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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

Cosmic Harmony

Fr. David Friel · January 15, 2017

HE ROLE OF MUSIC in the liturgy can be explained at different levels. We can speak about the use of music to “cover” liturgical actions. We can theorize about liturgical music as a means of participation on the part of the people. We can consider the way in which chant contributes unique solemnity to the act of worship.

At its highest, though, music for the liturgy transcends the earthly side of the liturgy and becomes a bridge to that which lies beyond our sight and hearing. The art of music, indeed, can be understood as a catalyst for renewing the divine harmony of creation established by the Word of God at the very beginning.

This is an idea treated by Saint Athanasius in his Discourse Against the Pagans. The great fourth-century bishop of Alexandria and “Champion of Orthodoxy” writes this:

Think of a musician tuning his lyre. By his skill, he adjusts high notes to low and intermediate notes to the rest, and produces a series of harmonies. So, too, the wisdom of God holds the world like a lyre and joins things in the air to those on earth, and things in heaven to those in the air, and brings each part into harmony with the whole. By his decree and will, he regulates them all to produce the beauty and harmony of a single, well-ordered universe. (St. Athanasius, Oratio contra gentes, 42; PG 25, 83-86)

Athanasius further extends the image, beyond the tuning of a lyre to the collaboration of a choir:

To illustrate this profound mystery, let us take the example of a choir of many singers. A choir is composed of a variety of men, women, and children, of both old and young. Under the direction of one conductor, each sings in the way that is natural for him: men with men’s voices, boys with boys’ voices, old people with old voices, young people with young voices. Yet all of them produce a single harmony. . . . Although this is only a poor comparison, it gives some idea of how the whole universe is governed. The Word of God has but to give a gesture of command and everything falls into place; each creature performs its own proper function, and all together constitute one single harmonious order. (St. Athanasius, Oratio contra gentes, 43; PG 25, 86-87)

Consider this the next time you sit down at the organ bench or take your place on the choir risers. Participating in the work of sacred music is to participate—in some small, but magnificent way—in the restoration of that harmony which governed the universe at its very inception.

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 Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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.
    —Jeff Ostrowski
    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —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

Benedict XVI in particular felt it was wrong to prohibit the celebration of Mass in the ancient rite in parish churches, as it is always dangerous to corner a group of faithful so as to make them feel persecuted and to inspire in them a sense of having to safeguard their identity at all costs in the face of the “enemy.”

— Archbishop Georg Gänswein

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