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Views from the Choir Loft

Concerning Proofreading And Capitalization

Jeff Ostrowski · October 23, 2013

300 kyrie Click to enlarge image HE SAINT Edmund Campion Missal and Hymnal took more than a year to proofread, and no effort was spared with regard to typesetting. Most of the priests who helped us offer the Extraordinary Form on a daily basis, and a few have done this since the 1950s. So we had good people … and they would often “challenge” the editor (yours truly) about minor details like capitalization, punctuation, and especially hyphenation.

Every time I would receive their comments for this thousand-page book, I’d have to go searching and hunting for evidence supporting my choices. You probably know that some editors (happily, nobody who assisted our proofing) believe in their hearts there is only one “correct” way … usually the way they learned in a grad school course. As a matter of fact, there are often several valid ways, and staying consistent is what’s important.

Normally, one does not use accents “inside the rubrics,” in other words, when one refers to a prayer, like the Kyrie Eleyson. However, in certain sections of my book, I did just that, for good reasons I cannot explain at the moment. One of the really smart editors told me he’d never seen this, so I went to find supporting evidence for my choices … and I couldn’t find any. However, I knew I’d seen this done.

To make a long story short, several months later, I was able to locate some really high quality books (printed by the Vatican) which use accents “inside the rubrics,” as you can see by clicking the example on the upper right. Solesmes does, too, even placing an unnecessary accent on a two syllable word (“Pátri”) :

160 ital

301 Capital Click to enlarge image I REMEMBER ONE PROOFREADER (who, unfortunately, had to be dismissed eventually) went crazy over the fact that Gregorian chant editions capitalize only the first letter after the Drop Cap. I said again and again, “This is the way it’s always been done in the Solesmes books.” However, this person simply couldn’t or wouldn’t accept my answer. However, Solesmes is perfectly correct when they use this technique. At this moment, I can’t explain the reasons for doing this (they’re good ones), but click on the image on the right to see a Missal from 1777 which uses the same technique as Solesmes.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Extraordinary Form 1962 Missal Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

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Corpus Christi Watershed

Quick Thoughts

    Introit • Candlemas (2 February)
    “Candlemas” • Our choir sang on February 2nd, and here's a live recording of the beautiful INTROIT: Suscépimus Deus. We had very little time to rehearse, but I think it has some very nice moments. I promise that by the 8th Sunday after Pentecost it will be perfect! (That Introit is repeated on the 8th Sunday after Pentecost.) We still need to improve, but we're definitely on the right track!
    —Jeff Ostrowski
    Simplified Antiphons • “Candlemas”
    Anyone who desires simplified antiphons (“psalm tone versions”) for 2 February, the Feast of the Purification—which is also known as “Candlemas” or the Feast of the Presentation—may freely download them. The texts of the antiphons are quite beautiful. From “Lumen Ad Revelatiónem Géntium” you can hear a live excerpt (Mp3).
    —Jeff Ostrowski
    Tempo?? • 𝘏𝘰𝘭𝘺 𝘎𝘰𝘥, 𝘞𝘦 𝘗𝘳𝘢𝘪𝘴𝘦 𝘛𝘩𝘺 𝘕𝘢𝘮𝘦
    Once, after Mass, my pastor said he really loved the hymn we did. I said: “Father, that's Holy God, We Praise Thy Name—you never heard it before?” He replied: “But the way you did it was terrific. For once, it didn't sound like a funeral dirge!” Last Sunday, our volunteer choir sang that hymn. I think the tempo was just about right … but what do you think?
    —Jeff Ostrowski

Random Quote

“Finally, let us not forget that listening especially is active participation. When we listen to the performances of Bach’s Saint Matthew Passion, we can fully participate actively in the Passion of Christ. And so, if we listen attentively to the singing and organ music during the celebration of the divine services, our participation is not less complete. The real significance of this objective and very important aspect is insufficiently understood.”

— Flor Peeters

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