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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

A Simple Plan To Improve Music At Mass

Jeff Ostrowski · November 24, 2013

AVE YOU NOTICED that a good movie director always selects the perfect music for each scene? Please carefully watch the following 1-minute excerpt from Disney’s Peter Pan:

* *  6682 • Disney’s “Peter Pan” (1-minute)

Did you notice the brilliant use of music? Movie directors understand and respect music’s power in a way seemingly forgotten by the Catholic Church.

A friend studying film production explained a fundamental principle of his trade: “If someone tells you he liked your video, that means he liked the way it sounded.” Take a moment and allow your mind to process that statement.

FULTON J. SHEEN WAS A MASTER of explaining our Faith using “every day examples.” Had he been born twenty years later, I’m convinced he would have used Disney’s Peter Pan to explain the Mass. Before providing a plan to improve our liturgies, I’d like to mention a few of these parallels:

Basic “plot.”   If you stop and think about it, very little actually happens in Peter Pan: 1) the children arrive in Neverland; 2) Peter shows Wendy the mermaids, encountering Hook and Tiger Lily; 3) having met the indians, Wendy decides to leave. Apart from the final confrontation, that’s all … yet, so much happens along the way! There’s a parallel here. According to Catholic Theology, two things happen at Mass: 1) Jesus Christ is made present on the Altar; 2) Jesus Christ is offered to His Heavenly Father. That’s it. However, with the different liturgical seasons, prayers, and readings, there’s so much more, even though the fundamental sacrifice remains the same, over and over.

Multi-layered.   In almost every scene of Peter Pan, numerous events happen simultaneously. Even in that 1-minute clip above: a) Hook’s relationship to Pan is introduced and explained; b) the crocodile is introduced; c) Mr. Smee is trying to shave Hook, adding comic relief; and so forth. Multi-layered “counterpoint” is only natural, and the traditional Mass (and Eastern Rites) are multi-layered. While it’s true that post-Conciliar reforms made the OF “linear” (not multi-layered), this arrangement will not endure, in my opinion, because it’s unnatural.

Full range of emotions.   Peter Pan touches a whole host of human emotions: everything from the love we have for our mothers (as Wendy sings everyone to sleep, including the pirates) to the emotional instability of jealous love (Captain Hook’s manipulation of Tinker Bell). Even small details — e.g. Hook and Wendy’s father share the same voice — are pregnant with meaning. Similarly, the traditional Catholic liturgy “has it all.” The familiar yet mysterious Scripture passages, the truly sacred institution of the priesthood stressed on Holy Thursday, the Good Friday singing of Fortunatus’ Pange Lingua, the sights and sounds of Christmas midnight Mass, and on and on … the ineffable way the liturgy is geared toward the human psyche is astounding.

Something for everyone.   Peter Pan can be enjoyed by a toddler, a teenager, or an adult. It has real depth, yet one can jump into it halfway through (never having seen it) and instantly know what’s going on. The same is true of the Mass. The liturgy will continuously edify the greatest Scripture scholar … or a Catholic who knows very little theology.

THE FINAL PARALLEL I SHALL MENTION is two-fold and extremely important: Peter Pan “keeps it moving” and employs great variety. When it comes to “keeping it moving,” each section flows effortlessly into the next, and the plot exposition and foreshadowing is masterly. Regarding variety, the overarching story has a marvelous “shape” to it — whoever planned out each section was a genius. These two principles ought to be understood by those responsible for the liturgy. It is easy to make sure the liturgy keeps moving: the music director, pastor, and altar servers must discuss and rehearse in advance the ceremonies. (Needless to say, the music director must be paid a just salary.) But what about the second half — how can liturgy have variety?

I’m glad you asked! Here’s a possible plan which is (hopefully) self-explanatory:

* *  PDF Mass Outline • Variety for today’s attention span

FOR A PLAN LIKE THIS to succeed, it must remain unaltered week after week, and the congregation requires some kind of hard-bound Ordinary Form Missal with full propers & readings. To peruse other similar plans, check out this one by László Dobszay, or an article of mine from several years ago.

Please notice that I’m not advocating mixing different musical styles. This was often attempted in the 1980s — a Broadway piece, followed by Gregorian chant, followed by folk music, followed by Machaut, etc. — and such things are foreign to the liturgy. To understand why secular styles are forbidden, read what Fr. Adrian Fortescue wrote in the Introduction to his hand-missal:

ACH MASS CONTAINS the slaying of the Victim, not repeated here in the West after centuries, made once only long ago in Palestine, yet part of the sacrifice offered throughout the world each morning. All Masses are one sacrifice, including the death of the cross, continuing through all time the act of offering then begun … Every time we hear Mass we look across that gulf of time, we are again before the cross, with his mother and St. John; we offer still that victim then slain, present here under the forms of bread and wine.

Each congregation has different needs, and my proposed plan can easily be adapted. For example, some might desire an entrance hymn in addition to the Entrance Chant (which is allowed in the Ordinary Form).

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

Filed Under: Articles Tagged With: Contract Between Priest And Musician, Latin Mass Musical Diversity, Secular vs Sacred Music at Mass Last Updated: May 29, 2021

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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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 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 Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

“It is the choir that can make the most valuable contribution to the liturgy; it is through the choir that significant numbers of the congregation can make a significant and valuable offering in the community’s act of worship. The choir links directly academic excellence, artistic creation, disciplined attention and self expression in the making of something fitting for the worship of God.”

— Father Daniel Higgins, Choirmaster at Saint Edmund’s College, Ware

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