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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

Colloquium 2016 • Day 3

Fr. David Friel · June 23, 2016

HE OPENING Mass of this year’s Colloquium was offered beautifully and spiritually by Fr. Jason Schumer. In Wednesday’s keynote lecture, Fr. Schumer again addressed the Colloquium participants, this time sharing with us the initial conclusions of his ongoing doctoral research.

At the heart of his lecture was asking this question: How does the liturgy grow? This foundational question broke into smaller questions. For example, are there principles of development? Is liturgical development a natural process or a supernatural process? Is it accidental or intentional?

The lecture included a helpful placement of the Roman Rite in its historical context. It also afforded nice summaries of the perspectives of several theologians. It centered almost exclusively on the Mass, to the exclusion of any real discussion of the Divine Office.

In its conclusions, the lecture seemed to say that the Church exercises extreme power over the liturgy. Because this is so, one could say that the liturgy is highly adaptable. Yet, the question of what can be changed, Fr. Schumer was careful to say, is quite different from the question of what ought to be changed.

Schumer continued this point by saying that the gulf between the possible and the prudent is wide. It is a matter of the Church’s prudence that she observes organic development with regard to changes in the liturgy. This was an interesting point I had not previously considered, namely: when we speak about “organic development” in the sacred liturgy, it should be understood as a limitation on development, rather than a promoter of development. Said another way, “organic development” is a suppressant on change, rather than its agitator.

The final conclusion of the lecture was that there have been periods in church history (including, but not limited to, the 1960’s) when sweeping changes were made to the sacred liturgy, and it is hard to reconcile sweeping change with the overall pattern of organic development that has been at work between the Last Supper and the modern age.

Another highlight from Wednesday was having lunch with Joel Morehouse, a music director in Syracuse, NY. Joel contributes to NLM, and our readers may enjoy this interesting new article by him about the work of the CMAA.

Joel participated with me in the New Music breakout sessions, which are the final aspect of the Colloquium that I will share with you today. This workshop is a feature of every Colloquium, but the character changes each year with the variety of composers who participate. The idea is that Colloquium participants are invited to bring with them new compositions to share with the group and receive constructive criticism. Moderated by David Hughes, this workshop surfaces many excellent ideas that help to refine the compositions throughout the week. At the end of the week, then, there is a New Music Reading Session, during which a wider group of Colloquium participants gathers to sing through the pieces and offer feedback.

I have always attended the final reading session, but this is the first year I have participated in the daily workshop. It was a wonderful experience for me. As a novice composer, I learned a great deal from listening to the struggles, intentions, and criticisms of the more sage composers in the group. A number of the new works we sampled are truly excellent, and each of them were improved by means of the collaborative process we undertook. Those who attend the reading session on Thursday afternoon will be impressed, I think, but those of us who participated in the process of clarifying revision received an added gift.

Colloquium week is filled with so many opportunities and blessings. Look for more tomorrow.

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

Filed Under: Articles Tagged With: Church Music Association of America CMAA, Liturgy of the Second Vatican Council, Sacred Music Colloquium Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

“I examined him in your presence, and could find no substance in any of the charges you bring against him; nor could Herod, when I referred you to him. It is plain that he has done nothing which deserves death. I will scourge him, and then he shall go free.”

— Pontius Pilate

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