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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

    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
    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Abbat Pothier’s great accomplishment is having returned to the Catholic world—along with the traditional melody—the traditional way of performing it. The foundations laid by this providential man have been accepted by all those who practice Gregorian chant.”

— Dr. Peter Wagner (Commissionis Pontificiæ Gregorianæ Membrum)

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