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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

Did These Public Statements by Father Gelineau Cross the Threshold From Folly to Sin?

Jeff Ostrowski · February 26, 2025

HERE IS MUCH I don’t understand about the world. For instance, many Catholics who—as far as I can tell—genuinely take their faith seriously often praise television shows and movies containing immorality: scenes with pornography; scenes which glorify taking the Lord’s Name in vain; scenes which promote immoral behavior (witchcraft, crystals, ouija boards, etc.); and scenes which seek to “normalize” crude, obscene, and smutty language—although they might technically avoid graphic acts against the 6th Commandment. I don’t claim to be an expert on what constitutes sinful behavior, and the internet seems particularly unsuitable for such discussions. Nevertheless, such things leave me scratching my head.

Crossing The Threshold • In a moment, I will bring up several reprehensible statements from a book by Father Joseph Gelineau (Chant Et Musique Dans Le Culte Chrétien) published in 1962. When it comes to the question of sin: Are we allowed to say in public absolutely anything we want about sacred traditions? Or can harmful, irresponsible, and foolish statements cross the threshold into the realm of sin? Today I will not accuse Father Gelineau of sin, because I (myself) don’t want to potentially commit sin. Nevertheless, certain statements by Father Gelineau are so foolhardy they seem to go beyond mere doltishness. The amount of time Gelineau spent composing “religious” music for non-Catholics also strikes me as highly questionable—especially when we consider the special vows Jesuits take!

Freedom Of Speech • Archbishop Sheen said famously: “Freedom is a word much abused.” Perhaps 99% of people in America believe that FREEDOM is a good thing. But Sheen reminds us that one can only be free from something for something else. Perhaps I can make it clear by analogy. Would you like to live in a society where men are “free” to abuse children? Would you like to live in a society where men are “free” to discriminate on the basis of skin color? If we’re honest, we must admit: freedom is a word much abused. Some would ask: “Isn’t Father Joseph Gelineau free to make any statements he wants? If he wants to attack the ancient traditions of the Catholic Church, who are we to complain?” But privately considering certain matters within the confines of one’s own heart is one thing. Making public statements seems a different matter entirely.

Scholarship’s Cardinal Sin • Throughout his book, Father Joseph Gelineau frequently commits what I consider the cardinal sin of scholarship: viz. making bizarre assertions without providing evidence. For instance,1 on pages 78-79, pages 96-97, and page 178 Father Gelineau keeps claiming that tons of chants were originally in simple “responsorial psalm” form. But he’s unable to cite a single example of this. If his claims are true (viz. that hundreds and hundreds of chants were originally responsorial psalms with simple refrains), he has an obligation to show us examples! What did these things look like? Where can they be found? At a minimum, Father Gelineau had an obligation to cite specific pages from specific manuscripts that give examples. But he was unable to cite a single example—because he’s not telling the truth!

Suppose I wrote an article saying that the entire repertoire of Gregorian Chant used “Jeffronian Psalmody” as its musical form. Would you not demand evidence? But Father Gelineau was unable to cite a single example of this (supposedly) widespread music—and his conduct is reprehensible.

Other Foolish Statements • A deep hatred for the THESAURUS MUSICAE SACRAE comes across in Father Gelineau’s book. For instance, on page 120 he condemns the use of graduals at Mass, in spite of the fact that they’re some of the most ancient sung prayers we have. They were preserved for century after century … yet Father Gelineau says they’re basically garbage and “raise a serious problem” (his words). Furthermore, on page 162—in ridiculously arrogant manner—Father Gelineau condemns the beautiful and ancient tradition of singing the Ite, Missa Est. The reasons he gives for its suppression are self-contradictory. Moreover, his “arguments” for its suppression demonstrate his shameful ignorance of the history of the Roman Rite.

Throughout his book, Father Gelineau comes across as an ignorant child. For instance, several times he condemns any setting of the KYRIE which don’t sound sad or mournful in spite of the immemorial traditions of the Catholic Church. Following his logic, whenever Christians sing a psalm they would first be required to divide each verse into “happy” and “sad” tones—but that has never been the tradition of the Church. Following his logic, GOOD FRIDAY would have to be renamed “Sad Friday.” I repeat: his views are so painfully superficial that he comes across as an ignorant child.

Indeed, in his arrogance, Father Gelineau has the audacity to condemn (!) every setting of the SANCTUS except for SANCTUS XVIII. It’s a pity that Christians who lived for 1,600 years didn’t have Father Gelineau’s amazing brain to correct them!

Conclusion • The whole attitude of Father Joseph Gelineau seems antithetical to the authentic spirit of the Company of Jesus, especially his lifelong efforts to compose music for non-Catholics. Once upon a time, the Jesuits were the “special operatives” of the Catholic faith. I see virtually no comparison between Father Gelineau and authentic Jesuits such as Father Antoine Daniel, Father François Bressani, and Father Isaac Jogues.

P.S.

On page 66 of Learning to Celebrate: The Mass and Its Music (National Association of Pastoral Musicians, 1985), Father Gelineau speaks in a very disparaging way of the GLORIA IN EXCELSIS, saying that praying it each Sunday “becomes routine and tiring.” Believe it or not, Gelineau says it can be used as an “Entrance Song.” Specifically, he writes:

It can sometimes be used—for example on Sundays after Christmas—as an Opening Song. This focuses new attention on it.

Gelineau objects to the GLORIA IN EXCELSIS, basically saying it’s a waste of time—“time that would be better used devoted to the word.” These words strike me as ignorant and scandalous.

1 Page numbers in this article refer to the English Translation: “Voices and Instruments in Christian Worship: Principles, Laws, Applications” (1964).

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

Filed Under: Articles Tagged With: Chant Et Musique Dans Le Culte Chrétien, Father Joseph Gelineau Last Updated: May 20, 2025

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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

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

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

On October 14, 1968, our Holy Father, Pope Paul VI, in an address to the Roman liturgy Consilium, pointed out the abuse which wants to “remove the sacred from liturgical worship and replace the holy with the commonplace and the every-day.”

— Quoted by Roger Wagner in a 1970 article

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