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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

Permission Needed to Replace the Propers?—(5 of 7)

Andrew R. Motyka · February 24, 2015

WAS GLAD to see our new blogging colleague, Andrew Leung, post about permission in Hong Kong for replacing the propers of the Mass with other pieces of music. It gave me hope, or at least reconsideration, because from my end of things, the whole conversation we have been having about this so far is useless.

Say someone in the Archdiocese of Indianapolis writes a hymn: text, music, harmonization, everything, and he wants to follow the letter of the GIRM and get it approved for use in the Archdiocese or even the United States. What is his process for obtaining such approval? There is none. So he’ll call the Office of Worship, and upon hearing the word “music,” the call will be sent to me. I will be asked about what needs to be done to obtain approval, and my answer is, “I have no idea.”

It’s not that I am ignorant of the mechanism by which approval can be obtained in the USA; it’s that there is no mechanism. There is no process. Some bishops who take GIRM 48 seriously might want to see such a piece or collection, but in the end, what bishop has time for that?

So what should happen? Should the bishop delegate the process to a commission? Probably, just as Andrew Leung points out is the norm in Hong Kong. However, I also see several problems with this solution:

1. Every diocese, and every commission, is comprised of different people, with different skillsets, ideals, and opinions. There will be a wild lack of consistency over what gets through or not.

2. If this were kicked to the national level (the USCCB), we would be adding one more layer of bureaucracy to the process. I can’t imagine the chaos that an attempt at a “national hymnal” would cause.

3. From my understanding, as things stand now, approval by one bishop counts as approval for the whole country. Therefore, something approved in Seattle is cleared in Tampa, under the current law. This means that all you need is one out of hundreds of committees to clear your work to get it by, practically invalidating the safeguard of approval altogether.

4. The need for approval will be ignored anyway. As it stands now, the GIRM is ignored, and that is binding liturgical law. It’s not a suggestion, it’s not a guideline. It’s law, and people ignore it left and right anyway in more than just this area. Further legislation or bureaucracy will just incentivize the local parishes to tune out the law even more.

So what am I saying? Should the GIRM just be ignored on this point? No, what I am saying is that the solution to this issue is—to borrow political lingo—above my paygrade. I suspect and fear that the cat is just out of the bag on this one, and no legislation from above is going to fix it. I think our efforts would be better spent winning hearts and minds to the most fitting place that Gregorian Chant and the proper texts hold in the Mass than trying to legislate it from above.

This article is part of a series:

Part 1 • Richard Clark

Part 2 • Veronica Brandt

Part 3 • Andrew Leung

Part 4 • Dr. Lucas Tappan

Part 5 • Andrew Motyka

Part 6 • Cynthia Ostrowski

Part 7 • Aurelio Porfiri

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

Filed Under: Articles Tagged With: Hilgartner 20 November 2012 Last Updated: October 15, 2022

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(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

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

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