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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 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

    “Music List” • 19th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the feasts website.
    —Jeff Ostrowski
    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —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

I am convinced that if the Church is to prosper in the present age, it cannot hesitate to embrace and support traditional Catholics, traditional liturgies and traditional moral values. “Do not conform yourself to this age,” St. Paul warned followers of Christ. (Rom 12:2)

— Most Rev. Thomas Tobin, Bishop of Providence (12 August 2022)

Recent Posts

  • Is this what the new “Youth Mass” looks like?
  • “Music List” • 19th in Ordinary Time (Year C)
  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”

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