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Views from the Choir Loft

Broadcasting Holy Mass During Covidtide

Lucas Tappan · May 26, 2020

HE FAITHFUL in the Archdiocese of Kansas City in Kansas, similar to those in many other dioceses, recently returned to public worship along with all the restrictions and rubrics the situation entails. My own parish church, which seats almost one thousand, is limited to only 150 mask-sporting congregants, and Masses are limited to 45 minutes in order to curtail exposure between parishioners. Musical forces have also been limited to one cantor and one accompanist and the congregation has been asked not to sing. Unfortunately this could go on for quite a while.

Since the obligation to attend Mass is still abrogated in my archdiocese many parishes here continue to broadcast Sunday Masses, and even Masses throughout the week, as is the case in my own parish. Until recently my parish’s live streamed Masses were without music, but that changed with the return of public Masses, which brought not a few surprises. Imagine my shock when our first public Mass was uploaded to YouTube and the video was flagged for copyright infringement (yes, I know this can happen for all sorts of dubious reasons). I hadn’t given this a thought considering our live streamed Masses are seen primarily by parishioners and we currently hold an annual reprint license from onelicense.net for all the music we need and use (in addition to having a GIA hymnal in our pews). After searching the internet I discovered that yes, indeed, a special podcast/streaming license is required in order to broadcast copyrighted music. The cost of adding a podcast/streaming license onto an existing license is not prohibitive, but the purchase of the license by itself can be pricey.

I also discovered that OneLicense granted a grace period through Easter Sunday enabling parishes to broadcast free of charge, but since that time parishes are required to purchase the additional license. I should note that OCP has granted certain exceptions to parishes that currently use OCP materials. Depending upon which materials a parishes purchases and uses, it can broadcast those items if the copyrights of the songs they use from their previously purchased materials are owned exclusively by OCP. The grace period extends through the end of the current liturgical year (November). Parishes can ask for a specific lists of songs, based on their hymnals/missals used from OCP, that qualify for free broadcasting.

The easiest route open to parishes hoping to provide music during live streamed Masses is simply to use materials in the public domain or Creative Commons. Much of the traditional hymnody found in the major hymnals offered by publishers such as OCP and GIA is in the public domain and can be used anyway, although publishers sometimes change the words of traditional hymns slightly and copyright the new texts, but it would be easy enough to find the original words on the internet and use those instead. Even better would be to take advantage of the myriad of English settings of the Mass Propers, the subject of many blog posts at Corpus Christi Watershed.

The most problematic genre for use in broadcasting is the English setting of the Mass Ordinary since all of the major settings are currently under copyright. Not to mention, many of these settings extend their performance time by way of refrains (the Gloria, for example), repetition of texts, introductions and interludes, all of which might be frowned upon in your individual locale if Masses there are supposed to be kept within certain time constraints. Another concern, again depending upon locale, is congregational singing. If your diocese has requested that parishioners not sing during Mass, the use of familiar Mass settings is an open invitation to the congregation to sing. Instead, you might use this time to find many of the worthy settings currently in the public domain or Creative Commons. I personally began using Jeff Ostrowski’s Mass of the English Martyrs at my parish (where Jeff, incidentally, spent part of his childhood) last weekend and found it to blend perfectly into the sacred rites.

I would encourage all of our readers to take time and think about what is really important, musically speaking, to the execution of the Roman Rite, and to use this time to recalibrate the trajectory of your parish’s music program, if need be, toward the Church’s vision of singing the Mass instead of singing at the Mass. This could be a time of great grace for those who choose to use it.

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

Filed Under: Articles Last Updated: May 27, 2020

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Lucas Tappan

About Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Quick Thoughts

Surprising Popularity!

One of our most popular downloads has proven to be the organ accompaniment to “The Monastery Hymnal” (131 pages). This book was compiled, arranged, and edited by Achille P. Bragers, who studied at the Lemmensinstituut (Belgium) about thirty years before that school produced the NOH. Bragers might be considered an example of Belgium “Stile Antico” whereas Flor Peeters and Jules Van Nuffel represented Belgium “Prima Pratica.” You can download the hymnal by Bragers at this link.

—Jeff Ostrowski
15 February 2021 • To Capitalize…?

In the Introit for the 6th Sunday after Pentecost, there is a question regarding whether to capitalize the word “christi.” The Vulgata does not, because Psalm 27 is not specifically referring to Our Lord, but rather to God’s “anointed one.” However, Missals tend to capitalize it, such as the official 1962 Missal and also a book from 1777 called Missel de Paris. Something tells me Monsignor Knox would not capitalize it.

—Jeff Ostrowski
15 February 2021 • “Sung vs. Spoken”

We have spoken quite a bit about “sung vs. spoken” antiphons. We have also noted that the texts of the Graduale Romanum sometimes don’t match the Missal texts (in the Extraordinary Form) because the Mass Propers are older than Saint Jerome’s Vulgate, and sometimes came from the ITALA versions of Sacred Scripture. On occasion, the Missal itself doesn’t match the Vulgate—cf. the Introit “Esto Mihi.” The Vulgate has: “Esto mihi in Deum protectórem et in domum refúgii…” but the Missal and Graduale Romanum use “Esto mihi in Deum protectórem et in locum refúgii…” The 1970s “spoken propers” use the traditional version, as you can see.

—Jeff Ostrowski

Random Quote

“Catholics in America have been the heirs of a sentimental and subjective hymn tradition that, for some reason or other, has taken a deep and fast hold on the fancy of the average person.”

— Fr. Francis Brunner (1953)

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