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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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Corpus Christi Watershed

President’s Corner

    “Music List” • 15th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 15th Sunday in Ordinary Time (13 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are also provided at the the feasts website.
    —Jeff Ostrowski
    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

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