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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

Gregorian Chant As A “Weapon” — Seriously?

Jeff Ostrowski · March 17, 2014

NCE UPON A TIME, a dictator asked a mother’s permission to murder her eight children. When she categorically refused, the dictator said, “OK, let’s compromise: I’ll only murder four.” Compromise and balance are not ipso facto admirable, in spite of what contemporary society tells us. I’ll return shortly to this notion of “false balance.”

Below are a few more observations about a lecture by one of the drafters of Sing to the Lord. Let me say once more that I like SttL very much, and that’s why I find this lecture so troubling.

By the way, this article is part of a series. You may wish to read Part 1 before continuing.


A FEW MINOR POINTS:

Throughout the lecture, Fr. Ruff creates mysterious “straw men” to attack. I remember being warned against doing this in undergraduate writing courses. Here are some examples:

(Pg 4)   “One of the critiques raised from some quarters …”
(Pg 5)   “Some have criticized …”
(Pg 5)   “Some folks now try to distinguish …”
(Pg 6)   “Some individuals and organizations seemingly …”
(Pg 7)   “Some individuals act as if …”
(Pg 8)   “Some have criticized …”
(Pg 9)   “Some traditionalist voices …”
(Pg 9)   “Some people are skeptical …”
(Pg 10)   “There is an idea growing in some quarters …”
(Pg 10)   “Some zealous but misinformed voices …”
(Pg 10)   “Some have begun to criticize …”

Also, I would have preferred a more irenic tone. For instance, he calls people who interpret certain conciliar statements 1 differently than he does “zealous but misinformed.” I found his comment about Helen Hull Hitchcock “encouraging disobedience” close to libel. 2 In general, I believe Sacred music is such a sensitive issue that inflammatory language should be avoided.


GREGORIAN CHANT AS A WEAPON:

Fr. Ruff refers to Gregorian chant several times as a “weapon.” For example:

Some individuals and organizations seemingly use chant as a weapon to advance their agenda and judge others.

I have to be completely honest here: I have no idea what he’s talking about!

In general, his lecture seems to be a subtle attack on Catholics who take certain conciliar statements seriously. This attack is justified by a alleged quest for “balance,” but actually it’s a false balance (as I mentioned earlier).

The fact is, Gregorian chant is almost never sung these days. When it is, it’s usually done badly. Probably less than 0.003% of Catholic churches truly give chant “first place” (as the Council mandated). What is the purpose of Fr. Ruff’s attack, then, when less than 1% of churches have any interest in chant or polyphony?


RACE AND THE CHURCH DOCUMENTS:

The question is not whether a particular piece sounds like chant or Palestrina or whether it sounds “Catholic.”   […]   STL does not assume that chant and polyphony are absolutely the highest models of sacred and Catholic music in all cultures, as if there were no need to take into account whether one is in the Midwest of the United States, or Africa, or Japan, or whether the assembly is predominantly European or Hispanic or Native American.

I find this statement extremely troubling. First of all, notice the straw man again: “as if there were no need to take into account …” I’ve never seen anyone make that precise argument. 3

But let’s consider his larger point: the notion that those of another culture can’t appreciate polyphony and chant in a meaningful way. I couldn’t disagree more! For one thing, the vast majority of classical musicians today are Asians. In summer music workshops I attended, more than 95% of the students were Asian. 4 Some of my best friends in the conservatory came from Thailand, China, Japan, and especially Singapore.

Frankly, I find his argument absurd. After all, 98% of Caucasian Catholics have never heard polyphony or chant sung well in a Catholic church. Asians are probably more likely to have heard such things! Besides, he doesn’t tell us what to do if 1/3 of the congregation is Asian, 1/3 Native American, and 1/3 Caucasian. Nor does he explain what happens to the “ideal” if 1/4 is Native American, 1/4 Caucasian, 1/4 Filippino, and 1/4 African.

The bottom line: Catholics aren’t dumb. We can learn. And I utterly reject the notion that “race” affects the ideal as presented by the Second Vatican Council.


A CRUCIAL QUESTION AVOIDED:

A crucial question Fr. Ruff should have addressed—but avoided at all costs—would be: “Are any musical styles forbidden for Mass? Is Mariachi music appropriate for Mass? What about samba, rock n’ roll, country, jazz, or rap?”

The good news is, churches honoring chant—such as Our Lady of the Atonement in San Antonio, St. John Cantius in Chicago, and so forth—tend to thrive. Many are bursting at the seams! Recently, I visited a parish which sang the polyphonic Joan Brudieu Kyrie with Mass XII, alternating with the congregation: I’ve never heard such participation! Every man, woman, and child sang with gusto! Bravo!

This article is part of a series:

Part 1   •   Part 2



NOTES FROM THIS ARTICLE:

1   For example, Sacrosanctum Concilium §116.

2   Full disclosure: I met Mrs. Hitchcock a few years ago and have great respect for her. In fairness to Fr. Ruff, the statement directed at her may have been “tongue-in-cheek,” since his own views on many issues (e.g. the indissolubility of marriage) are well known.

3   It is true the Council called for inculturation, “especially in mission lands,” but numerous provisos are required. Perhaps I should write an article examining these provisos, since they’re frequently ignored by those with a distorted view of inculturation. Incidentally, throughout the document, Fr. Ruff promotes legal positivism, which basically says that anything “allowed” is automatically good, by virtue of the fact that it’s permitted.

4   At one of them, held near my hometown in Kansas, all instructions were repeated in Mandarin Chinese.

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

Filed Under: Articles Tagged With: USCCB Sing to the Lord Document on Music 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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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

Goupil deserves the name of martyr not only because he has been murdered by the enemies of God and His Church while laboring in ardent charity for his neighbor, but most of all because he was killed for being at prayer and notably for making the Sign of the Cross.

— St. Isaac Jogues (after the martyrdom of Saint René Goupil)

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