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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

A Catholic Nun Challenged Reagan As Vice-President … For The Communist Party!

Jeff Ostrowski · September 15, 2014

868 Sung vs Spoken Propers IANE DRUFENBROCK, also known as Sister Madeleine Sophie, was a Franciscan Sister who challenged Ronald Reagan in 1980 as VP candidate for the Socialist Party. She taught mathematics at Alverno College (Wisconsin), which had published the famous Alverno Hymnal during the 1940s. For the record, Sister Drufenbrock also wrote a hymn text called “Going out to spread the light,” which GIA published in their Worship hymnal.

Is Sister Drufenbrock relevant to discussions of Sacred music? Certainly, because her bizarre actions 1 remind us that the 1970s were A VERY STRANGE TIME for the Catholic Church.

We’ve discussed many times the 1970s mystery of “Sung Propers” vs. “Spoken Propers.” Yet, many people still demand to know why this confusion was introduced. I repeat: The 1970s were a very strange era!

WE’VE PREVIOUSLY DISCUSSED how the Jogues Missal is the safest & best way to help your congregation fall in love with authentic liturgy, because it lays out ATTRACTIVELY each Mass Proper & Reading using gorgeous letters. At the same time, we’ve never failed to point out that priests who desire to improve their parish music programs will often face obstacles. These obstacles can seem insurmountable at times, but we have an advantage over the 1970s era: novelty !

Over the years, every possible style of music has been tried at Mass: mariachi, jazz, broadway, rap, and so on. After such rampant experimentation, the introduction of styles mandated by the Second Vatican Council—Gregorian chant, sacred polyphony, dignified organ interludes, etc.—seem novel and fresh, because our congregations lack any experience with them. It reminds me of a Protestant girl I dated in college. Once, she explained to me a new fad certain Protestant ministers were introducing. The fad was called “courting,” and basically meant that fornication was not allowed. Needless to say, “courting” was identical to the Roman Catholic way to date … but Protestants had “repackaged it” as a novelty.



NOTES FROM THIS ARTICLE:

1   Cf. Pope Pius XI: “No one can be at the same time a good Catholic and a true socialist.” (Quadragesimo Anno, §120).

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

Filed Under: Articles Tagged With: Sung Vs Spoken Propers Novus Ordo Last Updated: January 1, 2020

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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).

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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“No one can reasonably find in the dispositions of Vatican II anything out of order, or any extreme opinions or tendencies which restrict the function of sacred music exclusively to the congregational singing of the faithful or on the other hand which replace or eliminate the singing of the congregation entirely by the singing of the choir.”

— Most Rev’d Archbishop D.M.M. y Gómez, Primate of Mexico (at that time, the world’s largest archdiocese)

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