About this blogger:
A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.
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The soul is distracted from that which is sung by a chant that is employed for the purpose of giving pleasure. But if the singer chant for the sake of devotion, he pays more attention to what he says, both because he lingers more thereon, and because, as Augustine remarks (Confess. x, 33), “each affection of our spirit, according to its variety, has its own appropriate measure in the voice, and singing, by some hidden correspondence wherewith it is stirred.” The same applies to the hearers, for even if some of them understand not what is sung, yet they understand why it is sung, namely, for God's glory: and this is enough to arouse their devotion.
— St. Thomas Aquinas

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“Omnes Gentes Plaudite” • Sequence For Ascension
published 13 May 2015 by Jeff Ostrowski

HE ANCIENT MANUSCRIPTS are full of the most gorgeous artwork imaginable. For instance, how can these examples be outdone?


Now, check out this picture from the SEQUENCE FOR THE ASCENSION (abolished by Trent):

778 DETAIL Ascension Sequence


When you read the translation, you’ll understand why they chose that exact spot:

772 Omnes Gentes Plaudite


Courtesy of the Musica Sacra Forum, Chris McAvoy has provided the chant notation (01 02).

By the way, you can download 7,055 pages of jaw-dropping liturgical manuscripts courtesy of the Heinrich Heine museum.