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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

First Instance of “Alius Cantus Aptus”

Jeff Ostrowski · June 21, 2016

HE HOLY WEEK REVISIONS of Pope Pius XII could be looked at as the beginning of liturgical deformation that would happen later. 1 This was true for a variety of reasons. For example, it introduced the notion—which was quite serious—that a committee could get together for meetings, “fix” the liturgy, then impose these changes on the entire church. Before that point, the Church had basically allowed the liturgy to grow organically. Another key concept was introduced which we’ve mentioned numerous times: ALIUS CANTUS CONGRUUS. László Dobszay referred to alius cantus as “anthrax in the envelope” of post-conciliar decrees.

This is not to say there were no choices whatsoever involved in the Tridentine Mass. If you look carefully, you will occasionally find a tiny little option here or there—but this has nothing to do with replacing the Propers 99% of the time, which is the situation in most Ordinary Form churches and contradicts what Vatican II wanted.

Anyhow, buried in one of the pages of the ORDO HEBDOMADAE SANCTAE we find this rubric:

248 Ordo Hebdomadae Sanctae ALIUS CANTUS


Nihil impedit, quominus cantetur a fidelibus hymnus Christus vincit, vel alius cantus in honorem Christi Regis. Translated into English, that means:

“The faithful may also sing the hymn CHRISTUS VINCIT or any other chant in honour of Christ the King.”

That’s the first time I know of “alius cantus aptus,” which would become the favorite phrase of the Consilium. In English, it means “anything else appropriate.”

AS FAR AS THE OFFICIAL BOOKS ARE CONCERNED, the liturgical progressives lost the battle over Mass facing the people. The Ordinary Form rubrics assume that priest & congregation will face the same direction for certain parts of the Mass. Robert Cardinal Sarah—appointed by Pope Francis as prefect of the CDW—recently confirmed this:

“In my capacity as the prefect of the Congregation for Divine Worship and the Discipline of the Sacraments, I continue to remind all that the celebration toward the East (versus orientem) is authorized by the rubrics of the missal, which specify the moments when the celebrant must turn toward the people.”

However, they eventually won the “alius cantus” battle, at least in terms of what is allowed by the rubrics.

N.B. Two other random facts: Kyrie IX is assigned as an option for Holy Thursday. (I knew about Kyrie IV, but not Kyrie IX.) Also, the monastic version of the ORDO HEBDOMADAE SANCTAE is 500 pages long!



NOTES FROM THIS ARTICLE:

1   Before he died, Archbishop Bugnini himself admitted this, calling it “the first breach.”

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

Filed Under: Articles Tagged With: Alius Cantus Aptus, Alius Cantus Congruus 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 • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski
    “Holy Name Hymn” (2-Voice Arrangement)
    When we post a direct URL link, we frequently get thousands of downloads. But when scrolling is required, very few take the time. I mention this because those who click on this URL link and scroll to the bottom can download—completely free of charge—a clever 2-voice arrangement for a famous hymn to the Most Holy Name of Jesus. In a pinch, it can be nicely sung by one male and one female! It will be of interest to those who seek arrangements for two voices.
    —Jeff Ostrowski

Quick Thoughts

    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
    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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

The ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

Recent Posts

  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”
  • “Inquiry” • For Music Directors of Cathedrals and Larger Parish Churches

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