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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 Shaming”

Jeff Ostrowski · March 14, 2016

673 liturgy shaming image OR SEVERAL WEEKS, various liturgical blogs have been commenting on an article by William Bornhoft against “online liturgy shaming.” It’s important to realize that Mr. Bornhoft is on record with hysterical statements 1 that disqualify him from speaking about the liturgy. He has also written the following about Catholics who appreciate Mass in the Extraordinary Form:

Anyone interested in seeing the Catholic faith thrive in the world, rather than be ignored, should be concerned about a generation of Catholics who oppose reforms that the vast majority of Cardinals supported 50 years ago.

So much is wrong with that statement! For example, Vatican II never approved any liturgical changes. The Council approved principles—such as the preservation of Latin (a mandate not a suggestion) and the primacy of Gregorian chant—and we’ve seen how the wishes of the Council were ignored. Indeed, when Michael Cardinal Browne warned that Latin might disappear entirely if the vernacular was allowed, the fathers of Vatican II famously roared with laughter at such a suggestion. 2

When we consider the crisis in the Church, it would be difficult to imagine a subject less worthy of attention than “liturgy shaming.” Consider the thirty-five members of my choir here in Los Angeles. Not one of them would even know what “liturgy shaming” refers to. They are focused on trying to get closer to our Lord, raising their children properly, avoiding sin, praying, and doing spiritual & corporal works of mercy. They don’t go to sleep at night worried about people disseminating videos of public liturgies.

Moreover, Bornhoft’s thesis has major fallacies. For example, some have pointed out that “a process” also exists for reporting police violence (think “Rodney King”). Yet, which of us would assert that police videos should be kept private? Sharing such videos does not obliterate the process in place. This analogy—while not perfect—is worthy of consideration.

MANY ONLINE HAVE COMMENTED in favor of Bornhoft’s article, and keep telling potential liturgy shamers to “mind their own business.” However, they fail to realize they’re partaking in the very thing they profess to deplore! They’re typing on the internet in an effort to stop something they dislike, rather than addressing the perpetrator directly.

Indeed, Mr. Bornhoft is not in a position to tell others to “mind their own business.” Consider his internet article attacking a tiny minority of the Catholic Church (my family included) who simply want to be left in peace.

Perhaps “liturgy shaming” would be appropriate in this instance. In the past, I have advocated contacting bishops directly with letters like this … but that doesn’t seem to be working! I suspect liturgy shaming would reveal that “tacit approval” is actually “imaginary approval.”



NOTES FROM THIS ARTICLE:

1   My wife and I are both millennials who appreciate the Traditional Latin Mass. Consider what Mr. Bornhoft has written about us:

I appreciate TLM Millennials as strong advocates for better adherence to Catholic teaching, whether it’s fasting before mass, showing more reverence towards communion, or engaging in regular confession. But their views on the liturgy, and reform in general, are misguided and threaten to intensify divisions within the Church. Whether they realize it or not, TLM Millennials are not on the side of orthodox Catholicism. They are at odds with the teachings of the Catholic Church.

I’m not offended by such words, because Mr. Bornhoft clearly craves attention—and vile words like those have obtained for him that which he craves!

2   Notice that Mr. Bornhoft refers us to something that happened 50+ years ago to keep us “current”—whereas Summorum Pontificum was issued in 2007, and Universae Ecclesiae came in 2011.

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

Filed Under: Articles Tagged With: Liturgy Shaming 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

    PDF Download • “Atténde Dómine”
    Although it isn’t nearly as ancient as other hymns in the plainsong repertoire, Atténde Dómine, et miserére, quía peccávimus tíbi (“Look down, O Lord, and have mercy, for we have sinned against Thee”) has become one of the most popular hymns for LENT—perhaps because it was included in the famous Liber Usualis of Solesmes. This musical score (PDF file) has an incredibly accurate version in English, as well as a nice version in Spanish, and also the original Latin. Although I don’t claim to have a great singing voice, this morning I recorded this rehearsal video.
    —Jeff Ostrowski
    Music List • (1st Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I’ve prepared for this coming Sunday—22 February 2026—the 1st Sunday of Lent (Year A). 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 available at the outstanding feasts website alongside the official texts in Latin. I spent an enormous amount of time preparing this ORDER OF MUSIC—because the children’s choir will join us—and some of its components came out great. For example, the COMMUNION ANTIPHON with Fauxbourdon is utterly resplendent, yet still ‘Lenten’.
    —Jeff Ostrowski
    2-Voice Arrangement for Lent
    Those seeking a two-voice arrangement for LENT and PASSIONTIDE should click here and scroll down. It’s based on number 775 in the Brébeuf Hymnal, with an enchanting melody written by Kevin Allen (the legendary American composer of sacred music). That text—“Pendens In Crucis Cornibus”—is often used for the Feast of our Lady of Sorrows. That link is important because, in addition to the musical score, it provides free rehearsal videos for each individual voice: something volunteer choirs appreciate!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

On 26 July 1916—during the German occupation of Belgium—a student choir led by Van Nuffel performed his setting of the psalm “Super flumina Babylonis” in Saint Rumbold’s Cathedral. The text and the musical setting very aptly expressed the depressed and rebellious mood of the population. The acclaim was enormous, and it laid the foundation for Van Nuffel’s formation of the Saint Rumbold’s choir.

— Unknown

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