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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

“Look Beyond The Bread You Eat” (Part 1)

Jeff Ostrowski · November 18, 2013

ERTAIN THINGS SEEM self-evident to me, yet other people have a completely different view. For example, observing our children I see a million daily miracles: the way their brains develop, the way their bodies grow perfectly, the way their tiny teeth come in, and so forth. Such things could not be the result of “blind luck.” God even “spaces” children naturally, allowing us to practice our parenting skills without being overwhelmed. To me, God’s perfect designs couldn’t be more obvious. Yet, some believe everything was caused by “dumb luck.”

I’ll never forget being in graduate school and hearing one of the professors (whose field was Renaissance polyphony) explain that the singers in those days “probably couldn’t sing in tune.” In this condemnation were included the masters themselves — Marenzio, Victoria, Palestrina, etc. — who were often hired as singers (not composers), although this might strike us as odd. Recalling this statement (even so many years later) makes my brain explode with rage. After all, those who study Renaissance polyphony realize the intricate, nay, delicate way the music is constructed. The chordal structure * is carefully built following certain sonic rules — don’t double the third, avoid certain inversions, etc. — which is partially why their music sounds so magnificent. Would such attention have been paid to detail if the singers at that time couldn’t sing in tune? That would be like some historian 400 years from now explaining our culture (which puts such effort into building the most perfect vehicles) and declaring, “Well, nobody back then actually drove those vehicles.”

I am reminded of an interview with a modern pianist (I believe it was Murray Perahia). The interviewer said, “If you could go back in time and meet one composer, and hear him play, who would it be?” The pianist said, “Johannes Brahms.” Really? Brahms? I mean, Brahms was certainly a wonderful composer … but what an odd choice and what a sad testimony to our modern musicians. After all, we can more or less surmise what Brahms sounded like — and we even have a faint recording of his playing. Why not J.S. Bach? Or, even better, why not Palestrina, Victoria, or Lassus? Or why not Morales? Wouldn’t that be something? To hear what those choirs really sounded like!

*   Musicologists are liable to blow a blood vessel if they read this, because it’s forbidden to mention “chords” in the same sentence as Renaissance music. However, when it comes to music of the High Renaissance (more or less after 1550), the evidence of a “chordal sense” is there for all to see, and incredibly inconvenient for certain “accepted” theories.

This article is part of a series:

Part 1   •   Part 2

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

Filed Under: Articles Tagged With: Contract Between Priest And Musician 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 Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

The 1960s reformers had no chance of success since their goal was “recasting from top to bottom—and in a few months!—an entire liturgy which had required twenty centuries to develop.”

— Professor Louis Bouyer, close friend of Pope Saint Paul VI

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  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

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