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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

No Salvation From Decrees (1 of 3)

Jeff Ostrowski · September 9, 2013

HOSE WHO DISAGREE with the Church’s traditional embrace of Gregorian chant often make the following claim:

“Vatican II never said Gregorian chant should have pride of place in the liturgy. This only applies to Masses celebrated in Latin.”

As my friend Andrew recently noted, this wrongheaded interpretation is beginning to gain traction. For instance, a 2007 USCCB Committee came out with a document providing “guidelines” (their word) for preparing liturgies in the United States. It is called Sing To The Lord, and §72 acknowledges that Gregorian chant should have “pride of place in liturgical services” under normal circumstances, but provides a footnote:

Musicam Sacram, no. 50a, further specifies that chant has pride of place “in sung liturgical services celebrated in Latin.”

The implication is clear . . . but is that the whole story?

NO, IT IS NOT the whole story. The Second Vatican Council ordered (Sacrosanctum Concilium, §116) that Gregorian chant be given “first place” in liturgical services under normal circumstances because it is “specially suited to the Roman liturgy.” However, a document issued by the Sacred Congregation of Rites four years later (Musicam Sacram) contains an entire section on the use of Latin, which repeats §36 of Sacrosanctum Concilium (“the use of the Latin language is to be preserved in the Latin rites”).

      * * Please take note of the following underlined words.

Toward the middle of that section on Latin, three (3) statements are made:

50. In sung liturgical services celebrated in Latin:

(a) Gregorian chant, as proper to the Roman liturgy, should be given pride of place, other things being equal. Its melodies, contained in the “typical” editions, should be used, to the extent that this is possible.

(b) “It is also desirable that an edition be prepared containing simpler melodies, for use in smaller churches.”

(c) Other musical settings, written for one or more voices, be they taken from the traditional heritage or from new works, should be held in honor, encouraged and used as the occasion demands.

In other words, taken in context, absolutely nothing in Musicam Sacram modifies or amends §116 of Sacrosanctum Concilium. In the section dealing with the use of Latin in the liturgy, this later document merely reminds us that Gregorian chant retains pride of place in these ceremonies (which is no surprise). As a matter of fact, 50a has a “deeper meaning” regarding 50b, but I can’t go into any of that right now — Susan Benofy get into some of it here.

IN CONCLUSION:

Billy claims all Americans can swim. Joseph is an American. Billy says Joseph can swim.

So … where’s the news? I never thought I’d say this, but:   NO.   BIG.   DEAL.

This article is part of a series:

Part 1   •   Part 2   •   Part 3

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

    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“During Lent…the use of musical instruments is allowed only so as to support the singing. Nevertheless, Laetare Sunday (the Fourth Sunday of Lent), Solemnities and Feasts are exceptions to this rule.”

— ‘Roman Missal, 3rd Edition (2011)’

Recent Posts

  • PDF Download • “Sprinkling Rite”
  • ‘Sarum’ Good Friday?
  • Gregorian Chant • The “Correct” Way of Singing ?
  • PDF Download • “Eb Organ Postlude”
  • Fulton J. Sheen • “24-Hour Catechism”

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