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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

No Salvation From Decrees (2 of 3)

Jeff Ostrowski · September 16, 2013

“The 1967 instruction Musicam Sacram repeats the words of the constitution and again insists on the use of Gregorian chant, which should be given ‘pride of place.’ It must be taught in seminaries and sung in parish churches, both in Masses celebrated in Latin and in the vernacular, since nothing prohibits that in the same celebration different parts be sung in different languages.” — Msgr. Richard J. Schuler   [source]

E HAVE EXAMINED and now understand, having read Part 1 of this series, that the following assertion is without validity:

“Vatican II never said Gregorian chant should have pride of place in the liturgy. This only applies to Masses celebrated in Latin.”

Therefore, Archbishop Annibale Bugnini was incorrect when he wrote the following remarks about the “treasury of sacred music” mentioned in Sacrosanctum Concilium §114 and subsequent relevant paragraphs like §116:

When, therefore, the Constitution allowed the introduction of the vernaculars, it necessarily anticipated that the preservation of this “treasure of sacred music” would be dependent solely on celebrations in Latin [ … ]
In this part of the text, the instruction intends to make it clear that just as there are two forms of celebration, one in Latin, the other in the vernacular, in accordance with the norms established by competent authority, so the use of the musical repertory that is connected with the Latin text is for celebrations in Latin, although it is possible to use some parts of it even in celebrations in the vernacular.
[Bugnini, The Reform of the Liturgy, 1948-1975, page 907]


By the way, I’m not going to address here the whole question of what we properly call “Gregorian chant” sung in the vernacular. Funny enough, neither did the Second Vatican Council. I realize some people are obsessed with what they consider the “correct terminology,” but I quickly get bored of such discussions. I once received a phone call wherein a priest screamed at me for 15 minutes because I used the term “Gregorian chant.” He yelled, “How dare you call it Gregorian chant? Are you saying that St. Gregory wrote all those melodies by himself? The only acceptable term is cantillation.”

Incidentally, you might be surprised how often Bugnini was flat out wrong about stuff. Take, for example, those short little paragraphs quoted above. As Susan Benofy has pointed out:

There is nothing in the Constitution on the Liturgy, however, to indicate that the Council Fathers envisioned anything like “two forms of celebration”. They did not envision an entirely vernacular liturgy.   [source]

Monsignor Schuler pointed another basic flaw in Bugnini’s paragraphs:

The instruction orders that the distinction between solemn, sung and read Masses, sanctioned by the instruction of 1958, is to be retained.   [source]

FOR THE SAKE OF ARGUMENT, let’s pretend that Bugnini’s argument was correct, and Gregorian chant only has pride of place for Mass celebrated in Latin. What exactly does that mean? How does one define a “Mass in Latin”? When the Eucharistic Prayer is said in Latin? Or perhaps just the Mass parts? What about the General Intercessions? Do those have to be in Latin, too? How about the Kyrie Eleison? If the Kyrie is said in Greek, is it still a Latin Mass? What about the homily? What about the readings? Obviously, his argument is untenable.

More importantly, however, the Council ordered Latin to be retained in the liturgy and “did not envision an entirely vernacular liturgy” (c.f. quote by Benofy above). Sadly, like so many of the Council’s wishes, this order was ignored.

This article is part of a series:

Part 1   •   Part 2   •   Part 3

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

Filed Under: Articles Last Updated: January 1, 2020

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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

    “Common” Responsorial Psalm?
    I try to avoid arguing about liturgical legislation (even with Catholic priests) because it seems like many folks hold certain views—and nothing will persuade them to believe differently. You can show them 100 church documents, but it matters not. They won’t budge. Sometimes I’m confronted by people who insist that “there’s no such thing” as a COMMON RESPONSORIAL PSALM. When that happens, I show them a copy of the official legislation in Latin. I have occasionally prevailed by means of this method.
    —Jeff Ostrowski
    “Music List” • 5th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 5th Sunday of Easter (18 May 2025). If such a thing interests you, feel free to download it as a PDF file. The Communion Antiphon was ‘restored’ the 1970 Missale Romanum (a.k.a. MISSALE RECENS) from an obscure martyr’s feast. Our choir is on break this Sunday, so the selections are relatively simple in nature.
    —Jeff Ostrowski
    Communion Chant (5th Sunday of Easter)
    This coming Sunday—18 May 2025—is the 5th Sunday of Easter, Year C (MISSALE RECENS). The COMMUNION ANTIPHON “Ego Sum Vitis Vera” assigned by the Church is rather interesting, because it comes from a rare martyr’s feast: viz. Saint Vitalis of Milan. It was never part of the EDITIO VATICANA, which is the still the Church’s official edition. As a result, the musical notation had to be printed in the Ordo Cantus Missae, which appeared in 1970.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Indeed I might add that although unfamiliar with it myself, the Extraordinary Form expressly reminds us that Mass in either form is not merely a communion meal but a ritual of love, a sacrifice at Calvary, by which, for you and for me, yes, here and now, Jesus Christ lays down his life.

— ‘Most Rev. Philip Egan, Bishop of Portsmouth’

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