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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

Gospel Acclamation Verses … Nowhere Assigned?

Jeff Ostrowski · August 1, 2025

OR SUNDAYS in Ordinary Time, the 1970 LECTIONARY doesn’t indicate specific verses for the ALLELUIA. Instead, it sends the reader to this generic page for each Sunday’s Gospel Acclamation. I don’t understand why this decision was made by the publishers, since the official LECTIONARY (in Latin) does indicate specific verses for each ALLELUIA.1 If someone knows the answer, please email me. The 2011 edition of LECTIONARY published in the United Kingdom seems to agree with the 1970 American LECTIONARY, inasmuch as it gives multiple options at variance with the official books for each ALLELUIA (for Sundays in Ordinary Time).

1969 Rubrics • Regarding a slightly different topic: the MISSALE RECENS was released at the very end of 1969, just four years after the 1965 Missale Romanum had been printed. The rubrics for the Responsorial Psalm read as follows:

The cantor of the psalm sings the verse at the lectern or other suitable place, while the people remain seated and listen. Unless the psalm is sung straight through without response, the congregation takes part by singing the response.

If sung, the following texts may be chosen: the psalm in the lectionary, the gradual in the Roman Gradual, or the responsorial or alleluia psalm in the Simple Gradual, as these books indicate.

Notice that the official rubrics nowhere indicate the gradual found in the GRADUALE ROMANUM must be sung “in Latin and no other language.” Nor do the rubrics forbid the gradual being sung in the vernacular. This contradicts a claim occasionally made by “terminally online” liturgical commentators.

Nomenclature • The MISSALE RECENS goes by many names. Several of the more common names would include: Ordinary Form; Pauline Rite; post-conciliar rite; the 1970 Missal; Novus Ordo; and so forth.

1 Strictly speaking, any Gospel Acclamation can be used at any time according to the MISSALE RECENS. Indeed, one could (technically) use the same verse Sunday after Sunday ad infinitum. But that’s not what I’m speaking of in this article.

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

Filed Under: Articles Tagged With: Free Gospel Acclamations Last Updated: December 29, 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

    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski
    Pipe Organ “Answers” in Plainsong?
    In 2003, I copied a book by Félix Bélédin (d. 1895), who was titular organist—from 1841 to 1874—at the Cathedral of Saint John the Baptist in Lyon (France). In 2008, we scanned and uploaded the book to the Lalande Online Library. Nobody knows for sure when the book was published; some believe it first appeared in the 1840s. In any event, one who examines this excerpt, showing GLORIA IX might wonder why it says the organ answers in plainsong. However, the front of the book explains, telling the organist explicitly when to “respond in plainchant.” This is something called organ alternatim. Believe it or not, the pipe organ would take turns with the choir, playing certain texts instrumentally instead of having them sung. I’m not very well-versed in this—pardon the pun—but if memory serves, ORGAN ALTERNATIM was frowned upon by the time of Pope Saint Pius X. Nevertheless, French organists kept doing it, even after it was explicitly condemned as an abuse.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

Random Quote

“We went to the early Mass to receive Communion because there was no distribution of Communion at the High Mass. After Mass was the breakfast, which was always of better quality than on ordinary days. Then after the breakfast we all returned to church for the Solemn Mass.”

— Dom Ermin Vitry, OSB

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