• 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

“Liturgy Wars” and Four Universal Principles

Richard J. Clark · November 13, 2015

ITH ENDLESS DEBATE about musical styles, the term “Liturgy Wars” is now a common part of the liturgical lexicon. So common, in fact, that it has lost its shock value to the point that it is in some circles not even controversial. It is an accepted reality.

In some ways, this is a healthy sign because reasonable, intelligent people need to be able to work together even when they don’t agree. Or more commonly, we may have superiors with whom we must work with even if we believe (or know) we are correct, or backed by the Liturgy Documents, etc. Catechesis is a process. A working trust is a process. Often it takes years. More realistically, it takes a lifetime.

The political reality in most every parish is that there are numerous “factions” and preferences. This requires the reality of doing many styles of music even in one liturgy. This has advantages and disadvantages—too many to discuss. But an important political reality is that when advocating for 100% purity of style or approach, one will usually leave the table with nothing. This helps no one. And the people may be cheated of ever being exposed to music that is their birthright—the Treasury of Sacred Music of the Church.

CASE CAN BE MADE for a hybrid music program in which one may chose from the “best of the best.” In some circumstances, this is the only way to introduce chant or polyphony or traditional hymnody. In many parishes, regular use or even introduction of such music is progress. It also will be something to build upon.

An important approach when utilizing multiple styles in one liturgy is to filter the music through the most important musical and liturgical principles. Regardless of styles of music we must consider the following:

1) The Three Judgments — When selecting music, 2007 US Bishop’s document Sing to the Lord: Music in Divine Worship requires that we consider three elements when choosing music: 1) Liturgical 2) Pastoral 3) Musical. I wrote a good deal more about this here. Does the music fulfill these requirements? This is an essential guideline that will help filter out lesser music, and direct our hearts and minds toward God.

2) In the liturgy, the Word is preeminent. From a liturgical perspective, it is vital to note the text of the music. All too often, the particulars of text are not considered carefully enough or at all. What is the theological content? Is the text from scripture? Is the text a setting of any of the antiphons? Different styles can go a longer way when the text correlates to the words of the Mass in this manner.

3) When rehearsing music of different styles, pay a high level of attention to universal musical principles: phrasing, diction, choral blending, etc. Apply all of these regardless of the style. It will also earn the respect of the choir, the people, and the pastor.

4) Music of all styles for the liturgy must be filtered through the prism of reverence. Reverence does not preclude energy or joy or any other emotion for that matter. In fact reverence embraces all emotions. But, the sacred liturgy requires it. If a piece cannot be reverent in some fashion, then it is probably not appropriate for the liturgy.

It is our job to make sacred music work. Some music requires more input and effort from us to make that happen. It’s our pastoral responsibility to do so in order to serve God and to serve His people.

ADVENT IS NEAR!

Hard copies and downloadable digital scores of the Communion Antiphons for Advent, published with World Library Publications.

You can listen to recordings directed by Paul French here.

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 Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

“There are no hymns, in this sense, till the fourth century; they were not admitted to the Roman office till the twelfth. No Eastern rite to this day knows this kind of hymn. Indeed, in our Roman rite we still have the archaic offices of the last days of Holy Week and of the Easter octave, which—just because they are archaic—have no hymns.”

— Adrian Fortescue (25 March 1916)

Recent Posts

  • Latin Liturgy Association
  • Important Quote by a Church Musician
  • Fulton J. Sheen Played The Pipe Organ!
  • “Music List” • 28th in Ordinary Time (Year C)
  • Dr. Samuel Backman • “Rooted In Tradition: The Allegory of a Tree”

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.