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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

Commercial Pop Culture + Church Music?

Jeff Ostrowski · March 29, 2017

FORMER STUDENT of mine recently attended a liturgical conference at the University of Notre Dame. One of the speakers was a well known “progressive” liturgist, Rev. Anthony Ruff, who has referred to plainsong as a “weapon.” She was troubled by the following public statement by Fr. Ruff (22 June 2016):

“I would hope there is a place for the avant-garde in the same way I think there has to be a place—and we have to be careful with this—a place for Jazz and place for Evangelical and all of that. […] On theological grounds, I do think we need interaction with the culture at the level of high art or at the level of more commercial pop culture.”

I told my student she should have asked: “Why stop at Jazz? Why not Heavy Metal? Why not Rap? Why not Grunge?” Indeed, many churches have already tried mixing pop culture with sacred music—as if we Americans have been deprived of that. The following was filmed at an Episcopalian church in 2013. Sadly, I’ve seen similar videos filmed in Catholic churches. Observe how they applaud the musicians:


It would be difficult for me to imagine anything more antithetical to what I consider authentic, reverent, and holy Catholic worship. At FSSP.la, our musicians hope never to be seen—and we would feel humiliated if anyone clapped for us. We sing at the back of the church (up in the choir loft) and our parishioners are taught the same thing I was: face forward in your pew! Growing up, we would have been severely reprimanded if we turned around in our pew. We were taught to kept the eyes forward, focused on the Tabernacle and Eucharistic Sacrifice, where Christ is made present on the Altar. I realize some no longer believe the SANCTISSIMUM to be the Body, Blood, Soul, and Divinity of our Savior—but we do. And we try to act accordingly, with St. John Vianney as our model.

All of us, myself included, should watch the organist at 1:50, asking ourselves if we are guilty of acting inappropriately in the house of God.

Having watched that video, let’s renew our good resolution never to be disrespectful in church.

GETTING BACK TO THE ISSUE of mixing in commercial pop culture, as Fr. Ruff advocates, we must exercise caution. Those who lack musical training might get confused when the issue of (for example) Renaissance adoption of secular tunes is broached. But this was covered in my article, Palestrina uses the Dragnet Theme, specifically in the context of Missa My Little Pony. In essence, using a secular tune in diminution, augmentation, or as a CANTUS FIRMUS—“elevating it,” as Dr. Mahrt says—is quite different from what’s shown in that Episcopalian video.

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 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

For the most part, a “good pope” is defined as someone who does what the critic would do if he were pope.

— William F. Buckley Jr. (6 September 1978)

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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