• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

You Will Want To Print This Liturgical Article

Jeff Ostrowski · May 26, 2015

728 Fulton J Sheen ULTON J. SHEEN was adamantly opposed to teachers who kept the same class notes each year and simply “transferred” them to the students. He didn’t consider that teaching. Similarly, a major criticism I have regarding some of today’s liturgical blogs is their heavy reliance on “cut and paste.” I’ve never considered cut/paste to be a skill—computers make it so easy! Moreover, this also frequently leads to poor formatting, which is insulting to readers (in my humble opinion).

On this blog, we assiduously avoid a “cut and paste” mentality, but sometimes it’s necessary & appropriate. I do cut and paste a few excerpts below, promoting an important article published in 2010 by Susan Benofy:

    * *  Part 2 • The Day the Mass Changed — By Susan Benofy

Like many articles on the ADOREMUS website, the content is excellent, but the formatting is rather poor…and hard on the eyes. Susan provides fascinating details about the post-conciliar changes, and mentions three pivotal books:

A major part of the “Parish Worship Program” consisted of three books. No author was given for these volumes, but each book had a signed Preface and listed contributors to its composition. Father H.A. Reinhold wrote a preface to one volume, Father McManus wrote the preface to another. Fathers McManus, Clement McNaspy and Eugene Walsh were all listed among the contributors, as were representatives of two commercial music publishers: the Gregorian Institute of America (GIA) and World Library of Sacred Music (now WLP). Father Godfrey Diekmann’s ideas are evident in the program’s recommendations. One of the books—Priest’s Guide to Parish Worship—has an imprimatur dated 22 May 1964.

(Do any readers own those books? If so, please email me.)

Susan includes quotes like the following, by Msgr. Fred McManus in July of 1980:

The reformed eucharistic liturgy of the Roman rite is a most extraordinary and revolutionary accomplishment. After four centuries of increasing rigidity of text and form, almost overnight the Roman liturgy changed so notably that once familiar features of the preconciliar rite are now as remote to us as some obscure aboriginal ritual.

Susan juxtaposes the sentiments of McManus with the actual words of Vatican II:

There must be no innovations unless the good of the Church genuinely and certainly requires them; and care must be taken that any new forms adopted should in some way grow organically from forms already existing (Sacrosanctum Concilium §23).

Perhaps Susan’s most salient point is this one:

Archabbot Rembert Weakland insisted that liturgists were “attempting to restore the Proper to its rightful place,” even though he had previously admitted that the people had never sung the Proper.

She goes on to say:

Note the basic points of the argument here. Some liturgists interpret the participation required by the Constitution to require participation of the congregation in the singing of the Proper. But this interpretation has no explicit basis in the Constitution; furthermore, it is contrary to historical practice, since the Propers were sung by choirs ever since they originated in the 6th or 7th century. These same liturgists contend that it is impossible for congregations to sing the existing Propers, or even anything that could reasonably be called a Proper. That is, congregations cannot learn new texts and music proper to each Sunday and Feast. Paradoxically, then, defense of the alleged “right” of the people to sing the Propers means that the Propers must change radically—effectively eliminated—in order that the people can sing something else during the time the Proper is supposed to be sung.

We’ve often mentioned ironies of the post-conciliar reforms. In an effort to get people to “sing the Mass, not sing at Mass” the actual texts of the Mass were de facto eliminated and replaced with non-liturgical texts. Vatican II wanted to add more optional Scripture readings, but the big publishing companies ended up limiting the options to increase their profit. These days, everyone simply uses whatever is in the missalette, because it’s easier that way.

I will not continue to cut/paste Susan’s article, except a final quote from the Manual (1964):

Although the plain chant is one of the priceless treasures, it is primarily the domain of the monastery; it has never been the actual treasure of the American parish. Our priests were “exposed” to it during the formative years of the seminary training, and occasionally a hard-working choirmaster has introduced it, but not without hard effort and even some opposition. There is no need to fear that the chant will be lost, for the monastery will preserve it, whereas the parish never really possessed it. For the monk, Latin will not prove a barrier to his understanding of the Church’s ceremonial; for the average parishioner, English will prove an invitation to an understanding of the worship of the Whole Christ that Latin could never give.

Don’t tell that to my former Pastor, whose rural parish in the 1940s sang with gusto Mass I, Mass II, Mass III, Mass IV, Mass VIII, Mass IX, Mass XI, and several others!

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

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

“Victoria not only made his professional debut as church organist: he also continued active on the organ bench until the very eve of his death. Indeed, during his last seven years at Madrid (1604-1611) he occupied no other musical post but that of convent organist.”

— Dr. Robert Stevenson (1961)

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.