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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

Understanding “Bewitched” Can Help You Appreciate Classical Music

Jeff Ostrowski · May 17, 2023

ROWING UP in the 1990s, we watched “Nick At Night,” which played reruns of old television shows. Readers might remember a show called Bewitched, whose characters were named Samantha, Darrin, and Endora. The plot never varied. As a result, Bewitched was famously mocked by Gary Larson in his FAR SIDE comic strip. Something abrupt happened after the show’s fifth season: Samantha’s husband Darrin (Dick York) was replaced by a completely different actor (Richard Cox).

How Can That Happen? • There was no explanation given for why “Darrin Stephens” was suddenly a completely different person. Decades later—during a Bewitched documentary—one of the producers was asked whether he’d been afraid audiences might reject the new Darrin. I can’t recall his exact response, but he basically said: “Look, television audiences aren’t persnickety as long as the actors stay in character. If you stick a fish bowl on your head and tell the audience you’re a man from outer space, they accept it. They get it.” His point was actually quite profound. Let’s call it the FISHBOWL PHENOMENON.

Great Music • At a certain time in my childhood, I was obsessed with bands like Nirvana, Pearl Jam, and Green Day. But the lyrics were often obscene and depraved. Eventually an FSSP seminarian was able to convince me to destroy my complete collection of cassette tapes. It wasn’t easy, but I did it. I made up my mind to embrace great music—and that’s precisely where the FISHBOWL PHENOMENON comes in. You see, when it comes to great music (“music with depth”) one must approach with a docile attitude. Don’t expect to immediately fall in love with the music of Bach. Don’t expect to immediately crave—with an insatiable appetite—the powerful counterpoint of Guerrero, Marenzio, or Gabrieli. Don’t expect to immediately weep after hearing Josef Hofmann perform a Chopin Ballade. Don’t listen to five minutes of a Mass setting by Cristóbal de Morales and throw up your hands, saying: “Well, I gave it a try, but I hate it.”

Best Way To Wreck Fun • Don’t imitate that famous spoiled brat who kept asking: “Are we having fun yet?” That’s a sure way to destroy any chance of having fun. Don’t be the guy who—while watching a show about the man from outer space—keeps repeating over and over: “That space helmet looks like a fish bowl.” Forget about the fish bowl. Try to appreciate the drama and interaction of the characters. If you keep focusing on how Darrin looks “different,” you’ll never laugh at the jokes!

Where To Begin • I could argue that the first ten measures of Bach’s Fugue in C# Minor (BWV 849) are perhaps the greatest moments in all of music. Indeed, I could make a case that it’s worth dying for those ten measures! But I’m not an idiot—and I fully realize someone who’s never learned to appreciate great music, upon hearing those ten measures, will probably scream: “Boring!” So where should one begin? The sheer amount of masterpieces is overwhelming! I would strongly suggest starting with this:

How To Listen • The best way to begin is by listening while you drive. Glenn Gould was one of the most amazing pianists of all time, but he has an annoying habit of humming as he plays.1 The car engine noise will make it impossible to hear Gould’s humming. Listen to that YouTube video over and over, again and again. Remember, this is “music of depth.” One can listen for decades yet barely scratch the surface! For instance, I’ve been listening to Bach’s Contrapunctus #7 (DIE KUNST DER FUGE) constantly for twenty years, yet it still gets better and better—even though it’s only 3 minutes long. There are so many compositions like this.

Catholic Music • Since you’re just starting out, you won’t appreciate the breathtaking contrapuntal feats Bach accomplishes. It may be decades before you reach a level where you can thoroughly analyze the music. I can tell you, however, that everything Bach did was taken from the Catholic Church. All his amazing tricks—Stretto, Canon, Ostinato, Counter-Exposition, Invertible Counterpoint, Perpetual Imitation, Augmentation, Diminution, and so forth—100% of it was taken from the great Catholic composers: Palestrina, Guerrero, Morales, Victoria, Lassus, and so on.

1 Glenn Gould couldn’t stop the humming, because he suffered from severe mental illness. This is not uncommon when it comes to people with as much talent as Gould. For example, Sviatoslav Richter couldn’t function in life without carrying around a plastic lobster doll—but he put it down when he played concerts.

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

Filed Under: Articles Tagged With: Bewitched Elizabeth Montgomery, Dick York Actor, Richard Cox Actor, Samantha Darrin Stephens Endora Last Updated: May 17, 2023

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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

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

Ronald Knox explained why the Modernists do not compose hymns: “Birds of prey have no song.”

— Fr. George William Rutler (2016)

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