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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

Is the Mass “Just” the Mass?

Dr. Peter Kwasniewski · November 21, 2013

149 Holy Mass Click to enlarge image N MY LIFE, I have often encountered people who say something like the following to Catholics who love the traditional liturgy—or, for that matter, who wish to see the modern liturgy celebrated in a manner manifestly in continuity with its predecessor:

“You’re making too much of incidental things. No matter what form or style, it’s the Eucharist, isn’t it? Whether Latin or vernacular, Tridentine or Novus Ordo, sung or spoken, in an American auditorium or a European cathedral, the Eucharist is still present, and we are still nourished by it. Compared to this, nothing else really matters, does it? The rest is accidental, external, debatable, changeable. In fact, someone who gets caught up in ceremonies, rubrics, music, and so on, just shows that he’s been distracted from what is essential. After all, the Mass is the Mass.”

The problem I have with this all-too-common line is that it radically underestimates how the way we worship influences what exactly it is that we believe (lex orandi, lex credendi) as well as how prepared we will be to receive our Lord in the right spirit of adoration and humility when He does come to us. It reflects a modern materialist anthropology where nothing matters except “getting the job done”; whether the job is done nobly or poorly seems to matter a great deal less. It displays a breathtaking naivete about the subtle intersection of the sacramental economy with human psychology. It represents a break with twenty centuries of Catholic thought and practice.

Yes, the Holy Eucharist is always the Holy Eucharist; but are we ourselves approaching this august Mystery with the hushed reverence, lively fear of God, concentrated solemnity, and generous outpouring of beauty that we owe to the Sanctissimum? If not, why not? What does this say about the purity of our faith, the ardor of our charity? Have the sacred mysteries ceased to impress us, fill us with wonder, send us to our knees, summon the best of culture? Whom are we kidding—God or ourselves? The Mass is “just” the Mass as regards the confection of the Eucharist, but a Mass that is reverent and solemn in character is very different as regards us and our relationship to God than a Mass that is rapid and vapid, or one that is long and yet wrong. In fact, if we damage the so-called externals too much, we will end up undermining faith in the Real Presence.

THE MOST HOLY EUCHARIST is the Church’s greatest treasure, gift beyond price, mystery, source of wonder, privileged secret. It is the pulsing heart of all her apostolic and contemplative life. The Holy Sacrifice of the Mass is the exclusive means by which this gift comes down to us, renewed for each generation of disciples. Dishonor or abuse the Mass, make it appear to be less awesome and mysterious than it is, and you dishonor or abuse the One who comes to us through it alone. You deform the faith and the faithful.

Sacred music is the clothing of the naked word—and what beautiful clothing it must be, to be worthy of that divine utterance! The Church building is the home in which our Eucharistic Lord dwells: Emmanuel, God with us. It, too, must look unmistakably what it truly is. Vesture, furnishings, ritual actions—in short, everything that pertains to the carrying out of the liturgical action—should be like the Precious Body and Blood: holy, sacred, set apart. All that is not the Lord ought to be His visible throne, His consecrated dominion, beautiful, solemn, and awesome, that we may know that we are welcoming our King when He comes into His kingdom.

So, the next time someone says “the Mass is the Mass, after all,” you might consider replying: “Jesus is not just Jesus, He is the Son of God, the Ruler of All, Judge of the Living and the Dead; and the Mass is not ‘just’ the Mass, it is the Holy Sacrifice of Calvary made present again in our midst. And as any sane person would fall down on his knees before Jesus * and give Him the very best he could, we should all do the same with the Sacrifice of the Mass, since, in truth, we are falling on our knees before the Lord of heaven and earth—and one can rightly demand this of every single Catholic priest and layman who dares to set foot in a church.”


[ * Note: While Byzantine Catholics do not often kneel in their liturgy, they show their profound reverence and adoration in a hundred other ways that would put to shame lukewarm Roman Catholics. My point is not about kneeling as such but about making sure the realities of our faith are reflected and embodied in our actions and in the objects we build or use.]

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

Filed Under: Articles Tagged With: Reform of the Reform 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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Corpus Christi Watershed

President’s Corner

    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski
    Heretical Hymns
    As a public service, perhaps a theologian ought to begin assembling a heretical hymns collection. A liturgical book—for funerals!—published by the Collegeville Press contains this monstrosity by someone named “Delores Dufner.” I can’t tell what the lyrics are trying to convey—can you? I detest ‘hymns’ with lines such the one she came up with: “Let the thirsty come and drink, Share My wine and bread.” Somehow, the publication was granted an IMPRIMATUR by Most Rev’d Jerome Hanus (bishop of Saint Cloud) on 16 August 1989. It’s a nice tune, but paired with a nasty text!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

When the matter is thus regarded, an assertion which is being made today, not only by laymen but also at times by certain theologians and priests and spread about by them, ought to be rejected as an erroneous opinion: namely, that the offering of one Mass, at which a hundred priests assist with religious devotion, is the same as a hundred Masses celebrated by a hundred priests. That is not true.

— Pope Pius XII (2 November 1954)

Recent Posts

  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”
  • Heretical Hymns
  • Alphabetizing Hymn Titles Inside Hymnals • “Does This Make Any Sense?”
  • Fulton J. Sheen • “24-Hour Catechism”

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