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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

The Theology of the Organ

Dr. Lucas Tappan · June 14, 2016

445 Tappan ECENTLY, a generous family donated their late mother’s house organ to our parish and last Saturday, my assistant (who works for an organ building company), one of my recently graduated choristers, and I took the newly-acquired 3 ranks of lead (plus wind chests) to the organ shop for repair and maintenance. We hope to install the organ in our parish’s office chapel by the end of next month. As I pounded dents out of several pipes, it occurred to me that it might be useful to post on what I call the theology of the organ.

Most readers of Views from the Choir Loft believe in the primacy of the organ among instruments in the Roman Rite, but if asked to give reasons for why the organ should have such a primacy, I fear many could do little more than quote documents or defer to tradition—and we know how well that works. Unfortunately, most Catholics in the US today believe that tradition is a bad thing (at least in the Church). Morevoer, if the organ became a tradition in the the Roman Rite, why couldn’t the guitar follow the same process of inculturation? Recourse to quoting ecclesiastical documents falls on deaf ears of Catholics, who view obedience as something medieval. Like high school teenagers, too many of our congregations are only pleased with the latest fads. Fortunately, there are good theological reasons and arguments for why the organ once again should enjoy pride of place in our worship. I don’t pretend that these reasons will convert your died-in-the-wool, anti-treasury-of-sacred-music types, but I have found that they open a door for dialogue with fellow Catholics who bear genuine goodwill. Thankfully, Dr. Kevin Vogt the Director of Music at St. Michael the Archangel Catholic Church in Leawood, KS, has written beautifully on the matter.

Dr. Vogt is the man primarily responsible for bringing to fruition the magnificent Pasi, dual-temperament organ at the Cathedral of St. Cecilia in Omaha, NE, and he is truly one of the great minds of the age. He wrote his doctoral thesis on the organ project at St. Cecilia’s, but the document also contains a section on what I would describe as the Theology of the Organ, found here (specifically see chapter 2, pages 150-172). Some of it might be a little dense for the faint of heart, but it is ENTIRELY worth the read. He presents his insights (peppered liberally with Ratzinger quotes) within the context of Msgr. Francis Mannion’s call for a “renewal of the sacramental, heavenly, cosmic, glorious, catholic, paschal and traditional dimensions of the Roman Catholic liturgy.” Dr. Vogt proposes “that the organ could play an important role in this renewal, and [he constructs] a symbolic theology of the organ in terms of:

(1) COSMOLOGY—concerning music and the created universe;

(2) CHRISTOLOGY—concerning the doctrine of Jesus Christ as the incarnate Logos;

(3) PNEUMATOLOGY—concerning the agency of the Holy Spirit; and

(4) ESCHATOLOGY—concerning the heavenly liturgy of the New Jerusalem.

It really is beautiful stuff and I encourage everyone to study it, take it to heart, memorize it and then begin to share it. Let’s put the organ back on the pedestal it rightfully deserves.

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 Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “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

Random Quote

“No official approbation is required for hymns, songs, and acclamations written for the assembly.”

— Statement by the “Bishops’ Committee on the Liturgy” (10-NOV-1996)

Recent Posts

  • PDF Download • “Anima Christi”
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  • Fulton J. Sheen • “24-Hour Catechism”
  • Simplified Accompaniment (Easter Hymn)
  • PDF Download • “Quasi Modo Sunday”

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