence. Reverence does not preclude energy or joy or any other emotion for that matter. In fact reverence embraces all emotions. But, the sacred liturgy requires it. If a piece cannot be reverent in some fashion, then it is probably not appropriate for the liturgy.

It is our job to make sacred music work. Some music requires more input and effort from us to make that happen. It’s our pastoral responsibility to do so in order to serve God and to serve His people.

ADVENT IS NEAR!

Hard copies and downloadable digital scores of the Communion Antiphons for Advent, published with World Library Publications.

You can listen to recordings directed by Paul French here.

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 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

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

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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