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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 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. 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: August 1, 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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “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
    “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

Random Quote

The representative Protestant collection, entitled “Hymns, Ancient and Modern”—in substance a compromise between the various sections of conflicting religious thought in the Establishment—is a typical instance. That collection is indebted to Catholic writers for a large fractional part of its contents. If the hymns be estimated which are taken from Catholic sources, directly or imitatively, the greater and more valuable part of its contents owes its origin to the Church.

— Orby Shipley (1884)

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