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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

The Day My Life Changed Forever

Jeff Ostrowski · March 9, 2024

APPINESS. What does that word mean? Is it sitting around playing video games? Is it going to fancy restaurants to commit gluttony? Various “forms” of happiness seem to exist: delight, joy, pleasure, cheerfulness, enrapture, and so forth. Some of my happiest memories involve serving Low Mass in a small Kansas church where the only person in the pews was my father. The peace I experienced and the union with God … well, it was splendid.

I Will Never Forget • One experience I’ll never forget was serving for a SOLEMN REQUIEM MASS in Kansas City circa 1998. The priest, deacon, and subdeacon wore stunning black vestments embroidered with silver. Suddenly, the choir began singing polyphony. It struck me that such music was perfectly suited for the holy and ineffable Sacrifice of the Mass. There was just no doubt in my mind.

“Patriotic Catalan” • The relator for the subcommission in charge of studying the question of sacred music—in preparation for the Second Vatican Council—was Monsignor Higinio Anglés (d. 1969), who had served as president of the Pontifical Institute of Sacred Music since 1947. My teacher, who knew Anglés well, described him as “a patriotic Catalan.” Readers probably remember that one of my favorite composers is Cristóbal de Morales. Well, the man in charge of creating the OPERA OMNIA containing all Morales’ compositions was Monsignor Higinio Anglés. Reading page 79 of the Bugnini biography by Yves Chiron, I was glad to discover that Msgr. Anglés told his subcommittee that CARMEN GREGORIANUM (Gregorian Chant)…

“because of its antiquity and purity (i.e. its sobriety) is better suited to the sacred character that ought to adorn all liturgy and is the music most prone to fostering piety and elevating the soul.”

Contrariwise • In a recent article, I commented on a statement by Paul Inwood. I also tried to illustrate the type of music used in the 1980s for Masses offered in the Ordinary Form. I was very young, so I didn’t know the names of any of the composers—but decades later, I discovered that one of those pieces was written by Paul Inwood. Here’s how it sounded:

*  Mp3 Download • Song by Paul Inwood
—This song was sung at Jeff’s parish during the 1980s.

Needless to say, I can’t remember all the songs they used at Mass when I was a child sitting in the pews. I do recall one was about a butterfly. The reason I give this example by Paul Inwood is to demonstrate that certain music is so “goofy” or “secular” or “Broadway-influenced” or “gimmicky” that it has absolutely no place during Mass.

The Year 2024? • I wish I could say that “nightmarish” music is no longer used at Mass. Unfortunately, we know that’s not true. The following video clip shows a Mass that took place in my diocese a few weeks ago:

Here’s the direct URL link.

Do you agree such music is totally secular?

The musical style evokes a secular event, not a sacred event.

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

Filed Under: Articles Tagged With: Carmen Gregorianum, Monsignor Higinio Angles Last Updated: March 9, 2024

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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

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

Recent Posts

  • “Music List” • 29th in Ordinary Time (Year C)
  • Fulton J. Sheen + this Sunday’s “Entrance Chant”
  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir

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