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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

Liturgy And Diversity

Christopher Mueller · September 7, 2015

330 liturgical Chris EVERAL YEARS AGO, I had the very good fortune to have several lengthy conversations with the Director of Music at a cathedral in the United States. This church has an astonishing music program, featuring a world-class children’s choir and professional schola. Each week at the principal Mass of the cathedral, the schola sings chant and polyphony, including the day’s propers (in Latin chant), a full Mass Ordinary (typically Renaissance polyphony, also in Latin), and motets at Offertory and Communion (to follow the chanted propers). The children join them on much of this music (particularly the polyphony).

I thought of these conversations as I perused this thread at the Musica Sacra Forum. The question under discussion is whether a choral Ordinary (that is, an Ordinary sung solely by the choir) is in keeping with the Church’s guidelines on how to celebrate the Ordinary Form. Many think that choral Ordinaries are to be eschewed, because the congregation doesn’t have anything “to do” while the choir provides music for the Kyrie, Gloria, Sanctus & Agnus Dei.

His answer was very surprising to me, and I thought it both prudential and catholic. He said, “We do a choral Ordinary each week because we can. We are the only Catholic church in the state with the resources to offer the Mass in this manner, and so we do. We don’t prescribe it as normative, and we only do it at a single Mass each weekend. We offer it as a way that the Mass can be celebrated, not as the way that it should be celebrated.” In essence, he provides the Catholic community a greater diversity of liturgical experience by having one Mass per weekend which features some of the most beautiful music man has created, intended for the glory of God and the edification of the faithful. And every week at this Mass, the church is full.

I found his reasoning to be prudent: putting the stewardship of the faithful to wonderful use in service of the Holy Mass. I also found it to be catholic, in the meaning of that word as “universal.” The musical treasures of the church, “greater even than that of any other art” (SC 112), are universal and timeless, just as precious and beautiful today as when they were created. Beauty is one path by which God opens our hearts and leads us to Himself; let us rejoice wherever the church’s music effects this.

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

Filed Under: Articles Tagged With: Latin Mass Musical Diversity Last Updated: May 29, 2021

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About Christopher Mueller

Christopher Mueller is a conductor and composer who aims to write beautiful music out of gratitude to God, Author of all beauty.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

“The production of this book was too far advanced for notice to be taken of the new translation of the Hebrew psalter into Latin by the professor of the Biblical Institute at Rome. The Holy Father’s permission to use it in the divine office when properly adapted for the purpose will prove a welcome boon.”

— Father Cuthbert Lattey (15 Nov. 1944)

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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