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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    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
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

[Speaking about the Silent Canon, with audible “per ómnia”] — “So in all such cases it is usual for the otherwise silent celebrant occasionally to sing a clause aloud, to show how far he has arrived.”

— Father Fortescue (pages 313-314) • “A Study of the Roman Liturgy”

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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