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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Heretical Hymns & Transformation

Jeff Ostrowski · May 12, 2015

788 Rise From Dead EADERS HAVE PROBABLY noticed we spend very little time denigrating hymn texts with weak theology. I don’t know why this is—you’d have to ask each writer individually—but perhaps we are more interested in making a positive contribution than adding to the negativity. However, it really is quite a contrast. As Dr. William Mahrt has frequently noted, most Catholics commenting on sacred music focus only on the lyrics, completely neglecting issues of musical style. 1

Another reason (perhaps) our writers ignore this topic has to with “twisting.” When we consider even the most notorious lyrics, we realize that, if you twist hard enough, most can be interpreted in accordance with Catholic theology. 2

On the other hand, in spite of the fact that I am perhaps the most cynical person in the galaxy, I still occasionally find myself taken aback. I was utterly shocked to discover an “updated version” of the Christmas Proclamation, repeatedly published by the National Association of Pastoral Musicians (NPM):

    * *  PDF Download • “Updated” Christmas Proclamation Published By NPM

The statement affirming Buddha’s enlightenment—if proclaimed during a Catholic liturgy—strikes me as blasphemous. 3 My major concern with many contemporary hymn texts, however—as I’ve discussed—is their predictable & tacky rhyme scheme. So many sound as if they were written with the aid of several rhyming dictionaries.

THE NPM “UPDATED” CHRISTMAS PROCLAMATION reminds me that in some ways our Church contains two “different worlds.” Along the same lines, please listen to the following audio example—which is quite brief—wherein I have juxtaposed two (2) different styles of sacred music. To my ear, one style seems “catchy”—relying heavily on rhythm and syncopation—and should force you to tap your foot if performed correctly. That song was frequently sung during Masses in my grade school (circa 1995). For the record, I have no idea who composed it or whether my version is correct. 4 The other style of music follows the teachings of Pope Saint John Paul II (cf. his 2003 document, §12), since it takes Gregorian chant as its inspiration:

    * *  Mp3 Comparison • Which Sacred Style Is More Prayerful?

I feel that one style is more dignified, mysterious, elevated, transcendent, and sacred. 5

Now I will reveal a secret. The grade school I attended is the same one in which Dr. Lucas Tappan currently teaches. Their current program has nothing to do with what went on during the 1990s. I hope someday Lucas will tell us how such a transformation happened!



NOTES FROM THIS ARTICLE:

1   This may explain why a Mass setting based on a song called “My Little Pony” was approved by the USCCB.

2   Lyrics like these eventually led to a 2006 statement by the USCCB: “Liturgical songs must never be permitted to make statements about the faith which are untrue.” Talk about going back to basics!

3   It would have been horrible enough to write “his alleged enlightenment,” but they state it as fact.

4   Pardon my memory if I missed some notes; it’s been twenty years since I heard this song.

5   It reminds me of when I called a seminarian during the 1990s to show him a special arrangement Vladimir Horowitz did of the Star Spangled Banner—which is awesome, by the way. I played a few bars over the phone, and he replied, “That’s great, but listen to this CD I just bought.” He played for me a Mass setting by Palestrina. I felt a profound change: the effect of each style was so different. I get the same feeling when I see religious artwork like the example in the upper right corner, which comes from a manuscript made in the 1400s.

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

Filed Under: Articles Tagged With: Heretical GIA Hymns Last Updated: March 24, 2021

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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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Corpus Christi Watershed

President’s Corner

    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
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —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

“Then, when the later great Germans arrived, Haydn, Mozart, and Beethoven—all secular composers—and tried their hands at sacred music, they set Roman Catholic words to music which in form and spirit is Protestant.”

— Sir Richard Runciman Terry (1912)

Recent Posts

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  • Music Director Job • $80,000 per year
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