• 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

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“It would be a grave error to imagine that the principle orientation of the sacrificial action is towards the community. If the priest celebrates «VERSUS POPULUM», which is legitimate and often advisable, his spiritual attitude ought always to be «VERSUS DEUM PER JESUM CHRISTUM», as representative of the entire Church.”

— Official Vatican Statement (25 September 2000)

Recent Posts

  • Inspiring Paper from a Graduating High School Senior
  • Entrance Chant • Before or After Opening Hymn?
  • “Unfair Characterization” • (But Good Question)
  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”

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.