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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

Should We Sing Patriotic Hymns at Mass?

Richard J. Clark · July 4, 2014

S AMERICANS CELEBRATE Independence Day today, I am mindful that our audience and contributors are international; there are patriotic songs that may evoke God from many countries. As an American, I can speak to our circumstance, but I will not claim to speak for others around the globe. That being said, I suspect that there are some common problems we all face.

The question of patriotic or nationalistic songs at mass is a part of a wider problem of “planning” mass according to 1 • personal preferences and 2 • what I call, “Missa de Hallmark Card”: secular and civic holidays influencing music, homilies, or other aspects of the mass.

O, I HAVE SOME PERSONAL PREFERENCES regarding American patriotic songs. I love them. I get misty-eyed at singing “America the Beautiful.” It sounds great on the organ. People sing at the top of their lungs. I get emotional. However, ideally, patriotic songs have no place whatsoever during mass. The reason is simple: sacred music for the liturgy serves one function and patriotic songs another. It is comparing apples and oranges. Nor does one diminish the other. Patriotic songs have a different milieu and serve a different purpose, even if God is mentioned.

Consider this coming Sunday, the Fourteenth Sunday in Ordinary Time. Matthew’s Gospel speaks of God’s consolation. Furthermore, even Jesus gives praise to His Father, so, should not we? “Matthew 11:25: “I give praise to you, Father, Lord of Heaven and earth…” The mass is full of praise for God. As such, the propers are fitting. This Sunday, my choir will sing a hymn version of the Introit, and my setting of the communion proper, (Gustate et videte) “Taste and See that the Lord Is Good.” When immersed into the readings and the propers, it feels out of place to put country — no matter how great our love for it — at the center of the Eucharistic Feast. Likewise, it would be incredibly odd and inconsiderate to sing a Marian Hymn at a Fourth of July Parade. Both are wonderful. Neither appropriate in the given context.

Also, the more we understand in our hearts the marriage of liturgical action and sacred music, the less patriotic hymns during mass make any sense. Vatican II reaffirmed the unique function of music within the sacred liturgy:

“Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” (Sacrosanctum Concillium § 112)

HICH LITURGICAL ACTION would God Bless America or America the Beautiful connect with the best? Entrance Procession? (perhaps during the incensing of the altar?) Offertory? Communion Procession? In these terms, I find it difficult to reconcile the texts – although composed with dignity and embedded in our country’s religious roots – with these particular liturgical actions, where Christ’s redeeming sacrifice for all is central. Furthermore, patriotic songs during mass would exist purely for their own sake, which is antithesis of the function of sacred music, which is to help us sing the texts of the mass itself.

Finally, I am mindful that this is a complex subject that evokes great emotion of very varying types. If one must sing a song of country at mass, (which I have done, and will likely do when Independence Day falls on a Sunday) the only possible consideration would be after the Final Blessing and Dismissal. Officially, the mass is over. Never, never, would one consider singing a patriotic hymn anywhere else, e.g., Offertory or post-communion. In light of accompanying the liturgical action, Patriotic hymns suddenly feel like a Salve Regina during at a Memorial Day Parade.

ADDENDUM

UNDERSTAND THE CONTEXT of my liturgical position: I am deeply interested in politics and history. I particularly enjoy reading books on American History regardless of political party. Among my favorites include Garry Wills’ Lincoln at Gettysburg and Wills’ book on Washington, Cincinatus, which describes Washington’s “abdication” of power after two terms which inspired poetry, paintings, sculpture, and music. However, do not mistake my interest in history or love of country as “conservative” or “liberal.” It is neither. I am in agreement and disagreement with both American political parties (not unlike the American Bishops and various Popes on a number of topics). Politics can be divisive. The Eucharist is Universal.

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

Filed Under: Articles Tagged With: liturgical action 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 • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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