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Corpus Christi Watershed

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

“Cannot” vs. “Will Not” in Sacred Music

Jeff Ostrowski · January 26, 2014

ONALD REAGAN was known as “The Great Communicator.” I will probably be remembered as “The Lousy Communicator.” For a long time, I’ve tried to explain that we’re unable to respond to all the emails we receive. If I were to adequately reply to each message, I’d have to stop everything else I’m doing and devote hours to email correspondence. Watershed would then cease to exist, because; (1) the monthly internet fees would not get paid; (2) folks would eventually stop donating because the president is not fulfilling his duties. Therefore, the choice is rather simple, as far as I’m concerned.

Sadly, certain people still believe that our failure to reply to every email is a “choice” we make. I just received a long email (including some very “crude” language) accusing me of all kinds of nasty things for not replying to an email. This person, like several others I’ve encountered, believes that I didn’t reply “because I didn’t want to.” I’ve obviously been unsuccessful in describing the difference 1 between “will not” and “cannot.” For the record, that person also called me “a hypocrite” and “morally bankrupt.”

THIS TOPIC IS ACTUALLY RELATED to Sacred music on a local level. I truly believe that many Catholics, especially priests, desire to have prayerful, dignified, excellent music during their liturgies. This is something they truly want. They’re even willing to pay for it. The problem is, they can’t seem to locate a really good director of music. In other words, it’s impossible for them in spite of their ardent desire.

This probably seems like a fairly “harsh” reality. Well, so be it. In many ways, music is difficult. It requires talent, years of careful listening, and (more often than not) expensive training. From time to time, I’ll notice one of my friends giving a workshop on liturgical music, and I secretly cringe when the advertising implies that a few days’ study will allow the participants to go home and successfully implement a musical program.

However, I have some good news. We’ve been working hard on something special … for about three (3) years! We’re getting very close to releasing information about this project. I’m not a patient person, and resisting the temptation to “let the cat out of the bag” has been extremely difficult. Please join our mailing list so you’ll be the first to hear about this project.

I believe this project will make a tremendous and immediate difference. Granted, this release will only mark the first stage of a large project we have planned. Still, I feel it will make a huge difference and we’re extremely excited!



NOTES FROM THIS ARTICLE:

1   Our parents did a good job teaching us what “can” means. When we were children, we’d say, “Mommy, can we go out and play?” She’d invariably reply, “Oh, I’m sure you’re capable of doing that.” Then we’d have to say, “Mommy, may we go out and play?”

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

Filed Under: Articles Tagged With: Resources for training in Church music 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

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

It is known that the “mora vocis” is part of the compulsory rules of recital of the “Vaticana” and is indicated in the Editio typica and its reprints by a somewhat larger spacing of the neume (one space-line) within one group of neuma.

— 1953 Schwann Edition (PREFACE)

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