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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

Music Rules Over Us

Dr. Peter Kwasniewski · July 3, 2014

COLLEAGUE OF MINE shared with me a text he found in a fairly obscure medieval treatise. He was very excited about its content and knew that I would be as well:

MUSIC RULES OVER US, given that we are held together through it. When nature catches in voices what she feels innate within her, she is moved with a deep, wondrous affection, since like rejoices in like. Music endows voices, removes anger, suggests and persuades to clemency. And every age, every sex, and the nature of almost all souls is moved by the judgment of music. And what about thrushes, swans, nightingales, and other sweet songed souls impelled by music to utter their loquacious comfort? Just as they breathe without labor, so too do they sing. This is a sign that music is innate in souls, since those things which have no free will with which to deliberate, produce (led by nature alone) harmonious voices, and celebrate with those singing with them. Through the comfort of music the Theban Isemenia used to heal the maladies of the Thebans. And so too did David with the royal madness [of King Saul]. And we even read that Empedocles with a swaying mode calmed the youth who was rushing at his host, since he had accused his father. The Pythagoreans, also by song, caused a light and pleasant sleep to waft over themselves; just as by other modes they used to shake off the stupor of sleep once they awoke. What shall we say about how such a diversity of souls are pleased by a variety of modes?

The author is Bernard Silvestris; the work, a commentary on Martianus Capella.

When asked the question “What is the best guardian?,” Socrates says: “Argument mixed with music. It alone, when it is present, dwells within the one possessing it as a savior of virtue throughout life” (549b). Argument mixed with music: this sounds to me like a description of Gregorian chant, which artfully combines the Word of God, the , the music of the angels. It can dwell within our souls as a savior of the theological virtues, expressing faith, spurring on hope, fueling charity.

We internalize the music we sing and listen to―it becomes a part of us, it shapes us in its image. You are what you listen to and look at, more than you are what you eat. As Pope Benedict once said, air is to biological life what the Holy Spirit is to spiritual life. What we take into our souls is the food and drink of our souls, and we will be healthy or unhealthy depending on the quality of that food and drink. If our music is that of the Holy Spirit, we will be eating and drinking the spirit of truth, the love of the Father and the Son. If our music is that of the world or the prince of this world, we will be eating and drinking the spirit of worldliness. We cannot be too careful about this dietary discernment.

What is the depth and breadth of the music you listen to? How deep into the reality of God and your immortal soul does it delve? How well does it encompass and echo the grandeur of the world around us?

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

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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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“A theologian who does not love art, poetry, music and nature can be dangerous since blindness and deafness toward the beautiful are not incidental: they are necessarily reflected in his theology.”

— Josef Cardinal Ratzinger (Interview, 1985)

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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