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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

Our Church Music Movement: How Are We Doing?

Jeff Ostrowski · November 24, 2015

997 Colloquium UR BLOG is careful not to talk endlessly about itself, something readers seem to appreciate. Our contributors also seldom write articles about themselves. Today, however, I make an exception to that rule: I’d like to share how I became part of the movement for authentic church music.

Born in the 1980s, I have only the foggiest recollection of George H. W. Bush being president. Approximately four years after the fall of the Soviet Union (1991), my family became involved with the FSSP. This was a tremendous blessing since my local Catholic school had exposed me to goofy church music and formal heresy. My brothers and I subsequently served hundreds of FSSP Masses throughout the United States, and once I had the opportunity to be M.C. for a Mass celebrated by Fr. Josef Bisig. Increasingly, however, our Pastor requested that I “go up to the choir loft” and assist with the chanting—because he knew I could read music.

Throughout high school and college I served as choirmaster for FSSP Masses. My duties included transcribing music, training & conducting choirs, playing organ, and singing tons of Masses. I ran weekly rehearsals, did multiple Masses each Sunday, and even handled funerals, weddings, and extra feasts such as 15 August. This volunteer work was in addition to my various jobs, and (most significantly) being a full-time student at the University of Kansas, where I often did special projects—such as recordings of Renaissance polyphony—which frequently did not end until 3:00am. It would take a long time to mention all the wonderful experiences of those days: singing under the baton of Simon Carrington, taking part in piano competitions, making polyphonic recordings with famous singers like Dr. John Stephens, and so forth.

099 Sacred Music Looking back, I don’t understand how I was able to do so many things; where did I get the energy? On the other hand, I didn’t have children in those days…

An important event took place in the summer of 2002 when I transcribed the entire collection of “Musica Divina” by Fr. Karl Proske into the SIBELIUS music program. Many of these pieces—such as the works of Alexander Uttendal—were not known by many conductors. Transcribing these works taught me a great deal, just as Mozart learned a great deal when he copied both volumes of Bach’s Well-Tempered Clavier as a child. 1

During all those years working for FSSP parishes I never considered joining an “international movement” for church music. As far as I could tell, nobody else cared about this type of music—except the FSSP—and that was fine with me. I was thrilled to sing & teach it because it’s so powerful, moving, reverent, and holy. It changed my whole life. 2 It is church music and belongs at Mass … period.  Full Stop.

I RECEIVED A SURPRISE TELEPHONE CALL IN 2005 from a CMAA official. He’d seen my work with the Proske collection and exclaimed, “You need to assist our movement; we could really use someone like you.” To this day, I am grateful for the way he reached out to me. I was able to provide many rare books for the CMAA to scan (e.g. 1908 Graduale, Oreste Ravanello Motets, Raphael Molitor’s 1904 treatise, and so on). In return, the CMAA promoted the rare volumes we made available to the world (the Nova Organi Harmonia, the 1883 Liber Gradualis, 1903 Liber Usualis, and so on) which helped maximize their impact.

I thereafter became involved with the CMAA and had a blast directing a Sacred music documentary broadcast on three major networks, including EWTN. Teaching Gregorian chant at several colloquia, I met amazing people and had sensational conversations late into the night. If my health improves, I’d very much like to attend a Colloquium again—but probably not until our children are older. Here are a few random images from the Colloquium we filmed in 2009:

999 loyola cmaa 999 chart 998 Loyola


When I became involved with the CMAA, I learned that tons of people across the globe love traditional church music and are working to restore reverence at Mass. I never dreamed that so many love this stuff and are willing to fight for it!  It cannot be denied that many Catholic churches sing inappropriate songs at Mass; yet our movement exists, and must continue to exist, for those who want to do it right.

In other words, it isn’t about whether we can stop inappropriate music in every Catholic church. What’s important is for organizations to provide resources and encouragement for those priests and musicians desiring to do things properly (no matter what anyone else is doing). Here at Watershed—in our own small way—we try to offer helpful resources and support.

I’m glad to be part of this movement!



NOTES FROM THIS ARTICLE:

1   Please note that I’m not comparing myself to Mozart; I’m just saying that copying is a good way to learn.

2   Composers like Victoria, Lassus, Marenzio, Morales, and Palestrina have changed a whole lot of lives—not just mine!

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

Filed Under: Articles Tagged With: Sacred Music Colloquium Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“The traditions of the elders, your glory throughout long ages, must not be belittled. Indeed, your manner of celebrating the choral office [in Latin] has been one of the chief reasons why these families of yours have lasted so long, and happily increased.”

— Pope Saint Paul VI (15 August 1966)

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  • “American Catholic Hymnal” (1991)

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