• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Nothing That Requires Explanation?

Dr. Peter Kwasniewski · February 28, 2013

N SACROSANCTUM CONCILIUM 34 we read: “The rites should be distinguished by a noble simplicity; they should be short, clear, and unencumbered by useless repetitions; they should be within the people’s powers of comprehension, and normally should not require much explanation.” In the new climate of a sincere, open, and honest discussion of the documents of Vatican II, we might genuinely wonder about the legitimacy of that last idea―“and normally should not require much explanation.”

First, there is no such thing as a born Christian, nor a man naturally attuned to symbolism, especially in our age of asymbolic emptiness, when the most elementary religious instincts have been lost or perverted. Everyone needs to learn the meaning of symbols and symbolic gestures. Indeed, one of the most important elements of catechesis is to inculcate the Christian mystagogy, the meaning of all the aspects of Christian worship. Once a layman has learned the meaning of the rituals, gestures, prayers of the ancient rite, he never needs to have them explained again; they remain deeply lodged in the heart, fecundating his spiritual life.

Thus, turning the Council’s statement on its head, the liturgy in absolutely every respect MUST be explained if it is to have and retain any meaning at all. The statement that nothing should need to be explained refutes itself from the very definition of symbol and ritual, which are interpretive motions towards God and cannot be absent from worship unless it degenerates completely into no more than an organized social gathering where greetings and handshakes are exchanged. This kind of formal coffee hour, of course, would need no explaining; but it is also not worship in any sense of the word, much less the renewal of the Sacrifice of Calvary.

To go further, the Council’s statement is strange, for the simple reason that anything profound requires explanation, inculcation, catechesis―the liturgy above all, as testified in Romano Guardini’s masterful sermons on the liturgy, which he preached to an appreciative congregation. To say that the liturgy should somehow be “transparent” in the sense of requiring no prior formation―something quite contrary to the elaborate initiatory practice of the early Church, which prepared her catechumens with such care (how ironic in this age of supposed “return to antiquity”!)―is to set up not only an impossible but an anti-liturgical goal.

To go further still, the traditional Roman liturgy is, in a way, far more transparent, far more immediately understandable, because it is more attentive to the majesty and solemnity of the sacrifice and does not attempt to simplify (and thereby cheapen) the contents of worship. Quietly ignoring the question of audience response, it is nonetheless capable of eliciting an immediate response of a far deeper quality. This is why good-hearted Catholics who attend the ancient liturgy may come away perhaps a bit confused as to the details but still filled with a sense of mystery and majesty, aware of the sublime and unique nature of true Christian worship. Provided that they understand the rudiments of Catholic doctrine, they have seen and heard the mystery of the word of God and the Holy Eucharist; they do not need an immediate explanation of every detail. They will grow into the details over time, especially if the priest does his job by judicious explanations in sermons, as any good traditional priest would do.

The real crisis at the time of the Council was that priests were no longer devoted to, and no longer cared to preach about, the mysteries, the rituals, the symbols. Thus the Consilium of Paul VI thought to solve the problem by fabricating a symbolically “obvious” ritual, and succeeded, as Catherine Pickstock argues, in giving us something nearly totally devoid of symbolic richness, subtlety, and depth. In a sort of inversion of Catholic incarnational spirituality, they surrendered to the anti-symbolic, anti-sacral carnality of the modern world, where obsession with the flesh―that is, the palpable, immediate, obvious, no-need-to-be-explained environment of daily experience―clouds over the apprehension of invisible spiritual realities.

Yet another reason for Summorum Pontificum, which has inaugurated the liturgical renewal that the Council attempted but, thanks to the snares of ideology, failed to achieve.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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.

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “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 • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“There are some so restless that when they are free from labour they labour all the more, because the more leisure they have for thought, the worse interior turmoil they have to bear.”

— Pope Gregory the Great

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.