• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The Unintended Consequences of Live Streaming Mass

Dr. Alfred Calabrese · April 21, 2020

IVE STREAMED Masses have become ubiquitous. Parishes have found ways to adapt to technology so as to reach the faithful via their computers and in their homes. Many, many people are genuinely grateful to their parishes and pastors for creating this way of staying in contact and offering Mass in the only way possible for now.  Without diving into the ongoing conversation about the absence of public Masses and the loss of the Sacraments to the faithful, I would like to offer some thoughts about possible long-term effects that watching live streamed Masses from home may have on all of us, especially if we are forced to continue this practice for much longer. Perhaps these consequences have already begun to take hold.

Consequences and Fears

1) Most parishes were probably not set up to become television production studios, yet many have made amazing strides and gotten very good at it. Multiple cameras, fade ins and cross fades, close ups and long shots, each week’s installment is better than the last. But is that a good thing? Even as production values increase, most parishes will probably never have the time or resources to become as adept as the non-denominational church that was, frankly, already built as a glorified TV studio. Nor do we want to, or need to. But if we take on some of those techniques and some of those production values, what will keep people from seeing that type of “screen” worship as just another option once the public celebration of Mass finally returns?

2) We all know that our attention spans are becoming eroded. Screens have done this to us. During live streamed Masses we can see people commenting, saying ‘hi’ to each other, thanking the priest, or asking why their internet is slow. This new participatio actuosa makes one question how much of the Mass we are actually seeing or hearing.  And so we question, are those things we have been lamenting for years, the loss of reverence, solemnity, sacred silence, and perhaps most of all, belief in the Real Presence, being eroded like so many spans of attention?

3) Imagine the difference between live theater and a movie. Both are important parts of the artistic milieu of our culture, and both have value, but they reach their audiences in different ways.  A high budget action movie is non-stop action and excitement, a visual and aural overload of the senses. Its appeal resides in keeping the audience constantly on the edge of their seats. A live play requires a different kind of participation. People have to relate in the here and now to living human beings, listen attentively to the spoken word, sometimes imagine things beyond what they see. We can watch a movie a hundred times over and it will always look and sound exactly the same, but a play is one and done. It will never be the same no matter how many times we go back to the theater.  And let’s face it, movies are more popular than live theater. Screens have become equivalent, for the most part, with entertainment.  Our screens give us constant, immediate, and usually quick bursts of satisfaction. We can look as long as we want, no investment required. If we don’t like it, we can move on. Not so in real life. The opposite of the captive audience, with an on-screen Mass, leaving is an easy thing to do. And if someone is not entertained, they can just change the channel. 

4) Liturgy, derived from the Greek, was a work for the people, with service at its root. In Christian use it is the official public ritual of the Church. It is incumbent on a communal response and participation with both the Divine and those gathered. I wonder if live streamed Masses even qualify as liturgy? Let’s face it, watching a Mass on a screen with almost no one in the church is weird. It’s off, it’s not right. Even weirder might be the Mass that is pre-recorded. I understand that some places, perhaps a cathedral or a parish specifically created for television, need to pre-record to meet national broadcast standards and time constraints. No argument there. But if the rest of us are going offer real liturgy, let’s at least do it live. Otherwise, is it even liturgy? 

What Will Happen When Public Masses Resume?

We all pray that people will return in huge numbers, and even that attendance will increase from what it was before the crisis. But some will still fear large crowds. Some at-risk folks may be required to stay at home a while longer. In this case, it may be necessary to continue to live stream.  If so, the messaging needs to be clear – the live streamed Mass can never be a substitute for the real thing. It is only a medium in extraordinary times and circumstances. Yet, inevitably, some people will ask for it to continue. They will cite the convenience factor, or that their children away at college can tune in, or that they can hear it better from home. We cannot let our liturgy become inculturated by the medium. We cannot become entertainers. If our live streamed Masses become too good, too slick, too produced, we could have problems down the road. Let us pray that this crisis ends soon and that there will be no more need to turn our parishes and cathedrals into TV studios. 

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

Follow the Discussion on Facebook

Filed Under: Articles Last Updated: April 22, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Good Friday Flowers
    Good Friday has a series of prayers for various parties: the pope, catechumens, pagans, heretics, schismatics, and so forth. In the old liturgical books, there was no official ‘name’ for these prayers. (This wasn’t unusual as ‘headers’ and ‘titles’ for each section is a rather modern idea.) The Missal simply instructed the priest to go to the Epistle side and begin. In the SHERBORNE MISSAL, each prayer begins with a different—utterly spectacular—flower. This PDF file shows the first few prayers. Has anyone counted the ‘initial’ drop-cap flowers in the SHERBORNE MISSAL? Surely there are more than 1,000.
    —Jeff Ostrowski
    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

If they protest and want, for example, to retain at least the familiar chants of the ordinary Mass in Latin, they are told that their protest is worthless. They are not “trained.” There is no reason to take account of what they say!

— Father Louis Bouyer (1968)

Recent Posts

  • Most “Congregational” Hymn • (In My Experience)
  • Music is the “Humble Handmaid” of the Mass
  • Good Friday Flowers
  • PDF Download • “Entrance Chant” for Holy Thursday (Plainsong in English)
  • “Dies Irae” • A Monstrous Translation

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.