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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

Sacred Music Colloquium XXV — Update II

Andrew Leung · June 30, 2015

CTL Colloquium 3 E JUST FINISHED the second day, or the first full day, of the Sacred Music Colloquium. A normal Colloquium day basically starts with Lauds at 8am followed by the Solfege warmup. And then we break into seven chant choirs for the morning chant session. After that is the breakout sessions with various topics. The plenary session was given by Fr. Jonathan Robinson after lunch and followed by the polyphony rehearsal. Then the day ends with Mass, dinner and Compline.

This morning, I went to the first chant rehearsal. I am very blessed to be able to join Dr. William Mahrt’s Chant Improvisation Choir. I am not going to go into the methods of chant improvisation here. If you want to know more about that, consider participating in the Colloquium next year in St. Louis from June 20 to June 25.

Dr. Mahrt is such a knowledgeable man and I learned something interesting in his class today: singing the ninefold Kyrie in the Ordinary Form Mass. In the Ordinary Form, Kyrie is supposed to be sixfold (Kyrie-Kyrie, Christe-Chrite, Kyrie-Kyrie). However, the ninefold Kyrie (Kyrie-Kyrie-Kyrie, Christe-Christe-Christe, Kyrie-Kyrie-Kyrie) may be used due to musical concerns. Some of the Kyries, like Kyrie III, in the Graduale Romanum have to be sung in ninefold. Dr. Mahrt said that the ninefold Kyrie helps the congregation to learn the Ordinary quicker and encourages the external participation. And of course, the number, “3”, represents the Holy Trinity.

Fr. Jonathan Robinson, the superior of the Oratory of St. Philip Neri in Toronto, gave a very good talk after lunch. He talked about the importance of beauty. We must bring people to the truth through beauty and it is our responsibilities, as Catholic musicians, to make sacrifices to preserve beauty. Now, I would like to write a little bit about the inspiring talk by another priest, Fr. Robert Pasley.

Fr. Pasley is the chaplain of the Church Music Association of America and he gave his annual Chaplain Talk after dinner tonight. In his talk, he encouraged those who are participating at the Colloquium for the first time to be open to some traditional practices in the Liturgy: celebrating the Mass ad orientem, receiving Communion on the tongue while kneeling at the altar rail, etc.. Through participating in both Forms of the Mass, we can see the mutual enrichment between the two Forms. We can see the differences and similarities between the Ordinary Form and the Extraordinary Form. It is very important for church musicians to know and understand both Forms of the Mass. We need to know the Vetus Ordo because the Church had been celebrating it for hundreds of years and it helps us understand the origin of the Novus Ordo. And I think knowing the Novus Ordo is just as important. It is the Form that is being said more widely in the Church. We must read the documents and understand it in light of Tradition. Knowing the Liturgy, the fullness of Roman Rite, is an essential part of being an excellent church musician.

And here is a video from the English Novus Ordo Mass taken by Ben Yanke.

Lord, Make Me to Know Thy Ways by William Byrd, directed by Dr. Horst Buchholz

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

Participation at Mass must be “above all internal” (§15), and: “The faithful must be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.”

— Musicam Sacram (5 March 1967)

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