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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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus 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.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The training in singing, to sing in a chorus, is not only an exercise of external listening and of the voice; it is also training for interior listening, listening with the heart, an exercise in training for life and for peace.”

— Pope Benedict XVI

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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