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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

The Sexual Rhythm of Rock Music (1 of 2)

Dr. Peter Kwasniewski · September 12, 2013

HE FUNDAMENTAL PROBLEM with rock music, many of its antecedents, and nearly all of its offshoots, can be summed up quite simply: its rhythm is unnatural and morally tainted. There are other intellectual and moral problems with it, such as dumb or lurid or violent lyrics, insipid and monotonous melodies, sloppy singing, the lack of a well-structured progress from beginning to middle to end, and more, but it has always seemed to me that the rhythm is the essence of the music—and the pith of the problem.

The normal pattern for almost all music in the world, from all periods of history, whether genuine folk music or the art music of high cultures, accentuates the odd beats, that is, the downbeat (the first) and, to a lesser extent, the third (if one is speaking of a four-beat rhythm), like this:

ONE-two, ONE-two (as in a march);
ONE-two-THREE-four, ONE-two-THREE-four (as in music in common time);
ONE-two-three, ONE-two-three (as in a waltz).

Rock music, on the other hand, generally uses a constantly syncopated or off-rhythm, accentuating the even beats instead of the odd:

one-TWO-three-FOUR, one-TWO-three-FOUR.

One can hear this off-rhythm particularly clearly when drum sets are employed: the bass drum followed by the snare.

It is hardly surprising that “rock n’ roll” and “jazz” were both euphemisms for sexual intercourse, or, more accurately in their historical context, fornication: the rhythm is suggestive of the pelvic thrust. People who dance (if it can be called that) to rock music often perform this kind of motion instinctively — think of Elvis Presley, one of the first to gyrate his hips in an explicitly sexual way, in accord with the rhythm of his music. Indeed, as I first learned from Michael Platt, the Ed Sullivan Show televised Elvis performing, but would not televise his hip motions due to their obvious implications.

It is not as if Catholic authors have failed to come to the defense of rock music, as witness Peter Mirus (here) and Jeff Mirus (here). But I do believe their defenses are weak. There is just no escaping from the sensuality and sexual innuendos intended by the pioneers and protagonists of rock music. I don’t mean merely that they themselves led lives plagued by promiscuity, alcoholism, drug use, and even violent crime, but rather, and more importantly, that their music is intentionally and recognizably an expression of and an appeal to the same Dionysian behavior, as Joseph Ratzinger noted more than once. The only reason we ourselves may no longer feel the connection is that our entire society has broadly accepted the sexual revolution along with the rock music that heralded it, and therefore both the permissiveness and its music are in the very air we breathe: we have no other cultural consciousness against which to compare the music or the morality. Back when Elvis and the Beatles first came around, there were plenty of people familiar with the older styles of music (classical and popular) that preceded such performers, as well as plenty of people formed by Christian notions of modesty and chastity. To such people, the aesthetic and moral contrasts were obvious and shocking, even while other people celebrated the overthrow of “bourgeois” styles of music and the undermining of “conventional” morals.

ROCK MUSIC WAS THE MUSIC of youthful rebellion in the 1950s, 60s, and 70s: it gave expression to the desire for erotic liberation, which more often than not took the form of “rocking and rolling” in the backseat of the Chevy. The bourgeois conservative social restraints, themselves already unhealthy because no longer psychologically and religiously integrated, were thrown off in the euphoria of fornication, or at least the sensuality and stimulation that lead up to it. Rock represents, at any rate, the total dissociation of the concupiscible appetite from the rule of reason, the subordination of reason and will to concupiscence or the desire for sense-pleasure. A later phase of rock music performed the same disservice to human nature by indulging wantonly in the irascible passions of anger and despair.

Students of theology can recognize in these facts a reproduction of the anthropological result of the Fall: the insubordination of the powers of the human soul as a punishment for the insubordination of man to God. God is Divine Reason, so to speak, and just as human reason is meant to be submitted to Divine Reason, so human appetites are meant to be submitted to and elevated by human reason, and the body, as such, to the soul. Rock music encourages and glorifies the revolt of the appetites against the order of reason, and by undermining the grounds of thinking and willing in accord with natural law or Divine Reason, it actually embodies, even as it renews and deepens, the rebellion of Adam against God.

It also takes little familiarity with the biographies and lyrics of early rock musicians to know that the constantly syncopated sensual rhythm and the other features of the style heralded a rejection of the Western musical tradition that preceded it. Notice, quite apart from the sexual innuendo, how unnatural it is to start a measure (the unit one, the beginning) not as a dominant but as a weak beat: instead of “down up up up,” you have “up down up down.” The rhythm does violence to the natural prominence of the beginning of the measure. It is like gently lifting up a baby rabbit by the ears and then smashing it down, lifting it up, smashing it down. The traditional rhythm has a certain lightness to it, there is a buoyancy to the weaker beats which leads elegantly back to the dominant beat, like a dancer taking a decisive step and then two or three short graceful steps, before the next decisive step. One really has to see the dancing to see the difference. It is impossible to dance gracefully to the impulsive and violent “x X x X” beat.

WHEN ROCK AND ROLL STARTED, the youths swaying and gyrating to its strains knew very well what it signified, or if they did not know intellectually, still they felt the meaning in their blood: the unshackling of the libido, “letting go,” letting passion be stirred up to the maximum. If additional proof is needed, one can look at the lyrics and the behavior of those who perform it and those who listen to it. A disproportionate number of songs are about (sooner or later) getting into bed, quite without the humor, cleverness, ardor, or refinement of traditional erotic poetry, such as that of the ancient Greek poets or the medieval troubadours and trouveres. As for the moral behavior of rock stars and their groupies, this is a subject that speaks for itself.

Rock music and pop styles in general are therefore a definite statement, an open manifesto against chastity and purity and self-control, against marriage and the reasonable use of the generative faculties, and, more broadly, against the hierarchical order of the cosmos represented by the natural rhythm. Pop music is defiantly carnal. This is what its exponents and first practitioners really did with their lives and really meant by their music; this is exactly what the first opponents of rock music immediately picked up on and protested against; decades later, this is now the assumed and “institutionalized” way of living for modern youths. Although it is a connection nearly always overlooked nowadays, there is a real connection between the music young people listen to and the way of life they lead, as well as the worldview that sustains and justifies it.

This article is part of a series:

Part 1   •   Part 2

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 Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“It is very curious, rather barbarous, much too ornate, immeasurably less dignified than ours now, anything in the world rather than archaic or primitive.”

— Fr. Fortescue describing the “Sarum Use” in 1912

Recent Posts

  • PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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