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Views from the Choir Loft

Anthrax . . . and the Mass Propers, of course!

Jeff Ostrowski · July 2, 2013

ROFESSOR LÁSZLÓ DOBSZAY famously called permission to replace the Mass Propers “the anthrax in the envelope.” The technical words in the 1969 G.I.R.M. are alius cantus aptus or alius cantus congruus which is translated as “some other suitable liturgical chant.”

Since that time, as we’ve noted here many times, 99% of Catholic parishes replace 100% of the Propers 100% of the time. Since the 1970s, the piccoluomini have claimed that “cantus” means “that which is sung” and therefore, any style of music — rock, country, polka, jazz, broadway, etc. — is appropriate for Mass. Their assertion is not true, but at this point, disagreeing with the “accepted interpretation” is likely to start a shouting match (or worse!). Archbishop Alexander Sample has recently challenged this interpretation, by the way.

GETTING BACK TO THE POINT AT HAND, Professor László Dobszay was a very educated man, but he wasn’t infallible. For instance, in his 2007 article (as well as several other articles), he seems not to be aware of the origin and purpose of the Spoken Propers (a.k.a. Missal Propers).

I believe I may have found another mistake he made. In several articles, he claimed that 1969 General Instruction of the Roman Missal was the first document to allow the “anthrax.” However, according to Corey Zelinski, the 1965 Missal was the first document allowing substitutions for the Mass Propers in a sung Mass:

      * *  1965 Missale Romanum in English [pdf]

If anyone wishes to “chime in” in the combox with more information, please consider this an invitation to do so!

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 Los Angeles.—(Read full biography).

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Corpus Christi Watershed

Quick Thoughts

    “Glory To God” • (For Choir + Congregation)
    I wish to thank everyone for the nice comments I received vis-à-vis my Glory To God setting for Choir & Congregation. A gentleman with a musical doctorate from Indiana University wrote: “Love this setting so much. And I will pray, as you asked, for your return to composition more fully. You are very very good.” A female choir director wrote: “I love your harmonizations, your musicality, and the wonderful interplay you have with dissonance and consonance in your music. So fun to listen to, and great for intellect, heart, and soul!” A young woman from California wrote: “Thank you for releasing your new Glory To God in honor of Saint Noel Chabanel. I'm enjoying reading through the various parts and listening to your recordings.”
    —Jeff Ostrowski
    William Byrd • “Mass for Five Voices”
    Our volunteer choir is learning the “Sanctus” from William Byrd’s Mass for Five Voices. You can hear a short excerpt (recorded last Sunday) but please ignore the sound of babies crying: Mp3 recording. We still have work to do—but we’re on the right track. Once we have some of the tuning issues fixed, I desire to use it as an example proving volunteers can sing complicated polyphony.
    —Jeff Ostrowski
    “Baptism” • A Unique Hymn
    Father Christopher Phillips is the founding Pastor of Our Lady of the Atonement Catholic Church. One of his hymns is unique and (in my humble opinion) quite beautiful. His hymn is basically a prayer to the Holy Trinity but also speaks of Baptism and the Holy Eucharist. It would be an ideal Communion hymn on Trinity Sunday or the feast of the Baptism of the Lord. You can hear live recording from last Sunday by clicking here.
    —Jeff Ostrowski

Random Quote

A hymn verse need not be a complete sentence, but it must have completed sense as a recognisable part of the complete sentence, and at each major pause there would be at least a “sense-pause.” Saint Ambrose and the early writers and centonists always kept to this rule. This indicates one of the differences between a poem and a hymn, and by this standard most of the modern hymns and the revisions of old hymns in the Breviary stand condemned.

— Fr. Joseph Connelly

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