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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

Musical and Liturgical Life at the St. Lawrence Catholic Campus Center

Guest Author · April 6, 2016

596 St. Lawrence Catholic Campus Center EFF OSTROWSKI contacted me recently and asked me to put together a description of our musical & liturgical life here at the St. Lawrence Center (Lawrence, Kansas) which I am happy to do. What follows is based on our liturgies and other special events during the academic year.

Masses at the Saint Lawrence Center

MASS • Saturday 4pm Vigil — A typical parish Vigil Mass with Cantor, Organ and hymns from the St. Michael’s Hymnal. No chant propers, no choir. Attended by 120-150.

MASS • Sunday 8:30am — This is a smaller Mass attended primarily by permanent community members and some students. There is no choir, and the music is led by our Organist and Assistant Choir Director Katie Burchfield: An entrance hymn with organ from St. Michael’s Hymnal 4th edition, a cappella sung psalm and Gospel acclamation, English missal chants and communion antiphon from Simple English Propers. No recessional hymn.

MASS • Sunday 10:30am — This is the principal Mass of the day with attendance between 225 and 325 comprised of a wide cross section of students, permanent community, other people from town. The choir of 16-20 is likewise composed of students, faculty and permanent community members and is led by the Director of Sacred Liturgy and Music. This choir is the “flagship” choir of the St. Lawrence Center, with all members having some significant choral experience and able to read music at least minimally.

Mass begins with an entrance hymn accompanied by Organ with English Mass parts from one of the metered settings in the St. Michael’s hymnal. During Advent and Lent we do the Latin Missa Jubilate Deo for Mass parts. The Responsorial Psalm is introduced by the organ, intoned by a cantor and sung by the congregation as normal with choral verses on most Sundays. The Gospel acclamation—antiphon and verse— is done by a cantor. The Offertory Antiphon and verse is sung by the men of the choir from Simple English Propers, followed by an offertory hymn. The Communion antiphon and verse are sung by the women of the choir from SEP on most Sundays, with an occasional chant from the Gregorian repertoire for major Solemnities like Easter or significant seasonal Sundays (e.g. Second Sunday of Lent – Transfiguration). The communion motet or anthem is from the classic sacred choral repertoire both new and old (e.g. Palestrina Ego Sum Panis, Duruflé Ubi Caritas). With the exception of “super solemnities” such as Christ the King, there is no recessional hymn.

MASS • Sunday 5:00pm — This is also a large Mass, with similar attendance to the 10:30. In contrast to that Mass, however, both the congregation and the choir are comprised primarily of students. The musical format is more like a typical parish Mass with cantor, choir and piano accompaniment. The same hymns are sung as at the 10:30am Mass, but with no chant propers. The choral repertoire is sometimes the same as 10:30, but often supplemented with some Taize and other easier pieces. The choir sings on a three-weeks-on/one-week-off schedule and is open to anyone who is interested, regardless of singing experience and/or the ability to read music. It is therefore more of a training choir than the 10:30am. Even so, we still have a number of very experienced choral singers in the group. Also conducted by the Director of Sacred Liturgy and Music, this choir rehearses one hour before Mass.

MASS • Sunday 9:00pm — This is our Chant Mass and features the most distinctive format of any of the Sunday Masses at St. Lawrence. The lights in the nave are turned off with large candles on stands placed around the perimeter of the chapel and at the corners of the base of the Altar. Led by the Director of Sacred Liturgy and Music is a Schola of 4-6 male singers, all of whom must have a substantial choral and sacred music background. There are no hymns and all the sung propers are taken from SEP. We use the English Missal chants for Mass parts (Missa Jubilate Deo during Advent and Lent). The responsorial Psalm and Gospel acclamation are done a cappella—as is the entire Mass—with choral verses as arranged/composed by the director. Following the communion antiphon, we do a polyphonic piece such as Palestrina’s Jesu Rex Admirabilis or an English piece in two or three parts. After the final blessing, we sing the Salve Regina as a recessional. This Mass is usually attended by about 150 people, with a nice mix of town and gown.

Other Liturgies and Events

Tuesday Adoration — Beginning at 9am and going through about 10pm in the Chapel. Includes praise and worship beginning about 8:30pm and ending with Night Prayer and Benediction.

Easter Triduum — Done with an augmented choir like Lessons and Carols and similar to the format of the 10:30am Mass as described above, but with even more solemnity. The liturgical high point of the year here at the Center!

Annual Lessons and Carols Presentation — Now on its 28th consecutive year! Combined choirs doing classic a cappella and accompanied repertoire, the O Antiphons and an occasional men’s or women’s piece. The 10:30am Mass choir is core of the group, with others invited to join from the other groups and the permanent community. Publicly advertised and well-attended by about 200 people with a reception following.


We hope you enjoyed this guest article by Dr. Brian J. Nelson, Director of Liturgy and Music at the St. Lawrence Catholic Campus Center.

Watershed readers may remember Dr. Nelson from his appearance on EWTN.

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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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

“There is no music worth hearing save that written in the last 40 years.”

— Johannes Tinctoris (1477)

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