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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

Understanding

Aurelio Porfiri · January 27, 2015

418 Traditional Latin Mass NE OF THE MORE SERIOUS problems for church musicians is dealing with those who demand that the liturgy be understood by everyone. Now, this is a tricky concept and must be handled with care.

Of course we want everyone to be able to participate in the liturgy in the most proper way, and so we aim for a spiritual understanding of the same liturgy. But the demands of these people are often of a different nature. They believe that participation means understanding word-for-word, and doing as much as possible. But by requiring this, they condemn the liturgy to a dramatic immanentism.

Immanentism means that there is no reality beyond what we know, so God and the world are the same thing. But if God is not outside the world how He can possibly save it?

Reducing the understanding of the liturgy to a pragmatic dimension avoids taking into account the biggest dimension of the liturgy: the invisible one. In the antiphon for the Epiphany—VENITE OMNES POPULI—we observe that we are asked to glorify the invisibile mysterium (“invisible mystery”). The spiritual and invisible dimension cannot be understood except through the eyes of faith, and calling for this sort of total understanding of everything happening in the liturgy would be a betrayal of what the liturgy is.

After the consecration the priest asks us to proclaim the mystery of faith. We have listened to the words of consecration, but the mystery happening there goes much beyond the simple understanding of the words said. Music—when it is good liturgical music—helps create a reverent atmosphere that allows us to penetrate, a little bit, this incomprehensible abyss.

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

    “What Martin Luther Said…”
    My pastor asked me to write little columns for the bulletin each week. The article for 20 July 2025 has been posted, and it’s called: “What Luther Said…” Martin Luther (an ex-priest and apostate) was an infamous heretic whose ignorance of JESUS CHRIST was only exceeded by his filthy and disgusting vulgarity.
    —Jeff Ostrowski
    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —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

The Latin language, “far from being held in little regard, is certainly worthy of being vigorously defended.”

— Pope Saint Paul VI (15 August 1966)

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