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Views from the Choir Loft

Sacred Music Colloquium XXV — Update III

Andrew Leung · July 1, 2015

CTL Colloquium 5 N THE THIRD DAY, the Colloquium is going pretty well so far. Participants are definitely getting to know each other more and we are all in “Heaven”, the musical heaven on earth. This afternoon, Fr. Jeffrey Keyes celebrated his first Solemn High Mass according to the 1962 Missale Romanum. After an hour of practice, he, the deacon and the subdeacon entered the Sanctuary and offered a beautiful Mass for us. I apologize for not being able to take any picture during the Mass because I was one of the altar servers.

The keynote today was given by Fr. Richard Cipolla from St. Mary’s Church in Norwalk, CT. Unfortunately, I missed almost half of the talk; but it was very fortunate that I got to have a conversation with Mr. Richard Rice, the great composer. Even though I was not there for the whole talk, I would like to share what I heard.

Fr. Cipolla’s talk was entitled: “Liturgical Music: The Medium and the Message”. Fr. Cipolla had some really strong opinions in his talk that not everyone may agree with him, but I think there are truth in his points and they are worth sharing. He clearly defined Gregorian Chant as the liturgical music of the Catholic Church because of its “Pride of Place”, and polyphony as another form of liturgical music because of its organic development from Chant. Both of these forms were mentioned in many documents of the Church. He defined orchestral Masses, hymns and other forms of music as religious music. He even went on and said that the Masses by Mozart and Schubert were “unfaithful” to the spirit of liturgical music.

The emphasis of liturgical music is on the text, but no so much on the music. Gregorian Chant, with the Latin text, is the best way to communicate and express the text. Fr. Cipolla thinks that Gregorian Chant is like an icon. God speaks to us through Chant and we venerate Him through Chant too. The simplicity (rhythmic, dynamic, dramatic) of Chant allows us to contemplate on the text; on the other hand, the complexity of the melody shows the beauty of God’s words. Fr. Cipolla suggested that all readings, no matter they are in Latin or vernacular, should be sung in the traditional Chant Tone. Because when the scripture is sung, it speaks to us on a much higher level and draws our attentions. Liturgical music is not meant to accompany the Liturgy but is an integral and necessary part of the liturgical action and event.

He also talked about the important of the Latin language in the Liturgy. Latin, as a “dead language”, do not develop anymore. The grammar and the vocabulary will stay the same. And because of that reason, it is the perfect language for the Liturgy and Gregorian Chant. We often have to deal with the problem of bad translations, or just translation in general. When the text is translated from Latin to the vernacular, it is being “imperfected” at the same time. Latin in the Liturgy has always been a different and higher-leveled language. Even back in the days when Latin and Greek were the main language, the Latin in the Liturgy was a higher class language, different from the one that people use to communicate. Latin language is the foundation of the Liturgy and Gregorian Chant.

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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

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“The argument moves from the existence of the thing to the correctness of the thing: what is, ought to be. Or, a popular variant: if a thing is, it doesn’t make any difference whether it ought to be—the correct response is to adjust, to learn to live with the thing.”

— ‘L. Brent Bozell, Jr.’

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