• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Five Questions No Liturgist Can Answer

Jeff Ostrowski · August 5, 2014

983 Pope Paul VI Fanon ERE IN TEXAS, there’s been much discussion about undocumented minors entering the USA. A few weeks ago, in a doctor’s waiting room, I saw an argument on television about this very issue. One of the talking heads said we should accept all these minors and allow them to be USA citizens. The other said the USA cannot accept all the minors in the world who’d like to come here. Again and again, he asked this question: “How many minors can we accept? A hundred thousand? A million? Six million? Give me a number, and we’ll proceed.”

It would be totally inappropriate for me to comment on which course of action we should take. However, I must admit the 2nd man’s tactic was very effective. He insisted upon a number, and the other guy refused to answer.

WATCHING THAT MAN REFUSE to answer the question “struck a nerve” with me. For a long time, serious liturgists have been asking questions which simply will not be answered. This is perplexing. 1

                    QUESTIONS WHICH HAVE NEVER BEEN ANSWERED :

It has been asserted that music for Mass ought to be chosen according to the individual tastes of members of the congregation. But what happens when Person A likes rock’n’roll, Person B prefers jazz, and Person C likes Gregorian chant?

The Traditional Mass contained 1,182 orations. The reformers eliminated 760, and altered about half of the remaining ones. Why were these prayers deleted? Where did the Second Vatican Council ask for anything like this?

Were the liturgical reforms an effort to adapt the ancient rites for “Modern Man,” or restore a “Pristine” liturgical era? How does that square with what the Consilium’s Secretary said? “The entire revision must be carried out in accordance with the tradition of the Church.”

Some liturgists have called Gregorian chant a “weapon” and said there’s no such thing as “sacred” music. But surely not every musical style is suitable for Mass, right?

Why were clear directives of the Second Vatican Council ignored, distorted, and contradicted? For example, why was Latin eliminated in some dioceses, 2 when the Council had expressly ordered that it be preserved?


UNDOUBTEDLY, YOU NOW DESIRE to hear my brilliant solution, right? All we have to do is imitate Dom Pothier, who worked for the restoration of authentic Gregorian chant decades before it actually happened, at a time when no sane person believed his research would ever sway the current situation.

I feel it’s our duty to form some sort of coalition in support of true liturgical reform. Then, when the time comes for Rome to correct “reforms” not in accordance with the Council, the rationale will already be available. Indeed, much has already been accomplished, 3 so perhaps we could start by assembling all those statements in one place: carefully, professionally, and with discernment.

UPDATE:

Here’s a “riddle” that liturgists will understand:

The Roman Rite has gotten off track before. Homo Modernus of Paul VI is akin to the “Classicism” of Urban VIII.



NOTES FROM THIS ARTICLE:

1   Please recall, while reading this list, that the reformers began their work in earnest only after the Council ended.

2   A list of dioceses which illicitly “corrected” the Council on this point is given toward the end of this document by Msgr. Johannes Overath.

3   Dr. James Hitchcock is the husband of Helen Hitchcock, whose organization (Adoremus) is intended to suggest improvements to the Ordinary Form. Consider what he wrote in 1974:

The process of liturgical change was handled badly from a number of points of view: the people were never consulted as to their wants and needs; there was insufficient education in the new ways prior to their introduction; change was often presented as a hierarchical command to be obeyed; there were conflicting signals about the rationale for the changes (for example, was it to restore the ancient liturgy or to come to terms with modern culture?); change was piecemeal and hence doubly confusing. Although many liturgists oppose it, a permanent missal for the laity would be an important symbol at this time, implying that a new age of stability has been reached. The present welter of discardable booklets, mimeographed sheets, divergent paperback hymnals, etc. is not only confusing but appears to signify a haphazard, impermanent, jerry-built liturgy and has unfortunate psychological effects. Habits of irreverence and in attention are built up, for example, by the feeling that rites currently being used may be revised or discarded and hence are of little significance.

Dr. Hitchcock would probably be pleased with this book, published four decades after his statement.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, Helen Hull Hitchcock Adoremus Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —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

Random Quote

“In all this mediaeval religious poetry there is much that we could not use now. Many of the hymns are quite bad, many are frigid compositions containing futile tricks, puns, misinterpreted quotations of Scripture, and twisted concepts, whose only point is their twist. But there is an amazing amount of beautiful poetry that we could still use. If we are to have vernacular hymns at all, why do we not have translations of the old ones?”

— Fr. Adrian Fortescue (d. 1923)

Recent Posts

  • Fulton J. Sheen • “24-Hour Catechism”
  • Simplified Accompaniment (Easter Hymn)
  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns
  • Fascinating Interpretation of the “Regina Caeli” (Solemn Tone)

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.