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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

The Semiologist And The Unbeliever

Aurelio Porfiri · August 5, 2014

NCE UPON A TIME there was a man, an Italian man, a musician, making music for God. This musician liked Gregorian chant. He thought he knew how this famous chant should be performed and was always very suspicious of the so called “semiologists”.

Who are they? They promulgate an understanding of Gregorian chant which traces back to the work of the Solesmes Monk Eugene Cardine and his followers. Dom Eugene Cardine (1905–1988), a monk of the Abbey of Solesmes, shed a new light on the interpretation of the medieval neumes, showing that these neumes have not only a value for the reconstruction of the melodies but also shed a great light on the correct interpretation. But the musician, full of his knowledge, mocked these new interpreters of Gregorian chant. Not that he was really into Mocquerau either, having already considered those theories of interpretation worthy of being confined to the recesses of history. But semiology, please!

One day this unbelieving musician was invited to a concert in a beautiful roman church called Sant’Agostino, very near to Piazza Navona, one of the most popular tourist attractions of Rome. It was a chant concert, the choir was the female choir of the Pontifical Institute of Sacred Music, and the conductor was Professor Nino Albarosa, a student of Cardine himself. The musician really did not want to go, but one of his friends sang in that choir and insisted he go. So when he sat in that beautiful church he was just hoping that this boring concert would finish as soon as possible, so he could attend to more worthy business.

But when Professor Albarosa moved his hand to give the cue for the first piece, it was like the angels themselves had gathered to sing together with an international choir that was voicing the praise of God in that very place. It was like the daily time, the Chronos, was suspended to make everyone enter in the time of eternity, the Aion. From that moment on the musician, like a new Saint Paul on the road to Damascus, converted wholeheartedly; understanding that if the angels themselves are singing, this theory cannot be wrong at all. And from that time on that musician, which you guessed, is me, and all present understood that chant is a gift from God; that dom Cardine was a great man and that Professor Albarosa is a great chant conductor; and all lived happily ever after. Alleluia. Amen.


BOTTEGA • Aurelio Porfiri is where you can discover
many of Mæstro Porfiri’s compositions in PDF format.

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

Filed Under: Articles Tagged With: Dom Eugène Cardine, Gregorian Semiology Last Updated: February 22, 2021

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About Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

When a friend speaks of his accomplishments and triumphs, he stands at a distance from our heart. When he shares his weaknesses and failings, he’s very near.

— Archbishop Fulton J. Sheen

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