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Views from the Choir Loft

Appropriate

Aurelio Porfiri · June 30, 2014

CENE ONE: today I participated in a military parade. It was wonderful, with all the marching stepped to the rhythm of an exciting waltz.

SCENE TWO: my niece returns from a rock concert. She is very excited and tells me how the band blew everyone away with a captivating performance of a Gregorian chant, while everyone was madly dancing.

Ok, now if I ask you what is strange in these two scenes, I am sure 100% of you (ok…99%) will say that soldiers do not march to the rhythm of a waltz and that a rock band is not going to entertain fans at the sound of Gregorian chant. I can only say: you are right. It seems so evident for everyone that there is no need even to discuss it.

In the same way, I have never quite understood why people think it normal to sing pop music during the liturgy. I mean, is it appropriate? Of course not. But when we ask why this is possible we are told that this is what the people like. But look: people like sex, alcohol, games, money…are we going to include all of these in our future liturgies to attract people? As I have always said the problem is not pop music. I also listen to pop music and sometimes compose songs in pop and rock style (when I compose Musicals I need to use a style that is appropriate to Musicals). The problem is not pop music, but pop music in the liturgy.

I cannot understand how some people fail to see that pop music is indeed a bearer, for the most part, of certain worldly values, and that the music and the style remain strongly associated with those values that are in direct contrast with the values and teachings of the Catholic Church. So, to bring this association directly into the heart of the church, that is the liturgy, is not a good thing.

People say that this music can be redeemed like the organ that was used by the early Romans for pagan and secular purposes. This is not true. The organ was transformed into a Christian musical instrument, and the old use was completely abandoned; but the same cannot be said for pop music when its commercial use is infinitely more pervasive and powerful than the use the Church may have with it. Why then is it so difficult to understand that there are things that are appropriate to the liturgy and things that are not? If you still are not convinced about my arguments, that’s up to you. Go out and dance wildly in three quarter time with the soldiers.


BOTTEGA • Aurelio Porfiri is where you can discover
many of Mæstro Porfiri’s compositions in PDF format.

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 Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —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

After ordering the bishops to appoint in each diocese “special commission of persons who are really competent in the matter, to whom they will entrust the duty of watching over the music performed in the churches in whatever way may seem most advisable,” Pope Pius X continues—“this commission will insist on the music being not only good in itself, but also proportionate to the capacity of the singers, so that it may be always well executed.”

— Dom Alphege Shebbeare (Downside Review)

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  • “Yahweh” in church songs?

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