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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

Rebellion in the Liturgy

Richard J. Clark · June 6, 2014

T IS HUMAN NATURE to rebel, especially at certain times of one’s life including adolescence in which fighting authority is instinctive. The 1953 Marlon Brando classic, “The Wild One” comes to mind in which someone asks, “Hey Johnny, what are you rebelling against?” Johnny (Brando) immediately replies, “Whadda ya got?” Sometimes this happens in the Church as well!

Aside from physiological reasons, youth and young adults are trying to create an identity for themselves and demonstrate independence. This is not a bad instinct at all. In fact, it can be quite good. For example, artists often need to push boundaries to discover their identity and establish a unique voice. This sort of rebellion or pushing of boundaries can create extraordinary art, oftentimes forcing others to think in ways outside of one’s comfort zone. These are good things that foster growth.

But what I speak of is of the individual. In corporate prayer, this becomes tricky and problematic, as the focus is not on us, but on God. It fosters unity with each other. The self—the ego—is subdued, which is an act of humility, something most necessary when praying as a community. Yet, this is often seen as stifling self-expression or creativity. Of course this is missing the point entirely (something I have learned only slowly over the years).

O, IN THE LAST FIFTY YEARS SINCE Vatican II’s first document, Sacrosanctum Concilium, we know what followed was a period of great misunderstanding of this text. Enormous experimentation ensued to say the least. Coupled with great societal change, to rebel against “The Man” – or in this case – “The Church” or “The Liturgy,” became a knee jerk reaction. Perhaps the Church was experiencing a new period of adolescence, painful and perhaps necessary. Only now, fifty years since, has the Church begun to understand its awkward struggles and hopefully mature in its worship. In the meantime, the result was more than a generation of lost tradition.

Here is a truth of human nature: When we can’t have something we want it. When something is forced upon us, we often reject it. Forcing traditions upon others is no way to pass them on. Take them away, and we’ll demand to have them back. In part, it is the latter that seems to have transpired more recently. It is the latter that in part drives the movement towards more reverent liturgy and restoration of our sacred treasury of music. In short, the rejection and denial of our traditions to more than one generation has greatly fueled the Reform of the Reform.

ODAY, I AM PRIVILEGED to correspond and converse with many young people and seminarians who are embracing our traditions. To seek out tradition when I was their age was unheard of! Is it possible that since they were often deprived of them that they are rebelling against the older generation, and in doing so, forging their own identity? This may in fact play a part, but I think there is more to it than that. These are young people who truly hunger to understand our faith and its foundations. Time will tell if it has taken root.

Therefore, how we pass on our traditions matters. Forcibly so is a recipe for rejection and failure. It is only our love that can evangelize, especially to our children. It is this love for the mass that will in time be instilled within them. This is our responsibility so that they are not empty and meaningless words and gestures.

As such, our traditions must not be left as relics of the past—monuments to antiquity. Tradition lives and breathes within us today. In doing so, it informs us of who we are. Fascinatingly, tradition helps each of us find our unique voice.

So at times, our children may rebel, make mistakes and forge their own identity. They need to find their own voice. When they do, their faith will take root even deeper, because it will be their own.

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

Filed Under: Articles Tagged With: Liturgical Abuse, Passing on Tradition Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

The union of Christians can only be promoted by promoting the return to the one true Church of Christ of those who are separated from it, for in the past they have unhappily left it.

— Pope Pius XI (6 January 1928)

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