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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

Discussion of “Inclusivity” & “Diversity” at the Synod

Fr. David Friel · October 13, 2015

AT THE PRESENT TIME in Rome, the Synod of Bishops on the Family is underway. This has been quite a highly anticipated event among Catholics, non-Catholics, and the media.

Archbishop Charles J. Chaput, O.F.M. Cap., who is among the bishops who were invited to participate in this Synod, gave remarks on two topics that bear not only on Church doctrine but also on liturgy.

The word “inclusive” has been applied to many aspects of Church life, sometimes appropriately, sometimes erroneously, and very often unclearly. Here, Archbishop Chaput reflects on the meaning inclusivity should have in the Church:

E HAVE HEARD many times that the Church should be inclusive. And if by “inclusive” we mean a Church that is patient and humble, merciful and welcoming – then all of us here will agree. But it’s very hard to include those who do not wish to be included, or insist on being included on their own terms. To put it another way: I can invite someone into my home, and I can make my home as warm and hospitable as possible. But the person outside my door must still choose to enter. If I rebuild my house to the blueprint of the visitor or stranger, my family will bear the cost, and my home will no longer be their home. The lesson is simple. We need to be a welcoming Church that offers refuge to anyone honestly seeking God. But we need to remain a Church committed to the Word of God, faithful to the wisdom of the Christian tradition, and preaching the truth of Jesus Christ.

The other significant phrase on which the archbishop reflected is the phrase “unity in diversity.” This has often been discussed as it relates to the inculturation of sacred music. The oversight of episcopal conferences with regard to sacred music is another common matter of debate. Here, Archbishop Chaput reflects more broadly on the meaning of unity & diversity and the role of bishops’ conferences:

The Church is “catholic” or universal. We need to honor the many differences in personality and culture that exist among the faithful. But we live in a time of intense global change, confusion, and unrest. Our most urgent need is unity, and our greatest danger is fragmentation. Brothers, we need to be very cautious in devolving important disciplinary and doctrinal issues to national and regional episcopal conferences – especially when pressure in that direction is accompanied by an implicit spirit of self-assertion and resistance.

Five hundred years ago, at a moment very like our own, Erasmus of Rotterdam wrote that the unity of the Church is the single most important of her attributes. We can argue about what Erasmus actually believed, and what he intended with his writing. But we can’t argue about the consequences when the need for Church unity was ignored. In the coming days of our synod, we might fruitfully remember the importance of our unity, what that unity requires, and what disunity on matters of substance implies.

As the work of this important Synod goes on, let’s all commit to prayer for the Holy Father and the Synod Fathers. May the Holy Spirit guide the Church in all ways!

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

Filed Under: Articles Tagged With: Inculturation, Marriage Synod, Unity Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(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

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    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’s the university Fulton J. Sheen attended.
    —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

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

Recent Posts

  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship

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