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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

Away with the World—Let Heaven Enter

Dr. Peter Kwasniewski · July 31, 2014

N 1858, BLESSED John Henry Newman published a magnificent essay called “The Mission of St. Benedict,” which I highly recommend in its entirety. There are many colorful passages about different figures in the Benedictine tradition. At one point Newman is speaking of St. Dunstan:

HE HAD A TASTE for the arts generally, especially music. He painted and embroidered; his skill in smith’s work is recorded in the well-known legend of his combat with the evil one. And, as the monks of Hilarion joined gardening with psalmody, and Bernard and his Cistercians joined field work with meditation, so did St. Dunstan use music and painting as directly expressive or suggestive of devotion. “He excelled in writing, painting, moulding in wax, carving in wood and bone, and in work in gold, silver, iron, and brass,” says the writer of his life in Surius. “And he used his skill in musical instruments to charm away from himself and others their secular annoyances, and to rouse them to the thought of heavenly harmony, both by the sweet words with which he accompanied his airs, and by the concord of those airs themselves.”

Now let us consider calmly what is being said here. Newman is praising Dunstan not just for the quality of his sacred music, but rather, for his use of the art of music simply speaking. The saint “use[d] music and painting as directly expressive or suggestive of devotion.” I believe there is a quite striking claim in this sentence: that the fine arts, of their very nature, are capable of expressing or suggesting to the soul the right attitude or relationship it should have with God. Naturally, this also means that they are capable of doing the opposite; and it is not at all clear to me that they are capable of being neutral, neither favoring nor hindering devotion.

Moreover, his biographer tells us that Dunstan used his skill in musical instruments―here, again, we are not in the world of unaccompanied plainchant for Mass or the Divine Office, but rather, looking to the effect of instruments played recreationally―to do two things, one negative and one positive. First, by his music he would “charm away from himself and others their secular annoyances.” Let us be terribly honest with ourselves. Is not much of our life in the world an annoyance to the spirit? We are constantly fighting the world, the flesh, the devil; it is hard going, an uphill battle, a steep climb, an unremitting campaign. Our path to heaven is strewn with obstacles, beginning with our own sins, and the temptations thrown at us to indulge in them. From time to time, we need the refreshment of losing ourselves in something peaceful and pacifying, beautiful and beautifying―something that exists for its own sake, just because it is good, like God. The world will always be with us while yet we draw breath; but its annoyances can be chased away for a blessed moment by the power of music.

That is not all; the best is yet to come. By his music, St. Dunstan would “rouse them to the thought of heavenly harmony.” Ah, the thought of heaven and its eternal harmony, where God’s will is ever done, and, for that very reason, every saint and angel is profoundly happy, resting in His ineffable sweetness, beauty, and glory! That goal should be the Christian’s mainstay in this valley of tears. We are being told that Dunstan’s music actually contained something of that goal in its “sweet words” and the “concord” of the airs or melodies. It is as if a little of heaven were present in his music, the way a person is already present when you hear his voice from a distance, even if he himself is not yet arrived. We see here a lofty saintly standard for all of our music. We learn about the true vocation of the musician, which is to elevate our sore, wounded, earthbound minds to sempiternal vistas of light, and even to set what is dark and difficult in the radiance of the light.

Music, for a Christian, should serve the same purpose as everything else in life: weaning us from excessive attachment to this world and lifting our souls heavenward. If Newman is right, the message poses a challenge for each of us. Is the music we create, listen to, and take delight in, whether it be sacred or secular, music that will fit us to be better Christians and more noble human beings? Is this even a question we are asking ourselves on a regular basis?

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

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

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

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