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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

Instruction on Sacred Music by Bishop John Doerfler

Fr. David Friel · April 24, 2016

ARLIER THIS YEAR, Bishop John Doerfler, the Ordinary of the Diocese of Marquette, Michigan, issued a very brief Instruction on Sacred Music in Divine Worship. This short letter crafts a bold vision for the future of sacred music in his territory, laying out a very concrete 5-year plan. Much of what the Instruction requires seems very good, but there are a few aspects of its requirements that leave open questions.

First, among the strongest points of Bishop Doerfler’s letter is the requirement that every parish & school “learn to chant the Communion Antiphon in English to a very simple tone that everyone can sing.” The letter further stipulates that this will be required at every Sunday Mass, permitting a hymn to be sung only after the chanting of the Communion Antiphon. The antiphons in the Missal, of course, are not the actual propers of the Mass, but chanting the antiphon would constitute, in most places, an enormous step in the direction of the propers.

Another part of the Instruction that I was pleased to see is the Bishop’s encouragement for all parishes & schools to learn the English Mass Ordinary chants as given in the Missal and the Latin Ordinary as set in the Missa Iubilate Deo. These settings should be universally known among Anglophones, and they should serve as the foundational ordinary chants for every parish & school. In Marquette, by December 31, 2020, they will.

Perhaps the best part of the Instruction is not a requirement, but a promise. Toward the end of the letter, Bishop Doerfler writes this:

The Diocesan Director of Sacred Music will provide annual, regional workshops for parish musicians to assist them in the implementation of these directives. He will also assist music teachers in Catholic schools to implement Sacred Music in the school curriculum and at school Masses. Finally, he stands at the service of parishes upon request to help implement Sacred Music in other ways.

It is no good, of course, to make mandates without the promise of support & resources. That Bishop Doerfler included this promise of multi-faceted support is essential.

This brief Instruction offers limited detail about a major reform to be undertaken, namely, the institution of a diocesan hymnal. Such a project will surely by criticized by some as too much of a micromanaging approach. Given the low quality of most mainstream publications, however, a case could be made in favor of the uniform approach that Marquette is embracing.

What is not entirely clear from the Instruction is whether parish and school choirs will be permitted to sing pieces from the choral tradition that one would not find published in a hymnal. Will polyphonic Masses, for example, be permitted? Will music directors be free to maintain their repertoire of quality motets and anthems? The bishop’s letter states that, after the publication of the new diocesan hymnal, “permission may be requested from the Diocesan Bishop to use choral settings that are not for congregational singing and are not in the diocesan hymnal.” Does this really mean that singing anything not published in the pages of the diocesan hymnal must receive the express permission of the bishop? It is hard to imagine a diocesan liturgy office efficiently responding to such requests.

Whether or not a diocesan hymnal is a good idea will be debated, I am sure. Of more significance to me, though, is the shape that this hymnal will take. So many English language hymnals are heavily slanted toward hymnody, with very little space devoted to the propers & ordinary. This is largely due to the influence of the Protestant liturgical tradition. I am hopeful that the structure and balance of this new hymnal, however, will reflect the priority on the propers and ordinary that is so prevalent throughout the bishop’s Instruction.

What are your thoughts about Bishop Doerfler’s Instruction on Sacred Music in Divine Worship? Are you grateful for it? What strengths/weaknesses do you see in it? What opportunities/limitations do you see in it?

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

Filed Under: Articles Tagged With: Bishop John Doerfler Sacred Music, Hymnbooks, Hymns Replacing Propers, ICEL Chants, Propers, Reform of the Reform, Singing the Mass Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(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

“One can still have silence even during the Canon, since one is not obliged to recite the Canon audibly at all times. A quieter, less powerful tone of voice will always permit an opportunity for personal, silent prayer.”

— Joseph Cardinal Frings (25-jan-1968), patron of “Consociatio Internationalis Musicae Sacrae” (papal church music association)

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