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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

Have We Lost Our Sensitivity to Music?

Dr. Peter Kwasniewski · September 18, 2014

0319_kwas_88-LG NE OF BLESSED COLUMBA Marmion’s numerous epistolary disciples was a Benedictine monk named Dom Pius de Hemptienne, a selection of whose writings were published in 1935. They make for fascinating reading for all sorts of reasons. The prayers and meditations of Dom Pius are magnificent, if sometimes highly intricate and stylized.

Anyway, I was struck by a passage that Dom Pius cites from the Memoirs of his grandmother, reputedly a saintly woman:

During the Easter holidays of 1864, fearing lest the light music so fashionable then, should be harmful to my dear children, I asked them to limit themselves in the future to music of a style fitted to elevate their souls, as religious music does, instead of such as softens and enervates them. To dear M. this was a real trial. She loved music, and could not make up her mind to part with a number of operatic pieces which I regretted having ever allowed her to play. She protested, and, for the first time was unwilling to do as I wished. I was heart-broken at giving her so much pain, and would gladly have endured far more myself to spare her; but I felt it my duty to insist, and nothing could dissuade me. In a few hours the dear child had calmed down, and she said no more about it. I comforted her as well as I could by undertaking to pay for the lodging of a poor girl whom M. visited and was interested in. This offer on my part made her quite happy again. (A Disciple of Dom Marmion, Dom Pius de Hemptinne: Letters and Spiritual Writings, trans. Benedictines of Teignmouth [London: Sands & Co., 1935], 5.)

The author of the biographical sketch goes on to comment: “It was in this way [that] the supernatural joy of a good deed obliterated the sensuous charms of worldly music in a young girl of eighteen” (ibid).

This is an amazing passage to analyze. We see a mother who bitterly regrets having allowed her daughter to play at the piano an operatic aria―light and frivolous music, no doubt, but hardly disordered, at least as far as music goes. (Note, too, the talent taken for granted―it is no easy feat to play the accompaniment to an aria.) What sensitivity of soul must this generation of Christians have had! They could perceive how the frivolity and superficial sensuality of worldly music would, over time, weaken or undermine the moral fibre of a young person, how it would confuse their moral compass.

And what is the daughter’s reaction? A girl of eighteen was unwilling for the first time to do what her mother asked her to do. The beauty of obedience shines here, but also the immense power of music over the soul. Music works from within, pulling one’s character to itself, and shaping the soul until one feels pleasure only in its embrace and sharp pain in being severed from it. Music alone was the veiled enemy that broke into the girl’s gate and began to sap her wonted deference to the will of her parent. This, and more, can music do, and in a way that is scarcely noticed by its votaries―which is why so much of the devastation of the Catholic Church and her public worship can be squarely blamed on the absolutely inappropriate and sometimes sacrilegious music that has invaded the sanctuary.

Returning to the scenario: the daughter’s mother offers to do a work of charity for a poor friend of hers, and the trauma yields to joy. This vignette offers us a window into a different time, when parent-child relations were healthier, when souls were far more sensitive to the ethical power of music, when a kind of “aesthetic asceticism” was practiced for the sake of virtue, and when works of charity for the poor were a cause of sincere joy on the part of youth. We might consider whether all of this goes together somehow, like a package deal.

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

“Participation” in the Mass does not mean hearing our own voices. It means God hearing our voices. Only He knows who is “participating” at Mass. I believe, to compare small things with great, that I “participate” in a work of art when I study it and love it silently.

— Evelyn Waugh

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