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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

Elvis Presley, Offertory Processions, & “Alius Cantus”

Jeff Ostrowski · February 2, 2015

384 Offertory Procession 1940s ACK IN 2013, we uploaded the complete 1965 Missal, which has generated a considerable amount of interest among those seeking to understand the reformed rites. I was recently made aware of an incredible video which shows an “Offertory Procession” from the 1960s:

      * *  Video • Elvis Presley & 1965 Missal

I’m not kidding. Click the link to see for yourself.

If you scroll down, you’ll see that Offertory processions and “versus populum” were started before the 1960s in some locations. Progressive liturgists of the 1940s justified processions at the Offertory because “the rubrics don’t specifically say they cannot be done.” However, when today’s priests try to reintroduce more traditional practices by means of “mutual enrichment,” these same liturgists complain. A double standard appears to be at work…

In any event, I would say three things about this video: *

1. A most destructive force at work after the Second Vatican Council has been a “loophole” which allows musicians to substitute alius cantus congruus (“anything else appropriate”) for the official Propers assigned by the Church. Only recently have books such as the Jogues Pew Missal made the official texts accessible to congregations. Hopefully more parishes will consider using these assigned texts (in English or Latin).

2. People justify alius cantus congruus in the name of “people participating at Mass.” They fail to realize that when you replace the official texts and sing something else—like Elvis did in that video—you’re no longer participating at Mass the way the Vatican II fathers desired.

3. Everything says something. Everything. If we eliminate the Mass Propers, we must replace them with something. Therefore, we cannot fault Elvis for what he did in that video.

376 Facing the People 1954 377 Facing the People 1965 378 Facing the People 1947 379 Facing the People 1965

P.S.

Based on a quick Google search, I assume the video clip comes from a movie I’ve never seen called Change of Habit. Obviously, a film is not real, but in this case, it gives us a glimpse into what was happening in some Catholic Churches during the 1960s.




NOTES FROM THIS ARTICLE:

*   Regarding number 1, the GIRM says any substitute texts must be approved by the local bishop. The USCCB Committee on the Liturgy—in clear contradiction to the GIRM—declared that this requirement can be ignored. However, several Canonists have said the USCCB does not have the power to overrule the GIRM, and official replies by the Pontifical Commission for the Interpretation of the Code of Canon Law support this view.

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

Filed Under: Articles Tagged With: 1965 Missal, Hymns Replacing Propers Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“The main place should be given, all things being equal, to gregorian chant, as being proper to the roman Liturgy. Other kinds of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.”

— ‘2011 GIRM, §41 (Roman Missal, 3rd Edition)’

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  • Fascinating Interpretation of the “Regina Caeli” (Solemn Tone)

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