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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

“Musicam Sacram” (5 March 1967) • Does It Apply?

Jeff Ostrowski · July 14, 2025

OMETIME AROUND the year 2012, during a job interview, the priest interviewing me exclaimed: “So I can only assume you go to sleep each night with MUSICAM SACRAM under your pillow, right?” I wasn’t quite sure how to answer. This job interview was for a parish which celebrated the 1970 Missal (a.k.a. “Ordinary Form”) … but MUSICAM SACRAM doesn’t apply to the Ordinary Form. That’s because MUSICAM SACRAM was issued on 5 March 1967. What we call the “Ordinary Form” wasn’t released until 1970. In 1967, the CONSILIUM was still working on an “Experimental Mass” rejected by the bishops in October of 1967.

(1 of 2) Experimental Mass • On 24 October 1967, Father Bugnini celebrated this EXPERIMENTAL MASS in the presence of more than 100 bishops and cardinals in the Sistine Chapel. Broadly speaking, their reaction was negative. Even Bugnini himself admitted that “the votes went to some extent contrary to what the CONSILIUM wanted.” The eminent historian, Yves Chiron, characterized the bishops’ response as a “public disavowal.” After witnessing the EXPERIMENTAL MASS, John Cardinal Heenan (Archbishop of Westminster and close personal friend of Pope Paul VI) declared:

“If we were to offer them the kind of
ceremony we saw yesterday in the Sistine
Chapel, we would soon be left with the
congregation of mostly women and children.”

(2 of 2) Experimental Mass • Because of the negative response, the CONSILIUM had to go back to the drawing board. Moreover, Cardinal Lercaro (the one responsible for creating the EXPERIMENTAL MASS) was forced to resign. Some believe he was made a scapegoat by Pope Paul VI and—to be completely honest—it’s undeniable that many others besides Cardinal Lercaro had worked on creating the EXPERIMENTAL MASS.

The 1967 Document • In 1970,1 the Novus Ordo was released—in spite of the fact that not all of its books were complete. The great haste with which it was produced explains why so many errors were included in that first edition. It goes without saying that MUSICAM SACRAM does not apply to a form of the Mass which wouldn’t be invented for another three years. Moreover, in places where MUSICAM SACRAM contradicts SACROSANCTUM CONCILIUM, church law says musicians must follow the document with higher authority.

What Weight? • Are we free to completely ignore MUSICAM SACRAM? I wouldn’t say that, but it only applies to the 1965 Missal. Similarly, De Musica Sacra (promulgated on 3 September 1958) only applies to the 1962 Missal. In some ways, the fact that MUSICAM SACRAM doesn’t apply to the 1970 Missal means we “dodged a bullet”—because in his book, La Riforma Liturgica, Bugnini admits he twisted this document to undermine (and frequently contradict) the explicit wishes of Vatican II as expressed in SACROSANCTUM CONCILIUM, which was officially promulgated on 4 December 1963.

Bad Laws • I wish I could tell our readers that all church legislation was perfect and never contradicted itself. Unfortunately, that’s not true. For example, in January of 1968, the United States Conference of Bishops issued a horrifying document called “The Place of Music in Eucharistic Celebrations,” which said the psalms (!) shouldn’t be sung during Mass! (Happily, that hideous document was eventually repealed.) For the record, a document such as MUSICAM SACRAM can never overrule SACROSANCTUM CONCILIUM, which has a higher authority. In my view, the best course of action is to study the authentic tradition of the Catholic Church. In other words, let us return to the authentic traditions and avoid getting ‘bent out of shape’ looking at contradictory documents and statements. I repeat once again: in places where MUSICAM SACRAM contradicts Vatican II, we must follow the higher authority.

1 The Novus Ordo appeared in some places in (late) 1969, but in most countries it appeared early in 1970. However, the books were only partially complete at that time.

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

Filed Under: Articles Tagged With: Cardinal Lercaro, The Place of Music in Eucharistic Celebrations, Yves Chiron Last Updated: July 14, 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

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “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

Random Quote

“Those who teach Latin must know how to speak to the hearts of the young, know how to treasure the very rich heritage of the Latin tradition to educate them in the path of life, and accompany them along paths rich in hope and confidence.”

— Pope Francis (7 December 2017)

Recent Posts

  • When Pilgrims Sing, the World Disappears
  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)
  • Gospel Options for 2 November (“All Souls”)

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