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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

    New Bulletin Article • “7 September 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 is called: “Professor Bouyer’s Regret.”
    —Jeff Ostrowski
    Cardinal Ranjith on “Active Participation”
    From 2005–2009, Malcolm Cardinal Ranjith served as Secretary of the Congregation for Divine Worship and the Discipline of the Sacraments. He was considered ‘papabile’ during the last conclave. On 8 December 2008, he wrote this powerful statement concerning Gregorian Chant, participatio actuosa, celebration “ad orientem,” and other subjects. When it comes to the question of what “sacred” means, Monsignor Robert A. Skeris provides a marvelous answer.
    —Jeff Ostrowski
    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    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

Random Quote

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

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