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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

Impressive New Hymnal for the Divine Office

Guest Author · October 2, 2013

358 Dominican This is a guest article by Br. Dominic Verner O.P.

FTER MANY YEARS of comparing manuscripts, compiling chants, and refining translations, the treasures of the Dominican chant tradition have at last been compiled into an impressive new hymnal for the Divine Office, the Dominican Hymnarium. For those interested in the recovery of Gregorian Chant and the realization of the Second Vatican Council Fathers’ desire that chant “be given pride of place in liturgical services” this is indeed an exciting milestone. The hymnal to be published by the Liturgical Commission of the Dominican Province of St. Joseph is now it its final stages of preparation and is only in need of a modest sum of funding to bring the project to completion. Benefactors who contribute $25 or more can receive a complimentary copy of the Dominican Hymnarium once it is published.

The Dominican chant tradition, a distinctive thread of the Gregorian chant tradition, remains unknown to many. The tradition finds its origins in St. Dominic himself, but it received a stable and decisive direction by Humbert of Romans, the fifth Master of the Order of Preachers. The Hymnarium’s introduction explains this rich history:

St. Dominic, who is well known for having sung hymns such as the Ave maris stella and the Veni creator as he walked throughout Europe, passed on to the Order of Preachers his love of singing the liturgy. One element of the early Dominican liturgy that was cultivated with great care was the repertoire of Latin hymnody sung at the various hours of the Divine Office. Through the diligent revisions of the Dominican liturgy that took place in the mid-thirteenth century under the direction of Humbert of Romans, the Order developed a selection of hymns that was used continuously from the time of Humbert through the twentieth century, unchanged but for the addition of hymns for new feasts.

The Dominican hymn repertoire is particularly remarkable for its sophisticated arrangement of melodies based on the rank of a feast, as well as for preserving the traditional texts of the hymns even after the promulgation of neo-classical versions in the seventeenth century. The melodies range in character from mere recitation tones elaborated with only a few notes to sustained cries of jubilation. The texts of the Proper of Time are concise and poetic presentations of the mysteries of the faith. and the texts of the Proper of Saints recall the great miracles and deeds of the saints in a memorable way. Through the concord of text and melody the singer encounters a veritable musical catechism that recalls salvation history and leads one more deeply into the rhythms and mysteries of the Church’s year. . . .

Sample recordings of each hymn melody can be found on the project’s website. Be sure to check out melody 45, which is reserved for feasts of Holy Father Dominic, and the haunting melody 56, from the Common of the Blessed Virgin Mary. All the recordings were made by friars of the Province of St. Joseph at the Dominican House of Studies in Washington DC.

Please consider lending a hand to help bring this project to completion. Online donations can be offered here: https://rally.org/hymnarium.

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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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

At the Council of Trent, the subject was raised whether it was correct to refer to the unconsecrated elements of bread and wine as “immaculata hostia” (spotless victim) and “calix salutaris” (chalice of salvation) in the offertory prayers. Likewise the legitimacy of the making the sign of the cross over the elements after the Eucharistic consecration was discussed.

— ‘Fr. Uwe Michael Lang, Cong. Orat.’

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