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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

I Say: “Good for Marty Haugen”

Richard J. Clark · October 26, 2016

MartyHaugenHeadShot HIS ISN’T REALLY about Marty Haugen. But he has been a target of a great deal of internet vitriol and division for many years (as has David Haas). Recent posts—which I will not be linking to—demonstrate no lull.

Why? Because he is successful, and has been on top of the Roman Catholic world of liturgical music for decades. There is envy. There is misplaced criticism and anger. Ultimately, there is vastly unchristian behavior. He is a brother in Christ deserving of our respect regardless of one’s opinion of his public work.

But this isn’t about Marty Haugen. Wait for it…

THERE CAN BE NO QUESTION about his vast influence on—in fact dominance of—Roman Catholic Liturgy, Haugen’s works are widely successful in both Roman Catholic and Protestant congregations. He is a recording artist and presenter of workshops around the country for multiple denominations. Haugen’s bio on his website states:

Marty has served as an editor or consultant to a number of GIA hymnals and has been a contributor to hymnals or supplements for many denominational groups including the ELCA and ELCIC (Evangelical Lutheran Church of America and Canada), the United Methodist Church, the Presbyterian Church (USA), the Mennonite Brethren, the United Church of Christ, the United Church of Canada, the Anglican Church of Canada, the Church of England, the Church of Scotland, the Church of Jesus Christ of Latter Day Saints and Roman Catholic groups in Great Britain, Canada, Ireland and Australia.

That’s a pretty broad résumé. While there is ample criticism of his work for various reasons, one criticism is that he is not Roman Catholic.

But that’s not on him. Heck, when my setting of AVE MARIA is sung by Unitarians—or by non-religious organizations, such as at Kodály workshops—I’m rather pleased. The theological message of such settings is not on me. Regardless of religious affiliation, Marty Haugen has been making a living as a musician for decades.

Dear musicians, read that sentence again: Marty Haugen has been making a living as a musician for decades. How many of us can say the same? (As a composer looking at my latest royalty checks, I realize I’m raking in hundreds of dollars—not exactly a way to support a family.) But as a non-Roman Catholic who is highly successful writing music for the Roman Catholic liturgy, I say: “Good for Marty Haugen.” And I mean it.

Is there criticism of style or text? In the former, it is a debate that will not be resolved—nor perhaps ever should be by decree. With regard to the latter, there are occasional problems, which range from benign sentiments to actual theological inaccuracies. Some are inspired by his lyrics. Some are not. That’s the nature of subjective art.

But with regard to theology, any problems are not on Marty Haugen.

They are on his editors. They are on his publisher. They are ultimately on his bishop. For instance, GIRM §47 and §87 give four options for the ENTRANCE and COMMUNION chants. The fourth option listed in both cases refers to texts “approved by the Conference of Bishops or the Diocesan Bishop.” The bishops have—generally speaking—abdicated such oversight. While difficult (a bit like drinking out of a fire hydrant), it is certainly quite manageable for the most visible and influential of publications. With great power comes great responsibility.

Publishers and composers have gone to great lengths to rewrite texts for various reasons: inclusive language, new translations, marketing reasons, and so forth. Equal resources must be put in to ensure sound Roman Catholic theology.

HIS IS NOT ABOUT Marty Haugen. This is about the choices we make as pastors, as musicians, as publishers, as bishops. Bring the best of the best to serve God and the people. Matthew 13:52 says:

“Then every scribe who has been instructed in the kingdom of heaven is like the head of a household who brings from his storeroom both the new and the old.”

What choices are we making? What treasures of music and theology are we exposing to our children, to our parishioners? How are we teaching? By example or by self-righteous fiat? Are With love for the people or with love of ourselves?

None of this is judgment, but worthy of contemplation and prayer. That’s what this is about.

Soli Deo Gloria

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

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 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 (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

Jeffrey Tucker: “What are your thoughts on what passes for sacred music in most Catholic parishes today?” Richard Morris: “There’s nothing sacred about it. The tunes, rhythms, and messages are drawn mainly from secular culture. When it isn’t aesthetically repugnant and downright offensive to the Faith, it is utterly forgettable.”

— James Richard Morris (concert organist)

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