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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

John Henry Newman Institute of Liturgical Music

Corpus Christi Watershed · January 15, 2013

Watershed was recently sent some information about the John Henry Newman Institute of Liturgical Music. We have shared it below.

John Henry Newman Institute of Liturgical Music / January 2013

Dear Friend

E THOUGHT you would like to know the progress of the John Henry Newman Institute of Liturgical Music in its first year of existence, and we thank you all for your support and interest. Our next event is on Saturday 19th January at the Oratory in the upper cloister chapel from 9.30 – 1.00pm, when Fr Guy Nicholls will be the speaker. The subject will be “What is liturgical music?”

The programme for following months will be on the website by January 10th 2013.

Since its launch in September 2011, the first year has been both busy and complex. The immediate tasks have been to provide a relevant and inspiring programme of events, to investigate the extent and nature of musical needs to be met, and, of course, to remain solvent! With these aims in mind, the Director has travelled and worked widely at home and abroad, teaching, singing and meeting like-minded people so that the Institute’s work is well-informed, purposeful and practical and also involves active and enthused people to further its cause. There has been a series of practical and theoretical talks based in Birmingham, and events in other parts of the United Kingdom such as Glasgow, Cambridge and Cardiff. In September this year, a successful conference was held in Birmingham at the Oratory church and the Oratory primary school in Ladywood and this confirmed the purpose of the Institute and the need for its work. The videos of the lectures are on our website.

At present we are planning next year’s events. These are:

— A series of talks and workshops between January and the end of June, culminating in a conference in October (dates will be confirmed as soon as possible on the web site)

— Working with the Oratory Primary School in Ladywood, Birmingham and its head teacher, Clare Dickinson, to foster the already existing musical development of all children at the school, especially singing

— Looking into the need for a course in sacred music at graduate level

— Developing links with other groups such as the Church Music Association of America

— Giving younger people a voice to express their views

With these elements in mind, practical, supportive and academic, we will work hard to establish a high quality knowledge and skills base to support liturgical music.

Probably, to end this letter, it is best to restate the purpose of liturgical music which can be difficult to explain in a few words, especially to the impatient and unimpressed!
This is part of Fr Guy Nicholls’ opening address from our September conference.

Liturgical music, especially singing, is above all, rational music – that is, reasonable. This means that it has a definite content, that of scriptures and the words of the Church’s liturgy. It is the expression of an inward state of submission to God’s word before it can be effective as an outward expression. In other words, the liturgical musician must be himself or herself both a musician and a living member of the Body of Christ. We liturgical musicians must be men and women of prayer and the sacraments. Our contribution to the liturgy must be an expression of our belonging to Christ and not an expression of our own private individuality. That is why the work of the Institute is designed with a double aim: on one hand the greater knowledge of and better implementation of the Church’s already existing treasury of sacred music: and on the other the ever deepening love of the Church as the Body of Christ, enlivened and nourished by the Holy Spirit especially in the realm of her worship. That is why we always aim to provide in our classes and events both a theological and practical component, highlighting aspects of the history and authenticity of liturgical music, and also to put this into practice in celebrating some part of the liturgy, either by a sung celebration of the Mass, or by singing the Divine Office, the church’s own prayer and praise sanctifying the hours of the day and the times and seasons of the year.”

There is much work to be done and we will do our best to keep you informed.

We send you very best wishes for the Christmas Season and hope to hear from you in what will, no doubt be a very busy 2013.

To learn more, you may want to visit their website [url].

There is also an Email address listed that can be used to reply to the Questionnaire (John Henry Newman Institute of Liturgical Music) [pdf].

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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President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon. Professor Louis Bouyer spoke of the way Bugnini “scuttled the office of the dead” in this fascinating excerpt from his memoirs. In his book, La riforma litugica (1983), Bugnini bragged—in quite a shameful way—about eliminating the ancient funeral texts, and even admitted those venerable texts were “beloved” (his word) by Catholics.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). 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 top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “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

Random Quote

“After a discussion lasting several days, in which arguments for and against were discussed, the Council fathers came to the clear conclusion—wholly in agreement with the Council of Trent—that Latin must be retained as the language of cult in the Latin rite, although exceptional cases were possible and even welcome.”

— Alfons Cardinal Stickler, Vatican II ‘peritus’

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  • “Offertory” at Catholic Funerals
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