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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.”

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Views from the Choir Loft

The Verge Of The Abyss

Aurelio Porfiri · January 12, 2015

457 Aurelio Porfiri THINK WE SHOULD REALLY be honest with one another: church music is on the verge of the abyss. And so it is with liturgy. I am not saying this to appear pessimistic, traditionalist, conservative, or whatever word you want to use with negative meaning (even if these words are not negative at all, in the right context)—I just think it to be realistic.

Church music is mostly coming to an end, if we consider church music to be the kind that is conceived using the best of musical abilities, of composers trained in the tradition of the Catholic Church’s liturgical music. Music that, of course, can be (and has to be) innovative but always developing organically from the musical forms of the tradition. Hey, this is not a traditionalist statement! It’s right out of Sacrosanctum Concilium (23): “and care must be taken that any new forms adopted should in some way grow organically from forms already existing.”

Today everyone can rule over those who are unfortunate, yet still strive to take church music seriously: every catechist, every priest, every nun can teach you what they don’t know. All of these people usually have something in common that is very important: they are completely ignorant about liturgical music, but feel encouraged (from a mysterious spirit) to use their ignorance for the greater glory of God and the edification of the faithful. And of course they use the art of demagogy and political correctness in a way that puts some timid church musicians in an uncomfortable position.

FELLOW CHURCH MUSICIANS, let me tell you wholeheartedly: rejoice and be glad! We are on the verge of the abyss, because we prefer to stand for what we trust than to bow to the messengers of ugliness—to poor people thinking they are making some good when they are actually building the greatest evil: the triumph of mediocrity. There are still a few catechists, priests, and nuns who attempt to resist this triumphal march toward nothing, and they also will share our fate of solitude and isolation. Of course, there are also church musicians who are close minded, arrogant, and self-isolating, in the same way that there are medical doctors who are close minded, arrogant, and self-isolating. But if you need an opinion about your health you would still ask them rather than those who are not trained in medicine. We church musicians are not in the same situation: everyone can decide what music can be sung in the liturgy, following their distorted ideas and tastes and being sure that they can invoke the Council providing that they only know a few lines of the documents…and that is in the best cases.

Fellow church musicians, rejoice and be glad! We are trailed toward the abyss because we want to remain Catholics but at least we know where we are going. Thanks to this, we will be able to taste every good moment that God allows us in the midst of the battle, having a grateful heart and invoking a peaceful spirit.

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 Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 2025). 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 feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

After ordering the bishops to appoint in each diocese “special commission of persons who are really competent in the matter, to whom they will entrust the duty of watching over the music performed in the churches in whatever way may seem most advisable,” Pope Pius X continues—“this commission will insist on the music being not only good in itself, but also proportionate to the capacity of the singers, so that it may be always well executed.”

— Dom Alphege Shebbeare (Downside Review)

Recent Posts

  • Is this what the new “Youth Mass” looks like?
  • “Music List” • 19th in Ordinary Time (Year C)
  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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