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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

The Ingredients of a Choir School (Part II)

Dr. Lucas Tappan · May 12, 2015

LMT Westminster Cathedral AST WEEK I wrote about the ingredients of a choir school, or choral foundation, at the heart of which is the goal of creating a liturgical choir worthy of the name. I wrote that the creation of a school is not the end goal, rather, the creation of the choir is. Still, I believe that the school can be an immense help toward our goal, because it allows for daily rehearsals, instruction in music theory, liturgy, theology and most importantly, a more regular schedule of singing for the Liturgy, whether for Holy Mass or the Divine Office. I want to briefly touch on what I feel is necessary for a school of this kind.

First, you need both a pastor and music director who understand that the Liturgy is both the source and summit of the Christian life. How often we hear this phrase thrown about, yet never understood. We will not make the Liturgy the source and summit of our lives by conforming it to the world. It is the other way around. Of course, music plays a large role in the liturgy because of its intimate nature with the sacred text. Gregorian chant and polyphony, both recommended by the Second Vatican Council should be understood to form the foundation of a solid choral program.

Secondly, you need a principal who is at least supportive of the desires of the pastor and director of music and allows the time necessary during the school day to build such a choral program. I think some of the contention between principals and school music programs comes from the fact that most children in our parochial schools can’t sing a major scale, much less know what it is, after 8 years of music instruction. If I were a principal and saw a music program failing my pupils, I wouldn’t mind getting rid of it. However, if I saw my students were having fun singing and moving in groups, learning how to sight-sing and play instruments and then singing to a professional standard at school Masses, I would be much more inclined to give everything I could to make such a program happen in my school. I think many principals would agree.

Thirdly, you need a music teacher who loves and inspires children, has a thorough grounding in voice, music theory, teaching and who is a professional musicians. This is not the time to hire someone of good will, but who doesn’t have the skills. I remember reading once that Kodaly didn’t so much care who was in charge of symphonies and opera houses, he was more concerned with who was teaching in the schools, because that would determine the future state of music in his nation.

Lastly, it goes without saying that you need children for your program and a school provides that much easier than trying to coax and round up children from various area schools. If you create a culture of great music in your parish school, most students will want to take part. Then you don’t really have to recruit!

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. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski

Quick Thoughts

    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
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

In the ’60s, I thought this emphasis on congregational singing was to encourage good Catholic hymns like “Immaculate Mary” and so forth … but after the Council, they threw them out, too!

— ‘Fr. Valentine Young, OFM (2007)’

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