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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

Revisiting Musicam Sacram

Fr. David Friel · March 8, 2017

UNDAY marked the fiftieth anniversary of Musicam sacram (MS), the 1967 instruction on sacred music crafted by the Consilium for the implementation of Sacrosanctum Concilium. To prepare for this occasion, I reread the document (available here) and wrote an article that has been featured as the lead story in the latest edition of Altare Dei. Available here, Altare Dei is a new magazine devoted to liturgy and sacred music.

My article is entitled “Revisiting Musicam Sacram: The Second Vatican Council’s Vision for Sacred Music,” and it has four main sections. First, it addresses the question of whether or not MS is still in force. Secondly, it assesses some of the strengths of the instruction. Thirdly, it reflects upon a few of its weaknesses. Finally, it explores the meaning of “progressive solemnity,” a term which first appears in MS 38.

Following are two excerpts from my article. The first concerns some of the strengths I observe in MS:

There are many very fine aspects of this document. Some of its best elements, though, even fifty years later, still have not been wholeheartedly received or implemented. Greater attention to the encouragements and prescriptions set forth herein would almost certainly advance the state of sacred music. Included in this Instruction, for example, is a directive that pastors should cultivate among the faithful the ability to sing the ordinary of the Mass in Latin (MS 47). Although this noble mandate echoes the desires of SC 54 and IO 59, it has nonetheless often been overlooked. Preserving the use of Latin in the Divine Office, particularly among clerics, is also encouraged (MS 41), although this guidance is widely disregarded.

The second excerpt concerns what I perceive to be a weakness of MS:

[One] critique concerns a presumption that is made about the participation of the faithful. The text seems to suggest that a greater variety in the format of liturgical celebrations from day to day will engender more active participation among the people: “In order that the faithful may actively participate more willingly and with greater benefit, it is fitting that the format of the celebration and the degree of participation in it should be varied as much as possible” (MS 10). The presumption undergirding this encouragement, though, is suspect. What evidence is there that constantly changing liturgical structures helps people to “participate” or “engage” more deeply? It could easily be argued that the opposite is actually truer, namely, that constancy in liturgical structures permits people the freedom to participate deeply.

In order to read the full article, click here to download the third issue of Altare Dei. For only €6, you will receive a 10-page musical insert and a wealth of excellent articles by such scholars as David Fagerberg, Peter Kwasniewski, and Joseph Shaw. The musical insert includes an SATB setting of Adoro Te Devote (Mauro Visconti), a unison setting of Ave Maria with organ accompaniment (Aurelio Porfiri), and an expressive SATB version of Laus tibi Domine (Colin Mawby).

You can also find out more on the Altare Dei website about the recently published Declaration on Sacred Music, Cantate Domino Canticum Novum. The text is available for download in eight languages, and the complete list of signatories is given.

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

Filed Under: Articles Tagged With: Altare Dei Magazine 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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Corpus Christi Watershed

President’s Corner

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    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
    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

Random Quote

“Custom preserves many things in liturgy after their first reason has ceased.”

— Father Adrian Fortescue (writing in 1916)

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