• 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

True Liturgical Abuse … And Rex Harrison

Jeff Ostrowski · October 13, 2013

N MORE THAN ONE occasion, I’ve come across books dealing with “liturgical abuses.” Often, they’re formatted as lists … for example, they go down a list of the Top Ten Abuses at Mass. As far as I’m concerned, these books often miss the mark. They tend to focus on abuses which, quite frankly, do not have a tremendous impact on the faithful. Off the top of my head, I remember one dealing with “Self-Communication from the Chalice” (forbidden). Another talked about sacred vessels made from the wrong materials (also forbidden).

Please notice: I am not implying that such abuses are OK. They’re not, and the people responsible will answer for them before Almighty God. But it seems to me that one of the most deplorable liturgical abuses at Mass has to do with the musical styles. Often, the styles are secular, trite, uninspired, and (to be frank) goofy. At Mass, we’re supposed to use music written in a sacred style. Pope Pius XII said it should be “lofty.” Such music ought to remind us of the holiness of God. Secular styles do just the opposite.

Secular styles in no way “fit” the Mass. For example, the Mass is 2,000 years old. We have manuscripts of the Roman Rite Mass prayers (almost verbatim the same as our current Mass) going all the way back to the 7th century. Even somebody without any knowledge of Theology — even an atheist — would know that secular “tunes” currently considered as “hits” aren’t appropriate for such an action. I hope to write more about this topic at a later date.

Using secular music at Mass is incredibly harmful, but in an insidious way. As each year passes, I become more and more aware of the terrible impact such music has on souls. Again, the music itself is not necessarily bad (some is), but using it during Mass is harmful. The music has an effect on every single member of the congregation. You can’t escape it. You can put your hands over your ears, but you’ll still hear it, and it will have an influence on your ability to properly assist at Mass. Whether we like it or not, music does have an effect on us. After all, man is composed of body and soul. He is not pure spirit.

THERE IS SOMETHING ELSE to consider about “liturgical abuses.” Unfortunately, good Catholics sometimes make fools of themselves trying to “correct” liturgical abuses. The reality is, ever since the Second Vatican Council, liturgical law has been changing so rapidly, staying “current” is difficult. For example, on 17 April 1980, Pope John Paul II approved and confirmed a document which said:

Women are not permitted to act as altar servers.   (Inaestimabile Donum, §18)

On 15 March 1994, however, the Pope changed his ruling, saying that individual bishops can allow female altar servers in their dioceses. Since the 1960s, literally thousands of pages have been printed by the Vatican treating liturgical subjects. That’s why I say lay folk (sometimes) get it wrong … but it’s not really their fault! The laws ought not be changed so frequently, and we’ll be discussing the consequences more on this blog. (I’ve already briefly touched on this subject here.)

DID YOU EVER NOTICE Rex Harrison can’t sing? It’s true … he “sings by speaking” (but in a much more pleasant way than that dreadful sprechstimme). The songs had to be composed in an ingenious way for Harrison. Now that we have two young children, I often hear songs on the kids’ shows … and they’re terrible! What’s really awful is the lack of melody. The characters “sing by speaking,” just like Rex Harrison. It grates on one’s ears, and I fear it’s teaching our kids how NOT to sing! Hopefully they don’t grow up and get married six (6) times, like Rex Harrison did.

Many of today’s Mass songs (written in a secular style) employ this same speech song. It represents a type of “lowest common denominator” approach to Church music. Now, I’m not saying each one of us has to be a great singer. Of course not everyone can be. But is it too much to ask that we attempt to sing melodies?

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

Filed Under: Articles 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

“We must acknowledge that We have been somewhat disturbed and saddened by these requests. One may well wonder what the origin is of this new way of thinking and this sudden dislike for the past.” [Paul VI responding to requests from monks asking permission to remove Latin from the Divine Office.]

— Pope Saint Paul VI (15 August 1966)

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.