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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

“Chronicles of Narnia” by Msgr. Richard Schuler

Jeff Ostrowski · April 5, 2013

ANY TIMES IN THE PAST, I have mentioned that our blog is a positive blog. However, from time to time we will publish documentation of realities in the Church, so that we can be “armed with knowledge.” This ought not be viewed as “negativity.” Reality is reality, and we are called to be aware of reality. The true title is not Chronicles of Narnia (it is actually A Chronicle of the Reform), but sometimes the information related is so wacky it feels like reading a fantasy novel:

      * *  Part V • Schuler’s Chronicle of a Reform [pdf]

I don’t always agree with Msgr. Schuler about every subject. One of my biggest disagreements has to do with using “Viennese School” music at Holy Mass. Msgr. Schuler admits that such music (by Mozart, Haydn, Schubert, Beethoven, etc.) has a compositional style indistinguishable from secular music. However, he claims that such music can be used during Mass because it was sacred “in language and intent.” In other words, Msgr. Schuler claims that so long as the composer “intended it for use in Church” and it does not alter the text, it is fine to use at Mass. At some later time, I shall examine in greater detail the articles he wrote defending this theory.

However, when it comes to historical facts in the above article, there can be no disagreement. Everything is documented in the footnotes. Msgr. Schuler was very knowledgable about such things, and served in many high level positions. So often in today’s world we “skim” articles. We do not carefully read each word. However, the above is one of those articles that can be read and re-read year after year with profit. If you care to read the entire series by Schuler, you can do so here [pdf].

[ P.S. The good news is, a few years ago, the terrible document Schuler cites in that article was gotten rid of. It has been replaced by Sing to the Lord, which is a real improvement. ]

A few thoughts about that article . . .

There is much that could be said about the article. I will basically “hold my tongue” so the reader can draw his own conclusions.

ABOVE ALL, I am struck by the HORRIBLE SITUATION the Church found herself in during the 1960s. I used to think that the major problems set in at the beginning of the 1970s. This article clearly documents unbelievably terrible things happening in the 1960s.

Here are a few items:

1.

In fact, in some dioceses, their use was prohibited by local legislation that forbade the use of Latin. For a partial list of dioceses in the United States with regulations against the use of Latin, see Johannes Overath, ed. Sacred Music and Liturgy Reform after Vatican II, Rome 1969, p. 22-23.

Can anybody provide this 1969 article? I’ve heard that some Bishops did this, but seeing documentation would be great.

2.

See Richard J. Schuler, “By Whose Authority?” The Wanderer, April 4, 1968, p. 3.

Can anyone provide this article from 1968? I didn’t even realize The Wanderer was around in 1968 !!!

3.

“Music, more than any other resource, makes a celebration of the liturgy an attractive human experience.”
“The faith of those present accomplishes the marvelous change called transubstantiation.”
“The primary sign of the Eucharist are (sic) people gathering together, not the bread and wine or words.”

Say what??

4.

“The hootenanny Mass can give explicit eucharistic and christological specification to youth’s intense involvement in the movements for racial justice, for control of nuclear weapons, for the recognition of personal dignity.”

Say what??

5.

Some of the “top ten” of the liturgical hits in the late sixties were: Michael, Row the Boat; Blowing in the Wind; Gypsy Rover; and Kum-bay-a. Often these had newly composed words whose literary worth was worse than liturgical value of the melodies. Others were totally secular in both words and music, e.g., Hush Little Baby; There is a Ship; Try to Remember; This Land is Your Land, etc.

This is the music of my childhood during Holy Mass . . . but I had no idea such drivel was already around during the 1960s.

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“One can still have silence even during the Canon, since one is not obliged to recite the Canon audibly at all times. A quieter, less powerful tone of voice will always permit an opportunity for personal, silent prayer.”

— Joseph Cardinal Frings (25-jan-1968), patron of “Consociatio Internationalis Musicae Sacrae” (papal church music association)

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  • New Bulletin Article • “12 October 2025”

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