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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

Why No Offertory Antiphon In Roman Missal?

Jeff Ostrowski · May 10, 2013

OMETIMES IT IS NICE to have our questions answered, even when the answer makes absolutely no sense. For years, many have wondered why the Offertory Antiphons in the Missal were not revised for MWMs (Masses Without Music). The Introit and Communion were revised for MWMs. They are called the Spoken Propers because they’re only supposed to be used when there is no singing. Why not the Offertory?

I gave some possible reasons several years ago in this article:

* *  Why are the Missal Propers different from the Graduale Propers? [url]

Reading an Archbishop Bugnini on the CMAA forum, it seems that I was pretty close:

To be noted in particular is the wide range of possibilities offered for singing. This allows both the full preservation of the traditional patrimony (Gregorian and polyphonic) and, at the same time, a genuine openness to new musical creations for new texts.

Thus, for the entrance song, in addition to the texts in the Roman Gradual and the Graduale Simplex, it is possible to use other texts that are liturgically adapted to the season or feast and are counterparts of the old texts. They are to be approved by the episcopal conference. The same holds for the offertory and communion songs.

All these songs accompany an action. It is therefore possible to allow a certain flexibility, especially with an eye on the heritage of popular song in the various countries and the various modern languages. This means in turn that the texts must be to some degree adaptable to new and different musical requirements.

The document [Bugnini refers to the General Instruction of the Roman Missal] prescribes how each ‘sung’ text is to be handled when the Mass is actually a Mass with singing and when the Mass is simply read. The entrance and communion antiphons, for example, are to be sung or read for their value in showing the meaning of the celebration and feast. The offertory antiphon, on the other hand, may be omitted if it is not sung, because it then loses its value as accompaniment to a procession and to the offertory rites; if it is simply read it would create a textual overload of this part of the celebration.

The Reform of the Liturgy: 1948-1975 by Annibale Bugnini (Page 387).

Unfortunately, Bugnini’s “answer” is incomprehensible. A textual overload? Really? And it is really true that neither the Introit nor the Communion antiphons accompany a procession? Really?

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

Filed Under: Articles Tagged With: Graduale Romanum Roman Gradual Propers, Sung Vs Spoken Propers Novus Ordo Last Updated: August 20, 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

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “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

Random Quote

“A vigorous search is instituted for the best tenor and bass singers to be found in the realm. Luys de Villafranca, master of the altar boys and instructor of plainchant, petitions on November 27 that the boy-bishop festivities be combined this year with those for the Feast of St. Nicholas.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (20 November 1562)

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