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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

What to Do with Musicam Sacram

Fr. David Friel · January 11, 2015

N THE ONE HAND, Musicam Sacram (MS) is a post-conciliar document, published two years after the close of the Second Vatican Council in 1965. On the other hand, it came two years before the publication of the revised Missal of Paul VI, which was promulgated in 1969. So, what should be done with it? Does it have any relevance or binding force today?

I received this question by email recently, and it prompted me to do a bit of thinking and researching. This is a difficult matter to address, and it is a question likely to elicit different answers from different authorities.

First, it should be established that MS is an “Instruction on Music in the Liturgy” published by the Sacred Congregation of Rites. An “Instruction” is a text that stands not so much on its own, but as a complement to another document. In this case, MS is meant as a companion to Sacrosanctum Concilium, the Council’s Constitution on the Sacred Liturgy. Thus, it is clear that MS is a document with a high level of authority.

Yet, while the document has never been formally abrogated, there are countless scholars and liturgical musicians who consider its teachings no longer applicable. The publication of the new Roman Missal in 1969, they believe, made MS obsolete. Is this true?

I would say not. After all, in the GIRM, which is a companion document to the revised Roman Missal, Musicam Sacram is cited 11 times. If MS had no binding force on the reformed liturgy, then these citations would not exist.

ERHAPS A BETTER approach, then, would be to say that certain specifics contained with MS no longer apply. For example, the former distinction between solemn, sung, and read Masses has not been retained in what we now call the Ordinary Form. Still, the general principles outlined in MS remain quite valid and very much in force.

Especially in the Ordinary Form, which allows for so many options and so much leeway, it is hard to make an argument against incorporating the principles of MS. If the principles of a more recent, non-authoritative document (such as Sing to the Lord) can be taken into account, who is to say, in the OF, that the principles of MS cannot also be taken to heart? To my mind, it seems quite laudable to apply the guidelines of MS to our present celebration of Mass.

If you are interested in a fuller treatment of this topic, there is something you should read that comes from an unlikely source. Available online is a TRANSCRIPT of five separate presentations given during the 2007 NPM Convention which (believe it or not) addressed this topic. The five lectures represent rather disparate points of view. Each lecture is worth reading, but I would say that the lecture by Dr. Ed Schaefer deserves special notice.

What to do with Musicam Sacram remains a thorny issue. Trying to reconcile, for example, the principle of “progressive solemnity” in SttL with the three-tiered structure of singing given in MS is difficult work. At the very least, the principles of MS must not be discounted outright. They should, instead, be welcomed—even studied—so as to improve our celebration of the sacred liturgy.

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

Filed Under: Articles Tagged With: Authentic Liturgical Renewal Reform, Liturgy of the Second Vatican Council, Progressive Solemnity, Sacrosanctum Concilium, USCCB Sing to the Lord Document on Music Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Job Opening • $65,000 per year +
    A parish 15 minutes away from me is looking for a choir director and organist. The parish is filled with young families. When I began my career, I would have jumped at such an opportunity! Saint Patrick’s in Grand Haven has a job opening for a music director paying $65,000 per year including benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” I lived in Kansas for 15 years, Texas for 10 years, and Los Angeles for 10 years. Michigan is the closest place I know to heaven!
    —Jeff Ostrowski
    “Reminder” — Month of November (2025)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

Last Fall, however, the bishop of Augsburg in West Germany, the Most Rev. Josef Stimpfle, ordered all parishes in his diocese to have a Latin High Mass at least once a month. This policy drew a letter of warm commendation from the apostolic nuncio to West Germany, Archbishop Guido del Mestri, who termed the decree “exemplary” and added, “The way chosen by you is one desired by the whole Church.”

— Latin Liturgy Association “Newsletter” (September 1980)

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