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Views from the Choir Loft

Why Don’t Serious Catholics Address This?

Jeff Ostrowski · December 14, 2015

935 PAINT MAGINE ENTERING a room where children are using paint to draw cartoons on the walls. When you ask if a parent gave permission, they reply, “Yes, we have permission.” They go on to explain: “Our parents have not come here and forced us to stop what we’re doing, so we have their permission.”

Sounds crazy, right? Yet, this same situation is what the USCCB has “interpreted” for Masses in the United States.

The official Ordinary Form rubrics 1 REQUIRE that any hymn replacing the 1974 Graduale Propers use a text specifically approved by the local bishop. Over the years, the USCCB has “interpreted” this requirement in many ways. The most serious way is by claiming that any song has “automatic approval” from the local bishop—even though he hasn’t heard the song—unless that bishop specifically forbids the song. 2 This interpretation was confirmed by the USCCB again on 20 November 2012. Moreover, the Bishops’ Liturgy Committee has officially refused to walk back or modify this bizarre policy. Our current situation, therefore, allows anyone—even non-Catholics—to compose lyrics which replace, for example, the ENTRANCE ANTIPHON without permission from any bishop.

Over the years, I’ve heard many powerful talks by strong Catholics: Scott Hahn, Edward Sri, folks from Catholic Answers, folks from Saint Joseph Communications, Adoremus Bulletin, Homiletic & Pastoral Review, and so forth. Many liturgical institutes and blogs also profess to care about sacred music. Why won’t anyone address this issue? Why is this issue never brought up? This situation does incredible damage to sacred music, yet nobody will address it.

If you desire to test the USCCB policy, try this experiment. Compose some lyrics and mail them to your bishop with his name & permission. I promise your bishop will not be pleased. You can try to explain “tacit permission” to him, but I guarantee it won’t do any good. You will be told to immediately remove that permission notice…because this whole “tacit permission” thing is nonsense—and anyone who carefully examines what’s been happening for 40 years will agree.



NOTES FROM THIS ARTICLE:

1   These are found in the current General Instruction of the Roman Missal.

2   As you’ve probably guessed, not many bishops forbid songs of whose existence they are unaware!

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

Filed Under: Articles Last Updated: January 1, 2020

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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

Recent Posts

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  • Available! • Free Rehearsal Videos for Agnus Dei “Mille Regretz” after Gombert (d. 1560)

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