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Views from the Choir Loft

Post-Pandemic Liturgy

Wilfrid Jones · May 15, 2020

As the Scottish historian Sir Tom Devine once joked, “the future is not my period”, but having just read Amy Welborn’s pithy article in Medium, it seemed worth sharing her observation with our readers.

  • No touching. Noli me tangere: not yet taken as an episcopal motto, but one for us all to adopt. Since offertory processions involve touching the sacred vessels, perhaps it will suffice for the priest to have the chalice and ciborium (if there is one) on the altar from the start of mass and the liturgical actions at the offertory could be enriched by the offertory antiphon.
  • No shared Sign of Peace. And with its suspension, perhaps also the permanent disappearance of the “song of peace” that still persists in some places before the Agnus Dei. Perhaps in the Church’s wisdom, this was one reason that the pax took a more ceremonial form until the liturgical reform in the first place.
  • No congregational singing. Meaning the need to rediscover the true liturgical participation which liturgical singing symbolises and promotes. It also gives us the opportunity to rediscover the proper antiphons which can enter into a dialogue with the other scripture readings casting light upon particular themes and drawing connections between them.
  • So any music should be provided by a choir or cantor. Meaning a greater need for an aesthetic of beauty now that the alternative, an aesthetic of “participation”, is not possible (a false binary, but an operative one).
  • People should be super cautious about receiving Communion. At least that isn’t new.
  • No Communion from the shared chalice for the congregation. As one Dominican student brother has observed: communion under one kind but only in the hand, so no one is happy. That said, with fewer people going to communion, the short antiphon from the Graduale Romanum or Graduale Parvum in Latin or English would seem a more appropriate length than a hymn.
  • Maybe even the priest should think about wearing a mask. Or better still, face in the same direction as the congregation to absolutely minimize contagion. Since he will have to do a lot of the singing to make up for the lack of congregational chanting, this will be particularly important.
  • No socializing before or after Mass. Though choir coffee will doubtless continue via Zoom/FaceTime even when the parousia comes.

All in all, if ever there was a time for a less busy, more contemplative, less wordy, more beautiful liturgy, that time is now. In this precedented time, let’s use the precedents already established by the Church to join in her worship of God and “never let a crisis go to waste.”

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

Filed Under: Articles Last Updated: May 16, 2020

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About Wilfrid Jones

Wilfrid Jones is a PhD student in the theology faculty of the Albert-Ludwigs University of Freiburg, studying the theology and practice of sacred music.—(Read full biography).

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Corpus Christi Watershed

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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“Custom preserves many things in liturgy after their first reason has ceased.”

— Father Adrian Fortescue (writing in 1916)

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