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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

    Music List • (4th Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 4th Sunday of Lent (15 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has sublime propers. It is most often referred to as “Lætare Sunday” owing to its INTROIT. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • Communion (4th Snd. Lent)
    The COMMUNION ANTIPHON for this coming Sunday, which is the Fourth Sunday of Lent (Year A), is particularly beautiful. There’s something irresistible about this tone; it’s neither happy nor sad. As always, I encourage readers to visit the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski

Quick Thoughts

    Stumped by “Episcopalian Hymnal” (1910)
    Some consider Songs of Syon (1910) the greatest Episcopalian hymnal ever printed. As a Roman Catholic, I have no right to weigh in one way or the other. However, this particular page has me stumped. I just know I’ve heard that tune somewhere! If you can help, please email me. I’m talking about the text which begins: “This is the day the Lord hath made; In unbeclouded light array’d.” The book is by George Ratcliffe Woodward, and its complete title is: Songs of Syon: A Collection of Psalms, Hymns, and Spiritual Songs. Back in 2016, Corpus Christi Watershed scanned and uploaded this insanely rare book. For years our website was the sole place one could download it as a PDF file.
    —Jeff Ostrowski
    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

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