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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

Musical Harmony Softens Hard Hearts

Dr. Peter Kwasniewski · January 24, 2013

HEN OUR HOLY FATHER approved the centuries-old cultus of Hildegard of Bingen, and even more when he named her a Doctor of the Church, I had been thinking that I ought to get to know her better. Up till now, she has seemed to be the province (or the victim) of herbalists, tree-huggers, ex-clerical modernists, and suspiciously languid early music groups that dress up in faux medieval costumes to chant Hildegard’s lyrics. I wanted to know more about the real saint behind the myths, the mighty Benedictine abbess who received mystical visions, wrote copious treatises and poems, and corresponded with some of the great minds of her age.

I chanced upon a reliable collection of her mystical writings at a used bookstore and snatched it up. Reading it the past few months has been an eye-opening experience as I learned of Saint Hildegard’s profound (and thoroughly orthodox) theological genius, her marvelous fluency with metaphors and imagery, and her blazingly intense intellectual concentration on the mystery of God, with whom she is obviously and passionately in love. Almost every passage I’ve read has left me muttering to myself: “Hmm, I wonder how I can work this bit into the next course I’m teaching.” She has such a way of putting things.

As an example, consider the following passage on music from St. Hildegard’s work Scivias:

Musical harmony softens hard hearts, inducing in them the moisture of contrition and summoning the Holy Spirit. So it is that those voices that you hear are like the voice of the multitude when they lift up their voices on high. For the faithful carry their jubilant praises in the singleness of unanimity and revealed love, towards that unity of mind where there is no discord, when they make those on earth sigh with hearts and mouths for their heavenly reward. And the sound of those voices passes through you in such a way that you understand them without being hindered by dullness. For whatever divine grace has been at work, it removes all shadow of obscurity, making those things pure and full of light that had been concealed by the carnal senses in the weakness of the flesh.

When I read this, I had several thoughts in quick succession, amounting to a kind of “examination of conscience” for church musicians. If musical harmony is meant to soften hard hearts, induce contrition, and summon the Holy Spirit, is our music really doing this for the people in the pews? Moreover, are the faithful really engaged in “jubilant praises [of God] in the singleness of unanimity and revealed love”—is our music focused on the divine Majesty, in an idiom that fosters the unanimity rooted in revelation and leading to unity of mind, sighing for their heavenly reward? This sounds like a perfect description of Gregorian chant, which is surely the model Saint Hildegard had in mind. I do not know of a single piece of “contemporary church music” that embodies and expresses sighing for our heavenly reward, whereas the simplest Gregorian antiphon translates this transcendent longing into timeless music. Have the shepherds and ministers of the Church done everything they could to help the faithful understand the Church’s worship, or have they made a truce with the carnal senses and the weakness of the flesh (think “praise and worship” music), surrounding the sacred mysteries with shadows of obscurity and causing the spiritual progress of the faithful to be hindered by dullness? If Saint Hildegard were here today, what would she say of our music, our intentions, our standards, our aspirations?

Saint Hildegard of Bingen, pray for us!

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 Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Luys de Villafranca, master of the altar boys—who are to be distinguished from the choirboys (“seises”) because they study only plainchant whereas the choirboys live with the chapelmaster and study polyphony and counterpoint as well—is rewarded on October 17 with a salary increase of 6,000 maravedís and an extra 12 bushels of wheat.

— Sevilla Cathedral: Chapter Resolution (7 September 1565)

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  • “The Injustice of Traditionis Custodes” • (Private Meetings at the Vatican)
  • New Bulletin Article • “14 September 2025”
  • PDF Download • Croft’s “Canonic Kyrie” (SATB)
  • Karl Keating • “Canonization Questions”

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