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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

Music Beautiful by Nature

Dr. Peter Kwasniewski · April 10, 2014

OR THIS POST, I am indebted to correspondence with a friend, who began discussing with me the definition of beauty as applied to music. I don’t claim to have any definitive answers, but the following train of thoughts might be of value to those who enjoy thinking about such questions.

To my mind, the “beautiful” is largely distinguished by the degree to which the beautiful “thing” is in accord with nature. nature in itself and untouched by man―as God’s direct creation―is simply beautiful, so then is art, architecture, and human life in general beautiful, insofar as it is in “accord with nature,” both the metaphysical laws that run throughout creation and the natural moral law that specially abides in man.

One might think here of the older usages of the terms “monster,” “monstrosity,” or even “freak of nature.” Things called by these names in the past due to their departure from the natural forms have practically become glorified in our time, in every part of human activity. Ugly art, ugly buildings, ugly music, ugly literature, and even literal “monsters” in movies/TV fill our senses with so much anti-beauty that even the very lives of humans forced to live in this environment can become unnatural and ugly. Interestingly, this decay appears directly proportional to the extent to which any given society has succumbed to Western modernization, which translates roughly to giving up the spiritual life and the rural life in order to live the high-tech material urban life.

I agree with the ancients and the wisdom of the ages: in melody and harmony, nature gives us the natural harmonic series. The further harmony deviates from the concord of these natural vibrations, the less beautiful it is. In rhythm and meter, nature gives us the gentle flowing of water or of human speech, the steady beating of the heart and cycle of respiration, as well as the vigor of the wind and of fleet-footed animals, and so we find beauty in Gregorian chant as well as in the “Ride of the Valkyries.” In timbre, nature gives us the songs of birds, the whistling of the wind, the roaring depths of canyons, the nearly-angelic human voice, and so the choirs and orchestras of the world bring us man’s best attempts to reflect nature’s awesome beauty―but the electrified, noisy chaos of Western modernization stands out in stark contrast.

St. Pius X rightly put the human voice and Gregorian chant on the sacred music pedestal: the more distant any instrument or music stood in relation to these models, the less sacred it was, the less fitting for the temple of God. As plainchant most perfectly exhibits the three qualities of sacred music―holiness, goodness of artistic form, and universality, chant should therefore be the model and inspiration for the best sacred music, as it was for Renaissance polyphony, and as it continues to be for a new generation of Catholic composers today.

Wherever we find people trying to classify ugly music as “beautiful,” or secular music as “sacred,” we also find agendas being pushed: whether it be self-aggrandizement or peer-aggrandizement or material profit or what have you, the encroachment of the ugly and the un-sacred always has the feeling of being “forced” (which is, un-natural), and it always seems to be appreciated and supported only by those who share the same agenda. And yet the frustrating difficulty is that these folks would say that Saint Pius X and those who agree with him are pushing their own “agenda.” How does one convince them that this agenda is for the truth? At least we can say this much: it brings little or no financial benefit, social status, or job security to those who pursue it!

In contrast, I always find telling what the musical “layman” thinks of a certain music. The person with no vested interest or agendas seems to have no trouble accurately identifying what sounds beautiful and what sounds sacred―it’s only natural!

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s exciting new publication,
Sacred Choral Works, a 273-page collection of a cappella choir music for the Liturgy.

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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Corpus Christi Watershed

President’s Corner

    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

After ordering the bishops to appoint in each diocese “special commission of persons who are really competent in the matter, to whom they will entrust the duty of watching over the music performed in the churches in whatever way may seem most advisable,” Pope Pius X continues—“this commission will insist on the music being not only good in itself, but also proportionate to the capacity of the singers, so that it may be always well executed.”

— Dom Alphege Shebbeare (Downside Review)

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