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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

An Overview of the Music Program at Our Lady of the Atonement Church & Academy (Part 1)

Guest Author · May 19, 2014

HAT I SAW AND HEARD at Our Lady of the Atonement during my all-too-brief visit went far beyond what I had gleaned about the place from other sources. Fr Christopher Phillips has helped to build a tremendous team who have created an atmosphere where the very air you breathe is Catholic! The care for the sacred liturgy and discipleship formation, the school, the music: I recommend to every priest, school principal and church musician that they make a long visit and learn from what they have accomplished there in such a short time. May their tribe increase: floreat atque vivat!
— Rev. Fr. Christopher Smith


502 Atonement ANY READERS will be familiar with Our Lady of the Atonement Catholic Church in San Antonio, Texas. As the founding parish for the Anglican Use Liturgy within the Latin Rite of the Roman Catholic Church, it was established as a Personal Parish under the terms of the Pastoral Provision promulgated by St. John Paul II (1980). It was canonically erected on August 15, 1983, the same date on which the founding pastor, Rev. Christopher G. Phillips, a former Episcopalian priest, was ordained to the Presbyterate. The title “Our Lady of the Atonement” originated in the Episcopal Church in the 19th century, and was brought into the Catholic Church by the Graymoor Friars and Sisters of the Atonement in 1909. It is the only parish in the United States under the patronage of this particular title of the Blessed Virgin Mary.

501 Atonement From its very modest beginnings — eighteen members in all including Fr. Phillips, his wife and their five children — the parish has grown to over six hundred households. Throughout its history, the parish has never lost sight of one of its most important founding principles: the preservation, nurture, and sharing of the Anglican patrimony. One of the most tangible elements of this patrimony is the reverence of the liturgies, as celebrated according to the Book of Divine Worship, as well as its extraordinary sacred music program. Since 2004, the music program of the church and school has been under the leadership of Edmund and Chalon Murray, a husband and wife team who left thriving music programs in Boston — Edmund at St. John’s Seminary in Brighton, and Chalon at a large parish metrowest of Boston — to make a leap of faith and move their family to San Antonio. Together, with the support of the pastor, they have built a program of exceptional breadth and quality.

      * *  Young Ladies of Atonement — Live Excerpt from School Mass (Audio Recording)


The Atonement Academy

500 Atonem A significant element in the growth of the parish has been the development of the parish school. In 1993, just after the tenth anniversary of the canonical erection of the parish, permission was sought to establish a parish school. When permission was granted by the archbishop, the members of the parish were able to accumulate sufficient funds in just six weeks which would allow the building project to proceed. On August 15, 1994, The Atonement Academy opened its doors with an enrollment of sixty-six (66) students in grades Kindergarten through Third. Additional grades were added each year. The upper school opened in 2004 and today the Academy has over five hundred fifty (550) students in grades Pre-Kindergarten through Twelfth. The Academy’s mission statement compels students “to strive for excellence in the physical, the intellectual, and the spiritual virtues through a challenging course of classical and Catholic education.”


499 Comm Music Curriculum

Since the very beginning, music has been an integral part of the curriculum. Part of Fr. Phillips’ vision in founding the school was to make the study of music available to every student and to become, in essence, though not in name, a choir school. However, unlike most choir school the students are not auditioned. Each student who attends The Atonement Academy receives choral music instruction four or five days per week for a total of approximately three hours per week. The curriculum includes age appropriate training in music theory, ear training, sight-singing and repertoire development. Elements from various music education methods are employed including Ward, Kodaly and Royal School of Church Music. The repertoire is founded on the English choral tradition, and draws from the best Catholic and Anglican sources. The Murrays are assisted by three additional faculty members: Miss Laura Johnson, Mr. Gary Marks and Mrs. Amy Zuberbueler, Director of the Ward Center of San Antonio.


Daily Mass

498 Communion Holy One of the most unique aspects to the education of students at The Atonement Academy is attendance at daily Mass. Each day the entire student body participates in the Holy Sacrifice of the Mass. On Monday through Thursday, the Mass is celebrated according to the Book of Divine Worship. On Fridays the Mass is celebrated in Latin according to the Ordinary Form. Each day, the music is provided by one of the school choirs which leads the singing of the hymn and the Ordinary of the Mass, and also sings an anthem or motet appropriate to the day or season. In addition, a schola of high school men sings a Communion antiphon taken from the Graduale Romanum, Graduale Simplex or one of the many collections of English propers. On feast days and solemnities the schola sings the complete Propers.


We hope you enjoyed this guest series by Mæstro Edmund Murray.


Atonement (Part 1)   •   Atonement (Part 2)

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

Filed Under: Articles Tagged With: Graduale Romanum Roman Gradual Propers, Our Lady Of The Atonement Academy Last Updated: January 1, 2020

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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“Now with the elimination of Latin, the choirs that performed the treasures of sacred music are dying. Someone remarked that the study of sacred music is the history of its disappearance. In place of the authentic music demanded by the Vatican Council, all kinds of secular forms and inferior dance and combo music are heard.”

— Monsignor Richard J. Schuler (1971)

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