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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

The Danger of Being Arbitrary in the Liturgy

Dr. Peter Kwasniewski · May 29, 2014

N THE CONTEXT OF the Novus Ordo, there are so many options, so many permitted ways of doing things, so many modules that can be fitted together this way or that way, it can be very difficult to achieve coherence―especially in regard to compromise Masses where different “sensibilities” must be included in the liturgical planning and are therefore discernible in the resulting concoction.

But why take one traditional feature and reject another? Why take one modern feature and reject another? Have we lost our instinct for consistency?

The traditional practices form a coherent whole; they developed organically together, like a plant or animal maturing over time to become more and more itself. The reform, whether you consider it well-movitated or ill-motivated, was, in any case, inorganic; in the same way modern science views nature as a machine or mechanism, modern liturgists viewed public worship as a human construct with interchangeable pieces. It is not a whole that is greater than its parts so much as a mere sum of parts. And once you begin to change this or that part, you might as well change all of them. If the whole does not command a fundamental reverence, why would one stop here or there?

That is why the inherent tendency of the postconciliar liturgy has been towards jettisoning one traditional feature or element after another. Brass candlesticks are locked away, to be replaced by stumps on square pillars; solid altars or altars with antependiums are replaced by tables; beautiful vestments are thrown away or locked away, and polyester drapery takes their place; noble music from the ages of faith is forgotten in the strumming of guitars or the plinking of pianos.

The program that Pope Benedict XVI put before the entire People of God is the “hermeneutic of continuity”: the Church must live her life in continuity with all she has been in the past, with her full Tradition, and not as if everything started over after Vatican II. Wherever the Church is limping along in a state of discontinuity and rupture, she must make heroic efforts to find her way back to a vital connection with her own identity, history, and heritage.

POPE BENEDICT XVI KNEW that the sacred liturgy is the heart of the Church’s life, the most exact and expressive symbol of her faith, and the vehicle through which the faithful are always being catechized by word and sign. Hence this great Pope began to demonstrate what continuity can and should look like by the way he himself celebrated the sacred liturgy, and by continually pointing us to the Church’s past inheritance as well as her present rules and norms. He restored the traditional altar arrangement of candles and crucifix, he brought back the beautiful vestments so long locked away, he restored grand processions with cope and cross, he ensured that the music was truly reverent and sacred, suggestive of divine majesty and the loftiness of the immortal soul.

The tradition of the Church, the beauty of her rituals and art, is not something to be ashamed of or embarrassed about. Pope Benedict was the voice in the desert, proclaiming that we need to restore and rediscover these things―our identity, our very survival, our mission in this world, depend on it. People have been badly miseducated, and they have a right to the truth. Indeed, we have a right to our Tradition and a duty to embrace it.

The only non-arbitrary way to approach the liturgy is to celebrate it not only with total fidelity to the rubrics, but also in a spirit of maximal continuity with the Roman liturgical heritage that preceded it for almost 2,000 years. To do less than this is to endorse, at some level or to some extent, that ideology of rupture that has gripped and wounded the church over the past 50 years. Once we discover that certain changes were unnecessary and unmandated, that they occurred because of experimental theories fused with a desire for novelty, the only consistent and principled thing to do is to reject these changes and return to the tradition of the Fathers, with the humble repentance of prodigal sons.

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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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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
    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

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

“It is when they are practicing that large groups stop in order to sleep; they don’t give themselves a new impetus after a pause (even if it is minimal) and singers pause when they should not (quarter-bar, half-bar)—everything provides temptation to go to sleep! It is thus not a question of rhythm but of musical integrity.”

— Justine Ward (20 July 1952)

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