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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

Failure, The Liturgy, & Today’s Mr. Know-It-All

Jeff Ostrowski · May 27, 2013

SUBMITTED AN ARTICLE to Homiletic & Pastoral Review, which is a wonderful publication, but it was rejected. Let me explain what happened.

I’ve been published in HPR in the past. About two years ago, I started considering submitting another article, and after a few months, I finally found the time to sit down and write it. Then, I had to wait for it to be proofread. Then, I finally found the time to place it in the mail (summer 2012). Their organization recently changed editors, and they lost my submission. I sent it again. Finally, on 20 November 2012, they said they enjoyed the article but decided not to print it. The priest who rejected it was very professional, polite, and encouraging.

So, here’s my dilemma: the process took so long, I don’t even like my article anymore! Here it is, in case you want to read it:

      * *  Moving Forward with Liturgical Reform: Positive Steps [pdf]

I’m beginning to wonder if I should continue to write articles. Has anyone had a similar experience? Feel free to share your thoughts in the combox.

REMEMBER: I’m not saying HPR should have printed my article. They probably get hundreds of wonderful submissions. I’m merely relating what happened.

I BEGAN TO PONDER ARTICLES. What is an article? Is it only to be published when it contains newly-discovered information? It seems to me that certain successful authors publish the same ideas over and over.

In a certain sense, we live in a very strange age. We are taught never to use the personal pronoun “I” when writing articles. We are told we must project the image of an omniscient, objective, modern “scholar,” and personal pronouns detract from this. How ironic, since ours is the same age that denies the existence of absolute Truth! In graduate school, we had to attend numerous conferences and symposia where papers were presented by musicologists who could barely play a C Major scale. We listened to presentations on the great choral works of history from theorists who could not even sing in tune. One time, a professor marked an error on my paper because I had pointed out an interesting fact about a certain composition. His red pen wrote, “Let your readers decide if that is interesting.” I’m sure he wanted me to congratulate him on how “objective” he was. By the way, I just committed a sin by writing, “His red pen wrote.” Another one of my professors would have asked me, “Did HE write, or did his PEN write?” Enough. You get the point.

If only our modern day “know-it-all” professors would take the time to look back into former decades, they would see that musicologists and theorists who actually knew their stuff did indeed use the personal pronoun “I” throughout their works. They were not at all embarrassed to say things like, “I have not found any mediaeval source containing such-and-such.” They were quite comfortable in their own knowledge as well as the fact that they were not infallible. We need more scholars like them!

The worst is when I see an article by somebody touted as “one of the leading experts on the Catholic liturgy.” I’ve pretty much “seen it all” in this regard. I’ve seen articles published about the liturgy by “scholars” who are comfortable preaching heresy. I’ve seen articles on the liturgy by Bishops who don’t even say Mass each day (according to people who work for them). I’ve seen articles on the liturgy published by “priest scholars” who don’t even say their office each day and allow every manner of terrible music at their Masses.

In fact, only those who have suffered can understand the liturgy. And only those who understand the liturgy ought to publish articles about it.

At the liturgy, we come face-to-face with God. Imagine! And we can pray to Him, telling Him all our troubles, worries, and woes.

In some ways, the Canon and the Propers are the most moving parts of Mass. You might ask, “Why the Propers? Why not the Readings.” The answer is the same reason which accounts for the popularity of Blogs. Blogs are popular because the entries are not too long, and we have short attention spans. The same with the Propers: they pick out the perfect little “nuggets” to carefully reflect on.

Where else can we go and enter into anything of such antiquity? Many of these prayers go back untold ages. All of a sudden, images confront one. Emperor Heraclius, Thomas Aquinas, Pope Hadrian, Saint Augustine, and a thousand others. Especially during the Roman Canon, when the names of so many ancient saints are recounted. Especially when the Canon is read with love and care, as in this audio excerpt by Most Rev. Bishop Gracida. Especially in the quiet solitude of one’s soul.

Some people think that the mere fact of owning a lot of old books with copious footnotes makes one a scholar. I promise you, it doesn’t. Only those who live the liturgy ought to write and speak about it. Books are books. People are people. God is God. Life is not the internet. Life is not fancy footnotes. Life is being in communion with God, and the liturgy allows us to do this.

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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President’s Corner

    Music List • “Ascension of the Lord”
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for the The Ascension of the Lord—“Festum Ascensionis Domini”—which is transferred to 17 May 2026 in our diocese. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (“Ascéndit Deus in jubilatióne”) is particularly beautiful and the ENTRANCE CHANT is simply splendid. As always, readers may go directly to the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“We decided to entrust this work to learned men of our selection. They very carefully collated all their work with the ancient codices in Our Vatican Library and with reliable, preserved or emended codices from elsewhere. Besides this, these men consulted the works of ancient and approved authors concerning the same sacred rites; and thus they have restored the Missal itself to the original form and rite of the holy Fathers.”

— ‘Pope St. Pius V (Quo Primum, 1570)’

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