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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.”

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Views from the Choir Loft

“Reform of the Reform” • Eight Lies We Were Told

Jeff Ostrowski · February 10, 2021

HAVE NO INTENTION of “naming names” during this article. Doing so would only cause hurt feelings, and I don’t need that; I have enough problems in my life! In any event, the 1990s saw the formation of certain “Reform of the Reform” (RotR) groups. These Catholics felt that sanctity and holiness were lacking in post-conciliar celebrations of Mass—and they were undoubtably correct. I was very young at that time, but my family came under the influence of such groups. I believe these groups had every good intention…but they made serious errors. 1

The following errors were asserted quite forcefully by 1990s RotR groups:

1. We were told that “Sacramentary” is a dirty word.

This is false. There’s nothing wrong with the word “Sacramentary.” Indeed, some of the oldest liturgical books are called this: Leonine Sacramentary, Gelasian Sacramentary, Sacramentary of Charles the Bald, Corbie Sacramentary, Rodrade Sacramentary, Nonantola Sacramentary, Gellone Sacramentary, and so forth. Their efforts make about as much sense as attacking the word Evangeliarium. This failure to call a book by its name caused major issues.

2. We were told it was close to heresy to say “we believe” instead of “I believe” in the Creed.

That’s fallacious. The reality is, there’s nothing heretical about “Credimus in unum Deum.” Indeed, Credo VI in the Liber Usualis was written for that version. You can see this in ancient manuscripts, such as this breathtaking example from the 11th century. We must learn to distinguish between things that make a tremendous difference (such as goofy and irreverent music by Haugen, Haas, Inwood, Landry, etc.) and things that hardly make a difference.

3. We were told that any music from the 19th century was “good” and “traditional.”

The RotR promoted sappy, gushing, awful hymn melodies and hymn texts from the 19th century, many of them Protestant. Needless to say, there’s much beautiful music from the 19th century—but much was saccharine.

4. We were told to embrace “legal positivism.”

Legal positivism is the erroneous belief that anything approved by the Church authorities is “good”—by virtue of the fact that some bishop has approved it. This is dangerous. The RotR groups promoted anything “approved,” whether it be reception of Holy Communion in the hand, female altar servers, laymen touching the SANCTISSIMUM with their bare hands, etc.

5. We were told to follow the ideals of the “liturgical movement.”

The liturgical movement was not perfect—not by a long shot. Some of the ideas promoted by it were hideous, such as the 1950s “dialogue Mass.” The liturgical movement said it was a good idea to have “congregational singing” at any cost. They promoted the entire congregation attempting to sing complicated and melismatic Gregorian Ordinaries, whereas the traditional way (where the choir sings those) made a lot more sense. It is better to have congregations sing simple, dignified melodies such as those in the Brébeuf hymnal. That is something they can do extremely well.

6. We were told that “the old Latin Mass” had tons of silence, and we need to recover that.

The truth is that the “Extraordinary Form” (1962 Missal) Solemn Mass had almost no silence at all—and you can verify my claim. It was almost constant singing by the Choir, the Deacon, the Subdeacon, the Congregation, the Priest, and so forth.

7. We were told that we must “say the black and do the red.”

The RotR people erroneously said all our problems would be solved if we just “followed the rubrics.” The reality is, the Ordinary Form allows tons and tons of options, which are fully legitimate. For the last twenty years, I have been studying the Ordinary Form, and I can assure you the number of options is mind-boggling. (This is not to in any way excuse priests who deliberately distort the rubrics.)

8. When it came to “words being added” to items like the AGNUS DEI, we were told this was close to heresy.

The truth is, “tropes” are a major part of our liturgical heritage, and there’s nothing bad about them. The Kyrie was troped, the Gloria was troped, the Agnus Dei was troped—even the readings were troped!

I stopped my list at eight, but I wish I had included one more: “Voice Of God” hymns. We were told these were evil. As a matter of fact, traditional Catholic music constantly quotes (directly) Sacred Scripture. The Introit for the 9th Sunday after Pentecost is a typical example. Moreover, we often directly quote Our Lady, as well—think of the MAGNIFICAT.

A Powerful Troped Kyrie

We should evaluate things based on their merit, not whether an RotR group tells us we are supposed to “hate” or “love” something. Consider the following troped Kyrie: is it not gorgeous? Is it not powerful? Do you know anything more beautiful than this?

*  PDF Download • KYRIE II TROPED
—From a manuscript created circa 1290AD.

Some people refer to troping as “farcing”—it’s all the same thing. Tropes were done in Latin, Greek, German, and even in French, as shown by this article. If you examine that troped Kyrie, you will see that the melody is the same as Kyrie Fons Bonitatis, but the words are different—something I find absolutely captivating. (I provided three different scores for Kyrie Fons Bonitatis in this article.)

Many people who love the Extraordinary Form feel that troping should be revived.


NOTES FROM THIS ARTICLE:

1   When I say “errors,” I mean foolish statements. For instance, just the other day, a National Catholic Register author started a Facebook discussion about the way ashes will be distributed this year (due to Covid). People were going nuts, making all kinds of claims about this being a “new heresy” from Vatican II. What they failed to realize is that this year’s distribution of ashes—dropped on the top of the head—is the traditional way of distributing ashes.

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

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Filed Under: Articles Tagged With: Reform of the Reform, Tropes Gregorian Chant Last Updated: March 12, 2021

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“Every experienced choirmaster’s work is founded on the following three axioms: (1) Few boys have a really good natural voice; (2) No boy is able to control his voice and produce good tone without training; (3) Most boys have a good ear, and considerable imitative capacity. It is on the last of these axioms that the choirmaster must begin his work.”

— Sir Richard Runciman Terry (1912)

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