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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

Archbishop Fulton J. Sheen On Gregorian Chant

Jeff Ostrowski · July 30, 2015

454 Young Fulton J. Sheen Here’s what Archbishop Fulton J. Sheen had to say about Gregorian chant:

AINT Viator’s College was also a seminary for the training of priests. When I graduated, Bishop Edmund Dunne of Peoria sent me to St. Paul’s Seminary in St. Paul, Minnesota, to finish my studies for the priesthood. These were the days of World War I; food was meager and I developed an ulcer which required an operation. The courses were extremely good, especially in Sacred Scripture, history, and moral theology.

The music teacher of Gregorian chant had to train all of us, whether we had singing voices or not. I was among those who could hardly carry a key on a ring. Grace Moore later on confirmed this. About twenty years later, however, when I returned to give a lecture in an auditorium in St. Paul, I was introduced by my music teacher, who praised me for my singing. I am sure the good man did not purposely lie; he just had a bad memory. They say singing is every man’s birthright but it certainly never was mine. I didn’t sound good even in a shower.

On Saturday, 20 September 1919, I was ordained a priest, by the grace of God, in the cathedral at Peoria. […]

In 1920, I was to offer Holy Week Eucharist in St. Patrick’s Church in Washington. The liturgy of that week is slightly different from that of other days of the year, and I was a bit concerned as to whether I could do it properly. One of the directions given in Latin during the course of the Holy Saturday liturgy was to sing Alleluia three times. There are about forty-nine notes in that Alleluia, which would test even the skills of a Caruso. I did my best to give utterance to all those black notes in the missal.

I gave a sigh of relief at the end of the Alleluia, but old Monsignor Thomas—the pastor, who wore purple socks—shouted out from the sacristy in the hearing range of the entire congregation: “Sing it again!” I sang it again, simply because he ordered me to do it. When I finished the second effort, again in still louder tones, he cried: “Sing it again!” which I did in reluctant obedience and feeling very stupid for having to do so. But then I noticed at the end of the Latin directive about singing Alleluia the little word ter, which means three times. That incident always reminded me of the story of the man who had a choice of marrying either a beautiful servant girl who was unknown or an ugly opera singer who was quite famous. He opted for the opera singer. The morning after the honeymoon, he took one look at her and said: “For heaven’s sake, sing.”

And here’s the “Alleluia” referred to by Archbishop Sheen:

457 Sheen Gregorian


Anyone who’s heard Fulton J. Sheen speak about the Mass realizes how much he loved the liturgy. The 1961 Fulton J. Sheen Sunday Missal is wonderful. Many wonder why Sheen never talked about the liturgical changes. I suspect, like his book editor, Fr. Caraman, Sheen felt the need to keep silence about these changes. I will have more to say about this subject—as well as Fr. Caraman’s need to keep silent about changes he didn’t like—at a later date.

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

Filed Under: Articles Tagged With: Bishop Fulton J Sheen Last Updated: May 12, 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

    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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— SACRAMENTUM CARITATIS

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  • “American Catholic Hymnal” (1991)

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