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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

Does Your Bishop Enforce The GIRM?

Jeff Ostrowski · August 1, 2016

277 Cardinal Sarah “ad orientem” N 23 NOVEMBER 2014, Cardinal Sarah was appointed CDW Prefect by Pope Francis. Recently, he encouraged priests—“with prudence and the necessary catechesis”—to face the same direction as the congregation during the Eucharistic Prayer, which the current rubrics assume (though “versus populum” is also allowed). 1 Mass was said that way 99% of the time until the 1960s, and “versus populum” was never mentioned by any Vatican II document. Nevertheless, the words of the Vatican’s chief liturgical officer caused quite a stir.

Some claim the GIRM favors “versus populum” celebration, but enormous obstacles fly in the face of such an assertion. First of all, the sentence erroneously used to justify this assertion comes from the GIRM’s section on constructing new churches and simply doesn’t mean what they claim. More importantly, on 10 April 2000, the Congregation for Divine Worship specifically said nobody is allowed to say the GIRM “favors” either position. 2

Even some bishops have attempted to be “rigid” about the GIRM, trying to outlaw “ad orientem” celebrations in their dioceses. For example, Bishop Martin J. Amos (Davenport, Iowa) recently sent a letter which is absolutely bizarre considering what the Vatican’s Congregation for Divine Worship said on 10 April 2000 (SEE ABOVE).

IF BISHOPS WANT STRICT ENFORCEMENT of the GIRM, why do they ignore certain paragraphs? For example, numerous sections of the GIRM specifically say texts replacing the 1970 propers—Entrance, Offertory, and so forth—must be approved in advance by the local bishop. This is stipulated by both the “universal” GIRM and the “American adaptation” of the GIRM. So what happened to the alleged RIGIDITY we heard so much about following the “ad orientem” suggestion of Cardinal Sarah?

Some maintain that their hymnals were approved by the USCCB, but this is not true. For more than four decades, the front of many hymnals has “approved by the United States Conference”—but that doesn’t apply to any of the hymns! The BCL has confirmed this over and over again, for example:

I point out that the designation in hymnals “published with the approval of the Conference of Bishops” applies only to liturgical texts per se, and not to hymnody or other paraphrased texts.
—Msgr. Richard Hilgartner (21 December 2011)


Monsignor Hilgartner is correct, but most Catholics will never accept that. They will assume—and why shouldn’t they?—that “approved by the USCCB” applies to the hymns and songs, although it never has. You can stand on your head and shout till your face is blue, but you’ll still be doubted. Was this counterintuitive wording written on purpose to confuse? Readers must decide for themselves…

A tremendous amount of musicians in the Ordinary Form replace the propers (illicitly) with songs not approved by the local bishop, in spite of the GIRM requirement. Again, I ask: “What happened to the rigidity?”

For example, when Bishop Amos ends his letter (SEE ABOVE) by saying “I am confident of your obedience in this matter,” does he also expect priests to obey paragraph 48 of the GIRM?



NOTES FROM THIS ARTICLE:

1   Furthermore, even when Ordinary Form Masses are offered “ad orientem,” the vast majority is still done facing the people (Liturgy of the Word, Homily, and so forth).

2   Let’s remember that this congregation—which Cardinal Sarah currently heads—is the same congregation which drafted the famous clause in paragraph 299 and got it approved by the pope!

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

Filed Under: Articles Tagged With: Ad Orientem, General Instruction Roman Missal, GIRM Paragraph 299, Hymns Replacing Propers, Robert Cardinal Sarah 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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President’s Corner

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    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

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

“As liturgical art, church music is obliged to conform to ecclesiastical law. But to construct artificial polarities here, between legalistic order and a dynamic church music, demanded by the alleged needs of the day, would be to forsake the foundation of a music rooted in liturgical experience. What is in fact the pastoral value of the shoddy, the profane, the third-rate?”

— Dr. Robert Skeris (1996)

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

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