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Views from the Choir Loft

“Contemporary” Catholic Music • Is it truly dead?

Jeff Ostrowski · April 12, 2017

HOSE ATTENDING this year’s Sacred Music Symposium will experience a marvelous surprise, which we today announce. All participants will be given an opportunity to meet composer Kevin Allen! Here’s a snippet from 2011 DVD which features Mr. Allen’s music and conducting:


Kevin Allen’s compositions are truly inspired, by which I mean they are hauntingly beautiful but utilize a contemporary harmonic language.

ERIOUS COMPOSERS like Kevin Allen—and many do still exist—remind us that authentic contemporary church music is not dead. The Symposium is proud to be promoting what is positive and wholesome and healthy and holy. For the record, that’s also why I’m thrilled to be part of the Brébeuf Hymnal project, which uses a ton of newly-composed texts and melodies. Mr. Allen will deliver a presentation about living composers who compose serious church music.

Examining what’s being published in too many of today’s Catholic hymnals can be quite discouraging. The following comes from a 2013 (!!!) GIA hymnal, and I find its syncopation and grammar inappropriate for the Holy Sacrifice of the Mass:

242 GIA Publications


Is this really sacred (“set apart”) music, building upon the vast treasury of traditional Roman Catholic music? Or is this a goofy attempt to insert 1 into the Catholic liturgy styles which don’t belong? And was the bizarre grammar (“angels sang when baby born”) maintained in the Spanish translation? I’m afraid I don’t know Spanish well enough to know.

By the way, GIA has been pushing similar stuff for decades. Consider the following piece from GIA’s WORSHIP II HYMNAL, with accompaniment by Robert J. Batastini:

241 GIA Publications


What was so unacceptable about the assigned texts, which come directly from sacred scripture? Why was it necessary to abandon them, in favor of stuff like this? And what’s going on here? Is this a story about the Nativity?

No, we haven’t got a manger.
No, we haven’t got a stable.
We are Christian men and women,
Always willing, never able.

But how can that be? How could people be “Christian” at the time of Christ’s birth? And what does this stanza mean?

Jesus Christ has gone to heaven;
One day he’ll be coming back, sir.
In this house he will be welcome,
But we hope he won’t be black, sir.

When I was growing up in the 1990s, we sang songs like this in our Catholic school. Only through secular pursuits—performing works by Chopin, Liszt, Medtner, Glazunov, Brahms, Debussy, Mozart, Bach, Rachmaninov, and others—did I eventually discover the glorious Roman Catholic heritage which had been so carefully hidden from me.

My wife and I have decided never to allow our children to be poisoned by music like what is contained in those “Catholic” GIA hymnals.



NOTES FROM THIS ARTICLE:

1   The other day, we spoke of seminary professor who wants more secular styles at Mass, such as jazz and “commercial pop music.” He seems unaware that people have been struggling mightily to insert secular styles into the Holy Mass for many years.

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

Filed Under: Articles Tagged With: Heretical GIA Hymns Last Updated: March 24, 2021

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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

    “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
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski
    “Music List” • Pentecost Sunday
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for Pentecost Sunday (8 June 2025). If such a thing interests you, feel free to download it as a PDF file. Because our choir is on break this week, the music is relatively simple.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

The Council of Trent taught: “In this divine sacrifice which takes place at Mass, the same Christ is present and is immolated in an unbloody manner, Who once on the Cross offered Himself in a bloody manner. For the victim is one and the same, now offering through the ministry of priests, Who then offered Himself on the Cross; only the manner of offering is different” (Session XXII, cap. 2, Denzinger, n. 940).

— Pope Pius XII (2 November 1954)

Recent Posts

  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday
  • “Participation” • Recovering its Receptive Dimension

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