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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 • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“In case of urgent danger of life anyone may baptize, even a heretic or pagan. It is sufficient that he administer the essential matter and form and have the implicit intention of doing what Christ instituted. Naturally a Catholic must be preferred, if possible. A man is preferred to a woman; but anyone else to the parents.”

— Father Adrian Fortescue (1917)

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