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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

Catastrophic Results of USCCB “Interpretation”

Jeff Ostrowski · September 20, 2016

HEN YOU ENCOUNTER something surprising, it’s only natural to investigate further. For example, if I told you the chief of staff for RONALD REAGAN was someone named DONALD REGAN, you’d check it out for yourself—and that’s just fine. The internet has made it possible for every Tom, Dick, or Harry to become a “journalist.” 1 Bloggers spend hours creating sensationalist titles used as click-bait. After a while, the notion of “truth” becomes blurred—and not all liturgical blogs are immune, sadly.

What you’re about to hear may shock you, but it’s 100% accurate.

SEVERAL DECADES AGO, the USCCB decided on a fateful “interpretation” of the GIRM. The GIRM has always said that Propers can be replaced with a text approved by the local bishop. The same holds true for variants of the Responsorial Psalm. But the USCCB created an interpretation saying the “local bishop” actually means “the bishop of some other diocese.”

Composers discovered this and began using their own translations—copyrighting them to assure more royalties—even though they had zero training in Sacred Scripture translation. We now have thousands of “variant texts,” which are fully approved and can never be revoked. If one accepts the USCCB notion of tacit approval, the number increases exponentially.

Consider this “variant translation” written and copyrighted by Dan Schutte, for a Responsorial Psalm. It is fully approved for liturgical use in the USA:

Translation by Dan Schutte
I can count on your mercy
to feed my hungry heart,
for when I lift my hands in need
a banquet you will provide.

Official Text
Quóniam mélior est misericórdia tua super vitas,
lábia mea laudábunt te.
Sic benedícam te in vita mea,
et in nómine tuo levábo manus meas.

The USCCB has also approved many “variant texts” for the Mass Ordinary. Consider the following, whose text and music (©1983) are by Mike Anderson:

Peace, peace, peace on earth;
peace to God’s people, all people on earth.

There was discussion about eliminating Mass Ordinary variants when MR3 came out, but Jeffrey Tucker has demonstrated that the USCCB is still doing this sort of thing. (I’m told only certain composers receive this treatment.) On the CMAA forum, Richard R. recently wrote as follows:

Along with this textual instability goes the proprietary nature of the English, with copyright spread among several groups, and reproduction (for profit or otherwise) requiring excessively hoop-jumping permissions—and, in the case of for-profit, the resulting fees. […] This leads inevitably to the marketplace stranglehold enjoyed by a few Catholic publishers (who can afford the hoop-jumping) that has perpetuated musical banality for decades. How can composers hope to improve upon the status quo without the sort of openness that would make meaningful competition possible?

I know several people who publish with major Catholic corporations, including the so-called “big three.” Without exception, all have described the way the USCCB handles liturgical texts (which are sold by them) using one word: ruthless. Some publishers were even threatened when they requested permission to correct glaring errors. They were told to print the errors or all permissions would be withdrawn. When I say “glaring errors,” I’m speaking of incidents like the Second Responsorial Psalm at the Easter Vigil:

Current Lectionary
R. You are my inheritance, O Lord.

Official Text
R. Consérva me, Deus, quóniam sperávi in te.

There are many such errors—as the official edition illustrates—and it’s difficult to understand why keeping them was considered crucial. Moreover, when publishers wanted to make corrections, the standard response was the same answer given for why liturgical texts are under copyright in the first place: to maintain the integrity of our rites.

But how does it “maintain the integrity of our rites” when we have thousands of variant texts? Indeed, there are so many Responsorial Psalm variant texts, I’m told the USCCB doesn’t even have a current list!

 

113 Reagan Pope

 


NOTES FROM THIS ARTICLE:

1   To be fair, such people are frequently an improvement over the “real” journalists we have in our times.

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

Filed Under: Articles Tagged With: Graduale Romanum Roman Gradual Propers, Hilgartner 20 November 2012, Hymns Replacing Propers, Sung Vs Spoken Propers Novus Ordo, Traditionis Custodes Vernacular, USCCB approval Last Updated: October 15, 2022

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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

    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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“We must remember that the important elements of a rite are not the things that will first be noticed by a casual and ignorant onlooker—the number of candles, colour of the vestments and places where the bell is rung—but just those things he would not notice: the Canon, fraction and so on, the prayers said in a low voice and the characteristic but less obvious rites done by the celebrant at the altar.”

— Fr. Fortescue explaining that Anglicanism does not preserve Sarum

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  • “American Catholic Hymnal” (1991)

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