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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.

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Filed Under: Articles Last Updated: April 22, 2020

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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).

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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “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

Quick Thoughts

    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
    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

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— Daniel Barenboim (1960)

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