• 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

Controversial Statements About The Mass Propers

Jeff Ostrowski · May 23, 2013

AUL INWOOD, former president of Universa Laus, recently made some controversial statements about the Mass Propers. For those unaware, Universa Laus was founded in the 1960s to try and promote “progressive” liturgical ideas. (Readers know I don’t much care for the term “progressive,” but that’s another story.) Pope Paul VI specifically asked Universa Laus to “dissolve itself” in a letter dated 29 July 1966.

I believe his comments are open to criticism, and I would welcome this opportunity to draw some important distinctions.

The former president was harshly critical of a CCW phone interview which encouraged Catholics to put more emphasis on the Mass Propers found in the Roman Gradual. When asked to articulate the most fundamental, disturbing elements of the interview, he said:

The interviewer thinks that the antiphons of the Missal are the texts given by the Church, and that therefore we ought to be singing them in preference to anything else. That is both naive and inaccurate, but alas it is something that one often hears propounded by people who have heard it from somebody else.

— In fact the Church provides several options for singing at those points in the Mass, so it is incorrect to try to characterize these texts as the “given texts.”

— Additionally, in the universal GIRM the Missal antiphons are not even given as an option for singing. The USA, exceptionally, has inserted them as a local addition along with the Gradual Romanum in the first option.

— Thirdly, we know from those who worked on the 1970 Missal that they never intended those actual texts to be sung. The texts are there to remind us that we should be singing something at those points, but not those texts. They are only there for recitation if there is no singing.

As I’ve mentioned, I welcome this opportunity to point out several crucial errors in these statements.

1. Regarding this assertion:

In fact the Church provides several options for singing at those points in the Mass, so it is incorrect to try to characterize these texts as the “given texts.”

On the contrary, the Church does indeed give us these texts. Furthermore, a 1600 year tradition gives us these texts. The mere fact that other texts are allowed to substitute for them in no way changes the fact that the Church “gives us” these texts. If Bobby’s mother gives him a dime in addition to giving him a quarter, that in no way negates the reality that his mom gave him a dime!

Before we go on, please notice that Mr. Inwood here is clearly speaking of Sung Masses, yet makes no mention of the Graduale Romanum texts, which are the very first ones listed by the General Instruction of the Roman Missal. This is important, as the reader will notice below.

2. Regarding this assertion:

The texts are there to remind us that we should be singing something at those points, but not those texts. They are only there for recitation if there is no singing.

Mr. Inwood seems to have been reading articles published by CCW and the CMAA over the years, which have been outspoken in explaining the differences between Sung Propers vs. Spoken Propers. Thanks to the documentation highlighted by those groups, folks are beginning to realize that some of the Missal Propers (Introit and Communion only) were altered from the texts in the Roman Gradual. However, lumping together all of the Propers (Sung, Spoken, Offertories, Graduals, etc.) in such a fashion is neither responsible nor correct.

For the sake of argument, let’s pretend it makes sense to “switch gears” here, and start talking about Masses without music. The statement is still inaccurate, because so many of the Introits and Communions in the Missal are identical to those found in the Graduale Romanum! Mr. Inwood’s statement would have been closer to the truth if he had added the words “regarding Entrance and Communion antiphons which were altered, and as a result do not match the Graduale version.”

The statement is hardly a “crushing blow” to the interview, which was about ALL the Mass Propers (not just the relatively small number of altered antiphons for priests saying private Masses). His statement strikes me as an attempt at “quibbling,” and, after all, which of us can say we’ve never quibbled? The thing to grasp is that these statements indicate a profound lack of understanding of the Graduale Romanum, which ought to be the first text book of any Church musician, but (alas!) in so many cases ends up being the last. Even if the interviewer or person being interviewed “slipped up” and mentioned the “Missal Propers” when it would have been more correct to say “Graduale Propers,” this is hardly a cause for concern, since the entire series of interviews is dedicated to the Mass Propers from the Roman Gradual. For example, frequent mention is made of the Offertory antiphon, which is not found in the priest’s Missal.

To summarize, the statements quoted above completely ignore the heart of the matter: the existence of the Roman Gradual and Ordo Cantus Missae.

Here’s what we as Catholics need to eliminate:

Entrance Chant: anything we like, in any style we like, with a text written by anybody (Catholic or Non-Catholic)

Offertory Chant: anything we like, in any style we like, with a text written by anybody (Catholic or Non-Catholic)

Communion Chant: anything we like, in any style we like, with a text written by anybody (Catholic or Non-Catholic)

For those who wish to learn more, this article might be a good start. The Preface to this book also might be worth reading.

Click here to listen to all the Lalemant Propers Interviews which have been conducted so far.

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

Filed Under: Articles Tagged With: Paul Inwood Last Updated: January 1, 2020

Subscribe

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

* indicates required

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).

Primary Sidebar

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

Thus the priest-celebrant, putting on the person of Christ, alone offers sacrifice, and not the people, nor clerics, nor even priests who reverently assist. All, however, can and should take an active part in the Sacrifice. “The Christian people, though participating in the Eucharistic Sacrifice, do not thereby possess a priestly power,” We stated in the Encyclical Mediator Dei (AAS, vol 39, 1947, p. 553).

— Pope Pius XII (2 November 1954)

Recent Posts

  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

Subscribe

Subscribe

* indicates required

Copyright © 2025 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.