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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

Improving the Liturgy

Fr. David Friel · September 18, 2016

HE LAST 150 years or so have been a very significant period as regards the sacred liturgy. Throughout that time, a Liturgical Movement has been afoot, striving to improve the manner and quality of our worship.

But how does one “improve” the liturgy? What does it even mean to speak about improving public worship?

Consider this perspective from the liturgical scholar, Robert Taft, SJ:

For over a century now the Christian Churches, first of the West, then also of the East, have been preoccupied with liturgical renewal, under the influence of what is known as “The Liturgical Movement,” a worldwide effort dedicated to making Christian liturgy better. But good liturgy is liturgy that glorifies God and sanctifies those glorifying him, and that is his gift to us, not ours to him. For we can glorify God only by accepting the unmerited gift of sanctification he freely gives us. If it is God who does it, how could it be better? It could be better from our side, for we too have a part in the liturgy, which is neither magic nor unconscious. So God’s part would better achieve its aim if we would drink more fully from the saving waters he offers us in the liturgy via a participation that would be more active, more conscious, more communal. 1

A similar outlook is encapsulated in a reflection by Pope Benedict XVI on the Regensburg tradition and the reform of the liturgy. The Pope Emeritus writes this:

Liturgy presupposes . . . that the heavens have been opened; only if this is the case is there liturgy at all. If the heavens are not open, then whatever liturgy was is reduced to role playing and, in the end, to a trivial pursuit of congregational self-fulfillment in which nothing really happens. The decisive factor, therefore, is the primacy of Christology. Liturgy is God’s work, or it does not exist at all. With this “first” of God and of his action, which looks for us in earthly signs, the universality of all liturgy and its universal public nature are given. . . . By opening up the heavens, [Christ] is also the one who does away with all earthly limitations.” 2

We can look back upon the last century and a half and evaluate the progress of the Liturgical Movement in the light of these two reflections, which place primacy on the action of God at work in the liturgy. In this process of evaluation, it would be easy to identity both strengths and weaknesses.

Looking forward, though, is always more of a challenge. What is the present course of the liturgical movement? What steps are we taking to better “our side” of the liturgy, as Taft calls it? In what ways are we striving to drink more fully from “God’s part”? In what ways is the Liturgical Movement making us more aware of God’s action of opening the heavens to us in the liturgy?

One encouraging sign is that proper liturgical formation is receiving greater emphasis in seminaries and among the laity. Surely, this should be one of the most important areas of concentration in any effort to renew the liturgy.

Another equally important dimension of the way forward is the need to return to the writings and vision of the leaders of the Liturgical Movement over the last century. We must become more familiar with such figures as Pope Pius X, Romano Guardini, Lambert Beauduin, Louis Bouyer, and Pope Benedict XVI, among many others. Doing so will ground us more deeply in the vision expressed in the two quotes above.

The era of Summorum Pontificum is still relatively young, and its impact has not yet fully unraveled. Sorting out the tensions caused by it (and by Anglicanorum Coetibus) will surely be a major part of the way forward in the Liturgical Movement.

Perhaps a wider understanding of “organic development” as it applies to sacred liturgy is a goal for which we might also hope. More systematic treatments of this topic would surely be welcome.

What other features or priorities do you envision for the future of the Liturgical Movement? Please feel free to comment with your thoughts.

Instaurare omnia in Christo




NOTES FROM THIS ARTICLE:

1   Robert F. Taft, S.J., Through Their Own Eyes: Liturgy as the Byzantines Saw It (Berkeley, CA: InterOrthodox Press, 2006), 1.

2   Joseph Ratzinger, “The Regensburg Tradition and the Reform of the Liturgy,” in Collected Works: Theology of the Liturgy, vol. 11 (San Francisco, CA: Ignatius Press, 2014), 466-467.

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, His Holiness Pope Pius X 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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Corpus Christi Watershed

President’s Corner

    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 11 January)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Baptism of the Lord (SUNDAY, 11 January 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon—to say nothing of the antiphon itself—are breathtaking. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski

Quick Thoughts

    “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 Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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