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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

The Greatest Enemy of Sacred Music?

Andrew Leung · February 5, 2015

349 Tempo HAT IS THE GREATEST enemy of Sacred Music? I sure hope it’s not your pastor or your congregation. Is it the text of the song? Or the instrumentations? No! Because there are some good Catholic hymns writers and composers who write sacred pieces very orthodoxly.

Pope St. Pius X referred Gregorian Chant as the Supreme Model of Sacred Music in Tra le Sollecitudini and of course, then, new pieces should be composed following the model of Gregorian Chant. The most important musical characteristic of Gregorian Chant is its rhythm. Gregorian Chant is not rhythmic, or at least not metrically rhythmic. It is a pure expression of the text. It is impossible for one to tap his toes while singing or listening to Chant. We can judge whether a piece is following the model of Sacred Music by looking at its rhythm.

What does rhythm do to us? I am sure that we all have experienced rhythmic songs before. Naturally, they make us want to tap our toes, clap our hands or even dance along with the rhythm. And when Gregorian Chant is being sung, our bodies naturally go into a more peaceful, still, and contemplative mode.

I would, therefore, like to suggest that when music is more rhythmic, it is more carnal because of our physical reactions; similarly, when music is less rhythmic, it is more spiritual.

In the Liturgy, music is meant to be God-centered instead of self-centered and that is why music that is more spiritual, instead of carnal, should be sung. In another words, less rhythmic music is more suitable for Mass.

HERE IS A GOOD EXAMPLE to demonstrate the role of Rhythm in different styles of music:

      * *  YouTube • Alleluias from Vatican Easter Vigil

There are three different settings and styles of the Alleluia in this video. The first one (0:17) is the Gregorian setting from the Missal. It is chanted in a free rhythm just like all Gregorian Chant.

The second one (3:10) is a less melismatic setting. It is a more hymn-like Alleluia that one can actually counts evenly in twos. Here, the role of Rhythm is just to keep the piece in a steady pace. And the focus of the piece is on the melody instead of the rhythm.

The third one (6:32) is a polyphonic setting. And again, Rhythm helps keeping all the melodies together in a steady pace. If we just pick out one of the melodies, it is basically in a free rhythm like Gregorian Chant. Rhythm keeps the many vocal parts in order so that we might hear the beautiful harmonies created by multiple melodies. And these harmonies are the focus of the style of polyphony.

Now, consider this:

      * *  Mp3 Audio Recording • Celtic Alleluia

Our ears can pick out that swinging rhythm right away with this famous setting. In this piece, Rhythm is playing an equal role with the melody, maybe even a more important role than the melody. The way to prove that is to sing the melody evenly without the swinging rhythm. It would be a whole different piece without the rhythm.

By comparing the four different settings of the Alleluia, we see the roles of Rhythm in four different styles of music. The more emphasis is put on Rhythm, the music become less spiritual. Looking into the western music history, secular music, like madrigal, opera, waltz, pop music, etc. has always been more rhythmic than sacred music. Rhythm continues to be the greatest enemy and challenge for Church Music today.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

“If I could only make the faithful sing the Kyrie, the Gloria, the Credo, the Sanctus, and the Agnus Dei…that would be to me the finest triumph sacred music could have, for it is in really taking part in the liturgy that the faithful will preserve their devotion. I would take the Tantum Ergo, the Te Deum, and the Litanies sung by the people over any piece of polyphony.”

— ‘Giuseppe Cardinal Sarto, Letter to Msgr. Callegari (1897)’

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