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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

Coming Full Circle in the Circle City

Andrew R. Motyka · July 3, 2013

his whole blogging thing can be a difficult thing to manage on a schedule (not to mention my children’s supernatural sense that something productive is happening in this room right now). “Come up with something good to talk about, right now” is not one of my talents. Talking? I’m a master (just ask my wife). Having something substantive to say, not so much. Therefore, I was grateful when Jeff Ostrowski gave me a great idea for this week: the CMAA Colloquium, specifically next year’s installment. Allow me to express my excitement.

My first experience with the Church Music Association of America came when I attended the Colloquium in 2010 at Duquesne University in Pittsburgh. I was living about a half hour away and it was an easy commute. As most people who have attended will tell you, it is nothing less than sublime, musically. You spend all week mingling and learning, but mostly singing. When is the last time you got to do so much singing? My interest in Gregorian chant and the restoration of the sacred in liturgical music was already in full swing, but the Colloquium was positively energizing, and fed me with information and the knowledge that there were like-minded people out there. Also, I met a guy named Jeff Ostrowski. I was able to attend again in 2011 (mainly because of some generosity from CMAA for which I am grateful), furthering my appreciation for the organization and this beautiful annual event.

I was unable to attend the Colloquium for the following two year in Salt Lake City, both because of distance and due to circumstances evolving in my professional life. When I began at my current position as the Archdiocesan Director of Music in Indianapolis, I thought, “At some point, I’m going to try to get CMAA to bring the Colloquium here.”

Well the Lord works in mysterious and frequently hilariously in-your-face ways. Since I was settled, I contacted CMAA to ask if there was anything I could help with, despite not being able to attend the Colloquium this year, and I was greeted with, “So how do you think Indianapolis would be for hosting a Colloquium?” In a veritable hurricane of productivity, Arlene Oost-Zinner made it happen. The 2014 CMAA Colloquium will be in Indianapolis.

The Downtown Sheraton will be the site of the rehearsals and breakouts, which is right on center circle from which the city gets its nickname. Only a few blocks away, we will celebrate at the historic Saint John the Evangelist Church, a beautiful place to worship. St. John is currently undergoing a thorough renovation due to a fire this past Lent, and will be in its best condition in years by the time of next year’s musical get-together.

The 2014 CMAA Colloquium promises once again to be a “slice of musical heaven,” as it has been called before. I hope to see many of you there.

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 Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 6th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 6th Sunday of Easter (25 May 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are provided at the the feasts website.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski
    How Well Does ICEL Know Latin?
    This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?
    —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

If the homily goes on too long, it will affect two characteristic elements of the liturgical celebration: its balance and its rhythm. The words of the preacher must be measured, so that the Lord, more than his minister, will be the center of attention.

— Pope Francis (11/24/2013)

Recent Posts

  • “Music List” • 6th Sunday of Easter (Year C)
  • “Can the Choir Sing Alone at Mass?” • Yes! And Here’s Why That Matters
  • “Gloria in Spanish” • Free Accompaniment
  • How Well Does ICEL Know Latin?
  • Nobody Cares About This! • 1887 Rheims-Cambrai Gradual included “Restored” Plainsong

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